Table of Contents

1. Ch. 1 Experience and Skill
2. Ch. 2 The purpose of Destreza
   1. Four Objects of Destreza
   2. Introduction to how the movements are described
   3. The best way to position the body - the Right Angle
3. Ch. 3 Beginner Exercises / Basic Movements
   1. Straight Steps
   2. Maintaining Right Angle as Opponent orbits
      1. Rotating over front foot
      2. Rotating over rear foot
   3. Maintaining Right Angle while orbiting Opponent
      1. Moving to the Right
      2. Moving to the Left
   4. Maintaining the Right Angle as both orbit the Common Circle
      1. Small Steps
      2. Large Steps
   5. Moving from Medio de proporcion to the proporcionado
4. Ch. 4 The Medio de proporcion and proporcionados
   1. The universal diagram
5. Ch. 5 Holding the Sword
   1. Two fingers over the cross
6. Ch. 6 The Right Angle Position
   1. The Right Collateral Plane vs the Vertical Plane
7. Ch. 7 Vertical, Oblique and Horizontal Planes
8. Ch. 8 Actions with the sword involving Straight Steps
   1. Exercises using the straight step
      1. Simple Thrust
      2. Vertical Cut
      3. Reverse Vertical Cut
      4. Half Cut
      5. Reverse Half Cut
   2. Techniques using the straight step
      1. Thrust in portion of a circle
      2. Diagonal Cut
      3. Diagonal Thrust
      4. Tangent Cut
   3. Exercises for follow up actions
      1. Reverse Cut continuing with a Thrust
      2. Cut continuing with a Thrust
      3. Freeing the sword twice to Thrust
   4. Exercises for forward and backward steps
      1. First intention Cut including the instructor’s sword
      2. First intention Reverse Half Cut including the instructor’s sword
      3. First intention Thrust expelling the sword with a movement of diversion
      4. First intention Reverse Vertical Cut including the instructor’s sword
      5. First intention Half Cut including the instructor’s sword
      6. Diagonal Cut with movement of diversion
      7. Diagonal Thrust with a movement of diversion
9. Ch. 9 Actions with the sword involving Curved Steps by Profile of the Body
   1. Freeing the sword to Thrust with Curved Step to the right
   2. Vertical cut with a Curved Step to the right
   3. Reverse Half Cut with a Curved Step to the right
   4. Tangent Cut with a Curved Step to the right
   5. Reverse Cut continued with a Thrust with a Curved Step to the right
   6. Freeing the Sword two times with a Thrust with a Curved Step to the right
10. Ch. 10 Actions with the sword involving Curved Steps by Posture of the Sword
    1. Freeing the sword to Thrust with a Curved Step to the left
    2. Half Cut with a Curved Step to the left
    3. Reverse Vertical Cut with a Curved Step to the left
    4. Diagonal Cut with a Curved Step to the left
    5. Diagonal Thrust with a Curved Step to the left
    6. Tangent Cut with a Curved Step to the left
    7. Cut continued with a Thrust with a Curved Step to the left
    8. Freeing the Sword two times with a Thrust with a Curved Step to the left
11. Ch. 11 Actions with the sword involving Transverse and Mixed Lateral & Backward Steps by Profile of the Body
12. Ch. 12 Actions with the sword involving Transverse and Mixed Lateral & Backward Steps by Posture of the Sword
13. Ch. 13 Things to consider before learning how to place Atajo
    1. Strengths and Weaknesses of the Opponent’s position
    2. Four universal movements in all techniques
    3. Methods of defense and attack using the four movements
    4. Understanding Degrees of Contact
       1. Touch
       2. Contact of First Degree
       3. Contact of Second Degree
       4. Contact of Third Degree
       5. Contact of Fourth Degree
14. Ch. 14 Eight ways to perform the Atajo
    1. First Atajo
       1. Starting at Medio de Proporcion (A)
       2. Moving to Medio Proporcional (D)
       3. Moving to Medio Proporcionado (G)
       4. Moving to the Movement of Conclusion (I)
    2. Second Atajo
       1. Starting at the Medio de Proporcion (A)
       2. Moving to the Medio Proporcional (D)
    3. Third Atajo
       1. Starting at the Medio de Proporcion (A)
       2. Moving to the Medio Proporcional (C)
    4. Fouth Atajo
       1. Starting at the Medio de Proporcion (A)
       2. Moving to the Medio Proporcional (C)
    5. Fifth Atajo
       1. Starting at the Medio de Proporcion (A)
       2. Moving to the Medio Proporcional (D)
    6. Sixth Atajo
       1. Starting at the Medio de Proporcion (A)
       2. Moving to the Medio Proporcional (D)
    7. Seventh Atajo
       1. Starting at the Medio de Proporcion (A)
       2. Moving to the Medio Proporcional (C)
    8. Eigth Atajo
       1. Starting at the Medio de Proporcion (A)
       2. Moving to the Medio Proporcional (C)
15. Ch. 15 Virtual Atajo and dealing with an opponent keeping their blade out of presence
    1. Forming Atajo when their sword is in their first pyramid (2ft diameter)
       1. In Line 2
       2. In Line 3
       3. In Line 4
       4. In Line 5
       5. In Line 6
       6. In Line 7
       7. In Line 8
       8. In Line 9
    2. Forming Atajo when their sword is in their second pyramid (4ft diameter)
       1. In Line 2
       2. In Line 3
       3. In Line 4
       4. In Line 5
       5. In Line 6
       6. In Line 7
       7. In Line 8
       8. In Line 9
    3. Forming Atajo when their sword is in or past their third pyramid (6ft diameter)
       1. In Line 2
       2. In Line 3
       3. In Line 4
       4. In Line 5
       5. In Line 6
       6. In Line 7
       7. In Line 8
       8. In Line 9
    4. How to oppose someone at Medio de Proporcion presenting their Vertical Plane of the chest
    5. How to oppose someone in the Indian posture with their left Collateral Plane forward
    6. How to oppose those who position themselves in the rear line at the Medio de Proporcion
    7. Rules and precepts
    8. Without contact between the swords
    9. Third timing
16. Ch. 16 Things to consider before learning the Techniques that come from Atajo
    1. Universality of the Atajo and fundamentals of each Technique
    2. Requirements the Diestro must meet to work the Techniques with perfection
17. Ch. 17 Techniques from the First Atajo
    1. Techniques of first intention and afar
    2. Techniques of second intention and afar
    3. Technicues of first intention and moving in close
    4. Techniques of second intention and moving in close
18. Ch. 18 Techniques from the Second Atajo
    1. Techniques of first intention and afar
    2. Techniques of second intention and afar
    3. Technicues of first intention and moving in close
    4. Techniques of second intention and moving in close
19. Ch. 19 Techniques from the Third Atajo
    1. Techniques of first intention and afar
    2. Techniques of second intention and afar
20. Ch. 20 Techniques from the Fourth Atajo
    1. Techniques of first intention and afar
    2. Techniques of second intention and afar
21. Ch. 21 Skipping the Medio de Proporcional and executing a wound by passing from Medio de Proporcion to the Proporcionados
22. Ch. 22 Perfection or Imperfection of the Atajo - reasons why it goes wrong
23. Ch. 23 Taking advantage of waiting and defending against the Atajo
24. Ch. 24 Modifications for left-handed Opponents
25. Ch. 25 How to place the dagger using Spanish footwork
26. Ch. 26 Techniques using the dagger
27. Ch. 27 Using a sword along against sword and dagger
28. Ch. 28 Using a sword and buckler
29. Ch. 29 Italian methods of fighting with sword and dagger
30. Ch. 30 Introduction to le Bella Espanola, with sword and sword & dagger against the Italian method

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.

Ch. 1 Experience and Skill

Aristotle???

Ch. 2 The purpose of Destreza

Four Objects of Destreza

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

Introduction to how the movements are described

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

Ch. 3 Beginner Exercises / Basic Movements

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

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

Maintaining Right Angle as Opponent orbits

Rotating over front foot

Rotating over rear foot

Maintaining Right Angle while orbiting Opponent

Moving to the Right

Moving to the Left

Maintaining the Right Angle as both orbit the Common Circle

Small Steps

Large Steps

Moving from Medio de proporcion to the proporcionado

Ch. 4 The Medio de proporcion and proporcionados

The universal diagram

Ch. 5 Holding the Sword

Two fingers over the cross

Ch. 6 The Right Angle Position

The Right Collateral Plane vs the Vertical Plane

Ch. 7 Vertical, Oblique and Horizontal Planes

The Pyramids of the Sword

Ch. 8 Actions with the sword involving Straight Steps

Exercises using the straight step

Simple Thrust

Vertical Cut

Reverse Vertical Cut

Half Cut

Reverse Half Cut

Techniques using the straight step

Thrust in portion of a circle

Diagonal Cut

Diagonal Thrust

Tangent Cut

Exercises for follow up actions

Reverse Cut continuing with a Thrust

Cut continuing with a Thrust

Freeing the sword twice to Thrust

Exercises for forward and backward steps

First intention 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 Reverse Vertical Cut including the instructor’s sword

First intention Half Cut including the instructor’s sword

Diagonal Cut with movement of diversion

Diagonal Thrust with a movement of diversion

Ch. 9 Actions with the sword involving Curved Steps by Profile of the Body

Freeing the sword to Thrust with Curved Step to the right

Vertical 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

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

Ch. 10 Actions with the sword involving Curved Steps by Posture of the Sword

Freeing the sword to Thrust 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

Diagonal Cut 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

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

Ch. 11 Actions with the sword involving Transverse and Mixed Lateral & Backward Steps by Profile of the Body

Ch. 12 Actions with the sword involving Transverse and Mixed Lateral & Backward Steps by Posture of the Sword

Ch. 13 Things to consider before learning how to place Atajo

Strengths and Weaknesses of the Opponent’s position

Four universal movements in all techniques

Methods of defense and attack using the four movements

Understanding Degrees of Contact

Touch

Contact of First Degree

Contact of Second Degree

Contact of Third Degree

Contact of Fourth Degree

Ch. 14 Eight ways to perform the Atajo

First Atajo

Starting at Medio de Proporcion (A)

1. Requirements before the step

Moving to Medio Proporcional (D)

1. Requirements during the step

2. Requirements after the step

Moving to Medio Proporcionado (G)

1. Requirements during the step

   1. Subjection

   2. Privation

   3. Opportunity

Moving to the Movement of Conclusion (I)

Second Atajo

Starting at the Medio de Proporcion (A)

1. Requirements before the step

Moving to the Medio Proporcional (D)

1. Requirements during the step

2. Requirements after the step

Third Atajo

Starting at the Medio de Proporcion (A)

1. Requirements before the step

Moving to the Medio Proporcional (C)

1. Requirements during the step

2. Requirements after the step

Fouth Atajo

Starting at the Medio de Proporcion (A)

1. Requirements before the step

Moving to the Medio Proporcional (C)

1. Requirements during the step

2. Requirements after the step

Fifth Atajo

Starting at the Medio de Proporcion (A)

1. Requirements before the step

Moving to the Medio Proporcional (D)

1. Requirements during the step

2. Requirements after the step

Sixth Atajo

Starting at the Medio de Proporcion (A)

1. Requirements before the step

Moving to the Medio Proporcional (D)

1. Requirements during the step

2. Requirements after the step

Seventh Atajo

Starting at the Medio de Proporcion (A)

1. Requirements before the step

Moving to the Medio Proporcional (C)

1. Requirements during the step

2. Requirements after the step

Eigth Atajo

Starting at the Medio de Proporcion (A)

1. Requirements before the step

Moving to the Medio Proporcional (C)

1. Requirements during the step

2. Requirements after the step

Ch. 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)

In Line 2

In Line 3

In Line 4

In Line 5

In Line 6

In Line 7

In Line 8

In Line 9

Forming Atajo when their sword is in their second pyramid (4ft diameter)

In Line 2

In Line 3

In Line 4

In Line 5

In Line 6

In Line 7

In Line 8

In Line 9

Forming Atajo when their sword is in or past their third pyramid (6ft diameter)

In Line 2

In Line 3

In Line 4

In Line 5

In Line 6

In Line 7

In Line 8

In Line 9

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 those who position themselves in the rear line at the Medio de Proporcion

Rules and precepts

Without contact between the swords

Third timing

Ch. 16 Things to consider before learning the Techniques that come from Atajo

Universality of the Atajo and fundamentals of each Technique

Requirements the Diestro must meet to work the Techniques with perfection

1. Four Maxims

   1. Opposing your Vertical Planes with the Opponent’s

   2. Occupying your Opponent’s Vertical Planes by moving

   3. Knowing how to impede their sword with yours

   4. Directing the point along the shortest route

Ch. 17 Techniques from the First Atajo

Techniques of first intention and afar

Techniques of second intention and afar

Technicues of first intention and moving in close

Techniques of second intention and moving in close

Ch. 18 Techniques from the Second Atajo

Techniques of first intention and afar

Techniques of second intention and afar

Technicues of first intention and moving in close

Techniques of second intention and moving in close

Ch. 19 Techniques from the Third Atajo

Techniques of first intention and afar

Techniques of second intention and afar

Ch. 20 Techniques from the Fourth Atajo

Techniques of first 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. 22 Perfection or Imperfection of the Atajo - reasons why it goes wrong

Ch. 23 Taking advantage of waiting and defending against the Atajo

Ch. 24 Modifications for left-handed Opponents

Ch. 25 How to place the dagger using Spanish footwork

Ch. 26 Techniques using the dagger

Ch. 27 Using a sword along against sword and dagger

Ch. 28 Using a sword and buckler

Ch. 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