Aaaaaahhhhhh! There are plenty of counters that counters other counters countering the counters of other counters. Maybe we will see them in the future.

narusawa74 you are very welcome

Łukasz Bień you are welcome!

muchas gracias

RealTalk indeed, but because this is not sparring but instead only a play which replicate just a small percentage of options of what may happen in reality, he doesn’t do it.

Wolfgang Ritter thank you!

thank you!

Fighting good fencers, average fencers and bad fencers is always different and requires different skillsets. When we end up considering every minor detail we may forget how to watch the complete picture from the outside, as I've done years ago. When I was losing fights against people that was moving in a way which I considered "wrong" I was blaming them, all the times, but now I blame myself. Because a good fencer can move in false time whenever he want if he knows the purpose, the means and the objective. Cheers!

From Malleus Martialis Swords ;-)

Malleus Martialis Draco

Thomas Heydenreich Thomas Heydenreich hi Thomas, this video was just to show the sequence and the overall interpretation (as you can see the defender is quite static and doesn’t really react). We will see the application in a future video. Generally speaking I’m not too concerned about the hand because if the action was more dynamic the opponent shieldstrike would have been landed where my hands were before gaining measure with the backward step. That said, every action have multiple counters and because of this every action is right and wrong for multiple reasons. Thank you very much for you comment Cheers!

@@FedericoMalagutti Thanks for the clarification on the set-up for this video. I am looking forward to your videos with dynamic application!

Hi Borislav. Thank you for your comment! Well to be honest I find quite hard too to interpret I.33 as a series of techniques. And that's mainly because the manual is not a book about techniques but is a manual of teaching, we find plenty of indicators that lead to this idea (as the many times the priest says "Here the priest do this to let the student do this and that e.g. binding action of folio 10r. Or in the actual mutatio gladii play we are watching right now when the priest says "And you should know what to do here if you consider diligently" ecc ecc. So if you start changing your overall point of view about the manual, and you think about the book as teaching records or a teaching manual you will start to see something different, maybe. So the overall book shows basically plastron lessons with the instructor and/or demonstrations of complex techniques shown by the priest to his student. Not every action is put into fighting context. Many many times a plastron lesson with the fencing instructor is made of "dumb exercises", simply because you start to learn the stimulus that lead you to various reaction which you start to recognize in very easy exercises which are spoiled from many many other things which you add after. Now, in this video I have shown what I think that the exercises shown in folio 3v - 4r are made of, as basic exercises. We can add footwork, reactions etc... Most of this actions can happen in other situations, whit slightly different form etc. Thank you for your Kindness, I hope this will answer some of your points. Cheers!

So, this concept which I have resumed in a message will be the topic of my publication which I hope to write down for the... well, 2021 maybe, I hope. It's impossible to resume this easily and frankly I'm dedicating time to the publication idea mainly because is a huge topic. On the other way, everyone of my videos is linked to the publication/book project in a direct way. So, now immagine this, I'm showing to Nicola this sequence which he will then replicate (as a student) because I need to show him every part we have not seen in the lessons 'till now. Like the durchtreten (cutting or thrusting between the hands, in my interpretation, which we see applied now). Everything is kept straight and simple and every action is executed mainly with the goal to make the correct upper body reactions happen. If you start thinking in this way, you will start to see that the falling under is not as strange as you think, as an exercise to start experiencing the reactions to situations thath happens as a result to a cut to the hand, forearm, a thrust to the chest or face (all on the outside line) or even a feint to the outside. Everything in this manual, differently from others, is a pedagogic tool.

Valid point. But let's be honest: the more detailed a play in any treatise is described, the more speculative it gets, i.e. there is a point in the play where we have to rely on a failure of the opponent. We do have to start somewhere in training; if the training partner would react properly, there would be scarcely a possibility to excercise a certain technique fluently. Maybe even more so when it co mes to explaining principles rather than a certain technique/counter etc.