CAPITVLO SEPTIMO

DECLARACION DE LAS MEDIDAS, Y Proporciones mas neceſſarias de el cuerpo humano para el vſo, y practica de la ciencia, y Deſtreza de las Armas.

CHAPTER SEVEN

EXPLANATION OF THE MEASUREMENTS AND Proportions of the human body most necessary for the use and practice of the science and skill of weaponry

Alberto Durero en ſu libro de la Symmetria del cuerpo humano, pone dos modos para enſeñar à medir, y à proporcionar ſus figuras. El primero es dividiendo ſu altura en muchas partes alicotas, como ſon mitad, tercera, quarta, quinta parte, &c. El ſegundo es por medio de vnos caracteres, cuya explicacion pondremos en ſu lugar. Deſpues para poner eſtas reglas en practica, ſe value de ordinario, la ſegunda adverſa, y la tercera averſa: mas noſtros por no alterar los terminos que eſtan ya recibidos en la Deſtreza, à la primera llamamos de Perifl, à la ſegunda de Quadrado; pero à la tercera, que eſtà mirada por las eſpaldas, como no es de vſo en eſta ciencia, no tratarèmos de darla nombre particular. De eſtas partes alicotas las que ſirven para medir la altura de las figuras ſe hallaràn à la margen, y las que ſirven à la latitud, y profundidad, ſe hallaràn en las miſmas figuras, cada vna con el numero que correſponde à ſu valor: no tenemos neceſsidad de poner aqui todas aquellas medidas, ſino ſolo algunas que fueren à propoſito para nueſtra fabrica; como ſon la longitud de toda la figura, la del brazo ſolo, la del brazo con la Eſpada, la que ſe halla entre los dos centros de los brazos, la que au deſde los centros haſta el plano inferior, la que ay deſde el cuerpo, ò de ſu eſphera, que es el ombligo, haſta el ſuerlo, ſu mayor latitud, y ſu mayor profundidad.

Albrecht Dürer, in his book on the symmetry of the human body, presents two methods to teach how to measure and proportion its figures. The first method involves dividing its height into many aliquot parts, such as half, third, quarter, fifth part, etc. The second method is through the use of specific characters, whose explanation we’ll address in due course. Typically, to apply these rules in practice, Dürer relies on the second profile and the third reverse perspective. However, in the context of fencing, we commonly refer to the first as “Profile,” and the second as “Square.” We won’t assign a specific name to the third perspective, which is viewed from the back, as it isn’t typically used in this discipline. Of these aliquot parts, those used to measure the figure’s height will be found in the margin, while those used for width and depth will be located within the figures themselves, each labeled with a number corresponding to its value. We only need to mention a few of these measurements here, specifically those relevant to our framework: the full height of the figure, the length of the arm alone, the arm’s length with the sword, the distance between the centers of both arms, the length from the centers to the ground, the distance from the body (or its center point, the navel) to the ground, its maximum width, and its greatest depth.

Lo que ſabemos à cerca de la altura de las figuras es, que la que ſe tiene por mas perfecta (y à quien los Pintores, y Eſcultores llaman de el natural) tiene dos varas de alto, que hazen ſeis tercias, ò ſeis pies Geometricos, y dividiendo cada vno en 16. dedos que le toca al pies, tendremos toda la altura de la figura repartida en 96. partes, ò dedos. Con eſte genero de medidas hemos de examinar las dos diferencias que nos dà Alberto con ſus dos libros, por ſer acomodadas al vſo: y para que todas ſe puedan reducir à vna denominacion mas conocida, que las que nos dà eſte Autor con las ſuyas, aſſentado eſto, examinarèmos aora quantas de eſtas partes le tocarà à cada vna de las referidas, con mucha facilidad, y puntualidad.

The commonly accepted height for a perfect figure (as referred to by painters and sculptors as “from the natural”) is two yards, which equates to six geometric feet. If we further divide each foot into 16 fingers, the total height of the figure becomes 96 parts or fingers. Using these measurements, we’ll examine the two variants provided by Dürer in his books. To standardize these measurements, we’ll use the more familiar unit of fingers, which will allow us to precisely and easily determine each part’s exact value.

En el Libro primero, folio 3. pone vna figura de perfil, y junto à ella vn brazo con ſu mano, el qual tiene à ſu lado quatro medidas, las dos mayores, y otras dos menores: la primera de las grandes llega deſde la parte ſuperior, haſta la ſangria, tiene ²⁄₁₁, que le correſponde; y fignifica, que ſi toda la altuira de la figura ſe repartiera en onze partes iguales, que à eſta parte le correſpondieran las dos de aquellas onze; mas para que ſe pueda hazer mayor jucio de eſta cantidad, lo reduciremos à nueſtra medida comun, que ſon los dedos, multiplicando el numerador de eſte quebrado, que es dos, por la altura de toda la figura, que ſon 96. y el producto 192. partido por 11. denominador del dicho quebrado, darà por cociente 17. ⁵⁄₁₁ que ſon los dedos que tocan à eſta parte haſta el codo, que haze poco mas de vn pie.

In Dürer’s first book, on page 3, there’s a profiled figure alongside an arm with its hand. Next to it, there are four measurements: two larger ones and two smaller ones. The first of the larger measurements, which runs from the upper part down to the elbow, is denoted as ²⁄₁₁. This suggests that if the figure’s entire height were divided into eleven equal parts, this section would represent two of those parts. To get a better grasp of this fraction, we can convert it into our standard unit of fingers. By multiplying the fraction’s numerator, which is 2, by the figure’s total height, which is 96, we get 192. Dividing this by the fraction’s denominator, 11, we get 17. ⁵⁄₁₁ fingers, which slightly exceeds one foot, as the length of this part up to the elbow.

La otra parte mayor, que llega deſde la ſangria haſta la extremidad de los dedos, eſtà ſeñalada con el numero 4. que quiere dezir, que à eſta parte le toca la quarta, ò el quarto de toda la figura, que es pie, y medio ò 24. dedos. Eſta medida viene muy ajuſtada con la que los Coſmographos dan à la vlma, ò cubito como ſe puede ver en Pedro Appiano, y otros muchos Autores; mas como nueſtra intencion al preſente ſolo es examinar la cantidad que toca al brazo, ſin hazer mencion de la mano; ſacarèmos de eſta quarta parte, que ſon 24. dedos y ⅗ y la reſta ſerà 14. dedos, y ⅖, que ſumados con 17. ⁵⁄₁₁, harà todo 31. dedos, y ⁴⁷⁄₅₅, que ſon poco menos de dos pies, con que tendremos por aſſentado, que ſiendo la figura de ſeis pies de alto, le tocarà al brazo los does pies, que es la tercia parte: eſto ſe entiende deſde ſu nacimiento haſta la linea que ſe llama Receta.

The other larger part, which extends from the elbow to the fingertips, is marked with the number 4. This indicates that this section constitutes a quarter, or one-fourth, of the entire figure, which is a foot and a half or 24 fingers. This measurement aligns closely with what cosmographers assign to the ulna or cubit, as can be seen in works by Pedro Apiano and many other authors. However, since our current intention is only to examine the arm’s length without mentioning the hand, we’ll subtract from this quarter, which amounts to 24 and ⅗ fingers, and the remainder will be 14 and ⅖ fingers. Added to the previous 17 ⁵⁄₁₁, the total comes to 31 and ⁴⁷⁄₅₅ fingers, which is just slightly less than two feet. Thus, we can conclude that for a figure that is six feet tall, the arm will be two feet, or one-third of the total height. This measurement starts from where the arm originates up to the line known as the Receta.

La diſtancia que ſe halla entre los dos centros de los brazos, es de la quinta parte de toda la altura, que correponde à 19. dedos, y ⅕ La que ay deſde los centros de los brazos haſta el plano inferior, ſe hallarà (reſtando 18. dedos, que vale la linea mayor de las dos, que eſtàn enfrente de la cabeza con los dos numeros 10. y 11.) de toda la altura de la figura 96. y la reſta ſerà 78. dedos, que ſon cino pies menos dos dedos.

The distance found between the two centers of the arms is one-fifth of the total height, which corresponds to 19.2 fingers. The distance from the centers of the arms to the lower plane will be determined by subtracting 18 fingers (the value of the longer of the two lines facing the head with the numbers 10 and 11) from the total height of the figure, which is 96 fingers. The remainder will be 78 fingers, which is five feet minus two fingers.

La mayor latitud es de ³⁄₁₀, que reducidos à nueſtra medida hazen 28. dedos, y ⅘ La mayor profundidad, es de la ſexta parte de la figura, que es vn pie. La que ay deſde el centro del cuerpo, que correſponde al ombligo, haſta el plano inferior, es de cinco quartas, ò de ſeſenta dedos, que es lo miſmo que ſe dà à las Eſpadas de marca, ſegun la ley del Reyno, pruebaſe con la figura que eſtà en fol 4. buelta de eſpaldas, porque ſi de toda la altura ſe reſta 36. dedos, que es vna dezima, y tres vndezimas partes, que ay deſde lo alto de la cabeza haſta el ombligo, centro del cuerpo; lo reſtante ſerà los 60. dedos que hemos dicho arriba, que hazen las cicno quartas que ſe dà à la Eſpada deſde la punta al recazo, ò à los gavilanes.

The maximum width is ³⁄₁₀, which, converted to our measurement, makes 28.8 fingers. The maximum depth is one-sixth of the figure, which is one foot. The distance from the center of the body, corresponding to the navel, to the lower plane, is five-fourths, or sixty fingers. This is the same length given to regulation swords, according to the kingdom’s law. This can be verified with the figure on page 4, seen from behind. If you subtract 36 fingers (one-tenth and three-elevenths of the total height) from the top of the head to the navel, the center of the body, the remaining length is the 60 fingers we mentioned earlier, which equates to the five-fourths length of a sword from the tip to the hilt or guard.

Eſta miſma longitud ſe hallarà deſde el centro del ombro derecho haſta la extremidad de los dedos de la mano izquierda, eſtando el brazo tendido en vna linea recta con los ombros, como ſe podrà verificar ſumando las tres partes primeras, que ſon la cantidad que damos al cubito, ò codo, la que ſe halla deſde el codo, ò ſangria, haſta el centro del miſmo brazo, y la que ay de centro à centro, que todas montan los 60. dedos poco mas.

This same length can be found from the center of the right shoulder to the tips of the fingers of the left hand, with the arm stretched out in a straight line with the shoulders. This can be verified by adding the first three parts: the length we assign to the elbow, the distance from the elbow or joint to the center of the same arm, and the distance from center to center. In total, they amount to just over 60 fingers.

En el miſmo libro, folio 7. pone Alberto otra figura de vn hombre, cuyas medidas calculdas en la forma referida, ſe hallaràn para la longitud del brazo 33. dedos, y ⅗ para la diſtancia entre los dos centros de los brazos 16. dedos, y ²⁄₁₁ para la que ay deſde los centros al plano inferior cicno pies, para la mayor latitud pie y medio, para la mayor profundidad 13. dedos, y ⁵⁄₇ para la altura del centro del cuerpo haſta el plano inferior 61. dedos, que ſon las cinco quartas, y vn dedo mas, y para la diſtancia que ay deſde el centro del brazo derecho à la extremidad de la mano izquierda 59. dedos, y ⅓, que ſon muy poco menos de las cinco quartas.

In the same book, on page 7, Albrecht presents another figure of a man. From the given method, the measurements determined are as follows: the arm length is 33 fingers, with an additional ⅗ of a finger. The distance between the centers of the arms is 16 fingers and an additional ²⁄₁₁ of a finger. The distance from the arm centers to the bottom plane is five feet. The maximum width of the figure is one and a half feet, and its maximum depth is 13 fingers with an additional ⁵⁄₇ of a finger. The height from the center of the body to the bottom plane is 61 fingers, which equates to five-quarters plus one more finger. The distance from the center of the right arm to the tip of the left hand is 59 fingers and an additional ⅓ of a finger, which is slightly less than five-quarters.

Folio 10. del miſmo Libro, pone Alberto otra figura, cuyo brazo tiene de longitud poco menos de 32. dedos, porque no faltan mas que 16. partes de 401. en que ſe conſidera dividido el dedo, que es coſa inſenſible, y de que no ſe haze caſo en la practica. La diſtancia que ay entre los dos centros de los brazos es de vn pie, y la altura de los centros haſta el plano inferior, es de cinco pies; la mayor latitud es de 21. dedos, y ⅔, la mayor profundidad es de 12. y ⅖, la altura del centro del cuerpo es de 61. dedos.

On page 10 of the same book, Albrecht showcases another figure whose arm length is slightly less than 32 fingers. This is because only 16 parts out of 401 (considering a finger divided into 401 parts) are missing, which is negligible in practice. The distance between the arm centers is one foot. The height from the arm centers to the bottom plane is five feet. The figure’s maximum width is 21 fingers and an additional ⅔ of a finger, its maximum depth is 12 fingers and an additional ⅖ of a finger, and the height from the center of the body is 61 fingers.

Folio 14. pone otra figura, cuyo brazo tiene caſi lo miſmo que la paſſada; la diſtancia de los centros de los brazos es de vn pie; ſu altura, deſde el plano inferior, es de 5. pies; la mayor latitud es de 21. dedos y ⅔, y la mayor profundidad es de 12. y ⅖.

On page 14, another figure is presented, whose arm measurements are nearly identical to the previous one. The distance between the arm centers is one foot, its height from the bottom plane is five feet, the greatest width is 21 fingers and ⅔ of a finger, and the greatest depth is 12 fingers with an additional ⅖ of a finger.

En folio 18. tiene la longitud del brazo 32. dedos y ²⁄₁₁, la diſtancia de los centros es de 16. dedos menos ²⁄₇, la altura de los centros de los brazos es de cinco pies, la mayor latitud es de 21. y la mayor profundidad es de 12.

Lastly, on page 18, the arm’s length is noted to be 32 fingers and an additional ²⁄₁₁ of a finger. The distance between the centers is 16 fingers minus ²⁄₇ of a finger, the height from the arm centers to the bottom is five feet, the greatest width is 21 fingers, and the greatest depth is 12 fingers.

Pudieramos proſeguir en la declaracion de la Symmetria, que ſe halla en las figuras del ſegundo Libro de Alberto, mas no parece neceſſario detenernos en la multiplicacion de tantos exemplos, quando ſolo vno baſtarà para la autoridad que pretendemos. Lo que ay que notar en eſte Libro, como en el paſſado, es, que ay tanta proporcion, y correſpondencia de la longitud de la Eſpada con la de eſtas figuras, que parece que ellas ſe ajuſtaron à la medida de nueſtra Eſpada, ò los que hizieron la marca, la tomaron de la Symmetria de eſtas figuras.

We could continue with the explanation of the Symmetry found in the figures of Albrecht’s second book, but it doesn’t seem necessary to delve into the multitude of examples when just one will suffice for the authority we seek. What we need to note in this book, as in the previous one, is that there is so much proportion and correspondence in the length of the sword with these figures, that it seems either these figures were adjusted to the measure of our sword, or those who made the mark took it from the symmetry of these figures.

Valeſe en el ſegundo Libro de vno caracteres (en lugar de numeros) que ſon los ſiguientes: 𝑪Ɛ⎳٪ El primero 𝑪 vale la ſexta parte de toda la figura, que es vn pie, ò 16. dedos. El ſegundo Ɛ vale la dezima parte del primero, que es vn dedo, y ⅗. El tercero ⎳ vale la dezima parte del ſegundo, y correſponde à ⁴⁄₂₅ de vn dedo. El quarto ٪ es vna cantidad muy pequeña, porque es la tercera parte de la tercera, y haze ⁴⁄₇₅ de otro dedo. Con eſtas medidas và calculando ſus figuras, y à fol 4.5 mueſtra como el cuerpo del hombre eſtà comprehendido en vn circulo, que paſſa por los pies, y por la extremidad de las manos, quando ſe levantan tendidos los brazos, haſta ponerlas à nivel de la cabeza; y el centro de eſte circulo es el ombligo, el qual ſe halla diſtante del plano inferior la miſma cantidad que ſe dà à la Eſpada, que ſon tres pies, y tres quatros, ò ſeſenta dedos: en fol. 58. y. 65. ſe halla lo miſmo.

In the second book, he uses certain characters (in place of numbers), which are as follows: 𝑪Ɛ⎳٪ The first, 𝑪, represents one-sixth of the entire figure, which is one foot or 16 fingers. The second, Ɛ, is one-tenth of the first, equivalent to one finger and ⅗ of another. The third, ⎳, is one-tenth of the second, corresponding to ⁴⁄₂₅ of a finger. The fourth, ٪, is a very small quantity, as it’s one-third of the third, amounting to ⁴⁄₇₅ of another finger. Using these measurements, he calculates his figures. On pages 4 and 5, he shows how the human body fits within a circle that spans from the feet to the tips of the hands when the arms are raised to the level of the head. The center of this circle is the navel, which is located the same distance from the lower plane as the sword’s length, which is three feet, three-quarters, or sixty fingers. The same is found on pages 58 and 65.

Eſta medida es igual à las cinco quartas, que por ley del Reyno ſe manda dar à la longitud de la Eſpada, deſde la punta haſta el recazo, ò gavilanes; de que ſe ſigue, que la Eſpada es la juſta medida del Semidiametro de vn circulo, en que ſe halla comprehendido el hombre como eſpherico; porque pueſto el vn gavilan en el centro, que es el ombligo, podrà con la punta deſcribir la circunferencia de eſte circulo, por lo que demueſtra Alberto, fol. 54. en que ſe reconoce la mucha correſpondencia, y proporcion de eſte inſtrumento, con quien le ha de regir, y governar.

This measurement is equal to the five-quarters, which by kingdom law is the mandated length of the sword, from tip to hilt or quillons. From this, it follows that the sword is the exact measurement of the radius of a circle in which the man is encompassed as if spherical; because if one places one quillon in the center, which is the navel, they can describe the circumference of this circle with the tip of the sword. This is demonstrated by Albrecht on page 54, where the close correspondence and proportion of this instrument with the one who is to wield and govern it is recognized.

Tambien ſe halla, que ſi à ſu longitud ſe añaden quatro dedos que ay de empuñadura, toda ella con el brazo ſerà de ſeis pies, que es la altura que hallamos ha de tener vna figura del natural, con que ella por sì, no ſolo determina el Orbe del Dieſtro; pero acompañada con el brazo que la ha de mandar, iguala con ſu altura. Otra propriedad, ò excelencia ſe halla en la Eſpada, y es, que con ſu longitud determina el mayor compàs, que puede formar el Dieſtro, contando ſu magnitud en la diſtancia que ſe halla entre los dos pies, quando ſe aparta el vno del otro todo lo poſsible, como cada vno podrà hazer la experiencai, que ſi los Geometras, y Geographos han dado cinco pies al paſſo Geometrico, ha ſido porque con quatro pies, de hueco han contado vno de macizo; pero eſte compàs no ſe admite en la Deſtreza, por averſe de hazer con mucho extremo del cuerpo.

It’s also found that if four fingers of grip are added to its length, the entire length, along with the arm, will be six feet, which is the height we’ve determined a life-sized figure should have. Thus, the sword by itself not only defines the realm of the swordsman, but accompanied by the arm that wields it, matches its height. Another property or excellence found in the sword is that its length determines the greatest stride a swordsman can take, measuring the distance between the two feet when they are as far apart as possible. Anyone can test this. If geometers and geographers have set the geometric stride to be five feet, it’s because they count one solid foot along with four empty feet. However, this stride isn’t accepted in the art of fencing since it would require an extreme extension of the body.

Y a que hemos vertificado la juſta medida de el todo de el hombre, y ſus partes, juntamente con la longitud del brazo; y Eſpada, para la defenſa, y expugnacion deſte Caſtillo imaginario, no ſerà dificultoſo determinar la juriſdiccion que ha de tener para el vſo de ambas coſas; pero antes de comenzar eſta obra, hemos de traer à la memoria tres coſas muy eſſenciales, que ſe obſervan en qualquiera fortificacion real, y regular.

Having verified the precise measurement of the whole man, his parts, together with the length of the arm and sword for the defense and conquest of this imaginary castle, it won’t be difficult to determine the jurisdiction required for the use of both things. But before starting this work, we need to recall three essential things observed in any real and regular fortification.

La primera es la diſtancia que ſe ha de dar deſde el centro de la Plaza haſta el lado, ò Angulo del poligono interior; la ſegunda es la diſtancia que ay del poligono interior al Angulo del poligono exterior; y la tercera es la que ha de elegir el enemigo, quando intente ponder cerco à la Plaza.

The first is the distance to be set from the center of the square to the side or angle of the inner polygon. The second is the distance from the inner polygon to the angle of the outer polygon. The third is the one the enemy must choose when intending to lay siege to the square.

La primera diſtancia ha de ſer deſuerte, que el poligono ſea capàz de aloxar tal numero de gente, que puede defender la Plaza, demàs de aver lugar para el exercicio militar, y para las retiradas, quando ſe ofreciere ocaſion. Eſte poligono interior ſe defiende con los muros, terraplenos, parapetos, que ſe hazen en las cortinas, y baluartes. La diſtancia que ay del primer poligono, ò interior, al exterior, ſe defiende con las Armas ofenſivas mas manuales, que ay en la Plaza, como ſon en eſtos tiempos lso Arcabuzes, Moſquetes, Granadas, &c. y eſta diſtanca no ha de exeder el aclance de eſtas Armas mayores de la Plaza, que es el cañon. Eſta diſtancia ſe ha alterado deſpues de la invencion de la polvora, porque antiguamenta era mucho menor que al preſente, pueſto que entonces llegaba luego vn Exercito à la contreaſcarpa, y aora ſe paſſan muchos dias, y ſe piere mucha gente, y mucha municion primero que ſe pueda llegar à deſembocar el foſſo; y no ſolo es eſta diſtancia la que ha alterado la polvora, pero toda la forma de la fortificacion ſe ha mudado, ſi bien las maximas principales han quedado en pie.

The first distance must be such that the polygon can accommodate a sufficient number of people who can defend the square, in addition to having space for military exercises and for retreats when necessary. This inner polygon is defended by walls, embankments, parapets built on the curtains and bulwarks. The distance from the first, or inner, polygon to the outer one is defended by the most manual offensive weapons available in the square, such as muskets, grenades, etc., currently. This distance should not exceed the reach of the square’s most powerful weapon, which is the cannon. This distance has changed since the invention of gunpowder, as previously it was much smaller. In the past, an army would immediately reach the counter-scarp, but now many days pass, many people die, and much ammunition is used before they can reach the ditch. Not only this distance but the entire form of fortification has changed with gunpowder, though the main principles remain.

Nueſtra Fortaleza no tendrà ocaſion de alterarſe en ningun tiempo, porque es tanta la perfeccion del Arma con que ſe ha de defender, y expugnar, que no admite ſu forma mudanza, ni alteracion; ella encierra en sì todo lo que ſe halla en las Armas ofenſivas, y defenſivas. La Artilleria, y demàs bocas de fuego, ſon Armas de mucho primor, y de grandioſos efectos; pero ſu oficio es de ſolo ofender ſin defenſa. Las armas defenſivas, como ſon los petos, parapetos, muros, y terraplenos de los Caſtillos, y Ciudades fortificadas, no les toca mas que la defenſa; pero la Eſpada ſola tiene preeminencia de ambas coſas, que ſon el ofender, y defender juntamente. La parte de la ofenſa parece muy facil; pero el ofender, quedando defendido, pide algo de mas Arte, y parece muy dificultoſo. La razon de eſto es, que la parte mas eſſencial, que es la defenſa, eſtà fundada en fortificacion, y la que ha de aver en la Deſtreza es caſi toda imaginaria, no es mucho que los que carecen del conocimiento de ſu idea, ſe hallen emarazados en ſu defenſa.

Our fortress will have no need to change over time because the perfection of the weapon with which it will be defended and conquered is such that its form admits no change or alteration; it encompasses everything found in offensive and defensive weapons. Artillery and other firearms are weapons of great precision and have impressive effects, but their role is solely offensive without any defense. Defensive weapons, such as breastplates, parapets, walls, and embankments of castles and fortified cities, have only defense as their function. But the sword alone has the preeminence of both tasks: to offend and defend simultaneously. The offensive aspect seems easy, but to offend while remaining defended requires more skill and appears challenging. The reason for this is that the most essential part, the defense, is based on fortification, and the required finesse is almost all imaginary. It’s no wonder that those lacking knowledge of its concept find its defense perplexing.

Serà muy poſsible que à algunos les parezca eſte penſamiento extravagante; pero tengo por cierto que viendo la forma de nueſtra idea han de confeſſar, que eſte es el vnico medio para alcançar el conocimiento de vna ciencia que haſta aora ha ſido tan intrincada por otro camino, como todos ſaben: y no ſolo han ſervir eſtos doecumentos para alcançar el vſo de la Deſtreza; pero han de ſer de gran guſto para los que entienden los preceptos militares, pueſto que como los fines, que es el vencer, ò no quedar vencido, ſon vnos miſmos, es preciſo que los medidos para conſeguir los fines, tengan entre sì mucha conformidad. Aqui pondremos la forma, y fabcria deſte Caſtillo por mayor, con ſu panta, alçado, y en preſpectiva, y luego harèmos declaracion de todas ſus partes, con las demonſtraciones Mathematicas neceſſarias para hazer evidencia de como eſtà en la poſsibilidad del Dieſtro el forma eſta fortificacion con la perfeccion que aqui ſe repreſenta: no digo que la pueda fabrica toda à vn tiempo, porque aſsi como es impoſsible, no es neceſſario; mas baſtarà que puedar formar vn defenſa, y ponerle al adverſario en ocaſcion que no pueda conſeguir ſu intento: con que en eſte lugar ſe podrà aplicar aquel adagio, que dize:
Fruſtrà fit per plura, quod fieri, poteſt per pauciora.

Some may find this thought extravagant, but I am confident that once they see our concept, they will admit that this is the only way to understand a science that has been so intricate until now, as everyone knows. And these teachings will not only serve to grasp the art of fencing but will also be of great interest to those who understand military precepts. Since the objectives, which are to conquer or not be conquered, are the same, the means to achieve those objectives must have much in common. Here we will detail the form and structure of this castle in more depth, with its plan, elevation, and perspective. Then we will explain all its parts, with the necessary mathematical demonstrations to make evident how the swordsman can form this fortification with the perfection represented here. I don’t mean he can create it all at once, for as much as that’s impossible, it’s unnecessary. It will suffice that he can form a defense and put his opponent in a position where he can’t achieve his intention. In this context, we can apply the adage that says:
It is in vain to do with more what can be done with fewer.