![THIBAULT, Girard. Academie de l'Espee ... ou se demonstrent per reigles mathematiques sur le fondement d'un cercle mysterieux le theorie et pratique des vrais et jusqu'a present incognus secrets du maniement des armes a pied et a cheval [Leiden: B. & A. Elzevir], 1628. Large 2° (550 x 400mm), engraved title, portrait of the author, 9 plates of coats-of-arms, 46 plates of fencing (45 double-page) by Crispin de Pass (1), Wilhelm Jacob Delff (3), J. Gilli (6), Crispian Quebon (6) and others (the first leaf of text to the 21st fencing plate torn in half and repaired, further repairs to the engraved title, the portrait, seven of the coat-of-arms plates, the 14th fencing plate, the following text leaf, the 18th plate, the second leaf of text to the 20th plate, and the 28th, 31st, 32nd, 33rd, 39th, 44th and 46th fencing plates), 20th-century roan-backed boards, brown morocco lettering-piece to spine (extremities scuffed).](https://www.christies.com/img/LotImages/2005/CSK/2005_CSK_05625_0368_000(100230).jpg?w=1)
細節
THIBAULT, Girard. Academie de l'Espee ... ou se demonstrent per reigles mathematiques sur le fondement d'un cercle mysterieux le theorie et pratique des vrais et jusqu'a present incognus secrets du maniement des armes a pied et a cheval [Leiden: B. & A. Elzevir], 1628. Large 2° (550 x 400mm), engraved title, portrait of the author, 9 plates of coats-of-arms, 46 plates of fencing (45 double-page) by Crispin de Pass (1), Wilhelm Jacob Delff (3), J. Gilli (6), Crispian Quebon (6) and others (the first leaf of text to the 21st fencing plate torn in half and repaired, further repairs to the engraved title, the portrait, seven of the coat-of-arms plates, the 14th fencing plate, the following text leaf, the 18th plate, the second leaf of text to the 20th plate, and the 28th, 31st, 32nd, 33rd, 39th, 44th and 46th fencing plates), 20th-century roan-backed boards, brown morocco lettering-piece to spine (extremities scuffed).
THE MOST SUMPTUOUS BOOK ON FENCING EVER PRODUCED: A TRIUMPH OF THE ART OF BOOK PRODUCTION WITH INSPIRED TYPOGRAPHY BLENDING SEEMLESSLY WITH VERY FINE ENGRAVING. Thibault's theories of successful fencing using movement and mathematical principles are all beautifully pictured by some of the greatest engravers of the period. At the time of the book's production the Italian rapier (or epee) was in the ascendant. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon ... and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica 11th edition). Shortly after the present work was published, changes in fashion meant that the use of the epee was almost abandoned in favour of a new form of weapon. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats ... As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Vigeant p.125; Willems 302.
THE MOST SUMPTUOUS BOOK ON FENCING EVER PRODUCED: A TRIUMPH OF THE ART OF BOOK PRODUCTION WITH INSPIRED TYPOGRAPHY BLENDING SEEMLESSLY WITH VERY FINE ENGRAVING. Thibault's theories of successful fencing using movement and mathematical principles are all beautifully pictured by some of the greatest engravers of the period. At the time of the book's production the Italian rapier (or epee) was in the ascendant. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon ... and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica 11th edition). Shortly after the present work was published, changes in fashion meant that the use of the epee was almost abandoned in favour of a new form of weapon. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats ... As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Vigeant p.125; Willems 302.
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