The following is an outline of Book 3 of Lorenz de Rada’s Nobleza de la Espada, based on an in-progress translation by Alan Bloniarz. This is an attempt to simplify the ~170k words down to the concepts and short instructions for someone looking to use as a handbook. Shoot me an email at hello@alexmunro.xyz with any questions/suggestions.

Experience and Skill {#experience-and-skill}

Aristotle???

The purpose of Destreza {#the-purpose-of-destreza}

Four Objects of Destreza {#four-objects-of-destreza}

• Body
• Sword
• Movement of the Body
• Movement of the Sword

Introduction to how the movements are described {#introduction-to-how-the-movements-are-described}

The best way to position the body - the Right Angle {#the-best-way-to-position-the-body-the-right-angle}

• Right side forward
• Not fully Profiled or Squared (presenting the Right Collateral Plane)
• Right foot forward pointing towards Opponent
• Left foot perpendicular to right, heels aligned and one foot behind Right

Beginner Exercises / Basic Movements {#beginner-exercises-basic-movements}

This chapter covers a series of exercises done with a partner or between Instructor and Student. They seem to be about developing skills of movement, and a sense of the distances involved.

All Steps are a Movement of the Body involving both feet moving and the Body moving from one point to another.

Straight Steps exercise {#straight-steps}

• Direct Along the Diameter (line between Diestro and Opponent)
  • Forwards Right foot first, then left follows to return to Right Angle
  • Backwards Left foot first, followed by right, returning to Right Angle
• Lateral Steps Perpendicular to the Diameter (Abverse)
  • Lateral Right Right foot first, then left follows. Right foot points right of Opponent with left perpendicular
  • Lateral Left Left foot first, then right follows. Right foot points left of Opponent with left perpendicular
• Transverse Along the diagonals between the Diameter and Abverse. When moving forwards, turn to face a spot just in front of your opponent.
  • Forward and Right
  • Forward and Left
  • Backward and Right
  • Backward and Left

{{< figure src=“/ox-hugo/Figure2.svg” caption=“<span class=“figure-number”>Figure 1: The Straight Steps” >}}

Maintaining Right Angle at Medio de Proporcion as Opponent orbits exercise {#maintaining-right-angle-at-medio-de-proporcion-as-opponent-orbits}

It’s important to closely control the distance in Destreza, and to seek & maintain and advantage of strength.

In these exercises, the Diestro will hold their sword in the Right Angle, and the Opponent will hold the student’s tip while also standing in the Right Angle. This serves as a physical reminder of whether they maintain the Medio de Proporcion, if either bends their arm or loses grip, they have closed or gained distance.

Rotating over front foot {#rotating-over-front-foot}

• The Instructor walks around the student attempting to maintain Medio de Proporcion.
• The Student attempts to maintain the Right Angle with their sword in their Right Collateral Plane. To do so they rotate over the middle of their front foot, while sweeping their back foot behind them. This is known as Opposing their Vertical Plane.
• The instructor can go either way, and vary the distance of the steps.

{{< figure src=“/ox-hugo/Figure3.svg” caption=“<span class=“figure-number”>Figure 2: Rotating over the front foot” >}}

Rotating over rear foot {#rotating-over-rear-foot}

Same as above, except now the Student will take a slightly back-weighted stance and rotate over the middle of the back foot, leaving the front free to sweep in front.

{{< figure src=“/ox-hugo/Figure4.svg” caption=“<span class=“figure-number”>Figure 3: Rotating over the rear foot” >}}

Maintaining Medio de Proporcion while orbiting Opponent {#maintaining-medio-de-proporcion-while-orbiting-opponent}

Maintaining the Right Angle exercise {#maintaining-the-right-angle}

The Opponent holds the Student’s point, while both stand in the Right Angle at the Medio de Proporcion. The Diestro will then make circular steps along the circumference of the Medio de Proporcion. Steps should be done to the right (Posture of the Sword) and to the left (Profile of the Body).

To the left:

1. Right foot moves around the Medio de Proporcion
2. Left joins the right, returning the Student to the Right Angle
3. To continue, the right foot moves
4. And the left follows

Moving to the right is the mirror of the left.

The Diestro should aim to maintain the Right Angle and present their Collateral Plane, though they may present the Right Collateral Plane when moving to the Profile of the Body.

{{< figure src=“/ox-hugo/Figure5.svg” caption=“<span class=“figure-number”>Figure 4: Circular steps around the Opponent” >}}

Making smaller steps when moving to the left exercise {#making-smaller-steps-when-moving-to-the-left}

This time, making slightly smaller steps, covering the distance quicker but not returning to the Right Angle.

1. Right foot moves around the Medio de Proporcion
2. Left passes the right to land further around the proporcion
3. Repeating the step, right foot passes the left
4. Left passes the right

The movements with the left foot should take it near the right.

{{< figure src=“/ox-hugo/Figure6.svg” caption=“<span class=“figure-number”>Figure 5: Smaller Circular steps around the Opponent” >}}

Moving to the left by beginning with the left foot exercise {#moving-to-the-left-by-beginning-with-the-left-foot}

This time, making slightly larger steps and passing:

1. The left foot moves around the medio de proporcion
2. The right passes in front of the left by the same distance and lands at the proporcion, pointing at the instructor. If the instructor has not moved, the left can be brought to join the right, returning the you to the Right Angle.
3. If the Instructor has turned to face, you should continue moving by passing with the left foot.

{{< figure src=“/ox-hugo/Figure7.svg” caption=“<span class=“figure-number”>Figure 6: Moving left starting with the left foot” >}}

Moving around the Common Circle {#moving-around-the-common-circle}

When both the fencers stand at the Medio de Proporcion, they are standing on the Common Circle, which is 4 feet in diameter (the inner part of the circle below). If both move around the Common Circle, they maintain the Medio de Proporcion distance, neither advancing or retreating. Movements to the right should begin with the right foot. Movements to the left can begin with either.

If the Student moves and the Opponent does not, the Student will be able to enter to make a touch because they will have achieved two things:

• They will have opposed the Opponent’s weaker Plane with their stronger Plane
• They will have achieved greater reach through that opposition

Maintain Medio de Proporcion with Small Steps exercise {#maintain-medio-de-proporcion-with-small-steps}

Take turns going first. When the Instructor moves, the Student should mirror their position. For these small steps there will be twelve equally spaced positions.

1. Make a circular step with the left foot
2. Make a circular step with the right foot to return to the Right Angle
3. If the Instructor continues, make a second step with the left foot
4. Make a second step with the right foot

{{< figure src=“/ox-hugo/Figure8.svg” caption=“<span class=“figure-number”>Figure 7: Orbiting the Common Circle making small steps” >}}

Pratice this to the right as well.

You can check your distance by holding up either sword in the Right Angle, if the other can hold the tip, you’ve maintained the Medio de Proporcion

Maintain Medio de Proporcion with Large Steps {#maintain-medio-de-proporcion-with-large-steps}

This time, using larger steps, to eight equally-spaced positions.

The Instructor moves, then the Student follows:

1. Make a circular step with the left foot
2. Make a traverse step with the right to meet the left and return to the Right Angle
3. If the instructor moves again, make another circular step with the left
4. Make a traverse step with the right foot

{{< figure src=“/ox-hugo/Figure9.svg” caption=“<span class=“figure-number”>Figure 8: Orbiting the Common Circle making larger steps” >}}

In Figure 8 & 9 we see the 6 foot diameters of the Medios Proporcionados, or the arc of each fencer’s sword in the Right Angle. In order to make a touch, the Diestro will have to pass through their Opponent’s arc. Assuming the Opponent does not move, the Diestro will have to make two steps to the left or right to land their hit.

Pratice this to the right as well.

Use passing steps to move quickly to the proporcionados {#use-passing-steps-to-move-quickly-to-the-proporcionados}

By moving the left foot first, then passing with the right, you can move to the poporcionados quicker.

1. Make a circular step with the left foot around the Common Circle
2. Make a circular passing step with the right foot, equally far around the Common Circle. At this point you’ll be just outside the proporcionado of the thrust (the red circle below)
3. Make a passing traverse step with the left, bringing it near the right, and landing at the 9 o’clock position of the Common Circle

If the Opponent also moves to oppose you, repeat the above to continue circling.

{{< figure src=“/ox-hugo/Figure10.svg” caption=“<span class=“figure-number”>Figure 9: Passing steps to move to medio proporcionados” >}}

If the Opponent does not move, you’ll have achieved three advantages:

• Inequality by isolating the Opponent from the Common Diameter
• Opposing your Vertical Plane of the Chest with the Opponent’s weaker Right Vertical Plane
• Advanced on the Opponent, but remaining outside their medio proporcionados. An advantaged of reach.

When entering to wound, your weight should be centred over your left foot, then shifted over the right when retreating to the medio de proporcion.

Moving from Medio de Proporcion to the Proporcionado {#moving-from-medio-de-proporcion-to-the-proporcionado}

These exercises cover how to move from the Medio de Proporcion to the Proporcionado, the distance where you can make a touch with the thrust.

Four advantages gained by moving to the Proporcionados correctly {#four-advantages-gained-by-moving-to-the-proporcionados-correctly}

• By stepping ‘offline’, you’ll have isolated the Common Diameter, i.e. moved so their sword is ‘offline’ now.’
• You’ll oppose your Collateral Plane with the Opponent’s Right Vertical Plane, achieving an advantage of strength
• By returning to the Right Angle (bringing your feet together) when making the touch, you’ll achieve greater reach
• By planning to return to the Medio de Proporcion while moving away from the plane where their sword is, you’re less likely to double.

Exercise 1 exercise {#exercise-1}

This is the simplest pattern for moving to the proporcionado of the thrust and then retreating to the proporcion, moving to the left:

1. Transverse step with right foot to the proporcionado
2. Curved step with left foot nearing the right, bringing you to a balanced stance
3. The left foot continues past the right to settle at the proporcion
4. Transverse step with right foot to the proporcion

{{< figure src=“/ox-hugo/Figure11_a.svg” caption=“<span class=“figure-number”>Figure 10: Advancing to the Proporcionado then retreating to Medio de Prorporcion to the outside” >}}

Moving to the right (profile of the Opponent):

1. Transverse step with right foot to the proporcionado
2. Left foot follows curved path nearing the right, bringing you to a balanced stance
3. Left foot continues along curved path to the proporcion
4. Transverse step with right foot retreats to the proporcion

{{< figure src=“/ox-hugo/Figure11_b.svg” caption=“<span class=“figure-number”>Figure 11: Advancing to the Proporcionado then retreating to Medio de Prorporcion to the inside” >}}

Exercise 2 exercise {#exercise-2}

This is a variation on the previous. The main difference is which foot lands and where your weight sits. It seems to cover a situation where you’d want to make a second attempt after failing the first.

1. Move your right foot to the prorporcionado with traverse step
2. Move the left near the right, then place it at the prorporcion
3. Move the right foot to meet the left with a traverse movement, but don’t place it down
4. Move the right foot back to the proporcionado, continuing to circle.

{{< figure src=“/ox-hugo/Figure12.svg” caption=“<span class=“figure-number”>Figure 12: Advancing to the Proporcionado, retreating, then advancing again” >}}

Exercise 3 exercise {#exercise-3}

This is another variation. Here we’re going to move around the Medio de Proporcion before advancing to the Proporcionado.

1. Left foot circles the proporcion
2. Right circles to join the left but isn’t placed
3. Right makes a traverse and is placed at the proporcionado
4. Left makes a traverse to join the right but isn’t placed
5. Left retreats to the proporcion, continuing to circle
6. Right retreats to the proporcion, returning you to the Right Angle

{{< figure src=“/ox-hugo/Figure13.svg” caption=“<span class=“figure-number”>Figure 13: Orbiting at the Medio de Proporcion before advancing to the Proporcionado” >}}

The Medio de Proporcion and Proporcionados {#the-medio-de-proporcion-and-proporcionados}

The Medio de Proporcion and Proporcionados {#the-medio-de-proporcion-and-proporcionados}

These are a set of distances from the Opponent’s front foot. They guide you to where you must be to execute the actions and techniques.

Moving outwards in:

• a. from 9 to 8 feet away is the Medio de Proporcion (MdP)

• b. from 8 to 6 feet away is the distance that must be covered to reach the Medio Proporcionado

• c. from 6 to 5 feet away is the Medio Proporcionado (MP) of the thrust

• d. from 5 to 4 feet away is the second MP, for the tajos & reveses (cuts)

• e. from 4 to 3 feet way is the place for movements of conclusion

• The remaining inner 3 are where we can expect our Opponent to make straight steps to.

  {{< figure src=“/ox-hugo/Figure14.svg” caption=“<span class=“figure-number”>Figure 14: The Medio de Proporcion and Proporcionados” >}}

The Medio de Proporcion {#the-medio-de-proporcion}

The proportional mean is a distance where you are far enough away to keep yourself safe, but close enough to perform an attack off a single step.

• You and/or the Opponent must take at least one step to score a touch
• To make a thrust they will have to step / lunge at least 3.5 feet.
• Because they have to move, you have the option of waiting, and the advantage gained by waiting
• While waiting you can simply move your right foot to join your left and pull yourself out of distance.
• It is possible to attack directly, by taking a 3 foot step forward with the right foot along the Common Diameter.
• But, it’s preferable to step ‘offline’ in either direction as above, with a traverse step. You lose a foot of reach, but can gain other advantages

The Medio Proporcionados {#the-medio-proporcionados}

• Of the thrust

  Standing in the Right Angle you and your Opponent can each reach your points about 6 feet away (4 of the sword and 2 of the arm), thus the Medio Proporcionados is this 6 foot distance where you can touch them with the point. The Diestro can step to this medio and bring their left foot to join their right to score a touch see Moving from Medio de Proporcion to the Proporcionado.

• Of the cut

  NB: This isn’t explained. By moving a foot closer than above, you can score a touch with the edges of the sword, so this is the Medio for the cut.

• Of the movement of conclusion

  Each fencer’s arm is about 2 feet long. By standing at a distance of 4 feet from each other, either can reach to grab the other’s hand/wrist/hilt and perform a movement of conclusion.

Luis Pacheco’s Medios Proporcionados {#luis-pacheco-s-medios-proporcionados}

Here is a comparison and critique of Pacheco’s approach to the Medio Proporcionados, some of which are ‘impossible’ to reach in a single step.

Steps by Profile of the Body {#steps-by-profile-of-the-body}

• Moving to C

• Moving to D

• Moving to E

• Moving to F

• Moving to G

Steps by Posture of the Sword {#steps-by-posture-of-the-sword}

• Moving to H

• Moving to I

• Moving to J

• Moving to L

• Moving to M

• Moving to a conclusion

Issues with moving directly to the Proporcionados {#issues-with-moving-directly-to-the-proporcionados}

Advantages of first moving to the Medio Proporcionales {#advantages-of-first-moving-to-the-medio-proporcionales}

Putting it all together, The Universal Diagram {#putting-it-all-together-the-universal-diagram}

{{< figure src=“/ox-hugo/UniversalCircle.svg” caption=“<span class=“figure-number”>Figure 15: The universal diagram” >}}

Medio de Proporcion {#medio-de-proporcion}

Medio Proporcionales {#medio-proporcionales}

Medio Proporcionados {#medio-proporcionados}

Holding the Sword {#holding-the-sword}

There are three ways to hold the sword; no fingers in front of the cross, one finger in front, or two. You should aim to grip the sword with strength to move it with swiftness, but avoid struggling against the opponent’s sword.

To hold it:

• Middle and index finger go over the cross, inside the cup
• Ring and little fingers wrap the hilt
• The thumb remains alongside the cross, outside of the cup, with it’s tip touching the middle and index fingers
• Grip the sword without squeezing too tightly

Your grip will vary depending on whether you:

• Are at distance with your sword ‘free’
• Are performing cuts and reverse cuts at a close distance

These benefits outweigh the reach lost by having two fingers over the cross.

• You can apply (communicate) more force to the sword
• You can apply that force in more angles, straight, obtuse and acute

These allow you to properly impede the planes of defence, form the Atajos and techniques. Bringing the left foot to join the right when stepping to attack makes up for any lost reach.

The Right Angle Position {#the-right-angle-position}

Up to this point we’ve focused on placing the feet in a Right Angle to each other.

Here is how to compete the Right Angle position:

• Standing with tall and straight
• Gaze, right foot, and sword directed to the target
• Feet shoulder width apart and at the left 90 degrees to the right
• Chest facing ~45 degrees to the left (in the Right Collateral Plane)
• Arm and sword held at shoulder height, parallel to the horizon and not to either side.
• Cross-guard vertical, perpendicular to the horizon

{{< figure src=“/ox-hugo/Figure19.svg” caption=“<span class=“figure-number”>Figure 16: The Right Angle position, side-on and top-down” >}}

The Right Collateral Plane vs the Right Vertical Plane {#the-right-collateral-plane-vs-the-right-vertical-plane}

The Right Angle above occupies the Right Collateral Plane.

This is happy medium between two extremes:

• The length, weakness and narrow target of the Right Vertical Plane, or pointing the chest 90 degrees to the target.

• The shorter, stronger but wider position of the Vertical Plane of the Chest, or directing the chest to the target.

  By choosing to fence from this middle-ground position, you can quickly access either extreme as need arises. You might move to the Right Vertical Plane to execute a thrust without opposition and use the extra reach to score a touch, or you might move to the Vertical Plane of the Chest to better impede their sword.

Vertical, Oblique and Horizontal Planes {#vertical-oblique-and-horizontal-planes}

To understand where to place your sword and body for the actions and techniques, there are 3 sets of ‘planes’ to consider. Think of these as mathematical planes; 2 dimensional (flat) surfaces extending in every direction.

The Vertical Planes {#the-vertical-planes}

The Vertical Planes are used pretty extensively, and explained more in Book 2. They form a plan for the Straight Steps, attacks and finding advantages of strength.

{{< figure src=“/ox-hugo/Figure20a.svg” caption=“<span class=“figure-number”>Figure 17: Plan view of the Vertical Planes while standing fully profiled” >}}

The Oblique Planes {#the-oblique-planes}

There are 4 sections of the body.

1. The head & neck
2. The shoulders and chest
3. The waist down to the knees
4. The knees down to the feet

These are then 8 oblique planes (lines):

1. Divides the face from top left to bottom right. The target for the diagonal cuts and half cuts.
2. Divides the face from top right to bottom left. Target for the diagonal reverse cuts and half cuts.
3. Divides the chest from left shoulder to right waist. The path the sword takes for a diagonal thrust, and slashing the arm on the inside.
4. Divides the chest from right shoulder to left waist. The path the sword takes when thrusting to the inside or slashing the arm on the outside.
5. Divides the upper legs from left waist to right knee. Not used as a target, you might bring your sword into this plane to defend a low-line by placing your sword on their outside.
6. Divides the upper legs from right waist to left knee. Same as above but for the inside.
7. Divides the lower legs from left knee to right foot. Target for slashes to the legs.
8. Divides the lower legs from right knee to left foot. Target for reverses slashes to the legs.

The Horizontal Planes {#the-horizontal-planes}

These are three relevant heights for Destreza.

Superior {#superior}

Passing through the shoulders. Where the Right Angle is formed.

Middle {#middle}

Through the waist. The lowest your sword will go while forming the Atajos, unless you’re very close.

Inferior {#inferior}

The ground. This is where all the stepping happens. Ideally it’s flat.

These plane are noted in The Right Angle diagram.

Positioning your Arm and your Sword on the Pyramids {#positioning-your-arm-and-your-sword-on-the-pyramids}

The horizontal planes describe where to hold your sword vertically. This chapter provides you with a system of describing movements of the sword and arm, as a prerequisite for understanding the instructions on for the Actions and Techniques that follow.

Pyramids of the Arm {#pyramids-of-the-arm}

Pivoting at your shoulder.

{{< figure src=“/ox-hugo/Figure21a.svg” caption=“<span class=“figure-number”>Figure 18: The pyramids of the shoulder” >}}

Pyramids of the Sword {#pyramids-of-the-sword}

Pivoting at the wrist.

{{< figure src=“/ox-hugo/Figure21b.svg” caption=“<span class=“figure-number”>Figure 19: The pyramids of the sword” >}}

The movements of the sword {#the-movements-of-the-sword}

The Circular Movements of the Sword {#the-circular-movements-of-the-sword}

1. Twisting the sword to rotate the Quillions In our examples above the top Quillion starts at Line 2, turning the sword to the clockwise would move the Quillions through Lines 3, 4, 5 and so on.
2. Rotating around the wrist
3. Rotating around the elbow
4. Moving the guard but not the point by rotating around the shoulder
5. Rotating around the shoulder

Positioning the point vertically {#positioning-the-point-vertically}

In addition to the The Horizontal Planes described above, there are nine heights which the point can be placed.

{{< figure src=“/ox-hugo/Figure21c.svg” caption=“<span class=“figure-number”>Figure 20: The horizontal planes for the point” >}}

• The first is the inferior plane, or the ground, on which the Diestro will be found.
• The second passes between the ground and the knees.
• The third passes through the knees.
• The fourth passes between the knees and the waist.
• The fifth passes through the waist.
• The sixth passes between the waist and the centers of the arms.
• The seventh passes through the centers of the arms.
• The eighth passes through the mouth or nose.
• The ninth passes through the top of the head.

Learning to coordinate moving sword, hands and feet {#learning-to-coordinate-moving-sword-hands-and-feet}

So far we’ve focused on movements of the body in the Inferior Plane, and how you should position and move your body and sword in relation to your opponent.

Exercises using the straight step {#exercises-using-the-straight-step}

Simple Thrust {#simple-thrust}

Vertical Cut {#vertical-cut}

Reverse Vertical Cut {#reverse-vertical-cut}

Half Cut {#half-cut}

Reverse Half Cut {#reverse-half-cut}

Techniques using the straight step {#techniques-using-the-straight-step}

Thrust in portion of a circle {#thrust-in-portion-of-a-circle}

Diagonal Cut {#diagonal-cut}

Diagonal Thrust {#diagonal-thrust}

Tangent Cut {#tangent-cut}

Exercises for follow up actions {#exercises-for-follow-up-actions}

Reverse Cut continuing with a Thrust {#reverse-cut-continuing-with-a-thrust}

Cut continuing with a Thrust {#cut-continuing-with-a-thrust}

Freeing the sword twice to Thrust {#freeing-the-sword-twice-to-thrust}

Exercises for forward and backward steps {#exercises-for-forward-and-backward-steps}

TODO First intention Cut including the instructor’s sword {#first-intention-cut-including-the-instructor-s-sword}

First intention Reverse Half Cut including the instructor’s sword {#first-intention-reverse-half-cut-including-the-instructor-s-sword}

First intention Thrust expelling the sword with a movement of diversion {#first-intention-thrust-expelling-the-sword-with-a-movement-of-diversion}

First intention Reverse Vertical Cut including the instructor’s sword {#first-intention-reverse-vertical-cut-including-the-instructor-s-sword}

First intention Half Cut including the instructor’s sword {#first-intention-half-cut-including-the-instructor-s-sword}

Diagonal Cut with movement of diversion {#diagonal-cut-with-movement-of-diversion}

Diagonal Thrust with a movement of diversion {#diagonal-thrust-with-a-movement-of-diversion}

Actions with the sword involving Curved Steps by Profile of the Body {#actions-with-the-sword-involving-curved-steps-by-profile-of-the-body}

Freeing the sword to Thrust with Curved Step to the right {#freeing-the-sword-to-thrust-with-curved-step-to-the-right}

Vertical cut with a Curved Step to the right {#vertical-cut-with-a-curved-step-to-the-right}

Reverse Half Cut with a Curved Step to the right {#reverse-half-cut-with-a-curved-step-to-the-right}

Tangent Cut with a Curved Step to the right {#tangent-cut-with-a-curved-step-to-the-right}

Reverse Cut continued with a Thrust with a Curved Step to the right {#reverse-cut-continued-with-a-thrust-with-a-curved-step-to-the-right}

Freeing the Sword two times with a Thrust with a Curved Step to the right {#freeing-the-sword-two-times-with-a-thrust-with-a-curved-step-to-the-right}

Actions with the sword involving Curved Steps by Posture of the Sword {#actions-with-the-sword-involving-curved-steps-by-posture-of-the-sword}

Freeing the sword to Thrust with a Curved Step to the left {#freeing-the-sword-to-thrust-with-a-curved-step-to-the-left}

Half Cut with a Curved Step to the left {#half-cut-with-a-curved-step-to-the-left}

Reverse Vertical Cut with a Curved Step to the left {#reverse-vertical-cut-with-a-curved-step-to-the-left}

Diagonal Cut with a Curved Step to the left {#diagonal-cut-with-a-curved-step-to-the-left}

Diagonal Thrust with a Curved Step to the left {#diagonal-thrust-with-a-curved-step-to-the-left}

Tangent Cut with a Curved Step to the left {#tangent-cut-with-a-curved-step-to-the-left}

Cut continued with a Thrust with a Curved Step to the left {#cut-continued-with-a-thrust-with-a-curved-step-to-the-left}

Freeing the Sword two times with a Thrust with a Curved Step to the left {#freeing-the-sword-two-times-with-a-thrust-with-a-curved-step-to-the-left}

Actions with the sword involving Transverse and Mixed Lateral & Backward Steps by Profile of the Body {#actions-with-the-sword-involving-transverse-and-mixed-lateral-and-backward-steps-by-profile-of-the-body}

Actions with the sword involving Transverse and Mixed Lateral & Backward Steps by Posture of the Sword {#actions-with-the-sword-involving-transverse-and-mixed-lateral-and-backward-steps-by-posture-of-the-sword}

Things to consider before learning how to place Atajo {#things-to-consider-before-learning-how-to-place-atajo}

Strengths and Weaknesses of the Opponent’s position {#strengths-and-weaknesses-of-the-opponent-s-position}

Four universal movements in all techniques {#four-universal-movements-in-all-techniques}

Methods of defense and attack using the four movements {#methods-of-defense-and-attack-using-the-four-movements}

Understanding Degrees of Contact {#understanding-degrees-of-contact}

Touch {#touch}

Contact of First Degree {#contact-of-first-degree}

Contact of Second Degree {#contact-of-second-degree}

Contact of Third Degree {#contact-of-third-degree}

Contact of Fourth Degree {#contact-of-fourth-degree}

Eight ways to perform the Atajo {#eight-ways-to-perform-the-atajo}

First Atajo {#first-atajo}

Starting at Medio de Proporcion (A) {#starting-at-medio-de-proporcion—a}

• Requirements before the step

Moving to Medio Proporcional (D) {#moving-to-medio-proporcional—d}

• Requirements during the step

• Requirements after the step

Moving to Medio Proporcionado (G) {#moving-to-medio-proporcionado—g}

• Requirements during the step

  • Subjection
  • Privation
  • Opportunity

Moving to the Movement of Conclusion (I) {#moving-to-the-movement-of-conclusion—i}

Second Atajo {#second-atajo}

Starting at the Medio de Proporcion (A) {#starting-at-the-medio-de-proporcion—a}

• Requirements before the step

Moving to the Medio Proporcional (D) {#moving-to-the-medio-proporcional—d}

• Requirements during the step

• Requirements after the step

Third Atajo {#third-atajo}

Starting at the Medio de Proporcion (A) {#starting-at-the-medio-de-proporcion—a}

• Requirements before the step

Moving to the Medio Proporcional (C) {#moving-to-the-medio-proporcional—c}

• Requirements during the step

• Requirements after the step

Fouth Atajo {#fouth-atajo}

Starting at the Medio de Proporcion (A) {#starting-at-the-medio-de-proporcion—a}

• Requirements before the step

Moving to the Medio Proporcional (C) {#moving-to-the-medio-proporcional—c}

• Requirements during the step

• Requirements after the step

Fifth Atajo {#fifth-atajo}

Starting at the Medio de Proporcion (A) {#starting-at-the-medio-de-proporcion—a}

• Requirements before the step

Moving to the Medio Proporcional (D) {#moving-to-the-medio-proporcional—d}

• Requirements during the step

• Requirements after the step

Sixth Atajo {#sixth-atajo}

Starting at the Medio de Proporcion (A) {#starting-at-the-medio-de-proporcion—a}

• Requirements before the step

Moving to the Medio Proporcional (D) {#moving-to-the-medio-proporcional—d}

• Requirements during the step

• Requirements after the step

Seventh Atajo {#seventh-atajo}

Starting at the Medio de Proporcion (A) {#starting-at-the-medio-de-proporcion—a}

• Requirements before the step

Moving to the Medio Proporcional (C) {#moving-to-the-medio-proporcional—c}

• Requirements during the step

• Requirements after the step

Eigth Atajo {#eigth-atajo}

Starting at the Medio de Proporcion (A) {#starting-at-the-medio-de-proporcion—a}

• Requirements before the step

Moving to the Medio Proporcional (C) {#moving-to-the-medio-proporcional—c}

• Requirements during the step

• Requirements after the step

Ch. 15 Virtual Atajo and dealing with an opponent keeping their blade out of presence {#ch-dot-15-virtual-atajo-and-dealing-with-an-opponent-keeping-their-blade-out-of-presence}

Forming Atajo when their sword is in their first pyramid (2ft diameter) {#forming-atajo-when-their-sword-is-in-their-first-pyramid—2ft-diameter}

In Line 2 {#in-line-2}

In Line 3 {#in-line-3}

In Line 4 {#in-line-4}

In Line 5 {#in-line-5}

In Line 6 {#in-line-6}

In Line 7 {#in-line-7}

In Line 8 {#in-line-8}

In Line 9 {#in-line-9}

Forming Atajo when their sword is in their second pyramid (4ft diameter) {#forming-atajo-when-their-sword-is-in-their-second-pyramid—4ft-diameter}

In Line 2 {#in-line-2}

In Line 3 {#in-line-3}

In Line 4 {#in-line-4}

In Line 5 {#in-line-5}

In Line 6 {#in-line-6}

In Line 7 {#in-line-7}

In Line 8 {#in-line-8}

In Line 9 {#in-line-9}

Forming Atajo when their sword is in or past their third pyramid (6ft diameter) {#forming-atajo-when-their-sword-is-in-or-past-their-third-pyramid—6ft-diameter}

In Line 2 {#in-line-2}

In Line 3 {#in-line-3}

In Line 4 {#in-line-4}

In Line 5 {#in-line-5}

In Line 6 {#in-line-6}

In Line 7 {#in-line-7}

In Line 8 {#in-line-8}

In Line 9 {#in-line-9}

How to oppose someone at Medio de Proporcion presenting their Vertical Plane of the chest {#how-to-oppose-someone-at-medio-de-proporcion-presenting-their-vertical-plane-of-the-chest}

How to oppose someone in the Indian posture with their left Collateral Plane forward {#how-to-oppose-someone-in-the-indian-posture-with-their-left-collateral-plane-forward}

How to oppose those who position themselves in the rear line at the Medio de Proporcion {#how-to-oppose-those-who-position-themselves-in-the-rear-line-at-the-medio-de-proporcion}

Rules and precepts {#rules-and-precepts}

Without contact between the swords {#without-contact-between-the-swords}

Third timing {#third-timing}

Things to consider before learning the Techniques that come from Atajo {#things-to-consider-before-learning-the-techniques-that-come-from-atajo}

Universality of the Atajo and fundamentals of each Technique {#universality-of-the-atajo-and-fundamentals-of-each-technique}

Requirements the Diestro must meet to work the Techniques with perfection {#requirements-the-diestro-must-meet-to-work-the-techniques-with-perfection}

• Four Maxims

  • Opposing your Vertical Planes with the Opponent’s
  • Occupying your Opponent’s Vertical Planes by moving
  • Knowing how to impede their sword with yours
  • Directing the point along the shortest route

Techniques from the First Atajo {#techniques-from-the-first-atajo}

Techniques of first intention and afar {#techniques-of-first-intention-and-afar}

Techniques of second intention and afar {#techniques-of-second-intention-and-afar}

Technicues of first intention and moving in close {#technicues-of-first-intention-and-moving-in-close}

Techniques of second intention and moving in close {#techniques-of-second-intention-and-moving-in-close}

Techniques from the Second Atajo {#techniques-from-the-second-atajo}

Techniques of first intention and afar {#techniques-of-first-intention-and-afar}

Techniques of second intention and afar {#techniques-of-second-intention-and-afar}

Technicues of first intention and moving in close {#technicues-of-first-intention-and-moving-in-close}

Techniques of second intention and moving in close {#techniques-of-second-intention-and-moving-in-close}

Techniques from the Third Atajo {#techniques-from-the-third-atajo}

Techniques of first intention and afar {#techniques-of-first-intention-and-afar}

Techniques of second intention and afar {#techniques-of-second-intention-and-afar}

Ch. 20 Techniques from the Fourth Atajo {#ch-dot-20-techniques-from-the-fourth-atajo}

Techniques of first intention and afar {#techniques-of-first-intention-and-afar}

Techniques of second intention and afar {#techniques-of-second-intention-and-afar}

Ch. 21 Skipping the Medio de Proporcional and executing a wound by passing from Medio de Proporcion to the Proporcionados {#ch-dot-21-skipping-the-medio-de-proporcional-and-executing-a-wound-by-passing-from-medio-de-proporcion-to-the-proporcionados}

Ch. 22 Perfection or Imperfection of the Atajo - reasons why it goes wrong {#ch-dot-22-perfection-or-imperfection-of-the-atajo-reasons-why-it-goes-wrong}

Ch. 23 Taking advantage of waiting and defending against the Atajo {#ch-dot-23-taking-advantage-of-waiting-and-defending-against-the-atajo}

Ch. 24 Modifications for left-handed Opponents {#ch-dot-24-modifications-for-left-handed-opponents}

Ch. 25 How to place the dagger using Spanish footwork {#ch-dot-25-how-to-place-the-dagger-using-spanish-footwork}

Ch. 26 Techniques using the dagger {#ch-dot-26-techniques-using-the-dagger}

Ch. 27 Using a sword along against sword and dagger {#ch-dot-27-using-a-sword-along-against-sword-and-dagger}

Ch. 28 Using a sword and buckler {#ch-dot-28-using-a-sword-and-buckler}

Ch. 29 Italian methods of fighting with sword and dagger {#ch-dot-29-italian-methods-of-fighting-with-sword-and-dagger}

Ch. 30 Introduction to le Bella Espanola, with sword and sword & dagger against the Italian method {#ch-dot-30-introduction-to-le-bella-espanola-with-sword-and-sword-and-dagger-against-the-italian-method}