17:
253:
365:, with the tip of the thumb resting on the rear quillon. The blade is thus aligned horizontally when the arm is extended. Thibault's system does not rely entirely upon this grip, sometimes dropping the thumb beneath the quillon with the index finger wrapped around the fore quillon. This latter curved or bent arm grip is similar, if not identical, to the grip for which most of Thibault's contemporaries advocated. Thibault uses this grip for cutting and for defending at close range.
82:
336:, with little else. Thibault gives proportional measurements for the various components of the hilt, each based on his circle diagram. These measurements dictate that the sword's quillons are to equal the length of one's foot, the combined length of pommel and grip should equal exactly twice the length of the guard from the quillons forward, and so on. Most notably, Thibault's sword lacks a
404:
In the case of the inside line, the primary target becomes the opponent flank and the attack presses the opponent's blade downward and to his own outside line; on the outside line, the primary target becomes the opponent's head, pressing his blade outwards during the attack. How the opponent responds
386:
Both shoulders are held in alignment and fully profiled to the opponent. The sword arm, normally extended but not locked, is also in alignment with the shoulders. The rear arm remains largely unused in order to maintain this profile, with the rear arm extended and the hand pointing downward and back.
151:
Although initially met with skepticism, Thibault convinced his fellow Dutch fencing masters, including
Johannes Damius of Haarlem, Dirck van Stervergen of Leiden, Cornelis Cornelisz van Heusden of Amsterdam, and Thibault's former teacher Lambert von Someron. In 1615, Thibault was invited to the court
264:
Thibault's treatise is notable for its highly logical, mathematical approach to swordplay. He discussed at great length the precise geometric relationships between opposing swordsmen, always stressing the importance of natural proportion. These relationships are expressed through a circular diagram
192:
is widely considered to be the most lavishly-illustrated swordsmanship manual ever produced. A team of master engravers were employed to produce plates for all forty-four chapters of the treatise, containing about twelve to fifteen pairs of swordsmen per instructional plate. These plates contain a
373:
In his primary stance (the posture of the straight line), Thibault describes an upright posture which allows for fluid, graceful motion while remaining profiled to the opponent. Thibault argues in favor of a "natural" stance, similar to an ordinary posture while standing or walking. This involves
315:
when standing naturally. This blade length also corresponds exactly to the radius of
Thibault's circle. This maximum length seems to be a reaction to the overly long blades that had become fashionable in Thibault's time, and it is perhaps because of this fashion that Thibault wrote in detail of a
378:
to one another. Unusually, Thibault does not believe that the toes of the front foot should be pointed at the opponent, rather being pointed to the angle of the interior subjection (Thibault's method of pushing the opponent's sword down and aside). Thibault describes the placement of the feet in
283:
The circle is not only used to determine the proper length of one's swords, steps, and distance, but also as a teaching aid to express in precise terms how and where to step in relation to the opponent in order to produce the desired effect. This allows for a kind of geometric shorthand, whereby
201:
as "without exception, the most elaborate treatise on swordsmanship, and probably one of the most marvellous printed works extant, from a typographic and artistic point of view" yet simultaneously dismissed the manual as nothing more than a "bibliographic curiosity."
284:
Thibault can simply refer to a location by the nearest intersection in the diagram. Because of its use as a stepping guide, Thibault details how to draw such a proportional circle on the ground for the reader's own use with nothing other than basic tools.
73:. Not unlike the Spanish, Thibault advocated the use of upright postures, walking steps instead of lunges, and non-linear footwork. However, Thibault differed from his Spanish counterparts in many areas, including his preferred stance and grip.
383:"). The swordsman's back foot would be perpendicular to this line, while his front foot would angle inward, with the weight distributed evenly on the balls of the feet. This positioning of the front foot allows you to walk into the subjection.
304:. Although many of his contemporaries provided instruction in the use of offhand weapons, Thibault only gave instruction in the use of a single weapon, believing it capable of defeating all other weapons and weapon combinations.
271:
Every element of the circle is proportional to the swordsman's body. For example, if the swordsman were to stand with his feet together and arm extended (but not locked) straight upward and pointing his index finger, then the
348:
Thibault described a unique method of gripping the sword which allows for many of his other innovations. Whereas
Thibault's contemporaries tended to grasp a sword with one or two fingers wrapped around the
175:
Academy of the Sword: wherein is demonstrated by mathematical rules on the foundation of a mysterious circle the theory and practice of the true and heretofore unknown secrets of handling arms on foot and
160:
in 1622. There, Thibault studied mathematics at Leiden
University. It is unclear whether Thibault taught his system at the university. It is during his time in Leiden that Thibault likely began working on
280:
of the circle. All measurements in
Thibault's system, including ideal length of step, proper distance from an opponent of equal height and sword length, and so on, are expressed in this diagram.
156:
and left
Amsterdam, where he once again demonstrated his system successfully. Over the next several years, Thibault traveled from Cleves, Amsterdam, to Spain, back to Amsterdam, and finally to
110:, son of Hendrick Thibaut and Margaretha van Nispen. Although his father used the surname "Thibaut," Gérard used the French form "Thibault." Hendrick Thibaut came from a well-known family in
276:
of the circle would be equal to his height as measured from the soles of his feet to his extended finger. The swordsman's ideal blade length should not exceed 1/2 of this length, or the
241:
was translated into
Russian language by Scientific Research Institute "World Martial Art Traditions & Criminalistic Research of Weapon Use" in August 2017, now is available the book
390:
Although the posture described above can be considered his "default" stance, Thibault also makes use of postures which involve bending the arm and/or spreading the feet farther apart.
103:. The latter contains handwritten notes and celebratory poems from Thibault's friends, relatives, pupils, and colleagues, included among whom are several contemporary fencing masters.
55:. His manual is one of the most detailed and elaborate extant sources on rapier combat, painstakingly utilizing geometry and logic to defend his unorthodox style of swordsmanship.
340:
in order to allow his unorthodox method of gripping the sword. The knuckle bow interferes with the wrist when holding the sword in
Thibault's primary straight arm grip.
121:
Thibault first studied swordsmanship in
Antwerp under Lambert van Someren, who taught between the years of 1564 and 1584. In 1605, Thibault was a wool merchant in
401:
Subjection is executed by advancing the hilt past the opponent's point, raising your own point and angling the rapier across and above the opponent's blade.
186:
was written in French and describes a variant on the
Spanish school of swordsmanship, it has often been mistaken as an alternately French or Spanish work.
398:
Thibault, when going against a similar posture (the posture of the straight line), advocates a subjection to either the inside or outside of the arm.
133:
river, and the hometown of Jerónimo Sánchez de Carranza. There, he took an interest in swordsmanship, studying the Spanish rapier system of Destreza.
118:
and Antwerp before going into exile in the northern Netherlands. Henrick's eldest son, Christiaen, founded the noble family Thibaut van Aegtekerke.
405:
to this is then gauged by sensitivity, Thibault identifying several different pressures of sentiment and the correct way to enter against them.
350:
769:
337:
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wide variety of intricate backgrounds and costumes which appear to be purely decorative. The controversial 19th century fencing historian
354:
749:
182:, which lists the year 1628, the manual was not published until 1630, a year after Thibault's death. Thibault was Dutch, but because
61:
describes a unique system of combat whose closest known relative is the contemporary Spanish school of swordsmanship, also known as
292:
Thibault's preferred weapon was the rapier, and he described its use against a multitude of opposing weapons such as rapier and
774:
719:
611:
66:
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224:
and included lectures by John Michael Greer and demonstrations of the fencing method by local historic fencing school
701:
de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp. 284–319
140:
as early as 1610. In or around 1611, he presented his system to an assembly of Dutch masters at a competition in
547:
de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.296, 310
213:
526:
de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.294-296
508:
de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.289-290
485:
de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288-289
231:
A reprint of the Academy of the Sword (translated by John Michael Greer) became available in March 2017 from
739:
744:
538:
de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.296
517:
de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.294
499:
de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.290
476:
de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288
462:
de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.297
453:
de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.289
16:
379:
relation to an imaginary line drawn between a swordsman and his opponent (Thibault calls this line the "
70:
145:
265:
that Thibault refers to as the "mysterious circle," visible on the floor in most of the plates in
122:
734:
565:
754:
62:
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8:
86:
48:
561:
209:
715:
655:
trans John Michael Greer (Highland Park, TX: The Chivalry Bookshelf, 2006) pp. 31, 42
607:
221:
179:
173:
Thibault's only known work was a rapier manual whose full title can be translated as
252:
681:
trans John Michael Greer (Highland Park, TX: The Chivalry Bookshelf, 2006) pp.36-37
642:
trans John Michael Greer (Highland Park, TX: The Chivalry Bookshelf, 2006) pp.24-25
629:
trans John Michael Greer (Highland Park, TX: The Chivalry Bookshelf, 2006) pp.19-37
332:, equal in length to the sole of the swordsman's foot, as well as finger rings and
307:
Thibault wrote at length about the optimum length of a sword, concluding that its
93:
of Thibault, incl. the six-point star from the coat of arms of the Thibault family
217:
668:
trans John Michael Greer (Highland Park, TX: The Chivalry Bookshelf, 2006) pp.42
194:
99:
433:
de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée,"
728:
698:, trans. John Michael Greer (Highland Park, TX: The Chivalry Bookshelf, 2006)
232:
706:
Schools and masters of fence from the Middle Ages to the eighteenth century.
592:
Schools and masters of fence from the Middle Ages to the eighteenth century.
148:, where the Prince observed Thibault's system in a multi-day demonstration.
711:
603:
362:
242:
130:
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trans John Michael Greer (Highland Park, TX: The Chivalry Bookshelf, 2006)
97:
Details about Thibault's life are sparse, derived from his book and his
81:
534:
532:
434:
297:
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Several versions of Thibault's "mysterious circle" from chapter 1 of
141:
137:
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328:, Thibault's ideal hilt was relatively simple. It featured straight
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144:. Thibault won first prize, earning an invitation to the court of
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maximum length, but did not feel the need to include a minimum.
293:
277:
157:
153:
40:
616:
374:
holding the feet several inches apart, at an angle of roughly
325:
312:
308:
136:
Thibault left Spain to return to the Netherlands, and was in
115:
111:
39:(ca. 1574–1627) was a fencing master and writer of the 1628
24:
describing the correct way to fight a left-handed swordsman
225:
353:, inside the finger ring aligned with the sword's
165:and employed a team of sixteen master engravers.
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324:Despite the popularity of increasingly complex
311:must not exceed the height of the swordsman's
714:Т 39 — Днепр: Середняк Т. К., 2017, — 536 с.
606:Т 39 — Днепр: Середняк Т. К., 2017, — 536 с.
216:in 2006. A book release party was held in
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251:
247:
80:
15:
357:, Thibault's grip involves resting the
106:Thibault was born in or around 1574 in
727:
168:
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770:Writers from the Spanish Netherlands
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13:
14:
786:
750:Historical European martial arts
67:Don Jerónimo Sánchez de Carranza
671:
658:
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632:
597:
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571:
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208:was translated into English by
65:, as taught by masters such as
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775:17th-century martial artists
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712:"Академия меча" Жерар Тибо
688:
604:"Академия меча" Жерар Тибо
765:Sportspeople from Antwerp
20:Chapter 43, Plate XII of
420:
146:Prince Maurice of Nassau
47:. Thibault was from the
437:VIII (1978) pp.288, 297
71:Luis Pacheco de Narváez
566:The Chivalry Bookshelf
261:
214:The Chivalry Bookshelf
94:
25:
679:Academy of the Sword,
666:Academy of the Sword,
653:Academy of the Sword,
640:Academy of the Sword,
627:Academy of the Sword,
579:Academy of the Sword,
558:Academy of the Sword,
394:Thibault's subjection
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248:The Mysterious Circle
123:Sanlúcar de Barrameda
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63:La Verdadera Destreza
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696:Academy of the Sword
564:(Highland Park, TX:
267:Academie de l'Espée.
243:Academy of the Sword
226:Academia Duellatoria
49:Southern Netherlands
22:Académie de l'Espée,
740:Renaissance writers
708:(1885) p. 122.
258:Academie de l'Espée
239:Academie de l'Espée
206:Academie de l'Espée
199:Academie de l'Espée
190:Academie de l'Espée
184:Academie de l'Espée
169:Academie de l'Espée
163:Academie de l'Espée
59:Academie de l'Espée
45:Academie de l'Espée
37:Thibault of Antwerp
745:Dutch male fencers
694:Thibault, Gérard.
677:Thibault, Gérard.
664:Thibault, Gérard.
651:Thibault, Gérard.
638:Thibault, Gérard.
625:Thibault, Gérard.
577:Thibault, Gérard.
562:John Michael Greer
556:Thibault, Gérard.
344:Gripping the sword
262:
222:Barnes & Noble
210:John Michael Greer
95:
26:
720:978-617-7479-75-7
704:Castle, Egerton.
612:978-617-7479-75-7
590:Castle, Egerton.
369:Thibault's stance
300:, and even early
212:and published by
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180:frontispiece
178:Despite its
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131:Guadalquivir
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114:, living in
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27:
21:
760:1627 deaths
338:knuckle bow
125:, south of
729:Categories
376:45 degrees
334:side rings
197:described
176:horseback.
87:Torrentius
435:Quaerendo
355:true edge
320:The guard
298:longsword
288:The sword
142:Rotterdam
138:Amsterdam
77:Biography
415:Destreza
409:See also
381:diameter
330:quillons
302:firearms
274:diameter
689:Sources
361:on the
359:ricasso
129:on the
127:Seville
108:Antwerp
89:in the
53:Belgium
43:manual
718:
610:
560:trans
294:dagger
278:radius
158:Leiden
154:Cleves
41:rapier
33:Girard
29:Gérard
421:Notes
326:hilts
313:navel
309:blade
220:, at
116:Ghent
112:Ypres
716:ISBN
608:ISBN
69:and
31:(or
152:at
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35:)
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