Minggu, 28 Oktober 2007

Academy of the Sword

Zounds, a dog, a rat, a mouse, a cat, to scratch a man to death!
a braggart, a rogue, a villain, that fights by the book of arithmetic!
[Shakespeare: Romeo and Juliet - III, i]


girard thibault academie de l'espee 1628


girard thibault academie de l'espee 1628


girard thibault academie de l'espee 1628


girard thibault academie de l'espee 1628


girard thibault academie de l'espee 1628


girard thibault academie de l'espee 1628


girard thibault academie de l'espee 1628


girard thibault academie de l'espee 1628 circulus detail


girard thibault  academie de l'espee 1628 detail


girard thibault  academie de l'espee 1628 detail


girard thibault  academie de l'espee 1628 detail


girard thibault  academie de l'espee 1628 detail


girard thibault  academie de l'espee 1628 detail

Between the 16th and 18th centuries swordplay experienced an evolution in technology and technique. The heavier broadswords which were often just used as bludgeoning weapons began to give way to lighter and narrower breeds, particularly the rapier, whose sharp point was better able to pierce a combatant and whose extra length allowed for both a greater reach and better defensive positioning.

These new weapons also became fashionable sidearms for use in civilian combat, duels and for purely sporting purposes. The cumbersome tactics employed with the older weapons, which relied on brute strength brought to bear on the cutting edge of the blades, were superseded by more dexterous skills and speed, where the tip of the sword and the lunge were emphasised. Fencing techniques came to be regarded as more of a science during the 16th century and were naturally influenced by the advancements that occurred during the Renaissance.

The Spanish school of swordsmanship - 'La Destreza' ('high level skill') - emerged as the leading theoretical system in Europe in the 1550s with a book published by Geronimo Carranza in which geometry became a primary source for insight into combat techniques. His pupil, Luis Pacheco de Navarez, expanded the theory in his own work published at the end of the century.

Navarez was to train a Flemish swordsman (and doctor, poet, artist, architect and occultist), Girard Thibault (Thibault d'Anvers), who became a Master in the Spanish fencing methods in the first decade of the 17th century. His accumulated knowledge, together with the advancements to the mathematical theories he made himself, were collected and published in 1630 (although the book bears a 1628 date) in the most elaborate and lavishly illustrated fencing treatise ever produced. Thibault first acquired royal patents for his work in about 1620 so it essentially took him ten years to finally get his volume released, and it included more than forty sumptuous double-page folio engravings by some sixteen of the best artists of the day (eg. Crispin de Passe, Pieter Serwouters, Schelte and Boetius Bolswert, Saloman Savery, Jakob Goltzius, Peter Isselburg, Pieter de Jode &c).

A central tenet of the Thibault thesis on Spanish swordsmanship is the idea of a magic or mysterious (as it was to contemporary observers) or Thibault circle - essentially the diameter of an imaginary ring on the ground in which the stance, attack and defensive positioning all take place. The size of this circle corresponds to the height of the swordsman to the tip of his outstrectched finger (seen in a couple of the above images). All of the tactical movements are described by circular and linear concepts and a knowledge of geometry is fundamental to exploiting the strongest positions.
"The dogmatic Thibault d’Anvers, who only admits perfectly defined calculations in his theories, speaks, however, of the feeling of the sword, the feeling of iron, referring to the very current proprioceptive and kinaesthetic qualities, rather than to improvisation and adaptability. His theories are based on mechanical reflexes and stereotypes with a strictness, completely geometric, inscribed in a mysterious circle which, according to him, is the basis of the science of fencing."
Thibault's text was "founded squarely on the on traditions of spiritual philosophy and practice and formed one of several practical expressions of Renaissance Hermetic occultism". Mystical pythagorean geometry is said to have found its place during the Renaissance in the esoteric arts of occultism. In that light, it's perhaps unsurprising that Thibault quotes at length from 'De Occulta Philosophia Libri Tres' by German magician HC Agrippa. All this is just to say that, rather than being a secret discipline based on the wearing of puffy trousers, Destreza may well be the only esoteric western martial art.

The full title in english of 'Academie de l'Espee' is:
'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 horseback'. But the horseback section was never completed - Thibault died prior to release of the book.

Academy of the Sword

Zounds, a dog, a rat, a mouse, a cat, to scratch a man to death!
a braggart, a rogue, a villain, that fights by the book of arithmetic!
[Shakespeare: Romeo and Juliet - III, i]


girard thibault academie de l'espee 1628


girard thibault academie de l'espee 1628


girard thibault academie de l'espee 1628


girard thibault academie de l'espee 1628


girard thibault academie de l'espee 1628


girard thibault academie de l'espee 1628


girard thibault academie de l'espee 1628


girard thibault academie de l'espee 1628 circulus detail


girard thibault  academie de l'espee 1628 detail


girard thibault  academie de l'espee 1628 detail


girard thibault  academie de l'espee 1628 detail


girard thibault  academie de l'espee 1628 detail


girard thibault  academie de l'espee 1628 detail

Between the 16th and 18th centuries swordplay experienced an evolution in technology and technique. The heavier broadswords which were often just used as bludgeoning weapons began to give way to lighter and narrower breeds, particularly the rapier, whose sharp point was better able to pierce a combatant and whose extra length allowed for both a greater reach and better defensive positioning.

These new weapons also became fashionable sidearms for use in civilian combat, duels and for purely sporting purposes. The cumbersome tactics employed with the older weapons, which relied on brute strength brought to bear on the cutting edge of the blades, were superseded by more dexterous skills and speed, where the tip of the sword and the lunge were emphasised. Fencing techniques came to be regarded as more of a science during the 16th century and were naturally influenced by the advancements that occurred during the Renaissance.

The Spanish school of swordsmanship - 'La Destreza' ('high level skill') - emerged as the leading theoretical system in Europe in the 1550s with a book published by Geronimo Carranza in which geometry became a primary source for insight into combat techniques. His pupil, Luis Pacheco de Navarez, expanded the theory in his own work published at the end of the century.

Navarez was to train a Flemish swordsman (and doctor, poet, artist, architect and occultist), Girard Thibault (Thibault d'Anvers), who became a Master in the Spanish fencing methods in the first decade of the 17th century. His accumulated knowledge, together with the advancements to the mathematical theories he made himself, were collected and published in 1630 (although the book bears a 1628 date) in the most elaborate and lavishly illustrated fencing treatise ever produced. Thibault first acquired royal patents for his work in about 1620 so it essentially took him ten years to finally get his volume released, and it included more than forty sumptuous double-page folio engravings by some sixteen of the best artists of the day (eg. Crispin de Passe, Pieter Serwouters, Schelte and Boetius Bolswert, Saloman Savery, Jakob Goltzius, Peter Isselburg, Pieter de Jode &c).

A central tenet of the Thibault thesis on Spanish swordsmanship is the idea of a magic or mysterious (as it was to contemporary observers) or Thibault circle - essentially the diameter of an imaginary ring on the ground in which the stance, attack and defensive positioning all take place. The size of this circle corresponds to the height of the swordsman to the tip of his outstrectched finger (seen in a couple of the above images). All of the tactical movements are described by circular and linear concepts and a knowledge of geometry is fundamental to exploiting the strongest positions.
"The dogmatic Thibault d’Anvers, who only admits perfectly defined calculations in his theories, speaks, however, of the feeling of the sword, the feeling of iron, referring to the very current proprioceptive and kinaesthetic qualities, rather than to improvisation and adaptability. His theories are based on mechanical reflexes and stereotypes with a strictness, completely geometric, inscribed in a mysterious circle which, according to him, is the basis of the science of fencing."
Thibault's text was "founded squarely on the on traditions of spiritual philosophy and practice and formed one of several practical expressions of Renaissance Hermetic occultism". Mystical pythagorean geometry is said to have found its place during the Renaissance in the esoteric arts of occultism. In that light, it's perhaps unsurprising that Thibault quotes at length from 'De Occulta Philosophia Libri Tres' by German magician HC Agrippa. All this is just to say that, rather than being a secret discipline based on the wearing of puffy trousers, Destreza may well be the only esoteric western martial art.

The full title in english of 'Academie de l'Espee' is:
'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 horseback'. But the horseback section was never completed - Thibault died prior to release of the book.

Jumat, 26 Oktober 2007

The Bishops

Polish illuminated manuscript


Polish illuminated manuscript

Polish illuminated manuscript detail


Polish illuminated manuscript detail


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript detail


'Catalogus Archiepiscoporum Gnesnensium Vitae Episcoporum Cracoviensium' (Catalogue of the Archbishops of Gniezno and Lives of the Bishops of Cracow) is available at the National Digital Library of Poland (note the six-dotted thumbnail icon top left of the frame). The images above were posted to wikimedia.

It was written by the Polish historian, Jan Długosz (who also produced the 'Banderia Prutenorum' flag book), in the 15th century. The exquisite illuminations for this version (1531-1535) were painted by Stanislaw Samostrzelnik. Not even such magnificent embellishment using medieval photoshoppery could endow this parade of Bishops with anything approaching a happy or friendly disposition however. Almost all of them appear to be sour old men, utterly without charm.

The Bishops

Polish illuminated manuscript


Polish illuminated manuscript

Polish illuminated manuscript detail


Polish illuminated manuscript detail


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript


Polish illuminated manuscript detail


'Catalogus Archiepiscoporum Gnesnensium Vitae Episcoporum Cracoviensium' (Catalogue of the Archbishops of Gniezno and Lives of the Bishops of Cracow) is available at the National Digital Library of Poland (note the six-dotted thumbnail icon top left of the frame). The images above were posted to wikimedia.

It was written by the Polish historian, Jan Długosz (who also produced the 'Banderia Prutenorum' flag book), in the 15th century. The exquisite illuminations for this version (1531-1535) were painted by Stanislaw Samostrzelnik. Not even such magnificent embellishment using medieval photoshoppery could endow this parade of Bishops with anything approaching a happy or friendly disposition however. Almost all of them appear to be sour old men, utterly without charm.