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VI PREFACE.

Gomard lays it down as a principle, that
the most formidable antagonist an infantry
soldier can encounter is an infantry soldier;
that the bayonet is more formidable than
either the lance or the sabre. This assertion
may seem surprising, but trial will convince
any one of its truth, and of the consequent
fact that an infantry soldier who can parry
the attacks of a well-drilled infantry soldier,
has nothing to fear from a cavalry soldier,
because simple variations of the parries
against infantry are perfectly effective against
the sabre and lance, e. g. the parries in high
tierce and high quarte.

The work of Gomard was translated by
the author of the present work about two
years ago, and taught by him to the non-
commissioned officers of the company of sap-
pers with which he was then on duty. The
non-commissioned officers soon became com-
petent to instruct the men, and the system
was in successful operation when the author
was relieved from duty with the company.

PREFACE. VU

It proved to be an excellent gymnastic
exercise^ a useful amusement, and gave the
men great additional confidence in them-
selves and their weapons. The French sys-
tem has been somewhat modified, in order
to make it conform more closely to our in-
fantry tactics.

It will be proper to remark that any sys-
tem of fencing with the bayonet can, in ser-
vice, have its full and direct application only
when the men are isolated, or in very open
order; as, for instance, when employed as
skirmishers, in assaulting breaches, field-
works, or batteries, or when broken by ca-
valry, &c. &c. When in the habitual form-
ation, as infantry of the line, the small
interval allowed each file, and the method
of action of masses, will prevent the possi-
bility, or necessity, of the employment of
much individual address ; but even then, in
the shock of a charge, or when awaiting the
attack of cavalry, the men will surely be
more steady and composed, from the con-

yiii PREFACE.

sciousness of the fact that they can make
good use of their bayonets^ and easily pro-
tect their persons against everything but
balls.

There is an instance on record of a French
grenadier who, in the battle of Polotsk, de-
fended himself, with his bayonet, against the
simultaneous attack of eleven Russian gre-
nadiers, eight of whom he killed. In the
battle of Sanguessa, two soldiers of Abba's
division defended themselves, with their
bayonets, against twenty-five Spanish caval-
ry, and, after having inflicted several severe
wounds, rejoined their regiment without a
scratch. At that period there was little or
no regular instruction in the use of the bay-
onet.

George B. McClellan,

Brevet Captain Corps Engineers, U, S. Army.
WAsmNQTON, February 25, 1852.

TABLE OF CONTENTS.

PART I.

SCHOOL OP THE SOLDIEE IN THE BAYONET EXEECISE.

PAOl

General ObseryatioBS 9

Table of the thirty radieal moyements of the Bay-
onet Exercise 12

Table of the Bayonet Exercise diyided into Twelve
Lessons 14

FIEST LES80N — WITHOUT MUSKETS.

The Goard ; the Advance; the Retreat; the Yolt —
P1.T, II 16

SECOND LESSON — ^WITHOUT MUSKETS.

The Development; the Passade; Hie Leap to the
Rear— PI. Ill, IV 22

THIRD LESSON — WITH MUSKETS.

The Middle Guard ; the Thrust ; the Lunge ; the

Lunge-out— PL V, VI, VII ... 25
The Thrust with the Development— PL VII . 31

X CONTENTS.

PAQB

The TJjinist with the Passade— PL VIII . . 31

FOTJETH LESSON.

The Foar Directions of Attack . . . .34

FIFTH LESSON.

The Parries — In Prime; in Seconde; in Tierce; in.
Quari»— PL IX, X, XI, XII ... 39

SIXTH LESSON.

The Parries in High Tierce and High Qaarte ; the
Parries in Seconde in Retreat ; and Tierce in
Retreat— PL XIII, XIV, XV ... 45

SEVENTH LESSON.

The Shortened Thmsts— PL XVI, XVII, XVIII 61

EIGHTH LESSON.

The Blows wtth the Butt of the Piece— PL XIX,
XX 6Y

The Blows with the Batt followed by the Develop-
ment-PL XXI 61

NINTH LESSON.
RXFBTinON AND COBCBINATION OF THE MOYX-

MENTS — The Adyance; the Retreat; the
Leap to the Rear, combined with the MoYe-
mentg of Attack and Defence . . 63

CONTENTS.

TENTH LBSSON.

PAOB

RBPfirmoN AND Combination of the Move-
ments The Yolts and Leap to the Rear,

combined with the Movements of Attack and
Defence 64

eleventh LE8S0N.

The Directions of Attack combined with each other 66

twelfth LESSON.

The Different Combinations of the Parries

PAET II.

INSTRUCTIONS WITH THE PLASTRON.
General Principles of Fencing with the Bayonet,
and Instructions for the Lessons with the Plas-
tron, for the guidance of Instructors — PL

XXII, XXIII Y3

The Guard 73

The Measure 74

The Means of Locomotion . . .75
The Use of the Arms in the Attack . . .77
The Manner of Combining the Use of the Arms and
Legs 78

XU CONTENTS.

PAoa
The Eecovery of the Gnard - . . . T9

The Lines T9

The Engagement 80

The Attack 83

The Blow and the Point 83

The Simple Blows 84

The Parries . 86

The Parry of Tierce Sixte ..... 89

Feints .90

Appels 90

The Attack upon the Weapon . . . .91
The Riposte . . . . . .91

Kepeats 92

Time-Thmsts 93

Stop-Thmsts . : 93

The shortened Thrusts 94

The Blows with the Butt 95

Lessons with the Plastron 96

The Salute with the Bayonet . . .98

INTRODUCTION.

There^ are three methods of instructing
the soldier in fencing with the bayonet, viz.,
the lessons with (he plastron ; the mutual lea*
sons; the figurative lessons.

The lessons with the plastron are those
in which the instructor is the adversary of
his pupil : this is the best method of instruc-
tion, but is not applicable in the army, be-
cause it is impossible to provide an instructor
for every soldier.

The mutual lessons are those in which
the men are told oflf by pairs, and oppose
each other. On account of the expense of
the necessary masks, plastrons, &c., this
can hardly be relied upon as the sole me-
thod of instruction.

The figurative lesson is that in. ivhich the

scholar has no antagonist, and in which the
direction of the thrusts and parries must
be taken with reference to his own person.
On account of the simplicity of the bayonet
exercise, and the impossibility of introducing
in it that extreme sensibility of touch, and
quickness of hand and eye, so necessary
with the foil, it will be found that the figu-
rative lesson will fully enable the soldier to
provide for his personal defence. K, in ad-
dition, he have the advantage of a few lessons
with the plastron, and can occasionally fence
with well-instructed men, under the direc-
tion of an instructor, all reasonable and
desirable proficiency can soon be acquired.

In the remarks upon the lessons with the
plastron (Part II.), will be found a short
summary of such general principles as ought
to be well understood by the instructor, not
only before he gives lessons with the plas-
tron, but before he attempts to teach the
figurative lessons.

The instruction in the bayonet exercise

idbould oommence as soon as the recruit is
proficient in the sqiiad drill. In three
months a man may be taught to handle his
piece quite well — well enough for ordinary
exigencies of service ; in a year he will be
quite a gkilful fencer.

In the instruction in the figurative les-
sons the men should be in undress, with-
out belts; their clothes should fit loosely.
When they are well drilled they may be
practised occasionally^ with their belts and
knapsacks on.

For the lessons with the plastron^ and
the mutual lessons, the following equip-
ments, &c., will be necessary, viz :—

A brown linen jacket, fitting loosely, the
breast and left side of double buckskin, or
pliable leather, buttoning on the right side,
the arms reinforced with buckskin from the
elbows up : this jacket is not indispensable.

A plastron of stufied buckskin, covering
the left side and breast from the throat to
the groin.

A very strong close mask^ with wings to
protect the ears and side face.

A pair of ordinary fencing gloves, stuffed
on the back of the hand.

An old musket, with the bayonet arranged
as follows, viz. Cut off the blade two inches
from the elbow; drill a hole through the
heel of the blade in the direction of its
axis ; fit a thumb-screw to it — see Plate 24.
Beplace the blade by a piece of whalebone
of the same length, which shall fit in the
hole drilled in the heel of the blade, and be
secured by the thumb-screw. This whale-
bone must be suflGiciently flexible to prevent
the blows from hurting, and yet have enough
elasticity to straighten itself after each blow.
Notches should be cut near the end, for the
purpose of binding on a light button of lea-
ther or India rubber. If no old muskets
can be had, cover those used with strong
leather.

Blunt lances, and wooden sabres should
also be provided.

To accustom the men to give an accurate
aim to their thrusts, balls of wood, lea^,
or canvas stuflFed with straw, may be sus-
pended by cords as targets. Of course, this
target practice must be combined with the
volts, parries, &c.

2»

PART I.
SCHOOL OF THE SOLDIER

INTHS

BAYONET EXERCISE.

GENERAL OBSERVATIONS,

Each lesson contains particular directions
for the guidance of the instructor.

.There are two kinds of commands-— the
cautionary commands, and those of eocecvr
tion. The cautionary commands are printed
in italics; the commands of execution are
in small capitals. They have been made
to conform as closely as possible to the com-
mands in the Infantry Tactics. The re-
marks made therein (Scott's Inf Tact., vol.
i., paragraph 81, et seq.), on the subject of
commands, are equally applicable to those
of the Bayonet Exercise.

The instructor will conform as strictly as
possible to the text, in all definitions and
instructions. He will occasionally, when
instructing recruits, execute the movements

(

himself; in order to exemplify his instruc-
tions. When learning diflSicult movements,
or indeed any for the first time, each man
will execute such separately^ while the
others are at rest.

The instructor will sometimes cause one
man to step to the front, and engage his
piece with his own, in order to facilitate the
explanations.

Too rigorous exactness need not be re-
quired at first, but the men will be brought
to the proper point by degrees. Each lesson
must be properly comprehended and well
executed by the men before the next is
taken up. For instruction in the Bayonet
Exercise, the men should be divided into
squads of three or four each; a greater
number should not be placed in one squad,
when it is possible to avoid it.

At the command "Attention!" given
when the men are at guard, or at rest, they
will, when without muskets, assume the
position of the soldier; when with muskets,

11.

they will assume the position of shoulder
arms. Frequent short rests must he allowed
the men: this is particularly necessary at
first. All the movements should be made
with great rapidity.

This system is applicable not only to the
ordinary musket and bayonet, but also to
the rifle or musketoon with the sword
bayonet.

TABLE OF THE THIRTY RADICAL MOVEMENTS OF
THE BAYONET EXERCISE.

Point of departure for dU
the movements of the
hody and weapon.

Means of locomotion.

}■

The middle gnard.

The meaMuxlng steps.

2. The advance ;

3. The retreat.

The Tolts.

4. The right Tolt;

5. The left Yolt;

6. The right rear-volt;
T. The left rear-volt ;

8. The leap to the rear.

Means of attack.

9. Thethrast;

10. The lange ;

11. The lunge-out ;

12. The development ;

13. The passade.

Means of directing the aU
tach.

Means of defence.

Means of using the point
when breast to breast.

The four direotloiui of
attack.

.14. Prime;

15. Seconde;
'l6. Tierce;

17. Quarte.

The PanieB.

18. Prime ;

19. Seconde;
i20. Tierce;
/21. Quarte;

J. High tierce ;
I. High quarte ;

24. Seconde in retreat;

25. Tierce in retreat.

The Bhortened thmat.
26. On the left;
.27. On the right.

fThe blowB with the butt
28. To the front.
29. To the right ;
30. To the left.
2

TABLE OP BAYONET EXERCISE DIVIDED INTO
TWELVE LESSONS.

1st Lesson,
without muskets.
The gaard ;
The measuring steps ;
The volts.

2d Lesson,
tnihatU muskets.
The deyelopment ;
The passade ;
The leap to the rear.

3d Lesson,
with muskets.

The middle guard ;

The thrust ;

The lunge ;

The lunge^out

4th Lesson,
m^ muskets.
The four directions of
attack ; prime, seconde,
tierce, and quarte.

5th Lesson.
The parries.
In prime ;
In seconde ;
In tierce ;
In quarte.

6th Lesson.
The parries.
In high tierce ;
In high quarte ;
In seconde in retreat ;
In tierce in retreat

Ith Lesson.
The shortened thrusts ;
On the left ;
On the right.

8th Lesson.
The blows with the batt.
To the front ;
To the right ;
To the left.

9th Lesson.
The advance, retreat,
leap to the rear, combined
with the movements of at-
tack and defence.

10th Lesson.
The volts and leap to
the rear, combine^ with
the movements of attack
and defence.

llTH Lesson.
Combinations of the four
directions of attack with
each other.

12th Lesson.
The different combina-
tions of the parries.

The last four lessons consist of different combinations
of the movements contained in the first eight.

FIEST LESSON.

Without mvskets.

The Guard; The Advance; The Retreat;
The Volt.

The men will be placed in one rank, about
four feet apart, in the " Ibsition of the Sol-
dier.^' — Scott's Inf. Tact., par. 88.

The Guard. — Plate I.

Guard !

One time and two motions.

1. First motion. — At the word guard, the
recruit will turn on the left heel, bring the
left toes to the front, carry the right foot to
the rear, the hollow opposite to, and three
inches from, the left heel, the feet square to
each other, the arms hanging naturally by
the sides. — Fig. 1.

Second motion. — Move the right, foot,
quickly, twice its length to the rear and
about three inches to the right; at the same
time bend the knees so that the weight of
the body shall rest equally on both legs, the
upper part of the body leaning a little for-
ward, the heels on the same line, the feet at
right angles to each other, and the left knee
vertically over the ankle. — Fig. 2.

Note. — The word Guard is the command
of execution for the first motion; and Two
that for the second motion. The command
Two should not be given until the first mo-
tion has been properly executed by all the
men. The prescribed length of the guard^
twice the length of the foot, may vary
slightly with different men.

To execute the remaining movements of
the first lesson, the soldier is first placed in
the position of guard.

The Advanoe. — Plate I.

Advance!

One time and one motion.

2. Move the left foot quickly forward its
own length, raising it but slightly from the
ground, and follow it at once with the right
foot, thus resuming the position of guard.—
Fig. 3.

The Retreat. — Plate I.

Eetbeat!

One time and one motion.

3. Move the right foot quickly, at least
its length, to the rear, following it imme-
diately with the left, thus resuming the posi-
tion of guard. — Fig. 4.

The Right Valt— Plate II.
Right — Volt!

One time (xtlA (yn^ motioTi,

4. Face square to the right by turning on
the toes of the left foot, and describing to
the leji, a quarter of a circle with the right
foot. During the movement the weight of
the body rests on the left leg, the knees
remain bent, and the feet at the usual dis-
tance apart. This direction applies to all
the volts. — Fig. 5.

The Left Volt.— Plate II.

Left — Volt!

One time and one motion.

5. Face square to the left by turning on
the toes of the left foot, and describing to
the rights a quarter of a circle with the right
foot— Fig. 6.

The Right Rear Volt.— Plate II.

Right rear-T-YoLT !

One time and^one motion.

6. Face to the rear by turning on the toes
of the left foot, and describing, h/ the rear^ a
half circle with the right foot. — Fig. 7.

The Left Rear Volt. — Plate II.

Left rear — Volt!

One time and one motion.

7. Face to the rear by turning on the toes
of the left foot, and describing, by the fronty
a half circle with^the right foot. — Fig. 8.

Observations. — The instructor will find
it necessary to take pains to make the men
understand that, in the right rear volt, the
right foot is moved by the side of the back;
and in the left rear volt, by. the side of the

breast. He may, with recruits, indicate by
a motion of the hand the direction in which
the right foot is to move.

SECOND LESSON.

Without muahets.

The Development; The Passade; The
Leap to the Rear.

The men will be placed in the position of
Oaard.

The Development. — Plate III.

Develop!

One time and one motion,

8. Straighten strongly the right knee, and
advance quickly the left foot close along
the ground twice its length. The left knee
should be vertically over the ankle; the
right foot flat on the ground; the body erect
on the haunches, and the arms hanging
naturally by the sides. — Figs. 9, 10.

Guard!
One time and one motion.

9. Move back the left foot to the position
it occupied before the development; bend
the right knee, and replace the body in its
original position.

The Passade. — Plate III.

Passade!
One time and one motion.

10. Move the right foot twice its length
in front of the left, parallel to its first posi-
tion ; at once follow this movement by the
development of the left foot, moving it four
times its length in front of the right; the
right knee is straightened and the position
in all respects that of the development. —
Figs. 11, 12.

Guard!
One time and one motion.
11. As from the development, No. 9.

Note. — Upon resuming the guard, the sol-
dier is five times the length of his foot in
advance of the position he occupied before
the paaaade. ^

The Leap to fhe Rear. — Plate lY.

Leap to the — Beab!

One time and two motions.

12. First motion.— Lean forward and rest
the weight of the body on the left leg. —
Fig. 13.

Second motion. — By a spring from the left
leg, leap with both feet as far to the rear as
possible ; alight in the position of guard, the
left foot touching the ground first. — Fig. 14.

THIED LESSON.
With musJcetSy bayonets fixed.

The Middle Guard; The Thrust; The
Iiunge; The Iiunge-out;

The Guard. — Plate V.

Having brought the men to the position
of shoulder armsy the instructor commands —

Guard!
One time and two motions.

13. First motion. — Make a half face to the
right on the left heel, bring the left toes to
the front ; place, at the same time, the right
foot behind, and at right angles with, the
left, the hollow of the right foot opposite to,
and about three inches from, the left heel ;
turn the piece with the left hand, the lock

outwards, and seize the handle at the same
time with the right hand, the musket per-
pendicular and detached from the shoulder ;
leave the left hand under the butt. — Fig. 15.

Second motion. — Bring the feet and legs
into the position of the second motion of
guard without arms ; at the same time bring
down the piece with the hand into the left,
the latter seizing it just below the tail band;
the lock plate to the right and half turned
up; the right hand on a level with and four
inches from the navel; the point of the
bayonet opposite the chin; the arms detached
from the hody. — Fig. 17.

Looking at the soldier from the side, the
right hand should be seen a little in front of
the body.

If the instructor be drilling sergeants or
riflemen, he will bring them to the sergeant's
shoulder (Inf. Tact., page 180), and com-
mand —

Guard!
One time and itvo motkma.

13*. First motion. — Raise the piece with
the right hand in half-facing to the right on
the left heel, and bring the hollow of the
right foot opposite to and three inches from
the left heel—Fig. 16.

Second motion. — Same as that for private,
under No. IS.— Fig. 17.

Note. — The guard, as described above, is
called the "Middle Guard," because in it
the musket has the middle position between
the different directions it assumes in the
movements of attack and defence, as will be
seen hereafter. Before proceeding to the
subsequent movements, the men must now
be well drilled in the first two lessons, tak-
ing care always to keep the piece in the
position of the middle guard.

The Thrust.— Plate VI.

Before executing this and all the subse-
quent movements, the instructor will place
his men in the position of middle guard.

Thrust!
One time and one motion.

14. Thrust the piece quickly forward to
the full length of the left arm, and at the
same time give it a rotary movement so as
to bring the guard underneath towards the
ground. The hands maintain their respec-
tive positions on the piece; the point of the
bayonet at the height of the breast. Neither
the body nor the legs change position. —
Fig. 13.

Guard !
One time and one motion.

15. Bring back the piece to the position
of middle gtmrd, as in No. 13.

Note.; — It is a general rule, which will
not be repeated, that, in all the thrusts and
lunges (except the shortened thrusts, Nos.
44 to 49), at the same time that the blow is
made, a rotary motion is given to the piece
so as to bring the guard directly towards
the ground and the lock plate square to the
right. This rotary motion is of great im-
portance, giving additional force and accu-
racy to the blow J and it is to obtain it that
the lock plate is half turned up in the posi-
tion of guard.

The Lunge.— Plate VI.

Lunge!
Om time and one motion.

16. Thrust the piece quickly forward to
the full length of the right arm ; at the same
time slide back the left hand along the
sling until it covers the guard; straighten

the right knee, and throw forward the right
shoulder upon the same line with the left.
The point of the bayonet is at the height of
the breast. — Fig. 19.

Guard!
One time and one motion.
17. Resume the position oi middle, guard.

The Lunge-out. — Plate VII.
Lunge-out!

One time and one motion.

18. Thrust the piece quickly forward to
the full length of the right arm, momentarily
abandoning it with the left hand; at the
same time straighten the right knee, raise
the right foot on the toes and throw forward
the right shoulder in advance of the left. —
Fig. 20.

Guard!
^ One time and one motion.

19. Resume the position of middle guard.

Repetition and combinations of the move-
ments.

The Thrust "with the Development.
Plate VII.

1. Thrust, as in No. 14.

2. Develop, as in No. 8.

3. Guard, as in No. 13.

The Thrust with the Passade. — Plate VIIL

1. Thrust, as in No. 14.

2. Passade, as in No. 10.

3. Guard, as in No. 13.

Observations. — As it is important that
the soldier should accustom himself to the
middle guard^ to which he returns after each

movement, the instructor should watch that
this position is taken with accuracy; that
the arms are detached from the body and do
not rest against it. It is in consequence of
this detached and isolated position, that the
musket can be easily and rapidly moved to
defend any point threatened; but, as it is
rather fatiguing at first, frequent short rests,
in placCy should be allowed the men until
they become accustomed to the weight of
the weapon.

The lunge being a difficult and fatiguing
motion, should at first be taught to the men
separately.

The lunge-out being still more difficult,
this precaution is more particularly to be
observed.

From the lunge-out the men may, at first,
be allowed to come back to the middle
guard, waiting for the command — Ouard.

In this, and all subsequent lessons, the
intervals between the men must be a little
more than doubled, that the volts, &c., may

be executed. Where the squad is large^
and the space limited, the men may be
formed in two ranks seven or eight feet
apart, the rear rank men opposite the inter-
vals of the front rank.

FOURTH LESSON.

The Four Directions of Attack.

In Prime.
In prime — Thrust!

One time and two motions.

20. First motion. — Drop the point of the
bayonet and move it slightly to the right
until it is opposite the right loin.

Second motion. — Thrust, as in No. 14,
except that the bayonet, instead of being
opposite the breast, is opposite the right loin.

Guard!
One time and one motion.

21. Resume the middle guard, as in
No. 13.

In Seoonde.

In seconde — Thrust I
One time and two motions.

22. First motion. — Drop the point of the
bayonet and move it slightly to the left
until it is opposite the left loin.

Second motion. — Thrust, as in No. 14,
except that the bayonet is opposite the left
loin.

Guard!
One time and one motion.

23. Resume the middle guard, as in
No. 13.

In Tierce.

In tierce — Thrust!
One time and two motions.

24. First motion. — Move the point of the
bayonet opposite the left shoulder.

Second motion. — Thrust, as in No. 14,
except that the bayonet is opposite the left
shoulder.

Guard !
One time and one motion.

25. Resume the middle guard, as in
No. 13.

In Quarte.

In quarte — Thrust!
" 'One tim^e and two motions.

26. First motion, — Move the point of the
bayonet opposite the right shoulder.

Second motion. — Thrust, as in No. 14,
except that the point of the bayonet is op-
posite the right shoulder.

Guard!
One time and one motion.

27. Resume the middle guard, as in
No. 13.

The men being expert in these move-
ments, the instructor will combine the thrust
with the develqpmenty or passade^ by the fol-
lowing commands : —

1. In prime — Thrust ! 2. Develop !
3. Guard !

1. In prime — Thrust! 2. Passade!
3. Guard!

Similar combinations \^ill be made with
the directions in Seconde^ Tierce^ and Qiuxrte.
"The lunge and lunge-out will be combined
with the four directions of attacky thus : —

1. In prime — Lunge! 2. Guard!

1. In prime — Lunge-out! 2. Guard!

The development and passade will also be
combined with lunge^ and, occasionally, with
lunge-ouL

Observations. — The instructor will inform
the men that the change of direction repre-
sents a disengagement (see Part II. page 80).

To enable them to understand this, he will
engage his weapon with each of them in suc-
cession, and execute the different disengage-
ments. He will require that the position of
the weapon, in the different directions of
attack, shall vary from that of the middle
guard, only in the direction of its point.

FIFTH LESSON.

The Parries. In Prime ; in Seoonde ; in
Tierce, and in Quarte.

The Parry in Prime. — Plate IX.

In 'prime — Parry !

One time and one motion.

28. Carry, rapidly, the point of the bayo-
net opposite the right knee, describing an
arc (the convexity to the left) from above to
below, and at the same time give the piece
a rotary movement, which turns the rammer
square to the right. The hammer is oppo-
site the pit of the stomach ; the flat of the
stock under, and against the right forearm ;
the left elbow near the loin, and the right
elbow as high as the shoulder. — Figs. 24, 25.

Guard !
One time and one motion.

29. Resume the middle guard, as in
No. 13.

The Parry in Seoonde. — Plate X.
In seconde — Parry !

One time and one motion.

30. Carry, rapidly, the point of the bayo-
net about one foot outside of the left knee,
describing an arc (the convexity to the
right) from above to below, and at the same
time give the piece a rotary movement, so
as to turn the barrel square to the left. At
the same time draw in both arms towards
the body, so. that the hammer rests on the
left breast ; the flat of the stock under, and
against the right forearm ; the left elbow at
the left side ; the right elbow at the height
of the shoulder.— i^^s. 26, 27.

Guard !
One time and one motimi.

31. Resume the middle guard, as in
No. 13.

The Parry In Tierce. — tlate XI.

Jbt tierce — Parry !

One time and one nwiion.

32. Move the piece quickly to the left,
giving it a rotary movement, which turns
the rammer to the left^the butt of the piece
near the left loin ; the left hand opposite,
and twenty inches from, the left shoulder.
As the parry is made, bring up the right
shoulder on the same line with the left. —
Figs. 28, 29.

Guard!
One time and om motion.

33. Resume the middle guard as in^
No. 13. •

The Parry in Quarte.— Plate XII.

In quarte — Parry !

One time and one motion.

34. Move the piece quickly to the right,
tulrning the rammer towards the right, and
placing the left hand at the height of the
breast, and about five inches to the right of
its original position. In this parry the right
arm does not move ; the wrist alone acts. —
Figs. 30, 31.

Guard 1
One time and one motion.

35. Besume the middle guard, as in
No. 13.

Eepetition and combination of movements.
The parries in prime, seconde, tierce, and
quarte, followed by the thrust.

1. In prime — Parry, as in No. 28.
i 2. Thrust, as in No; 14.
3. Guard, ai in No. 13.

In the same manner follow the parries in
Secondey Tierce, and Quarte.

It is to be observed that the direction of
the thrust will be determined by the position
of the point of the bayonet after the parry.
It will be in prime, seconde, tierce, or quarte,
as the case may be (Lesson 4th).

Observations. — This lesson is very im-
portant : the instructor cannot be too rigid
in exacting an accurate execution of the
movements. The parries in seconde and
tierce, which are the most diflScult, should,
at first, be executed by the men individually.
In seconde, care must be taken that the
hammer and stock rest against the breast,
and that the point is not thrown too far to
the left.

In tierce, the instructor must see that the
right hand brings the butt on a level with
the groin, in order that that part of the body
may be well protected ; also that the knees
are well bent, and the upper part of the body .

inclined forward, to facilitate the movement
of the butt.

It must be remembered that the rammer
receives the blow in prime, tierce, and
quarte ; and that it is in seconde alone that
the barrel parries the blow.

As soon as the soldier is familiar with the
motions of the four parries, he must always
be made to follow them by a thrust, which
represents a riposte (see Part II. page 91),
the surest blow in fencing, and he must be
careful to thrust in the direction of the body
of his supposed antagonist.

SIXTH LESSON.

The Parries in High Tierce and High Quarte ;
The Parries in Seconde in Retreat, and
Tierce in Retreat.

The Parry in High Tierce— Plate XIII.
In high tierce. — Parry !

One time and one motion.

36. Move the piece quickly to the left,
bringing the right hand against the left
elbow; at the same time give the piece a
rotary movement, which, while placing it
obliquely in front and to the left of the head,
turns the rammer towards the left ; the left
hand about eight inches from the neck. —
Figs. 32, 33.

Guard !
One time and one motion.

37. Eesume the middle guard, as in
No. 13.

The Parry In High Quarte— Plate XIII.
In high qvarte — Parry !
One time and one motion.

38. Move the piece rapidly to the right,
bringing the left hand to the height of the
neck, and the forearm near the breast ; at
the same time, turn the piece so as to bring
the rammer to the right, and the piece ob-
liquely in front and to the right of the head.
—Figs. 34, 35.

Guard !
One time and one motion.

39. Resume the middle guard, as in
No. 13.

Note. — The instructor will inform his men
that the parries in high tierce and high
quarte, are intended to protect the head
against sabre blows. High quarte covers
the top and right side of the head ; high
tierce, the left/.

When the soldier can, with facility, exe-
cute these parries, as described above, his
attention will be called to the fact that,
when his hands are particularly in danger,
he can easily secure them by lowering the
parry, and sliding the left hand to the end
of the sling, thus approaching it to the
right hand : the parries will occasionally be
executed in this manner.

Repetition and combination of the move-
ments.

1. Jh high tierce — Paert, as in No. 36.

2. Thrust, as in No. 14, except that the
point of the bayonet is kept at the height of
the head, or about the height of the waist of
a horseman.

3. Guard — Resume the middle guard as
in No. 13.

The same for high quarte.

The Parry in Seoonde in Retreat.
Plate XIV.

In seconde in retreat — Parry !

One time and one motion.

40. As the parry in seconde (No. 30),
except that, during the movement of the
weapon, the soldier turns on the toes of the
right foot, the heel of which describes a
quarter of a circle outwards, and at the same
time carries the left ibot twice its length in
rear of the right ; keeping the knees bent,
and the feet at right angles. — Figs. 36, 37.

Guard!
One time and one motion.

41. Eeplace the left foot in front of the
right, and resume in all respects the position
of middle guard.

The Parry in Tieroe in Retreat. — Plate XV.

In tierce in retreat — Parry!

One time and one motion,

42. As the parry in tierce (No. 32), with
the diflference that the left foot is thrown to
the rear, as in the seconde in retreat (No. 40) ,
—Figs. 38, 39.

Guard I
One time and tma motion.

43. As in No. 41.

Note. — The object of the two parries in re-
treat is to withdraw the body and the left leg
from the reach of a sudden and rapid attack,
directed at the left of the fencer. They are
difficult, and should at first be taught to the '
men one by one. The instructor will, at
first, cause the men to execute the move-
ment of the legs alone, ifrithout muskets.

Eepetition and combination of the move-
ments.

1. In seconde in retreat — Parry.

2. Thrust, as the thrust after the parry
in seconde, except that, as the thrust is
made, the left foot is thrown in front of the
right.

3. Guard — Eesume the middle guard.

Make the same combination with the
parry in tierce in retreat.

SEVENTH LESSON..

The Shortened Thrust.

The Thrust Shortened on the Left.
Plate XVI.

On the left — Shobten!
One time and two motions.

44. First motion. — Tiim on the toes of
the right foot, describing with the heel a
quarter of a circle outwards, and move the
left foot rapidly twice its length in rear of
the right foot, straightening the left knee ;
at the same time raise the muzzle of the
piece until the barrel is nearly vertical, turn
the barrel to the front, pass the butt outside
of the left thigh, and rest the right hand
against the left loin. — Fig. 40.

Second motion. — Let go the piece with the
right hand, which seizes it again at the

muzzle, after the left hand has rapidly
thrown it back to the ftiU extremity of the
left arm. — Fig. 41.

Thrust!
One time and one motion.

45. Thrust the piece forward to the full
length of the right arm, the point of the
bayonet at the height of the breast. —
Fig. 44.

Guard!
One time and (Me motion.

46. Carry back the right hand to the
handle, advance the piece, and bring it back
to the middle guard ; at the same time turn
a quarter of a circle on the toes of the right
foot, advance the left, and resume in all
respects the middle guard !

Note. — It will be observed that in this
thrust the barrel is underneath.

The Thrust Shortened on the right.
Plate XVIL

On the right — Shorten !
One time and two motions.

47. First motion. — Move the piece quickly
to the rear, let go the handle with the right
hand, and with it sei^e the piece just above
the left hand. — Mg. 42.

Second motion. — ^Let go the piece with the
left hand, and throw it back to the ftill ex-,
tension of the right arm ; at the same timd
seize it at the muzzle with the left hand. —
Fig. 43.

Thrust I
One time and one motion.

48. Thrust the piece quickly forward to
the full length of the left arm, the point of
the bayonet at the height of the breast. —
Fig. 45.

Guard!
One time and one motion.

49. Carry back the left hand to the tail
band just below the right hand, which then
seizes the handle, and resume the position
of middle guard.

Note. — The instructor will explain that
these two shortened thrusts are only used at
very close quarters. To make this the more
readily understood, he will cause one man
to step out, and standing close to him, will
execute against him the two thrusts.

In the thrust shortened on the left, w&en
the piece is moved to the left across the
body, it must pass as close as possible to
the body.

Repetition and combination of the move-
ments. ^
The shortened thrusts in riposte.

1. In prime — Parry!

2. On the right — Shorten !

3. Thrust!

4. Guard!

Make the same combination with the
parries of seconde, quarte, and seconde in
retreat.

1. In tierce — Parry !

2. On the left — Shorten !

3. Thrust!

4. Guard!

Same with tierce in retreat.

Observations. — When the soldier is suf-
ficiently well drilled to use the shortened
thrusts in riposte, the two motions will be
united and executed together.

In the thrust shortened on the left, after
the tierce in retreat, as the soldier already
has his left foot to the rear, he has merely
to straighten the left knee.
* In the thrust shortened on the right, after
the seconde in retreat, the left foot remains

The Parry in High Quarte Plate XIII.

In high quarte — Parry !
One time and one motion.

38. Move the piece rapidly to the right,
bringing the left hand to the height of the
neck, and the forearm near the breast; at
the same time, turn the piece so as to bring
the rammer to the right, and the piece ob-
liquely in front and to the right of the head,
—Figs. 34, 35.

Guard !
One time and one moUon.

39. Resume the middle guard, as in
No. 13.

Note. — ^The instructor will inform his men
that the parries in high tierce and high
quarte, are intended to protect the head
against sabre blows. High quarte covers
the top and right side of the head; high
tierce, the left.

Repetition and combination of the move-
ments.

1. In high tierce — Pabrt, as in No. 36.

2. Thrust, as in No. 14, except that the
point of the bayonet is kept at the height of
the head, or about the height of the waist of
a horseman.

3. Guard — Resume the middle guard as
in No. 13.

The same for high quarte.

The Paxry in Seoonde in Retreat.
Plate XIV.

In seconde in retreat — Parry !

One time and one motion.

Guard!
One time and one motion.

41. Replace the left foot in front of the
right, and resume in all respects the position
of middle guard.

The Parry in Tierce in Retreat. — Plate XV.

In tierce in retreat — Parry!

One time and one motion.

42. As the parry in tierce (No. 32), with
the difference that the left foot is thrown to
the rear, as in the seconde in retreat (No. 40) ,
—Figs. 38, 39.

Guard 1
One time arid rme motion.

43. As in No. 41.

Note. — ^The object of the two parries in re-
treat is to withdraw the body and the left leg
from the reach of a sudden and rapid attack,
directed at the left of the fencer. They are
difficult, and should at first be taught to the *
men one by one. The instructor will, at
first, cause the men to execute the move-
ment of the legs alone, i^ithout muskets.

Repetition and combination of the move-
ments.

1. In seconde in reireat — Parry.

2. Thrust, as the thrust after the parry
in seconde, except that, as the thrust is
made, the left foot is thrown in front of the
right.

3. Guard — Resume the middle guard.

Make the same combination with the
parry in tierce in retreat.

SEVENTH LESSON,

The Shortened Thrust.

The Thrust Shortened on the Left.
Plate XVI.

On ihe left — Shorten !
One time and two motions,

Second motion. — Let go the piece with the
right hand, which seizes it again at the

muzzle, after the left hand has rapidly
thrown it back to the full extremity of the
left arm. — Fig. 41.

Thrust!
One time and one motion.

45. Thrust the piece forward to the full
length of the right arm, the point of the
bayonet at the height of the breast. —
Fig. 44.

Guard!
One time and one motion.

Note. — It will be observed that in this
thrust the barrel is underneath.

The Thrust Shortened on the right.
Plate XVIL

On the rigid — Shorten!
One time and two motions.

47. First motion. — Move the piece quickly
to the rear, let go the handle with the right
hand, and with it seize the piece just above
the left hand.— i^igr. 42.

Second motion. — Let go the piece with the
left hand, and throw it back to the full ex-,
tension of the right arm ; at the same tim^
seize it at the muzzle with the left hand. —
Fi^. 43.

Thrust!
One time and one motion.

48. Thrust the piece quickly forward to
the full length of the left arm, the point of

' the bayonet at the height of the breast. —
Fig. 45.

Guard!
One time and one motion.

49. Carry back the left hand to the tail
band just below the right hand, which then
seizes the handle, and resume the position
of middle guard.

In the thrust shortened on the left, wten
the piece is moved to the left across the
body, it must pass as close as possible to
the body.

Repetition and combination of the move-
ments. ^
The shortened thrusts in riposte.

1. In prime — Parry!

2. On the right — Shorten !

3. Thrust!

4. Guard!

Make the same combination with the
parries of seconde, quarte, and seconde in
retreat.

1. In tierce — Parry !

2. On the left — Shorten !

3. Thrust!

4. Guard!

Same with tierce in retreat.

Observations. — When the soldier is suf-
ficiently well drilled to use the shortened
thrusts in riposte, the two motions will be
united and executed together.

In the thrust shortened on the left, after
the tierce in retreat, as the soldier already
has his left foot to the rear, he has merely
to straighten the left knee.

In the thrust shortened on the right, after
the seconde in retreat, the left foot remains

in rear duriug the thrust; it is moved to the
front at the command Qvxird.

The instructor will explain that the
riposte, by the shortened thrust, is delivered
only when the adversary, in making his
attack, has advanced breast to breast.

EIGHTH LESSON.

The Blows with the Butt of the Piece.

The Blow to the Front Plate XIX.

1. Lower the — Stock!
One time and one motion.

~ 50. Loyrer the right hand to nearly the
full length of the arm, at the same time
raising the muzzle until the left hand is on
the breast; straighten the right knee, and
advance the right shoulder to the same line
with the left.— i^i>. 46.

2. Strike!
One time and one motion.

51. Throw the butt rapidly forward until
the barrel rests upon the right shoulder. —
Fig. 47.

3. Guard!
One time and one motion.
52. Eesume the middle guard.

Note.— This blow is directed against the
belly of the antagonist, and should only be
used when he presses close up, and throws
up the barrel of our piece.

The Blow to the Right— Plate XX.
1. Stock to the — Eight!
One time and one motion.

53. Describe with the left foot a quarter
of a circle towards the left, placing it twice
its length behind, and at right angles to, the
right foot, which does not move; at the
same time turn the head to the right, and
move the piece rapidly as far to the left bs
possible, keeping it horizontal, and at the
height of the shoulders, the lock-plate up;

the right hand near the body; the butt to
the right.— i^igr. 48.

2. Strike!

One time and cme motion.

54. Move the piece violently to the right,
advancing the hands in that direction to the
full length of the right arm; at the same
time straighten the left knee. — Figs. 50,
51.

3. Guard!

Ckie tmie and one motion.

55. Bring back the left foot to its original
position, and resume in all respects the
middle guard.

The Blow to the Rear. — Plate XX.

1. Stock to the — Eear!
One time and one motion.
66. Face to the rear by turning on both

heels 90 degrees to the right, and turning
the head to the right; at the same time
move the piece to the left as far a!s possible,
holding it horizontally, and at the height of
the shoulders, the lock up, the right hand
near the body. — Fig. 49.

2. Strike!

One time and (me motion.

57. As in No. 54,

3. Guard!

One time and one motion.

58. Turn on both heels 90 degrees to the
left, and resume the position of middle
guard.

Note. — The blows to the right and rear
are to be used in case of a sudden and close
attack in those directions.

Repetition and combination of the move-
ments.

The Blo'ws 'with the Butt, followed by the
Development — -Plate XXI.

1. Stock to the — Eight, as in No. 53.

2. Strike, as in No. 54.

3. Develop, as in No, 8, except that the
development is made with the right foot
instead of the left,

4. Guard, as in No. 55, except that the
right foot is first brought back to the posi-
tion it occupied before the development.

Make the same combination with the
blow of the butt, to the rear.

Note. — When recovering the guard, after
the blow and development, the piece should
be drawn back at the same time with the
right foot, so that the two motions may
facilitate each other.

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Observations. — The movements of the
legs, accompanied by the movements of at-
tack and defence, contribute to give steadi-
ness to the men, and to strengthen them on
their legs.

When a fencer advances, it is to be feared
that he may be attacked daring the move-
ment ; he must, therefore, carefully preserve
the guard.

On the contrary, when he retreats, it is
probable that his antagonist will advance ;
he must then be prepared to attack him.

The Ninth Lesson is intended to accom-
plish this double object.

The leap to the rear is an excellent
exercise ; it gives elasticity to the legs and
ankles : • may save a soldier when in a
dangerous position.

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Observations. — The object of this lesson
is to habituate the soldier to be equally
prepared for attack and defence, after the
volts.

It is, therefore, important to watch that
the guard be not disarranged during the
volt; that the feet remain at the proper
distance apart, &c. &c.

The volt places the soldier facing in a
new direction, and may bring him in front
of a new antagonist, therefore he should be
equally ready for attack and defence.

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. Observations. — The instructor will ex-
plain that the first movement of direction is
only a feint, whilst the second is a real
blow, since it is at once followed by a
thrust, or other movement of attack.

When the soldier has executed the exer-
cises of this lesson several timfes, and is
quite familiar with them, the instructor
may increase the rapidity of execution by
uniting the commands for the two directions,
as well as those for the thrust and develop-
ment, thrust and passade, &c. He will then
command : —

1. Qimrte and — Prime !

2. Thrust and — Passade !

3. Guard!

1. Tierce and — Prime !

2. Thrust and — Develop !

3. Guard!

In the same manner for t^e others.

In these cases the thrust and develop-
ment, or the thrust and passade, will be
simultaneous.

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Observations. — Tlte instructor will ex-
plain that when two parries are ma^e in
succession, it is because the weapon of the
antagonist is not met by the first parry, but
is by the second, which is at once followed
by a riposte.

The last lesson is very important. All
the combinations of parries necessary to
make the soldier a good fencer, are here
exhausted.

The same observations will apply to the
commands in this lesson, as were made upon
the Eleventh Lesson; the instructor will,
therefore, command : —

!• In tierce and quarte — Parry !
.2. Thrust!
3. Guard!

In the same manner for the others.

PART II.
INSTRUCTION

"WITH THE

PLASTRON.

GENERAL PRINCIPLES

FENCING WITH THE BAYONET,

INSTRUCTIONS FOR THE LESSONS WITH THE PLASTRON,
FOR THE GUIDANCE OF INSTRUCTORS.

THE GUARD.

The guard is the position most suitable
for attack, and defence. • To be properly on
guard, the position of the fencer should' be
such that he can make any movement of
attack or defence, without indicating his
intention to his adversary by any prelimin-
ary movement. The most important con-
ditions of a good fencer are, that the hands
and arms should be detached from the body,
and the knees well bent. K the knees are
too straight, the development cannot be

rapidly made ; and with a slow development
an attack can but rarely succeed.

THE MEASURE.

The measure is the proper distance at
which a fencer can touch his adversary ; he
should choose his mode of attack according
to this distance.

The measure varies with the height and
make of the fencer. He should learn to
know his own measure^ and judge of that
of his opponent as quickly as possible ; he
should always place himself on guard be-
yond the meafiUT;e. When the distance
which separates two adversaries permits
them to engage only with the middle of their
bayonets, they can reach each other by the
thrust and development, or by lunge alone.
If they can only engage with the points,
they can still touch by means of the lunge-
out.

In the lessons with the plastron, the en-

gagement should be formed by crossing the
bayonets — never nearer.

THE MEANS OF LOCOMOTION.

In this exercise it is necessary to be able
to turn rapidly in every direction, as well
as to advance and retreat.

When a fencer advances upon his antago-
nist, it must be by short steps, watching his
motions, and being prepared to parry. He
should advance only when he is too far
from his antagonist to reach him; to ap-
proach within the measure is useless, and
may be dangerous.

The measure is broken to avoid an an-
tagonist who presses too close, to induce
him to advance, in order to attack him
during the movement; to obtain a little
rest out of reach of his thrusts ; or, finally,
to avoid an attack received in an unguarded
moment.

The leap to the rear is intended to remove

a fencer, by a rapid movement, from an an-
tagonist who presses too closely.

The volts are employed to turn in the
direction whence one is threatened, or to
facilitate the attack and defence. The volt
is not only of use in facing a new enemy,
but may be resorted to in order to avoid the
shock of a horse at full speed ; it is there-
fore proper, in the lessons with the plastron,
to unite the volts. with the advance, retreat,
and leap to the rear, besides combining
them with the movements of attack and
defence.

If, in the lessons with the plastron, the in-
structor wishes to unite, for instance, a right
volt with any movement of attack or de-
fence, he will, the pupil being at guard, and
facing him, first cause him to execute the
left volt, and then bring him back by the
right volt, which will at once be followed
by the desired movement. In the same
manner for the other volts.

THE USE OF THE ARMS IN THE ATTACK.

The use of the arms is independent of the
use of the legs; the first is often sufficient
to reach the body of the adversary. There
are three methods of using the arms — the
thrust, the lungey the lunge-out

Of these three the thrust is the best,
because, since the hands retain their usual
position on the piece, the aim is more cer-
tain, and the parry of a riposte easier ; the
thrust should, therefore, be used whenever
the distance of the antagonist will permit it.

The lunge reaches as far as the thrust
with the development; it is a very rapid
and quite sure blow — far preferable to the
lunge-out; it, however, exposes the fencer
to a quick riposte, which would be difficult
to parry, especially on the outside.

The lunge-out reaches farther than either
of the preceding, but it throws the piece so
completely out of control, that it should
only be used against an antagonist who

cannot riposte, or is endeavoring to escape ;
it may be used with advantage against the
horse of a cavalry soldier, to keep him at a
distance.

THE MANNER OF COMBINING THE USE OP THE
ARMS AND LEGS.

When the thrust alone will not reach the
adversary, it must be accomplished by the
development or passade, according to the dis-
tance. In the assault, or against an enemy,
the lunge and lunge-out may be accompanied
by the development or passade; but the
recovery of the guard, and the parry of a
riposte, are so diflBcult after these combined
movements, that they should only be re-
sorted to against an unskilful or flying
antagonist.

In the lesson with the plastron, the in-
structor will usually employ the thrust and
the development, or the lunge alone. Occa-
sionally he will cause the pupil to attack
him by the thrust and passade ; in this case

he will^ in the first place^ suitably regulate
the distance.

In order to exercise the arms and legs of
the pupil, he will sometimes cause him to
execute the lunge and lunge-out with the
development or passade.

THE RECOVERY OF THE GUARD.

The recover is the action of resuming the
guard, after the development or passade.
As a general rule, the guard should be
recovered immediately after a thrust is
made. If the attack has been parried,
and a riposte is made, the assailant must
rise as he parries the riposte. The parries
during the recover should be frequently
practised. The assailant whose attack is
parried, is in one of the worst possible
situations; the means for escaping from it
cannot be too thoroughly taught.

THE LINES.

A line is the space on either side of the

weapon. The two principal lines, are the
outside and i^iside lines. The outside line
is the space on the side of the weapon, to-
wards the back of the fencer, viz., the left.
The inside line is that on the side of his
breast, viz., the right. Each of these two
lines is divided into two other lines, re-
spectively above and below the weapon;
they are called the upper and under^ or the
higJi and low, lines.

There are thus, in all, four lines, the low
inside^ the low outside^ the high outaidey and
the high inside^ corresponding, respectively,
with the directions prime, aeoonde, tierce^ and
quarte.

THE ENGAGEMENT.

The engagement is the act of crossing
weapons with an adversary. This may
occur when the points are high, in the
lines high outside, or high inside; with
the points low, it may be in the lines low
outside or low inside. There are, then.

four engagements, which are named as fol-
lows : —

In prime, when the engagement is the low

inside line.
In seconde, when the engagement is the low

outside line.
In tierce, when the engagement is the high

outside line.
In quarte, when the engagement is the high

inside line.

Of these, but two should be used in the
lessons with the plastron, tierce and quarte ;
the others will occur in the course of an
assault, in consequence of certain thrusts
and parries; but tierce and quarte should
be regarded as the starting-points for all
attacks, and should be returned to as soon
as possible after every attack.

In this exercise the fencers are near
enough to touch, as soon as the bayonets
can cross.

When the weapons cross, each fencer

should endeavor to close against his oppo-
nent, the line of the direct thrust ; this is
called having the engagement He effects
this by holding his weapon far enough to
the right or left, according to the engage-
ment, to protect his body from a direct
blow; the obstacle thus presented is called
the opposition. The opposition is necessary
in all thrusts made — he who attacks or
ripostes, should be careful to have it. To
have the opposition, or to be covered, is an
advantage which both fencers cannot possess
at the same time; they must, therefore,
strive for it in turn.

For the outside lines the opposition is
obtained by moving the piece to the left;
for the inside, to the right. The opposition
should never be carried beyond the right or
left of the body.

The position of the piece is the same in
the engagements of tierce and quarte, as in
the middle guard, with the exceptions of the
position of the point, and that the opposition

is more or less marked, according as the
fencer has, or has not, the engagement.
The lock plate must be turned at an angle
of 45°, so that the piece may have a motion
of rotation both in thrusting and parrying,

THE ATTACK.

This is the action of the fencer, who
endeavors to touch his opponent by thrust-
ing at him.

THE BLOW AND THE POINT.

The hlxno is the ^'ensemble'' of the attack;
it is the method employed, the route fol-
lowed, to reach the body of the opponent.
The point is the termination of the blow,
the manner of finishing it. The blow is the
action of an attack; the point is the aim.
To express completely an attack — to ex-
plain, on the one hand, the method em-
ployed and the route followed to reach the
body ; and, on the other hand, to indicate
the line in which it terminated, and the

respective positions of the weapons at that
moment — we must name both the blow and
the point, thus : The direct blow in tierce,
the disengagement in quarte, &c.

There are four points, or ways, of termi-
nating a blow, viz., prime, seconde, tierce,
and quarte. They are eflfected in the lines
having the same names.

THE SIMPLE BLOWS.

A simple blow is one in which the point
of the weapon makes only the movement
necessary to direct itself towards the body;
it admits of no feint. It may be effected by
a direct bloWy or by a disengagement.

The direct blow is the action of directing
the point in a straight line towards the body
of the opponent ; it is the movement which
finishes all the blows. There are four dis-
tinct*direct blows, because one may be made
in each line. When a feint precedes a
direct blow, they form a compound blow;

the direct blow which follows a parry is a
simple blow.

The disengagement is the act of passing
the point of the weapon from one line into
another, in order to reach the body in the
latter line. Two disengagements can be
made from each line — ^into the one just
above or below it, and into that on the same
level, but never into the one diagonally
opposite — so there are eight disengagements
in all.

From an upper line into an upper line,
the point of the bayonet moves under that
of the adversary. From a lower line into a
lower line, it moves over his point.

By the term disengagement is to be un-
derstood, not only the action of passing the
point from one line into another, but also
that of thrusting it towards the body. The
mere act of passing from one line into an-
other, without thrusting, should be called a
feint of a disengagement.

THE PARRIES.

A parry is the action of turning aside the
weapon of the antagonist from the direction
of the body, when he attacks. As there
are four directions of attack, there are four
corresponding parries, viz., prime, seconde,
tierce, and quarte. The parries in high
tierce and quarte, seconde and tierce in re-
treat, are mere variations of those whose
names they bear. There are two kinds of
parries — ^the simple parries, and the parries
in opposition.

A maple parry is one which throws off
the opponent's point in the same line as that
in which it presents itself to reach the body;
for instance, if a thrust be made at the left
breast, the parry in tierce (No. 32) throws
off the point to the left of the body, and
is a simple parry. The parries in prime,
seconde, and quarte (Nos. 28, 30, and 34),
are all simple parries, and serve both against
direct blows and disengagements:

A parry in opposition is one which throws
off the point of the antagonist into a differ-
ent line from that in which it presents
itself to reach the body. They are of two
kinds^ the half counter, which is made
against a direct thrust, and the counter^
against a disengagement.

In the half counter, the point describes a
semicircle; it wJU be best described by an
example. Suppose the antagonists are en-
gaged in tierce : one of them nxakes a direct
thrust at his opponent's right breast; the
latter parries by dropping his point under
his adversary's, and then bringing it up on
the right, in quarte; and at the same time,
by moving his piece to the left, he throws
off the point to the high outside line, or to
his own left. The half counter for the
other engagements is similar to the one
described; in prime and seconde the point
passes over that of the assailant. .

In the counter, the point describes a
circle. Let the antagonist be engaged as

before, in tierce; one disengages and thrusts
in quarte at his opponent'^ left breast ; the
latter parries by following the movement,
passing his point under his assailant's, and
bringing it up on the left, in tierce, as they
were in the first place, thus throwing off the
point to his right.

From this the remaining counters will
readily be understood; recollecting that in
prime and seconde the point passes over the
opponent's.

The parries in opposition are very useful
in the lessons with the plastron, as increas-
ing the quickness of the eye and hand ; but
in actual combat, the simple parries should
alone be used, for they are quicker and
more certain.

In order to accustom the soldier to vary-
ing the high parries according to the direc-
tion of the attack, the instructor will use a
wooden sabre, and cause the soldier to pay
particular attention to protecting his hands.
The German system of placing the soldier

inside of a circular platform^ at such a height
that the instructor, when on it, will be at
the height of a man on horseback, seems to
merit adoption. They also provide the in-
structor with a lance.

THE PARRY OF TIERCE SIXTE.

This is a j>arry in tierce against thrusts
at the upper part of the breast. It is
made by turning the lock plate upwards,
throwing the barrel to the left, and drawing
the stock in towards the body. — See Plate
23.

This cannot be used against thrust, di-
rected at the lower part of the breast ; and,
therefore, was not introduced into the school
of the soldier. But, as it is a very rapid
parry, it would frequently be of great ser-
vice in the hands of a good fencer; it should,
therefore, be taught in the lessons with the
plastron.

FEINTS.

A feint is a pretended blow made for the
purpose of attracting the opponent's piece
into one line, and then making a real attack
in another. It may be made either by
feigning a direct blow, and then, at the in-
stant the proper parry is commenced, sud-
denly disengaging and making a real blow
in another line ; or else, by making the feint
of a disengagement, and, as soon as it 'is
answered, rapidly making another disengage-
ment, followed instantly by a real blow.

APPELS.

An a:pfel is the act of striking the
ground with the left foot when at guard ; it
should be a very rapid motion. Its object
is to disconcert the antagonist by the noise,
and to withdraw his attention from his de-
fence.

This should be practised occasionally in
figurative lessons, and may be frequently
used in the lessons with the plastron.

THE ATTACK UPON THE WEAPON.

To attach the weapon of an opponent is to
exert some action upon it with our own.
The object is to disconcert him by attract-
ing his piece where we do not intend at-
tacking him, or to displace his point from a
threatening position. This is done by press-
ing upon his piece so as to displace it, either
to open the direct line to his body, or else
to call forth a resistance which will facilitate
an attack, made in the opposite line, by a
sudden disengagement. Another method is
to strike his piece so as either to throw it
out of opposition, or else derange his guard,
in order to render his parry more diJHBicult.
This last method is particularly efficacious
in the engagement in tierce.

THE RIPOSTE.

The riposte is an attack which follows a
parry. It is the best blow that can be
made ; it is safer than any other for the one

who executes it, and more dangerous to his
opponent. It should he made indlantlj
after the parry, and with such rapidity as
to touch the opponent at the same time his
foot reaches the ground in his development.
The parry, according to the direction given
to the weapon, opens a passage either in the
direct line, or in that above, or below it ; it
is then only in one of these two lines that
the immediate riposte can be given. If the
riposte does not follow the parry instanta-
neously, its direction will be determined by
the movements of the assailant, and will
generally be given by a disengagement, as
he recovers his guard.

In the immediate riposte the development
will seldom be necessary; a simple extension
of the arms will generally be sufficient to
reach the opponent's body.

REPEATS.

A re^peat is a blow given, without recover-
ing the guard, immediately after one which

18 parried. It should only be used when it
is evident that the parry will not be fol-
lowed by an immediate riposte. It should
never be made in the line in which the at-
tack terminated, but by a disengagement
into the one above, or below. It should be
but sparingly used; it may sometimes be
used as a time-thrust before a riposte.

TIME-THRUSTS.

A Ume-thrust is a blow by means of which
we anticipate an adversary who is slow or
awkward in his attack. When delivered,
we should be certain that we have the op-
position perfectly. It is, at the best, an
unsafe attack.

STOP-THRUSTS.

A stop-thntst is one delivered against an
adversary who attacks advancing. It should
be given at the very instant he raises his
foot to advance and attack. If given at
that moment, the opposition is not so neces-

sary as in the time-thrust, but, if delayed, it
becomes a simple time-thrust.

THE SHORTENED fHRUSTS.

The object of the shortened thrust is to
stab an antagonist who presses up breast to
breast. It is the action of throwing the
musket to the rear, or either side of the
body, so that the bayonet may be used as a
poniard. *

This blow may be used in riposte, as well
as in attack. After the parries in prime,
seconde, quarte, and seconde in retreat, the
riposte should be made by the thrust short-
ened on the right. After the parries in
tierce, and tierce in retreat, the riposte will
be made by shortening on the leflj. The
parries against the shortened thrusts are
made with the stock of the piece ; and the
blow to the front, with the butt, will be
given in riposte.

The men should be carefully drilled at

these parries, which will at once suggest
themselves to the instructor.

THE BLOWS WITH THE BUTT.

The bayonet is undoubtedly more effective
than the hutt. Yet it may occur that the
soldier is so completely surprised on his
right, or in rear, that he cannot volt, so as
to use his bayonet; in this case he must,
according to circumstances, parry and strike
with the butt.

To cause the blow to the rear, the in-
structor will command —

^' Rigid (or left) rear — Volt!" — then
''Stock to ^Ae— Eear!" which will be fol-
lowed either by a blow, or by a movement
of the butt, which will parry such thrusts
as the instructor may make.

For the blow to the right, the instructor
will command—

"Za/i— Volt r— then "Stock to the—
Eight!" &C.&C.

No blow to the left is given, for the rea-
son that, from the position of the guard, it
will always be easier to use the point, in
that direction, than the butt.

LESSONS WITH THE PLASTRON*

When the men are proficient in the
"school of the soldier" (Bayonet Exercise,
Part I.), they should be made to fence with
each other, or with the instructor. They
will be told off by pairs, and numbered in
each pair, as one and two.

At first they will execute the different
movements at the commands of the in-
structor, who will give those of attack only,
cautioning the men attacked, as to the parry
they are to use, e. g. —

^'Numbers one, In prime — Thrust !" in-
forming numbers two, before he gives the
commands, that they will parry in seconde.

In the lessons with the plastron, the
movements will be taught in the order in

which they occur in the school of the sol-
dier; that is^ commencing with the most
simple thrusts and parries.

When the men are suflBciently adroit in
executing the attacks and parries, by the
words of command, they will be allowed to
choose their own thrusts, parries, &c., the
instructor giving no commands, but merely
watching that the movements are properly
made, and in strict conformity with the
directions.

THE SALUTE WITH THE BAYONET.

An "assault" in fencing, whatever may
be the weapon used, should be preceded by
a salute.

It is a compliment paid by the fencers to
spectators, and to each other. The salute
is made simultaneously by both fencers.

FORMULA OF THE SALUTE.

1. Assume the position of guardy and en-
gage, in quarte^ with the middle of the
bayonets.

2. Make two appels^ then rise, by straight-
ening both knees, and bring the left heel
against the right, the feet at right angles ;
at the same time raise the musket to a ver-
tical position against the right shoulder, the
rammer to the front, the left arm on the
breast, and the left hand at the height of
the shoulder. \

3. Salute to the right by turning the
rammer, and advancing the hands in that
direction, keeping the piece vertical; the
feet do not move, but the head is turned to
the right.

4. Salute to the left by a similar move-
ment, advancing the right hand as far as
possible in that direction, and bringing up
the right shoulder upon the same line with
the left.

5. Salute the antagonist by a similar
movement to the front, lowering the hands
slightly at the same time.

6. Eesume the position of guardy and
make two appeU.

THE END.

INDEX.

Advance; the .
Adyance and retreat

Appels

Arms and legs, combining the use of
Arms, the use of in attack
Attack, the ... .
Attack, the use of arms in the .
Attack upon the weapon .

Bayonet, salute with
Blow to the front
Blow to the right .
Blow to the rear
Blow and point, the
Blows with the butt

Blows, the simple 84

Blows, the direct 84

Blows with the butt followed by the development 61

Butt, the bloVs with . . . 51—61, 95

PAGE

18
75

90
T8
11
83
11
91

98
5.T
58
59
83
57—61, 95

102

Combining the use of the arms and legs
Counter and half-connter parries

Development, the .

Direct blows, the ... .

Disengagements, the . . .

Engagement; the . ...
Exercise, table of the radical movements
Exercise, table of, divided into 12 lessons

Feints

FAGS

78
. 8t

22, T8

. 84
• . 85

. 80
12—13
14—15

Guard (or middle guard), the
Guard, the recovery of

16, 25, 2T, T3
. T9

Half-counter and counter-parries
Having the engagement .
High quarte, parry .
High tierce, parry .

Instructions for lessons with the plastron

Leap to the rear ....

Left volt, the

Left rear volt, the .
Legs and arms, the use of

. 81

. 82

. 46

. 45

. 73

24,75

. 19

103

Lessons with the plastron

Lines, the

Lines, the npper and nnder

Lines, the outside and inside

Locomotion, means of

Lunge, the

Lunge-out, the

Means of locomotion
Measure, the .
Middle guard, the

Opposition
Opposition, the parry in

Parries, the
Parry in prime, the .
Parry in seconde, the
Parry in tierce, the .
Parry in quarte, the
Parry in high tierce, the
Parry in high quarte, the .
Parry in seconde in retreat, the
Parry in tierce in retreat, the
Parry of tierce sixte, the .
Parry, a simple

PAGB

73,96
. T9
. 80
. 80
. 15
29,77
30,77

. 75

74
16, 25, 27, 73

82
87

86
39
40
41
42
45
46
48
49
89
86

104

PAOS

Parry in opposition 8T

Parry, the counter and half-counter . . . 8Y

Passade, the 23, 78

Plastron, instructions for the lessons with the 13, 96

Point and blow 83

Prime, thrust 34

Prime, parry 39

Quarte, thrust 36

Quarte, parry 42

Radical movements, table of . . . 12, 13

Recovery of the guard 19

Repeats 92

Retreat, the 18

Retreat and advance . . . . .75

Right volt, the 19

Right rear volt, the 20

Riposte, the 91

Salute with the bayonet ..... 98

Salute, formula of 98

Seconde, thrust 35

Seconde, parry 40

Seconde in retreat, parry .... 48

Simple blows, the 84

105

PAOS

Simple parry . 86

Shortened thrust, the . . . 51 — 55, 94
Stop-thrust 93

Table of radical movements .* . . 12, 13
Table, exercise divided into lessons . . 14, 15
Table, advance, retreat, &c., combined with, &c. 62
Table, volts, leap to rear, &c., combined with, &c. 64
• Table, directions of attack combined with each

other

Table, different combinations of the parries
Tierce, thrust .
Tierce, parry .

Tierce in retreat, parry

Tierce sixte, parry .

Time-thrust

Thrust, the

Thrust with the development, the

Thrust with the passade, the .

Thrust in prime

Thrust in seconde .

Thrust in tierce

Thrust in quarte

Thrusts, the shortened

Thrust shortened on the left

Thrust shortened on the right .

66
68
35
41
49
89

28,??
31
31
34
35
35
36

51,94
51
53

106

PAGE

Thrust, the stop- 93

Use of the arms in the attack . . . .77
Volts, the .... . 19, 20, 16

Weapon, attack upon the .... 91

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Full text of "MANUAL OF BAYONET EXERCISE: PREPARED FOR THE USED OF THE ARMY OF THE UNITED STATES"

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