Here begins the plays of sword in two hands in wide play. This master who is here crossing this player at the point of the sword says: “When I am crossed at the point of the sword, I immediately switch my sword to the other side and fiercely strike a downward cut to the head or arms. Also I can put a thrust in his face, as you see in the next picture.
The 1st Master of Sword in Two Hands defends against an attack with Posta Frontale at such a distance that both swords are crossing at the tip of the blade, as shown in the picture. In this position, we can see the major defining characteristics of wide play.
As a fairly broad definition of wide play, although each combatant can grab the weapon or possibly arm of their opponent, they are unable to effectively deliver a strike without making a step.
To more tightly define what is happening here, both swords lack any real leverage in this crossing, making both the Master and the player weak in the bind. Also, due to the distance of the combatants and the angles of the blades, neither directly threaten each other with the point.
It is interesting to note that in all other manuscripts of Fior di Battaglia, both combatants in this play are Masters. The equality of their structures means that the play goes to whoever has the presence of mind to take advantage of the circumstances first.
As the Master, due to the lack of pressure in the bind, you are free to disengage, quickly lifting your sword over the tip of your opponents sword. This leaves an open line to the outside, along which you can strike down onto your opponents right forearm.