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lep_rapalone_quarteoverthesword [2019/02/06 11:23] – created adminaccountlep_rapalone_quarteoverthesword [Unknown date] (current) – external edit (Unknown date) 127.0.0.1
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 +====== Quarte over the Arm ======
 +
 +Exploration and interpretation session: 2019-02-02
 +
 +Quotes from the sources regarding the “quarte over the sword” or “quarte over the arm” or the unusual counterguard against an opponent in tierce which supports the actions below.
 +
 +  * Hieronymus Cavalcabo of Bologna and Patenostrier of Rome, //Treatise or Instruction for Fencing//, trans. Rob Runacres, Lulu.com (2015), ISBN 978-1-326-16469-0
 +  * Rob Runacres, //The Book of Lessons: The Historical Fencing Treatise Attributed to Pedro De Heredia//, Fallen Rook (2018), ISBN 978-0-9934216-5-5
 +
 +===== Cavalcabo =====
 +
 +> The counterguard of the tierce will be equally the same [ie: fourth] by crossing outside of the enemy’s sword.
 +
 +===== Patenostrier =====
 +
 +> The quarte over the sword is made like the ordinary quarte, except that one is done to the inside of the sword, the other to the outside. How to execute it: it is on the long guards, or on a tierce a little advanced, by extending the hand to the outside, and angling the tip to the inside.
 +
 +===== Pedro de Heredia =====
 +
 +==== Counterguards of the Above ====
 +
 +The “above” in the title refers to the previous section of Heredia’s text, “The Four Main Guards of the Single Sword.”
 +
 +> The counterguard of the third will be equally the same [ie: fourth] in passing outside of the enemy’s sword.
 +
 +==== Simple Lessons of the Single Sword ====
 +
 +> 4. Being in third guard, you can also with the same hold your point under the middle of the strong of the enemy’s sword a little of the outside; then, gathering it towards you at the height of the enemy’s face, cover the middle of his weak with the middle of your strong to the inside, thrusting in the same tempo an //estocade// to the right shoulder without abandoning his blade, so as not to concede in the same tempo, returning quickly in fourth guard.
 +
 +**Question**: Would not third be a better guard for the withdrawal as it keeps the opponent’s blade covered?
 +
 +> 10. In the aforesaid guard [enemy in third, you in fourth], you can again carry your point under the enemy’s sword, outside his right quillon, from there make a feint on the inside following the rule as above. And if he goes to parry, //caver// your point outside, thrusting an //estocade// to the right shoulder.
 +
 +The “rule above” refers to 9 which says, “caution yourself that all feints are made with a beat of the front foot [an //appel//] without moving the rear foot and that, being in guard beneath the enemy’s sword, your point remains two palms back from his guard.” Patenostrier, however, admonished specifically against making an //appel//.
 +
 +> 12. If you find the enemy again in third with the arm extended, and that you are in fourth with your point outside his sword and corresponding to the middle of its strong as above, gather your point to the inside, covering his weak with your strong; advance a step with the right foot, then, approaching with the left foot, thrust with resolution an //estocade// to the right shoulder, leaving only with the right foot without moving the left [a lunge?]. Return in third, still holding the enemy’s blade subjected as long as you can.
 +
 +> 26. Finding the enemy in second, you can put yourself in the same, holding your sword turned in //brocade//, the point just outside his own, and if he comes to strike you with a //brocade// along your point, let him advance his until it is at your guard, then turn your hand in //estocade//, and, slightly raising your point inside, meet his weak with your strong, thrust an //estocade// to the right shoulder, beat the wrist, and then retire in fourth.
 +
 +==== The Passes ====
 +
 +> 14. Finding the enemy in third guard, you can, in the same guard, place your point straight below his guard, and then, gathering your point a little higher, beat his weak with your strong, and if the enemy comes to change, pass with the left foot, striking him with an //estocade//, beating the wrist straight to the shoulder.
 +
 +I’m not entirely sure that this is the quarte over the sword. I can see ways in which it can be done on either side of the opponent’s blade. I suspect the quarte over the sword is the preferred method of execution.
 +
 +> 19. Finding your enemy in third guard, put yourself in fourth, holding the hand in //brocade// with your point to the outside, and, if the enemy comes to cover your weak to the outside, turn the hand in //estocade//, and, beating with the wrist, pass with the left foot outside to the right shoulder. You should make this pass even if the enemy does not come to subject your sword.
 +
 +This is basically the same action as in 14 above.
 +
 +===== Agrippa’s Action P in Heredia =====
 +
 +This action does not fit the standard pattern of engagement encountered so far in looking at the quarte ove the sword but, ultimately, that is the blade action involved. I suspect it should be excluded from consideration in this category and be understood in other ways.
 +
 +==== The Voids ====
 +
 +> 2. You can also hold the tip of your sword outside to the opposite of the middle of the enemy’s strong. If he wants to strike you with a straight //estocade//, in the same tempo strike a fourth on the inside to the right shoulder over his guard, voiding the body and foot as above.
 +
 +The “above” refers to this text:
 +
 +> When making the voids, note that, in voiding or dodging the body, the toes must be turned back, heels in front, so that what was behind goes in front and what was advanced is behind, and that is done in all of a tempo.
 +
 +Rob Runacres suggests this is a front foot //girata//. I agree but say it is the exemplar of Agrippa’s Action P.
 +
  

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