The third play introduces another way of initiating the attack with a beat, and a defense done to the outside line.
If your opponent is in CLS with the right foot in front place yourself in the same guard, and from there pass with the left foot across towards his right side while throwing a mandritto to his sword hand that does not go beyond CPdFS, and the right foot must follow somewhat behind the left.
If the opponent throws any strike to wound your upper parts, step with the left an amount towards his right side and make a half turn of the handmeeting his strike with the true edge of your sword in way of GdT, after which you push a thrust to his chest behind his sword and the right foot will follow faithfully behind the left. And in pushing this thrust it is necessary that you force his sword somewhat towards his left side and that you push the thrust to his chest with all your might.
There are a couple of interesting points to consider in this play. The first is the nature of the initial provocation is it a cut to the hand or a beat
Naturally a cut to the hand requires certain conditions in order to be viable, and it is possible for the opponent to close the line in a way that aiming at the hand would be dangerous. The reason for this is that generally a cut aimed to the hand leads to a very unfavourable crossing should you land on the crossguard instead of wounding the arm.
But we will often see that the concept of striking at the hand can sometimes include striking the sword as well. These two are commonly treated as the same action, and this leads me to believe that you take whichever is more convenient for you. Basically three things can happen here
You wound his hand and effectively end the fight
He avoids your cut by moving the hand away (likely then follwoing with an attack)
You hit his sword instead, preferably beating his sword aside
For this video I chose to simply strike the sword but close to the hand, to make it easier for my opponent to follow with the next cut. Simply cutting at the hand is still a viable option of course.
The other thing is the footwork. This play shows an interesting double step with the left foot, that is uncommon in many later sources. The first step is a pass and the second an accrescimento, a combination typical for the Anonimo.
The last point is the final thrust. I have chosen to perform it basically as a stoccata, but it could be done as a descending imbroccata as well, since neither the end guard nor the type of the thrust is defined in the text. The forcing and pushing nature of the description leads me to believe a rising thrust is what the author is after, but of course the type of the thrust can be chosen according to the individual situation.
This is one of the many plays that are best executed with an amount of speed and vigor. When practiced slowly the timing is difficult and the double step can feel awkward, but done faster and more naturally, the distance, the steps and the blade actions start to fall in place.
In the video I make an extra step with the front foot before beginning the actions, this can be done but strictly is not part of the drill.
The first cut could also be done with a tighter and smaller arc, but I chose to use a big action for better displaying the motion.