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Notman Photo. Go.
LOUIS KONDELLE.
Boston, Mass.
FOIL AND SABRE
a ©wmmar of dfcncins
IN
DETAILED LESSONS FOR PROFESSOR AND PUPIL
BY
LOUIS RONDELLE
MAITRE d'aRMES AT THE BOSTON ATHLETIC ASSOCIATION
AND THE HARVARD UNIVERSITY FENCING CLUB
ILLUSTRATED
BOSTON
ESTES AND LAURIAT
PUBLISHERS
Copyright, 189$,
By Louis Rondelle.
John Wilson and Son, Cambridge, U.S.A.
aaxvoiaaa ATiaaioaasaa si
HIM/nOA SIHJ.
'Bjuauij^ JO anSfiafi .saaiuajf anajBut^ a^:^
AUTHOR'S PREFACE.
A LIFIr-LONG study of the art of fencing, and a passionate
love of its practice ; a careful observance of what seems
to me the unfortunate methods of the self-entitled " Maitres "
and " Professors " who assume to teach the art ; a full appre-
ciation of the certain and deep interest so rapidly growing up
in America, together with the sincere wish I have that in my
adopted country this splendid art may reach the same high
excellence which it has attained in my native land, — have
beguiled me into this effort to transcribe in the English lan-
guage a concise and exhaustive treatise on the science of
fencing as taught in Prance, particularly at the National
Military School of Joinville-le-Pont, whose diploma I have
the satisfaction and honor to hold.
I have attempted in the following pages to show that there
are, in this science, principles far deeper than mechanical
movements, and to give those principles the intelligent ex-
pression to which they are entitled. I would gladly base this,
with other sciences, on the broad ground-work of professional
dignity and capacity.
vi AUTHOR'S PREFACE.
Believing as I do that upon each of us there rests a dut}^ to
contribute something to the pleasure or well-being of his fel-
lows, I have in a modest way hoped to popularize a manly
exercise, and to stimulate a higher taste for it among that
large class of Americans wlio delight in intelligent athletics.
I find myself greatly indebted to the Notman Photograjih
Company and their painstaking thoroughness for the com-
plete set of original pliotograpbs from which the plates of
this volume were made.
EDITOR'S PEEFACE.
T GUIS RONDELLB was born at Cr^py-eu-Yalois, France,
— ^ Jan. 31, 1854. He took part in the campaign of 1870-
71 as Zouave, Garibaldian Volunteer, and Franc-Tireur. He
was conscripted, and re-entered the service in 1875 in the
Ninth Regiment of Cliasseurs-a-Cheval ; sent to the Fencing
Academy at Joinville-le-Pont (from which, since 1872, all the
fencing-masters of the French army must be graduated), where
he received his title of Maitre d'Armes (standing number two
in general competition), and was appointed instructor of fencing
in the First Regiment of Chasseurs-a-Cheval. Honorably dis-
missed from the service in 1879, he performed the necessary
twenty-eight days of active service as a member of the reserve
in October, 1881, with the Eighth Regiment of Chasseurs-a-
Cheval ; arrived in New York, December, 1881, and became
the instructor of the Knickerbocker Fencing Club, and later
of the Manhattan Athletic Club, where he served until his
appointment as fencing-master of the Boston Athletic Asso-
ciation, in October, 1889.
CONTENTS.
FAQE
Preface v
Historical Outline of Fencing in Fiance 1
The School at Joinville-le-Pont 7
The new Academy of Arms 7
Physical Development . 8
Instruction 11
part i.
Preliminary Definitions 15
Manner of Holding the Foil . 16
Position of Attention 16
The Position of On Guard 16
The Advance. La Marche 17
The Retreat. La Retraite . . 17
The Calls. Les Appels . . . 17
Extension of the Arm. Extention du Bras . . . . . 18
The Lunge. La Fente . . .... .... 18
Recover Forward. Rassemblement en Avant . 18
Recover Backward. Rassemblement en Arriere .... 19
The Salute. Le Salut 19
The Lines Les Lignes ... . .... 19
Lines of Engagements. Lignes d'Engagements 19
Lines of Attacks. Lignes d'Attaques . . . . .19
Diagram . . . . .... 20
Parries. Parades . ... 20
Demonstration of the Parry. Demonstration de la Parade . . 20
Demonstration of the Opposition. Demonstration de I'Opposition 21
Demonstration of the Counter. Demonstration da Centre ... 21
Names of the Parries. Nom des Parades . . ... .21
Execution of Prime. Execution de la Prime .... .21
Counter of Prime. Contre de Prime 21
Execution of Seconde. Execution de la Seconde . . 22
X CONTENTS.
Page
Counter of Seooude. Centre de Seconde 22
Execution of Tierce. Execution de la Tierce 22
Counter of Tierce, Contre de Tierce . . . 22
Execution of Quarte. Execution de la Quarte ... 22
Counter of Quarte. Contre de Quarte . . 23
Execution of Quinte. Execution de la Quinte . 23
Counter of Quinte. Contre de Quinte . . 23
Execution of Sixte. Execution de la Sixte . . 23
Counter of Sixte. Contre de Sixte . .... 23
Execution of Septime. Execution de la Septime . . 24
Counter of Septime. Contre de Septime . . .24
Execution of Octave. Execution d' Octave 24
Counter of Octave Contre d'Octave . . . . ... 24
Tlie Fingering. Le Doigte ... . 25
Fingering Exei-cise. Exeroice du Doigte . ... 25
The Engagement. L' Engagement . . . 25
part M.
FIRST LESSON — FIEST DIVISION.
The Attack. L' Attaque . .... . . 26
Simple Attacks. Attaque Simple . . .26
Definition of Direct Thrust. Definition du Coup Droit 26
Definition of Disengagement, Definition du Degagement . . 26
Definition of Cut-Over. De'finition du Coupe . 27
The Riposte, La Riposte ... .27
Simple Parries for Simple Attacks, and Direct Riposte 29
The Feint. La Feinte .... 30
SECOND DIVISION.
Attacks composed of two movements . . . .80
Parries composed of two movements and Direct Ripostes ... 31
THIRD DIVISION.
Attacks composed of three movements 33
Parries composed of three movements and Direct Ripostes . . 34
FOURTH DIVISION.
Attacks composed of four movements ... . . ... 36
Parries composed of four movements and Direct Ripostes ... 37
CONTENTS. xi
SECOND LESSOX — FIEST DIVISION.
Page
The Beat. Le Battement ... . .... 40
40
41
42
43
43
Simple Attacks preceded by a Beat . ....
Attacks composed of two movements preceded by a Beat
Attacks composed of three movements preceded by a Beat
The Press. La Pression . . .
The Traverse. J^e Froisse . . . .
SECOND DIVISION.
The Glide. Le Coule . .43
Simple attacks preceded by a Glide . 43
Attacks composed of two movements preceded by a Glide . . 44
THIRD DIVISION.
Simple parries for simple attacks preceded by a Beat, Press, Trav-
erse; or Glide, and Direct Ripostes . . . . . 45
Parries composed of two movements for attacks preceded by a Beat,
Press, Traverse, or Glide, and Direct Ripostes . . 46
Parries composed of three movements for complex attacks preceded
by a Beat, Press, Traverse, or Glide, and Direct Ripostes ... 48
FOURTH DIVISION.
Miscellaneous Attacks . .... 50
Parries for miscellaneous attacks 51
FIFTH DIVISION.
Attacks deceiving the Beat ... ... 53
Parries for simple and complex attacks deceiving the Beat ... 54
THIRD LESSON — FIEST DIVISION.
The Low-Thrust. Le Derobement . . 55
Simple attacks in the Low Line, preceded by a Glide . ... 56
Attacks composed of two movements in the High and Low Lines,
preceded by a Glide ... . . . . . ... 56
Attacks composed of three movements in the High and Low Lines,
preceded by a Glide 58
xii CONTENTS.
SECOND DIVISION.
THIRD DIVISION.
The Bind. Le Liement . .
Simple attacks in the Low Line, preceded by a Bind
Attacks composed of two movements in the High and Low Lines
preceded by a Bind . ....
Attacks composed of three movements in the High and Low Lines,
preceded by a Bind ... . . .
Simple parries in the Low Line, and Direct Ripostes . . . .
Parries composed of two movements in the High and Low Lines,
and Direct Ripostes . . ....
Page
59
Simple attacks in the Low Line preceded by a Beat
Attacks composed of two movements in the High and Low Lines,
preceded by a Beat . . .... 59
Attacks composed of three movements in the High and Low Lines,
preceded by a Beat . . 61
62
62
62
63
63
64
FOURTH DIVISION.
Parries composed of three movements in the High and Low Lines,
and Direct Ripostes . .... 66
FOUETH LESSON— FIEST DIVISION.
The Change of Engagement. Le Changement d' Engagement . . 68
Simple attacks deceiving the Change of Engagement . 68
Attacks composed of two movements deceiving the Change of En-
gagement . . . . .68
Attacks composed of three movements deceiving the Change of En-
gagement ... .... . . . . 69
Simple attacks preceded by a Beat, on the Change of Engagement . 70
Attacks composed of two movements preceded by a Beat, on the
Change of Engagement . . . . 70
SECOND DIVISION.
Simple parries for attacks on a Change of Engagement, and vai-ious
simple Ripostes ..... . .71
Simple parries for attacks on a change of Engagement, and various
Ripostes in two movements 72
CONTENTS. xui
Paoe
Parries composed of two movements for attacks on a Change of En-
gagement, and various simple Ripostes 73
Parries composed of two movements for attacks on a Change of En-
gagement, and various Ripostes in two movements 74
FIFTH LESSON — FIEST DIVISION.
The Double Engagement. Le Double Engagement . . ... 75
Simple attacks preceded by a Double Engagement 75
Attacks composed of two movements preceded by a Double Engage-
ment . . 76
Attacks composed of three movements preceded by a Double En-
gagement . . . . . 78
SECOND DIVISIOX.
Simple parries for attacks preceded by a Double Engagement, and
various simple Ripostes . . .80
Simple parries for attacks preceded by a Double Engagement, and
various Ripostes in two movements 81
THIRD DIVISION.
Parries composed of two movements for attacks preceded by a
Double Engagement, and various simple Ripostes . 83
Parries composed of two movements for attacks preceded by a
Double Engagement, and various Ripostes in two movements . 85
FOURTH DIVISION.
Parries composed of three movements for attacks preceded by a
Double Engagement, and various simple Ripostes ... 88
Parries composed of three movements for attacks preceded by a
Double Engagement, and various Ripostes in two movements . 91
SIXTH LESSON — FIRST DIVISION".
Simple attacks while Advancing or upon the adversary's Advance . 94
Attacks composed of two movements, while Advancing or upon the
adversary's Advance .... 95
Paoe
xiv CONTENTS.
SECOND DIVISION.
Attacks composed of three movements, while Advancing or upon
the adversary's Advance ... . . .96
Simple attacks preceded by a Beat, while Advancing or upon the
adversary's Advance . . 98
THIRD DIVISION.
Attacks composed of two movements preceded by a Beat, while Ad-
vancing or upon the adversary's Advance .... . 99
Simple parries for attacks while Advancing or upon the adversary's
Advance, and various simple Ripostes ... . . 100
Parries composed of two movements for attacks while Advancing or
upon the adversary's Advance, and various simple Ripostes . . 102
FOURTH DIVISION.
Parries composed of three movements for attacks while Advancing
or upon the adversary's Advance, and various simple Ripostes . 104
SEVENTH LESSON — FIRST DIVISION.
Simple attacks deceiving the Change of Engagement, while Advan
ciiig or upon the adversary's Advance . . . . . 107
Attacks composed of two movements deceiving the Change of En-
gagement, while Advancing or upon the adversary's Advance 108
Simple attacks preceded by a Beat deceiving the Change of En-
gagement, while Advancing or upon the adversary's Advance . 109
Attacks composed of two movements preceded by a Beat deceiving
the Change of Engagement, while Advancing or upon the ad-
versary's Advance ....... . 109
SECOND DIVISION.
Simple parries for attacks while Advancing or upon the adversary's
Advance, and various Ripostes . .... . 110
Parries composed of two movements for attacks while Advancing or
upon the adversary's Advance, and various Ripostes . . . Ill
THIRD DIVISION.
Simple attacks while Advancing or upon the adversary's Advance,
preceded by a Double Engagement 112
CONTENTS. XV
Page
Attacks composed of two movements while Advancing or upon the
adversary's Advance, preceded by a Double Engagement . . 113
yiniple Parries for attacks while Advancing or upon the adver-
sary's Advance, preceded by a Double Engagement and various
Ripostes 114
FOURTH DIVISIO:^.
Parries composed of two movements for attacks while Advancing
or upon the adversary's Advance, preceded by a Double Engage-
ment, and various Ripostes ... . . . ... 116
Simple attacks deceiving the Change of Engagement, while Ad-
vancing or upon the adversary's Advance, preceded by a Double
Engagement .... .... . 117
Attacks composed of two movements deceiving the Change of En-
gagement, while Advancing or upon the adversary's Advance,
preceded by a Double Engagement 117
EIGHTH LESSOX — FIRST DIVISION.
Simple attacks while Advancing or upon the adversary's Advance,
preceded by a Double Engagement, and deceiving the Change of
Engagement by a Beat ... .... 118 '
Attacks composed of two movements, while Advancing or upon the
adversary's Advance, preceded by a Double Engagement, and
deceiving the Change of Engagement by a Beat 119
SECOND DIVISION.
Simple parries for attacks while Advancing or upon the adversary's
Advance preceded by a Double Engagement, and various simple
Ripostes . . 120
Simple parries for attacks while Advancing or upon the adversary's
Advance preceded by a Double Engagement, and various Ri-
postes in two movements . . . ■. 121
THIRD DIVISION.
Parries composed of two movements for attacks while Advancing or
upon the adversary's Advance preceded by a Double Engage-
ment, and various simple Ripostes . 122
Parries composed of two movements for attacks while Advancing or
upon the adversary's Advance preceded by a Double Engage-
ment, and various Ripostes in two movements 123
xvi CONTENTS.
ISraSTTH LESSON — FIRST DIVISION.
Page
Simple attacks preceded by a Beat in the Line opposite to that of
the Engagement .... . . 124
Attacks composed of two movements, preceded by a Beat, in the
Line opposite to that of the Engagement 124
SECOND DIVISION.
Miscellaneous Parries and Ripostes 125
TENTH LESSON — EIEST DIVISION.
Simple attacks in the Low Line while Advancing or upon the adver-
sary's Advance, preceded by a Change of Engagement, Traverse,
Beat, or Press .... . .126
Attacks composed of two movements in the High and Low Lines
while Advancing or upon the adversary's Advance preceded by a
Change of Engagement, Traverse, or Press . . 127
SECOND DIVISION.
Simple parries for attacks in the Low Line while Advancing or upon
the adversary's Advance, and various Ripostes . . 132
Parries composed of two movements in the High and Low Lines for
attacks while advancing or upon the adversary's Advance, and
various simple Ripostes .... 132
THIRD DIVISION.
Simple attacks Deceiving the Double Engagement . .... 135
Attacks composed of two movements, Deceiving the Double Engage-
ment . . . ... ... . 135
Attacks composed of three movements, Deceiving the Double En-
gagement . . . . 136
ELEVENTH LESSON — FIRST DIVISION.
The Counter-Riposte. La Centre Riposte .... . . 137
Various simple Counter-Ripostes and various simple Parries and
Ripostes 137
Various simple Parries for the Feint of Disengagement, various
simple Ripostes, and various simple Counter-Ripostes .... 139
CONTENTS. xvii
SECOND DIVISION".
Faob
Various simple Parries for the Feint of Disengagement, various sim-
ple Ripostes, and various Counter-Ripostes in two movements . 140
Various simple Parries for the Feint of Disengagement, various Ri-
postes in two movements, and various simple Counter- Ripostes . 140
THIRD DIVISION.
Various simple Parries, Ripostes, Counter-Ripostes, and second
Counter-Ripostes . . . . . 141
Various simple Parries, Ripostes, and Counter-Ripostes, and various
second Counter-Ripostes in two movements . . ... 142
FOURTH DIVISION.
Various simple Parries and Ripostes, various Counter-Ripostes in
two movements, and various simple second Counter-Ripostes . 143
Various simple Parries and Ripostes, Counter-Ripostes in two move-
ments, and various simple second Counter-Ripostes 143
FIFTH DIVISION.
Various simple Parries and Ripostes, Counter-Ripostes in two move-
ments, and second Counter-Ripostes in two movements . . . 14.5
The Exercise of the Counters. Tire les Centres . . ... 146
TWELFTH LESSON — PIEST DIVISION.
The Time-Thrust. Le Coup de Temps 147
The Direct Time-Thrust. Le Coup de Temps Direct . . 147
The Time-Thrust in Opposition. Le Coup de Temps d'Opposition 148
Time-Thrust on attacks composed of two movements 148
SECOND DIVISION.
Time-Thrust on attacks composed of three movements 152
THIRD DIVISION.
Time- Thrust on attacks composed of four movements 158
FOURTH DIVISION.
Time-Thrust on attacks in the Low Line 161
Xviii CONTENTS.
part Mh
Page
The Grand Salute. Le Mur .... 166
The Assault. L'Assaut . . . .^ 109
Premature Assault. Remarks upon the Assault 172
President of the Assault . 174
Professorships . . . .... 175
Rules governing Amateur Competition ... 176
Double Hits. Coups Doubles ou Coups Foures 178
Riposte by Tao-au-Tac ... 181
Corps-a-Corps 181
Phrase of Arms . . 181
Passage of Arms . 181
Remarks on the Time- Thrust . 182
The Stop-Thrust. Le Coup d' Arret 182
Attacks on Preparation. Attaques sur Preparation . . ... 182
The False Attack. La Fausse Attaque 183
Attacks on the Blade. Attaques k la Lame 183
To Deceive the Blade. Tromper le Fer . 183
The Tension. Tendre la Broche . . .... ... 18i
Absence of Blade. Absence de Fer . 184
The Direct Thrust . ... 185
The Cross. Le Croise .... . 185
The Bind 185
The Flanconnade . . ... . . . .... 185
The Replacing. La Remise . . 186
The Redoubling. Le Redoublement ... 186
The Reprise .... . . . . . .187
The Counter-Disengagement. Le Contre Degagement . . . 187
Style. LeJeu . 187
The Strategical Fencer. Le Tireur de Tete 188
The Constitutional Fencer. Le Tireur de Temperament .... 188
The Classical Fencer. Le Tireur Classique . ... 189
The Blunderer. Le Ferailleur ... . 189
The Left-hand Fencer. Le Gaucher ... . 189
Accuracy. La Precision . ... 190
The Retention of the Body. La Retenue du Corps 190
Harmony 190
The Judgment . 190
The A-Propos ^, 191
Rapidity 191
The Feel of the Blade. Le Sentiment du Fer 191
CONTENTS. xix
Paob
The Eye. La Vue 191
The Disarming. Le Desarmement 192
The Retreat 192
Advancement of the left foot. Gagner la Mesure du Pied Gauche . 193
Parries of Contraction. Parades de Contraction 193
The Flying Cut-Over. Le Coupe a la Mouche ou Coupe Volant . 194
Exercising on the fixed Pad. Tirer au Mur 194
False Beats. Faux Batteraents 195
Exercise of the Feints. Tirer les Feintes 195
Possession of Legs. Avoir des Jambes 195
To Thrust within the Blade. Tirer dans le Fer 196
To Thrust from Position. Tirer de Pied Ferme 196
To be in Line. Etre en Ligne 196
To Jump. Sauter 196
To Hazard. S'Enfere 196
To Cross Oneself. Se croiser 196
A Judged Thrust. Coup Jug^ 196
To Fence Wild. Etre fibranler 196
To Lodge oneself. Se Loger 196
Secret Thiust. Bottes Secretes 196
To Hollow. Caver 196
To Give the Blade. Dormer du Fer 197
To Route. Ebranler 197
To Change the Blade. Changer I'Engagement 197
The Coronation. Le Couronnement 197
To Start the Body. Porter le Corps Si 1' Action 197
The Allurement. Appas 197
The Assailant. L'Assaillant 197
To Seek the Blade. Aller a I'^pee 197
To Menace. Le Menace . 197
The Normal School of Fencing 197
Fencing for Ladies 199
part m,
FIRST DIVISION.
The Sabre 200
Nomenclature of the Sabre 200
Manner of holding the Sabre .»?-■.. . . . 200
Prelimix i.i-y Position 200
TheGuara 201
■>
XX CONTENTS.
Pase
Preparatory Instruction .... 201
Moulinet. Moulinet ... 201
Moulinet vertical. Bris^ 201
Under-Cut. Enleve 202
Engagement 202
The Attack 202
Feint 20a
SECOND DIVISION.
Simple Thrusts 203
Head-Cut. Coup de Tete 203
Left-Cheek Cut. Coup de Figure h Gauche . 203
Right-Cheek Cut. Coup de Figure h. Droit 203
Chest Cut. Coup de Benderole .... 203
Girdle Cut. Coup de Ventre 204
Flank Cut. Coup de Flauc 204
Thigh Cut. Coup de Cuisse 204
Point-Thrust. Coup de Pointe 204
Arm Cut. Coup de Manohette 204
THIRD DIVISION.
Simple Parries 205
Parry of Head. • 20.5
Parry of Left Cheek ... 205
Parry of Right Cheek 205
Parry of Chest and Girdle 206
Parry of Flank 206
Parry of Point Thrusts „ ... 206
Parry of Arm Cuts ... 206
Parry of Thigh Cuts * 206
Riposte 207
Simple Attacks and Parries 207
Attacks Composed of two movements ... 207
Simple Parries and Ripostes 208
Compound Parries in two movements, and simple Ripostes . . . 208
Simple Parries and compound Ripostes 209
Simple Parries and double Ripostes 209
Compound Parries and Ripostes - . 209
Compound Parries and double Ripostes --' . . 210
f
CONTENTS. XXI
FOURTH DIVISION.
Page
Simple Parries, Ripostes, and Counter-Ripostes ....... 210
Simple Parries and Ripostes, and compound Counter-Ripostes . . 210
Simple Parries and Ripostes, and double Counter. Ripostes . . . 210
Time-Thrust ... . . . ... .211
Stop-Thrust . 211
The Attack on Preparation . 211
Salute . . . . .... . . 212
The Assault . . . 212
The Cavalry Sabre . . . . . .... 213
ILLUSTRATIOl^^S.
Portrait of the Author . . Frontispiece
FOILS.
FiGDEE PiOE
1. First movement to come On Guard . 16
2. Fifth movement to come On Guard ... 20
3. On Guard 26
4. Extention . .... ... .30
5. The Lunge . . . . 36
6. Lines of the Parries and Attacks . . . * . . . 40
7. Parry of Prime . . ... 46
8. Parry of Seconde 50
9. Parry of Tierce 56
10. Parry of Quarte . 60
11. Parry of Quinte 66
12. Parry of Sixte 70
13. Pari-y of Septime .... ... .... 76
14. Parry of Octave . . .... 80
15. The Cut-Over • 86
16. The Direct Riposte ... 90
17. The Bind . . . . ... 96
18. Detached Riposte, low, after Parry (or Opposition) of Sixte, or
after Counter of Sixte . . . . . . . . 100
19. Riposte by Prime after Pan-y (or Opposition) of Sixte . . 106
20. Direct Riposte after Parry of Seconde . . . . . 110
21. Direct Riposte after Parry of Septime . 116
22. Quarte Parry of Direct Riposte, being in Lunge ■ . . . 120
23. Tierce Parry of Direct Riposte, being in Lunge . . . . 126
24. Direct Time-Thrust 130
25. Opposition Time-Thrust . . . 136
26. Counter Disengagement 140
27. Salute — Position of Attention . . 146
28. Salute — Tierce Guard 150
29. Salute — Taking Distance 156
30. Salute — Salute to Left 160
XXIV
ILLUSTRATIONS.
Figure Page
31. Salute — Salute to Right 166
32. Salute — After Parry of Tierce 170
33. Salute — After Parry of Quarte .... 176
M. Salute — Salute the Adversary .... 180
35. Salute — The Finish . . 186
THE SABKE.
36. First movement to come On Guard
37. On Guard .
38. The Lunge ....
39. Head Cut, and Parry . . .
40. Left Cheek Cut, and Parry
41. Right Cheek Cut, and Parry
42. Chest Cut and Parry .
43. Girdle Cut and Parry . . .
44. Flank Cut and Parry .
45. Thigh Cut, Escape and Arm Cut, Over
46. Point Thrust . .
47. Head Cut, Escape and Arm Cut, Under
48. Right Cheek Riposte, by Reversing Hand after Parry
49. Time-Thrust by Point on Flank Cut .
50. Salute — Under Cut to Right
51. Salute — Change of Guard to Quarte
52. Salute — Salute to Right . . . .
200
200
202
202
204
204
206
206
208
208
210
210
212
212
214
214
214
FOIL AND SABRE.
HISTORICAL OUTLINE OF FENCING IN FRANCE.
VERY few particulars are obtainable concerning fencing-
masters during the period extending from the Middle
Ages to the sixteenth century. The oldest document treat-
ing- on the subject which comes to our knowledge dates from
1292, during the reign of Philippe-le-bel, and was intended for
the levying of taxes on the inhabitants of Paris. On this
document are inscribed the names, address, and amount of
taxes paid by seven fencing-masters.
An interesting history of the early development of fencing
might be derived from a brief sketch of tlie different procla-
mations and edicts that were published during tlie last half of
the sixteenth century. The first of these is dated 1554. The
students of the University became negligent of their study of
the ancient languages, and gave themselves too frequently to
tlie more fascinating practice of the sword with their respec-
tive masters at the fencing-academies, situated in the suburbs
of Paris. A proclamation emanating from the Parliament on
the " 20th day of August, in the year of our Lord 1654,"
makes special note of their delinquencies ; and to put a stop
to this abuse, " the Parliament forbids all fencing-masters and
others to reside anywhere but in the City, at the risk of im-
prisonment and fine." Whether this threat had the desired
effect or not is unknown.
Up to 1567, the various fencing-masters and professional
swordsmen had not co-operated with one another. Seeing the
1
2 TOIL AND SABRE.
advantage of organizing themselves into a body, they formed
a corporation, drew up a set of by-laws, and submitted them
to the Parliament for royal sanction. Charles IX. confirmed
them, and gave letters-patent authorizing them to organize
themselves into a privileged body.
In 1573 Henry de Saint-Didier caused to be published the
first French treatise on fencing, and dedicated it to King
Charles IX. At the request of the prince, the author gave
an exhibition of fencing with one of the prince's brothers and
afterward with the Due de Guise.
Having gained since its foundation considerable experience,
the Corporation of Fencing-Masters revised its statutes and
presented them to the king for his approbation. In Decem-
ber, 1585, Henry III. i-enewed all the privileges accorded to
them by his predecessor, and in order to give them more im-
portance, caused their statutes to be duly registered by Act of
Parliament (Jan. 27, 1586). The reforms aimed at by this
revision were —
1. To prolong the term of apprenticeship necessary for the assist-
ant to become master, from two to four years.
2. To prevent all persons not members of the corporation from
teaching the science.
3. To oblige the widow of a deceased fencing-master to return to
the corporation all her husband's certificates and privileges. This by-
law was enacted in order to prevent the widows from carrying on the
academy by engaging the services of non-members of the corporation
or of an assistant.
On the occasion of a royal marriage or other important
ceremony, the kings and queens of France usually signed
many letters-patent confirming the holders as fully qualified
fencing-masters. Those who possessed such letters were not
well received by the Corporation, as they refused to undergo
the necessary apprenticeship, alleging that the letters ac-
corded to them full rights to practise their profession. Thus
it happened that an Italian fencing-master, Vincent Vama-
relli, found himself possessed of such a privilege, by favor
HISTORICAL OUTLINE OF FENCING IN FRANCE. 3
of Queen Mary de Medici. He would not submit to the
demands of the Corporation, and was therefore prosecuted
on July 18, 1619. Judgment was rendered against him, and
on August 12 he was compelled to close his academy uutil he
had complied with the rules of the Corporation requiring all
fencing-masters to have served their apprenticeship and to
have passed an examination in four different weapons, and
before six masters. An Act of Parliament duly ratified the
above proceedings (Aug. 12, 1621).
In 1633, the Corporation of Fencing- Masters added new
regulations to its code : —
1. To govern more strictly the admission of new members.
2. The duration of apprenticeship to be extended from four to six
years.
3. All apprentices to be forbidden to carry the regulation sword
without having first complied*' with the following rules, namely :
(1) Two years must elapse before an apprentice be allowed to carry
a side arm. (2) That privilege must also be sanctioned by his mas-
ter and then by the Corporation.
Later on another rule was adopted debarring any per-
son from becoming an apprentice who was not of French
nationality.
King Louis, on delivering letters-patent to the Corporation,
acknowledged the services rendered by its members, and
thanked " our fencing-masters, who have diligently propa-
gated that noble art, which has now attained its highest state
of perfection." The king gave the Corporation unlimited
powers, and caused all other societies to be disbanded.
In spite of this King Louis granted letters-patent to a M.
Jean Villard, authorizing him to become a fencing-master.
This person established himself in defiance of the Corporation,
but was soon after forced to close his academy.
On his accession to the throne, Louis XIV. confirmed all
tlie privileges of the Corporation. The ceremony took place
on Sept. 80, 1648. The following year new by-laws were en-
acted. One of these forbade any master to absent himself
4 FOIL AND SABRE.
from his work for a period of more than fifteen months, at
the risk of having his academy closed. If a master had
chosen a vocation considered degrading to the Corporation,
his name was instantly struck off its list of members. They
were also allowed to reduce the number of fencing-masters
practising in or about Paris from twenty-five to twenty.
By command of the king " six of the oldest and most re-
spected members of the Corporation who had served at least
twenty years after becoming masters, were knighted with a
hereditary nobility. At the death of one of these, the next
most deserving master was installed in his place. They were
also allowed a crest, which was accorded to the Corporation," —
two crossed swords reversed and mounted on a cloth of azure
covered with four " fleur de lys," lieaded by the royal arms,
and surrounded by various weapons.
Jean Lecoq and Jean Renard, Sieur de Pr^ville, were the
first two masters who were made noblemen. The ceremony
took place on the 18th of February, 1657. By bestowing sucli
favors on the Corporation the king attached great importance
to instruction in fencing. He himself began his education in
that branch at the age of six, under the supervision of Vin-
cent de Saint-Ange. Later on he had as master Pascal
Rousseau.
In the seventeenth century all persons who were not mem-
bers of the Corporation, but who nevertheless taught tlie art,
were styled " Ferrailleurs." On the 18th of December, 1685,
judgment was entered against a master named Barry, a " fcr-
railleur," for having been guilty of "demonstrating the art
of fencing," for which offence he was compelled to close his
academy. Two others, named L'hoste and Caudat, were sen-
tenced in a like manner. In spite of this somewhat severe
sentence, the Corporation had occasion to sentence many fer-
railleurs; notably in December, 1722, a raid was made, and
the following were apprehended : Rouet, Houaley, Negro,
Lupine, Lemaire, Lecomte, Henault, Duplessis, Peirridre,
Sinegre, Keilly, pSre and fils, le petit Basque, La Jeunesse,
Raine, and Esborel.
HISTORICAL OUTLINE OF FENCING IN FRANCE. 5
A decree published June 23, 1724, by order of Gabriel
Hyerome de Bullion, Prevot de Paris, forbade any ferrailleur
to establish himself under risk of fine of three hundred livres,
confiscation of all goods appertaining to his profession, and
perchance imprisonment.
The principal landlords were forbidden to let any of tlieir
house to a master who had not the necessary certificates
qualifying him as such. Any violation of this law was pun-
ishable by a fine of t\YO hundred livres, and the closing of the
establishment for six months. This decree also forbade any
wine, beer, or spirit mercliant from giving any exliibitions, as
the ferrailleurs and their pupils generally congregated in such
places. An offence was punisliable by a fine of one thousand
livres. In default of payment, the offenders were severely
punislied. Tite above decree was sanctioned by Act of Par-
liament Dec. 18, 1759, with a clause appended to it, by which
half the amount of fines was handed over to the Corporation
and the other half to the Hotel Dieu, thirty livres being de-
ducted for necessary expenses.
On March 17, 1759, Louis XV. sanctioned all the edicts pub-
lished by Louis XIV., and caused them to be duly registered by
Act of Parliament. In the same year, the Corporation forced
a Sieur Dalonneau de la Raye, fencing-master, to close his es-
tablishment because he was not a member, although he pos-
sessed a diploma of fencing-master, which he had received
from the Due de Bourgogne, having been fencing-master to
the Conite de Vauguyon.
On Dec. 12, 1759, a decree was issued by the Prevot^ de
L'hotel, " whereas the Sieur Dalonneau de la Raye has been
notified of the above sentence, and ordered to close his acad-
emy and to destroy his armorial ensign placed thereupon,
the authorities will proceed to put the said decree into ex-
ecution, and at his expense. He is also forbidden to use his
brevet." This sentence was confirmed at a meeting of the
Grand Council, Aug. 23, 1760.
The original emblem of the Corporation was simply " An
Arm Wielding a Sword." We have in our possession a sign-
6 FOIL AND SABRE.
board belonging to a ferrailleur of the eighteenth century
worded thus : —
HENRY MARTEAU,
MAITRE EN FAIT d'ARMES,
ELEVE DE JI. DE LYANCODRT,
GRANDE COUR DU TEMPLE.
On April 11, 1764, a decree was issued forbidding any per-
son or persons except qualified teachers to teach in the Uni-
versities and colleges of Paris. Any contravention to this
law was punishable by a fine of three liundred livres and con-
fiscation of all professional goods. All persons who had been
selected to teach at the above institution were required to
produce their diplomas.
Tlie academies of the king having ceased to exist, a fencing
academy for the nobility was founded, which was under the
direction of a Sieur Danet, Sub-Director M. Teillagory.
We now reach modern times. The year 1789 draws to its
close. For some time the finances of the country have been
exhausted. At each meeting of the National Assembly, depu-
tations from all classes of society, obeying a generous and
patriotic impulse, arrive in numbers to offer pecuniary help.
The Corporation of Fencing-Masters is foremost among these.
A deputation, headed by M. Teillagory, the director of the
Royal School of xirms, with M. Pasquier as sub-director,
presents itself at a meeting. The following is an extract
from the " Gazette Nationale " or " Moniteur Universel," Dec.
3,1789: —
National Assembly.
President Monsieur Desmeuniers :
A deputation of the Corporation of Fencing-Masters is admitted to
the bar ; one of them makes the following, speech : —
" "We, the fencing-masters of the Royal School of Arms, taking
example from our loyal countrymen, come to offer homage to the
National Assembly.
" Our Lords, we, having been designed to instruct the nobility in the
use of the sword, and our weapon consisting of two metals, silver and
steel, offer you the first in order to alleviate the present difficulties and
HISTORICAL OUTLINE OF FENCING IN FRANCE. 7
pray you to accept the second as a tribute of our patriotism in the
maintenance of our liberty, for the support of our laws, and lastly iu
the defence of our most gracious sovereign and country."
" The National Assembly accepts with satisfaction the generous
offer that you propose, and permits you to take part in the meeting."
Soon after, on March 17, 1791, the National Assembly issued a de-
cree annulling the ancient corporation, etc., of fencing-masters after
an existence of two hundred and twenty-three years. The old school
on the Rue du Chantre struggled till 1792, but was at last extinguished
with the overthrow of monarchy.
L'JSscrime Frangaise.
School of Joinville-le-Pont, — After the Suppression of the
old corporation, the art of fencing still flourished, and was
perfected by many famous masters ; namely, Laboessiere,
Jean Louis, Lafaugere, Charlemagne, Gomard, pere and fils.
Bonnet, Grisier, and many others, all of whom applied them-
selves heart and soul to its extension.
In 1872, the French Government, perceiving the need of
uniformity in the instruction of fencing, founded a school for
the benefit of the army. The military school of Joinville-le-
Pont was established for this purpose, and placed under tlie
direction of a captain and four adjutants. A staff of in-
structors and assistants was organized, aud the department
of fencing comprised six hundred strong. The results were
surprising. Having been drilled so thoroughly in the prin-
ciples of the science, its graduates were capable of imparting
their instruction to others in such a manner that very soon
there was an efficient number of thoroughly competent in-
structors for the army as well as for the civil institutions.
The new Academy of Arms. — The ancient corporation of
fencing-masters was the first of its kind in France, and was
also styled "Academy of Arms." A number of prominent
fencing-masters undertook in the year 1886 to reconstruct
the old academy with all its old customs and to infuse some
8 FOIL AND SABRE.
modern elements into it. A site was chosen in Paris, 5 rue
des Pyramides, for the accomplishment of their project. A
committee was chosen, composed of an honorary president,
the Minister of War, and many other officials. Their object
was to create for the fencing-masters residing in Paris a cen-
tre for study, to establish among them a constant and frater-
nal intercourse, to guard the dignity of their profession, and
aid in every manner and everywhere the prosperity of the art
of arms.
It is now composed of active, auxiliarj% honorarj', corre-
sponding, and military members.
The active members number thirty, and are styled " Fenc-
ing-Masters of the Academy of Paris." They must be over
twenty-live years of age and have practised for a period of
two years in Paris. On their retirement, they become hon
orary members of the Academy of Arms. Active members
only have tiie right of vote. Auxiliary members are not
recognized as such until introduced by two active members.
No foreigner can become an active or even an auxiliary
member. The latter pay a yearly subscription of $3.25.
Honorary members are elected at the general assembly of
tlie active members, and are selected from the benefactors
and best amateurs. Their dues amount to ten dollars. The
corresponding members are those masters residing in the
provinces or in foreign countries. The military members
are those masters still in the army. On their retirement,
they may become active members on being presented by
five of their colleagues.
The executive committee reserves to itself the right of con-
ferring the title of " benefactor" on any person who has made
a donation of two hundred dollars to the corporation. Such
gift is mentioned annually, and mention is also made of
persons who have founded scholarships or made legacies
for their endowment.
Physical Development. — Men who follow certain occupa-
tions, and are forced to live in the cramped quarters of the
PHYSICAL DEVELOPMENT. 9
tenement house, often develop serious physical deficiencies ;
and some of us have even to combat predispositions and mal-
formations that militate against a healthy body. Some suffer
from narrow chests and deficient lung expansion, or imperfect
spinal formation, stooping shoulders, weak muscular develop-
ment, insufficient circulation, — all of which can be greatly
modified by physical training.
Many athletes who strive to excel in one or two branches
of athletics, injure rather than benefit their constitutions.
Excellence in any game demands a specialization of force and
skill that often proves detrimental to general health. Witness
the many hypertrophied hearts found among athletes. The
best exercise is evidently that which puts the most muscles
into action ; and if the exercise also demands some degree of
mental training, it will be all the more valuable. General
exercise in a gymnasium is of course excellent; running
and walking have also their advantages, when practised
with moderation. But when followed to excess, as is often
the case, they become quite harmful, as any one knows who
has seen athletes faint from over-exertion on the running
track. Rowing is limited to a certain season of the year,
and like pugilism demands certain degrees of power and
temperament.
Fencing can be indulged in by all. Application and skill
equalize the chances between the short and the tall, the weak
and the strong. The consciousness of improvement in the art
lends it a fascination, which is increased by the pleasure of
competition with other fencers. T]hose whojear n the artj ae-
come itsdevatfifis. They soon find that tliere is always some-
thing to learnj and that, as in (JhesiP'there are always new
combinations of known jnovoments to Invent or_to_oppose.
The actual results obtained from fencing in the case of peo-
ple in need of exercise, as well as of those of ordinary good
health, have been very thoroughly studied. Tlie muscular
measurements taken periodically at the Military School of
Joinville-le-Pont show tremendous gradual improvement in
the condition of tlie fencing-students ; and fencing-teachers
10 FOIL AND SABRE.
have so often witnessed in their pupils such incredible im-
provenient in general health, vigor, and stature, that the
efficiency of fencing as an exercise is now universally ac-
knowledged. My most enthusiastic pupils have frequently
been physicians.
Fencing possesses many rare advantages ; it has the power
of exercising every particle of the human machinery. The
legs, arms, hands, muscles, and respiratory organs, — all are
vyorked in harmon y ; each member seems to be the principal
agent. The_legs_adjusi: the equilibrium of the body, always
prepared for the retreat or the advance ; the eyesjyatcli every
m oveme nt ; the hand gra sps the sw ord and directs its move-
ments Recording to the will, assisted by the sense of touch ;
and lastly, the_miiid,, which is the jirincipaTtactor, seems at
the opportune moment to prompt an attacli or a retreat or the
^iL?ll^i25_iI^ some strategical movement that may terminate
by turning threatening defeat into victory. Men whose daily
occupations are of a sedentary nature are necessarily in want
of exercise. They grow old prematurely on account of a
forced attitude of the body during the day, which is anything
but natural, impedes respiration, and exposes the lungs to
serious affections.
If the exercise of fencing produces such beneficial effects on
the young man and prevents him from committing excesses
that are not compatible with physical well-being, it works
similar results with adults.
Fencing does not naturally prolong life, but it can be instru-
mental in relieving old age of its gouty dotage and corpulent
sterility. It is a union of extremely delicate sentiments with
courage, audacity, and vigorous mental activity. Mind and
body are both immeasurably benefited by the practice of
fencing.
A society for the encouragement of fencing was formed in
France for the purpose of extending the knowledge of that
noble art among the schools, colleges, and private institutions,
and to induce fencing-masters and others to create iuterest in
fencing either by writing on that subject or by other means, -
INSTRUCTION. 11
The adhei'ents of this society were easily recruited. Every-
body seemed to be endowed with a desire to help the society
in its laudable scheme. The society now represents a force
of about four hundred strong. Since its foundation, in 1882,
it has done wonders, and perhaps we will soon see other coun-
tries following this good example. In America, this splendid
sport has been received with favor, and if attention is paid to
the selection of capable instructors, we will rank foremost in
the development of the art.
Instruction. — Instruction in fencing should teach the pupil
to direct his sword in attack and defence. It proceeds from
the simple to the complex, and lastly to the assault. The in-
structor must adapt his lesson to the temperament, character,
constitution, and intelligence of the pupil, with whom he must
identify himself, and follow, step by step, the development,
which he can expect only in such proportion as exercise and
temperament allow. Nature has not endo_wed all men w ith
the same qualities . Some have an unlimited vivacity which
must be regulated ; others, an indolence which must be
aroused ; others, an understanding more or less slow. The
instructor must unceasingly correct the wrong positions of
the pupil, put himself within the reach of his comprehension,
and quicken progressively the speed of his movements. He
must instil precision and quj^ckness, those indispensable quaTP)
ties of the fencer. The pupil must be allowed to retaiiiTliis
fndTytauant^, and gradually be led to put into execution, with
their greatest force, all the good elements of action that are
characteristic of him. The instructor should repeatedly give
a practical demonstration of the rudimentary principles, and
see to it that they be strictly observed.
^ To become expert in the art of fencing, it is necessary to
possess five essential faculties ; namely, the judgment, the
glance, the feel of the blade, quickness, and precision. Some
are furnished by Nature, others are acquired. To possess the
feel of the blade, one must accustom himself to holding itjiot
too tightly, for a tight grasp renders the hand insensible to a
12 FOIL AND SABRE.
delicate touch, or (pressure\ of tlie adversary's blade. When
one possesses this laculty, the sliglitest move ment of the op -
ponent is easily detected ; the glance reads in a flash his
designs ; the thought, equally prompt, compels judgment to
decide immediately what advantage can be derived from his
movements and where he can best be invaded ; the hand re-
sponds with its execution, and rapidity secures the coveted
" touch."
Quickness, perception, anji__j_adgment .are_gifts_j)f Nature,
but may be improved by practice. (^^Eapidit}' and prccismh are
acquired by incessant drill, and are the fruiEFTinong expe-
rience. These qualities are essential to those who wish to
become adept swordsmen. An excellent way to attain this
perfection is to discuss the possibility of all thrusts; to learn
and be familiar with all their advantages ; to do nothing me-
chanically ; to know why a movement is made, the advantages
and dangers which might result from its use, and thus be able
to make choice of those which are the most certain and most
appropriate to the game of the opponent, — for in fencing all
movements are dependent and related.
A pupil cannot be too often reminded of the necessity of
resting the Ifift-foot flat iML the floor all the time. Otherwise
the anchorage is lost, the left leg is not rigid, and the body
falling_forward constrains the-fxeedoiiL,of_the_fore;arm. The
pupil who would early develop dexterity and dii'cctness of
thrust, niust rest with ease on his hips, and the muscles of
his whole body must play with rapidity and harmony in order
to produce a movement unconstrained and easy.
All the different thrusts must be executed slowly, and an-
alyzed, in order to be well comprehended by the pupil. After
the detailed drill, and the pupil has become more or less expe-
rienced, these analyzing movements should be executed with
the maximum of rapidity.
The lesson does not admit of any neglect on the part of the
instructor, in respect to any detail, however slight it may seem.
Pie must constantly study his pupil, and be scrupulously atten-
tive. Nevertheless he should not at first persistently rectify
INSTRUCTION. 13
minute errors which would but serve to paralyze the pupil's
interest and advancement. He may, however, combine prac-
tice with a certain amount of theory.
The " Opposition " should be urged upon the pupil with all
attacks or ripostes which he attempts. In demonstrating the
different methods of parrying an attack, he should also point
out the most reliable. Command the pupil to execute divers
rapid attacks after each exercise with such direct thrusts and
disengagements as can be effected from the line in which the
blades are engaged on the recovery. After each exercise of
composite parries, the instructor should execute with a rapidity
proportionate to the pupil's strength the above simple thrusts
for him to parry.
Tiie instructor should occasionally give the lesson with his
left hand in order to spare his pupil tiie disagreeable surprise
which arises when meeting a left-handed adversary. After
every recovery, menace the pupil with your point to oblige
him to cover himself in good form, and to place himself and
his blade in a correct attitude.
When instructing a person of short stature, teach him to
advance the left foot sometimes toward the right before lung-
ing. It is for them a precautionary measui'e. This prepara-
tory movement can be employed to their especial advantage
when their adversary is known to habitually retreat in order
to avoid the attack. Make them practise false attacks, and in
the midst of their false attack thrust in upon them and oblige
them to parry and riposte.
If it is necessary to instruct the short man to advance, the-
instructor must also teach the taller pupil to keep his adver-
sary at a distance by harassing or attacking him on his advance.
Attack the pupil (in the lesson of assault) at unexpected mo-
ments to accustom him to such surprises, to violent attacks,
and to any shock which may occur in the assault. Attack
him on all preparatory movements of the body or blade, on
his advance, on all feints executed rashly, on any absence of
the blade, or when his feints are too wide. Accustom him to
parry in every position. Create obstacles that he may be
14 FOIL AND SABRE.
trained to overcome them. He must not be disconcerted by
the vigor displayed by an ignorant opponent, whose chance
thrusts and wild energy will seem so different from the cau-
tious blade of the instructor to which he is accustomed. He
should not be taught the replacing, redoubling, or time thrusts
until he is well advanced. There should be exchange of good
will between the instructor and pupil.
The instructor should pay particular attention to the posi-
tion of the body, as all pupils are inclined to start the body
before the arm has been fully extended or before the point of
the sword has reached the line in which the thrust can be
effected, and which is open to the full extension of the arm
that is to follow. The lesson thus given enables the pupil to
attain great skill, and reflects all credit upon the instructor.
PAET I.
PRELIMINARY DEFINITIONS.
THE foil is composed of two portions, — the Blade and
the Handle, each subdivided into several parts. The
blade, quadrangular in shape, is of steel, and for convenience
of instruction and reference is divided into three imaginary
portions of equal length, —
1. The Point, or " Feeble," comprising the first thjrd,
from the tip, or button, downward toward the guard, and is
the part by which the touch is made.
2. The Heel, or " Forte," that portion extending from the
hilt upward one third distance to the button, and is the part
with which the parries are executed.
3. The Middle comprises the middle third of the blade,
and is the part which touches the opponent's weapon in the
engagement.
That portion of the steel which passes from the guard
through the grip to the pommel is called the Tongue.
The Handle proper is divided thus : —
1. The Guard between the blade and the hand is supposed
to shield the latter.
2. The Grip, a piece of wood ordinarily wrapped with cord,
through which the tongue passes.
3. The Pommel, a piece of brass or steel forming the ex-
treme butt of the handle.
Different sizes of blades are marked by a stamped figure.
Nos. 4 and 5 are most in use. A properly balanced foil should
poise evenly at a point about one inch from the guard. The
proper balance is obtained by regulating the weight of the
pommel. Great importance attaches to the choice of a blade
16 FOIL AND SABRE.
and to the manner in which it is mounted. Fencing-masters
for this reason generally prefer to mount their own weapons.
Manner of Holding the Foil. — The foil being placed in
your hand, place your thumb upward on the convex side
of tlie handle, nearly touching tlie guard ; the fingers are to-
gether underneath.
The thumb and index finger largely monopolize the man-
agement of the foil, while the other fingers take part more
emphatically at the moment of parrying. A tight grasp by
all the fingers would render the articulations heavy, and the
benumbed hand would lose its sensitiveness and delicacy of
touch, which, as I have said, is such an essential quality in
a good fencer.
Position of Attention. — Grasp the handle lightly accord-
ing to the prescribed rules ; place the feet at I'ight angles with
each other, the head erect, the right arm and foil extended
downward on the right side, the button four incites from the
floor, the left arm hanging down naturally, the body placed
sideways in order to form a profile against your opponent.
(See fig. 27.)
Position of On Guard. — 1. Being in position "attention,"
elevate the arm and foil, both in line and extended toward
the adversary, the hand at the height of the eye. (See
fig. 1.)
2. Lower the arm and foil till the button is at a distance
of four inches from the floor.
3. Swing the foil down, and continue the point around to
the left side of the body until the blade reaches a horizontal
position in front of the thighs, the hand becoming reversed,
nails downward ; at the same time place the fingers of the
left hand together along the blade, palm up, and nails touch-
ing the guard.
4. The foil and both hands, maintaining the same relative
positions, are carried above the head, until the arms are
Fig. 1. FIRST MOVEMENT TO COME ON GUARD.
PRELIMINARY DEFINITIONS. 17
straight, keeping the blade horizontal and close to the body
in its ascent.
5. Rebend your arms ; let the left arm fall to a curved posi-
tion behind the head and the band slightly above the head ;
simultaneously bring the right hand down in the direction
of the opponent and place it at the height of your right chest,
the thumb upwards and the arm curved, the elbow well in
and at a distance of eight inches from the body. The point of
your sword must be in line with the adversary's eye. (See
fig. 2.)
6. Keeping feet in their position at right angles, bend your
legs, separating them at the knees, care being taken to pre-
serve the poise of the body.
7. Shift the whole weight of your body on to the left leg;
advance the right foot to a convenient distance and place it
on the ground in a direct line from your left heel toward the
opponent. (See fig. B.) In this position, keep the weight of
the body slightly more on the left leg, and the right knee in
a perpendicular line above the right instep.
The Advance. — Being placed " On Guard, " advance the
right foot to a convenient distance, and let the left foot follow
immediately after with same length of step, care being taken
not to derange the position of the body nor that of the hand.
Both steps are taken with the greatest rapidity, but the right
foot always leads the left.
The Retreat. — -Being placed "On Guard," step the left
foot backward ; and as near instantaneously as possible let
the right foot follow, care being taken not to derange the posi-
tion of the body nor that of the hand ; the left foot must always
step backward before the right.
The Calls. — Strike the floor sharply twice or once witli the
right foot, but do not derange the position of the body. This
movement is executed in order to ascertain whether the equili-
brium is preserved.
18 FOIL AND SABRE.
Extension of the Arm. — Develop your arm to its full extent
without any jerl^y or rough movement of the body, especially
of the shoulder. The arm, wrist, and hand foi'm a straight
line with the foil, at a height enabling you to look over it, the
hand and foil being on a level with the shoulder. (See fig. 4.)
In order to resume the original position, bend the arm
without a jerk, replace it in line with your right chest, the
elbow at a distance of eight inches from the body and in line
with it.
The Lunge. — The arm being in Extension as above, sud-
denly straighten out the left leg and simultaneously carry
forward, to a convenient distance, the right foot and
place it flat on the floor, the knee in a perpendicular line
above the instep. In making this step forward, the right
foot should not be raised more than one inch from the floor.
Simultaneously as the body is going forward on this lunge,
straighten and lower the left arm to a position four inches
above the left leg. This movement forms a counter balance
to the right hand's attitude. All these movements must be
executed correctly and simultaneously in order to ensure a
firm attitude. (See fig. 5.)
The return to " On Guard " is executed by bending the left
leg briskly, and at the same time giving strong impulsion
backward with tlie right leg ; throw the left arm up and carry
the weight of the body back on to the left leg ; lastly and al-
most simultaneously replace the right foot in its original posi-
tion and the weight of the body largely upon the left leg.
Recover Forward. — The action of recovering forward is
the return to " Attention" from " On Guard."
1. Extend the right arm and foil forward, the hand in line
v.'ith the eye ; simultaneously lower the left hand to the left
side.
2. Draw the foot that is in the rear up to the one which is
in front, straightening the legs, and stand thus erect. (See
fig. 1.)
PRELIMINARY DEFINITIONS. 19
Recover Backward. — 1. Same as for recovering forward.
2. Draw the foot that is in advance back to the one in rear,
straightening the legs, and stand thus erect. (See fig. 1.)
The Salute. — 1. Having ended the movement of recover-
ing backward or forward, carry the hand aroimd to a position
in front of the throat, with the blade vertical before the face,
the hilt at the centre of the chin, knuckles tui-ned outward.
(See fig. 34.)
2. Lower the foil and extend- the arm, nails down in tierce,
the point of the blade four inches from the floor and the whole
slightly to the riglit. (See fig. 35.)
The different Lines. — The different lines which exist in
fencing constitute the spaces which the blade covers when
" On Guard." They number four, and are thus classified : ■ —
1. The Sixte Line, otherwise named Tierce, Right, or Outside
Line, that part of the body which is on the right side of the
blade.
2. The Quarte Line, otherwise named Left, or .]nsid« Line, that
part of the body which is on the left side of the blade.
3. The High Line, or Prime, that part of the body above the
hilt of the blade.
4. The Low Line, or Seconde, that part of the body under the
hilt of the blade. (See fig. 6.)
Engagements are effected only in the Quarte and Sixte
Lines, attacks only in the High and Low Lines.
In order to simplify the instruction I have classed them as
follows : —
Lines op " Engagements."
Line of Quarte, left side of the blade.
Line of Sixte, right side of the blade.
Lines op " Attacks."
Above the blade, High Line.
Below the blade. Low Line.
20
FOIL AND SABRE.
Thus the body is divided into four parts, namely, -
On the left side and above the blade, High Quarte.
On the left side and below the blade, Low Quarte.
On the right side and above the blade, High Sixte.
On the right side and below the blade, Low Sixte.
DIAGRAM.
High Line, or Prime, in which line attacks are executed, com-
pri.iing that part of the body between the hand
holding the foil and the two shoulders.
CO "
Id
a S
H •«
\
Above Aems.
/
High Sixte.
High Quaete.
tJi
t— I
W
<
l^
B
B
Tl
>
cfi
W
D
O
Low SiXlE.
Low QUAKTE.
/
Bet.ow Arms.
\
£5
1=
n; CD
a s"
Low Line, or Seconde, in which line attaclcs
are executed, comprising that part of the body be-
tween the sword-hand and a straight line from hip to hip.
Note. — In studying this diagram consult also Fig. 6.
Parries. — The Parry is the action of diverting the adverse
blade whici! threatens you. This may be done, 1. By a sliarp
blow. 2. By a simple press. In the first instance it is called
a parry, in the second an " opposition."
Demonstration of the Parry. — Strike the blade sharply
as it approaches the body. This movement has the effect of
Fig. 2. FIFTH MOVEMENT TO COME ON GUARD.
PRELIMINARY DEFINITIONS. 21
throwing it out of line of its mark, and must be executed with
the fingers only. The hand retaining its position must not
be allowed to accompany the adverse blade.
Demonstration of the Opposition. — Cause the threatening
blade, without concussion, to deviate from its course by sim-
ply moving the wrist outward. This must be executed by
opposing the Forte of your own blade against the Feeble of
the adversary's. ^
Demonstration of the Counters. — The Counter is a circular
parry, intended to seek the adverse blade in whatever quarter
it may threaten you, and to direct it to the opposite quarter,
or line. In a counter the point of your foil describes a small
but complete circle while your hand remains stationary.
Names of the Parries. — There are eight parries, named
thus : —
1. Prime ; 2. Seconde ; 3. Tierce ; 4. Quarte ; 5. Quinte ;
6. Sixte ; 7. Septime (or Half-circle) ; 8. Octave.
Prime and Quarte are employed to protect High Quarte.
Sixte and Tierce are employed to protect High Sixte.
Quint& and Septime are employed to protect Low Quarte.
Seconde and Octave are employed to protect Low Sixte.
Execution of Prime. — Your adversary having made a thrust
in High Quarte, carry his blade to your left thus] Reverse
the position of the hand, the thumb downward, by bending
the elbow, raising the forearm to horizontal position close
to the forehead, the wrist slightly above the left eye, and the
point of your sword threatening your opponent in the Low
Line. (See fig. 7.)
Counter of Prime. — Being in Prime position, as above, and
wishing to parry a thrust in High Sixte by a Counter of
Prime, elevate the point of your sword, and describe a circle
with it by passing your point to the right over your oppo-
nent's blade ; having thus enveloped his threatening weapon,
22 FOIL AND SABRE.
sweep it to the left out of range of its mark as you return to
the original position of Prime. (See fig. 7.)
Execution of Seoonde. , — Your adversary having made a
thrust iu Low Sixte, lower your hand and point a little by a
half-circular movement slightly from left to right, cai-rying
the opponent's blade aside ; at the finish your blade, wrist,
and forearm form a straight horizontal line, nails downward,
and the point threatening the adversary in the Low Line.
(See fig. 8.)
Counter of Seconde. — Being in the Seconde position, as
above, and wishing to parry a thrust in Low Quarte by a
Counter of Seconde ; elevate the point and describe a circle
with it, by passing to the left over your adversaiy's blade
and downward, returning to the original position of Seconde.
(See fig. 8.) '"^'
Execution of Tierce. — Your adversary having made a
thrust in High Sixte, turn your nails downward and carry
your hand slightly toward the right, until your Forte encoun-
ters the adversary's Feeble and bears it out of line of its mark,
the point of your sword remaining opposite your adversary's
eye and at tlie same elevation. The articulations of the wrist
and forearm are quite pronounced in this parry. (See fig. 9.)
Counter of Tierce. — Being in the Tierce position, as above,
and wishing to parry a thrust in High Quarte by a Counter
of Tierce, lower your point and describe a circle with it by
passing to the left under your adversary's blade and pressing
it to the right out of line of its mark, thus retui'uing to the
original position of Tierce. (See fig. 9.)
Execution of Quarte. — Your adversary having made a
thrust in High Quarte, carry your hand to the left until your
Forte encounters his Feeble and bears it out of line of its
mark, the thumb slightly inclined to the right, your point re-
PRELIMINARY DEFINITIONS. 23
maininp; opposite your opponent's left eye and a,t the same
elevation. The articulations of the wrist and forearm are
rather pronounced in this parry, as in Tierce. (See fig. 10.)
Counter of Quarte. — Being in the Quarte position, as above,
and wishing to parry an attack made in High Sixte by a Coun-
ter of Quarte, lower the point of your sword and describe a
circle with it by passing to the right under your adversary's
blade, and pressing it to the left as you return to the original
position of Quarte. (See fig. 10.)
Execution of Quinte. — Your adversary having made a
thrust in Low Quarte, turn your wrist and nails downward ;
your blade thus forms a cross with your adversary's and
drives it downward out of line of its mark. When execut-
ing this parry, the forearm, wrist, and foil must be placed in
a horizontal position, with t\j point directed slightly to the
adversai'y's right side. This is the only parry which leaves
your point out of line with the opponent's body. (See fig. 11.)
Counter of Quinte. — Being in the Quinte position, as above,
and wishing to parry a thrust made in Low Sixte by a Coun-
ter of Quinte, lower the point of your sword, describe a circle
with it by passing under your adversary's blade and driving it
to the left, thus returning to the original position of Quinte.
Execution of Sixte. — Your adversary having made an at-
tack in High Sixte, carry your hand toward the right, forcing
his point out of line of its mark, the thumb upward, keeping
the point of your sword opposite your adversary's eye and at
the same elevation. The movement of the wrist and forearm
are quite pronounced in this parry. (See fig. 12.)
Counter of Sixte. — Being in the Sixte position, as above,
and wishing to parry an attack in High Quarte by a Counter
of Sixte, lower the point of your sword, and describe a circle
with it by passing under your adversary's blade, and carrying
24 FOIL AND SABRE.
it to the right side out of the range of your body as you re-
turn to the original position of Sixte. (See fig. 12.)
Execution of Septime. — Your adversary having made an
attaclt in Low Quarte, lower the point of your sword by a
half-circular movement, and place it under his wrist; turn
your thumb a little toward the right, and carry your hand a
little to the left, keeping it always at the same elevation, until
your Porte encounters the adversary's Feeble and bears his
point out of line of its mark. (See fig. 13.)
Counter of Septime. — Being in Septime position, as above,
and wishing to pai'ry an attack in Low Sixte by a Counter of
Septime, elevate the point of your sword and describe a circle
with it, by passing to the I'ight over your adversary's blade,
downward, and return, carrying his point to the left out of
line of its mark as you return to the original position of
Septime. (See fig. 13.)
Execution of Octave. — Your adversary having made a
thrust in Low Sixte, lower the point of your sword by a half
circle movement and place it under his wrist, the thumb
slightly turned toward the right ; carry the hand a little to
the right, keeping it always at the same elevation, until your
Forte encounters the adversary's Feeble and bears it out of
line of its mark. (See fig. 14.)
Counter of Octave. — Being in Octave position, as above,
and wishing to parry an attack in Low Quarte, elevate the
point of your sword and describe a circle with it by passing
to the left over your adversary's blade, downward, and to the
right, carrying his point out of line of your body as you re-
turn to the original position of Octave. (See fig. 14.)
Observation : — The classification and application of each
parry are not absolute, but are simply intended to facilitate the
instruction. The parries may be applied in other places, than
those specified. Therefore, when the pupil has mastered the
PRELIMINARY DEFINITIONS. 25
mechanism of each, as laid down in the foregoing lessons, he
should be tauglit to apply them in any other place or time de-
manding " special legislation " or appropriation.
The Fingering. — The fingering consists in shifting the point
of your sword, under the action of the fingers, especially the
thumb and first two fingers. This finger movement serves
especially in making the feints, and directing your point in
the attack.
Fingering Exercise. — Engagement of Quarte : Displace the
point of your sword and incline it to the right, by relaxing
the grip of the last fingers, but without changing tlie position
of the hand ; replace it by the action of the fingers only,
striking your adversary's blade sharply ; his blade is then dis-
placed to his right (in order to effect this, he has also loosened
his grip), while your blade rests in direct line with his chest;
his blade then returns to position and strikes your blade, and
so on alternately. This exercise is continued, according to
agreement, till one withdraws his blade in order to vary the
parry. It can be adapted equally well to the parries of Tierce,
Sixte, Septime, and Octave. By this practice the pupil soon
acquires delicacy of touch and accuracy.
The Engagement. — The Engagement is the action of joining
blades in the opposite line to which they were previously
situated, and is taken to cover one's self. To effect the
engagement, lower your point and pass it underneath your
opponent's blade by the action of the fingers and as near as
possible to it, and then cover yourself. Your point must be
in line with your opponent's eye and at the same elevation.
(See fig. 28.)
PAET II.
FIRST LESSON — FIRST DIVISION.
The Attack.
THE attack is the action of making a thrust at your ad-
versary. It may be either simple and direct, simple
and indirect, or complex ; accompanied by a lunge, or not ;
preceded by an Advance or Retreat, by a Beat, Press, Glide,
Traverse, etc., by a single or double engagement, at all times
to be effected with the greatest rapidity.
Simple Attacks.
Definition of Direct "Thrust. — The direct tlirust can be exe-
cuted in the line of engagement when, —
1. Your adversary is unprotected by reason of the position
of his hand.
2. When the point of your adversary's sword is not in line.
The proper " Opposition " of the hand must always be
observed.
Direct Thrust.
1. Engage the blade in Qnarte. Engage the blade in Sixte.
2. Extend your arm. Extend your arm.
3. Lunge. Lunge.
4. On Guard. On Guard.
Without Analyzing.
Lunge Direct. On Guard.
Definition of Disengagement. — The disengagement is an at-
tack effected in the line opposite to that of the engagement.
Fig. 3. ON GUARD.
FIRST LESSON — FIRST DIVISION. 27
' Pass your point rapidly under the forearm of your adver-
sary by the aid of the fingers and wrist only ; at the same
time extend your arm and immediately lunge, — care being
taken to do so with the hand in opposition. This attack may
be employed when the adversary carries his hand too far over,
in an exaggerated opposition.
Disengagement.
1 Engage the blade in Quarte. Engage the blade in Sixte
2 Disengage and extend your arm. Disengage and extend your arm.
3. Lunge. Lunge.
4 On Guard. On Guard.
WiiHODT Analyzing.
Disengage. On Guard
Definition of Cut-Over. — The Cut-Over is a disengagement
effected by passing your blade over your adversary's point,
and lowering it in the line opposite engagement. Thus, ele-
vate your point and pass it over that of your adversary's,
which movement must be executed with the fingers only
(see fig. 15), the hand remaining in its position ; lower your
point, in the exposed quarter, extend your arm rapidly, and
lunge with the hand in opposition. This attack is provoked
when the adversary presses your blade too hard or when his
point is too low and out of line.
CUT-OVEE.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Cut-Over and extend your arm. Cut-Over and extend your arm.
3 Lunge. Lunge.
4. On Guard. On Guard.
Without Analyzing
Cut-Over. On Guard.
The Riposte. — The Riposte is an attack which follows a
successful parry either immediately, or after a certain delay,
determined by the position and movements of the adversary.
1. The Riposte is simple, direct, and " tac-au-tac," when it
28 FOIL AND SABRE.
is executed without auy delay whatever after the parry, in the
same line in which the adverse blade was encountered. This
riposte is always made on quitting the adverse blade after
having whipped it out of line by a parry, without lunging, but
upon the lunge of the adversary and simultaneous with the
touch of his right foot upon the ground. It is the most rapid
of all the ripostes. (See fig. 16.)
2. The Riposte is simple, direct, in opposition, and strategi-
cal when it is executed (with or without a lunge) in the line in
which one has encountered the adverse blade after being sure
of one's safety. This riposte is made after an opposition parry
upon an adversary whose blade hugs close to your own and
renders the riposte " tac-au-tac " impossible, since you fear a
Replacing. In this riposte it is necessary to conserve well the
opposition of heel to point. It may happen also that the posi-
tion of the adversary will force you to wait until he assumes
guard before you riposte, which would necessitate a lunge.
3. The Riposte is simple, indirect, and strategical when it
is executed (with or without a lunge) in the line opposite to
tliat in which the adverse blade has been encountered (after
being assured of it) or from the High into the Low Lines, or
vice versa. This riposte may be made after the sharp stroke
parry, if the adversary in seeking to save himself from a di-
rect riposte comes briskly to the parry. If he does not, it
is necessary to hold the adverse blade, and (standing still)
neither disengage nor cut-over except upon his Press or by
lunging upon his assumption of guard.
The Riposte in Low Line by a Bind is made only after an
opposition and immediately upon the contact of the blades.
4. The Riposte is composite and strategical when it is
executed in two movements (with or without lunge).
From these different classes of ripostes are to be chosen
those most appropriate to the peculiarities of the adversary,
observing whether he lunges with or without Opposition,
whether he attempts Replacing or Redoujaling or not, whether
he recovers rapidly or slowly, whether he attempts to parry
on the recovery or not.
FIRST LESSON — FIRST DIVISION. 29
SIMPLE FAERIES FOR SIMPLE ATTACKS, AND
DIRECT RIPOSTE.
^ Direct Theust.
1. Engage the blade ia Quarte. Engage the blade in Sixte.
2. On mi) Direct Thrust. On mij Direct Thrust.
3. Oppose (or Parry) Quarte. Oppose (or Parry) Sixte.
4. Riposte Direct, Riposte Direct.
5. On Guard. On Guard.
Without Analyzing.
Oppose Quarte. Oppose Sixte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by Counter, Riposte as above.
Disengagement.
1. Engage the blade in Quarte. Engage tlie blade iu Si^te.
2. On mij Disengagement. On mil Disengagement.
S. Oppose (or Parry) Sixte. Oppose (or Parry) Quarte.
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
Without Analyzing.
Oppose Sixte. Oppose Quarte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by Counter, Riposte as above.
CUT-OVEE.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my Cut-Over. On mij Cut-Over.
3. Oppose (or Parry) Sixte. Oppose (or Parry) Quarte.
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
Without Analyzing.
Oppose Sixte. Oppose Quarte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by Counter, Riposte as above.
30 FOIL AND SABRE.
The Feint. — The Feint is the action of making a false thrust,
and must be so executed as to be taken for a real one. This
move obliges your adversary to parry ; therefore hold your
point in readiness to deceive him either by making another
feint or by executing a tlirust in another line. The feint is
the exact reproduction of the real thrust, unaccompanied by
a lunge.
SECOND DIVISION.
ATTACKS COMPOSED OF TWO MOVEMENTS.
One-Two.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Feint Disengagement. Feint Disengagement.
3. I opp£Se Sixle. I oppose Qiiarte.
4. Disengage, lunge. Disengage, lunge.
5. On Guard. On Guard.
Without Analyzing.
One-Two. On Guard.
Double.
1. Engage the blade in Qnarte. Engage the blade in Sixte,
2. Feint Disengagement. Feint Disengagement.
3. / oppose Counter of Quarte. I oppose Counter oj Sixte.
4. Deceive, lunge. Deceive, lunge.
5. On Guard. On Guard.
Without Analyzing.
Double. On Guard.
Cut-Over and Disengage.
1 Engage the blade in Qnarte. Engage the blade in Sixte-
2 Feint Cut-Over. l^eint Cut-Over.
3. / oppose Sixte. J oppose Quarte.
4. Disengage, lunge. Disengage, lunge.
5. On Guard. On Guard.
Without Analyzing.
Cut-Over and Disengage. On Guard.
FIRST LESSON — SECOND DIVISION. 31
Cut-Over and Deceiye.
1. Engage the blade in Quarte. Engage the hlade in Sixte.
2. Feint Cut-Over. v Feint Cut-Over.
3 I oppose Counter 0^ Quarte. 1 oppose Counter of Sixte.
4 Deceive, lunge. Deceive, lunge.- * .
5. On Guard. ' •■ On Guard.
Without Analyzing.
Cut-Over and Deceive. On Guard.
PAEEIES COMPOSED OF TWO MOVEMENTS, AND
DIEECT EIPOSTES.
One-Two.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my feint of Disengagement. On mij feint of Disengagement.
3. Oppose (or Parry) Sixte. Oppose (or Parry) Quarte.
4. / disengage and lunge. I disengage and lunge.
5. Oppose Quarte. Oppose Sixte.
6. Riposte Direct. Riposte Direct.
7. On Guard. On Guard.
Without Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by one Opposition, Nos. 4 by Counter, and Riposte as
above.
Double.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my feint of Disengagement. On my feint of Disengagement .
3. Oppose (or Parry)Counterof Quarte. Oppose (or Parry) Counter of Sixte.
4. / deceive and lunge. I deceive and lunge.
5. Oppose (or Parry) Sixte. Oppose (or Parry) Quarte.
6. Riposte Direct. Riposte Direct.
7. On Guard. On Guard.
Without Analyzing.
Oppose Counter of Quarte and Sixte. Oppose Counter of Sixte and Quarte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 and 4 above by Counters, Riposte as above.
32 FOIL AND SABRE.
CUT-OVEK AND DiSENGAGE.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On mij feint of Cut-Over. On my femt nf Cut-Ocer.
3. Oppose (or Parry) Sixte. Oppose (or Parry) Quarte.
4. Z disengage and lunge. I disenyage and hinge.
5. Oppose (or Parry) Quarte. Oppose (or Parry) Sixte.
6. Riposte Direct. Eiposte Direct.
7. On Guard. On Guard.
Without Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Eiposte Direct. On Guard.
Command.
Parry the Nos. 2 above by Opposition, Nos. 4 by Counter, Eiposte as above.
Cut-Over and Deceive.
1 Engage the blade in Quarte. Engage the blade in Sixte.
2. On VI ij feint of Cat-Ocer. On my feint of Cut-Oi-er.
3. Oppose (or Parry)Counterof Quarte. Oppose (or Parry) Counter of Sixte.
4. / deceive and lunge. I deceive and lunge.
5. Oppose (or Parry *) Sixte. Oppose (or Parry) Quarte.
6. Eiposte Direct. Eiposte Direct.
7. On Guard. On Guard.
Without Analyzing.
Oppose Counter of Quarte and Sixte. Oppose Counter of Sixte and Quarte.
Eiposte Direct. On Guard.
Command.
Parry the Nos. 2 and 4 above by Counters, Eiposte as above.
* Observation : Hereafter at this point in the lesson I will
only employ the word " oppose," but the fencer should under-
stand that the words " or Parry " may follow it always, and
he should employ both styles of defence.
Note. — In all these lessons the instructor is supposed to be spealviug, and
his own movements are distinguished from the pupil's by the use of italics.
FIRST LESSON — THIRD DIVISION.
33
THIRD DIVISION.
ATTACKS COMPOSED OF THREE MOVEMENTS.
One-Two-Three.
1 . Engage the blade in Quarte.
2. Feint Disengagement.
3. I oppose Sixte.
4. Feint 2d Disengagement.
5 / oppose Quarle.
6. Disengage, lunge.
7. On Guard.
Engage the blade in Sixte.
Feint Disengagement.
/ oppose Quarte.
Feint 2d Disengagement.
/ oppose Sixte.
Disengage, lunge.
On Guard.
Without Analyzing.
One-Two-Three, On Guard.
One-Two, and Deceive.
1. Engage the blade in Quarte.
2. Feint Disengagement.
3. / oppose Sixte.
4. Feint 2d Disengagement.
f>. I oppose Counter of Sixte.
6. Deceive, lunge.
7 On Guard.
Engage the blade in Sixte.
Feint Disengagement.
/ oppose Quarte.
Feint 2d Disengagement.
/ oppose Counter of Quarte.
Deceive, lunge.
On Guard.
WiTHODT Analyzing.
One-Two and Deceive.
On Guard.
Double and Disengage.
1. Engage the blade in Quarte.
2 Feint Disengagement.
3 I oppose Counter of Quarte.
4. Deceive.
5. I oppose Sixte.
6. Disengage, lunge.
7 On Guard.
Engage the blade in Sixte.
Feint Disengagement.
/ oppose Counter of Sixte.
Deceive.
I oppose Quarte.
Disengage, lunge.
On Guard.
WiTHOnT Analy'zing.
Double and Disengage. On Guard.
Cut-Over and One-Two.
1. Engage the blade in Quarte.
2. Feint Cut-Over.
3. I oppose Sixte.
Engage the blade in Sixte.
Feint Cut-Over.
I oppose Quarte.
4 FOIL AND SABRE.
4. Feint Disengagement. Feint Disengagement.
5. I oppose Quarte. I oppose Sixte.
6. Disengage, lunge. Disengage, lunge.
7. On Guard. On Guard.
Without Analyzing.
Cut-Over and One-Two. On Guard.
PAEEIES COMPOSED OF THEEE MOVEMENTS. AND
DIEECT EIPOSTES.
One-Two-Threb.
1. Engage tlie blade in Quarte. Engage tlie blade in Sixte.
2. On mij feint of Disengagement. On m>/ feint of Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. I feint 2d Disengagement. I feint 2d Disengagement.
5. Oppose Quarte. Oppose Sixte.
6. / disengage and lunge. I disengage and lunge.
7. Oppose Sixte. Oppose Quarte.
8. Riposte Direct. Riposte Direct.
9. On Guard. On Guard.
Without Analyzixg
Oppose Sixte, Quarte, and Sixte. Oppose Quarte, Sixte, and Quarte.
Riposte Direct. On Guard.
Covimand.
Parry the Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte as
above.
One-Two, and Deceive.
1 Engage the blade in Quarte. Engage the blade in Sixte.
2. On 7n>/ feint of Disengagement. On mg feint of Disengagement.
3 Oppose Sixte. Oppose Quarte.
4. T feint 2d Disengagement. I feint 2d Disengagement.
5. Oppose Counter of Sixte. Oppose Counter of Quarte.
6. / deceive and lunge. 7 deceive and lunge.
7. Oppose Quarte. Oppose Sixte.
8. Riposte Direct. Riposte Direct.
9. On Guard. On Guard.
Without Analyzing.
Oppose Sixte, Counter of Sixte, Oppose Quarte. Counter of Quarte,
and Quarte. and Sixte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by Opposition, Nos. 4 and 6 by Counters, Riposte as
above.
FIRST LESSON — THIRD DIVISION.
35
Double and Disengage.
1. Engage the blade in Quarte.
2 On mi/ feint of Disengagement.
3. Oppose Counter of Quarte.
4. / deceive.
5. Oppose Sixte.
6. / disengage and lunge.
7. Oppose Quarte.
8. Riposte Direct.
9. On Guard.
Engage the blade in Sixte.
On mg feint of Disengagement.
Oppose Counter of Sixte.
1 deceive.
Oppose Quarte.
1 disengage and lunge.
Oppose Sixte.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Counter of Quarte, Sixte, Oppose Counter of Sixte, Quarte,
and Quarte. and Sixte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by Counter, Nos. 4 by Opposition, Nos. 6 by Counter,
Riposte as above.
Cut-Over and One-Two.
1. Engage the blade in Quarte.
2. On my feint of Cut-Over.
3. Oppose Sixte.
4. I feint 2d Disengagement.
5. Oppose Quarte.
6. I disengage and lunge.
7. Oppose Sixte.
8. Riposte Direct.
9. On Guard.
Engage the blade in Sixte.
On my feint of Cut-Over.
Oppose Quarte.
I feint 'id Disengagement.
Oppose Sixte.
/ disengage and lunge.
Oppose Quarte.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Sixte, Quarte, and Sixte. Oppose Quarte, Sixte, and Quarte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte as
above.
36
POIL AND SABRE.
FOURTH DIVISION.
ATTACKS COMPOSED OF FOUR MOVEMENTS.
One-Two-Three-Fo0r.
1 . Engage the blade in Quarte.
2. Feint Disengagement.
3. 1 oppose Sixte.
4. Feint ad Disengagement.
5. / oppose Quarte.
6. Feint 3d Disengagement.
7. / oppose Sixte.
8. Disengage, lunge.
9. On Guard.
Engage the hlade in Sixte.
Feint Disengagement.
/ oppose Quarte.
Feint 2d Disengagement.
/ oppose Sixte.
Feint 3d Disengagement.
/ oppose Quarte.
Disengage, lunge.
On Guard.
Without Analyzing.
One-Two-Three-Four. On Guard.
One-Two -Three, and Deceive.
1 . Engage the blade in Quarte.
2. Feint Disengagement.
3. / oppose Sixte.
4. Feint 2d Disengagement.
5. / oppose Quarte.
6. Feint 3d Disengagement.
7. / oppose Counter of Quarte
8. Deceive, lunge.
9. On Guard.
Engage the blade in Sixte.
Feint Disengagement.
/ oppose Quarte.
Feint 2d Disengagement.
/ oppose Sixte.
Feint 3d Disengagement.
I oppose Counter of Sixte.
Deceive, lunge.
On Guard.
Without Analyzing.
One-Two-Three, and Deceive.
On Guard.
One-Two, Deceive, and Disengage.
1.
Engage the blade in Quarte.
Feint Disengagement.
/ oppose Sixte.
Feint 2d Disengagement.
I oppose Counter of Sixte.
Deceive.
7. 1 oppose Quarte.
8. Disengage, lunge.
9. On Guard.
Engage the blade in Sixte.
Feint Disengagement.
/ oppose Quarte.
Feint 2d Disengagement.
/ oppose Counter of Quarte.
Deceive.
I oppose Sixte.
Disengage, lunge.
On Guard.
Without Analyzing.
One-Two, Deceive, and Disengage.
On Guard.
FIRST LESSON — FOURTH DIVISION.
37
DODBLE AND OnE-TwO.
Engage the blade in Quarte.
Feint Disengagement.
/ oppose Counter of Quarte.
Deceive.
/ oppose Sixte.
Feint 2d Disengagement.
/ oppose Quarte.
Disengage, lunge.
On Guard.
Engage the blade in Sixte.
Feint Disengagement.
/ oppose Counter of Sixte.
Deceive.
/ oppose Quarte.
Feint 2d Disengagement.
/ oppose Sixte.
Disengage, lunge.
On Guard.
Without Analyzing.
Double and One-Two. On Guard.
Double in Both Lines.
1. Engage the blade in Quarte.
2. Feint Disengagement.
3. / oppose Counter of Quarte.
4. Deceive.
/ oppose Sixte.
Feint 2d Disengagement.
/ oppose Counter of Sixte.
Deceive, lunge.
On Guard.
Engage the blade in Sixte.
Feint Disengagement.
/ oppose Counter of Sixte.
Deceive.
/ oppose Quarte.
Feint 2d Disengagement.
/ oppose Counter of Quarte.
Deceive, lunge.
On Guard.
WiTHODT Analyzing.
Double in both Lines. On Guard.
PAEEIES COMPOSED OF FOUR MOVEMENTS, AXD
DIRECT RIPOSTES.
One-Two-Three-Four.
1. Engage the blade in Quarte.
2 On my feint of Disengagement.
3. Oppose Sixte.
4. I feint 2d Disengagement.
5. Oppose Quarte.
6. I feint Sd Disengagement.
7. Oppose Sixte.
8. / disengage and lunge.
9. Oppose Quarte.
10. Riposte Direct.
11. On Guard.
Engage the blade in Sixte.
On mt/ feint of Disengagement.
Oppose Quarte.
I feint 2d Disengagement.
Oppose Sixte.
I feint Sd Disengagement.
Oppose Quarte.
/ disengage and lunge.
Oppose Sixte.
Riposte Direct.
On Guard.
38
FOIL AND SABRE.
Without Analyzing.
Oppose Sixte, Quarte, Sixte, Oppose Quarte, Sixte, Quarte,
aad Quarte. and Sixte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2, 4, and 6 above by Oppositions, Nos. 8 by Counter, Riposte as
above.
One-Two-Three, and Deceive.
1 . Engage the blade in Quarte.
2. On my feint of Disengagement,
3. Oppose Sixte.
4. 1 feint 2d Disengagement.
5. Oppose Quarte.
6. I feint 3d Disengagement.
7. Oppose Counter of Quarte.
8. / deceive and lunge.
9. Oppose Sixte.
10. Riposte direct.
11. On Guard.
Engage the blade in Sixte.
On my feint of Disengagement.
Oppose Quarte.
I feint 2d Disengagement.
Oppose Sixte.
I feint 3d Disengagement.
Oppose Counter of Sixte.
/ deceive and lunge.
Oppose Quarte.
Riposte direct.
On Guard.
WiTHOtiT Analyzing.
Oppose Sixte, Quarte, Counter
of Quarte, and Sixte.
Riposte Direct.
Oppose Quarte, Sixte, Counter
of Sixte, aud Quarte.
On Guard.
Command.
Parry the Nos. 2 and 4 by Oppositions, Nos. 6 and 8 by Counters, Riposte as
above.
One-Two, Deceive, and Disengage.
1. Engage the blade in Quarte.
2. On my feint of Disengagement.
3. Oppose Sixte.
4. I feint 2d Disengagement.
5. Oppose Counter of Sixte.
6. / deceive.
7. Oppose Quarte.
8. / disengage and lunge.
9. Oppose Sixte.
10. Riposte Direct.
11. On Guard.
Engage the blade in Sixte.
On my feint of Disengagement.
Oppose Quarte.
I feint 2d Disengagement.
Oppose Counter of Qnarte.
I deceive.
Oppose Sixte.
/ disengage and lunge.
Oppose Quarte.
Riposte Direct.
On Guard.
FIRST LESSON — FOURTH DIVISION. 39
AViTiiouT Analyzing.
Oppose Sixte, Counter of Sixte, Oppose Qaarte, Counter of Quarte,
Quarte, aud Sixte. Sixte, and Quarte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by Opposition, Nos. 4 by Counter, Nos. 6 by Opposi-
tion, Nos. 8 by Counter, Riposte as above. ■
Double and One-Two.
1 . Engage the blade in Quarte. Engage the blade in Sixte.
2. On rnij feint of Disenijaqement. On mi/ feint of Disengagement.
3. Oppose Counter of Quarte. Oppose Counter of Sixte.
4. I deceioe. I deceive.
5. Oppose Sixte. Oppose Quarte.
6. I feint 2d Disengagement. I feint 2d Disengagement.
7. Oppose Quarte. Oppose Sixte.
8. / disengage and lunge. 1 disengage and lunge.
9. Oppose Sixte. Oppose Quarte.
10. Riposte Direct. Riposte Direct.
11. On Guard. On Guard.
WiTHonx Analyzing.
Oppose Counter of Quarte, Sixte, Oppose Counter of Sixte, Quarte,
Quarte, and Sixte. Sixte, and Quarte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by Counter, Nos. 4 and 6 by Opposition, Nos. 8 by
Counters, Riposte as above.
Double in Both Lines.
1. Engage the blade in Quarte, Engage the blade in Sixte.
2. On mi/ feint of Disengagement. On mg feint of Disengagement.
3. Oppose Counter of Quarte. Oppose Counter of Sixte.
4. I deceive. 1 deceive.
5. Oppose Sixte. Oppose Quarte.
6 I feint 2d Disengagement. I feint 2d Disengagement.
7. Oppose Counter of Sixte. Oppose Counter of Quarte.
8. / deceive and lunge. ■■ I deceive and lunge.
9. Oppose Quarte. Oppose Sixte.
10. Riposte Direct. Riposte Direct.
11. On Guard. On Guard.
40 FOIL AND SABRE.
Without Analyzing.
Oppose Counter of Quarts, Sixte, Oppose Counter of Sixte, Quarte,
Counter of Sixte, and Quarte. Counter of Quarte, and Sixte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by Counter, Nos. 4 by Opposition, Nos. 6 and 8 by
Counters, Riposte as above.
SECOND LESSON — FIRST DIVISION.
The Beat.
The Beat is a sharp stroke, with more or less force, by the
point of your blade against the point of the adverse blade, in
order to brealt his guard and open a way for an attack. The
Beat should be made by the fingers and thumb only, — a quick
sharp movement.
SIMPLE ATTACKS PRECEDED BY A BEAT.
Direct Thrust.
1. Engage the blade iu Quarte. Engage the blade in Sixte.
2. Beat and extend your arm. Beat and exteud your arm.
3. Lunge. Lunge.
4. On Guard. On Guard.
WiTHonT Analyzing.
Beat and Lunge direct. On Guard.
Disengagement.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Beat and disengage. Beat and disengage.
3. Lunge. Lunge.
4. On Guard. On Guard.
Without Analyzing.
Beat and Disengage. On Guard.
second lesson — first division. 41
Cut-Over.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Beat and Cut-Over. Beat and Cut-Over.
3. Lunge. Lunge.
4. On Guard. On Guard.
Without Axalyzixg.
Beat and Cut-Over. On Guard.
Observation : — In the Beat preceding the Cut-Over, the point
of your blade should execute a retreating stroke toward vour
face preparatory to the Cut-Over.
ATTACKS COMPOSED OF TWO MOVEMENTS PEE-
CEDED BY A BEAT.
OxE-Two.
1. Engage the blade in Quarte. Engage the blarle in Sixte.
2. Beat and feint Disengagement. Beat and feint Disengagement.
3. 7 oppose Sirte. I oppose Quarte.
4. Disengage, lunge. Disengage, lunge.
5. On Guard. On Guard.
Without Analtzixg.
Beat, One-Two. On Guard.
Double.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Beat and feint Disengagement. Beat and feint Disengagement.
3. / oppose Counter of Quarte. I oppose Counter of Sixte.
4. Deceive, lunge. Deceive, lunge.
5. On Guard. On Guard.
Without Analyzing.
Beat and Double. On Guard.
Cut-Over and Disengage.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Beat and feint Cut-Over. Beat and feint Cut-Over.
3. / oppose Sixte. I oppose Quarte.
4. Disengage, lunge. Disengage, lunge.
5. On Guard. On Guard.
Without Analyzing.
Beat, Cut-Over, and Disengage. On Guard.
42
FOIL AND SABRE.
ATTACKS COMPOSED 'OF THEEE MOVEMENTS PEE-
CEDED BY A BEAT.
One-Two-Theee.
1. Engage the blade in Quarte.
2. Beat and feint Disengagement.
3. / oppose SIxte.
4. Feint 2d Disengagement.
3. I oppose Quarte.
6. Disengage, lunge.
7. On Guard.
Engage the blade in Sixte.
Beat and feint Disengagement.
/ oppose Qaatte.
Feint 2d Disengagement.
/ oppose Sixte.
Disengage, lunge.
On Guard.
WiTHOBT Analyzing.
Beat, One-Two-Three. On Guard.
One-Two, and Deceive.
1. Engage the blade in Quarte.
2. Beat and feint Disengagement.
3. / oppose Sixte.
4. Feint 2d Disengagement.
5. I oppose Counter of Sixte.
6. Deceive, lunge.
7. On Guard.
Engage the blade in Sixte.
Beat and feint Disengagement.^
/ oppose Quarte.
Feint 2d Disengagement.
/ oppose Counter of Quart&.
Deceire, lunge.
On Guard.
Without Analyzing.
Beat, One-Two, and Deceive.
On Guard.
Double and Disengage.
1. Engage the blade in Quarte.
2. Beat and feint Disengagement.
3. I oppose Counter of Quarte.
4. Deceive.
5. / oppose Sixte.
6. Disengage, lunge.
7. On Guard.
Engage the blade in Sixte.
Beat and feint Disengagement.
7 oppose Counter of Sixte.
Deceive.
I oppose Quarte.
Disengage, lunge.
On Guard.
Without Analyzing.
Beat, Double, and Disengage.
On Guard.
Observation : ■ — • Each of the above exercises must be re-
peated, substituting a Press, and Traverse, each in turn, in
place of Beat.
SECOND LESSON — SECOND DIVISION. 43
The Press. — The Press is a sharp pressure, with more or
less force, of your point against the adversary's point, in order
to break his guard and make an opening for your attack.
The Traverse. — The Traverse consists in making a pro-
longed and sharp pressure, a sort of scraping blow, on the
adverse blade, and must be effected by sliding down toward
his hilt. This move shakes your adversary's guard and makes
an opening for your Thrust.
SECOND DIVISION.
The Glide. — The Glide is the action of gliding along the
adverse blade, keeping it in opposition, and is in reality a feint
of direct thrust. Glide along your adversary's blade slyly and
without giving an alarm.
SIMPLE ATTACKS PEECEDED BY A GLIDE.
Direct Thrust.
1.
2.
Engage the blade in Quarte. Engage the blade in Sixte.
Glide. Glide.
3.
4.
Lunge Direct. Lunge Direct.
On Guard. On Guard.
Without Analyzing.
Glide and Lunge Direct. On Guard.
Disengagement.
1.
2.
Engage the blade in Quarte. Engage the blade in Sixte.
Glide. Glide.
3.
4.
I oppose Quarte. I oppose Sixte.
Disengage, lunge. Disengage, lunge.
On Guard. On Guard.
Without Analyzing.
Glide and Disengage. On Guard.
4 44 foil and sabre.
Cdt-Oveb.
1 . Engage the blade in Quarte. Engage the blade in Sixte.
2. Glide. Glide.
3. / oppose Quarte. I oppose Sixle.
4. Cut-Over, lunge. Cut-Over, lunge.
5. On Guard. On Guard.
Without Analyzing.
Glide and Cut-Over. On Guard.
Deceive.
1 . Engage the blade in Quarte. Engage the blade in Sixte.
2. Glide. Glide.
.3. I oppose Counter of Sixte. I oppose Counter of Quarte.
4. Deceive, lunge. Deceive, lunge.
5. On Guard. On Guard.
WiTiiODT Analyzing.
Glide and Deceive. On Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS,
PEECEDED BY A GLIDE.
One-Two.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Glide. Glide.
3. 7 oppose Quarte. I oppose Sixte.
4. Eeint Disengagement. Eeint Disengagement.
.5. 7 oppose Sixte, 1 oppose Quarte.
6. Disengage, lunge. Disengage, lunge.
7. On Guard. On Guard.
WiTHODT Analyzing.
Glide and One-Two. On Guard.
Cut-Over and Disengage.
1 . Engage the blade in Quarte. Engage the blade in Sixte.
2. Glide. Glide.'
3. 7 oppose Quarte. I oppose Sixte.
4. Feint Cut-Over. Feint Cut-Over.
.5. 7 oppose Sixte. I oppose Quarte.
6. Disengage, lunge. Disengage, lunge.
7. On Guard. On Guard.
Without Analyzing.
Glide, Cut-Over, and Disengage. On Guard.
second lesson — third division. 45
Double.
1 . Engage the blade in Quarte. Engage the blade in Sixte.
2. Glide. Glide.
3. 1 oppose Quarte. I oppose Sixte.
4. Feint Disengagement. Feint Disengagement.
5. / oppose Counter of Sixte. I oppose Counter of Quarte.
6. Deceive, lunge. Deceive, lunge.
7. On Guard. On Guard.
Without Analyzing.
Glide and Double. On Guard.
Deceive Two Counters.
1 Engage the blade in Quarte. Engage the blade in Sixte.
2. Glide. Glide.
3. I opposz Counter of Sixte. I oppose Counter of Quarte.
4. Deceive. Deceive.
5. I oppose Counter of Sixte. , I oppose Counter of Quarte.
6. Deceive, lunge. Deceive, lunge.
7. On Guard. On Guard.
WiTHOCT Analyzing.
Glide and Deceive Two Counters. On Guard.
THIRD DIVISION.
SIMPLE PARRIES FOR SIMPLE ATTACKS PRECEDED BY
A BEAT, PRESS, TRAVERSE, GLIDE, AND DIRECT
RIPOSTES.
Direct Thrust.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my Direct Thrust. On my Direct Thrust.
3. Oppose Quarte. Oppose Sixte.
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
Without Analyzing.
Oppose Quarte. Oppose Sixte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by Counter, Riposte as above.
46 foil and sabre.
Disengagement.
i. Engage the blade in Quarts. Engage the blade in Sixte.
2. On my Disengagement. On ,ny Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
Without Analyzing.
Oppose Sixte. Oppose Quarte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by a Counter, Riposte as above.
Cut-Over.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On mij Cut-Ooer. On my Cut-Oner.
3. Oppose Sixte. Oppose Quarte.
4. Riposte Direct. Ript)Ste Direct.
5. On Guard. On Guard.
Without Analyzing.,
Oppose Si.xte. Oppose Quarte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by a Counter, Riposte as above.
PARRIES COMPOSED OF TWO MOVEMENTS FOR ATTACKS
PRECEDED BY A BEAT, PRESS, TRAVERSE, GLIDE,
AND DIRECT RIPOSTES.
One-Two.
1 . Engpge the blade in Quarte. Engage the blade in Sixte.
2. On my feint of Disengagement. On my feint of Disengagement.
3. Oppose Sixte. Oppose Quarte
4. 1 disengage and lunge. I disengage and lunge.
5. Oppose Quarte. Oppose Sixte.
6. Riposte Direct. Riposte Direct.
7. On Guard. On Guard.
Without Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 and 4 above by one Opposition and one Counter, Riposte
as above.
a-,
second lesson — third division. 47
Double.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On mi/ feint of Disenqarjement. On mil feint of Disenqagement.
3. Oppose Counter of Quarte. Oppose Counter of Sixte.
4. / deceive and lunge. I deceive and lunge.
5. Oppose Sixte. Oppose Quarte.
6 Riposte Direct. Riposte Direct".
7. On Guard. Ou Guard.
Without Analyzing.
Oppose Counter of Quarte and Sixte. Oppose Counter of Sixte and Quarte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 and 4 above by Counters, Riposte as above.
Cut-Over and Disengage.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my feint of Cut-Over. On mij feint of Cut-Over.
3. Oppose Sixte. Oppose Quarte.
4. I disengage and lunge. I disengage and lunge.
5. Oppose Quarte. Oppose Sixte.
6. Riposte Direct. Riposte Direct.
7. On Guard. On Guard.
WiTHOnT Analyzixg.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte as above.
Glide and Deceive.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my Glide. On my Glide.
3. Oppose Counter of Sixte. Oppose Counter of Quarte.
4. I deceive and lunge. I deceive and lunge.
5. Oppose Quarte. Oppose Sixte.
6. Riposte Direct. Riposte Direct.
7. On Guard. On Guard.
Without Analyzing.
Oppose Counter of Sixte and Quarte. Oppose Counter of Quarte and Sixte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 and 4 above by Counters, Riposte as above.
48 FOIL AND SABRE.
PARRIES COMPOSED OF THREE MOVEMENTS FOR COM-
PLEX ATTACKS PRECEDED BY A BEAT, PRESS, TRA-
VERSE, GLIDE, AND DIRECT RIPOSTES.
One-Two and Deceive.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Oil mi/ feint of Disengagement. On my feint of Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. I feint 2d Disengagement. I feint 2d Disengagement.
5. Oppose Counter of Sixte. Oppose Counter of Quarte.
6. I deceive and lunge. I deceive and lunge.
7. Oppose Quarte. Oppose Sixte.
8. Riposte Direct. Riposte Direct.
9. Ou Guard. On Guard.
Without Analyzing.
Oppose Sixte, Counter of Sixte, and Oppose Quarte, Counter of Quarte, and
Quarte. Sixte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by Opposition, Nos. 4 and 6 by Counters, Riposte as
above.
One-Two-Three.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2 On my feint of Disengagement. On my feint of Disengagement
3. Oppose Sixte. Oppose Quarte.
4. / feint 2d Disengagement. I feint 2d Disengagement,
5. Oppose Quarte. Oppose Sixte.
6. I disengage and lunge. I disengage and lunge.
7. Oppose Sixte. Oppose Quarte.
8. Riposte Direct. Riposte Direct.
9. On Guard. On Guard.
Without Analyzing.
Oppose Sixte, Quarte, and Sixte. Oppose Quarte, Sixte, and Quarte.
Riposte Direct. Ou Guard.
Command.
Parry the Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte as
above.
SECOND LESSON — THIRD DIVISION.
49
Double and Disengage.
1 . Engage the blade in Quarte.
2. On mi/ feint of Disengagement.
3. Oppose Counter of Quarte.
4. / deceive.
5. Oppose Sixte.
6. / disengage and lunge.
7. Oppose Quarte.
8. Riposte Direct.
9. On Guard.
Engage the blade in Sixte.
On mi/ feint of Disengagement.
Oppose Counter of Sixte.
/ deceive.
Oppose Quarte.
/ disengage and lunge.
Oppose Sixte.
Riposte Direct.
On Guard.
WiTHonT Analyzing.
Oppose Counter of Quarte, Sixte, and
Quarte.
Riposte Direct. On Guard
Oppose Counter of Sixte, Quarte, and
Sixte.
Command.
Parry the Nos. 2 above by Counter, Nos. 4 by Opposition, Nos. 6 by Counter,
Riposte as above.
Glide and Deceive Two Counters.
1. Engage the blade in Quarte.
2. On my Glide.
3. Oppose Counter of Sixte.
4. / deceive.
5. Oppose Counter of Sixte.
6. / deceive and lunge.
7. Oppose Quarte.
8. Riposte Direct.
9. On Guard.
Engage the blade in Sixte.
On my Glide.
Oppose Counter of Quarte.
2 deceive.
Oppose Counter of Quarte.
I deceive and lunge.
Oppose Sixte.
Riposte Direct.
On Guard.
Oppose Counter of Sixte twice and
Quarte.
Riposte Direct,
Without Analyzing.
Oppose Counter of Quarte twice and
Sixte.
On Guard.
5( 50 FOIL AND SABRE.
FOURTH DIVISION.
MISCELLANEOUS ATTACKS.
Cut-Over and Traverse.
1. Engage the blade iu Quarts. Engage the blade in Sixte.
2. Cut-Over, traverse. Cut Over, traverse.
3. Lunge Direct. Lunge Direct.
4. On Guard. On Guard.
Without Analyzing.
Cut-Over and Traverse. On Guard.
Cut-Over, Traverse, and Disengage.
1 . Engage the blade in Quarte. Engage the blade in Sixte.
2. Cu^Over, traverse. Cut-Over; traverse.
3. / oppose Sixte. I oppose Quarte.
4. Disengage, lunge. Disengage, lunge.
5. On Guard. On Guard.
Without An.4.lyzing.
Cut-Over, Traverse, and Disengage. On Guard.
Double Cut-Over.
1 . Engage the blade in Quarte. Engage the blade in Sixte.
2. Feint Cut-Over. Feint Cnt-(.)ver.
3. / oppose Sixte. I oppose Quarte.
4. Cut-Over, lunge. Cut-Over, lunge.
5. On Guard. On Guard.
Without Analyzing.
Double Cut-Over. On Guard.
Disengage and Cut-Over.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Feint Disengagement. Feint Disengagement.
3. I oppose Sixte. I oppose Quarte.
4. Cut-Over, lunge. Cut-Over, lunge.
5. On Guard. On Guard.
Without Analyzing.
Disengage and Cut-Over. On Guard.
ff.'^^ • 'r^ ■~"™'.''?^-.'^.' v??"^-"
V „
SECOND LESSON — FOURTH DIVISION.
51
Disengage, Cut-Ovee, and Disengage.
1. Engage the blade in Quarte.
2. Feint Disengagement.
3. / oppose Sixte.
4. Feint Cut-Over.
5. 1 oppose Quarte,
6. Disengage, lunge.
7. On Guard.
Engage the blade in Sixte.
Feint Disengagement.
I oppose Quarte.
Feint Cut-Over.
/ oppose Sixte.
Disengage, lunge.
On Guard.
Without Analyzing.
Disengage, Cut-Over, and Disengage. On Guard.
One-Two, and Cut-Over.
Engage the blade in Sixte.
Feint Disengagement.
/ oppose Quarte.
Feint 2d Disengagement.
/ oppose Sixte.
Cut-Over, lunge.
On Guard.
1. Engage the blade in Quarte.
2. Feint Disengagement.
3. / oppose Sixte.
4. Feint 2d Disengagement.
5. / oppose Quarte.
6. Cut-Over, lunge.
7. On Guard.
Without Analyzing.
One-Two and Cut-Over. On Guard.
PAERIES FOR MISCELLANEOUS ATTACKS.
Cut-Over and Traverse.
1. Engage the blade in Quarte.
2. On my Cut-Over and Traverse.
3. Oppose Sixte.
4. Eiposte Direct.
5. On Guard.
Engage the blade in Sixte.
On my Cut-Over and Traverse.
Oppose Quarte.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Sixte. Oppose Quarte.
Eiposte Direct. On Guard.
Command.
Parry the Nos. 2 above by Counter, Eiposte as above.
Cut-Over, Traverse, and Disengage.
1. Engage the blade in Quarte.
2. On my Cut-Over and Traverse.
3. Oppose Sixte.
Engage the blade in Sixte.
On my Cut-Over and Traverse.
Oppose Quarte.
52 FOIL AND SABRE.
4. I disengage and lunge. I disengage and lunge.
5. Oppose Quarte. Oppose Sixte.
6. Riposte Direct. Riposte Direct.
7. On Guard. On Gnard.
Without Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte as above.
Double Cut-Over.
1.
Eigage the blade in Quarte.
Engage the blade in Sixte.
2.
On my feint of Cut-Over.
On mij feint of Cut-Over.
3.
Oppose Sixte.
Oppose Quarte.
4.
/ Cut-Over and lunge.
/ Cut-Over and lunge.
5.
Oppose Quarte.
Oppose Sixte.
6.
Riposte Direct.
Riposte Direct.
7.
On Guard.
On Guard.
WiTHoni Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte Direct. On Guard.
Disengage and Cut-Over.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my feint of Disengageynenl. On my feint uf Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. / Cut-Over and lunge. I Cut-Over and lunge.
5. Oppose Quarte. Oppose Sixte.
6. Riposte Direct. Riposte Direct.
7. On Guard. On Guard.
Without Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte as above.
SECOND LESSON — FIFTH DIVISION. 53
FIFTH DIVISION.
ATTACKS DECEIVING THE BEAT.
Disengagement.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my Beat. On my Beat.
3. Disengage, lunge. Disengage, lunge.
4. On Gua,rd. On Guard.
Without Analyzing.
On my Beat, Disengage. On Guard.
Double.
1 Engage the blade in Quarte. Engage the blade in Sixte.
2 On my Beat. On my Beat.
3. Eeint Disengagement. Feint Disengagement.
4. I oppose Counter of Quarte. I oppose Counter of Sixte.
5- Deceive, lunge. Deceive, lunge.
6. On Guard. On Guard.
Without Analyzing.
On my Beat, Double. On Guard.
One-Two.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my Beat. On my Beat.
3. Feint Disengagement. Feint Disengagement.
4. / oppose Sixte. I oppose Quarte.
5. Disengage, lunge. Disengage, lunge.
6. Ot Guard. On Gnard.
WiTHonT Analyzing.
On my Beat, One -Two. On Guard.
Disengage and Cut-Over.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my Beat On my Beat.
3. Feint Disengagement. Feint Disengagement.
4. / oppose Sixte. I oppose Quarte.
5. Cut-Over, Innge. Cut-Over, lunge.
6. On Guard. On Guard.
Without Analyzing.
On my Beat, Disengage and Cut-Over. On Guard.
54 FOIL AND SABRE.
Observation; — The same attacks must be repeated when
deceiving the Press. Your sword must not resist the press
of the adverse blade, but should yield to it.
PARRIES FOR SIMPLE AND COMPLEX ATTACKS
DECEIVING THE BEAT.
Disengagement.
1. Engage the blade iu Quarte. Engage the blade in Sixte.
2. On your Beat. On your Beat.
3. / disengage and lunge. I disengage and lunge.
4. Oppose Sixte. Oppose Quarte.
5. Riposte Direct. Riposte Direct.
6. On Guard. On Guard.
Without Analyzing.
Oppose Sixte. Oppose Quarte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 3 above by Counter, Riposte as above.
Double.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On your Beat. On your Beat.
3. I feint Disengagement. I feint Disengagement.
4. Oppose Counter of Quarte. Oppose Counter of Sixte.
5. I deceive and lunge. I deceive and lunge.
6. Oppose Sixte. Oppose Quarte.
7. Riposte Direct. Riposte Direct.
8. On Guard. On Guard.
WiTHODT Analyzing.
Oppose Counter of Quarte. Oppose Counter of Sixte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 3 and 5 above by Counters, Riposte as above.
One-Two.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On your Beat. On your Beat.
3. I feint Disengagement. I feint Disengagement.
THIRD LESSON — FIRST DIVISION. 55
4. Oppose Sixte. Oppose Quarte.
5. I feint 2d JDisenijagement. 1 feint 2d Disengagement.
6. Oppose Quarte. Oppose Sixte.
7. Riposte Direct. Riposte Direct.
8. On Guard. On Guard
WiTHOtiT Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte Direct. On Guard.
Command.
Parry the Nos. 3 and 5 above by Oppositions, Riposte as above.
Disengage and Cut-Oyer.
1. Engage the blade in i
Quarte.
Engage the blade in Sixte.
2. On your Beat.
On your Beat.
3. I feint Disengagement.
I feint Disengageme nt.
4. Oppose Sixte.
Oppose Quarte.
5. / Cut-Over.
/ Cut-Over.
6. Oppose Quarte.
Oppose Sixte.
7. Riposte Direct.
Riposte Direct.
8. On Guard.
On Guard.
Without Analyzing.
Oppose Sixte and Quarte.
Oppose Quarte and Sixte.
Riposte Direct.
Riposte Direct.
On Guard.
On Guard.
Observation : — Repeat the same Parries for attacks de-
ceiving the Press.
THIRD LESSON — FIRST DIVISION.
The Low-Thrust.
The Low-Thrust is an attack effected by passing the blade
from the High Line into the Low Line. — Lower your point
by a simple turn of the wrist to the right, and lunge in the
Low Line with the hand in opposition. Before executing the
Low-Thrust, care should be taken to close the High Line by a
feint of Direct Thrust, Beat, Traverse, or a Press.
56 TOIL AND' SABRE.
SIMPLE ATTACKS IN THE LOW LINE, PRECEDED
BY A GLIDE.
Low-Thrust.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Glide. Glide.
3. / oppose Quarte. I oppose Sixte.
4. Low-Thrust, lunge. Low-Thrust, lunge.
5. On Guard. On Guard.
Without Analyzing.
Glide and Low-Thrust. On Guard.
Deceive and Low-Thrust.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Glide. Glide.
3. I oppose Counter of Sixte. I oppose Counter of Quarte.
i. Deceive, low-thrust. Deceive, low-thrust.
5. On Guard. On Guard.
Without Analyzing.
Glide, Deceive, and Low-Thrust. On Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS IN THE HIGH
AND LOW LINES, PRECpDED BY A GLIDE.
Low-Thrust and Deceive.
1 Engage the blade in Quarte. Engage the blade in Sixte.
2 Glide. Glide.
3. / oppose Quarte. I oppose Sixte.
4. Feint Low-Thrust. Feint Low-Thrust.
5. / oppose Septime. I oppose Octave.
6. Deceive, lunge. Deceive, lunge.
7 On Guard. On Guard.
WiTHOuf Analyzing.
Glide, Low-Thrust, and Deceive. On Guard.
^"mmf
m
o
THIRD LESSON — FIRST DIVISION.
Disengage
AND
Low-Theust.
1.
2.
Engage the blade iu Quarte.
Glide.
Engage the blade in Sixte.
Glide.
3.
4.
5.
6.
/ oppose Quarle.
Feint Disengagement.
/ oppose Sixte.
Low-Thrust.
I oppose Sixte.
Feint Disengagement.
I oppose Quarte.
Low-Tlirust.
7.
On Guard.
On Guard.
Without Axalyzisg.
Glide, Disengage, and Low-Thrust. On Guard.
Disengage, Deceive,
AND Low-Thrust.
1.
2.
Engage the blade in Quarte.
Glide.
Engage the blade in Sixte.
Glide.
3.
4.
6.
/ oppose Quarte.
Feint Disengagement.
/ oppose Counter of Quarte.
Deceive, low-thrust.
I oppose Sixte.
Feint Disengagement.
7 oppose Counter of Sixte.
Deceive, low-thrnst.
7.
On Guard.
On Guard.
Without Analtzisg.
Glide, Disengage, Deceive, and Low-Thrust.
Cut-Over and Low-Thrust.
On Guard.
1. Engage the blade in Quarte.
2. Glide.
/ oppose Quarte.
Feint Cut-Over.
/ oppose Sixte.
Low-Thrust.
On Guard.
Engage the blade in Sixte.
Glide.
/ oppose Sixte.
Feint Cut-Over.
I oppose Quarte.
Low-Thrust.
On Guard.
Without Analyzing.
Glide, Cut-Over, and Low-Thrust.
On Guard.
Low-Thrust and Lunge in High Line.
1. Engage the blade in Quarte.
2. Glide.
3. I oppose Quarte.
4. Feiut Low-Thrust.
5. / oppose Septime.
6. Lunge in High Line.
7. On Guard.
Engage the blade in Sixte.
Glide.
/ oppose Sixte.
Feint Low-Thrust.
I oppose Octave.
Lunge in High Line.
On Guard.
Without Analyzing.
Glide, Low-Thrust, and Lunge in High Line.
On Guard.
58
FOIL AND SABRE.
ATTACKS COMPOSED OF THREE MOVEMENTS IN THE
HIGH AND LOW LINES, PRECEDED BY A GLIDE.
Low-Theust and One-Two in High Line.
1. Engage the blade in Quarte.
2. Glide.
3. / oppose Qiiarte.
4. Feint Low-Thrust.
5. / oppose Septime.
6. Feint in High Line.
7. / oppose Quarte.
8. Disengage, lunge.
9. On Guard.
Engage the blade in Sixte.
Glide.
/ oppose Sixte.
Feint Low-Thrust.
/ oppose Octave.
Feint in High Line.
/ oppose Sixte.
Disengage, lunge.
On Guard.
Without Analyzing.
Glide, Low-Thrust, and One-Two in High Line.
On Guard.
DiSENGACxE, Low-Thrust, and Deceive.
Engage the blade in Quarte.
Glide.
I oppose Quarte.
Feint Disengagement.
I oppose Sixte.
Feint Low-Thrust.
/ oppose Octave.
8. Deceive, lunge.
9. On Guard.
Engage the blade in Sixte.
Glide.
I oppose Sixte.
Feint Disengagement.
/ oppose Quarte.
Feint Low-Thrust.
/ oppose Septime.
Deceive, lunge.
On Guard.
Without Analyzing.
Glide, Disengage, Low-Thrust, and Deceive.
On Guard.
Disengage, Deceive, Low-Thrust, and Lunge in High Line.
1. Engage the blade in Quarte.
2. Glide.
3. / oppose Quarte.
4. Feint Disengagement.
5. I oppose Counter of Quarte.
6. Deceive, low-thrust.
7. / oppose Octnre.
8. Lunge in High Line.
9. On Guard.
Engage the blade in Sixte.
Glide.
I oppose Sixte.
Feint Disengagement.
I oppose Counter of Sixte.
Deceive, low-thrust.
I oppose Septime.
Lunge in High Line.
On Guard.
Without Analyzing.
Glide, Disengage, Deceive, Low-Thrust,
and Lunge in High Line.
On Guard.
third lesson — second division.
Cut-Over, Low-Thrust, and Lunge in High Line.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Glide. Glide.
3. / oppose Quarte. I oppose Sixte.
4. Feint Cut-Over. Feint Cut-Over.
5. / oppose Sixte. I oppose Quarte.
6. Feint Low-Thrast. Feint Low-Thrust.
7. I oppose Octave. I oppose Septime.
8. Lunge in High Line. Lunge in High Line.
9. On Guard. On Guard.
WiTHOCT Analyzing.
Glide, Cut-Over, Low-Thrust, and Lunge On Guard,
in High Line.
SECOND DIVISION.
SIMPLE ATTACKS IN THE LOW LINE PRECEDED
BY A BEAT.
Low-Theust.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Beat and Low-Thrust. Beat and Low-Thrust.
3. On Guard. On Guard.
Without Analyzing.
Beat and Low-Thrust. On Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS IN THE HIGH
AND LOW LINES, PRECEDED BY A BEAT.
Low-Thrust and Deceive.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Beat and feint Low-Thrust. Beat and feint Low-Thrust.
3. I oppose Septime. I oppose Octave.
i. Deceive, lunge. Deceive, lunge.
5. On Guard. On Guard.
Without Analyzing.
Beat, Low-Thrust, and Deceive. On Guard.
6(D FOIL AND SABRE.
Djsengage and IjOW-ThRUST.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Beat and feint Disengagement. Beat and feint Disengagement.
3. I oppose Sixte. I oppose Quarte.
4. Low-Thrust. Low-Thrust.
5. On Guard. On Guard.
Without Analyzing.
Beat, Disengage, and Low-Thrust. On Guard.
Disengage, Deceive, and Low-Thrust.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Beat and feiut Disengagement. Beat and feint Disengagement.
3. I oppose Counter oj' Quarte. I oppose Counter oj' Sixte.
4. Deceive, Low-Thrust. Deceive, Low-Thrust.
5. On Guard. On Guard.
Without Analyzing.
Beat, Disengage, Deceive, and Low-Thrust. On Guard.
Cut-Over and Low-Thrust.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Beat and feint Cut-Over. Beat and feint Cut-Over.
3. / oppose Sixte. I oppose Quarte.
4. Low-Thrust. Low-Thrust.
5. On Guard. Ou Guard.
Without Analyzing.
Beat, Cut-Over, and Low-Thrust. On Guard.
Low-Thrust and Lunge in High Line.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Beat and feint Low-Thrust. Beat and feint Low-Thrust.
3. I oppose Septime. I oppose Octave.
4. Lunge in High Line. Lunge in High Line.
5. On Guard. On Guard.
Without Analyzing.
Beat, Low-Thrust, and Lunge in High Line. On Guard.
H
E-i
S3
>^
&
o
«
fH
THIHD LESSOR — SECOND DIVISION.
61
ATTACKS COMPOSED OF THREE ]MOYEMENTS TN^ THE
HIGH AXD LOW LLN'ES, PRECEDED BY A BEAT.
Disengage, Low-Thrust, and Deceive.
1 . Engage the blade in Quarte.
2. Beat and feint Disengagement.
3. I oppose Sixte.
4. Feint Low-Thrust.
5. / oppose Octave.
6. Deceive, lunge.
7. On Guard.
Engage the blade in Sixte.
Beat and feint Disengagement.
I oppose Qnarif:,
Feint Low-Thrust.
/ oppose Septime.
Deceive, lunge.
On Guard.
Without Analyzing.
Beat, Disengage, Low-Thrust, and Deceive.
On Guard.
Disengage, Deceive, Low-Thbust, and Lunge in High Line.
1 . Engage the blade in Quarte.
2. Beat and feint Disengagement.
3. / oppose Counter of Qxiarte.
4. Deceive and feint Low-Thrust.
5. I oppose Octave.
6. Lnnge in High Line.
7. On Guard.
Engage the blade in Sixte.
Beat and feint Disengagement.
/ oppose Counter of Hixte.
Deceive and feint Low-Thrnst.
/ oppose Septime.
Lnnge in High Line.
On Guard.
Without Asaltzixg.
Beat, Disengage, Deceive, Low-Thrnst,
and Lunge in High Line.
On Guard.
Cut-Over, Low-Thrust, and Lunge in High Line.
Engage the blade in Quarte.
Beat and feint Cut-Over.
/ oppose Sixte.
Eeint Low-Thrust.
/ oppose Octave.'
Lnnge in High Line.
On Guard.
Engage the blade in Sixte.
Beat and feint Cut-Over.
I oppose Quarte.
Feint Low-Thrust.
/ oppose Septime.
Lunge in High Line.
On Guard.
Without Asaltzing.
Beat, Cut-Over, Low-Thrust, and Lunge
in High Line.
On Guard.
Observation: — Each of the above exercises must be re-
peated, substituting a Press and a Traverse, each in turn, in
place of Beat.
62 FOIL AND SABRE.
THIRD DIVISION.
The Bind. — The Bind consists in getting possession of your
adversary's blade, and carrying it down into the opposite Low
Line. It is simply necessary to pass your point over his hilt,
seize his point by your own Forte, thus enveloping his weapon.
Press it down. Forte to Feeble, from High Quarte to Low
Sixte, or from High Sixte to Low Quarte. His point having
been carried outside the line of the body, lunge under his
hand with the hand in opposition.
The Bind is effected on the adversary's feint, or when his
arm is extended. (See Fig. 17.)
SIMPLE ATTACK IN THE LOW LINE PEECEDED
BY A BIND.
Bind and Lunge.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Bind and lunge. Bind and lunge.
3. On Guard. On Guard.
Without Analyzing.
Bind and Lunge. On Guard.
ATTACK COMPOSED OF TWO MOVEMENTS IN THE HIGH
AND LOW LINES, PRECEDED BY A BIND.
Bind and Lunge in High Line.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Feint Bind. Eeint Bind.
3. / oppose Octave. I oppose Septime.
4. Lunge in High Line. Lunge in High Line.
5. On Guard. On Guard.
Without Analyzing.
Bind and Lunge in High Line. On Guard.
THIRD LESSON — THIRD DIVISION.
63
ATTACK COMPOSED OF THREE MOVEMENTS IN THE
HIGH AND LOW LINES, PRECEDED BY A BIND.
Bind and One-Two in High Line.
1. Engage the blade in Quarte.
2. Feint Bind.
3. / oppose Octave.
4. Feint in High Line.
5. I oppose Slxte,
6. Disengage, lunge.
7. On Guard.
Engage the blade in Sixte.
Feint Bind.
/ oppose Septime.
Feint iu High Line.
/ oppose Quarte.
Disengage, lunge.
On Guard.
Without Analyzing.
Bind and One-Two in High Line.
On Guard.
SIMPLE PARRIES IN THE LOW LINE AND DIRECT
RIPOSTES.
Low-Thrust.
1. Engage the blade in Quarte.
2. On my Low-Thrust.
3. Oppose Septime.
4. Riposte Direct.
5. On Guard.
Engage the blade in Sixte.
On mi/ Low-Thrust.
Oppose Octave.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Septime.
Riposte Direct.
Oppose Octave.
On Guard.
Bind.
1. Engage the blade iu Quarte.
2. On my Bind.
3. Oppose Octave.
4. Riposte Direct.
5. On Guard.
Engage the blade in Sixte.
On my Bind.
Oppose Septime.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Octave. Oppose Septime.
Riposte Direct. On Guard.
64
FOIL AND SABBE.
PARRIES, COMPOSED OF TWO MOVEMENTS IN THE HIGH
AND LOW LINES, AND DIRECT RIPOSTES.
I;OW-ThRUST and DECEIVE.
1.
Engage the blade in
Qnarte.
Engage the blade in Sixte.
2.
On mil feint in Low Line.
On my feint in Low Line.
3.
Oppose Septime.
Oppose Octave.
4.
/ deceive and lunge.
/ deceive and lunffe.
5.
Oppose Octave.
Oppose Septime.
6.
Eiposte Direct.
Riposte Direct.
7.
On Guard.
On Guard.
Without Analyzing.
Oppose Septime and Octave. Oppose Octave and Septime".
Kiposte Direct. On Guard.
Command.
Parry the above by Septime and Parry the above by Octave and
Counter. Counter.
Eiposte as above.
Low-Thrust and Lunge in High Line.
Engage the blade in Quarte.
On my feint in Low Line.
Oppose Septime.
/ lunge in High Line.
Oppose Quarte.
Riposte Direct.
On Guard.
Engage the blade in Sixte.
On mij feint in Low Line.
Oppose Octave.
/ lunge in Low Line.
Oppose Sixte.
Riposte Direct.
On Guard.
WiTHODT Analyzing.
Oppose Septime and Quarte. Oppose Octave and Sixte.
Riposte Direct. On Guard.
Bind and Lunge in High Line.
Engage the blade in Quarte.
On mg feint of Bind.
Oppose Octave.
/ lunge in High Line.
Oppose Si.xte.
Riposte Direct.
On Guard.
Engage the blade in Sixte.
On my feint of Bind.
Oppose Septime.
/ lunge in High Line.
Oppose Quarte.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Octave and Sixte. Oppose Septime and Quarte.
Riposte Direct. On Guard.
THIRD LESSON — THIRD DIVISION.
65
Disengage and Low-Thrust.
1 . Engage the blade in Quarte.
2. On my feint of Disengagement.
3. Oppose Sixte.
4. I thrust-low.
5. Oppose Octave.
6. Riposte Direct.
7. On Guard.
Engage the blade in Sixte.
On my feint of Disengagement.
Oppose Quarte.
1 thrust-low.
Oppose Septime.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Sixte and Octave. Oppose Quarte and Septime.
Riposte Direct. On Guard.
Cut-Over and Low-Thrust.
1. Engage the blade in Quarte.
2. On my feint of Cut-Oi-er.
3. Oppose Sixte.
4. / thrust-low.
5. Oppose Octave.
6. Riposte Direct.
7. On Guard.
Engage the blade in Sixte.
On my feint of Cut- Over.
Oppose Quarte.
/ thrust-low.
Oppose Septime.
Riposte Direct.
On Guard.
Without Analyzing.
Ojpose Sixte and Octave. Oppose Quarte and Septime.
Riposte Direct. On Guard.
Deceive and Low-Thrust.
1. Engage the blade in Quarte.
2. On my feint of Disengagement.
3. Oppose Counter of Quarte.
4. / deceive and thrust-low.
5. Oppose Octave.
6. Riposte Direct.
7. On Guard.
Engage the blade in Sixte.
On my feint of Disengagement.
Oppose Counter of Sixte.
/ deceive and thrust-low.
Oppose Septime.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Counter of Quarte and Octave. Oppose Counter of Sixte and Septime.
Riposte Direct. On Guard.
FOIL AND SABRE.
FOURTH DIVISION.
PAKRIES, COMPOSED OF THREE MOVEMENTS IN THE
HIGH AND LOW LINES, AND DIRECT RIPOSTES.
Disengage, Low-Thrust, and Deceive.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On 7111/ feint of Disengagement. On my feint nf Uisengagement.
3. Oppose Sixte. Oppose Quarte.
4. On my feint in Low Line. On my feint in Low Line.
5. Oppose Octave. Oppose Septime.
6. I deceive. I deceive.
7. Oppose Septime. . Oppose Octave.
8. Kiposte Direct. Eiposte Direct.
9. On Guard. On Guard.
Without Analyzing.
Oppose Sixte, Octave, and Septime. Oppose Quarte, Septime, and Octave.
Riposte Direct. On Guard.
Command.
Parry the No. 2 above by Sixte, No. 4 Parry the No. 2 above by Quarte, No.
by Octave, No. 6 by Counter. 4 by Septime, No. 6 by Counter.
Riposte as above.
Low-Thrust and One-Two in High Line.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my feint in Low Line. On my feint in Low Line.
3. Oppose Septime. Oppose Octave.
4. On my feint in High Line. On my feint in High Line.
5. Oppose Quarte. Oppose Sixte.
6. 7 disengage and lunge. I disengage and lunge.
7. Oppose Sixte. Oppose Quarte.
8 Riposte Direct, Riposte Direct.
9. On Guard, On Guard.
Without Analyzing.
Oppose Septime, Quarte, and Sixte. Oppose Octave, Sixte, and Quarte.
Riposte Direct. On Guard.
Command.
Parry the No. 2 above by Septime, Parry the No. 2 above by Octave, No,
No, 4 by Quarte, No. 6 by Counter. 4 by Sixte, No. 6 by Counter.
Riposte as above.
39
THIRD LESSON — FOURTH DIVISION.
67
Bind and One-Two in High Line.
1. Engage the blade in Qiiarte.
2. On niy feint of Bind.
3. Oppose Octave.
4. On my feint in High Line.
5. Oppose Si.xte.
6. I disengage and lunge.
7. Oppose Quarte.
8. Riposte Direct.
9. On Guard.
Engage the blade in Sixte.
On my feint of Bind.
Oppose Septime.
On mg feint in High Line.
Oppose Quarte.
/ disengage and lunge.
Oppose Sixte.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Octave, Sixte, and Quarte. Oppose Septime, Quarte, and Sixte.
Riposte Direct. On Guard.
Command.
Parry the No. 2 above by Octave, No. Parry the No. 2 above by Septime,
4 by Sixte, No. 6 by Counter. No. 4 by Quarte, No. 6 by Counter.
Riposte as above.
Deceive, Low-Thrust, and Lunge tn High Line.
1 . Engage the blade in Quarte.
2. On my feint of Disengagement.
3. Oppose Counter of Quarte.
4. / deceive and thrust-low.
5. Oppose Septime.
6. / lunge in High Line.
7. Oppose Quarte.
8. Riposte Direct.
9. On Guard.
Engage the blade in Sixte.
On my feint of Disengagement.
Oppose Counter of Sixte.
I deceive and thrust-low.
Oppose Octave.
/ lunge in High Line.
Oppose Sixte.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Counter of Quarte, Octave, Oppose Counter of Sixte, Septime,
and Sixte. and Quarte.
Riposte Direct. On Guard.
Cut-Over, Low-Thrust, and Deceive.
Engage the blade in Sixte.
On my feint of Cut-Over.
Oppose Quarte.
I thrust-low.
1. Engage the blade in Quarte.
2. On my feint of Cut-Over.
3. Oppose Sixte.
4. / thrust-low.
5. Oppose Octave. Oppose Septime.
6. / deceive. L deceive.
7. Oppose Septime. Oppose Octave.
8. Riposte Direct. Riposte Direct.
9. On Guard. On Guard.
Without Analyzing.
Oppose Sixte, Octave, and Septime. Oppose Quarte, Septime, and Octave.
Riposte Direct. On Guard.
68 FOIL AND SABEE.
FOURTH LESSON — FIRST DIVISION.
The Change of Engagement. — The Change of Engagement
is the action of taking a different engagement from the one
in which the sword happens to be. It is executed like the
engagement itself.
SIMPLE ATTACKS DECEIVING THE CHANGE OE
ENGAGEMENT.
DiBECT Thrust.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my Change of Engagement. On my Change of Engagement,
3. Lunge Direct. Lunge Direct.
4. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. On Guard. Lunge Direct.
Disengagement.
1. Engage the blade in Quarte. Engage tlie blade in Sixte.
2. On my Change of Engagement. On my Change of Engagement.
3. Disengage. Disengage.
4. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. On Guard. Disengage.
ATTACKS COMPOSED OF TWO MOVEMENTS DECEIVING
THE CHANGE OF ENGAGEMENT.
One-Two.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my Change of Engagement. On my Change of Engagement.
3. Feint Disengagement. Feint Disengagement.
4. / oppose Quarte. I oppose Sixte.
5. Disengage, lunge. Disengage, lunge.
6. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. On Guard. One-Two.
FOURTH LESSON — FIRST DIVISION.
69
Double.
1. Engage the blade in Quarte.
2. On mij Change of Engagement.
3. Feint Disengagement.
4. / oppose Counter of Sixte.
5. Deceive, lunge.
6. On Guard.
Engage the blade in Sixte.
On nig Change of Engagement,
Feint Disengagement.
I oppose Counter of Quarte.
Deceive, lunge.
On Guard.
Without Analyzing.
On my Change of Engagement. Double. On Guard.
ATTACKS COMPOSED OF THREE MOVEMENTS DECEIVING
THE CHANGE OF ENGAGEMENT.
One-Two-Theee.
1. Engage the blade in Quarte
2. On mij Change of Engagement.
.3. Feint Disengagement.
4. I oppose Quurte.
5. Feint 2d Disengagement.
6. / oppose Sixte.
7. Disengage, lunge.
8. On Guard.
Engage the blade in Sixte.
On my Change of Engagement.
Feint Disengagement.
/ oppose Sixte.
Feint 2d Disengagement.
I oppose Quarte.
Disengage, lunge.
On Guard.
Without Analyzing.
On my Change of Engagement. One-Two-Three. On Guard.
One-Two, and Deceive.
1. Engage the blade in Quarte.
2. On my Change of Engagement.
3. Feint Disengagement.
4. / oppose Quarte.
5. Feint 2d Disengagement,
6. I oppose Counter of Quarte.
7. Deceive, lunge.
8. On Guard.
Engage the blade in Sixte.
On my Change of Engagement.
Feint Disengagement.
/ oppose Sixte.
Feint 2d Disengagement.
/ oppose Counter of Sixte.
Deceive, lunge.
On Guard.
Without Analyzing.
On my Change of Engagement. One-Two, and Deceive. On Guard.
70 foil and sabre.
Double and Disengage.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my Change of Engagement. On my Change of Engagement.
3. Feint of Disengagement. Feint of Disengagement.
4. I oppose Counter of Sixte. I oppose Counter oj" Quarte.
5. Deceive. Deceive.
6. / oppose Quarte. I oppose Sixte.
7. Disengage, lunge. Disengage, lunge.
8. On Guard. Ou Guard.
Without Analyzing.
On my Change of Engagement. Double and Disengage. Oil Guard.
SIMPLE ATTACKS PRECEDED BY A BEAT, ON THE
CHANGE OF ENGAGEMENT.
DiEECT Thrust.
1 Engage the blade in Quarte. Engage the blade in Sixte.
2. On my Change of Engagement. On my Change of Engagement.
3. Beat and lunge direct. Beat and luuge direct.
4. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. Beat and Lunge Direct. Ou Guard.
Disengagement.
1. Engage the blade iu Quarte. Engage the blade in Sixte.
2. On my Change of Engagement. On my Change of Engagement.
3. Beat, disengage, and lunge. Beat, disengage, and lunge.
4. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. Beat and Disengage. On Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS PRECEDED
BY A BEAT, ON THE CHANGE OF ENGAGEMENT.
One-Two.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On mi/ Change of Engagement. On my Change of Engagement.
3. Beat and feint Disengagement. Beat and feint Disengagement.
.;;>i&.':i:;iiiaiiiai&i>>Mi::^'ii^.-iai4K'i:«a;iiK-;*^
FOURTH LESSON — SECOND DIVISION. 71
4. / oppose Quarte. I oppose Sixte.
5. Disengage, lunge. Disengage, lunge.
6. On Guard. On Guard.
WiTHODT Analyzing.
On my Change of Engagement. Beat, One-Two. On Guard.
Double.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my Change of Engagement. On mij Change oj Engagement.
3. Beat and feint Disengagement. Beat and feint Disengagement.
4. I oppose Counter of Sixte. 1 oppose Counter of Quarte.
5. Deceive, lunge. Deceive, lunge.
6. On Guard. On Guard.
"WiTHODT Analyzing.
On mi) Change of Engagement. Beat and Double. On Guard.
SECOND DIVISION.
SIMPLE PARRIES FOR ATTACKS OX A CHANGE OF
ENGAGEMENT, AND VARIOUS SIMPLE RIPOSTES.
Direct Thrust.
1. Engage the blade in Quarte. Engage the blade in Sixt«.
2 Change Engagement. Change Engagement.
3. / lunge direct. I lunge direct.
4. Oppose Sixte. Oppose Quarte.
5. Riposte Direct. Riposte Direct.
6. On Guard. On Guard.
Without Analyzing.
Oppose Sixte. Oppose Quarte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 4 above. Riposte by a Disengagement.
Parry as in Nos. 4 above. Riposte by a Cut-Over.
ObseT'vation : — In executing a Cut-Orer after an Opposition
or a Counter, the parry should be effected hj a retrograde
movement toward your face.
72 FOIL AND SABKE.
Disengagement.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Change Engagement. Change Engagement.
3 / disengage. I disengage.
4. Oppose Quarte. Oppose Sixte.
5. Riposte Direct. Riposte Direct.
6. On Guard. On Guard.
Without Analyzing.
Oppose Quarte. Oppose Sixte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 4 above, Riposte by a Disengagement.
Parry as in Nos. 4 above, Riposte by a Cut-Over.
Parry the Nos. 3 above, by Counter, and Riposte by each of the above.
SIMPLE PARRIES FOR ATTACKS ON A CHANGE OF
ENGAGEMENT, AND VARIOUS RIPOSTES IN TWO
MOVEMENTS.
Direct Thrust.
1. Engage the blade in Quarte. Engage the blade iu Sixte.
2. Change Engagement. Change Engagement.
3. / lunge direct. I lunge direct.
4. Oppose Sixte. Oppose Quarte,
5. Riposte by a Double. Riposte by a Double.
6. On Guard. On Guard.
Without Analyzing.
Oppose Sixte. Oppose Quarte.
Riposte by a Double On Guard.
Command.
Parry as in Nos. 4 above, Riposte by One-Two.
Parry as in Nos. 4 above. Riposte by Cut-Over and Disengage.
Disengagement.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Change Engagement. Change Engagement.
3. / disengage. I disengage.
4. Oppose Quarte. Oppose Sixte.
5. Riposte by a Double. Riposte by a Double.
6. On Guard. On Guard.
FOURTH LESSON — SECOND DIVISION. 73
Without Analyzing.
Oppose Quarte. Oppose Sixte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 4 above, Riposte by Oue-Two.
Parry as iu Nos. 4 above, Riposte by a Cut-Over, Disengage.
Parry Nos. 3 above, by Counter, and Riposte by each of the above.
FAERIES COMPOSED OF TWO MOVEMENTS FOR ATTACKS
ON A CHANGE OF ENGAGEMENT, AND VARIOUS
SIMPLE RIPOSTES.
One-Two.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. Change Engagement. Change Engagement.
3. On my feint of DisemjagemenL On my feint of Disengagement.
4. Oppose Quarte. Oppose Sixte.
5. / disengage and lunge. 1 disengage and lunge.
6. Oppose Sixte. Oppose Quarte.
7. Riposte Direct. Biposte Direct.
8. On Guard. On Guard.
WiTHOnT Analyzing.
Oppose Quarte and Sixte. Oppose Sixte and Quarte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 4 above. Riposte by a Disengagement.
Parry as in Nos. 4 above. Riposte by a Cut-Over.
Parry Nos. 5 by Counter, and Riposte by each of the above.
Double.
1. Engage the.blade in Quarte. Engage the blade in Sixte.
2. Cliange Engagement. Change Engagement.
3. On my feint of Disengagement. On my feint of Disengagement.
4. Oppose Counter of Sixte. Oppose Counter of Quarte.
5. I deceive and lunge. I deceive and lunge.
6. Oppose Quarte. Oppose Sixte.
7. Riposte Direct. Riposte Direct.
8. On Guard. On Guard.
74 FOIL AND SABRE.
Without Analyzing.
Oppose Counter of Sixte and Qnarte. Oppose Counter of Quarte and Sixte.
Riposte Direct. Ou Guard.
Command.
Parry as in Nos. 4 above, Riposte by a Disengagement.
Parry as in Nos. 4 above, Riposte by a Cut-Over.
Parry Nos. 3 and 5 above by Counters, and Riposte by each of the above.
PAKKIES COMPOSED OF TWO MOVEMENTS FOR ATTACKS
ON A CHANGE OF ENGAGEMENT, AND VARIOUS
RIPOSTES m TWO MOVEMENTS.
One-Two.
1 . Engage the blade in Quarte. Engage the blade in Sixte.
2. Change Engagement. Change Engagem&t
3. On my faint of Disenrjagement. On inij feint of Disengagement.
4. Oppose Quarte. Oppose Sixte.
5. I disengage and lunge. / disengage and lunge.
6. Oppose Sixte. Oppose Quarte.
7. Riposte by a Double. Riposte by a Double.
8. On Guard. On Guard.
Without Analyzing.
Oppose Quarte and Sixte. Oppose Sixte and Quarte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 4 above. Riposte by One-Two.
Parry as in Nos. 4 above. Riposte by a Cut-Over, Disengage.
Parry Nos. 5 by Counter, and Riposte by each of the above.
Double.
1. Eng.ige the blade in Quarte. Engage the blade in Sixte.
2. Change Engagement. Change Engagement.
3. On mij feint of Disengagement. On mg feint of Disengagement.
4. Oppose Counter of Sixte. Oppose Counter of Quarte.
.5. I deceive and lunge. I deceive and lunge.
6. Oppose Quarte. Oppose Sixte.
7. Riposte by One-Two. Riposte by One-Two.
8. On Guard. Ou Guard.
PIFTH LESSON — FIRST DIVISION. 75
Without Analyzing.
Oppose Counter of Sixte and Quarte. Oppose Counter of Quarte and Sixte.
Kiposte by One-Two. On Guard.
Command.
Parry as in Nos. 4 above, Riposte by a Double.
Parry as iu Nos. 4 above, Riposte by a Cut-Over, Disengage.
Parry Nos. 3 and 5 above by Counters, Riposte by each of the above.
FIFTH LESSON — FIRST DIVISION.
The Double Engagement.
The Double Engagement consists in executing two suc-
cessive Engagements without stopping and without altering
the position of the wrist. Care must be taken to be well
covered in the last Engagement. The first takes place in the
opposite line to that of departure. The double engagement
may be effected standing still, on the " advance " or " retreat."
In the two latter cases, the first engagement and the action of
stepping forward or backward are simultaneous, and the second
engagement follows immediately.
SIMPLE ATTACKS PRECEDED BY A DOUBLE
ENGAGEMENT.
Direct Thrust.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. Extend your arm. Extend your arm.
3. Lunge, On Guard. Lunge, On Guard.
Without Analyzing.
Double Engagement, Lunge direct. On Guard.
76 foil and sabre.
Disengagement.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. Disengage, lunge. Disengage, lunge.
3. On Guard. On Guard.
Without Analyzing.
Double Engagement, Disengage. On Guard.
Cut-Over.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. Cut-Over, lunge. Cut-Over, lunge.
3. On Guard. On Guard.
Without Analyzing.
Double Engagement, Cut-Over. On Guard.
CuT-OvEE, Traverse.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. Cut-Over, traverse. Cut-Over, traverse.
3. Lunge. Lunge.
4. On Guard. On Guard.
Without Analyzing.
Double Engagement, Cut-Over, Traverse. On Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS PRECEDED
BY A DOUBLE ENGAGEMENT.
One-Two.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. Feint Disengagement. Feint Disengagement.
3. I oppose Sixte. 1 oppose Quarte,
4. Disengage, lunge. Disengage, lunge.
5. On Guard. On Guard.
Without Analyzing.
Double Engagement, One-Two. On Guard.
o
/<-^
je^"t"'
fifth lesson— first division. 77
Double.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. Feint Disengagement. Feint Disengagement.
3. I oppose Counter of Quarte. I oppose Counter of Sixte.
4. Deceive, lunge. Deceive, lunge.
5. On Guard. On Guard.
Without Analyzino.
Double Engagement, Double. On Guard.
Cut-Over and Disengage.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. Feint Cut-Over. Feint Cut-Over.
3. / oppose Sixte. I oppose Quarte.
4. Disengage, lunge. Disengage, lunge.
5. On Guard. On Guard.
Without Analyzing.
Double Engagement, Cut-Over, and Disengage. On Guard.
Disengage and Cut-Over.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. Feint Disengagement. Feint Disengagement.
3. / oppose Sixte. I oppose Quarte.
4. Cut-Over, lunge. Cut-Over, lunge.
5. On Guard. On Guard.
Without Analyzing.
Double Engagement, Disengage, and Cut-Over. On Guard.
Cut-Over, Traverse, and Disengage.
Being Engaged in Quarte. Being Engaged in Si.xte.
1 . Double Engagement. Double Engagement.
2. Cut-Over and traverse. Cut-Over and traverse.
3. I oppose Sixte. I oppose Quarte.
4. Disengage, lunge. Disengage, lunge.
5. On Guard. On Guard.
Without Analyzing.
Double Engagement, Cut-Over, Traverse, and Disengage. On Guard.
78
FOIL AND SABRE.
ATTACKS COMPOSED OF THREE MOVEMENTS PRECEDED
BY A DOUBLE ENGAGEMENT.
One-Two-Three.
Being Engaged in Quarte. Being Engaged in Sixte.
1 . Double Engagement.
2. Feint Disengagement.
3. / oppose Sixle.
4. Feint 2d Disengagement.
5. I oppose Qua7-te.
6. Disengage, lunge.
7. On Guard.
Double Engagement.
Feint Disengagement.
/ oppose Quarte.
Feint 2d Disengagement.
/ oppose Sixte.
Disengage, lunge.
On Guard.
Without Analyzing.
Double Engagement, One-Two-Three. On Guard.
One-Two
Being Engaged in Quarte.
Double Engagement.
Feint Disengagement.
/ oppose Sixte.
Feint 2d Disengagement.
I oppose Counter of Sixte.
Deceive, lunge.
On Guard.
AND Deceive.
Being Engaged in Sixte.
Double Engagement.
Feint Disengagement.
/ oppose Quarte.
Feint 2d Disengagement.
I oppose Counter of Quarte.
Deceive, lunge.
On Guard.
Without Analyzing.
Double Engagement, One-Two, and Deceive. On Guard.
One-Two
Being Engaged in Quarte.
1 Double Engagement.
2. Feint Disengagement.
3. / oppose Sixte.
4. Feint 2d Disengagement,
ft. / oppose Quarte.
6 Cut Over, lunge.
7. On Guard.
AND Cut-Over.
Being Engaged in Sixte.
Double Engagement.
Feint Disengagement.
/ oppose Quarte.
Feint 2d Disengagement.
/ oppose Sixte.
Cut-(Jver, Inuge.
On Guard.
Without Analyzing.
Double Engagement, One-Two, and Cut-Over. On Guard.
FIFTH LESSON — FIRST DIVISION.
79
Double and Disengage.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement.
2. Feint Disengagement.
3. / oppose Counter of Quarte.
4. Deceive.
5. / oppose Sixte.
6. Disengage, Innge.
7. On Guard.
Double Engagement.
Feint Disengagement.
/ oppose Counter of Sixte.
Deceive.
/ oppose Quarte.
Disengage, lunge.
On Guard.
Without Analyzing.
Double Engagement, Double, and Disengage. On Guard.
Cut-Over and One-Two.
Being Engaged in Quarte.
1. Double Engagement.
2. Feint Cut-Over.
3. 7 oppose Sixte.
4. Feint Disengagement.
5. I oppose Quarte.
6. Disengage, lunge.
7. On Guard.
Being Engaged in Sixte.
Double Engagement.
Feint Cul^Over.
/ oppose Quarte.
Feint Disengagement.
I oppose Sixte.
Disengage, lunge.
On Guard.
Without Analyzing.
Double Engagement, Cut-Over, and One-Two. On Guard.
Disengage, Cut-Over, and Disengage.
Being Engaged in Quarte.
1. Double Engagement.
2. Feint Disengagement.
3.' I oppose Sixte.
4. Feint Cut-Over.
5. I oppose Quarte.
6 Disengage, lunge.
7. On Guard.
Being Engaged in Sixte.
Double Engagement.
Feint Disengagement.
/ oppose Quarte.
Feint Cut- Over.
/ oppose Sixte.
Disengage, lunge.
On Guard.
Without Analyzing.
Double Engagement, Disengage, Cut-Over, and Disengage. On Guard.
80 FOIL AND SABRE.
SECOND DIVISION.
SIMPLE PARRIES FOR ATTACKS PRECEDED BY A DOUBLE
ENGAGEMENT, AND VARIOUS SIMPLE RIPOSTES.
Direct Thrust.
Being E'lgaged in Quarte. Being Engaged in Sixta
1. Double Engagement, Double Engagement.
2. On my Direct Thrust. On my Direct Thrust.
3. Oppose Quarte. Oppose Sixte.
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
Without Analyzing.
Oppose Quarte. Oppose Sixte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3 above, Riposte by a Disengagement.
Parry as in Nos. 3 above. Riposte by a Cut-Over.
Disengagement.
Being Engaged in Quarte. Being Engaged in Sixte
1. Double Engagement. Double Engagement.
2. On my Disengagement. On my Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
Without Analyzing.
Oppose Sixte. Oppose Quarte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3 above, Riposte by a Disengagement.
Parry as in Nos. 3 above. Riposte by a Cnt-Over.
Parry Nos. 2 above by Counter, Riposte by each of the above.
>
O
o
OS
riFTH LESSON — SECOND DIVISION. 81
Cut-Over.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. On my Cut-Over. On mi) Cut-Ooer.
3. Oppose Sixte. Oppose Quarte.
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
Without Analyzing.
Oppose Sixte. Oppose Quarte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3 above, Riposte by a Disengagement.
Pacry as in Nos. 3 above, Riposte by a Cut-Over.
Parry Nos. 2 above, by Counter, Riposte by eacli of the above.
Cut-Over and Traverse.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. On mij Cut-Over and Traverse. On my Cut-Over and Traverse.
3. Oppose Sixte. Oppose Quarte.
4. Riposte Direct. Riposte Direct.
5 On Guard. On Guard.
Without Analyzing.
Oppose Sixte. Oppose Quarte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3 above, Riposte by a Disengagement.
Parry as in Nos. 3 above, Riposte by a Cut-Over.
SIMPLE PARRIES FOR ATTACKS PRECEDED BY A
DOUBLE ENGAGEMENT, AND VARIOUS RIPOSTES IN
TWO MOVEMENTS.
Direct Thrust.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. On my Direct Thrust. On my Direct Thrust.
3. Oppose Quarte. Oppose Sixte.
4. Riposte by a Double. Riposte by a Double.
5. On Guard. On Guard.
832 FOIL AND SABRE.
Without Analyzing.
Oppose Quarte. Oppose Sixte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 3 above, Riposte by One-Two.
Parry as in Nos. 3 above, Riposte by a Cut-Over, Disengage.
Disengagement.
Being Engaged in Quarte. Being Engaged in Sixte.
1 . Double Engagement. Double Engagement.
2. On mij Disengagement. On mi/ Disengagement
3. Oppose Sixte. Oppose Quarte.
4. Riposte by a Double. Riposte by a Double.
5. On Guard. On Guard.
Without Analyzing.
Oppose Sixte. Oppose Quarte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 3 above, Riposte by One-Two.
Parry as in Nos. 3 above, Riposte by a Cut-Over, Disengage.
Parry Nos 2 above by Counter, Riposte as above.
Cut-Over.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. On my Cut-Ooer. On mi/ Cut-Over.
3. Oppose Sixte. Oppose Quarte.
4. Riposte by a Double. Riposte by a Double.
5. On Guard. On Guard.
Without Analyzing.
Oppose Sixte. Oppose Quarte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 3 above. Riposte by One-Two.
Parry as in Nos. 3 above, Riposte by a Cut-Over, Disengage.
fifth lesson — third division. 83
Cut-Over, Traverse.
Being Engaged iu Quarte. Beiug Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. On my Cut-Over and Traverse. On my Cut-Over and Traveise.
3. Oppose Sixte. Oppose Quarte.
4. Kiposte by a Double. Riposte by a Double.
5. On Guard. On Guard.
Without Analtzixg.
Oppose Sixte. Oppose Quarte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 3 above, Riposte by One-Two.
Parry as in Nos. 3 above, Riposte by a Cut-Over, Disengage.
THIRD DIVISION.
PARRIES COMPOSED OF TWO MOVEMEXTS FOR ATTACKS,
PRECEDED BY A DOUBLE EXGAGEME:NT, AND VARI-
OUS SniPLE RIPOSTES.
One-Two.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. On my feint of Disengagement. On my feint of Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. / disengage and lunge. I disengage and lunge.
5. Oppose Quarte. Oppose Sixte.
6. Riposte Direct. Riposte Direct.
7. On Guard. On Guard.
Without Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte Direct. On Guard.
Comnmnd.
Parry as in Nos. 3 and .5 above, Riposte by a Disengagement.
Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over.
Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the
above.
84
FOIL AND SABRE.
Double.
Being Engaged in Quarte.
L Double Engagement.
2. On my feint of Disengagement.
3. Oppose Counter of Quarte.
4. / deceive and lunge.
5. Oppose Sixte.
6. Riposte Direct.
7. On Guard.
Being Engaged in Sixte.
Double Engagement.
On mi/ feint of Disengagement.
Oppose Counter of iSixte.
/ deceive and lunge.
Oppose Quarte.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Couuter of Quarte and Sixte. Oppose Counter of Sixte and Quarte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3 and 5 above, Riposte by a Disengagement.
Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over.
Parry Nos. 2 and 4 above by Counters, Riposte by each of tlie above.
CUT-OVEE AND DISENGAGE.
Being Engaged in Quarte.
1. Double Engagement.
2. On mij feint of Cut-Over.
3. Oppose Sixte.
4. / disengage and lunge.
5. Oppose Quarte.
6. Riposte Direct.
7. On Guard.
Being Engaged in Sixte.
Double Engagement.
On my feint of Cut-Over.
Oppose Quarte.
7 disengage and lunge.
Oppose Sixte.
Riposte Direct.
On Guard.
Without Analyzing.
(jppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3 and 5 above, Riposte by a Disengagement.
Parry as in Nos. 3 and 5 above. Riposte by a Cut-Over.
Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the
above.
Cut-Over, Traverse, and Disengage.
Being Engaged in
Quarte.
Being Engaged in Si.Kte.
1.
Double Engagement.
Double Engagement.
2.
On my Ciil-Over and T
raverse.
On my Cut-Over and Traver
3.
Oppose Sixte.
Oppose Quarte.
4.
I disengage and lunge.
/ disengage and lunge.
5.
Oppose Quarte.
Oppose Sixte.
6.
Riposte Direct.
Riposte Direct.
7.
On Guard.
On Guard.
FIFTH LESSON — THIRD DIVISION. 85
Without Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. .3 and 5 above, Riposte by a Disengagement.
Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over.
Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the
above.
Disengage and Cut-Over.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. On my feint oj Disengagement. On my feint of Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. I Cut-Ocer and lunge. I Cut-Over and lunge.
5. Oppose Quarte. Oppose Sixte.
6. Riposte Direct. Riposte Direct.
7. On Guard. On Guard.
Without Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3 above. Riposte by a Disengagement.
Parry as in Nos. 3 above. Riposte by a Cut-Over.
PARRIES COMPOSED OF TWO MOVEMENTS FOR ATTACKS,
PRECEDED BY A DOUBLE ENGAGEMENT, AND VARI-
OUS RIPOSTES IN TWO MOVEMENTS.
One-Two.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. On my feint of Disengagement. On my feint of Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. / disengage and lunge. I disengage and lunge.
5. Oppose Quarte. Oppose Sixte.
6. Riposte by a Double. Riposte by a Double.
7. On Guard. On Guard.
Without Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte by a Double On Guard.
86 FOIL AND SABRE.
Command.
Parry as in Nos. 3 and 5 above, Riposte by One-Two.
Parry as in Nos. 3 and 5 above, Riposte by a Cat-Over, and Disengagement.
Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the
above.
Double.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. 071 mij feint of Disengagement. On my feint of Disengagement.
3. Oppose Counter of Quarte. Oppose Counter of Sixte.
4. / deceive and lunge. I deceive and lunge.
5. Oppose Sixte. Oppose Quarte.
6. Riposte by a Double. Riposte by a Double.
7. On Guard. On Guard.
Without Analyzing.
Oppose Counter of Quarte and Sixte. Oppose Counter of Sixte and Quarte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 3 and 5 ahove, Riposte by One-Two.
Parry as iu Nos. 3 and 5 above, Riposte by a Cut-Over, and Disengagement.
Parry Nos. 2 and 4 above by Counters, Riposte by each of the above.
Cut-Over and Disengage.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. On my feint of Cut-Over. On my feint of Cui-Ocer.
3. Oppose Sixte. Oppose Quarte.
4. I disengage and lunge. I disengage and lunge.
5. Oppose Quarte. Oppose Sixte.
6. Riposte by a Double. Riposte by a Double.
7. On Guard. On Guard.
Without Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 3 and 5 above, Riposte by One-Two.
Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over, and Disengagement.
Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the
above.
fifth lesson — third division. 87
Cut-Over, Traverse, and Disengage.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. On my Cal-Ocer, and Traverse. On my Cut-Over, and Traverse.
3. Oppose Sixte. Oppose Quarte.
4. I disengage and lunge. I disengage and lunge.
5. Oppose Quarte. Oppose Sixte.
6 Kiposte by a Double. Riposte by a Double.
7- On Guard. On Guard.
Without Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 3 and 5 above, Riposte by One-Two.
Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over, and Disengagement.
Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the
above.
Disengage and Cut-Over.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement. Double Engagement.
2. On my feml of Disengagement. On my feint of Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. I Cut-Over and lunge. I Cut-Over and lunge.
5. Oppose Quarte. Oppose Sixte.
6. Riposte by a Double. Eiposte by a Double.
7. On Guard. On Guard.
Without Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 3 and 5 above. Riposte by One-Two.
Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over, and Disengagement.
88
FOIL AXD SABRE
FOURTH DIVISION.
PARRIES COMPOSED OF THREE MOVEMENTS FOR AT-
TACKS PRECEDED BY A DOUBLE ENGAGEMENT, AND
VARIOUS SIMPLE RIPOSTES.
Oxe-Two-Thbee.
Being Engaged in Quarte.
1. Double Engagement.
2. On my feint oj Disenyagemenl.
3. Oppose Sixte.
4. 1 feint 2d Disengagement
5. Oppose Quarte.
6. / disengage and lunge.
7. Oppose Sixte.
8. Riposte Direct.
9. On Guard.
Being Engaged in Sixte.
Double Engagement.
On my feint of Disengaqement.
Oppose Quarte.
/ feint 2d Disengagement.
Oppose Si.xte.
/ disengage and lunge.
Oppose Quarte.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Sixte, Quarte, and Sixte. Oppose Quarte, Sixte, and Quarte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3, 5, and 7 above. Riposte by a Disengagement.
Parry as in Nos 3, 5, and 7 above. Riposte by a Cut-Over.
Parry Nos. 2 and 4 above by Oppositions, Nos 6 by Counter, Riposte by each
of the above.
One-Two and Deceive.
Being Engaged in Quarte.
1 . Double Engagement.
2. On my feint of Disengaqement.
3. Oppose Sixte.
4. I feint 2d Disengagement.'
5. Oppose Counter of Sixte.
6. I deceive and lunge.
7. Oppose Quarte.
8 Riposte Direct.
9. On Guard.
Being Engaged in Sixte.
Double Engagement.
On my feint of Disengagement.
Oppose Quarte.
I feint 2d Disengagement.
Oppose Counter of Quarte.
/ deceive and lunge.
Oppose Sixte.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Sixte, Counter of Sixte, and Oppose Quarte, Counter of Quarte, and
Quarte. Sixte
Riposte Direct. On Guard.
FIFTH LESSON — FOURTH DIVISION.
89
Command.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Disengageraeut.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over.
Parry Nos. 2 above by Opposition, Nos. 4 and 6 by Counters, Riposte by each
of the above.
One-Two and Cut-Over.
Being Engaged in Quarte.
1. Double Engagement.
2. On mil feint of Disengagement.
3. Oppose Sixte.
4. I feint 2d Disengagement.
5. Oppose Quarte.
6. / Cut-Over and lunge,
7. Oppose Sixte.
8. Riposte Direct.
9. On Guard.
Being Engaged in Sixte.
Double Engagement.
On my feint of Disengagement.
Oppose Quarte.
I Jemt 2d Disengagement.
Oppose Sixte.
7 Cut-Over and lunge
Oppose Quarte.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Sixte, Quarte, and Sixte. Oppose Quarte, Sixte, and Quarte.
Riposte Direct. On Guard.
Command.
Parry as in Nos 3, 5, and 7 above. Riposte by a Disengagement.
Parry as in Nos 3, 5, and 7 above. Riposte by a Cut-Over.
Double and Disengage.
Being Engaged in Quarte.
1 Double Engagement.
2. On my feint of Disengagement.
3. Oppose Counter of Quarte.
4. / deceive.
5. Oppose Sixte.
6. I disengage and lunge.
7. Oppose Quarte.
8. Riposte Direct.
9. On Guard.
Being Engaged in Sixte.
Double Engagement.
On mi/ feint of Disengagement.
Oppose Counter of Sixte.
/ deceive.
Oppose Quarte.
/ disengage and lunge.
Oppose Sixte.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Counter of Quarte, Sixte, and Oppose Counter of Sixte, Quarte, and
Quarte. ^ Sixte
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Disengagement.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over
Parry Nos. 2 above by Counter, Nos. 4 by Opposition, Nos. 6 by Counter,
Riposte by each of the above.
90
TOIL AND SABRE.
Cut-Over and One-Two.
Being EngageJ in Quarte.
1, Double Engagement.
2. Oil in ij feint of Cttt-Ot'er.
3 Oppose Sixte.
4. On mi/ feint of Disengagement.
5. llppose Quarte.
6. / disengage and lunge.
7 Oppose Sixte.
S. Kiposte Direct.
9. On Guard.
Being Engaged in Sixte.
Double Engagement
On my feint of Cut-Over.
Oppose Quarte.
On my feint of Disengagement.
Oppose Sixte.
/ disengage and lunge.
Oppose Quarte.
Riposte Direct.
On Guard.
Without Ax.vlyzixc.
Oppose Sixte, Quarte, and Sixte. Oppose Quarte, Sixte, and Quarte.
Riposte Direct. On Guard
Cmmnand.
Parry as in Xos .3, 5, and 7 above. Riposte by a Disengagement.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over.
Parry Xos. 2 and 4 above by Oppositions, Xos 6 by Counter, Riposte by each
of tlie above.
Disengage, Cut-Over, and Disengage.
Being Engaged in Quarte
1. Double Engagement.
2. On mg feint of Disengagement.
3. Oppose Sixte.
4. On my feint of Cid-Ocer.
5. Oppose Quarte.
6. I disengage and lunge.
7. Oppose Si.xte.
8. Riposte Direct.
9. On Guard.
Being Engaged in Sixte.
Double Engagement.
On mi/ feint of Disengagement.
Oppose Quarte.
On my feint of Cut-Over.
Oppose Sixte.
1 disengage and lunge.
Oppose Quarte.
Riposte Direct.
On Guard.
AVlTHOUT AN.4LYZING
Oppose Sixte, Quarte, and Sixte. Oppose Quarte, Sixte, and Quarte.
Riposte Direct. On Guard
Command.
Parry as in Xos. 3, 5, and 7 above, Riposte by a Disengagement.
Parry as in Xos, 3. 5, and 7 above, Riposte by a Cut-Over.
Parry Xos 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte by each
of the above.
'«
FIFTH LESSON — FOURTH DIVISION.
91
PARRIES COMPOSED OF THREE MOVEMEXTS FOR AT-
TACKS PRECEDED BY A DOUBLE ENGAGEMENT,
AND VARIOUS RIPOSTES IN TWO MOVEMENTS.
One-Two-Three.
Being Engaged in Quarte.
1. Double Engagement.
2. On my feint of Disengagement.
3. Oppose Sixte.
4. 1 feint 2d Disengagement.
5. Oppose Quarte.
6. / disengage and lunge.
7. Oppose Sixte.
8. Riposte by a Double.
9. On Guard.
Being Engaged in Sixte.
Double Engagement.
On my feint of Disengagement.
Oppose Quarte.
I feint 2d Disengagement.
Oppose Sixte.
/ disengage and lunge.
Oppose Quarte.
Riposte by a Double.
On Guard.
Without Analyzing.
Oppose Sixte, Quarte, and Sixte. Oppose Quarte, Sixte, and Quarte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 3, 5, and 7 above, Riposte by One-Two.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over, and Disengagement.
Parry Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte by eacli
of the above.
One-Two and Deceive.
Being Engaged in Quarte.
1. Double Engagement.
2. On my feint of Disengagement.
3. Oppose Sixte.
4. I feint 2d Disengagement.
5. Oppose Counter of Sixte.
6. / deceive and lunge.
7. Oppose Quarte.
8. Riposte by a Double.
9. On Guard.
Being Engaged in Sixte.
Double Engagement.
On my feint of Disengagement.
Oppose Quarte.
1 feint 2d Disengagement.
Oppose Counter of Quarte.
/ deceive and lunge.
Oppose Sixte.
Riposte by a Double.
On Guard.
Without Analyzing.
Oppose Sixte, Counter of Sixte, and Oppose Quarte, Counter of Quarte, and
Quarte. Sixte.
Riposte by a Double. On Guard.
92 FOIL AND SABRE.
Command.
Parry as in Nos. 3, 5, and 7 above, Riposte by One-Two.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over, and Disengagement.
Parry Nos. 2 above by Opposition, Nos. 4 and 6 by Counters, Riposte by each
of the above.
One-Two and Cut-Over.
Being Engaged in Quarte.
1. Double Engagement.
2. On mij feint of Disengagement,
3. Oppose Sixte.
4. I feint 2d Disengagement.
5. Oppose Quarte.
6. / Cut-Ouer and lunge.
7. Oppose Sixte.
8. Riposte by a Double.
9. On Guard.
Being Engaged in Sixte.
Double Engagement.
On my feint of Disengagement.
Oppose Quarte.
/feint 2d Disengagement.
Oppose Sixte.
/ Cut-Over and lunge.
Oppose Quarte.
Riposte by a Double.
On Guard.
Without Analyzing.
Oppose Sixte, Quarte, and Sixte. Oppose Quarte, Sixte, and Quarte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 3, 5, and 7 above. Riposte by One-Two.
Parry as in Nos. 3, 5, and 7 above. Riposte by a Cut-Over, and Disengagement,
Parry Nos. 2 and 4 above by Oppositions, No. 6 by Counter, Riposte by each of
the above.
Double, and Disengage.
Being Engaged in Quarte.
1. Double Engagement.
2. On mg Jeint of Disengagement.
3. Oppose Counter of Quarte.
4. / deceive.
.■>. Oppose Sixte.
6. / disengage and lunge.
7. Oppose Quarte.
8. Riposte by a Double.
9. On Guard.
Being Engaged in Sixte.
Double Engagement.
On my feint of Disengagement.
Oppose Counter of Sixte.
/ deceive.
Oppose Quarte.
I disengage and lunge.
Oppose Sixte.
Riposte by a Double.
On Guard.
Without Analyzing.
Oppose Counter of Quarte, Sixte, Oppose Counter of Sixte, Quarte,
and Quarte. and Sixte.
Riposte by a Double. On Guard.
FIFTH LESSON — FOURTH DIVISION.
93
Command.
Parry as in Nos. 3, 5, and 7 above, Riposte by One-Two.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over, and Disengagement.
Parry Nos. 2 above by Counter, Nos. 4 by Opposition, Nos. 6 by Counter, Riposte
by each of the above.
Cut-Over, One-Two.
Being Engaged in Quarte.
1. Double Engagement.
2. On VI ji feint of Cut-Over.
3. Oppose Sixte.
4. On mji feint of Disengagement.
5. Oppose Quarte.
6. / disengage and lunge,
7. Oppose Sixte.
8. Riposte by a Double.
9. On Guard.
Being Engaged in Sixte.
Double Engagement.
On my feint of Cut-Over.
Oppose Quarte.
On mi/ feint of Disengagement.
Oppose Sixte.
/ disengage and lunge.
Oppose Quarte.
Riposte by a Double.
On Guard.
Without Analyzing.
Oppose Sixte, Quarte, and Sixte. Oppose Quarte, Sixte, and Quarte.
Riposte by a Double. On Guard.
Com/iiand.
Parry as in Nos. 3, 5, and 7 above. Riposte by One-Two.
Parry as in Nos. 3, 5, and 7 above. Riposte by a Cut-Over, and Disengagement.
Parry Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte by each of
the above.
Disengage, Cut-Oveb,
Being Engaged in Quarte.
Double Engagement.
On my Jeint of Disengagement.
Oppose Sixte.
On mil feint of Cut-Over.
Oppose Quarte.
/ disengage and lunge.
7. Oppose Sixte.
8. Riposte by a Double.
9. On Guard.
AND Disengage,
Being Engaged in Sixte.
Double Engagement.
On my feint of Disengagement.
Oppose Quarte.
On my feint of Cut-Over.
Oppose Sixte.
/ disengage and lunge.
Oppose Quarte.
Riposte by a Double.
On Guard.
Without Analyzing.
Oppose Sixte, Quarte, and Sixte. Oppose Quarte, Sixte, and Quarte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 3, 5, and 7 above. Riposte by One Two.
Parry as in Nos. 3, 5, and 7 above. Riposte by a Cut-Over, and Disengagement.
Parry Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte by each
of the above.
94 TOIL AND SABRE.
SIXTH LESSON — FIRST DIVISION.
SIMPLE ATTACKS WHILE ADVANCING, OR UPON THE
ADVERSARY'S ADVANCE.
Direct Thrust.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Ee-
Ketreat). treat).
2. Extend your arm. Extend your arm.
3. Lunge. Lunge.
4. On Guard. On Guard.
Without Analyzing.
Lunge Direct. On Guard.
Disengagement.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Ee-
Eetreat). treat).
2. Disengage, lunge. Disengage, lunge.
3. On Guard. On Guard.
Without Analyzing.
Disengage. On Guard.
Cut-Oyer.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Ee-
Eetreat). treat).
2. Cut-over, lunge. Cut-over, lunge.
3. On Guard. On Guard.
Without Analyzing.
Cut-Over. On Guard.
Cut-Over, Traverse.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Ke-
Retreat). treat).
2. Cut-over, traverse. " Cut-over, traverse.
3. Lunge. Lunge.
4. On Guard. On Guard.
Without Analyzing.
Cut-Over, Traverse. On Guard.
SIXTH LESSON — FIRST DIVISION. 95
ATTACKS COMPOSED OF TWO MOVEMENTS WHILE AD-
VANCING, OR UPON THE ADVERSARY'S ADVANCE.
One-Two.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Ke-
Retreat). treat).
2. Feint Disengagement. Feint Disengagement.
3 / oppose Sixie. I oppose Quarte.
4. Disengage, lunge. Disengage, lunge.
5. On Guard. On Guard.
Without Analyzing.
One-Two. On Guard.
Double.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. Feint Disengagement. Feint Disengagement.
3. I oppose Counter of Quarte. I oppose Counter of Sixte.
4. Deceive, lunge. Deceive, lunge.
5. On Guard. On Guard.
Without Analyzing.
Double. On Guard.
Cut-Over and Disengage.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. Feint Cut-Over. Feint Cut-Over.
3. / oppose Sixte. I oppose Quarte.
4. Disengage, lunge. Disengage, lunge.
5. On Guard. On Guard.
Without Analyzing.
Cut-Over and Disengage. On Guard.
Disengage and Cut-Oter.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. Feint Disengagement. Feint Disengagement.
3. / oppose Sixte. I oppose Quarte.
4. Cut-Over, lunge. Cut-Over, lunge.
5. On Guard. On Guard.
Without Analyzing.
Disengage and Cut-Over. On Guard.
96 foil and sabre.
Cut-Over, Traverse, and Disengage.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. Cut-Over, Traverse. Cut-Over, Traverse.
3. / oppose Sixte. I oppose Quarte.
4. Disengage, lunge. Disengage, lunge.
5. On Guard. On Guard.
WiTnouT Analyzing.
Cut-Over, Traverse, and Disengage. On Guard.
SECOND DIVISION.
ATTACKS COMPOSED OF THREE MOVEMENTS WHILE AD-
VANCING, OR UPON THE ADVERSARY'S ADVANCE.
One-Two-Three.
1.
Engage Quarte and Advance (or
Engage Sixte and Advance (or Re-
Retreat).
treat).
2.
Feint Disengagement.
Feint Disengagement.
3.
I oppose Sixte.
/ oppose Quarte.
4.
Feint 2d Disengagement.
Feint 2d Disengagement.
5.
7 oppose Quarte.
/ oppose Sixte.
6
Disengage, lunge.
Disengage, lunge.
7
On Guard.
On Guard.
Without Analyzing.
One-Two-Three. On Guard.
One-Two and Deceive.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat) treat).
2. Feint Disengagement. Feint Disengagement.
3. I oppose Sixte. I oppose Quarte.
4. Feint 2d Disengagement, Feint 2d Disengagement.
5. I oppose Counter of Sixte. I oppose Counter of Quarte.
6. Deceive and lunge. Deceive and lunge.
7. On Guard. On Guard.
V7iTHonT Analyzing.
One-Two and Deceive. On Guard.
2;
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sixth lesson — second division. 97
One-Two and Cut-Over.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. Eeint Disengagement. Feint Disengagement.
3. / oppose Sixte. I oppose Quarte.
4. Feint 2d Disengagement. ' Feint 2d Disengagement.
5. I oppose Quarte. I oppose Sixte.
6. Cut-Over, lunge. Cut-Over, lunge.
7. On Guard. On Guard.
Without Analyzing.
One-Two and Cut-Over. On Guard.
Double and Disengage.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. Feint Disengagement. Feint Disengagement.
3. I oppose Counter of Quarte. I oppose Counter of Sixte.
4. Deceive. Deceive.
.^. I oppose Sixte. I oppose Quarte.
6. Disengage and lunge. Disengage and lunge.
7. On Guard. On Guard.
Without Analyzing.
Double and Disengage. On Guard.
Cut-Over and One-Two.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. Feint Cut-Over. Feint Cut-Over.
3- / oppose Sixte. I oppose Quarte.
4. Feint Disengagement. Feint Disengagement.
5. / oppose Quarte. I oppose Sixte.
6 Disengage, lunge. Disengage, lunge.
7. On Guard. On Guard.
Without Analyzing.
Cut-Over and One-Two. On Guard
Disengage, Cut-Over, and Disengage.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. Feint Disengagement. Feint Disengagement.
3. I oppose Sixte. I oppose Quarte.
98 FOIL AND SABRE.
4. Feint Cut-Over. Feint Cut-Over.
5. / oppose Quarte. I oppose Sixte.
6. Disengage, lunge. Disengage, lunge.
7. On Guard. ' On Guard.
Without Analyzing.
Disengage, Cut-Over, and Disengage. On Guard.
SIMPLE ATTACKS, PRECEDED BY A BEAT, WHILE AD-
VANCING, OR UPON THE ADVERSARY'S ADVANCE.
Direct Thrust.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Eetreat). treat).
2. Beat and lunge direct. Beat and lunge direct.
3. On Guard. On Guard.
WiTHonT Analyzing.
Beat and Lunge Direct. On Guard.
Disengagement.
1. Engage Ouarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. Beat and disengage. Beat and disengage.
3. Lunge. Lunge.
4. On Guard. On Guard.
Without Analyzing.
Beat and Disengage. On Guard.
Cut-Over.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. Beat and Cut-Over. Beat and Cut-Over.
3. Lunge. Lunge.
4. On Guard. On Guard.
Without Analyzing.
Beat and Cut-Over. On Guard.
SIXTH LESSON — THIRD DIVISION. 99
Cut-Over and Traverse.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Ee-
Ketreat). treat).
2. Beat, Cut-Over, and Traverse. Beat, Cut-Over, and Traverse.
3. Luuga, Lunge.
4. On Guard. On Guard.
Without Analyzing.
Beat, Cut-Over, and Traverse. On Guard.
THIRD DIVISION.
ATTACKS COMPOSED OF TWO MOVEMENTS, WHILE AD-
VANCING, OR UPON THE ADVERSARY'S ADVANCE,
PRECEDED BY A BEAT.
One-Two.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Ketreat). treat).
2. Beat and feint Disengagement. Beat and feint Disengagement.
3. I oppose Sixte. I oppose Quarte.
4. Disengage, lunge. Disengage, lunge.
5. On Guard. . On Guard.
Without Analyzing.
Beat, One-Two. On Guard.
Double.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. Beat and feint Disengagement. Beat and feint Disengagement.
3. / oppose Counter of Quarte. I oppose Counter of Sixte.
i. Deceive, lunge. Deceive, lunge.
5. On Guard. On Guard.
Without Analyzing.
Beat Double. On Guard.
100 foil and sabre.
Cut-Over axd Disengage.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Ee-
Ketreat). treat).
2. Beat and feint Cut-Over. Beat and feint Cut-Over.
3. / oppose Sixte. I oppose Quarte.
4. Disengage, lunge. Disengage, lunge.
5. On Guard. On Guard.
Without Axaltzing.
Beat, Cut-Over, and Disengage. On Guard.
DiSEXGAGE AXD CuT-OvER.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat). treat).
2. Beat and feint Disengagement. Beat and feint Disengagement.
3. I oppose Sixte. I oppose Quarte.
4. Cut-Over, lunge. Cut-Over, lunge.
5. On Guard. On Guard.
Without Axaltzing.
Beat, Disengage, and Cut-Over. On Guard.
Observation : Each of the above exercises must be re-
peated, substituting a Press and a Traverse, each in turn,
in place of the Beat.
SIMPLE PARRIES FOR ATTACKS, WHILE ADVAXCTXG, OR
UPON THE ADVERSARY'S ADVANCE, AND VARIOUS
SIMPLE RIPOSTES.
Direct Thrust.
1. Engage Quarte and Advance (or Eugage Sixte aud Advance (or Re-
Retreat), treat).
2. 7 hinge direct. I lunge direct.
3. Oppose Quarte. Oppose Sixte.
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
Without Asaltzing.
Oppose Quarte. Oppose Sixte.
Riposte Direct. On Guard.
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SIXTH LESSON — THIRD DIVISION. 101
Command. '
Parry as in Nos. 3 above, Riposte by a Disengagement.
Parry as in Nos. 3 above, Riposte by a Cut-Over.
Parry Nos. 2 above by Counter, Riposte by each of tlie preceding.
Disengagement.
»
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. On my Disengagement. On my Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
"Without Analyzing.
Oppose Sixte. Oppose Quarte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3 above, Riposte by a Disengagement.
Parry as in Nos. 3 above. Riposte by a Cut-Over.
Parry Nos. 2 above by Counter, Riposte by each of tlie preceding.
Cut-Over.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. On my Cut-Over. On my Cut-Over.
3. Oppose Sixte. Oppose Quarte.
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
yViTHOUT Analyzing.
Oppose Sixte. Oppose Quarte.
Riposte Direct. . On Guard.
Command.
Parry as in Nos. 3 above, Riposte by a Disengagement.
Parry as in Nos."3 above, Riposte by a Cut-Over.
Cut-Over, Traverse.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. On my Cut-Over and Traverse. On my Cut-Orer and Traverse.
3. Oppose Sixte. Oppose Quarte.
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
102 FOIL AND SABRE.
Without Analyzing.
Oppose Sixte. Oppose Qnarte.
Eiposte Direct. On Guard.
Command.
Parry as in Nos. 3 above, Riposte by a Disengagement.
Parry as in Nos. 3 above, Riposte by a Cut-Over.
PARRIES COMPOSED OF TWO MOVEMENTS FOR ATTACKS
WHILE ADVANCING, OR UPON THE ADVERSARY'S
ADVANCE, AND VARIOUS SIMPLE RIPOSTES.
One-
-Two.
1. Engage Quarte and Advance
(or
Engage Sixte and Advance (or Re-
Retreat).
treat).
2. Onmy feint of Disengagement.
On my feint of Disengagement.
3. Oppose Sixte.
Oppose Quarte.
4. 1 disengage and lunge.
/ disengage and lunge.
5. Oppose Quarte.
Oppose Sixte.
6. Riposte Direct.
Riposte Direct.
7. On Guard.
On Guard.
Without Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3 and 5 above. Riposte by a Disengagement.
Parry as iu STos. 3 and 5 above. Riposte by a Cut-Over.
Parry Nos. 2 above by Opposition, No. 4 by Counter, Riposte by each of the
preceding.
Double.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat).
treat).
2.
On my feint of Disengagement.
On m.y feint of Disengagement.
3.
Oppose Counter of Quarte.
Oppose Counter of Sixte.
4.
/ deceive and lunge.
/ deceive and lunge.
5.
Oppose Sixte.
Oppose Quarte.
6.
Riposte Direct.
Riposte Direct.
7.
On Guard.
On Guard.
Without Analyzing.
Oppose Counter of Quarte and Sixte. Oppose Counter of Sixte and Quarte.
Eiposte Direct. On Guard.
SIXTH LESSON — THIRD DIVISION.
103
Command.
Parry as in Nos. 3 and 5 above, Riposte by a Disengagement.
Parry as in Nos. 3 and 5 above. Riposte by a Cut-Over.
Parry Nos. 2 and 4 above by Counters, Riposte by each of the preceding.
Cut-Over and Disengage.
1. Engage Quarte and Advance (or
Retreat).
2. On mil feint of Cut-Ooer.
3. Oppose Sixte.
4. I disengage and lunge.
5. Oppose Quarte.
6. Riposte Direct.
7. On Guard.
Engage Sixte and Advance (or Re-
treat) .
On mg feint of Cut-Over.
Oppose Quarte.
/ disengage and lunge.
Oppose Sixte.
Riposte Direct.
On Guard.
"Without Analyzing.
Oppose Sixte and Quarte.
Riposte Direct.
Oppose Quarte and Sixte.
On Guard.
Command.
Parry as in Nos. 3 and .5 above, Riposte by a Disengagement.
Parry as in Nos. 3 and 5 above. Riposte by a Cut-Over.
Parry Noa. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the
preceding.
Disengage and Cut-Over.
1. Engage Qujrte and Advance (or
Retreat).
2. On my feint of Disengagement.
3. Oppose Sixte.
4. I Cut-Over and lunge.
5. Oppose Quarte.
6. Riposte Direct.
7. On Guard.
Engage Sixte and Advance (or Re-
treat).
On my feint of Disengagement.
Oppose Quarte.
/ Cut-Over and lunge.
Oppose Sixte.
Riposte Direct.
On Guard.
WiTHOBT Analyzing.
Oppose Sixte and Quarte.
Riposte Direct.
Oppose Quarte and Sixte.
On Guard.
Command.
Parry as in Nos. 3 and 5 above, Riposte by a Disengagement.
Parry as in Nos. 3 and 5 above. Riposte by a Cut-Over.
104 FOIL AND SABRE.
CuT-OvEE, Traverse, and Disengage.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Ee-
Ketreat). treat).
2. On my Cut-Ouer and Traverse. On my Cut-Over and Traverse.
3. Oppose Sixte. Oppose Quarte.
4. / disengage and lunge. I disengage and lunge.
5. Oppose Quarte. Oppose Sixte.
6. Riposte Direct. Riposte Direct.
7. On Guard. On Guard.
Without Analtzihg.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte Direct. On Guard.
Command.
Parry as in Nos, 3 and 5 above, Riposte by a Disengagement.
Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over.
Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the
preceding.
FOURTH DIVISION.
PARRIES COMPOSED OF THREE MOVEMENTS FOR AT-
TACKS, WHILE ADVANCING, OR UPON THE ADVER-
SARY'S ADVANCE, AND VARIOUS SIMPLE RIPOSTES.
, One-Two-Three.
1. Engage Quarte and Advance {or Engage Sixte and Advance (or Re-
Retreat).
treat).
2.
On my feint of Disengagement.
On my feint of Disengagement.
3.
Oppose Sixte.
Oppose Quarte.
4.
I feint 2d Disengagement.
I feint 2d Disengagement.
5.
Oppose Quarte.
Oppose Sixte.
6.
/ disengage and lunge.
/ di.'^engage and lunge.
7.
Oppose Sixte.
Oppose Quarte.
8.
Riposte Direct.
Riposte Direct.
9.
On Guard.
On Guai'd.
WiTHonT Analyzing.
Oppose Sixte, Quarto, and Sixte. Oppose Quarte, Sixte, and Quarte.
Riposte Direct. On Guard.
SIXTH LESSON — FOURTH DIVISION.
105
Command.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Diseugagemeut.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over.
Parry Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte by each
of the preceding.
One-Two, and Deceive.
1. Engage Quarte and Advance (or
Retreat).
2. On mij feint of Disengagement.
3. Oppose Sixte.
4. I feint 2d Disengagement.
5. Oppose Counter of Sixte.
6. / deceive and lunge.
7. Oppose Qiiarte.
8. Riposte Direct.
9. On Guard.
Engage Sixte and Advance (or Re-
treat).
On mg feint of Disengagement.
Oppose Quarte.
I feint 2d Disengagement.
Oppose Counter of Quarte.
/ deceive and lunge.
Oppose Sixte.
Riposte Direct.
On Guard.
"Without Analyzing.
Oppose Sixte, Counter of Sixte, Oppose Quarte, Counter of Quarte,
and Quarte. and Sixte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3, 5, and 7 above. Riposte by a Disengagement.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over.
Parry Nos. 2 above by Opposition, Nos. 4 and 6 by Counters, Riposte by each
of the preceding.
One-Two, and Cut-Over.
1. Engage Quarte and Advance (or
Retreat).
' 2. On mi/ feint of Disengagement.
3. Oppose Sixte.
4. I feint 2d Disengagement.
5. Oppose Quarte.
6. / Cut-Over and lunge.
7. Oppose Sixte.
8. Riposte Direct.
9. On Guard.
Engage Sixte and Advance (or Re-
treat).
On my feint of Disengagement.
Oppose Quarte.
I feint 2d Disengagement.
Oppose Sixte.
/ Cut-Over and lunge.
Oppose Quarte.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Sixte, Quarte, and Sixte. Oppose Quarte, Sixte, and Quarte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Disengagement.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over.
106
FOIL AND SABRE,
Double, and Disengage.
1. Engage Quarte and Advance (or
Retreat).
2. On my feint of Disengagement.
3. Oppose Counter of Quarte.
4. / deceive.
f>. Oppose Sixte.
6. / disengage and lunge.
7. Oppose Quarte.
8. Riposte Direct.'
9. On Guard.
Engage Si.Kte and Advance (or Re-
treat).
On mij feint of Disengagement.
Oppose Counter of Sixte.
/ deceive.
Oppose Quarte.
/ disengage and lunge.
Oppose Sixte.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Counter of Quarte, Sixte,
and Quarte.
Riposte Direct.
Oppose Counter of Sixte.. Quarte,
and Sixte.
On Guard.
Command.
Parry as in Nos. 3, .5, and 7 above, Riposte by a Disengagement.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over.
Parry Nos. 2 above by Counter, Nos. 4 by Opposition, Nos. 6 by Counter,
Riposte by each of the preceding.
Cut-Over, and One-Two.
1. Engage Quarte and Advance (or
Retreat).
2. On my feint of Cut-Over.
3. Oppose Sixte.
4. I feint Disengagement.
5. Oppose Quarte.
6. / disengage and lunge.
7. Oppose Sixte.
8. Riposte ]3irect.
9. On Guard.
Engage Sixte and Advance (or Re-
treat).
On my feint of Cut-Over.
Oppose Quarte.
I feint Disengagement.
Oppose Sixte.
/ disengage and lunge.
Oppose Quarte.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Sixte, Quarte, and Sixte. Oppose Quarte, Sixte, and Quarte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3, 5, and 7 above. Riposte by a Disengagement.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over.
Parry Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte by
each of the preceding.
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seventh lesson — fikst division. 107
Disengage, Cut-Over, and Disengage.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Eetreat).
treat).
2. On mif feint of Disengagement.
On my feint of Disengagement.
3. Oppose Sixte.
Oppose Quarte.
4. I feint Cut-Over.
I feint Cut-Over.
5. Oppose Quarte.
Oppose Sixte.
6. / disengage and lunge.
/ disengage and lunge.
7. Oppose Sixte.
Oppose Quarte.
8. Riposte Direct.
Riposte Direct.
9. On Guard.
On Guard.
Without Analyzing.
Oppose Sixte, Quarte, and Sixte. Oppose Quarte, Sixte, and Quarte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Disengagement.
Parry as in Nos. 3, 5, and 7 above, Riposte by a Cut-Over.
Parry Nos. 2 and 4 above by Oppositions, Nos. 6 by Counter, Riposte by
each of the preceding.
SEVENTH LESSON. — FIRST DIVISION.
SIMPLE ATTACKS DECEIVING THE CHANGE OF ENGAGE-
MENT, WHILE ADVANCING, OR UPON THE ADVER-
SARY'S ADVANCE.
Direct Thrust.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. On my Change of Engagement. On my Change of Engagement
3. Lunge Direct. Lunge Direct.
4. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. Lunge Direct, On Guard.
108 foil and sabre.
Disengagement.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat). treat).
2. On my Change of Engagement. On mij Change of Engagement.
3. Disengage, lunge. Disengage, lunge.
4. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. Disengage. On Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS DECEIVING
THE CHANGE OF ENGAGEMENT, WHILE ADVANCING,
OR UPON THE ADVERSARY'S ADVANCE.
One-Two.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. On mi/ Change of Engagement. On my Change of Engagement.
3. Feint Disengagement. Feint Disengagement.
4. I oppose Quarte. I oppose Sixte.
5. Disengage, lunge. Disengage, lunge.
6. On Guard. On Guard.
Without Analyzing.
On mij Change of Engagement. One-Two. On Guard.
Double.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. On m)] Change of Engagement. On my Change of Engagement,
3. Feint Disengagement. Feint Disengagement.
4. I oppose Counter of Sixte. I oppose Counter of Quarte,
5. Deceive, lunge. Deceive, lunge.
6. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. Double. On Guard.
SEVENTH LESSON — FIRST DIVISION. 109
SIMPLE ATTACKS PRECEDED BY A BEAT, DECEIVIXG
THE CHANGE OF EXGAGEilEXT, WHILE ADVANCIXG,
OR UPON THE ADVERSARY'S ADVANCE.
DiEECT ThEUST.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Ee-
Eetreat). treat).
2. On my Change of Engagement, On mg Change of Engagement.
3. Beat, lunge. Bf,aX, lunge.
4 On Guard. Ou Guard.
Without Axalyzing.
On my Change of Engagement. Beat and lunge direct. On Guard.
Disengagement.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treut).
2. On my Change of Engagement. On mi/ Change of Engagement.
3 Beat, disengage. Beat, disengage.
4. On Guard. On Guard.
Without Axaltzixg.
On my Change of Engagement. Beat, and Disengage. On Guard.
ATT.^CKS COMPOSED OF TWO MOVEMENTS, PRECEDED
BY A BEAT, DECEIVING THE CHANGE OF ENGAGE-
MENT, WHILE ADVANCING, OR UPON THE ADVER-
SARY'S ADVANCE.
One-Two.
1. Engage Quarte and Advance (or Engage Sixte and Advance for Re-
Retreat), treat).
2. ()n my Change of Engagement. On my Change of Engagement.
3. Beat and feint Disengagement. Beat and feint Disengagement.
4. / oj)/wse Quarte. I oppose .Sixte.
5. Disengage, lunge. Disengage, lunge.
6. On Guard. On Guard.
Without Analyzing.
On mi/ Change of Engagement. Beat, One-Two. On Guard.
110 foil and sabre.
Double.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Ee-
Eetreat). treat).
2. On nui Change of Engagement. On mij Change of Engagement.
3. Beat and feint Disengagement. Beat and feint Disengagement.
4. I oppose Counter of Sixte. I oppose Counter of Quarte
5. Deceive, lunge. Deceive, lunge.
6. Un Guard. On Guard.
Without Analyzing.
On my Change of Engagement. Beat, Double. On Guard.
SECOND DIVISION.
SIMPLE PAKEIES FOE ATTACKS, AVHILE ADVANCING,
OR UPON THE ADVERSARY'S ADVANCE, AND VARI-
OUS RIPOSTES.
DiKECT Thrust.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or He-
Retreat), treat).
2. / lunge direct. I lunge direct.
3. Oppose Quarte. Oppose Sixte
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
Without Analyzing
Oppose Quarte. Oppose Sixte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3 above, Riposte in Low Line (See fig. 18 )
Parry as in Nos. 3 above, Riposte by a flying Cut-Over in High Line
Parry as in Nos. 3 above, Riposte by a flying Cut-Over in Low Line
Parry as in Nos. 3 above, Riposte by a flying Cut-Over, and Disengage.
Parry as in Nos. 3 above. Riposte by a flying Cut-Over and Beat (with tlio
hand in Quarte, and with the hand in Tierce).
Parry Nos. 2 above by Counter, Riposte by each of the preceding.
Observation : After the parries of " Sixte " and " Counter
of Sixte," command the Riposte to be executed with the hand
in position of Prime, both in High and Low Lines. (See
fig. 19.)
2;
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seventh lesson — second division. ill
Disengagement.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
lletreat). treat).
2. On my Disenijaiiement. On my Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
Without Axalyzixu.
Oppose Sixte. Oppose Quarte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. .3 above. Riposte in Low Line.
Parry as in Nus. 3 above, Riposte by a flying Cut-Over in High Line.
Parry as in Nos. 3 above, Riposte by a flying Cut-Over in Low Line.
Parry as in Nos. 3 abore, Riposte by a flying Cut-Over, and Disengagement.
Parry as iu Nos. 3 above. Riposte by a flying Cut-Over, and Beat (with the
hand in Quarte, and with the hand in Tierce).
Parry Nos. 2 above by Couuter, Riposte by each of the preceding.
PARRIES COMPOSED OF TWO MOVEMENTS FOR ATTACKS,
Vl^HILE ADVANCING, OR UPON THE ADVERSARY'S
ADVANCE, AND VARIOUS RIPOSTES.
One-Two.
1. Engage Quarte and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat).
2. On my feint of Disengagement. On my feint of Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. / disengage and lunge. I disengage and lunge.
5. Oppose Quarte. Oppose Sixte.
6. Riposte Direct. Riposte Direct.
7. On Guard. On Guard.
Without Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte Direct. On Guard.
Commpnd.
Parry as in Nos. 3 and 5 above, Riposte in Low Line.
Parry as in Nos. 3 and 5 above. Riposte by a flying Cut-Over in High Line.
Parry as in Nos. 3 and 5 above, Riposte by a flying Cut-Over in Low Line.
Parry as in Nos. 3 and 5 above, Riposite by a flying Cut-Over, and Disengage.
Parry as in Nos. 3 and S above, Riposte by a flying Cut-Over, and Beat
(with hand in Quarte, and with the hand in Tierce).
Parry Nos. 4 above by Counter, Riposte by each of the preceding.
112 foil and sabee.
Double.
1. Engage Quarts and Advance (or Engage Sixte and Advance (or Re-
Retreat), treat). '
2. On mi/ feint of Disengagement. On my feint of Disengagement.
3. Oppose Counter of Quarte. Oppose Counter of Sixte.
4. / deceive and lunge. I deceive and lunge.
6. Oppose Sixte. Oppose Quarte.
6. Riposte Direct. Riposte Direct.
7. On Guard. On Guard.
Without Analyzing.
Oppose Counter of Quarte, and Sixte. Oppose Counter of Sixte, and Quarte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3 and 5 above, Riposte in Low Line.
Parry as in Nos. 3 and 5 above, Riposte by a flying Cut-Over in High Line.
Parry as in Nos. 3 and 5 above. Riposte by a flying Cut-Over in Low Line.
Parry as in Nos. 3 and 5 above. Riposte by a flying Cut-Over, and Disengage-
ment.
Parry as in Nos. 3 and 5 above. Riposte by a flying Cut-Over, and Beat (with
hand in Quarte, and with the hand in Tierce).
THIRD DIVISION.
SIMPLE ATTACKS WHILE ADVANCING, OR UPON THE
ADVERSARY'S ADVANCE, PRECEDED BY A DOUBLE
ENGAGEMENT.
DiRscT Theust.
Being Engaged in Quarte. Being Engaged in Sixte.
1. DoubleEngagement, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2. Lunge Direct. LTinge Direct.
3. On Guard. On Guard.
Without Analyzing.
Lunge Direct. On Guard.
SEVENTH LESSON — THIRD DIVISION. 113
Disengagement.
Being Engaged in Qnarte. Being Engaged in Sixte.
1. Double Engagement, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2. Disengage, lunge. Disengage, lunge.
3. On Guard. On Guard.
Without Analyzing.
Disengage. On Guard.
CUT-OyER.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2. Cut-Over, lunge. Cut-Over, lunge.
3. On Guard. On Guard.
Without Analyzing.
Cut-Over. On Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS, WHILE AD-
VANCIXG, OR UPON THE ADVERSARY'S ADVANCE.
PRECEDED BY A DOUBLE ENGAGEMENT.
One-Two.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2. Eeint Disengagement. Feint Disengagement.
3. I oppose Sixte. I oppose Quarte.
4. Disengage, lunge. Disengage, lunge.
5. On Guard. On Guard.
Without Analyzing.
One-Two. On Guard.
Double.
Being Engaged in Quarte. Being Engaged in Sixte,
1. Double Engagement, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2. Feint Disengagement. Feint Disengagement.
114 FOIL AND SABRE.
3. I oppose Counter of Quarte. I oppose Counter of Sixte.
4. Deceive, lunge. Deceiye, lunge.
5. On Guard. On Guard.
Without Analyzing.
Double. On Guard.
Cdt-Ovee and Disengage.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement, Advance (or Double Engagement, Advance (or
Eetreat). Ketreat).
2. Feint Cut-Over. F"eint Cut-Over.
3. / oppose Sixte. J oppose Quarte.
4. Disengage, lunge. DLsejigage, lunge.
5. On Guard. On Guard.
Without Analyzing.
Cut-Over and Disengage. On Guard.
Disengage and Cct-Ovek.
Being Engaged in Quarte. Being Engaged in Sixte.
1. DoubleEngagement, Advance (or Double Engagement, Advance (or
Ketreat). Retreat).
2. Feint Disengagement. Feint Disengagement.
3. / oppose Sixte. I oppose Quarte.
4 Cut-Over, lunge. Cut-Over, lunge.
5. On Guard. On Guard.
Without Analyzing.
Disengage and Cut-Over. On Guard.
SIMPLE PARRIES FOR ATTACKS, WHILE ADYAXCIJrC, OR
UPON THE ADVERSARY'S ADVAXCE, PRECEDED BY
A DOUBLE ENGAGEMENT, AND VARIOUS RIPOSTES.
Direct Thrust.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement, Advance (or Double Engagement, Advance (or
Retreat), Retreat).
2, On my Direct Thrust. On my Direct Thrust.
SEVENTH LESSON — THIRD DIVISION. 115
3. Oppose Quarte. Oppose Sixte.
4. Eiposte Direct (or in Low Line). liiposte Direct (or in Low Line).
5. On Guard. On Guard.
Without Analyzing.
Oppose Quarte. Oppose Sixte.
Eiposte Direct (or in Low Line). On Guard.
Command.
Parry as in Nos. 3 above. Riposte by a flying Cut-Over in High (or Low) Line.
Parry as in Nos. 3 above, Riposte by a Hjiug Cut-Over, and Disengagement.
Parry as in Nos. 3 above, Riposte by a flying Cut-Over, and Beat (liand in Tierce
or Quarte).
Parry Nos. 2 above by a Counter, Riposte by each of the preceding.
Olservation : After the parries of Sixte and Counter, Riposte
in High and Low Lines, with hand in Prime.
Disengagement.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2. On my Disengagement. On my Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. Riposte Direct (or in Low Line). Riposte Direct (or in Low Line).
5. On Gnard. On Guard.
Without Analtzing.
Oppose Sixte. Oppose Quarte.
Eiposte Direct (or iu Low Line). On Guard.
Command.
Parry as in Nos. 3 above. Riposte by a flying Cut-Over in High (or Low) Line.
Parry as in Nos. 3 above. Riposte by a flying Cut-Over, and Disengagement.
Parry as in Nos. 3 above. Riposte by a flying Cut-Over, and Beat.
Parry Nos. 2 above by a Counter, Riposte by each of the preceding.
116 FOIL AND SABEE.
FOURTH DIVISION.
parries composed of two movements for attacks, while ad-
vancing, or upon the adversary's advance, i'lieceded by
a double engagement, and various ripostes.
One-Two.
Being Engaged in Quarte. Being Engaged iu Sixte.
1. Double Engagenaent, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2. On my feint of Disengagement. On mij feint of Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. I disengage and lunge. I disengage and lunge.
5. Oppose Quarte. Oppose Sixte.
6. Riposte Direct (or in Low Line). Riposte Direct (or in Low Line).
7. On Guard. On Guard.
Without Analyzing.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte Direct (or in Low Line). On Guard.
Co7nmand.
Parry as in Nos. 3 and 5 above. Riposte by a flying Cut-Over in High (or Low)
Line.
Parry as in Nos. 3 and 5 above, Eiposte by a flying Cut-Over, and Disengage-
ment.
Parry as in Nos. 3 and 5 above, Riposte by a flying Cut-Over, and Beat.
Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the
preceding.
Double.
Being Engaged in Qnarte. Being Engaged in Sixte.
1. Double Engagement, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2 On my feint of Disengagement. On my feint of Disengagement.
3. Oppose Counter of Quarte. Oppose Counter of Sixte.
4. / deceive and lunge. 1 deceive and hinge.
5. Oppose Sixte. Oppose Quarte.
6. Riposte Direct (or in Low Line). Riposte Direct (or in Low Line).
7. On Guard. On Guard.
Without Analyzing.
Oppose Counter of Quarte and Sixte. Oppose Counter of Sixte and Quarte.
Riposte Direct (or iu Low Line). On Guard.
o
!i
SEVENTH LESSON — FOURTH DIVISION. 117
Command.
Parry as in Nos. 3 and 5 above, Riposte by a flying Cut-Over in High (or Low)
Line.
Parry as in Nos. 3 and 5 above, Riposte by a flying Cut-Over, and Disengage-
ment.
Parry as in Nos. 3 and 5 above, Riposte by a flying Cut-Over, and Beat.
Parry Nos. 2 and 4 above by Counters, Riposte by each of the preceding.
SIMPLE ATTACKS DECEIVING THE CHAXGE OF EXGAGE-
MEXT, WHILE ADVAXCIXG, OR UPON THE ADVER-
SARY'S ADVANCE, PRECEDED BY A DOUBLE EX-
GAGEMEXT.
Direct Thrust.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2. On my Chanqe of Engagement. On mij Change of Engagement.
3 Lunge Direct. Lunge Direct.
4. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. Lunge Direct. On Guard.
Disengagement.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2. On my Change of Engagement. On my Change of Engagement.
3. Disengage, lunge. Disengage, lunge.
4. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. Disengage. On Guard.
ATTACKS COMPOSED OP TWO MOVEMENTS, DECEIVING
THE CHANGE OF ENGAGEMENT, WHILE ADVANCING,
OR UP(JN THE ADVERSARY'S ADVANCE, PRECEDED
BY A DOUBLE ENGAGEMENT.
One-Two.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2. On m.y Change of Engagement. On my Change of Engagement.
118 FOIL AND SABRE.
3. Feint Disengagement. Feint Disengagement.
4. / oppose Quarte. I oppose Sixte.
5. Disengage, lunge. Disengage, lunge.
6. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. One-Two. On Guard.
Double.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2. On my Change of Engagement. On mi/ Change of Engagement.
3. Feint Disengagement. Feint Disengagement,
4. I oppose Counter of Stxte. I oppose Counter of Quarte.
5. Deceive, lunge. Deceive, lunge.
6. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. Double. On Guard.
EIGHTH LESSON — FIRST DIVISION.
SIMPLE ATTACKS WHILE ADVANCING, OR UPON THE
ADVEPvSARY'S ADVANCE, PRECEDED BY A DOUBLE
ENGAGE:MENT, and deceiving the CHANGE OF
ENGAGEMENT BY A BEAT.
Direct Theust.
Being Engaged in Quarte. Being Engaged in Sixte.
1. DoubleEngagement, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2. On my Change of Engagement. On my Change of Engagement.
3. Beat and lunge direct. Beat and lunge direct.
4. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. Beat and Lunge Direct. On Guard.
EIGHTH LESSON — FIRST DIVISION.
119
Disengagement.
Being Engaged in Quarte.
1. Double Engagement, Advance (or
Retreat).
2. On my Chantje of Engagement.
3. Beat, disengage.
4. On Guard.
Being Engaged in Sixte.
Double Engagement, Advance (or
Retreat).
On my Change of Engagement,
Beat, disengage.
On Guard.
Without Analyzing.
On my Change of Engagement. Beat and Disengage.
On Guard.
ATTACKS C0:MP0SED OF TWO MOVEMENTS, WHILE AD-
VA^^CIXG, OR UPON^ THE ADVERSARY'S ADVANCE,
PRECEDED BY A DOUBLE ENGAGEMENT, AND DE-
CEIVING THE CHANGE OP ENGAGEMENT BY A
BEAT.
One-Two.
Engagement of Quarte.
1. Double Engagement, Advance (or
Retreat).
2. On my Change ay Engagement.
3. Beat and feint Disengagement.
4. / oppose Quaite.
5. Disengage, lunge.
6. On Guard.
Engagement of Sixte.
Double Engagement, Advance
Retreat).
On my Change of Engagement.
Beat and feint Disengagement.
I oppose Sixte.
Disengage, lunge.
On Guard.
Without Analyzing.
On my Change of Engagement. Beat and One-Two.
(or
On Guard.
Double.
Being Engaged in Quarte.
1. Double Engagement, Advance (or
Retreat).
2 On my Change of Engagement.
3. Beat and feint Disengagement.
4. / oppose Counter of Sixte.
5. Deceive, lunge.
6. On Guard.
Being Eugaged in Sixte.
Double Engagement, Advance
Retreat).
On my Change of Engagement.
Beat and feint Disengagement.
/ oppose Counter of Quarte.
Deceive, lunge.
On Guard.
Without Analyzing.
On my Change of Engagement. Beat and Double. On Guard.
120 FOIL AND SABRE.
SECOND DIVISION.
SIMPLE PARRIES FOR ATTACKS, WHILE ADVANCING, OR
UPON THE ADVERSARY'S ADVANCE, PRECEDED BY
A DOUBLE ENGAGEMENT, AND VARIOUS SIMPLE
RIPOSTES.
Direct Thrust.
Being Engaged in Quarts. Being Engaged in Sixte.
1. Double Engagement, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2. I lunge direct. 1 lunge direct.
3. Oppose Quarte. Oppose Sixte.
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
Without Analyzing.
Oppose Quarte. Oppose Sixte.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3 above, Riposte by a Disengagement.
Parry as in Nos. 3 above, Riposte by a Cut-Over.
Parry Nos. 2 above by a Counter, Riposte by eacb of the preceding.
Disengagement.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2. On mi/ Disengagement. On my Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
Without Analyzing.
Oppose Sixte. Oppose Quarte.
Riposte Direct. On Guard.
Command.
Parry aa in Nos. 3 above, Riposte by a Disengagement.
Parry as in Nos. 3 above, Riposte by a Cut-Over.
Parry Nos. 2 above by a Counter, Riposte by each of the preceding.
3
OP
EIGHTH LESSON — SECOND DIVISION. 121
SIMPLE PARRIES FOR ATTACKS, WHILE ADVANCING, OR
UPON THE ADVERSARY'S ADVANCE, PRECEDED BY
A DOUBLE ENGAGEMENT, AND VARIOUS RIPOSTES
IN TWO MOVEMENTS.
Direct Thrust.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement, Advance Double Engagement, Advance (or
(or Retreat). Retreat).
2. I lunge direct. I lunge direct.
3. Oppose Quarte. Oppose Sixte.
4. Riposte by a Double. Riposte by a Double.
5. On Guard. On Guard.
WiTHOnT Analyzing.
Oppose Quarte. Oppose Sixte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 3 above, Riposte by One-Two.
Parry as in Nos. 3 above, Riposte by a Cut-Over, and Disengagement.
Parry Nos. 2 above by a Counter, Riposte by each of the preceding.
. Disengagement.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement, Advance Double Engagement, Advance (or
(or Retreat). Retreat).
2. On my Disengagement, On my Disengagement.
3 Oppose Sixte. Oppose Quarte.
4. Riposte by a Double. Riposte by a Double.
5. On Guard. On Guard.
Without Analyzing.
Oppose Sixte. Oppose Quarte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 3 above. Riposte by One-Two.
Parry as in Nos. 3 above, Riposte by a Cut-Over, and Disengagement.
Parry Nos. 2 above by a Counter, Riposte by each of the preceding.
122
FOIL AND SABEE.
THIRD DIVISION.
PARRIES COMPOSED OF TWO MOVEMENTS FOR ATTACKS,
WHILE ADVANCING, OR UPON THE ADVERSARY'S
ADVANCE, PRECEDED BY A DOUBLE ENGAGEMENT,
AND VARIOUS SIMPLE RIPOSTES.
One-Two.
Being Engaged in Quarte.
Double Engagement, Advance
(or Retreat).
On my feint of Disengagement.
Oppose Sixte.
/ disengage and lunge.
Oppose Quarte.
Riposte Direct.
On Guard.
Being Engaged in Sixte.
Double Engagement, Advance (or
Retreat).
On mij feint of Disengagement.
Oppose Quarte.
I disengage and lunge.
Oppose Sixte.
Riposte Direct.
On Guard,
Without Analyzing.
Oppose Sixte and Quarte.
Riposte Direct.
Oppose Quarte and Sixte.
On Guard.
Command.
Parry as in Nos. 3 and 5 above, Riposte by a Disengagement.
Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over.
Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the
preceding.
Double.
Being Engaged in Quarte.
Double Engagement, Advance
(or Retreat).
On my feint of Disengagement.
Oppose Counter of Quarte.
I deceive and lunge.
Oppose Sixte.
Riposte Direct.
On Guard.
Being Engaged in Sixte.
Double Engagement, Advance (or
Retreat).
On my feint of Disengagement.
Oppose Counter of Sixte.
/ deceive and lunge.
Oppose Quarte.
Riposte Direct.
On Guard.
Without Analyzing.
Oppose Counter of Quarte and Sixte.
Riposte Direct.
Oppose Counter of Sixte and Quarte.
On Guard.
EIGHTH LESSON — THIRD DIVISION. 123
Command.
Parry as in Nos. 3 and 5 above, Riposte by a Disengagement.
Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over.
Parry Nos. 2 and 4 above by Counters, Riposte by each of the preceding.
PARRIES COMPOSED OF TWO MOVEMENTS FOR ATTACKS,
WHILE ADVAXCIXG, OR UPON THE ADVERSARY'S
ADVANCE, PRECEDED BY A DOUBLE ENGAGEMENT,
AND VARIOUS RIPOSTES IN TWO MOVEMENTS.
One-Two.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Double Engagement, Advance Double Engagement, Advance (or
(or Retreat). Retreat).
2. On my feint of Disengagement. On my feint of Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. I disengage and lunge. I disengage and lunge.
5. Oppose Quarte. Oppose Sixte.
6. Riposte by a Double. Riposte by a Double.
7. On Guard. On Guard.
Without Asalyzisg.
Oppose Sixte and Quarte. Oppose Quarte and Sixte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 3 and 5 above. Riposte by One-Two.
Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over, Disengagement.
Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Riposte by each of the
preceding.
Double.
Being Engaged in Quarte. Bfeing Engaged in Sixte.
1. Double Engagement, Advance (or Double Engagement, Advance (or
Retreat). Retreat).
2. On my feint of Disengagement. On my feint of Disengagement.
3. Oppose Counter of Quarte. Oppose Counter of Sixte.
4. / deceive and lunge. I deceive and lunge.
5. Oppose Sixte. Oppose Quarte.
6. Riposte by a Double. Riposte by a Double.
7. On Guard. On Guard.
124 TOIL AND SABRE.
Without Analyzing.
Oppose Counter of Quarte and Oppose Counter of Sixte and
Sixte. Quarte.
Riposte by a Double. On Guard.
Command.
Parry as in Nos. 3 and 5 above, Riposte \>j One-Two.
Parry as in Nos. 3 and 5 above, Riposte by a Cut-Over, and Disengagement.
Parry Nos. 2 and 4 above by Counters, Riposte by each of the preceding.
NINTH LESSON — FIRST DIVISION.
SIMPLE ATTACKS PRECEDED BY A BEAT, EST THE LINE
OPPOSITE TO THAT OF THE ENGAGEMENT.
Direct Thrust.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Change Engagement, Beat and Change Engagement, Beat and
lunge. lunge.
2. On Guard. On Guard.
Without Analyzing.
Change Engagement, Beat and Lunge Direct. On Guard.
Disengagement.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Change Engagement, Beat and Change Engagement, Beat and Dis-
Disengage. engage.
2. On Guard. On Guard.
Without Analyzing.
Change Engagement, Beat and Disengage. On Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS, PRECEDED
BY A BEAT, IN THE LINE OPPOSITE TO THAT OF
THE ENGAGEMENT.
One-Two.
Being Engaged in Quarte. Being Engaged in Sixte.
1. Change Engagement, Beat and Change Engagement, Beat and Feint
Feint Disengagement. Disengagement.
NINTH LESSON — SECOND DIVISION. 125
2. / oppose Quarte. I oppose Sixte.
3. Disengage, lunge. Disengage, lunge.
4. On Guard. On Guard.
Without Analyzing.
Change Engagement, Beat and One-Two. On Guard.
Double.
1 . Change Engagement, Beat and Change Engagement, Beat and Feint
Feint Disengagement. Disengagement.
2. I oppose Counter of Sixte. 1 oppose Counter of Qaarte.
3 Deceive, lunge. Deceire, lunge.
4. On Guard. On Guard.
WiTHOnT Analtzixg.
Change Engagement, Beat and Double. On Guard.
SECOND DIVISION.
MISCELLANEOUS PARRIES AND RIPOSTES.
Disengagement.
Being engaged in Quarte.
1. / disengage.
2. Oppose Tierce.
3. Eijioste Direct, hand in Quarte.
4. On Guard.
Without Analyzing.
Oppose Tierce, Riposte Direct, hand in Quarte. On Guard.
Command.
Parry as in No. 3 above, Riposte Direct, hand in Prime. (See fig. 19.)
Parry as in No. 3 above, Riposte Direct, hand in Tierce.
Parry No. 2 above by Sixte, Riposte Direct, hand in Prime.
Parry No. 2 above by Sixte, Riposte Direct, hand in Tierce.
Parry No. 2 above by Sixte, Riposte by a flying Cut-Over.
Parry No. 2 above by Sixte, Riposte by a Sixte Bind, viz., execute Septime and
carry the adverse blade into Sixte Line.
Parry No. 2 above by Counter of Quarte, Riposte Direct, hand in Quarte.
126 FOIL AND SABRE.
Parry No. 2 above by Counter of Qnarte, Eiposte in Low Line, hand in Quarte.
Parry No. 2 above by Counter of Quarte, Riposte in Low Line by Quarte Bind,
(execute Octave by passing over my blade).
Parry No. 2 above by Counter of Quarte, Riposte in Low Line by a Bind, liand
in Seconde, (execute Seconde by passing over my blade). (See fig. 20.)
Parry No. 2 above by Counter of Quarte, and Eiposte by a flying Cut-Over in
Low Line.
Disengagement.
Being engaged in Sixte.
1. / disengage.
2 Oppose Quarte.
3. Eiposte Direct
4. On Guard.
Without Analyzing.
Oppose Quarte. Riposte Direct. On Guard.
Command.
Parry as in No. 3 above, Eiposte in Low Line.
Parry as in No. 3 above. Riposte under by Quarte-Bind (execute Octave by
passing over my blade).
Parry as in No. 3 above. Riposte under by a Bind, hand in Seconde (execute
Seconde by passing over my blade).
Parry No. 2 above by Prime, Eiposte in Low Line.
Parry No. 2 above by Prime, Eiposte by a Cut-Over,
Parry No. 2 above by Prime, Cut-Over, and Beat, Eiposte in High Line.
TENTH LESSON — FIRST DIVISION.
SIMPLE ATTACKS IN TPIE LOW LINE, WHILE ADVANCING,
OR UPON THE ADVERSARY'S ADVANCE, PRECEDED
BY A CHANGE OF ENGAGEMENT, TRAVERSE, BEAT,
OR PRESS.
Traverse and Low-Thrust.
L Engage Quarte, and Advance (or Engage Sixte, and Advance (or Re-
Eetreat). treat).
2. Traverse, Low-Thrust. Traverse, Low-Thrust.
3. On Guard. On Guard.
Without Analyzing.
Traverse and Low-Thrust. On Guard.
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tenth lesson — first division. 127
Beat and Low-Thedst.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Re-
Retreat), treat).
2. Beat, Low-TIirust. Beat, Lovf-Thrust.
3 On Guard. On Guard.
Without Analyzing.
Beat and Low-Thrust. On Guard.
Press and Low-Thrust.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Re-
Retreat), treat).
2. Press, Low-Thrust. Press, Low-Thrust.
3. On Guard. On Guard.
Without Analyzing.
Press and Low-Thrust. On Guard.
On my Change of Engagement, Low-Thrust.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Re-
Retreat), treat).
2. On my Change of Engagement. On viif Change of Engagement.
3. Low-Thrust. Low-Thrust.
4. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. Low-Thrust. On Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS EST THE HIGH
AND LOW LINES, WHILE ADVANCING, OR UPON THE
ADVERSARY'S ADVANCE, PRECEDED BY A CHANGE
OF ENGAGE:MENT, traverse, BEAT, OR PRESS.
Traverse, Low-Thrust, and Deceive.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Re-
Retreat), treat).
2. Traverse and feint Low-Thrust. Traverse and feint Low-Thrust.
3. / oppose Septime. I oppose Octave.
4. Deceive, lunge. Deceive, lunge.
5. On Guard. On Guard.
Without Analyzing.
Traverse, Low-Thrust, and Deceive. On Guard.
128 foil and sabee.
Beat, Low-Thrust, and Deceive.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Ee-
Retreat). treat).
2. Beat and feint Low-Thrust. Beat and feint Low-Thrust.
3. I oppose Septime. J oppose Octave,
i. Deceive, lunge. Deceive, lunge.
5. On Guard. On Guard.
Without Analyzing.
Beat, Low-Thrust, and Deceive. On Guard.
Press, Low-Thrust, and Deceive.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Re-
Retreat), treat).
2. Press and feint Low-Thrust. Press and feint Low-Thrust.
3. / oppose Septime. I oppose Octave.
A. Deceive, lunge. Deceive, lunge.
5. On Guard. On Guard.
Without Analyzing.
Press, Low-Thrust, and Deceive. On Guard.
On my Change of Engagement, Low-Thrust and Deceive.
1 Engage Quarte, and Advance (or Engage Sixte, and Advance (or Re-
Retreat), treat).
2. On my Change of Engagement. On my Change of Engagement.
3. Feint Low-Thrust. Feint Low-Thrust.
4. / oppose Octave. I oppose Septime.
5. Deceive, lunge. Deceive, lunge.
6. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. Low-Thrust and Deceive. On Guard.
Traverse, Low-Thrust, and Lunge in High Line.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Re-
Retreat), treat).
2 . Traverse and feint Low-Thrust. Traverse and feint Low-Thrust.
3. / oppose Septime. I oppose Octave.
4. Lunge in High Line. Lunge in High Line.
5. On Guard. On Guard.
Without Analyzing.
Traverse Low-Thrust, Lunge in High Line. On Guard.
tenth lesson — first division. 129
Traverse, Disengage, and Low-Thrust.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Re-
Retreat), treat).
2. Traverse and feint Disengage- Traverse and feint Disengagement.
ment.
3. / oppose Sixte, I oppose Quarte.
4. Deceive, low-thrust. Deceive, low-tlirust.
5. On Guard. On Guard.
Without Analyzing.
Traverse, Disengage, Low-Thrust. On Guard.
Traverse, Cut-Over, and Low-Thrust.
1. Engage Qnarte, and Advance (or Engage Sixte, and Advance (or Re-
Ketreat). treat).
2. Traverse and feint Cut-Over. Traverse and feint Cut-Over.
3. I oppose Sixte. I oppose Quarte.
4. Deceive, low-thrust. Deceive, low-thrust.
5 On Guard. On Guard.
Without Analyzing.
Traverse, Cut-Over, Low-Thrust. On Guard.
Traverse, Disengage, Deceive, and Low-Thrust.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Re-
Retreat), treat).
2. Traverse and feiut Disengagement. Traverse and feint Disengagement.
3. I oppose Counter of Quarte. I oppose Counter of Sixte.
4. Deceive, low-thrust. Deceive, low-thrust.
5. On Guard. On Guard.
Without Analyzing.
Traverse, Disengage, Deceive, and Low-Thrust. On Guard.
BnAT, Disengage, and Low-Thrust.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Ee-
Retreat). treat).
2. Beat and feiut Disengagement. Beat and feint Disengagement.
3. I oppose Sixte. 1 oppose Quarte.
4. Low-Thrust. Low-Thrust.
5. On Guard. On Guard.
Without Analyzing.
Beat, Disengage, and Low-Thrust. On Guard.
9
130 poil and sabre.
Beat, Low-Thrust, and Lunge in High Line.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Ee-
Eetreat). treat).
2. Beat and feint Low-Thrust. Beat and feint Low-Thrust.
3. / oppose Septime. I oppose Octave.
4. Lunge in High Line. Lunge in High Line.
5. On Guard. On Guard.
Without Analyzing.
Beat, Low-Thrust, Lunge in High Line. On Guard.
Beat, Cut-Over, and Low-Thrust.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Ee-
Eetreat). treat).
2. Beat and feint Cut Over. Beat and feint Cut-Over.
3. I oppose Sixte. I oppose Quarte.
4. Low-Thrust. Low-Thrust.
5. On Guard. On Guard.
Without Analyzins.
Beat, Cut-Over, Low-Thrust. On Guard.
Beat, Disengage, Deceive, and Low-Thrust.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Ee-
Retreat). treat).
2. Beat and feint Disengagement. Beat and feint Disengagement.
3. I oppose Counta' of Quarte. I oppose Counter of Sixte.
4. Deceive, low-thrust. Deceive, low-thrust.
5. On Guard. Ou Guard.
Without Analyzing.
Beat, Disengage, Deceive, and Low-Thrust. On Guard.
Press, Low-Thrust, and Lunge in High Line.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Ee-
Retreat). treat).
2. Press and feint Low-Thrust. Press and feint Low-Thrust.
3. / oppose Septime. I oppose Octave.
4. Lunge in High Line. Lunge in High Line.
5. On Guard. On Guard.
Without Analyzing.
Press, Low-Thrust, and Lunge in High Line. On Guard.
T #
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tenth lesson — first division. 131
Press, Disengage, and Low-Thrust.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Ke-
Retreat). treat).
2. Press and feint Disengagement. Press and feint Disengagement.
3. / oppose Sixte. I oppose Quarte.
4. Low-Thrnst. Low-Thrust.
5. On Guard. On Guard.
WiTiioL'T Analyzing.
Press, Disengage, and Low-Thrust. On Guard.
Press, Cut-Over, and Low-Thrust.
1. Engage Quarte, aud Advance (or Engage Sixte, and Advance (or Re-
Retreat), treat).
2. Press and feint Cut-Over. Press and feint Cut-Over.
3. I oppose Sixte. I oppose Quarte.
4. Low-Thrust. Low-Thrust.
5. On Guard. On Guard.
Without Analyzing.
Press, Cut-Over, and Low-Thrust. On Guard.
Press, Disengage, Deceive, and Low -Thrust.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Re-
Retreat), treat).
2 Press and feint Disengagement. Press and feint Disengagement.
3. I oppose Counter of Quarte . I oppose Counter of Sixte.
4. Deceive, low-thrnst. Deceive, low-thrust.
.5. On Guard. On Guard,
WiTHOLT Analyzing.
Press, Disengage, Deceive, and Low-Thrust. On Guard.
On my Change op Engagement, Low-Thrust, and Lunge
IN High Line.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Re-
Retreat), treat).
2. On my Change of Engagement. On my Change of Engagement.
3. Feint Low-Thrust. Feint Low-Thrust.
4. / oppose Octave. I oppose S'ptime,
5. Lunge in High Line. Lunge in High Line.
6. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. Low-Thrust and Lunge in High Line.
On Guard.
132 foil and sabre.
On my Change op Engagement, Deceive, and Low-Thrust.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Ee-
Ketreat). treat).
2. On my Change of Engagement. On mij Change of Engagement.
3. Feint Disengagement. Feint Disengagement.
4. / oppose Counter of Sixte. I oppose Counter of Quarte.
5. Deceive, low-thrust. Deceive, low-tlirust.
6. On Guard. On Guard.
Without Analyzing.
On my Change of Engagement. Deceive and Low-Tlirust. On Guard.
SECOND DIVISION.
SBIPLE PARRY FOR ATTACKS IN THE LOW LIFE, WHILE
ADVANCING, OR UPON THE ADVERSARY'S ADVANCE,
AND VARIOUS SIMPLE RIPOSTES.
Low-Thbost.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Re-
Retreat). tre.at)
2. On my Low-Thrust. On my Low-Thrust.
3. Oppose Septime. Oppose Octave.
4. Riposte Direct. Riposte Direct.
5. On Guard. On Guard.
Without Analyzing.
Oppose Septime. Oppose Octave.
Riposte Direct. On Guard.
Command.
Parry as above. Riposte in High Line.
PARRIES COMPOSED OF TWO MOVEMENTS IN THE HIGH
AND LOW LINES FOR ATTACKS, WHILE ADVANCING,
OR UPON THE ADVERSARY'S ADVANCE, AND VARI-
OUS SIMPLE RIPOSTES.
Low-Thrust and Deceive.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Ee-
Retreat). treat).
2, On my feint of Low-Thrust. On my feint of Low-Thrust.
TENTH LESSON — SECOND DIVISION. 133
3. Oppose Septime. Oppose Octave.
4. I deceive and lunge. I deceive and lunge.
5. Oppose Octave. Oppose Septime.
6. Eiposte Direct. Riposte Direct.
7. On Guard. On Guard.
Without Akalyzlng.
Oppose Septime and Octave. Oppose Octave and Septime.
Eiposte Direct. On Guard.
Command.
Parry as in Kos. 3 and 5 above, Riposte in Higli Line.
Parry Nos. 2 above by Opposition, Nos. 4 by Counter, Eiposte Direct.
LoW-TflEUST AND LuNGE IN HiGH LiNE.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance {or Re-
Eetreat). treat).
2. On my feint of Low-Thrust. On my feint of Low-Thrust.
3. Oppose Septime. Oppose Octave.
4. / lunge in High Line. I lunge in High Line.
5. Oppose Quarte. Oppose Sixte.
6. Eiposte Direct. Eiposte Direct.
7. On Guard. On Guard.
WiTHOnT Analyzing.
Oppose Septime and Quarte. Oppose Octave and Sixte.
Eiposte Direct. On Guard.
Command.
Parry as in Nos. 3 and 5 above, Riposte in Low Line.
Disengage and Low-Theust.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Ee-
Retreat). treat).
2. On my feint of Disengagement. On my feint of Disengagement.
3. Oppose Sixte. Oppose Quarte.
4. / thrust-low. I thrust-low.
5. Oppose Octave. Oppose Septime.
6. Eiposte Direct. Eiposte Direct.
7. On Guard. On Guard.
Without Analyzing.
Oppose Sixte and Octave. Oppose Quarte and Septime.
Eiposte Direct. On Guard.
Command.
Parry as in Nos. 3 and 5 above. Riposte in High Line.
134 foil and sabre.
Cut-Over and Low-Thrust.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Ee-
Ketreat). treat).
2. On my feint of Cut-Over. On my feint of Cut- Over.
3. Oppose Sixte. Oppose Quarte.
-t. / thrust-low. I thrust-low.
5. Oppose Octave. Oppose Septime.
6. Riposte Direct. Riposte Direct.
7. On Guard. On Guard.
Without Analyzing.
Oppose Sixte and Octave. Oppose Quarte and Septime.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3 and 5 above, Riposte iu Higli Line.
Deceive and Low-Thrust.
1. Engage Quarte, and Advance (or Engage Sixte, and Advance (or Re-
Retreat), treat).
2. On my feint of Disengagement. On my feint of Disengagement.
3. Oppose Counter of Quarte. Oppose Counter of Si.xte.
4. / deceive and thrust-low. I deceive and thrust-low.
5. Oppose Septime. Oppose Octave,
6. Riposte Direct. Riposte Direct.
7. -On Guard. On Guard.
Without Analyzing.
Oppose Counter of Quarte and Septime. Oppose Counter of Sixte and Octave.
Riposte Direct. On Guard.
Command.
Parry as in Nos. 3 and 5 above, Riposte in Higli Line.
TENTH LESSON — THIRD DIVISION. 135
THIRD DIVISION.
SIMPLE ATTACKS DECEIVING THE DOUBLE
ENGAGEMENT.
Direct Thrust.
Being engaged in Quarte. Being engaged in Sixte.
1. / double the Engagement. I double the Engagement.
2. Lunge Direct. Lunge Direct.
3. On Guard. On Guard.
Without Analyzing.
On my Double Engagement. Liinge Direct. On Guard.
Disengagement.
Being engaged in Quarte. Being engaged in Sixte.
I / double the Engagement. I double the Engagement.
2. Deceive the Second by Disen- Deceive the Second by Disengaging.
gaging.
3. On Guard. On Guard
Without Analyzing.
On my Double Engagement. Disengage. On Guard.
ATTACKS COMPOSED OF TWO MOVEMENTS DECEIVING
THE DOUBLE ENGAGEMENT.
One-Two.
Being engaged in Quarte. Being engaged in Sixte.
1. I double the Engagement. I double the Engagement.
2. Deceive the Second by a feint of Deceive the Second by a feint of
Disengagement. Disengagement.
3. / oppose Sixte. I oppose Quarte.
4. Disengage, lunge. Disengage, lunge.
5. On Guard. On Guard.
Without Analyzing.
On my Double Engagement. One-Two. On Guard.
136
FOIL AND SABRE.
Double.
Being engaged in Quarte.
1. I double the Engagement.
2. Deceive the Second by a feint of
Disengagement.
3. J oppose Counter of Quarte.
4. Deceive, lunge.
5. On Guard.
Being engaged in Sixte.
/ double the Engagement.
Deceive the Second by a feint
Disengagement.
/ oppose Counter of Sixte.
Deceive, lunge.
On Guard.
of
Without Analyzing.
On my Double Engagement. Double.
On Guard.
ATTACKS COMPOSED OF THREE MOVEMENTS DECEIVING
THE DOUBLE ENGAGEMENT.
One-Two-Three.
Being engaged in Quarte.
1. I double the Engagement.
2. Deceive the Second by a feint of
Disengagement.
3. / oppose Sixte.
4. Feint 2d Disengagement.
5. I oppose Quarte.
6. Disengage, lunge.
7. On Guard.
Being engaged in Sixte.
/ double the Engagement.
Deceive the Second by a feint
Disengagement.
I oppose Quarte.
Feint 2d Disengagement.
/ oppose Sixte.
Disengage, lunge.
On Guard.
of
Without Analyzing.
On my Double Engagement. One-Two-Three. On Guard.
One-Two and Deceive.
Being engaged in Quarte.
1 . I double the Engagement,
2. Deceive the Second by a feint of
Disengagement.
3 I oppose Sixte.
4. Feint 2d Disengagement.
5. I oppose Counter of Sixte.
6. Deceive, lunge.
7. On Guard.
Being engaged in Sixte.
/ double the Engagement.
Deceive the Second by a feint of
Disengagement.
I oppose Quarte.
Feint 2d Disengagement.
/ oppose Counter of Quarte,
Deceive, lunge.
On Guard.
Without Analyzing.
On my Double Engagement. One-Two and Deceive. On Guard.
CO
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ELEVENTH LESSON — FIRST DIVISION.
137
Double and Disengage.
Being engaged iu Quarte.
1. I double the Engagement.
2. Deceive the Second by a feint of
Disengagement,
3. 7 oppose Counter of Quarte.
4. Deceive.
5. I oppose Stxte.
6. Disengage, lunge.
7. On Guard.
Being engaged in Sixte.
/ double the Engagement.
Deceive the Second by a feint of
Disengagement.
I oppose Counter of Sixte.
Deceive.
/ oppose Quarte.
Disengage, lunge.
On Guard.
Without Analyzing.
On my Double Engagement. Double and Disengage. On Guard.
ELEVENTH LESSON — FIRST DIVISION.
The Counter-Riposte.
The Counter-Riposte is the attack that follows the parrying
of the Riposte, and may be executed with or without a lunge,
and may be direct or indirect, simple or complex.
VARIOUS SIMPLE COUNTER-RIPOSTES, AND VARIOUS
SIMPLE PARRIES AND RIPOSTES.
Disengagement.
Being engaged in Quarte.
L
2. / oppose Sixte and Riposte Direct.
3. Oppose Sixte and Counter-Riposte
in Low Line.
4. On Guard.
Being engaged in Sixte.
Disengage.
/ oppose Quarte and Riposte Direct.
Oppose Quarte and Counter-Riposte
in Low Line.
On Guard.
Being engaged in Quarte.
1. Disengage.
2. / oppose Sixte and Riposte in Low
Line.
3. Oppose Octave (or Seconde) and
Counter-Riposte in High Line.
4. On Guard.
Being engaged in Sixte.
Disengage.
/ oppose Quarte and Riposte in Low
Line.
Oppose Septime (or Quinte) and
Counter-Riposte in High Line.
On Guard.
138
TOIL AND SABRE.
Being engaged in Quarte.
1. Disengage.
2. / oppose Counter of Quarte and
Riposte in Low Line.
3. Oppose Septime (or Quiute) and
Counter- Kiposte in High Line.
4. On Guard.
Being engaged in Sixte.
Disengage.
/ oppose Counter of Sixte and Riposte
in Low Line.
Oppose Octave (or Seconde) and
Counter-Riposte in High Line.
On Guard.
Being engaged in Quarte.
1. Disengage.
2. / oppose Counter of Quarte and
Riposte Direct.
3. Oppose Quarte and Counter-Ri-
poste in Low Line.
4. On Ciuard.
Being engaged in Sixte.
Disengage.
/ oppose Counter of Sixte and Riposte
Direct.
Oppose Sixte and Counter Riposte
in Low Line.
On Guard.
Being engaged in Qusi'te.
1. Disengage.
2. I oppose Tierce and Riposte Direct.
3. Oppose Tierce (or Sixte) and
Counter Riposte in Low Line.
4. On Guard.
Being engaged in Sixte.
Disengage.
/ oppose Quarte and Riposte Direct.
Oppose Prime, Cut-Over (or Quarte)
and Counter-Riposte in Low Line.
On Guard.
Being engaged in Quarte.
1. Disengage.
2. / oppose Tierce and Riposte in
Low Line.
3. Oppose Seconde (or Octave) and
Counter-Riposte in High Line.
4. On Guard.
Being engaged in Sixte.
Disengage.
/ oppose Quarte and Riposte Direct.
Oppose Septime (or Quinte) and
Counter-Riposte in High Line.
On Guard.
Being engaged in Quarte.
1. Thrust-low.
2. I oppose Septime, Bind, and Ri-
poste Direct.
3. Oppose Sixte (or Tierce) and
Counter-Riposte in Low Line.
4. On Guard.
Being engaged in Sixte.
Thrust-low.
I oppose Octave (or Seconde) and
Riposte in High Line.
Oppose Sixte (or Tierce) and Coun-
ter-Riposte in Low Line.
On Guard.
Being engaged in Quarte.
1. Thrust-low.
2. / oppose Septime and Riposte
Direct.
3. Oppose Septime, Bind, and Coun-
ter Riposte Direct.
4. On Guard.
Being engaged in Sixte.
Thrust-low.
/ oppose Octave and Riposte Direct.
Oppose Octave and Counter-Riposte
in High Line.
On Guard.
ELEVENTH LESSON — FIRST DIVISION. 139
1. Observation : — Command the Counter-Riposte to be exe-
cuted without lunging, if the Riposte has been accompanied by
a lunge, and vice versa.
2. As soon as the pupil begins to improve, the instructor
should place himself in a position less favorable to the pupil,
— namely, the body more in profile, — in order that the lesson
may be more nearly an imitation of the assault. This is par-
ticularly important when executing the Ripostes and Counter-
Ripostes. Some instructors offer their pupils every facility
for the easy success of their thrust, — a practice which is,
without doubt, entirely erroneous. Such a pupil, when placed
before an adversary in an ordinary assault, is surprised to
find so many imexpected difficulties.
The lesson must be a continual preparation for the assault,
in order to render the pupil confident of his thrust, to give
him accuracy in placing them. The pupil will not then be
so much "at sea" when placed before an adversary whose
position of body is so correct as to offer him but little oppor-
tunity to attack, — an excellency which the pupil also should
strive to acquire.
The instructor should apply these two suggestions when he
thinks fit.
VARIOUS SIMPLE PARRIES FOR THE FEINT OF DISEN-
GAGEMENT, VARIOUS SIMPLE RIPOSTES, AND VARI-
OUS SIMPLE COUNTER-RIPOSTES.
Feint op Disengagement.
Being engaged in Quarte. ■ Being engaged in Sixte.
1. Feint Disengagement. Feint Disengagement.
2. / oppose Sixte and Riposte hy a I oppose Quarte and Riposte by a
Disengagement. Disengagement.
3. Oppose Quarte and Counter-Rl- Oppose Sixte and Counter-Riposte
poste Direct. Direct.
4. On Guard. On Guard.
Command.
(A) Parry as in Nos. 2 and 3 above, Counter-Riposte by a Disengagement.
(B) Parry as in Nos. 2 and 3 above, Counter-Riposte by a Cut-Over.
140 FOIL AND SABRE.
2d Exercise : Parry the above Nos. 1 by an Opposition, the Eiposte by a Counter,
and Counter-Riposte as in each of the preceding.
3d Exercise : Parry the above Nos. 1 by a Counter, the Eiposte by an Opposi-
tion, and Counter-Riposte as in A and B.
4th Exercise : Parry tlie above Nos. 1 and the Riposte by Counters, and Coun-
ter-Riposte as in A and B.
SECOND DIVISION.
VARIOUS SIMPLE PAP.RIES FOR THE EEINT OF DISEN-
GAGEMENT, VARIOUS SIMPLE RIPOSTES, AND VARI-
OUS COUNTER-RIPOSTES IN TWO MOVEMENTS.
Feint op Disengagement.
Being engaged in Quarte. Being engaged in Sixte.
1. Feint Disengagement. Feint Disengagement.
2. / oppose Sixte and Miposte hy u, I oppose Quarte and Riposte by a
Disengagement, Disengagement.
3. Oppose Quarte and Counter-Ri- Oppose Sixte and Counter-Riposte
poste by a Double. by a Double.
4. On Guard. On Guard.
Command.
(A) Parry as in Nos. 2 and 3 above, Counter-Riposte by One-Two.
(B) Parry as in Nos. 2 and 3 above, Counter-Riposte by a Cut-Over, and Disen-
gagement.
2d Exercise : Parry Nos. 1 above by Opposition, the Riposte by Counter, and
Counter-Riposte as in each of the preceding.
3d Exercise ; Parry Nos. 1 above by Counter, the Riposte by Opposition, and
Counter-Riposte as in A and B.
4th Exercise : Parry Nos. 1 above and the Riposte by Counters, and Counter-
Riposte as in A and B.
VARIOUS ST]\IPLE PARRIES FOR THE FEINT OF DISEN-
GAGE.MENT, VARIOUS RIPOSTES IN TWO MOVEMENTS,
AND VARIOUS SIMPLE COUNTER-RIPOSTES.
Feint op Disengagement.
Being engaged in Quarte. Being engaged in Sixte.
1. Feint Disengagement. Feint Disengagement.
2. / oppose Sixte and Riposte by a I oppose Quarte and Riposte by a
Double. Double.
1^
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ELEVENTH LESSON — THIRD DIVISION. 141
3. Oppose Counter of Sixte and Oppose Counter of Quarte and Sixte,
Quarte, and Counter-Riposte and Counter-Riposte Direct.
Direct.
4. On Guard. On Guard.
Command.
(A) Parry as in Nos. 2 and 3 above, Counter-Riposte by a Disengagement.
(B) Parry as in Nos. 2 and 3 above, Counter-Riposte by a Cut-Over.
2d Exercise ; Parry Nos. 1 above by an Opposition, the Riposte by two Counters,
and Counter-Riposte as in A and B.
3d Exercise r Parry Nos 1 above by a Counter, the Riposte by a Counter and
an Opposition, and Counter-Riposte as in A and B.
4th Exercise ■ Parry Nos 1 above by a Counter, the Riposte by two Couuters,
and Counter-Riposte as in A and B.
Observation : Command the Counter-Riposte to be exe-
cuted with a lunge, if the Riposte has been effected without
the lunge, and vice versa.
THIRD DIVISION.
VARIOUS SIMPLE PARRIES, RIPOSTES, COUNTER-RIPOSTES,
AND SECOND COUNTER-RIPOSTES.
Feint of Disengagement.
Being engaged in Quarte. Being engaged in Sixte.
1. On mil feint of Disenga(jem€nt. On my feint of Disengagement.
2. Oppose Sixte and Riposte Direct. Oppose Quarte and Riposte Direct.
3. / oppose Sixte and Counter-Riposte I oppose Quarte and Counter-Riposte
by a Disengagement. by a Disengagement
4. Oppose Quarte and 2d Counter- Oppose Sixte and 2d Counter-Riposte
Riposte Direct. Direct
5. On Guard. On Guard.
Command
(A) Parry as in Nos. 2, 3, and 4 above, second Counter-Riposte by a Disengage-
ment.
(B) Parry as in Nos. 2, 3, and 4 above, second Counter-Riposte by a Cut-Over.
2d Exercise : Parry Nos. 1 above by an Opposition, the Riposte by a Counter,
the Counter-Riposte by an Opposition, and the second Counter-Riposte as in A
and B.
3d Exercise : Parry Nos. 1 above and the Ripo.'ste by Oppositions, the Counter-
Riposte by a Counter, and the second Counter-Riposte as in A and B.
142 FOIL AND SABRE.
4th Exercise : Parry Nos 1 above by a Counter, the Riposte and Counter-Ri-
poste by Oppositions, and the second Counter-Riposte as in A and B.
5th Exercise : Parry Nos. 1 above by a Counter, the Riposte by an Opposition,
the Counter-Riposte by a Counter, and the second Counter-Riposte as in A
and B.
6th Exercise : Parry Nos. 1 above and the Riposte by Counters, the Counter-
Riposte by an Opposition, and the second Counter-Riposte as in A and B.
VARIOUS SIMPLE PARRIES, RIPOSTES, AND COUNTER-
RIPOSTES, AND VARIOUS SECOND COUNTER-RI-
POSTES IN TWO MOVEMENTS.
Feint op Disengagement.
Being engaged in Quarte. Being engaged m Sixte.
1. On my feint of Disengagement. On my feint of Disengagement.
2. Oppose Sixte and Riposte Direct. Oppose Quarte and Riposte Direct.
3. I oppose Sixte and Counter-Riposte I oppose Quarte and Counter-Riposte
by a Disengagement. by a Disengagement.
4. Oppose Quarte and 2d Counter- Oppose Sixte and 2d Counter-Riposte
Riposte by a Double. by a Double.
5. On Guard. On Guard.
Command.
(A) Parry as in Nos. 2, 3, and 4 above, and second Counter-Riposte by One-Two.
(B) Parry as in Nos. 2, 3, and 4 above, and second Counter-Riposte by a Cut-
Over, and Disengagement.
2d Exercise : Parry Nos. 1 above and the Riposte by Oppositions, the Counter-
Riposte by a Counter, and the second Counter-Riposte as in A and B.
3d Exercise : Parry Nos, 1 aliove by an Opposition, the Riposte by a Counter,
the Counter-Riposte by an Opposition, and the second Counter-Riposte as in A
and B.
4th Exercise : Parry Nos. 1 above by a Counter, the Riposte and Counter-Ri-
poste by Oppositions, and the second Counter-Riposte as in A and B.
5th Exercise : Parry Nos. 1 above and the Riposte by Counters, the Counter-
Riposte by an Opposition, and the second Counter-Riposte as in A and B.
ELEVENTH LESSON — FOURTH DIVISION. 143
FOURTH DIVISION.
VARIOUS SIMPLE PARRIES AND RIPOSTES, VARIOUS
COUNTER-RIPOSTES IN" TWO MOVEMENTS, AND VA-
RIOUS SIMPLE SECOND COUNTER-RIPOSTES.
Feint op Disengagement.
Being engaged in Quarts. Being engaged in Sixte.
1. On mt/ feint of Disengagement. On my feint of Disengagement.
2. Oppose Sixte and Riposte Direct. Oppose Quarte and Riposte Direct.
3. / oppose Sixie and Counter-Riposte I oppose Quarte and Counter-Riposte
bi/ a Double. bi/ a Double.
4. Oppose Counter of Sixte and Oppose Counter of Quarte and Sixte,
Quarte, and 2d Counter-Riposte and 2d Counter-Riposte Direct.
Direct.
5. On Guard. On Guard.
Cominand.
(A) Parry as in Nos. 2, 3, and 4 above, and second Counter-Riposte by a
Disengagement.
(B) Parry as in Nos. 2, 3, and 4 above, and second Counter-Riposte by a Cut-
Over.
2d Exercise : Parry Nos. 1 above and the Riposte by Oppositions, the Counter-
Riposte by two Counters, and the second Counter-Riposte as in A and B.
3d Exercise : Parry Nos. 1 above by an Opposition, the Riposte by a Counter,
the Counter-Riposte by a Counter and an Opposition, and the second Counter-
Riposte as in A and B.
4th Exercise : Parry Nos. 1 above by a Counter, the Riposte by an Opposition,
the Counter-Riposte by a Counter and an Opposition, and the second Counter-
Riposte as in A and B.
5th Exercise : Parry Nos. 1 above and the Riposte by Counters, the Counter-
Riposte by a Counter and an Opposition, and the second Counter-Riposte as in A
and B.
VARIOUS SIMPLE PARRIES AND RIPOSTES, COUNTER-
RIPOSTES IN TWO MOVEMENTS, AND VARIOUS SIM-
PLE SECOND COUNTER-RIPOSTES.
Feint of Disengagement.
Being engaged in Quarte. Being engaged in Sixte.
1. On my feint of Disenqaqement. On my feint of Disengagement.
2. Oppose Sixte and Riposte Direct, Oppose Quarte and Riposte Direct.
144 FOIL AND SABRE.
3. / oppose Sixte and Counter-Riposte I oppose Quarte and Counter-Riposte
by One-Two. by One-Two.
4. Oppose Quarte and Sixte, and Oppose Sixte and Quarte, and 2d
2d Counter-Riposte Direct. Counter-Riposte Direct.
5. On Guard. On Guard.
Command.
(A) Parry as in Nos. 2, 3, and 4 above, and second Counter-Riposte by a
Disengagement.
(B) Parry as in Nos. 2, 3, and 4 above, and secoud Counter- Riposte by a Cut-
Over.
2d Exercise ; Parry Nos. 1 above and the Riposte by Oppositions, the Counter-
Riposte by an Opposition aud a Counter, and second Counter-Riposte as in A
and B.
3d Exercise : Parry Nos. 1 above by an Opposition, the Riposte by a Counter,
the Counter-Riposte by two Oppositions, and the second Counter-Riposte as in A
and B.
4th Exercise : Parry Nos. 1 above by a Counter, the Riposte by an Opposition,
the Counter-Riposte by au Opposition and a Counter, and second Counter-Riposte
as in A and B.
5th Exercise : Parry Nos. 1 above and the Riposte by Counters, tlie Counter-
Riposte by two Oppositions, and second Counter- Riposte as in A and B.
Feint op Disengagement.
Being engaged in Quarte. Engage the blade in Sixte.
1. Oji my feint of Disengagement. On my feint of Disengagement.
2. Oppose Sixte and Riposte Direct. Oppose Quarte and Riposte Direct.
3. I oppose Sixte and Counter-Riposte I oppose Quarte and Counter-Riposte
by It Cut-Over, and Disengage- by a Cut-Ocer, and Disengagement,
ment.
4. Oppose Quarte and Sixte, and 2d Oppose Sixte and Quarte, and 2d
Counter-Riposte Direct. Counter-Riposte Direct.
5. On Guard. On Guard.
Command.
(A) Parry as in Nos. 2, 3, and 4 above, and second Counter-Riposte by a
Disengagement.
(B) Parry as in Nos. 2, 3, and 4 above, and second Counter-Riposte by a Cut-
Over.
2d Exercise ; Parry Nos. 1 above by an Opposition, the Riposte by a Counter,
the Counter-Riposte by two Oppositions, and second Counter-Riposte as in A
and B.
3d Exercise: Parry Nos. 1 above and the Riposte by Counters, the Counter-
Riposte by two Oppositions, and second Counter-Riposte as in A and E.
ELEVENTH LESSON — FIFTH DIVISION. 145
FIFTH DIVISION.
VARIOUS SIMPLE PARRIES AND RIPOSTES, COUNTER-
RIPOSTES IN TWO MOVEMENTS, AND SECOND
COUNTER-RIPOSTES IN TWO MOVEMENTS.
Feint op Disengagement.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my feint of Disengagement. On my feint of Disengagement.
3. Oppose Sixte and Riposte Direct. Oppose Quarte and Riposte Direct.
4. 1 oppose Sixte and Counter-Riposte 1 oppose Quarte and Counter-Riposte
hi) a Double. by a Double.
5. Oppose Counter of Sixte and Oppose Counter of Quarte and Sixte,
Quarte, and second Counter- and second Counter-Riposte by a
Riposte by a Double. Double.
6. On Guard. On Guard
Covimand.
(A) Parry as in Nos. 3, 4, and 5 above, and second Counter-Riposte by One-Two.
(B) Parry as in Nos 3, 4, and 5 above, and second Counter-Riposte by a Cut-
Over and Disengagement
1st Exercise- Parry Nos 2 above and the Riposte by Oppositions, the Counter-
Riposte by two Counters, and second Counter-Riposte by each of the preceding.
2d Exercise . Parry Nos. 2 above by one Opposition, the Riposte by a Counter,
the Counter-Riposte by a Counter and an Opposition, and second Counter-Riposte
as in A and B.
3d Exercise : Parry Nos. 2 above by a Counter, the Riposte by an Opposition,
the Counter-Riposte by a Counter and one Opposition, and second Counter-Riposte
as in A and B.
Feint op Disengagement.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On my feint of Disengagement. On my feint of Disengagement.
3. Oppose Sixte and Riposte Direct. Oppose Quarte and Riposte Direct.
4. / oppose Sixte and Counter-Riposte I oppose Quarte and Counter-Riposte
by One-Two. by One-Two.
5. Oppose Quarte and Si.xte, and Oppose Sixte and Quarte, and sec-
second Counter-Riposte by a ond Counter-Riposte by a Double.
Double.
6. On Guard. On Guard.
Command.
(A) Parry as in Nos. 3, 4, and 5 above, and second Counter-Riposte by One-Two.
(B) Parry as in Nos. 3, 4, and 5 above, and second Counter-Riposte by a Cut-
Over and Disengagement.
10
146 FOIL AND SABRE.
1st Exercise : Parry Nos. 2 ahore and the Riposte by Oppositions, the Counter-
Riposte by one Opposition and one Counter, and second Counter-Riposte by each
of the preceding.
2d Exercise : Parry Nos. 2 above by an Opposition, the Riposte by a Counter,
the Counter-Riposte by two Oppositions, and second Counter-Riposte as in A
and B.
3d Exercise : Parry Nos. 2 above by a Counter, the Riposte by an Opposition,
the Counter-Riposte by two Oppositions, and second Counter-Riposte as in A
and B.
• Feint of Disengagement.
1. Engage the blade in Quarte. Engage the blade in Sixte.
2. On mij feint of Disejviaijevient On my feint of Disengagement.
3. Oppose Sixte and Riposte Direct. Oppose Quarte and Riposte Direct.
4. / oppose Sixte and Counter-Riposte I oppose Quarte and Counter-Riposte
bi/ a Cut-Over, Disengage. hi/ a Cut-Over, Disengage.
5. Oppose Quarte and Sixte, and Oppose Sixte and Quarte, and sec-
secoud Counter-Riposte by a oud Counter-Riposte by a Double.
Double
6. On Guard. On Guard.
Command.'
( A) Parry as in Nos. 3, 4, and .'5 above, and second Counter-Riposte by One-Two.
(B) Parry as in Nos, 3, 4, and 5 above, and second Counter-Riposte by a Cut-
Over and Disengagement.
Lst Exercise: Parry Nos. 2 above by an Opposition, the Riposte by a Counter,
the Counter-Riposte by two Oppositions, and second Counter-Riposte by each of
the preceding.
2d Exercise: Parry Nos. 2 above by a Counter, the Riposte by an Opposition,
the Counter-Riposte by two Oppositions, and second Counter-Riposte as in A
and B.
The Exercise of the Counters. — The cxercise of the counters
is a practice for two pupils together, and serves to overcome
the liesitation which exists when making an assault. It gives
to the pupil confidence and precision. The thrusts and par-
ries, though conventional in character, are required to be ex-
,ecuted rapidly, and with the same decision and spirit as if
they were to take effect.
The exercise may be : Begin in the line of Quarte, and
engage without words of command. One of the two pupils
takes the lead, and changes the exercise when he thinks fit.
Both of them have the opportunity of parrying and of attack-
ing alternately, and also of riposting after the parry.
o
2;
Eh
o
o
a.
►J
TWELFTH LESSON — FIRST DIVISION. 147
The exercise of the counters has no particular rank in the
theory of fencing, but may be practised when the pupil is well
advanced in the different parries and attacks.
Exercise of the Counters.
Engagement of Quarts.
Direct Thrust . . . . one Opposition.
Disengagement . . . one Opposition.
One-Two . . ... two Oppositions.
One-Two-Three three Oppositions.
Repeat the above with Tierce Engagement.
Engagement of Quarte.
Direct Thrust . . . one Counter.
Disengagement . . one Counter.
Double two Counters.
Repeat the above with Tierce Engagement.
Engagement of Quarte.
One-Two . one Opposition and one Couuter.
One-Two, and Deceive one Opposition, one Counter, and one Opposition.
One-Two, and Deceive . . one Opposition and two Counters.
One-Two-Three two Oppositions and one Counter.
Repeat the above with Tierce Engagement.
Engagement of Quarte.
Double one Counter and one Opposition.
Double and Disengage one Counter and two Oppositions-
Double and Disengage one Counter, one Opposition, and one Counter
Repeat the above with Tierce Engagement.
Repeat all the above exercises, letting each be preceded by
a Double Engagement.
TWELFTH LESSON — FIRST DIVISION.
The Time-Thrust. — The Time-Thrust is the action of making
an attack between the two final movements of your adver-
sary's attack, and is effected : 1. By anticipating the last of
these and hitting him in the line in which he had intended
to make his thrust, and which he finds closed by reason of
your action. 2. By obstructing his passage from one line
into the line in which he intends to make his lunge.
The Direct Time-Thrust. — The Direct Time-Thrust can be
effected on any composite attack ending in High Sixte by
148 FOIL AND SABRE.
lunging (with hand in opposition) direct in that same line
between the adversary's last feint and his final lunge. By so
doing you gain half a movement on your adversary, because
you touch him during the passage of his blade from one line
to the other. This direct movement on your part closes at
the same time the line that he proposed entering in his attack
upon you. (See fig. 24.)
The Time-Thrust in Opposition — This Time-Thrust may be
employed in composite attacks ending in the line of Quarte,
and is executed by lowering the point of your sword, stopping
your adversary's blade in Low Sixte, holding it there by
opposition of Octave, and simultaneously touching him in the
Low Line. This thi'ust checks the final movement of his
attack, having been executed prior to it. (See fig. 25.)
TIME-THRUSTS ON ATTACKS COMPOSED OF TWO
MOVEMENTS.
One-Two.
Time-Thrust iu Opposition. Time-Thrust Direct.
Engage the blade in Quarte. Engage the blade iu Sixte.
I execute One-Two. J execute One-Two.
On m>/ feint. " Time " me in High Sixte with Op-
Lower the point of your sword and position, the moment I execute my
" Time " me in Low-Sixte, the mo- final movement,
ment I begin my final movement,
by carrying your hand iu opposi-
tion from left to right, to protect
your body iu that line.
Without Analyzing.
On mi/ One-Two. Time-Thrust. On Guard. '
Double Cut-Over.
Parry of Time-Thrust. Time-Thrust Direct.
If the adversary seems about to make Engage the blade in Sixte.
a Time-Thrust, it might be well to 7 execute a double Cut-Over.
draw out his attack by making a "Time" me in High-Sixte with Op-
False Attack with a half lunge, position the moment I begin the
which would give him more con- last Cut-Over.
TWELFTH LESSON — FIRST DIVISION. 149
fiilence, and parrv his Time-Thrust
direct hy a Sixte or Tierce, his
Time-Thrust in Couuter-Diseu-
gagement by a Quarte, his Time-
Thrust in Opposition by an Octave
or Seconde, and Riposte.
Without Analyzing.
On my Double Cut-Ocer. Time-Thrust. On Guard.
Olservation : Time-Thrust in Quarte Line not applicable
to the above attaclc.
COT-OVEB AND DiSENGAGE.
Time-Thrust in Ojjposition. Time-Thrust Direct.
Engage the blade in Quarte. Engage the blade in Sixte.
/ execute Cut-Ouer and Disenrjage. I execute Cut-Ouer and Disengage.
On my Cut-Over, lower your point "Time" me in High Sixte with Op-
and " Time " me in Low Sixte position the moment I execute the
with Opposition the moment I be- final movement,
gin the final movement.
Without Analyzing.
On my Cut-Over. Disengage; Time-Thrust. On Guard.
Beat and Disengage.
Time-Thrust Direct. Time-Thrust in Opposition.
Engage the blade in Quarte. Engage the blade in Sixte.
/ execute Beat and Disengage. I execute Beat and Disengage.
"Time" me in High Sixte the mo- "Time" me in Low Sixte with Op-
ment I execute the final move- position, by lowering your point
ment. the moment I begin the final move-
ment.
Without Analyzing.
On mi/ Beat and Disengagement. Time-Thrnst. On Guard.
Beat and Cut-Over.
Time-Thrust Direct.
Engage the blade in Quarte.
I execute Beat and Cut-Over.
" Time " me in High Sixte with Op-
position the moment I execute the
final movement.
150
FOIL AND SABEE.
Without Analyzing.
On my Beat and Cat-Ooer. Time-Thrust. Ou Guard,
Observation : Time-Thrust in Sixte Line not applicable to
the above attack.
Press and Disengage.
Time-Thrust Direct.
Engage the blade in Quarte.
/ execute Press and Disengage.
" Time " me in High Sixte with
Opposition the moment I execute
the final movement.
Time-Thrust in Opposition.
Engage the blade in Si.xte.
/ execute Press and Disengage.
Lower your point and " Time " me
in Low Sixte with Opposition, the
moment I begin the final move-
ment.
Without Analyzing.
On my Press and Disengagement. Time-Thrust. On Guard.
Press and Cut-Oyer.
Time-Thrust Direct.
Engage the blade in Quarte.
/ execute Press and Cut-Over.
" Time " me in High Sixtfe with Op-
position the moment I execute the
final movement.
Without Analyzing.
On my Press and Cut-Ocer. Time-Thrust.
On Guard.
Observation : Time-Thrust in Sixte Line is not applicable
to the above attack.
Traverse and Disengage-
Time-Thrust Direct.
Engage the blade in Quarte.
I execute Traverse and Disenqai/e.
" Time " me in High Sixte with Op-
po.sition the moment I execute the
final movement.
Time-Thrust in Opposition.
Engage the blade in Sixte.
/ execute Traverse and Disengage.
Lower your point and "Time" me
in Low Sixte with Opposition the
moment 1 begin the final move-
ment.
Without Analyzing.
On my Traverse and Disengagement. Time-Thrust. On Guard.
ZJ
^
TWELETH LESSON — FIRST DIVISION. 151
Traverse and Cut-Over.
Time-Tlirust Direct.
Engage the blade in Quarte.
J fxecute Traverse and Cut-Over.
" Time " me in High Sixte with Op-
position the moment I execute the
final movement.
Without Analyzing.
Oh mtj Traverse and Cut-Over. Time-Thrust. On Guard.
Observation : Time-Thrust in Sixte Line is not applicable to
the above attack.
Double.
Time-Thrust Direct. Time-Thrust in Opposition.
Engage the blade in Quarte. Engage the blade in Sixte.
/ execute Double. I execute Double.
On my first Disengagement. Lower your point and "Time" me
" Time " me by Counter Disengage- in Low Sixte with Opposition the
ment in High Quarte. moment I begin the final movement.
Without Analyzing.
On mi/ Double. Time-Thrust. On Guard.
Disengage and Cut-Over.
Time-Thrust Direct.
Engage the blade in Sixte.
/ execute Disenrjagement and Cut-Over.
" Time " me in High Sixte with Op-
position the moment I execute the
final movement.
Without Analyzing
On my Disengagement and Cut-Over Time-Thrust Oil Guard.
Observation : Time-Thrust in Quarte Line is not applicable
to the above attack.
Glide and Deceive.
Time-Thrust in Opposition. Time-Thrust Direct.
Engage the blade in Quarte. Engage the blade in Sixte.
On my Glide. On my Glide.
Feign the parry of Counter of Sixte, Disengage in High Quarte with Op-
but stop halfway in its execution. position.
152
FOIL AND SABRE.
/ deceive the Coiinter.
Lower your point and " Time " me
in Low Sixte with Opposition the
moment my blade arrives there to
pass under your wrist.
WiTHODT Analyzing.
On my Glide and Deceive. Time-Thrust.
On Guard.
SECOND DIVISION.
time-thrusts on attacks composed of three m0ve5ients.
Glide and Deceive Two Counters.
Time-Thrust in Opposition.
Engage the blade in Quarte.
On VI 1/ Glide.
Oppose Counter of Sixte.
/ Deceice.
Eeign the parry of the Second Coun-
ter, but stop halfway in its execu-
tion.
/ Deceive.
Lower your point and " Time " me
in Low Sixte with Opposition, the
moment my blade arrives there to
pass under your wrist.
WiTHOOT Analyzing.
On mj) Glide and Deceive two Counters. Time-Thrust.
Time-Thrust Direct.
Engage the blade in Sixte.
On my Glide.
Oppose Counter of Quarte.
/ Deceive.
Counter-disengage in High Quarte.
On Guard.
Glide and One-Two.
Time-Thrust in Opposition.
Engage the blade in Quarte.
On ml] Glide.
Oppose Quarte.
On my first disenqngement.
Lower your point and " Time " me in
Low Sixte with Opposition the mo-
ment I begin the final movement.
Time-Thrust Direct.
Engage the blade in Sixte.
On my Glide.
Oppose Sixte.
On my One-Two
" Time " me in High Sixte with Op-
position the moment I execute my
final movement.
Without Analyzing.
On my Glide and One-Two. Time-Thrust.
On Guard.
TWELFTH LESSON — SECOND DIVISION.
153
Glide, Cut-Over and Disengage.
Time-Thrust in Opposition.
Engage the blade in Quarte.
On mi/ Glide.
Oppose Quarte.
On my Cut-Over and Disengaqement.
Lower your point and " Time " me
in Low Sixte with Opposition the
moment I begin the final move-
ment.
Without Analyzing.
On mi] Glide, Cut-Oier and Disengage. Time-Thrust,
Time-Thrust Direct.
Engage the blade in Sixte.
On mi] Glide.
Oppose Sixte.
On mij Cut-Over and Disengagement.
" Time " me in High Sixte with Op-
position the moment I execute the
final movement.
On Guard.
Beat and One-Two.
Time-Thrust Direct.
Engage the blade in Sixte.
/ execute Beat and One-Two.
On mi] first Disengagement.
" Time " me in High Sixte with Op-
position the moment I execute the
final movement.
Time-Thrust in Opposition.
Engage the blade in Quarte.
/ execute Beat and One-Two.
On nig first Disengagement.
Lower your point and " Time " me
in Low Sixte with Opposition the
moment I begin the final move-
ment.
Without Analyzing.
On mi] Beat and One-Two. Time-Thrust
On Guard.
Time-Thrnst Direct.
Engage the blade in Quarte.
I execute Beat and Double.
On mg first Disengagement.
"Time" me by Counter-Disengage
ment in High Quarte.
Beat and Double.
Time-Thrust in Opposition.
Engage the blade in Sixte.
/ execute Beat and Double.
On mi] first Disengagement.
Feign the parry of Counter of Sixte,
but stop half- way in its execution.
/ Deceive.
" Time " me in Low Sixte with Op-
position the moment my blade ar-
rives there to pass under your wrist.
Without Analyzing.
On my Beat and Double. Time-Thrust On Guard.
Beat, Cut-Over, and Disengage.
Time-Thrust in Opposition. Time-Thrust Direct.
Engage the blade in Quarte. Engage the blade in Sixte.
I execute Beat, Cut-Over, and Dis-
engage.
I execute Beat, Cut-Over, and Dis-
engage.
154
FOIL AND SABRE.
On my Cut-Over.
Lower j'our point and "Time" me
in Low Sixte with Opposition the
moment I begin my final move-
ment.
Without Analyzing.
On my Beat, Cut-Over, and Disengagement. Time-Thrust,
On my Cut-Over.
" Time " me in High Sixte with Op-
position the moment I execute my
final movement.
On Guard.
Press and One-Two.
Time-Thrust in Opposition.
Engage the blade in Quarte.
/ execute Press and One-Two.
On my first Disengagement.
Lower your point and " Time " me in
Low Sixte with Opposition the mo-
ment I begin the final movement.
Without Analyzing.
On my Press and One-Ttvo. Time-Thrust
Time-Thrust Direct.
Engage the blade in Sixte,
7 execute Press and One-Two.
On my first Disengagement.
"Time" me in High Sixte with Op-
position the moment I execute tlie
final movement.
On Guard.
Press and Double.
Time-Thrust in Opposition.
Engage the blade in Sixte.
I execute Press and Double,
On my first Disengagement.
Eeign the parry of Counter of Sixte
but stop half-way in its execution.
I Deceive.
Lower your point and "Time "me
in Low Sixte with Opposition tlie
moment my blade arrives there, to
pass under your wrist.
AViTHOUT Analy-zixg.
On my Press and Double. Time-Thrust. On Guard.
Time-Thrust Direct.
Engage the blade in Quarte.
I execute Press and Double.
On my first Disengagement.
" Time " me by Counter-Disengage-
ment in High Quarte.
Press, Cut-Over, and Disengage
Time-Thrust in Opposition.
Engage the blade in Quarte.
I execute Press, Cut-Over, and Dis-
engage.
On my Cut-Over.
Lower your point and " Time " me in
Low Sixte with Opposition the mo-
ment I begin the final movement.
Without Analyzing.
On my Press, Cut-Over, and Disengagement. Time-Thrust.
Time-Thrust Direct.
Engage the blade in Si.xte.
/ execute Press, Cut-Over, and Dis-
engage.
On my Cut-Over.
"Time" me in High Sixte witli Op-
position tlie moment I execute the
final movement.
On Guard.
TWELJ'TH LESSON — SECOND DIVISION.
155
Traverse and One-Two.
Time-Thrust in Opposition.
Engage tMe blade in Quarte.
/ execute Traverse and One-Two.
On m y first Disengagement.
Lower your point and " Time " me in
Low Sixte witli Opposition the mo-
ment I begin the final movement.
Without
On my Traverse and One-Two.
Time-Thrust Direct.
Engage the blade in Sixte.
I execute Traverse and One-Two.
On my first Disengagement.
" Time " me in High Sixte with Op-
position the moment X execute the
fijial movement.
Analyzing.
Time-Thrust.
On Guard.
Traverse and Double.
Time-Thrust Direct.
Engage the blade in Quarte.
/ execute Traverse and Double.
On my first Disengagement.
" Time " me by Counter-Disengaging
in High Quarte.
Without
On my Traverse and Double.
Time-Thrust in Opposition.
Engage the blade in Sixte.
I execute Traverse and Double.
On my first Disengagement.
Feign the parry of Counter of Si.xte,
but stop half-way in its execution.
7 Deceive.
Lower your point and "Time" me
in Low Sixte with Opposition the
moment my blade arrives there to
pass under your wrist.
Analyzing.
Time-Thrust. On Guard.
Traverse, Cut-Over, and Disengage.
Time-Thrust iu Opposition.
Engage the blade in Quarte.
I execute Traverse, Cut-Over, and
Disengage.
On my Cut-Over.
Lower your point and " Time " me in
Low Sixte with Opposition the mo-
ment I begin my final movement.
Without Analyzing.
On my Traverse, Cut-Over, and Disengage. Time-Thrust. On Guard.
Time-Thrust Direct.
Engage the blade in Sixte.
I execute Traverse, Cut-Over, and
Disengage.
On my Cut-Over.
" Time" me in High Sixte with Op-
position at the moment I execute
my final movement.
One-Two-Three.
Time-Ttrust Direct.
Engage the blade in Quarte.
I execute One-Two-Three.
On my first Disengagement.
Time-Thrust in Opposition.
Engage the blade in Sixte.
/ execute One-Two-Three.
On my first Disengagement.
156 FOIL AND SABRE.
Oppose Sixte and " Time " me in Oppose Quarte.
High Sixte with Opposition the On my second Disengagement.
moment I execute my final move- Lower your point and " Time " me in
ment. Low Sixte with Opposition the mo-
ment I begin my final movement.
WiTHOOT Analyzing.
On my One-Two-Three. Time-Thrust. On Guard.
One-Two and Deceive.
Time-Thrust in Opposition. Time-Thrust Direct.
Engage the blade in Quarte. Engage the blade in Sixte.
/ execute One-Two and Deceive. I execute One-Two and Deceive.
On my first Disengagement. On my first Disengagement.
Oppose Sixte. Oppose Quarte.
On my second. On my second.
Eeign the parry of Counter of Si.Kte, Counter-Disengage in High Quarte.
but stop half-way in its execution.
/ Deceive.
Lower your point and " Time " me
in Low Sixte with opposition the
moment my blade arrives there to
pass under your wrist.
Without Analyzing.
On my One-Tivo, and Deceive. Time-Thrust. On Guard.
One-Two and Cut-Over.
Time-Thrust Direct.
Engage the blade in Quarte.
I execute One-Two and Cat-Over.
On my first Disengagement.
Oppose Sixte and "Time" me in
High Sixte with Opposition the
moment I execute the final move-
ment.
"Without Analyzing.
On my One-Two and Cut-Over. Time-Thrust. On Guard.
Ohservation: Time-Thrust in Sixte Line is not applicable
to the above attack.
Cut-Over and One-Two.
Time-Thrust Direct. Time-Thrust in Opposition.
Engage the blade in Quarte. Engage the blade in Sixte.
I execute Cut-Over and One-Two. I execute Cut-Over and One-Two.
On my Cut-Over. On my Cut-Over.
i3
O
Z
C5
P
TWELFTH LESSON — SECOND DIVISION. 157
Oppose Sixte and " Time " me in Oppose Quarte.
Higli Sixte witli Opposition tlie On my jirst iJisencjagement,
moment I execute the final move- Lower your point and " Time " me in
ment. Low Sixte with Opposition tlie mo-
ment I begin the final movement.
Without Ajialyzing.
On my Cut-Over and One-Two. Time-Thrust. On Guard.
CuT-OvEB, Traverse, and Disengage.
Time-Thrust Direct.
Engage the blade in Sixte.
I execute Cut-Over, Traverse, and Dis-
engage.
" Time " me in High Sixte with Op-
position the moment I execute my
final movement.
Without Analyzing.
On my Cut-Over, Traverse, and Disengagement. Time-Thrust. On Guard.
Observation : Time-Thrust in Quarte Line is not applicable
to the above attack.
Double and Disengage.
Time-Thrust in Opposition. Time-Thrust Direct.
Engage the blade iu Quarte. Engage the blade in Sixte.
/ execute Double and Disengage. I execute Double and Disengage.
On my first Disengagement. On my first Disengagement.
Oppose Counter of Quarte. Oppose Counter of Sixte and
On my second. " Time " me in High Sixte with
Lower your point and " Time " me in Opposition the moment I execute
Low Sixte with Opposition tlie mo- my final movement.
ment I begin my final movement.
Without Analyzing.
On my Double and Disengagement. Time-Tlirust. On Guard.
158
FOIL AND SABRE.
THIRD DIVISION.
time-thrust on attacks composed of four movements.
Beat, One-Two, and Deceive.
Time-Thrust in Oppositiou.
Engage the blade in Quarte.
I execute Beat, One-Two, and Deceive.
On my first Disengagement.
Oppose Sixte.
On my second.
Feign the parry of Counter of Sixte,
but stop half-way in its execution.
/ Deceive.
Lower your point and " Time " me
in Low Sixte at the moment my
blade arrives there to pass under
your wrist.
W^iTHonr Analyzing.
On my Beat, One-Two, and Deceive. Time-Thrust,
Beat and One-Two-Theee.
Time-Thrust Direct.
Engage the blade in Sixte.
£ execute Beat, One-Two, and Deceive.
On my first Disengagement.
Oppose Quarte.
On my second.
Counter-Disengage in High Quarte.
On Guard.
Time-Thrust Direct.
Engage the blade in Quarte.
/ execute Beat and One-Two-Three.
On VI y first Disengagement.
Oppose Sixte and " Time " me in
High Sixte the moment I execute
my final movement.
Time-Thrust in Opposition.
Engage the blade in Sixte.
/ execute Beat and One-Two-Three.
On my first Disengagement.
Oppose Quarte.
On my second.
Lower your point aud " Time " me in
Low Sixte with Opposition the mo-
ment I begin the final movement.
Without Analyzing.
On my Beat and One-Two-Three. Time-Thrust. On Guard.
Beat, Double, and Disengage.
Time-Thrust in Opposition. Time-Thrust Direct.
Engage the blade in Quarte.
1 execute Beat, Double, and Disengage.
On my first Disengagement.
Oppose Counter of Quarte.
On my second.
Lower your point and " Time " me in
Low Sixte with Opposition the mo-
ment I begin my final movement.
Engage the blade in Sixte.
I execute Beat, Double, and Disengage.
On my first Disengagement.
Oppose Counter of Sixte.
On my second.
Feign the parry of Quarte aud
" Time " me in High Sixte the mo-
ment I execute my final movement.
Without Analyzing.
On my Beat, Double, and Disengage. Time-Thrust. On Guard,
TWELFTH LESSON — THIRD DIVISION.
159
One-Two, Deceive, and Disengage.
Time-Thrust Direct,
Eugage the blade in Quarte.
1 execute One- 2\co, Deceive, and Dis-
engage.
On mi/ first Disengagement.
Oppose Sixte.
On mi/ second.
Oppose Counter of Sixte, and "Time "
me in Higli Sixte with Opposition,
the moment I execute my final
movement.
Time-Thrust in Opposition.
Engage the blade in Sixte.
/ execute One-Two, Deceive, and Dis-
engage.
On my first Disengagement.
Oppose Quarte.
On mg second.
Oppose Counter of Quarte.
On my third.
Lower your point and " Time " me in
Low Sixte with Opposition the mo-
ment I begin my final movement.
Without Analyzing.
On my One-Two, Deceive, and Disengage. Time-Thrust. On Guard.
Double and One-Two.
Time-Thrust Direct.
Engage the blade in Quarte.
I execute Double and One-Two.
On my first Disengagement.
Oppose Counter of Quarte.
/ Deceive.
Oppose Sixte.
/ execute One-Two.
" Time " me in High Sixte with Op-
position the moment I execute the
final movement.
Time-Thrust in Opposition.
Engage the blade in Sixte.
/ execute Double and One-Two.
On my first Disengagement.
Oppose Counter of Sixte.
/ Deceive.
Oppose Quarte.
1 execute One-T'wo.
Lower your point and " Time " me
in Low Sixte the moment I begin
the final movement.
Without Analyzing.
On my Double and One-Two. Time-Thrust.
On Guard.
Press and One-Two-Three
Time-Thrust Direct.
Engage the blade in .Quarte.
/ execute Press and One-Two-Three.
On my first Disengagement.
Oppose Sixte and " Time " me in
High Sixte with Opposition the
moment I execute the final move-
ment.
Time-Thrust in Opposition.
Engage the blade in Sixte.
/ execute Press and One-Two- Three.
On my first Disengagement.
Oppose Quarte.
On my second.
" Time " me in Low Sixte with Op-
position the moment I begin the
final movement.
Without Analyzing.
On my Press and One-Two-Three. Time-Thrust. On Guard.
160
FOIL AND SABRE.
Press, Double, and Disengage.
Time-Thrust Direct.
Engage the blade in Sixte.
I execute Press, Double, and Disen-
gage.
On my first Disengagement.
Oppose Counter of Sixte.
O71 my second.
" Time " me in High Sixte with Op-
position the moment I execute the
final movement.
Time-Thrust in Opposition.
Engage the blade in Quarte.
/ execute Press, Double, and Disen-
gage.
On my first Disengagement.
Oppose Counter of Quarte.
On my second.
Lower your point and " Time " me in
Low Sixte with Opposition the mo-
ment I begin the final movement.
Without Analyzing.
On my Press, Double, and Disengage. Time-Thrust. On Guard.
Press, One- Two, and Deceive.
Time-Thrust Direct.
Engage the blade in Sixte.
/ execute Press, One-Two, and Deceive.
On my first Disengagement.
Oppose Quaxte.
On my second.
Counter-Disengage in High-Quarte.
Time-Thrust in Opposition.
Engage the blade in Quarte.
/execute Press, One-Two, and Deceive.
On my first Disengagement.
Oppose Sixte.
On my second.
Feign the parry of Counter of Sixte
but stop half-way in its execution.
/ Deceive.
Lower your point and " Time " me
in Low Sixte with Opposition the
moment my blade arrives there to
pass under your wrist.
Without Analyzing.
On my Press, One-Two, and Deceive. Time-Thrust.
One-Two-Three-Foue.
On Guard.
Time-Thrust in Opposition.
Engage the Blade in Quarte.
/ execute One-Two-Three-Four.
On my first Disengagement.
Oppose Sixte.
On my second.
Oppose Quarte.
On my third.
Lower your point and " Time " me in
Low Sixte with Opposition the mo-
ment I begin the final movement.
Time-Thrust Direct.
Engage the blade in Sixte.
/ execute One-Two-Three-Four.
On my first Disengagement.
Oppose Quarte.
On my second.
Oppose Sixte.
On my third.
"Time " me in High Sixte with Op-
position the moment I execute the
final movement.
Without Analyzing.
On my One-Tivo-Three-Four. Time-Thrust.
On Guard.
'^
-^
TWELFIH LESSON — FOURTH DIVISION. 161
One-Two-Turee and Deceive.
Time-Thrust Direct Time-Thrust in Opposition.
Engage the Blade in Quarte. Engage the blade in Sixte.
lexecute One-J'wo-Three and Deceive. I execute One-Two-Thne and Deceive.
On mji first feint of Disengagement. On my first feint of Disengagement.
Oppose Sixte. Oppose Quarte.
On my second. On mi/ second.
Oppose Quarte. Oppose Sixte.
On my third. On my third.
Counter Disengage in High-Quarte. Feign tlie parry of Counter of Sixte
but stop half-way in its execution.
/ Deceive.
Lower your point and " Time " me
in Low-Sixte with Opposition the
moment my blade arrives there to
pass under your wrist.
Without Analyzing.
On my One-Two-Three and Deceive. Time-Thrust. On Guard.
FOURTH DIVISION.
TIME-THRUST ON ATTACKS IN THE LOW LIXE.
Glide and Low-Thrust.
Time-Thrust in Opposition.
Engage the blade in Sixte.
I execute Glide and Low-Thrust.
On my Glide.
Lower your point and " Time " me in
Low Sixte with Opposition the mo-
ment I lower my point to Thrust
Low.
WiTHOiTT Analyzing.
On my Glide and Low-Thrust. Time-Thrust. On Guard.
Observation : Time-Thrust in Quarte Line is not applicable
to the above attack.
Beat and Low-Thrust.
Time-Thrust in Opposition.
Engage the blade in Sixte.
/ execute Beat and Low-Thrust.
On my Beat.
Lower your point and " Time " me in
Low Sixte with Opposition the mo-
ment I lower my point to Thrust
Low.
11
162 FOIL AND SABRE.
"Without Analyzing.
On mij Beat and Low-Thrust. Time-Thrust. On Guard.
Observation : Time-Thrust in Quarte Line is not applicable
to the above attack.
Press and Low-Thrust.
Time-Thrust in Opposition.
Engage the blade.
/ execute Pi'ess and Low-Thrust.
On my Press.
Lower your point and "Time" me in
Low Sixte with Opposition the mo-
ment I lower my point to Thrust
Low.
Without Analyzing.
On my Press and Low-Thrust. Time-Thrust. On Guard.
Observation : Time-Thrust in Quarte Line is not applicable
to the above attack.
Beat, Low-Thrust, and Deceive.
Time-Thrust in Opposition.
Engage tlie blade in Quarte.
I execute Beat, Low-Thrust, and De-
ceive.
On my feint of Low-Thrust.
Lower your point as if to parry Sep-
time.
/ Deceive Septime.
" Time " me in Low-Sixte with Oppo-
sition the moment my blade arrives
there to pass under your wrist.
Without Analyzing.
On my Beat, Low-Thrust, and Deceive. Time-Thrust. On Guard,
Observation: Time-Thrust in Sixte Line is not applicable
to the above attack.
TWELFTH LESSON — FOURTH DIVISION, 163
Beat, Low-Thrust, and Lunge in High Line.
Time-Thrust Direct.
Engage the blade in Sixte.
I execute Beat, Low-Thrust, and
Iwuje in High Line.
" Time " me in High-Sixte with Op-
position the moment I execute the
Low-Thrust.
Without Analyzing.
On my Beat, Low-Thrust, and Lunge in High Line. Time-Thrust. On Guard.
Observation : Time-Thrust in Quarts Line is not applicable
to the above attack.
Beat, Low-Thrust, and One-Two in High Line.
Time-Thrust Direct. Time-Thrust in Opposition.
Engage the blade in Quarte. Engage the blade in Sixte.
/ execute Beat, Low-Thrust, and One- I execute Beat, Low-7'hrust, and One-
Two in Sigh Line. Two in Sigh Line.
On my Low-Thrust. On my Low-Thrust.
Oppose Septime. Oppose Octave.
On.my feint in Sigh Line. On my One-Two in Sigh Line.
Keplace your point in the High-Line " Time " me in Low-Sixte with Oppo-
and " Time " me in High-Sixte with sition the moment I begin my final
Opposition the moment I execute movement,
my final movement.
Without Analyzing.
On my Beat, Low-Thrust, and One-Two in Sigh Line. Time-Thrust. On Guard.
Press, Low-Thrust, and Deceive.
Time-Thrust in Opposition.
Engage the blade in Quarte.
I execute Press, Low- Thrust, and De-
ceive.
On my Low-Thrust.
Lower your point as if to parry Sep-
time and " Time " me in Low-Sixte
with Opposition the moment I be-
gin the final movement.
WiTHonT Analyzing.
On my Press, Low-Thrust, and Deceive. Time-Thrust. On Guard.
Observation : Time-Thrust in Sixte liine is not applicable
to the above attack.
164 foil and sabre.
Press, Low-Thrust, and Lunge in High Line.
Time-Thrust Direct.
Engage the hlade in Sixte.
/ execute Press, Low-Thrust, and
Lunge in High Line.
On viy Press and Low-Thrust.
" Time " me in High-Sixte with Op-
position the moment I execute the
Low-Thrust.
Without Analyzing.
On my Press, Low-Thrust, and Lunge in Sigh Line Time-Thrust. On Guard.
Press, Low-Thbust, and One-Two in High Line.
Time-Thrust Direct. Time-Thrust in Opposition.
Engage the blade iu Quarte. Engage the blade in Sixte.
/ execute Press, Low- Thrust, and One- I execute Press, Low-Thrust, and One-
Two in High Line. Two in High Line.
On my Low-Thrust. On my Low-Thrust.
Oppose Septime. Oppose Octave.
On my One-Two in High Line. On my One-Two in High Line.
"Time" me in High-Sixte with Op- "Time" me in Low-Sixte with Op-
position the moment I execute the position the moment I begin the
final movement. final movement.
Without Analyzing.
On my Press, Low-Thrust, and One-Two. Time-Thrust. On Guard.
Glide, Low-Thrust, and Deceive.
Time-Thrust in Opposition.
Engage the blade.
/ execute Glide, Low-Thrust, and De-
ceive.
On my Glide.
Oppose Quarte.
/ Thrust Low.
Lower your point as if to parry Sep-
time and " Time " me with Oppo-
sition the moment my blade arrives
there to pass under your wrist.
Without Analyzing.
On my Glide, Low-Thrust, and Deceive. Time-Thrust. On Guard.
Observation : Time-Thrust in Sixte Line is not applicable
to the above attack.
twelfth lesson — fourth division. 165
Glide, Low-Thrust, and Lunge in High Line.
Time-Thrust Direct.
Engage tlie blade in Sixte.
/ execute Glide, Low-Thrust, and
Lunge in High Line.
On my Glide,
Oppose Sixte.
/ Thrust Low.
" Time " me in High Sixte the mo-
ment I execute the Low-Tlirust.
Without Analyzing.
On mil Glide, Low-Thrust, and Lunge in High Line. Time-Thrust. On Guard.
Observation : Time-Thrust iu Quarte Line is not applicable
to the above attack.
Glide, Low-Thrust, and One-Two in High Line.
Time-Thrust Direct. Time-Thrust in Opposition.
Engage the blade in Quarte. Engage the blade in Sixte.
I execute Glide, Low-l%rust,and One- I execute Glide, Low-Thrust, and One-
Two in High Line. Two in High Line.
On my Glide. On my Glide.
Oppose Quarte. Oppose Sixte.
/ Thrust Low. I Thrust Low.
Oppose Septime. Oppose Octave.
On my feint in High Line. 1 execute One-Two in High Line.
Replace your point in High Line and " Time " me in Low Si.xte with Op-
" Time " me in High Sixte with position the moment I begin mj
Opposition the moment I execute final movement,
my final movement.
Without Analyzing.
On my Glide, Low-Thrust, and One-Two in High Line. Time-Thrust.
On Guard.
PAET III.
THE GRAND SALUTE.
The Grand Salute is a prelude to the assault, and has the
effect of exercising the arms and legs, rendering the joints and
muscles supple, preparatory to the strain of the contest. At
the same time it serves as a courteous salutation to the
audience.
The two adversaries face each other at a distance of about
12 feet and place their masks on the floor to the left of them.
(See fig. 27.) Elevate the points of the foils, in line with the
eyes, ai-ms extended and with foils forming continuous hori-
zontal line at the height of the shoulder. (See fig. 1.)
First movement. — To both adversaries. — Lower simulta-
neously your hand in the position of Tierce by bending the
arm, elevate the left arm, curve slightly and place it behind
your head. Bend your legs, advance your foot (position of
" On Guard") (See fig. 28), and then recover backwards. (See
fig. 1.)
One of the fencers invites the other to take his distance.
" To you the honor." His adversary responds, " I obey," and
then lunges without touching (see fig. 29), and returns to
first position. (See fig. 1).
Second movement. — Both salute simultaneously, each to his
own left, with the arm half extended (nails turned upwards)
and in line with the left breast and looking in that direction.
(See fig. 30.) Withdraw the arm and salute to the right
(nails turned downwards) and in line with the right breast
and look in that direction. (See fig. 31.) Return to first
position (see fig. 1), and fall On Guard and with blades
joined in Quarte.
O
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THE GRAND SALUTE. 167
Third movement. — The adversary who previously took the
distance and is the attaclting party, executes four successive
disengagements, his adversary parries the first of these by a
sharp Tierce and then lowers his point, till in line with the
belt or hip, with nails turned downward. The action of this
parry causes the adverse blade to swing around, with the aid
of the thumb and index finger, to a position above the left
shoulder and in line with the ear. The adversary should
remain an instant thus fully extended on the lunge, with his
hand at the same elevation as the crown of his head, looking
at his opponent through the opening between his arm and
blade. (See fig. 32.)
Returning On Guard with engagement of Sixte he then
executes a second disengagement in Quarte.
His adversary parries Quarte and lowers his point till in
line with belt or hip, nails turned upwards.
The action of this parry causes the adverse blade to swing
around (the adversary himself remaining an instant fully ex-
tended on the lunge) to a position above the right shoulder
and in line with the right ear, arm extended. He looks at
his adversary through the opening between his blade and
arm. (See fig. 33.)
Resume On Guard, the blades joined in Quarte. Re-
peat these two disengagements and then find the blades
joined in Quarte ; execute One-Two and recover forward ;
the adversary parries Tierce on the first feint and re-
mains in that position ; the attacking party passes his blade
over that of his adversary with the hand in Tierce, elevates
his left arm as for On Guard, and places himself in the
latter position by moving his left foot backward. (See
fig. 28.)
Both adversaries execute simultaneously one Call and re-
cover backward to " first position."
Fourth movement. — From this position the former parrying
party now becomes the attacking party and proceeds, in his
turn, to lunge, in order to take the distance (see fig. 29), but
without words of command. Having done so, he returns to
168 FOIL AND SABRE.
first position. Both salute the audience as before. (See
figs. 30 and 31.)
Fifth movement. — Proceed to On Guard (in seven move-
ments) with engagement of Quarte. The attacking party
executes four disengagements, executes One-Two, recovers
forward to first position, and then backward to On Guard.
Both execute simultaneously one call and assume first po-
sition.
Sixth movement. — Both adversaries lower simultaneously
the right hand, elevate the left, and place themselves On Guard
by means of the left foot, execute two Calls, salute from this
position, and recover forward.
Simultaneously bend the right arm, the elbow close to tlic
body the hilt of the foil near the chin and the nails turned
toward the throat (see fig. 34), lower the blades, straightening
the arm, palm of the hand toward the floor, the point of the
blade at a distance of four inches frohi the floor, and forty-
five degrees to the right of an imaginary line drawn from
one adversary to the other. (See fig. 35.)
The Grand Salute by Left-handed Fencers. — Tlie rules of the
Salute are strictly applicable to two left-handed men fencing
together, it being necessary only to interchange the words
right and left.
When a left-handed man fences with a right-handed one,
tlie former should observe the following modifications of the
general rules : — 1. He should deposit the mask at the right.
2. He must conform to the Tierce engagement of the right-
handed man in the first assumption of Guard. 3. He should
take his distance with his hand turned nails downward. 4.
The One-Two final is made from Sixte line, and to that end
after having taken his distance he assumes engagement of
Quarte to his opponent's Tierce. The opponent parries Quarte
for the One-Two. 5. The individual salutes are made in the
same direction simultaneously. That is to say both fencers
execute Quarte first, then Tierce. To this end the left-
handed man should take such a position that the president of
the assault will be at his right.
THE ASSAULT. 169
The Assault.
In the assault a fencer must depend entirely on himself ; he
must tax his imagination and resources to the utmost, as all
of the details of the lesson find their application here. They
are of course to be applied as circumstances demand. He
must use to his own profit, and in every instance possible
take advantage of, his adversary's faults and errors.
It has been demonstrated that one cannot score a hit fre-
quently without deceiving the adverse blade. The adversary
has at his command an infinite variety of movements which
challenge unceasing attention. Not only must his intended
attack be foreseen and provided against, but his probable
parry of any thrust must be prejudged if possible, and a
suitable counter-thrust determined upon. In fact the keenest
attention of the most active and trained mind finds ample oc-
cupation in the presence of the threatening blade of an agile
swordsman. Mental no less than physical activity is accounta-
ble for every good touch given. It therefore follows that the
fencer's chief occupation is to divine the adversary's move-
ments, to note his mental as well as his physical capabilities.
Is he easily led out, is his general attitude regular, does he
give himself to parrying or to attacking, is he prudent or
precipitate, deliberate or impulsive, — in short, does his
head avail him for any other purpose than to carry his
mask ?
When beginning the assault it is necessary to keep the dis-
tance in order to prevent any surprise. Never advance with-
out being prepared to parry. Proceed by false attack, execute
the real attack only when you foresee the intentions of the
adversary. After an attack or a riposte — even when success-
ful in its execution — return on guard with the point in line
and in readiness either for the parry or another attack, ob-
serving the maxim " Prudence is the mother of safety." An
accurate appreciation of the distance within which one can
reach his adversary and be reached by him, is one of the quali-
ties essential to an expert fencer. When the adversary makes
170 FOIL AND SABRE.
a feint, feignjn t urn a pa rr^ that you would not take on the
real attack.
In order to inspire your adversary with confidence, dissem-
ble uneasiness and apprehension ; you will then cause him to
act imprudently. Harass him, attack him repeatedly on his
advance, and do not forget that in fencing one can deceive not
only the movements of the blade but also those of the body.
This end is obtained by attacking the adversary on his present
attitude and also on his future one- Do not attack him when
he is prepared to parry, but endeavor to break his guard. An
attack executed in that unguarded "nick of time" is the one
which surpiises him with a touch.
When contending against an adversary who gives no blade,
one must proceed by false attacks. These tactics oblige him
to replace his foil in line, either for the parry or for the
attack.
When facing an adversary who favors the extension of the
arm, provoke this extension by a false attack and then attack
liis blade.
In all regular assaults at arms a rule has come to be uni-
versally adopted which counts as good hits only those which
touch the body within certain prescribed limits (usually be-
tween the collar and the hips). This rule has led some fen-
cers into an unfortunate practice of entirely disregarding those
thrusts from the enemy which are likely to arrive outside said
limits.
The rule, though it annuls these touches, by no means war-
rants tlie complete ignoring of them. They should all be
parried with the greatest possible care. The conscientious
fencer endeavors to defend himself against being hit upon
any part of the body.
A diligent instructor will inculcate this principle progres-
sively like all others, in the ordinary course of lessons, and
not wait until the pupil is about to enter his first assault.
Observation 1. I would here like to put the " stamp of
Cain " upon a practice which, be it said to the credit of this
chivalrous pastime, is only rarely seen, but which some cow-
O
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a
H
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THE ASSAULT. 171
ardly fencers have allowed themselves to profit hy. They
take unmanly advantage of the above mentioned rule of limi-
tation by intentionally coiling their fencing arm as much as
possible over their chest with the intention of covering that
part of the body which is open to valid hits by the fleshy
part of the upper arm upon which a hit does not count. They
also sometimes lean the upper torse far forward and at the
same time crouch down so that but a small part of the chest
is exposed to the attack of the adversary.
These cowardly tactics cannot be too severely condemned
by all fencers who would lift their favorite sport to its proper
elevation of honorable war (fair).
In the rules govei'ning the assault below, I have empowered
the president and jury to judge for themselves, and to count
as good a touch upon the arm when it is quite evident to them
that tlie fencer is purposely employing these disreputable tac-
tics to avoid a touch that has been well executed. They will
seldom, however, have occasion to use this discretionary power,
as fencing is a chivalrous sport which prompts no dishonor on
the part of its devotees.
Observation 2. It may not be untimely here to touch upon
another point wJiich it seems to me is of great consequence
to the art of fencing in America, as it relates to a serious
drawback to the public assault as at present conducted in this
country, where athletes are so fond of public contests. I re-
fer to the practice of chalking the tip of the foil so that it
will leave its mark on the adversary's chest. Whoever has
seen an assault in whicli chalk was used will never wish to
see another. The objections are many. The chalk spot may
be very misleading. In the passes of the by-play and pre-
paratory feints the chalk may be accidentally rubbed off the
point so that a succeeding successful hit will leave no mark
at all, or one so indistinct that the judges must run to each
adversary, examine carefully over their whole vests, consult
together, and decide as best they can. This running of the
judges at every interval of two or three passes, and peeking
for a fly specTi on the chest of the contestants converts a digni-
172 TOIL AND SABRE.
fied exhibition into a very burlesque. It interrupts tbe sword
play, often at a most unfortunate moment. It intercepts a
rally, or a " Phrase d'Armes," and shatters the integrity of
the game. All because the contestants are not conceded
to be honest enough to acknowledge a palpable hit made
against them.
This is all wrong, and should be remedied at once. Fen-
cers are honest enough to admit the success of an adversary,
if they are given a chance and if trained to do so by their in-
structor in his practice with them, and among themselves.
If all the instructors and fencing clubs would set about it,
there would soon be an unwritten law of honor in this matter
which would leave very little for the jury to do, except to
judge of the comparative styles of the men and the compara-
tive value of their hits and parries. When a man is hit,
whether valid or not, he should immediately shout " a touch,"
and continue the assault with but an instant's interruption,
leaving the judge to decide whether it was a good hit, or not.
If he would at the same time place his left index finger upon
the spot where he perceived he had been hit, it would greatly
assist the judges and emphasize the honorable chivalry of
the game.
If the president of the assault sliould become satisfied that
any fencer intentionally failed to acknowledge that he was hit,
he should call his attention sharply to the fact, and a second
offence should be publicly announced, the offender summarily
ejected, and upon a vote of the jury be disbarred from ever again
participating in an assault under the auspices of the society.
I heartily recommend the above method to American
fencers.
Remarks upon the Assault. — In order to get a just per-
spective of the attack and defence, one must imagine that
two fencers of equal quickness, strength, and cleverness are
pitted against each other. In this case the attack is always
one movement in advance of the parry, and the adversary,
if he attempts to follow the attacking blade in all its move-
PREMATURE ASSAULT. 173
ments, will assuredly be hit. When the adversary parries an
attack by following the blade unerringly in all its feints, it
proves that he is quicker than his opponent, for he could not
follow the blade in all its feints without dissimulating some
of them in order to regain the start that the attacking party
had at the moment of execution. He can also execute a
retreat of the body, on the final movement of his adversary's
attack, placing himself at a further distance, and giving him
time to arrive with his parry.
In an assault in wliich the quicker of the two fencers is
defeated, it denotes that he possesses less judgment than his
adversary, who does not give him time to utilize his quick-
ness, except to his own detriment, when he attempts to em-
ploy the Time-Thrust.
In a public assault there sometimes exists another element
beside judgment and rapidity, which figures largely in the
result. There is a certain sense of uneasiness on the part of
some fencers which tends to paralyze entirely their resources.
Their nervous system is prostrated. This state of helpless-
ness is only understood by those who have really experienced
such a feeling. This sensation is the cause of their momen-
tary inability, which results in their defeat at the hands of
less expert adversaries who are not subject to the same
timidity. There are others who only experience this pros-
tration at the beginning of the fight, and' who, after a few
passes, regain possession of themselves.
Experienced fencers do not judge of the qualities of a man
by the result of his public encounters, which sometimes de-
pends more on his natural endowment and temperament, as
stated above, than on his knowledge of the science or prac-
tical ability.
I would, therefore, recommend public assaults as beneficial
in more senses than one. They not only promulgate a liking
for the art, but also teach the fencer self-possession.
• Premature Assault. — It is a great mistake for tlie pupil to
begin making assaults too early in his study and practice of
174 FOIL AND SABEE.
arms. The instructor has not always the necessary authority
to suppress this bad practice. He fears to offend his pupils,
and possibly lose them, — a matter often of considerable con-
sequence to him. The pupil who makes an assault having
only an imperfect knowledge of the parries, makes every
effort not to be touclied, fears every attack of the adver-
sary, makes every kind of contortion and displacement with-
out purpose, simply through excess of fear. This doubtful
and fearing manner will remain with him, and often becomes
a serious obstacle, and sometimes hinders him from ever
becoming a really strong fencer.
President of the Assault. — The president of a public assault
is appointed to preside over and fully control tlie contest and
the contestants. He is chosen with a view to his practical
ability as a fencer, his knowledge and judgment in the art,
his impartial disposition, and his cool head.
It is his duty to see that all the rules that govern the com-
petition are observed, likewise those unwritten rules which
pertain to a fair fight, a fair count, intervening courtesy, and
mutual consideration. His decision is final.
He should not tolerate any irregularities similar to the
following: —
1. One of the contestants having delivered a thrust, whether
successful or not, should not turn his back toward his adver-
sary.
2. A fencer should not by sign or gesture indicate to the
audience or the jury that he thinks he has made a successful
thrust; or that he disapproves of a decision.
3. The fencers should under all circumstances maintain
perfect silence, and never accompany a lunge with a shout or
ejaculation.
4. Every hit should be immediately acknowledged, whether
good or bad ; the spectators, being generally seated at some
distance from the fencers, trust in their honor to acknowledge
a hit.
Neither adversary is allowed to retain the point of the
PROFESSORSHIPS. 175
sword on his opponent's chest, neither must he appeal to him
to ascertain whether his thrust was successful or not. After
a hit, whether good or not, the swords must be crossed " On
Guard " before a succeeding attack becomes allowable.
Any violation of the above regulations must be announced
and checked. If the offender is called to order a second
time, he should be excluded from the assault, and the order
announced publicly.
Professorships.
I. A Board of Examiners, consisting of at least three Mas-
ters-at-Arms, should hold an annual examination and have
the power to confer two grades of Diplomas upon success-
ful candidates for Professorships, that of (Fencing Master)
Maitre d'Armes, and that of (Assistant Fencing Master)
Prevot d'Armes. The former should be conferred only upon
those who already hold the latter.
II. All persons wishing to stand the examination should
make application to the secretary of the Board of Examiners
at least one month before the examination takes place, stating
name, age, nationality, references, previous record, and any
other information the authorities may think advisable. Each
application should be accompanied by ten dollars to defray
expenses of the examination, diplomas, etc.
in. The moral character and reputation of the applicant
should be taken particularly into account, and if not satisfac-
tory he should be excluded from the examination.
IV. The examination may be divided into four parts : De-
monstration, Theory, Practical Capacity, and General Excel-
lence. From one to twenty-five points may be given to each
head.
a. Demonstration relates to the manner of giving a lesson to a pupil
in Attack and Defence.
b. Theory questions shall relate to fundamental principles of fen-
cing instruction and practice.
c. Practical Capacity will be demonstrated by an assault of five
176 FOIL AND SABRE.
liits, each having a value of from one to five points, according to the
judgment of the Board.
d. General Excellence refers to attitude, style, resources, etc.
By adding all the points the grade and classification of each candi-
date is determined. 100 vtfould signify perfection.
Choice of a Professor. — Until sucli a plan as the above has
been adopted and carried out, clubs and other organizations in
need of an instructor in fencing are at the mercy of adven-
turers. Any one wishing to teach the art is at liberty to do
so without restrictions in this country. Many a man, and many
clubs even, have been beguiled into employing the services of
a vaunted " professor," who exhibited foreign but not genuine
diplomas, and medals never won, and have afterwards re-
gretted their own good faith and credulity, on becoming
aware that all they had acquired was detrimental rather than
helpful in the art. There is only one remedy against these
improvised tutors who debase our noble art, — establish an
obligatory diploma. In a few years every college and club in
America will be needing the services of fencing masters, and
we must look to the elevation of the profession by winnowing
the wheat from the chaff. Professional capacity and personal
honor we must have in our teachers.
Rules governing Amateur Competitions.
I. The competition shall be in charge of a jury of compe-
tent fencers who shall elect one of their number as president
of the assault. Decision of jury shall be final.
n. Each bout shall" be for an aggregate of five (5) touches ;
each touch to count one point.
III. The judges may award to each contestant in each bout
a maximum of -f-^-^ of a point for defence, j^"^ of a point for
attack, and -^-^ of a point for general good form, or any part
thereof, the total of all the points made by a contestant being
his score.
IV. A good hit shall count when made upon the body
within the limits bounded by the collar of the fencing jacket,
the hips, and a line drawn from the hip to the posterior limit of
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RULES GOVERNING AMATEUR COMPETITIONS. 177
the arm-pit around the front of the arm and along the crest
of tlie slioulder to the collar.
V. A hit outside the prescribed limits may be counted, pro-
vided in the opinion of the judges it would have been good if
the adversary had not taken an irregular position or made an
illegal movement.
VI. If one of the contestants touches with his point a part
of his adversary's body, not within the prescribed limits, it
suffices to stop the phrase of arms, and annuls any succeed-
ing riposte or counter-riposte.
VII. No passage of arms is terminated until one of the
contestants is hit.
VIII. Contestants shall fence within a marked floor-space
not more than twenty feet long and three feet wide ; half a
point for each offence of overstepping tliose boundaries may
be deducted from the score of the offender.
IX. When one of the contestants has forced his adversary
to his extreme boundary, they shall not be ordered to central
ground until a hit has been made.
X. The contestants are strictly forbidden to discuss or
claim a hit or speak a word. The judges may prescribe a
penalty to fit the infraction.
XI. Either contestant on being hit must acknowledge the
point in a loud voice. The president of the assault may dis-
qualify an offender.
XII. Corps&,-corps encounters must be stopped by the presi-
dent as soon as they become irregular.
XIII. A contestant shall fence with the same hand through-
out the bout.
XIV. The two costumes should be of the same color and
of strong material to avoid accidents.
XV. When there are several contestants they shall be
matched by lot.
XVI. A touch is invalid when the point is twisted on to
the body after the slap of the foil.
XVII. To disarm an adversary counts for nothing ; but a
tac-au-tac riposte against a disarmed adversary is good.
12
178 FOIL AND SABRE.
XVIII. Foil blades shall not exceed thirty-five inches in
length.
XIX. Only masks of the fine-mesh pattern shall be used.
The use of coarsely-woven masks is prohibited.
XX. Contests with the duelling sword (ep^e de combat)
and sabre are governed by the same rules as the foil competi-
tion, except that a touch on any part of the person or mask
is good. The guard of the duelling sword shall not exceed five
inches in diameter, and the blade shall not be more than
thirty-five inches long.
Double Hits. — It sometimes happens, though much less fre-
quently than is supposed, that both contestants make hits at
the same instant. " Who shall be credited with the point ? "
is the perplexing question which always gives rise to varying
discussions, and endless perplexities. It seems impossible to
find a rule that would be invariably applicable and conclu-
sive. The two following rules have been much tried, but both
are found wanting. First. " The contestant attacked must
parry." Second. " A touch in the High Line takes pre-
cedence over one in the Low Line.'" Both are as unjust as
inconsistent with the ground principles, classical and prac-
tical, of tlie art. Many young fencers, standing upon the
first rule, allow themselves to attack the adversary with-
out judgment, preparation, or reflection. They blindly
throw themselves upon the adversary, searcliing only to
make a touch, taking no precaution against being touched.
Unmindful of the dangers they court, they forget that a
fencer sliould never make an attack without being prepared
to parry.
By means of the first of these rules it was hoped to prevent
the occurrencS of the double hit by obliging the attacked
party to parry before riposting ; but the rule is in error, as in
fact it is not always necessary to do so. When the attack is
badly made, as for example, too wide, too slowly, without
opposition, when the assailant draws his arm back, the party
assailed may be warranted in omitting his parry and proceed-
DOUBLE HITS. 179
ing instantly, upon seeing the opening made by the above
errors, to execute a Stop-Thrust.
The second rule also stands upon good theory, but is like-
wise faulty and unreliable. That the touch in high line
should take precedence over the one in low line is good doc-
trine, since the ujjper part of the torso is generally inclined
slightly forward at the moment of the starting and would be
touclied before the lower part (arms and weapons being of the
same length). But by no means does it always happen so.
To illustrate : Suppose A successfully parries B's thrust in low
line, but in his haste to riposte abandons the blade too
quickly, leaving an opening for B to replace his point in
low line, which he can easily do as soon as, or eveu before, A
could complete his riposte, having less distance to travel.
This point might rightly belong to B, certainly not to A.
But here the above mentioned rule would step in and give A
the point because his touch was in higli line. This example
not only illustrates how absurd the above rule may le, but
typifies the unreliability of many arbitrary rules which are
brought forward for the settlement of questions which only
the judgment of the jury can well decide. It is for tlie presi-
dent of the assault and the judges to weigh the comparative
merits of the two attacks and the parries, — letting the attitude,
the style of the lunge, the position, the elevation of the hand,
and all precautionary measures that were taken by either
party, enter into the comparison, — and give the point to the
one who did the most to earn it. I have often noticed in
assaults of arms where chalked buttons were used, that the
judges busied themselves about the white marks left upon the
fencing jackets, quite forgetting to discuss and pass upon the
manner in which they were made, finally concluding the farce
of their service by declaring that the hits were mutual and
void, finding it easier to annul the point than to judge justly.
Double hits should never be annulled unless of equal merit or
demerit. A double hit is generally the result of bad judg-
ment, in which each contestant " reckoned without his
host." It is the lite noire of every fencing match. It is safe
180 FOIL AND SABRE.
to say that what appear to be double hits would never occur,
within the usually prescribed limits of a valid touch, if the
attacks were correctly made. In the heat of a sharp battle
a fencer is likely to sacrifice safety to ambition. But expe-
rience will teach him always to have his defensive resources
well in hand, especially when about to assume the offensive.
The judges of an assault should follow most attentively
every movement of the two fencers and note exactly what
positions they hold at tlie moment of the double hit, and
decide upon those respective positions and according to the
following rules, which may be considered supplemental to the
regular rules of the assault (page 176).
1. A Double Hit by simultaneous attacks of equal merit is
annulled, since the fault is equally shared. 2. A Double Hit
by a Stop-Thrust upon an attack badly executed, wherein the
feint wa§ too large or the arm drawn back, counts for the one
who makes the Stop-Thrust ; since he may have mistaken the
faulty movement of tlie assailant for a preparation of attack,
and erred only in judgment, while the other is doubly cul-
pable in having sacrificed primary principles to ambition or
excitement. 3. A Double Hit by a Time-ThruHt badly judged
counts for the assailant. For the attack was well executed
and the adversary had the choice of a parry, a retreat, or a
Time-Thrust. He chose the most hazai-dous and executed
faultily. The attacker is therefore entitled to the point.
4. A Double Hit by a Tension upon an attack well made
counts for the Assailant. The party attacked sought to make
a Double Hit because he felt himself incapable of parrying.
5. A Double Hit by a Remise upon a riposte with hollow arm
or upon an abandonment of the blade, counts for the one who
executed the Remise, for it was provoked by a faulty Riposte.
6. A Double Hit by a Remise with hollow arm or with hand
dropped to remise counts for the one who executed the Riposte;
for he was less at fault for taking his guard than the othci-,
who exposed his cliest by trying a faulty Remise. 7. A Dou-
ble Hit by a Redouble upon a parry which it was supposed
would not be followed by a Riposte counts for the Riposter.
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TECHNICAL DEFINITIONS. 181
For the assailant who already had the advantages of having
prevented the riposte by his position should have been satis-
fied to taice his guard, and not have offered an overture for a
Riposte by his Redouble.
Riposte by Tac-au-Tac. — This riposte is essentially direct,
as it follows instantaneously after the parry ; hence the name,
tac of blade and tac of body. It is so instantaneous that one
has no time to see that the adversary may be disarmed by
the stroke of the parry. The point arrives on the adversa-
ry's body just as his blade slips from his hand, and the tac
of tlie body occurs simultaneously with the fall of the sword,
and the riposte cannot be withheld. In the case of disarming
by a Beat, Bind, or Traverse, tlie hit counts good if the tac of
the body follows instantaneously after the tac of the blade.
(See fig. 16.)
Corps-a-Corps. — This encounter is the meeting of two ad-
versaries who, in the heat of the fight, find themselves close
enough to one another to hit without lunging and without ex-
tension of the arm.
The thrusts in this case may be very regular, but if, as is
often the case, the adversaries approach each other and touch
shoulder to shoulder, the bout degenerates into a pugilistic
encounter which should be instantly stopped.
Phrase of Arms. — A Phrase of Arms is a series of attacks,
parries, ripostes, etc., continued without interruption, which
does not end till one of the adversaries is hit, or until they
are separated by a retreat.
Passage of Arms. — A Passage of Arms is the series of
thrusts and parries beginning at the engagement of the blades
and ending by the successful touch, or by an interruption of
the judges, by a disarmament, or a complete retreat of one of
the contestants. It may consist of one or several phrases of
arras.
182 FOIL AND SABRE.
Remarks on the Time -Thrust. — The Time-Thrust does not
provoke a foul hit, as is supposed by many who have not
studied the hit as carefully as its importance requires, and
who confound Time-Thrusts with Stop-Thrusts. In the exe-
cution of the Time-Thrust, judgment plays an important
part ; it is the triumph of science over strength. By aiding
the adversary to deceive a parry executed intentionally, one
can easily avert the final movement. The Time-Thrust is
not a chance hit. In making it, one must follow the ad-
verse blade in all its feints, as a matter of precaution, and
when one of tliem is judged the last, intercept it by the Time-
Thrust. The practice of this unique thrust develops one of
the greatest qualities of a good fencer, — namely, judgment.
The stop-Thrust. — It is accomplished either by a simple
extension of the arm, by a direct lunge on a commencement
of an attack (whether on the advance or at a stand-still), on
all wide feints from the beginning of the attack up to the
last feint. The Stop-Thrust does not have for its primary
object to check your adversary's advance, but to check the
execution of his attack. The former should be done by at-
tacking him on his advance.
Attacks on Preparations — Are executed at the vei'y mo-
ment that your adversary is preparing himself to attack you.
This attack can be executed on a preparation of the body or
of the blade.
Some fencers, in order to give more rapidity to their at-
tack, effect a certain retreat of the body. Others bend their
knees slightly, in order to get a better leverage for the lunge.
Others, as if to anchor themselves, execute a movement of
the body forwards, or advance the left foot.
At these certain signs of preparation of the body, which
any person of judgment can discern quickly, one must attack
with exceptional vigor.
The attacks on a preparation of the blade, such as a Beat,
Press, Traverse, Absence of the Blade, etc., should not be
TECHNICAL DEFINITIONS. 183
confounded with a Stop-Thrust, — the latter never takes place
until the execution begins, while the former is always applied
to the movements which are preparatory to the execution.
The Beat, Press, Traverse, and Absence of the Blade are pre-
parations of the blade, and subject to this attack.
The False Attack — Is a movement feigning the real at-
tack, and is employed in order to bring- about an attack on
one's self, or to disconcert the adversary and entice him to
make irregular movements which can be taken advantage of.
It may be used to ascertain whether the adversary will en-
deavor to parry, or whether he will make a simultaneous
thrust. If he manifests the latter inclination, cause him to
attack on your false attack, then parry and riposte. The
False Attack is very useful against an ambitious adversary
who precipitates himself against you at every opportunity,
and also against those who favor Time-Thrusts.
In order to accentuate the False Attack, execute at the
same time a movement or short step with the right foot, and
above all be ready to parry the Time-Thrust, the Riposte, or
the Tension.
Attacks on the Blade — Are executed in order to derange
the position of the adverse blade, or drive it from its line of
defence.
The Beat, Press, Traverse, Bind, and Cross are attacks on the
blade, and cannot be considered as feints. A feint is the fac-
simile of a thrust, while Beats, etc., are real attacks on the
blade intended to facilitate the attack on the body. That is
my reason for giving them out in the course of lessons, as pre-
ceding the attack, and not as feints.
To Deceive the Blade. — To Deceive the Blade is to elude
the adversary's blade which seeks to encounter yours, either
by a simple or circular parry, wishing to divert it from the
Line of his body.
The simple parry is deceived by passing under or over
184 FOIL AND SABRE.
the adverse blade ; that is, by executing a movement directly
opposite, although similar in nature, to the one made by your
adversary in parrying. This movement places you in the line
that he has just quitted.
The Counter is deceived by executing the same circular
movement that your adversary makes in his attempt to parry.
This movement will replace you in the same line that you
wej'e before deceiving.
The Beat, and the Change of Engagement, are deceived in
the same manner as the simple parry. Likewise the Double
Engagement after the execution of its first half.
The Press and the Traverse are divined equally well at the
commencement of their execution by a certain amount of
fingering and " feel " of the blade.
The Tension. — Irregular and weak fencers generally have
recourse to a Tension to avoid their adversaries' attacks.
They simply straighten out the arm, regardless of the conse-
quences. This movement is sometimes miscalled the Time-
Thrust or the Stop-Thrust; but it is neither. It is simply a
chance defence and attack combined, thrown out in blind des-
peration, — an act of weakness on the part of the fencer. It
is entirely disapproved of by fencers of merit, and has no
recognition in any system of fencing. It has no relation to
the Time or Stop Thrusts.
Absence of Blade — May be employed when your adver-
sary fatigues you by his attitude, holding your blade too
rigidly or persistently. If he is well possessed of the feel
of the blade, he will be " at sea " when you absent your blade.
It is also used to open a line and give to the adversary a
tempting inducement to execute the direct thrust, you your-
self being at the same time prepared to parry it and riposte.
In executing an " Absence of the blade " it is absolutely
necessary to maintain the hand in position ; the point only
departs from the line by the aid of the wrist and fingers.
TECHNICAL DEFINITIONS. 185
The Direct Thrust. — The Direct Tlirust is the core of all
attacks. The composite attacks are made up of lateral
changing of lines called feints, which vary according to the
parries employed, terminatiiig in every case with a final
Direct Thrust. It is the wind up of all possible passages of
arms, the soul of the riposte.
The direct thrust is not only employed when the adversary
fails to obsei've the opposition of the hand or the point, or is
engaged on guai-d with a loose opposition, but is also used
in the case of a multiplicity of feints and, if too wide, on
an absence of the blade, preparations of attacks, and changes
of engagement. In fencing as in geometry the " straight line
is the shortest distance from one poiut to another."
The Cross. — The Cross is effected in the same manner as
the bind, — over the blade ; but instead of holding it, drives
it away vigorously, in order to create for itself a large open-
ing. Like the Bind and Flanconnade, it is employed in the
attack on those who extend the arm too much, and on the
riposte at the moment that the adversary recovers. (See
fig. 21.)
The Bind. — The Bind forms a complete circle, conducting
the adverse blade, forte to feeble, through all the differe.nt lines,
in order to replace it in its original position. This movement,
which has the disadvantage of causing the threatening and
constantly approaching adverse blade to pass in front of the
body, has been abandoned by most fencing masters.
Notwithstanding, the name of bind is still applied to an
attack executed on the same principles and starting from
high quarte into low sixte, also from high sixte into low
quarte, which movement in reality constitutes half of the
original Bind. (See fig. 17.)
The Flanconnade. — The Flanconnade is a bind which starts
from high quarte, masters the adverse blade, and instead of
throwing it out from the body, carries it down, forte to feeble.
186 POIL AND SABRE.
and terminates in a thrust under the adversary's arm. When
the thrust takes effect, the point of the blade is higher than tlie
hand, the latter hy reason of its position holding the adverse
blade in the low line.
The Replacing, — The Replacing, or second attack, is always
effected in the same line as that in whicli the attack was exe-
cuted, by a direct thrust without recovering. One can replace
on an adversary who does not riposte or does not hold his
blade in a proper position. Therefore, execute a slight re-
treat of the body, at the same time holding his blade, and re-
place with opposition. The same may be effected on an
adversary who abandons the blade after a parry, or else
ripostes direct slowly and without opposition. Also on an
adversary who escapes the attack and tries to regain tlie
measure in order to riposte. At that instant Replace with
opposition.
In the case of a composite riposte, Replace between the
first and second movements, in order to stop or avert his
final movement by an opposition, as in the case of the time-
thrust.
Replacing is the result of observations made on the adver-
sary. When executed with premeditation, a certain impulsion
must constantly be kept up in the development of the attack,
to enable one to continue the forward movement instead of
effecting a retreat of the body.
A prudent fencer will abstain from replacing on an adver-
sary who is in the habit of riposting tac-au-tac, as a double
hit is generally the result.
The Redoubling. — Redoubling is a renewed attack executed
on the lunge, on a parry unaccompanied by a riposte, or when
the adversary effects a retreat in order to make the attack
fall short and then returns to position in order to execute the
riposte, protecting himself from replacing by an opposition.
One can redouble in all the lines, but never by a direct
thrust, as in that case it would become a replacing.
yytrr
I
w
TECHNICAL DEFmiTIONS. 187
One must act with circumspection in the employment of
the redouble, as it occasions a double hit, unless the adver-
sary fails to riposte, or lacks rapidity in the hand.
The Reprise — Is an attack executed immediately after a
Phrase of Arms, either long or short, in which neither party
secures a hit. At the instant the two adversaries recover, or
even before the recovering is quite completed, one of them
with lightning rapidity assails his opponent with a second or
supplementary attack, which may be simple or complex. It
may succeed very well if one has not become disorganized in
the preceding phrase of arms, for it swoops down upon the
adversary at the very moment he considers himself out of dan-
ger, and is therefore unprepared to parry. To deceive the
enemy and attack him when he least expects it, is a principle
of fencing, as of military warfare.
The Counter-Disengagement — Deceives the disengagement of
the adverse blade, by making a similar movement, which
brings the two weapons back into the same relative lines
they occupied before the adversary made his disengagement.
It is always executed upon a disengagement or a feint of
disengagement. This movement can best be made clear by
an illustration. The two contestants being engaged in Quarte,
A disengages into Sixte line, B follows him closely with a
counter-disengagement passing from Sixte into Quarte with
good opposition, and a better command of the blade than A.
This attack is a Time-Thrust which cannot be executed from
Quarte to Sixte, as Sixte line is entirely covered by the ex-
tended arm of the adversary in his execution of disengage-
ment. It is a grave error to suppose tliat this attack can be
executed upon an adversary's change of engagement. In that
case it becomes a disengagement deceiving the change of
engagement. (See fig. 26.)
style. — A fencer's style is not made up solely, as is some-
times supposed, of a particular set of attacks and parries which
188 FOIL AND SABRE.
he may seem invariably to employ, but is rather the whole body
of his work, bearing the individual stamp of his temperament
and training. He favors attack or defence according as his
disposition is aggressive or calm, pugnacious or reserved. The
fencer who thinks out his work and proceeds carefully will do
delicate and fine execution, whereas the impulsive man will
have a wide and boisterous style. The position, the man-
ner of the hands and feet, the attitude of the members both
on the lunge and on guard, are elements which enter into
the make-up of a fencer's style.
The strategical Fencer — Profits by all tlie movements of the
adversary. He places all the resources of the ai't to his own
advantage. Whether in attack or defence, he makes no feints
without having first considered the consequences. He does
not advance without being ready to parry the attack on his
march. As he prepares for the attack he also holds himself
in I'eadiness for the defence. He retreats only to inveigle his
adversary to advance, in hopes that ho will expose an opening
while doing it, or perhaps to render liis adversary's attack out
of distance. He parries with a slight retreat of the body in
order to facilitate his riposte. In fact he only executes wise
and precautious movements. He beguiles his adversary into
making faults and profits by them with exasperating accui'acy.
The Constitutional Fencer — Is the One who acts according
to his temperament. In an assault he will either attack furi-
ously or remain continually on the defence, according to his
temperament. He cannot vary his play to lit the circum-
stances ; his method is in keeping with his instincts. Never-
theless he combines as much regularity as possible in his
movements.
His nature, be it excitable or otherwise, gives forth un-
wonted energies, and his movements are so executed that the
strategical fencer alone can get the advantage of him.
The above title is sometimes given to a man capable of
holding- out for an unlimited length of time, or in other words
TECHNICAL DEFINITIONS. 189
who is insensible to fatigue. These fencers have nothing
in common with the others, as fencing is not a question of
endurance.
The Classical Fencer. — A classical fencer is supposed to be
one who observes a fine position, whose attacks are fully de-
veloped, whose hits are marvellously accurate, his parries firm
and his ripostes executed with precision.
One must not forget that this regularity is not possible un-
less the adversary is a party to it. It is then a conventional
bout, which consists of parries, attacks, and returns, all rhym-
ing together.
The Blunderer — Is a fencer who strives to hit his adversary
by all means, fair or foul, without preparation or opposition.
His arm is drawn back of its position, he advances or retreats
without necessity, effects a tension on any attack, attempts
to execute time-thrusts on simple attacks, beats the blade and
changes the engagement without motive.
Left-handed Fencers — Have an advantage over right-handed
ones, as they are continually in contact witli the latter, whilst
the latter seldom practise with the former. The right-handed
man is generally disconcerted on fencing with a left-handed
one, as everything seems changed. Their parries of Quarte
and Counter of Quarte are severe and fatiguing, because the
thumb of their left hand is in vantage position and forces the
adverse blade out of the hand. Moreover the right-handed
fencer does not riposte with such confidence, as he finds his
adversary's body in a strange position.
The instructor should be able to fence a little with the left
hand in order to accustom his pupil to that style of fencing,
and the latter will soon overcome the uneasiness. Left-
handed fencers really have no special advantage, and when
two of them fence together they seldom exhibit grace or
finish.
190 FOIL AND SABRE.
Accuracy. — Accuracy results in effective execution. The
entire harmony of all movements which make up a composite
attack, their duo subordination and succession, their demarka-
tion, relation, and interdependence, must be carefully demon-
strated by the instructor, and executed at first deliberately
but always intelligently, by the pupil who hopes to acquire
accuracy. Guesswork makes a wild fencer.
The Retention of the Body. — The body should not be al-
lowed to give way, and move forward during the develop-
ment of an attack until the point has arrived within the line
in which the thrust is to take place and the arm has gained
its entire extension. A tendency to precipitate the body is
one of the great faults to which the pupil is naturally in-
clined. None are exempt from this bad habit, which is one of
the principal causes of the bad execution of many thrusts.
The fencing instructor should direct all his attention to
combating this tendency, and should not allow the pupil to
lunge, until the hand and arm have first fulfilled their re-
spective duties.
Harmony. — Harmony is the sympathetic co-operation of the
supple and rapid movements, not only of the hand but of all
the other parts of the body which contribute to the execution.
Every limb and muscle without apparent effort responds witli
lightning rapidity to the decisions of the judgment. This is
the natural and immediate result of good instruction, and
insures the success of the thrusts.
The Judgment. — Judgment in fencing is the intelligent
weighing and deciding of questions as to the best attacks and
parries, and the wisest employment of them, under varying
circumstances; deducting a true diagnosis of the adversary,
his strong points and weaknesses, temperament and physical
capacities.
An accurate judgment forearms the swordsman. His move-
ments are well calculated and tempered with prudence, his
combinations skilful, his decisions rapid.
TECHNICAL DEFINITIONS. 191
The A-Propos. — To fence a-propos is to attack and parry
opportunely. The a-propos in fencing is a gift of nature
which is cultivated by practice.
To lunge either too soon or too late is to be deficient in
a-propos.
Rapidity. — Rapidity is a natural faculty which can be de-
veloped and regulated. Rapidity of the hand, rapidity of
the body, depending mainly on the strength of the legs,
general rapidity, which produces complete harmony in all
movements, are the result of practice. The last combines
them all, being a combination of a-propos, accuracy, and
The Feel of the Blade. — This sensation can only be ac-
quired by unceasing practice and perseverance. It ensures a
light hand and gives that delicacy of touch which, combined
with rapidity and precision, renders a thrust almost unavoid-
able. It is a sort of mind-reading, by which the fencer is able
to read, through the touch of the blades, all the advei-sary's
intentions and tactics. This cunning of the blade seems to
endow the fencer with a power of divination which envelops
the adversary in a network of bewilderment, and draws out
all his secrets. The latter discovers himself within the toils
of the enemy, lashed by i-epeated showers of surprises.
The Eye. — When an opponent does not allow his sword to
be touched, it is impossible to "feel" his blade ; in which case
the eye must follow attentively his movements, endeavoring
to divine his intentions, — in what line he intends to attack,
so that a parry may be prepared for it. The eye must also be
accustomed to judge the distance, 'so that an attack will not
be made out of range. In some instances a slight retreat of
the body is sufficient to evade a thrust. At other times the
riposte must be withheld, to be employed at a more favorable
opportunity. By observing these suggestions one will soon
perceive and acknowledge the importance of a trained eye.
192 FOIL AND SABRE.
The Disarming. — The disarming is executed by whipping
the blade with the hand turned in Tierce ; or by binding the
blade, describing a circle with the adverse blade, but without
quitting it ; or by subduing it and trying to replace it at the
point of departure by means of the old style of Bind. This
movement, when executed vigorously, plucks the blade out of
the hand of your adversary. It is also effected by executing
Quarte-Bind • or Sixte-Bind when the adversary has his arm
extended.
The disarming of one's adversary, in order to attack when
defenceless, was practised in olden times. One of the meth-
ods in vogue was to disarm him by seizing his blade with the
left hand and snatching it away. Nowadays the disarming is
only attempted to disconcert or annoy the adversary. Very
few fencers practise disarming, and when it does occur it is
generally accidental, or is the result of a vigorous attack on
the blade, — not with the intention of disarming, but simply
to effect an opening for a thrust.
The Retreat. — The Retreat may be one of the three kinds :
1. The retreat of the body ; namely, on an attack of the ad-
versary, sway the body back, more or less, if you expect to
be reached by his point. Being on a lunge, this retreat may
be used as a preparation for a Replacement. 2. The retreat
after the lunge (the recoverj^). 3. The retreat by means of
a step backward to get out of reach. This retreat may be
effected to induce your adversary to advance by leading him
to imagine that you fear him, then attack him on his advance.
This retreat is also admissible when, having received a violent
attack on your blade, you find yourself unable to make tlie
parry. Also when you are surprised by an attack. One must
always retreat by the strength of the legs and loins. To
retreat without motive is a fault.
A retreat intended to make the adversary advance, must
be executed with apparent disorder, thus inspiring him with
confidence ; nevertheless be prepared to attack him on liis
advance. The habit of retreating from all attacks would soon
dissipate the ability to parry and riposte well.
TECHNICAL DEFINITIONS. 193
Advancement of the Left Foot. — This is a delicate and
effective bit of strategy which may be used when the enemy
is out of distance, or when he is known to habitually retreat
upon being attacked. It consists in drawing tlie left foot up
toward the right, the distance wished to be gained, just before
lunging. It should be done rapidly if the lunge is to follow
instantly ; or if it is preparatory to an intended attack, should
be executed so stealthily as to be imperceptible. Prom one
to twenty inches, or even more, can thus be gained upon the
adversary before he is aware. This advance of the left foot
is also employed in a recover forward after a lunge, when
wishing to pursue a retreating adversary.
Parries of Contraction. — Every parry which drags the ad-
verse blade unnecessarily from one line into another creates
a contraction. I distinguish three kinds : first, the Direct ;
second, Semi-circular ; and third, Circular contraction, —
thus named on account of the space and direction in which
the adverse blade travels.
Direct Contraction. — Being engaged in Quarte, you disen-
gage in High Sixte. My natural action will be to parry Sixte
or Tierce, to turn away your blade, which is at my right, by
the shortest route possible, starting from the line of the body.
If I parry Counter of Quarte I act against the natural order
of things, as I seek yours in the right line and place it in
the left, thus causing it to travel in a direct line and with-
out apparent necessity in front of my body. The same
happens in the case of a disengagement in High Quarte, if
I parry Counter of Sixte or Counter of Tierce instead of a
simple. It is the same in the low line, and occurs for the
same reason.
The counter parries are therefore always parries of direct
contraction ; the use of them is indispensable in seeking to
vary the methods of parrying, and also has the advantage of
covering several lines.
Semi-circular Contraction. — Being engaged in Quarte, you
disengage in High Sixte instead of parrying Sixte, which
13
194 FOIL AND SABRE.
would turn away your blade from the line of my body. I
parry Sixte-Bind, and tlms the blade descends from High Sixte
into and beyond Low Quarte, causing it to travel across tlie
line of the body, and describe, without apparent necessity, a
half-circle. On a disengagement in High Quarte the Quarte-
Bind produces a similar effect, as it carries the adverse blade
into and beyond Low Sixte.
The Septime-Bind takes the adverse blade from Low Quarte
and places it outside of High Sixte. These semi-circular par-
ries, although excellent, are employed less frequently than
the direct contraction.
Circular Contraction. — Being engaged in Quarte, you disen-
gage in High Sixte ; if I parry Tierce and Counter-Tierce by
passing over your blade, thus causing it to travel over the
whole line of the body in order to replace it in its original
position, I then act against the natural order of things,
which would be to turn the blade away from the line of the
body by a simple parry. The same effect is produced on a
disengagement in High Quarte by parrying Quarte and Coun-
ter-Quarte. This Circular Contraction has received the name
of " Opposite Counter."
Contraction of the Blades. — This is the effect of bad judg-
ment on the part of the assailant as to what parry the ad-
versary will employ upon his intended attack. But the
adversary, appreciating his assailant's intention, employs the
contrary parry, and the unexpected collision of blades which
follows is called " Contraction of the Blades."
The Flying Cut-Over. — The flying cut-over is executed with-
out any stoppage whatever after contact with the adverse
blade. Thus the parry, cut-over, and riposte, are bound to-
gether. The above cut-over must be executed with a retro-
grade movement of the hand towards the body.
Exercising on the Fixed Pad. — A round pad, fixed On the
wall of the fencing-room, against which one can thrust and
lunge, furnishes an excellent exercise in which every pupil
should indulge preparatory to receiving his lesson. It pre-
TECHNICAL DEFINITIONS. 195
pares the legs and the entire system for activity, and is
the best possible means for obtaining accuracy. Every
fencer should practise on the pad as regularly as' he takes
his lesson.
False Beats. — The false beat is a slight beat executed by
the aid of the fingers, and is intended to disquiet the adver-
sary, who invariably responds to it in spite of himself. It is
not only executed previous to an attack but also after a feint
in order to facilitate another feint or the final thrust.
Exercise of the Feints — Is ail excellent practice for two
pupils who are ambitious to advance in the practical execu-
tion of the lunge, feints, and parries.
It is agreed between them that one shall stand on guard
without retreating and without himself attacking, and parry
every kind of attack which the other may elect to employ,
witliout warning. After a few moments of this work, the
assailant takes his turn on the defence, and in like manner,
without himself attacking, tries to defend himself against the
onslaught of his former victim. This alternation may be con-
tinued through any number of lessons which the instructor
may have previously demonstrated to both of these men.
Nothing but the most correct and approved parries and feints
should be allowed in this exercise. Great care must be taken
that the party on the defence shall parry without moving any
part of his body except his arm, and tliat the assailant shall
return on guard and recover his full distance after his
lunge, whether successful or not. This most helpful exercise
is too often neglected by pupils, who unwisely prefer the
more attractive practice of the assault.
It can also be understood between the fencers that the
Riposte and Counter-Riposte shall be used. In this case
they proceed exactly as above.
Possession of Legs. — To be able to make a judicious em-
ployment of the strength in the legs on the advance, retreat,
or lunge.
196 FOIL AND SABRE.
To Thrust within the Blade. — To lunge in the line in which
your adversary is covered.
To Thrust from Position. — To lunge without moving the
left foot.
To be in Line. — To be well placed in the position of the
guard, and in line with your adversary.
To Jump — Is said of a fencer who makes a bound forward
or backward, lifting both feet at the same time.
To Hazard. ■ — To throw oneself on the adverse blade with-
out having previously turned it aside.
To Cross Oneself. — A bad position of the fencer, whose
right foot is too much to the left, instead of being on the line
of the left heel, — position of the guard.
A Judged Thrust. — To guess the adversary's thrust.
To Fence "Wild. — To act without proper forethought; to
execute unnecessary parries ; to endeavor to deceive the par-
ries that your adversary does not employ.
To Lodge Oneself. — A short fencer lodges himself by ap-
proaching with the left foot or by advancing the right foot or
upper pai^t of the body, also by gliding his blade up as near
as possible to his adversary. Generally used to gain upon a
tall adversary preparatory to the lunge.
Secret Thrusts. ■ — There does not exist in fencing a thrust
which cannot be parried, nor is there one parry adaptable to
all attacks.
To Hollow. — To carry the hand outside the line and on the
reverse side to the opposition. It constitutes one of the most
serious faults in fencing.
THE NORMAL SCHOOL OF FENCING. 197
To Give the Blade. — To place the blade in line where it is
easily joined by the adversary's.
To Route. — To force your adversary by superiority of ac-
tivity and a general supremacy, to retreat in disorder, or to
take uncertain parries.
To Change the Blade — Signifies change the engagement.
The Coronation. — Tbe coronation is a circle nearly de-
scribed by the point, over the head, passing from high sixte
to high quarte and vice versa. LafourgSre made tliis attack
famous. As executed by him it was almost impossible to
parry.
To Start the Body. — To make a movement of the body for-
ward without having duly extended the arm is a grave fault.
The Allurement. — A trap laid for the adversary.
The Assailant. — Person attacking.
To Seek the Blade. — To follow it in all its movements.
To Menace. — To execute a feint of direct thrust.
The Normal School of Fencing. — The art of fencing has not
only received the recognition and patronage of a great number
of eminent individuals in many lauds, but has also been en-
couraged and subsidized by many national governments.
In 1826 the French government founded a Normal School
of Fencing at Grenelle. In 1872 it was transferred to Join-
vill^-le-Pont and considerably enlarged.
Italy, Belgium, and Japan, each have had such schools for
a number of years. In the two latter countries these schools
were founded and supervised by French fencing masters.
Why should America not possess such an institution ?
What would the consequences be if such a school were estab-
198 FOIL AND SABEE.
lished ? First and most important, the instruction in this
art would be taken out of the hands of ambiguous foreigners
of doubtful reputation and more doubtful ability, and be placed
in charge of professors authorized by this school and bearing-
diplomas of professional capacity, as well as of moral respon-
sibility. And this last qualification, as much as the first,
would have its influence in making popular the art of fencing.
For the moral character of any teacher attracts or repels his
pupils, and fosters or dissipates their interest in his art. At
present fugitives from foreign lands and men unable to gain
a livelihood at home come here without interference, christen
themselves " professors," hang out their signs, and begin to
disseminate among the innocent but enthusiastic American
youth a distorted system of sword play which is nothing more
than a burlesque on the true methods of teaching fencing, and
the pernicious consequences of which only an expert swords-
man can fully realize. These impostors assume to teach what
they never knew, the fundamental principles of which never
dawned upon them. They exhibit a fair amount of physical
dexterity, challenge the world, and forever after call them-
selves " Champion of the two Americas." Sooner or later
their true character and inability become known, and the true
interest in fencing suffers a relapse. All this would be reme-
died under the influence of a normal school, where every man
would be obliged to stand a rigid examination before he was
permitted to teach. The people of the United States take a
lively interest in all matters pertaining to physical education.
Every large college and even many of the smaller schools are
now provided with well-appointed gymnasiums. The most
magnificent athletic cluh. houses in the world are springing
up in the large cities of the East and West, and fencing is
already taking its place in these institutions as the most un-
objectionable and popular kind of indoor exercise. With this
growing interest comes the demand for capable teachers, and
hence the need of a Normal School of Fencing. Large for-
tunes are annually bequeathed for the endowment of public
institutions of learning, which are the pride of our people,
FENCING FOR LADIES. 199
reflecting everlasting credit upon the donors, serving the well
being of the whole population, and elevating the standard of
our mental, artistic, or physical nationality. As soon as the
art of fencing shall be appreciated according to its merits, I
am confident that benefactors will be forthcoming who will
found such an institution, partake of its benefits themselves,
and win the gratitude of a large body of their young fellow
countrymen.
Fencing for Ladies. — One of the, by no means secondary,
recommendations of fencing is that it is equally within the
reach of both sexes. Ladies practise it more particularly for
the exercise it affords them, and therefore should be taught
to use both hands.
The instructor should Tary and gauge his exercise for ladies
according to their strength, and study particularly ease of
movement and graceful carriage.
PART IV.
THE SABRE.
THE ground principles governing the instruction of sabre-
fencing are the same as those for the foil :
To proceed from the simple to the compound, gauging the
lesson to the temperament of the pupil ; to seek to bring for-
ward and demonstrate the utility of every detail by neat ex-
planations and illustrations, in order that tiie pupil may
acquire a permanent knowledge of the correlation existing
between the attack and the defence ; to prepare him by careful
drill for an intelligent and finished assault, and to arm him
for the exigencies of his adversai'y's tactics.
Nomenclature of the Sabre. — The sabre has two principal
parts, — the Blade and the Handle.
1. The Blade has a Point, an Edge, a Back, a Heel, and a
Tongue, which traverses the handle.
2. The Handle comprises a Guard of brass or steel, which
covers the hand, and the Grip, which is wound with copper or
steel thread.
Manner of Holding the Sabre. — The grip should be firmly
grasped in the right hand but not too rigidly, the four fingers
together, the thumb along the back of the grip.
Preliminary Position. — Place the feet at riglit angles, heels
together, the riglit arm extending down the right side of the
body, but not touching it, the blade and arm forming a straight
line obliquely downward, the point of the weapon four inches
MOULINEX. 201
from tlie floor, the left forearm resting in the small of the
back. From this position come on guard as follows.
The Guard. — 1. Keeping the arm and sabre straight, raise
them to a position a little above horizontal, and in the direc-
tion of the adversary, the hand at the height of the eyes, nails
downward, the point of the weapon at the height of the crown
of the head. (See fig. 36.)
2. Prom this position execute two vertical moulinets to
left and right, and at the termination of the second find the
hand at height of chest and in front of the right shoulder
toward the adversary, nails down, the arm half bent, the
elbow standing out to the right a little and eight inches from
the body, point of the weapon at the height of the eyes.
3. Sink the torso by bending the knees and advance the
right foot about twenty inches on a line from the left heel
toward the adversary to the position of the guard. (See
fig. 37.)
Preparatory Instruction. — The pupil should be taught the
advance, the retreat, the calls, the recoveries, and the feints
according to the principles prescribed for the foil. The lunge
is always preceded by an unfolding of the arm in connection
with a moulinet, horizontal or vertical, or an under cut ; the
left hand resting all the time in the hollow of the back.
Moulinet — Is executed by making the sabre describe a
horizontal circle from right to left (or left to right) above the
head, holding the hand near the forehead, bending the arm
in the first half of the circle, and straightening it and turning
the hand over in the progress of the second half, nails down
(or up), the edge of the weapon towards the right (or left).
Moulinet Vertical — 1. Is a vertical circle executed on the
left and right side of the sword arm. Let the point of the
sabre fall, turning the hand so that the nails are forward,
the thumb to the right, at the height and in front of the left
202 TOIL AND SABRE.
shoulder, the edge of the weapon to the left. This is for the
first half of the circle. The second half is executed by let-
ting the blade pass as close as possible to the body, turning
the hand progressively so that at the termination of the circle
the thumb will be upward and the edge of the weapon down-
ward. The arm should be fully extended in the execution of
the last, quarter of the circle.
2. To execute the right vertical moulinet, let the point of
the sabre fall 'to the right side of the hip, the last three fin-
gers relaxing their grip, turn the hand so that the thumb is
to the right, the nails upward, the hand held at the height
and in front of the right shoulder; the arm is bent for the
first half of the circle. The second half is executed by let-
ting the blade pass as closely as possible to the body, turning
progressively the liand so .that the termination of the circle
will find the thumb uppermost and the edge of the sabre
downward. The, arm should be fully extended in the execu-
tion of the last quarter of the circle.
The Under-Cut — Is a vertical circle executed in nearly the
reverse order of the moulinet. At the end of the circle the
sabre has its edge facing upward.
A pupil should practice the moulinets, horizontal and ver-
tical, and the under cuts, both standing in position of guard
and in connection with the lunge, to limber the joints and
muscles of the arm, before passing to the demonstration of
the lesson.
Engagement. — In the engagement the blades should always
be placed edge against edge. The Tierce engagement is
the only effective one between right-handed fenpers. The
Quarte engagement is employed only against a left-handed
fencer.
The definitions of the lines are the same as for foil fencing.
(See fig. 6.)
The Attack — May be simple or compound. The latter
should never be composed of more than three movements, on
Yia.Se. FIRST MOVEMENT TO COME ON aUARD.
Fig. 37. ON GUARD.
CHEST-CUT. 203
account of the displacement resulting from the greater weight
of the weapon, and consequent inconvenience.
The strokes of the sabre are made at the head, at the left
cheek, at the right cheek, at the chest, at the flank, at the
girdle, at the thigh, at the arm, and the thrust of the point
which attacks everywhere.
Feint. — As with the foil, the feints of the sabre serve to
form a compound attack. It is executed precisely like a
simple attack without the lunge. It should be so well made
that it would be taken for the attack itself, and consequently
call out the opponent's parry.
Simple Thrusts.
Head Cut. — Pass the blade over the adverse point, extend
the arm, lunge with opposition, give the sabre cut upon the
crown of the head drawing the blade back to make the edge
cut ; recover on guard quickly, being well covered while do-
ing so. (See fig. 39.)
Oommand : Attack by Head Cut, — Lunge. On Guard.
Left-Cheek Cut. — Pass the blade over the adverse point,
extend the arm, turning tlie hand to quarte with opposition,
give the sabre cut on the left cheek with a drawing stroke ;
recover on guard quickly, being well covered. (See fig. 40.)
Command : Attack by Left-Cheek Cut, — Lunge. On Guard.
Note. — Proceed in a corresponding manner from Quarte Engagement to
execute Biglit-Cheek Cut (See fig. 41).
Chest Cut. — Pass tlie blade over the adverse point, extend
the arm, lunge with opposition, turning the hand to Quarte,
give the sabre slash from the left shoulder downward diagon-
ally across the chest ; recover on guard quickly, being well
covered while doing so. — (See fig. 42.)
Command : Attack by Chest-Cut, — Lunge. On Guard.
204 FOIL AND SABRE.
Girdle Cut. — Lower the point of the sabre, carry it under
the adverse blade, extend the arm, turning the hand to Quarte
with opposition, give the sabre slash across the waist with a
drawing cut ; recover on guard quickly, being well covered.
(See fig. 43.)
Command : Attack by Girdle Out, — Lunge. On Guard.
Flank Cut. — Lower the arm and lunge, maintaining oppo-
sition, give the sabre cut across the hip, drawing it backward ;
recover on guard quickly, being well covered. (See fig. 44.)
Command: Attack by Flank Out, — Lunge. On Guard.
Thigh Cut. — Lower the point, extend the arm, lunge with
opposition, give the sabre cut across the thigh, drawing the
sword backward ; recover on guard quickly, being well covered.
(See fig. 45.)
Command: Attack by Thigh Cut, — Lunge. On Guard.
Point-Thrust. — Lower the point and pass it under the ad-
verse blade, extend the arm, lunge with opposition, turning
the hand so that the thumb shall be underneath and the edge
of the sabre upward (see fig. 46) ; recover on guard quickly,
being well covered.
Comrnand : Attack by Point Thrust, — Lunge. On Guard.
Arm Cut. — This cut can be executed in several ways : —
1. By gliding the blade rapidly along the adverse weapon
and forcing it a little out of line, turning the hand over quickly,
nails upward, lowering the point, and cutting the upper side
of the arm with a drawing slash.
2. No. 1 can be executed by beginning it with a beat in-
stead of a glide.
3. Or, pass the point under the adverse blade, extending
the arm, turning the hand over, nails up, raise the point of
the sabre, and draw it across the adversary's wrist or forearm ■
recover on guard, being well covered.
Cornmand: Attack by Arm Cut, — Lunge. On Guard.
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PARRY OF LEFT CHEEK. 205
Observations : The Right-Cheek Cut is not possible as a
simple attack when starting from a Tierce Engagement. The
Point Thrusts and Arm Cuts, as simple attacks, are much
more effectual when they are executed upon preparatory at-
tacks, or as ripostes.
The thumb and the last two fingers, by their simultaneous
flexion, are the agents which render the cut of the sabre
effective.
But it is necessary before all things else to have the me-
chanism of each attack clearly demonstrated. By applying
the principles laid down in each lesson, one can understand
the importance I attach to each.
Simple Parries. — The parry is always made by opposition
of edge against edge and with the heel of the blade.
It throws off the attacking weapon, without accompanying
it, by a sharp beat.
Or, it diverts the attacking blade by accompanying it with
the opposition.
Or, it precedes the attack, at the locality threatened, and
receives the brunt of the cut without diverting the adverse
blade or throwing it out of line.
Parry of Head. — Raise the sabre to a horizontal position in
front of and a little above the crown of the head, the arm
bent and the nails forward. (See fig. 39.)
Command: Head cut, — Parry. On Guard.
Parry of Left Cheek (or right cheek). — Carry the hand to a
position in front of the left chest (or right) and four inches
from it, the blade pointing upward and slightly inclined for-
ward and inward, the edge toward the left (or right). (See
fig. 40.)
Cuts upon the shoulder are also parried by the cheek
parries.
Command : Left cheek, — Parry. On Guard.
Right cheek, — Parry (from quarte engagement ; see fig.
41). On Guard.
206 FOIL AND SABRE.
Fairy of Chest and Girdle. — Raise the right forearm to a
horizontal position in front of the body, elbow bent and outside
the line of the body, the hand in front of and at the height
of the chin, the nails forward, the blade hanging downward
about six inches from the body and slightly inclined outward,
the edge to the left. (See fig. 42.)
This form of parry can also be advantageously employed
for a left-cheek cut.
Command : Chest cut, — Parry. On Guard:
Girdle cut, — Parry. (See fig. 43.) On Guard.
Parry of Flank. — Carry the hand to the right a little out of
the line of the body, arm slightly bent at elbow, the hand and
elbow at the height of the belt, the blade pointing downward
inclined forward and inward and about fifteen inches from
the body, the edge to the right. (See fig. 44.)
Command: Flank cut, — Parry. On Guard.
Farry of Foint Thrusts. — Against point thrusts in the high
line use the parry of Tierce or Quarte. Against point thrust
in the low line use the parry of Second. (See fig. 44.)
Coynma)id : Point thrust, — Parry. On Guard.
Farry of Arm Cuts. — The parry of the arm cuts is made by
withdrawing the arm. Or, those on the right side of the arm
may be parried by the right-cheek parry by crowding the hand
well out to the right and drawing elbow well into the waist ;
those on the left side and under the arm by the flank parry
" crossing" the adverse blade.
Command : Arm Cut, — Parry. On Guard.
Farry of Thigh Cuts. — This Cut is parried by an Escape to
rear. Quickly carry the right leg, which is attacked, twelve
inches to the rear of left leg, the foot flat upon the floor.
(See fig. 45.)
Command : Thigh cut, — Escape. On Guard.
p
P
ATTACKS COMPOSED OF TWO MOVEMEXTS. 207
Riposte — May be simple or compound. The latter should
not be composed of more than two movements.
In the riposte as in the attack it is necessary, before all else,
to be safely covered by the opposition ; and never abandon the
adverse blade to execute a riposte without being sure to have
vigorously thrown it out of the line of your body.
Direct your riposte to the unprotected part of your adver-
sary's body, exposing as little as possible of your own, for the
remise of the sabre is made by merely dragging its edge against
an uncovered part as you recover on guard.
The riposte can also be easily made by merely turning the
hand over in its extended position after a parry, without quit-
ting the adverse blade. In some cases this manner of ripost-
ing is the best, as it affords the advantage of a double cut
without deranging the safe position of the arm.
SiJiPLE Attacks and Parpjes.
{The parry of the riposte should he made while recovering on
guard.)
■ Head Cut, — Lunge. Flank Cut, — Parry. On Guard.
Left Cheek Cut, — Lunge. Head Cut, — Parry. On Guard.
Chest Cut, — Lunge. Head Cut, — Furry. On Guard.
Girdle Cut, — Lunge. CJiest Cut, — Parry. On Guard.
Flank Cut, — Lunge. Point Thrust, — Parry. On Guard.
Point Thrust, — Lunge. Arm Cut {n-pper}, — Parry. On Guard.
Point Thrust, — Lunge. Pdght-Cheek Cut, — Parry. On Guard.
Head Cut, — Lunge. Arm Cut (under), — Escape (see fig. 47). On
Guard.
Thigh Cut, — Lunge, ^rm Cm? (upper), — Escape (see fig. 45). On
Guard.
Attacks composed of Two Movements.
Feint Head Cut, and Cut Girdle, — Lunge. On Guard-
Feint Point Thrust (high), and Cut Flank, — Lunge. On Guard.
Feint Point Thrust (low), and Cut Head, — Lunge. On Guard.
Feint Point Thrust (low), and Cut Right Cheek, — Lunge. On Guard.
Feint Flank Cut, and Cut Right Cheek, — Lunge. On Guard.
208 rOIL AND SABEE.
Feint Left-Cheek Cut, and Cut Eight Cheek, — Lunge. On Guard.
Feint Head Cut, and Cut Flank, — Lunge. On Guard.
Simple Paeeies and Ripostes.
Ilenrl Cut, — Parry. Riposte by Point Thrust (hand in prime, see fig.
46). On Guard.
Lefl-Cheek Cut, — Parry. Riposte by Right Cheek Cut (reversing
hand). On Guard.
Chest Cut, — Parry. Riposte by Head Cut. On Guard.
Girdle Cw/, — Parry. Riposte by Chest Cut. On Guard.
Flank Cut, — Parry. Riposte by Point Thrust. Ou Guard.
Point Thrust (low), — Parry. Riposte by Right Cheek Cut. On
Guard.
Head Cut, — Parry. Riposte by Flank Cut. On Guard.
Flank Cut, — Parry. Riposte by Head Cut. On Guard.
Point Thrust (low), — Parry. Riposte by Point Thrust (low). On
Guard.
Point Thrust (low), — Parry. Riposte by Arm Cut (upper). On
Guard.
Compound Paeeies in Two Movements, and Simple Ripostes.
Feint Flank Cut, and Cut Head, — Parry. Riposte by Point Thrust.
On Guard.
Feint Head Cut, and Cut Girdle, — Parry. Riposte by Head Cut. On
Guard.
Feint Point Thrust, and Cut Right Cheek, — Parry. Riposte by Left
Cheek Cut (reversing hea,d). On Guard.
Feint Hand Cut, and Cut Flank, — Parry. Riposte by Right Cheek
Cut. On Guard.
Feint Left-Cheek Cut, and Cut Right Cheek, — Parry. Riposte by Arm
Cut (upper). On Guard.
Feint Left-Cheek Cut, and Cut Right Cheek, — Parry. Riposte by Flank
Cut. On Guard.
The instructor should have the pupil repeat each exercise
several times, letting himself be touched. To terminate the
exercise he should parry the pupil's attack and have him
attack by point thrust. This rule is common to all the
exercises.
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13
CO'MPOUND PARRIES AND RIPOSTES. 209
Simple Parries and Compound Ripostes.
Chest Cut, — Parry. Riposte by Feint Head Cut, aud Cut Girdle. On
Guard.
Chest C«/, —Parry. Riposte by Feint Head Cut, and Cut Flank. On
Guard.
Girdle Cut, — Parry. Riposte by Feint Head Cut, and Cut Flank. On
Guard.
Girdle Cut, — Parry. Riposte by Feint Head Cut, and Cut Girdle. On
Guard.
Flaiik Cut, — Parry. Riposte by Feint Right-Cheek Cut, and Cut
Flank. On Guard.
Flank Cut, — Parry. Riposte by Feint Point Thrust (l'igli)i and Cut
Flank. On Guard.
Point Thrust, — Parry. Riposte by Feint Point Thrust, and Cut Arm.
On Guard.
Simple Parries and Double Ripostes.
Left-Cheek Cut, — Parry. Riposte by Cut Right Cheek and Chest.
On Guard.
Left-Cheek Cut, — Parry. Riposte by Cut Right Cheek and Girdle.
On Guard.
Left-Cheek Cut, — Parry. Riposte by Cut Right Cheek and Arm
(under). Oa Guard.
Ill these three exercises, have the hand in tierce for the first
half of the riposte and turn it to quarte for the second half.
Compound Parries and Ripostes.
Feint Point Thrust (low) , and Cut Head, — Parry. Riposte by Feint
Flank Cut, and Cut Right Cheek. On Guard.
Feint Head Cut, and Cut Girdle, — Parry. Riposte by Feint Head Cut,
and Cut Flank. On Guard.
Feint Flank Cut, and Cut Right Cheek, — Parry. Riposte by Feint
Point Thrust, and Cut Arm (upper). On Guard.
Feint Head Cut, and Cut Flank, — Parry. Riposte by Feint Right
Cheek, and Cut Left Cheek. On Guard.
Feint Flank Cut, and Cut Arm, — Parry. Riposte by Feint Head Cut,
and Cut Girdle. On Guard.
14
210 foil and sabre.
Compound Paeries and Double Ripostes.
Feint Point Thrust (low), mid Cut Eight Cheek, — Parry. Riposte by
Cut Left Cheek and Flank. On Guard.
Feint Flank, and Cut Left Cheek, — Parry. Riposte by Cut Right
Cheek and Arm (under). On Guard.
Feint Point Thrust (low), and Cut Left Cheek, — Parry. Riposte by Cut
Right Cheek and Chest. On Guard.
Feint Left-Cheek, and Cut Right Cheek, — Parry. Riposte by Cut Left
Cheek and Arm (upper). On Guard.
Simple Parries, Eiposies, and Counter-Ripostes.
Cut Head, — Lunge. Flank Cut, — Parry. Counter-Riposte by Thrust
Point. On Guard.
Cut Head, — Lunge. Girdle Cut, — Parry. Counter-Riposte by Cut
Head. On Guard.
Cut Flank, — Lunge. Eight- Cheek Cut, — Parry. Counter- Riposte by
Cut Left Cheek. On Guard.
Thrust Point, — Lunge. Right-Cheek Cut, — Parry. Counter- Riposte
by Cut Arm (upper). On Guard.
Cut Left Cheek, — Lunge. Right-Cheek Cut, — Parry. Counter-
Riposte by Cut Flank. On Guard.
Simple Parries and Ripostes, and Compound Counter-
Ripostes.
Cut Head, — Lunge. Flank Cut, — Parry. Counter-Riposte by Feint
Right Cheek Cut, and Cut Flank. On Guard.
Cut Head, — Lunge. Girdle Cut, — Parry. Counter-Riposte by Feint
Head Cut, and Cut Flank. On Guard.
Cut Flank, —.Lunge. Eight-Cheek Cut, —Parry. Counter-Riposte by
Feint Flank Cut, and Cut Right Cheek. On Guard.
Thrust Point, — Lunge. Cut Flank, — Parry. Counter- Riposte by
Feint Point Thrust, and Cut Right Cheek. On Guard.
Simple Parries and Ripostes, and Double Counter-
Ripostes.
Cut Left Cheek,— Lnnsre. Eight-Cheek Cut, — Parry. Counter-Riposte
by Cut Left Cheek and Flank. On Guard.
CutGirdle, — Lunge. Left-Cheek Cm(,— Parry. Counter-Riposte by
Cut Right Cheek and Chest. On Guard.
Cut Chest, — Lunge. Left-Cheek Cut, — Tarry. Counter-Riposte by
Cut Right Cheek and Arm (under). On Guard.
<
THE ATTACK ON PREPARATIONS. 211
Time Thrust. — The Sabre Time Thrust is especially directed
against that part of the enemy's body wliich is nearest, namely,
his forearm, and is executed by an Arm Cut or a Point Thrust.
When the enemy attempts a Head Cut, the Time Thrust can
be executed directly upon his forearm, making an escape to
rear or a retreat. Or he can be attacked by an Arm Cut on
the left and under side of the forearm by turning the hand to
Quarte with nails up. Avoid his Head Cut by an escape or a
retreat.
When the enemy attempts a Left-Cheek Cut, the Time
Thrust can be applied in the same manner as for a Head Cut.
Likewise when he attempts a Right-Cheek Cut the Time
Thrust by the Point is similarly executed ; but the Arm Cut
is directed to the right and under side of the forearm, the
hand being turned with nails downward.
In case he attempts a Thigh Cut, the Time Thrust by an
Arm Cut should be directed to one or the other side of the
forearm and above, avoiding his cut by an Escape to rear. (See
fig. 45.) When he attempts a Flank Cut, the Time Tiirust by
Point should be directed to his chest, the hand in opposition
(see fig. 49), or to his face and Escape to rear, or the Arm
Cut can be directed to the left side of the forearm. Escape to
rear.
stop Thrust — is directed to the nearest part of the'enemy's
body by a Point Thrust or an Arm Cut, delivered upon the
first movement of a compound attack, either on the advance
or standing still. It is executed like the Time Thrust with
this marked difference : the latter is applied at the end,
while the former is applied to the commencement of the adver-
sary's attack.
The Attack on Preparations — is executed upon any move-
ments of the adversary having for their end the preparation
of an attack. To a Press or a Beat it is applied by a Point
Thrust by disengaging. To an Advance or a Menace it is
applied by an Arm Cut. The sabre being a heavy weapon it
212 FOIL AND SABRE.
is necessary to avoid those movements which draw it out of
the hue of the adversary's guard. The Point Thrust in this
respect supersedes all the other cuts, by its central position of
the sword-hand and its rapidity of execution.
Sabre Salute. — The salute preceding the assault is exe-
cuted in the following fashion : —
1. Execute an Under Cut with Lunge. (See fig. 50.)
2. Recover to the position of the first movement of the guard.
3. Assume guard by two MouHnets vertical.
4. Recover forward, crossing the sabres.
5. Execute two changes of guard first in Quarte. (See fig. 51.)
6. Escape to rear.
7. Two calls.
8. Salute to right (see fig. 52), to left, and Recover forward.
9. Assume Guard by two Moulinets vertical.
10. Invite the adversary to attack by these words, " To You the Honor! "
and allow him to make a touch, or reply to the above invitation,
"I obey," and execute a Lunge with Flank Cut or Point Thrust
and return to guard.
11. Salute to the right. Recover backward.
12. Salute the Adversary.
The Assault. — With tlie sabre, as with the foil, it is most
important to learn how to calculate the distance to he ob-
served in which the fencer can touch his adversary and on the
other hand not be touched by iiim.
Each time lie enters within that range it is necessary to be
prepared to parry a Point Thrust, which in this case is always
very effective. He should never attack low without having
forced the adversary by well-marked feints to carry his defence
into the high line. He is thus protected against certain time
thrusts.
In every attack he should take the greatest pains to pre-
serve Opposition, and thus, guarantee himself against Point
Thrust upon the body, which the adversary might make. This
precept is absolute.
Every movement of the sabre either in attack or parry should
be made very contractedly. The sabre is a heavy weapon, and
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THE CAVALRY SABRE. 213
always has a tendency to bear the hand too far in the lateral
movements, •which it is necessary to strive to control.
The Riposte by the Point Thrust is the most terrible for the
adversary and the most advantageous for the one who em-
ploys it, for it is the most rapid attack and it maintains the
adverse blade in Opposition. Fencers too often quit the line
of the defence to make ripostes and thus expose themselves to
Replacings. In attacking by a Beat or Press it is necessary
to take precaution against these movements being deceived.
Likewise provoke this movement for the purpose of parrying
and riposting. It is incontestably true that in the case of the
sabre a good parrier always wins. Strong in parries, he never
fears the adverse attack. He waits for it and even provokes
it, that he may have the advantage of a Time Thrust or a
good Riposte, which, made within distance, will invariably
count.
The assailant after every attack, whether successful or not,
should retreat slightly out of distance and at same time hold
the adverse blade outside the line of his body.
The Cavalry Sabre. — I cannot close this part of the Treatise
without saying a word about the sabre used by the cavalry.
In this century, which has seen the most terrible wars of his-
tory and which has perfected fii'earms to such a degree as to
render war almost impossible, it is strange that no nation has
given its cavalry a sabre that can be handled easily and that
answers exactly to the requirements. Every one who has
held in his hand one of the sabres now in use by the cavalry
knows that they are not suitable arms offensive or defensive.
The blade is too heavy and the handle too short. It entirely
misses the true balance of such a weapon and fatigues the
hand.
A cavalry sabre should be straight with a blade thirty-live
inches long, very strong at the heel and diminishing gradually
toward the point. The grip should be seven inches long and fit
well into the hand. The guard should be of steel, solid or per-
forated with small holes, but well protecting the hand. At
214 TOIL AND SABRE.
the extremity of the grip should be a pommel which by its
weight should counterbalance the blade and place the centre
of gravity at the heel.
It is a common error to suppose that it is necessary to have
a heavy blade to do execution, whereas it is only necessary to
know how to make the sabre stroke in order to cut effectually
with a lighter weapon. A heavy sabre deals a heavy blow
but may not cut at all. If I had the honor to be consulted by
the government on the subject of- the manual of sabre exer-
cises for the cavalry, I should advise the discarding of all wide
movements that expose the body, — in fact all of the sabre cuts
except those directed against the bridle hand and the reins.
But in return for this I would teach the Point Thrust in all
positions and for all conditions. The Point Thrust kills al-
most always, or severely wounds, and always throws its victim,
out of combat.
The sabre cut sometimes wounds seriously, often lightly or
not at all, and rarely kills ; whereas it uncovers the body of
the assailant and exposes it to the Point Thrust of the enemy,
which latter thrust has the advantage of being easily exe-
cuted in every direction without exposing the body. It is the
most rapid of execution, the most dangerous, and the most
difficult to parry of all the sabre strokes.
A cavalryman, whose attention is divided between the man-
agement of his weapon and his horse, should not be embar-
rassed by a great number of disorganized movements. It is
necessary that his principles of fencing should coincide with
his principles of horsemanship, and not mutually conflict.
Vegec tells us that the Roman cavalry not only conquered
those who used the cutting stroke with their weapons, but made
light of the practice.
In all the great wars of the Empire the French cavalry won
its invincible reputation by this Point Thrust, which at all
times and places is superior to the cutting stroke.
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33
INDEX.
THE FOIL.
Page
Absence of Blade .... . ... 184
Academy of Arms, The New ... ... 7
Accuracy . 190
Advance, The 17
Advancement of the left foot . . .193
Allurement . ... . .... 197
A-Propos .... 191
Assailant . . . 197
Assault 169
Assault, Premature . ... . . 173
Assault, President of the ... 174
Assault, Remarks upon the 172
Attack, The . . 26
Attacks, False 183
Attacks on the Blade . . 183
Attacks on Preparation ... . . 182
Attacks, Simple . . . . .... .... 26
Attention, Position of . . 16
Beat, The .... . ... 40
Beats, False . . . ... . 195
Bind, The . ... ... 62, 185
Calls, The . . . .17
Change the Blade, To . 197
Contraction, Parries of ... . . .... 193
Coronation, The . . . . . . . . . . 197
Corps-k-corps . . . . . ... 181
Counter, Demonstration of the . 21
Counter Disengagement, The 187
Counter of Octave . . . . • . . 24
Counter of Prime . 21
Counter of Quarte ... . . 23
216 INDEX.
Page
Counter of Quinte ......... -3
Counter-Riposte, The 137
Counter of Seconde . . - . . 22
Counter of Septime . 24
Counter of Sixte ... 23
Counter of Tierce 22
Counters, Exercise of the . . 146
Cross Oneself, To 196
Cross, The 185
Cut-Over, The 27
Deceive the Blade, To . . 183
Definitions, Preliminary . ... 15
Diagram 20
Direct Thrust, The 185
Disarming . . 192
Disengagement, The . . 26
Double Hits 178
Engagement, Change of .... . . 68
Engagement, The . . 25
Engagement, The Double . 75
Extension of the Arm 18
Eye, The 191
Feel of the Blade, The 191
Feint, The 80
Feints, Exercises of the 195
Fence Wild, To . 196
Fencer, The Blundering 189
Fencer, The Classical ..... . . 189
Fencer, The Constitutional .... 188
Fencer, The Left-hand 1S9
Fencer, The Strategical 188
Fencing for Ladies .... .... 199
Fingering . . .... 25
Fixed Pad, Exercising on the 194
Flanconnade, The 18.5
Flying Cut-Over 194
Give the Blade, To . . 197
Glide, The 43
Harmony .1,00
Hazard, To . . . , . igg
Historical Outline . 1
Holding the Foil, Manner of 16
Hollow, To 190
INDEX.
217
Instruction . .
Judgment . .
Jump, To . .
Line, To be in .
Lilies, The . .
Lodge oneself, To
Low Tlirust, The
Lunge, Tlie
iJeiiace
Ucta\e, Piirry of
On Guard, The Position of
Opposition, Demonstration of the
Parries ....
Pas.sage of Arms . .
Phrase of Arms . . .
Physical Development
Possession of the Legs
Press, The . .
Piime, Parry of
Professorships . . .
Quarte, Pany of
Quinte, Parry of . .
Rapidity
Recover Backward
Recover Forward
Redoubling . . .
Replacing . . .
Reprise, The . . .
Retention of the Body
Retreat, The . .
Riposte by Tac-au-tac
Riposte, The
Route, To .
Rules Governing Amateur Competitions
Salute, The Grand . . . .
Salute, The . .
School at Joinville-le-Pont, The . .
School of Fencing, The Normal
Seconde, Parry of
Seek the Blade, I'o
Septime, Parry of .
Sixte, Parry of . .
Start the Body, To
Page
11
190
196
196
19
196
55
18
197
24
16
21
20
181
181
8
195
43
21
175
22
23
191
19
IS
186
186
187
190
192
181
27
197
176
166
19
7
197
22
197
24
23
197
218
INDEX.
Stop- Thrust, The . 182
Style . 1S7
Tension .... 184
Thrust from Position, To 196
Thrust, A Judged 196
Thrusts, Secret 196
Thrust within the Blade, To 196
Tierce, Parry of . . . .... . . ... 22
Time-Thrust, Remarks on . .... 182
Time-Thrust, The . '. 147
Traverse, The 43
THE SABRE.
Arm Cut . .
Assault, The . .
Attack on Preparation, The
Attack, The
Cavalry Sabre, The
Engagement, The ....
Feint, The
Guard, The ...
Holding the Sabre, Manner of
Instruction, Preparatory . .
Molinet
Molinet, Vertical
Nomenclature of the Sabre
Parries, Simple
Preliminary Position . .
Riposte, The , . ...
Salute ....
Stop Thrust, The .
Thrusts, Simple ....
Time-Thrust, The . .
Under-Cut, The
204
212
211
202
213
202
203
201
200
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Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11