,illustration3 ,,new ,,system ,,of ,,sword ,,exercise ,a ,,new ,,system ,,of ,,sword ,,exercise ,,for ,,infantry4 ,,by ,,richard ,f4 ,,burton1 ,,author ,,of #8,a ,,system ,,of ,,bayonet ,,exercise' 7#ahec74 ,,london3 ,,printed ,,and ,,published ,,by ,,william ,,clowes ,,and ,,sons1 #ac1 ,,charing ,,cross4 #ahgf4 ,,these ,,pages ,,are ,,dedicated 7,,with ,,permission7 ,,to ,his ,royal ,highness ,field-,marshal the ,duke of ,cambridge1 ,,commander-,,in-,,chief ,,of ,,the ,,army1 ,,etc41 ,,etc41 ,,etc41 ,,who ,,has ,,graciously ,,encouraged ,,this ,,attempt ,,to ,,extend ,,the #8,,infantry ,,sword ,,exercise1' ,,by ,,his ,,royal ,,highness',s ,,most ,,humble ,,and ,,devoted ,,servant1 ,,the ,,author4 ,,contents4 ,,page ,introductory ,remarks #aa ,sect4 ,i4 ,preparatory ,instruction without the ,sword #bj ,,ii4 ,preparatory ,instruction with the ,sword #bf ,,iii4 ,the ,manchette1 or ,fore-arm ,play #de ,conclusion #ef ,appendix 7,note on ,sabre handles7 #eg ,illustration ,a ,,new ,,sword ,,exercise ,,for ,,infantry4 ,,introductory ,,remarks4 ,before proceeding to develop my ,new ,sword ,exercise for ,infantry1 ,i would offer a few remarks upon the changes proposed in these pages4 ,whilst the last half century has witnessed an immense improvement in the projectile weapons of the civilized world1 the theory and practice of the sabre or cutting arm have remained in statu quo ante2 indeed1 if there has been any change it is for the worse4 ,the two systems authorized in the ,british army are completely behind their time4 ,first and senior is the #8,infantry ,sword ,exercise' 7with plates73 ,revised ,edition1 ,adjutant-,general's ,office1 ,horse ,guards4 ,london3 ,printed under the superintendence of ,h4,m4 ,stationery ,office3 #ahgd4 ,the second is the #8,instructions for the ,sword1 c4 7without plates71 for the use of ,cavalry4' ,adjutant-,general's ,office1 ,horse ,guards4 ,june1 #ahga4 ,the latter can be despatched very briefly4 ,despite the late date1 it is as obsolete as the older system2 it is1 in fact1 only the #8,infantry ,exercise' with the addition of 8pursuing practice10 and 8post practice0--the latter upon a sort of modern ,quintain not made to revolve4 ,so far1 so good4 ,the practised swordsman has little to learn when mounted1 except the few modifications which he can teach himself4 ,his real study is on foot4 ,but some of the remarks appear not to have been written by a practical hand4 ,for instance1 we read 7p4 #bg73 8,in delivering a forward thrust1 very little force is necessary when the horse is in quick motion1 as the extension of the arm1 with a good direction of the point1 will be fully sufficient40 8,fully sufficient0--,i should think so6 ,the recruit must be carefully and sedulously taught when meeting the enemy1 even at a trot or canter1 to use no force whatever1 otherwise his sword will bury itself to the hilt1 and the swordsman will either be dragged from his horse1 or will be compelled to drop his weapon--if he can4 ,upon this point ,i may quote my own #8,system of ,bayonet ,exercise' 7p4 #bg73-- 8,the instructor must spare no pains in preventing the soldier from using force1 especially with the left or guiding arm1 as too much exertion generally causes the thrust to miss4 ,a trifling body-stab with the bayonet 7,i may add with the sword7 is sufficient to disable a man2 and many a promising young soldier has lost his life by burying his weapon so deep in the enemy's breast that it could not be withdrawn quickly enough to be used against a second assailant4 ,to prevent this happening1 the point must be delivered smartly1 with but little exertion of force1 more like a dart than a thrust1 and instantly afterwards the bayonet must be as smartly withdrawn40 ,in fact the thrust should consist of two movements executed as nearly simultaneously as possible2 and it requires long habit1 as the natural man1 especially the ,englishman1 is apt to push home1 and to dwell upon his slouching push4 ,the #8,infantry ,sword ,exercise' is nought but a snare and a delusion4 ,except in pagination1 it is the same as the 8,revised ,edition0 of #ahde--the only difference or revision that ,i can detect is the omission of a short sentence in p4 #bf of the older issue2 it even retains the ,general ,order of ,lord ,hill1 #bcrd ,april1 #ahdb4 ,thus 8,revision0 is confined to the plates4 ,in #ahde the figures wear the milk-pail shako widening at the top1 the frock coat and the scales2 the last edition1 dated ,april1 #ahgd1 dons the tall modern chimney-pot1 the tightly buttoned tunic with stiff collar and1 like its predecessor1 the sash and the scabbard4 ,it is no wonder that the figures display an exceeding gne1 the stiffness of pokers1 as the phrase is3 here we might with profit borrow from the ,french or ,italian artist4 ,i am opposed to almost every page of this unhappy brochure1 especially to the 8,seven ,cuts and ,guards0 of the target2 to the shape of the target--,i never yet saw a man absolutely circular2 to the grip of the sword2 to the position in guard2 to the ,guards or ,parades1 especially the inside engaging guard 7,carte72 to the ,lunge2 to the angle of the feet1 and to the system of 8loose practice40 ,the 8,cuts0 will be noticed in a future page4 ,of the grip ,i may remark that the one essential1 the position of the thumb1 both in attacks and parries is1 as a rule1 neglected by the #8,sword ,exercise4'#a ,as early as #ahbh1 ,mller made his point d'appui a grasp of the handle with the four fingers1 the thumb being stretched along the back1 in order to direct the edge1 and to avoid the possibility of striking with the 8flat40 ,the only exception to this universal law is when doing the 8,moulinet0 movements1 which will be explained farther on4 ,some professors1 both with broadsword and small-sword1 would stretch the index1 when pointing1 along the right of the handle4 ,i have objected to this practice in the rapier and the foil3 except when done to change position for relief1 it serves merely to fatigue the wrist4 ,but the proper use of the thumb1 8le pouce allong sur le dos de la poigne10 which is troublesome at first1 and which demands some study1 especially from those who have acquired bad habits1 is the base of all superior 8counterpoint40#b ,the position on guard is a debated point4 ,many1 indeed ,i may say most1 of the moderns follow the rule of all the older swordsmen1 namely1 reposing two-thirds of the body-weight 7as in p4 #ai of the #8,exercise1' which1 however1 is an exaggeration7 upon the left leg4 ,the reasons usually given are that in this position the person is not so much exposed2 moreover1 that the centre of gravity being thrown back adds spring and impetus to the ,lunge4 ,we may remember how ,cordelois 7#ahfb7 made a step towards change in his fencing-schools at ,paris4 ,my objection to the old style is that the farther you are from your opponent1 the longer and slower will be your attack2 moreover1 ,i have ever found1 in personal practice1 that it is easier and more convenient to 8sit on guard0 with the weight equally distributed on both haunches and legs4 ,in fact1 that the backward position is not natural any pair of thighs can ascertain for itself after trying it for five minutes3 whilst the muscles of the right or forward limb are relaxed as much as possible1 those of the left are tight strung1 so as to do double work and threaten cramp4 ,this single objection is serious enough to counterbalance any other claims to superiority4 ,illustration3 ,first ,guard4 7,prime47 78,what to avoid407 ,again1 there is no excuse for the guards in the #8,exercise4' ,the 8,hanging guard0 7p4 #ah1 in the older issue p4 #ba7 is the worst that can be imagined--a painful spectacle1 a lesson of 8what to avoid40 ,the head ignobly cowers1 and the eyes look up1 in a forced and wearying position1 when the former should be held upright1 and the glance should be naturally fixed upon the opponent's eye and blade-point2 the body is bent so as to lose our national advantage of height and strength1 and the right fore-arm in such a position is1 and ever must be1 clean uncovered4 ,let the recruit1 however strong may be his haunches1 stand a few minutes in this 8,hanging guard10 and he will soon feel by his fatigue how strange1 awkward1 and strained it is4 ,the ,carte or inside ,engaging ,guard 7pp4 #ai1 #bb71 again1 endangers the fore-arm4 ,the ,tierce or outside ,engaging ,guard 7pp4 #bj1 #bc7 holds the hand too low1 and unduly shortens the arm1 thus offering an undesirable amount of exposure2 it is in fact not a ,guard1 but a bad parry in 8low ,tierce40 ,worse still is the ,lunge 7pp4 #ad1 #ag73 here the body is placed bolt upright1 instead of being easily bent1 without exaggeration1 to the fore1 prolonging1 as every man instinctively would do at his first attempt1 the line of the left leg4 ,the former position is not only fatiguing and 8against the grain20 also shortens the reach and carefully places the opponent safely out of measure4 ,many swordsmen still contend for the stiffly upright position in ,lunge3#c ,i am disposed to consider it a mere survival of the classical and artificial ,french school of arms1 which aimed at opposing nature as sedulously as the ,italian1 who always leans to the fore1 attempted to follow her dictates4 ,moreover1 their arguments are founded upon the abuse1 not the use1 of the inclined pose which the body naturally assumes4 ,in teaching the recruit it is well to see that he does not fall into the dangerous habit of throwing the chest forward 7poitriner7 to meet his opponent's point2 but the truth of muscular motion must be consulted4 ,finally1 ,i would note the mistake of 8loose practice0 with the single-stick instead of the sabre2 it probably arose from a mistaken economy in saving swords and paddings4 ,single-stick is a different weapon1 a cane or light cudgel with a basket-hilt covering the back of the hand1 like the imperfect guard of the ,highland ,clay-more2 it is straight1 not curved1 and1 as the rod has no edges1 so in practice every blow equally represents a cut4 ,single-stick has merits of its own1 but its practice is fatal to excellence with the broadsword1 and even the #8,exercise' seems to recognize the fact1 for the guinds figures are armed with officers' ,regulation swords4 ,illustration3 ,inside ,guard--7,carte74 7,weight all thrown back47 ,both #8,sword ,exercises' carefully avoid naming 8,tierce0 and 8,carte20 preferring 8right0 and 8left0 7of the ,sword7 or 8outside0 and 8inside10 as if such mysteries were too high or too deep for our national intelligence4 ,i would again quote a few lines from my #8,system of ,bayonet ,exercise' 7,introductory ,remarks1 pp4 #h1 #i73-- 8,but why1 it may be asked1 should the ,english soldier be deterred by difficulties which every ,french voltigeur can master8 ,we admire the intelligence of our neighbours in military matters3 we remark that they are born soldiers1 and that their men learn as much in four months as ours do in six4 ,is not this1 however1 partly our own fault8 ,in my humble opinion we mistake the cause of their quickness1 attributing to nature the effect of art4 ,when our system of drill is thoroughly efficient2 when the ,manual and ,platoon is much simplified1 when a salle d'armes is established in every corps1 and when the bayonet exercise becomes a recognized branch of instruction2 then1 ,i believe1 we shall find our soldiers equal in intelligence to any others40 ,these words were written in #ahec2 in #ahge ,i add1 8,when we enlist the right kind of recruit either by improving his condition and his prospects1 not his pay1 or better1 far better1 by securing a superior man through the conscription of modern ,europe40 ,we ,britons are no longer physically divided from the total orb2 nor can we afford to remain morally insulated and isolated4 ,the logical effect of union with the outer world will be to make us do as the world does1 and all our exceptional institutions1 such as the system of volunteer recruiting1 must sooner or later go by the board4 ,illustration3 ,outside ,guard--7,tierce74 7,a ,parry not a ,guard47 ,nor is the most modern ,french ,treatise 7pp4 #bbi-bef1 ,manuel de ,gymnastique et d',escrime1 officially published by the ,ministre de la ,marine et des ,colonies2 ,paris1 ,dumaine1 #ahge7 8,escrime au ,sabre0 much superior to our home growth4 ,the position of the left hand 7pp4 #bcb1 #bcc7 is bad throughout3 it must slip during the ,lunge and make the play loose4 ,the retreat of the left leg 7,fig4 #e1 p4 #bce7 is carried to an extreme of caution4 ,the body is always perpendicular in the ,lunge1 whereas the same volume shows 7,fig4 #af1 p4 #bj7 the trunk naturally inclining forwards4 ,the ,cuts are not double nor continuous1 as they should be4 ,the 8,hanging ,guards0 7pp4 #bdj1 #bdd1 #bde7 are deplorable4 ,on the other hand1 the ,manuel 7p4 #bca7 places the thumb along1 not around1 the handle2 the moulinets1 the enlevs1 and the briss 7presently to be explained7 are good stuff1 and1 moreover1 they are applied to the ,cuts 7p4 #bci74 ,finally1 nothing can be better than the advice 7p4 #bdi71 8,aprs avoir touch1 retirer vivement le sabre en arrire en lui imprimant une direction oblique dans le sens du tranchant1 de manire scier40 ,of the points or thrusts with broadsword nothing will here be said3 they belong to another order of things1 and they should be studied in the fencing school4#d ,but the soldier must be taught that if his adversary attempt a thrust1 the broadsword is easily disarmed4 ,when the opponent comes to the position of pointing1 that is1 extends his blade1 a sharp glissade along its length will make the grip fly out of his grasp4 ,another way of embarrassing the attack is to cut right and left at the hand1 the wrist1 or the fore-arm1 when the adversary begins to present point4 ,general ,lamoricire was a firm believer1 as we all are1 in the thrust1 and the ,french ,sword ,exercise for ,cavalry 7p4 #agh ,rglement ,provisoire sur les ,exercises de la ,cavalerie1 officially published at the ,ministre de la ,guerre2 ,paris1 ,dumaine1 #ahgc7 justly remarks3 8,les coups de pointe doivent toujours tre employs de prfrence1 comme exigeant moins de force et ayant un rsultat plus prompt1 plus certain et plus dcisif40 ,the reason of its confessed superiority to the ,cut is as old as the axiom1 8a straight line is the shortest way between two points40 ,the ,thrust describes a diameter1 the ,cut1 a segment1 of a circle and1 with equal velocity1 the ,cut will traverse a distance occupying some two-thirds more of time than the ,thrust4 ,the ,french tactician therefore proposed to abolish the use of the edge for cavalry1 thus traversing the instinct of the man-at-arms who1 especially on horseback1 loves to slash at his enemy1 and who runs far less risk of entangling his blade4 ,but he of course advocated a straight and tapering sword with no edge to speak of2 indeed the cuirassier's latte is still a kind of rapier1 but it is rendered useless by prodigious length and by the weight of the handle4 ,the modern ,italian ,school of ,sabre uses1 especially in single combat1 all the dgagements of the salle d'armes3 this is thoroughly illogical2 the weapon is chosen because it is supposed to be less fatal than foil or rapier1 and yet it is so used as to become even more deadly4 ,i need hardly say that the weight and shape of the broadsword1 together with the positions of guard1 render pointing with it awkward in the extreme4#e ,i have now finished with the ungrateful task of criticizing1 and ,i proceed to propose a system which it is hoped will be as severely criticized by others4 ,it is only candid to state that its pretensions are high1 that it contains two distinct novelties1 the ,manchette ,system and the ,reverse or ,back-cut2 and1 finally1 that it aspires to be the first ,treatise in which the broadsword is scientifically taken in hand4 ,,section ,i4 ,,preparatory ,,instruction ,,without ,,the ,,sword4 #a4 ,preliminary4 ,nothing will here be said concerning the 8goose step of the sword10 the 8,balance ,motions10 and the 8,extension ,motions10 of the official #8,infantry ,sword ,exercise4' ,they are essentially a part of #8,squad and ,setting-up ,drill1' and as such they have been treated in several good manuals1 especially by ,serjeant-,major ,s4 ,bertram ,brown3 ,a #8,practical ,guide to ,squad and ,setting-up ,drill1 in accordance with the ,principles laid down in ,part ,i41 ,field ,exercise of the ,army4' ,adapted for the use of ,recruits1 ,rifle ,volunteers1 ,militia1 ,police ,force1 ,schools1 and ,families3 ,illustrated with sixty-eight figures1 representing each ,stick and ,club ,exercise1 ,extension ,motions1 and ,sword ,exercise ,positions4 ,london3 ,allen and ,co41 #ahga4 #bnd ,edition4#f ,considered in a wider sense they belong to the ,branch of ,science so thoroughly developed in #8,a ,military ,system of ,gymnastic ,exercises for the ,use of ,instructors3 ,adjutant-,general's ,office1 ,horse ,guards1 #ahfb2 ,physical ,education1' ,clarendon ,press ,series1 ,oxford1 #ahfi2 and in #8,training in ,theory and ,practice' 7,london1 ,macmillan1 #ahgd71 by ,archibald ,mac,laren1#g whose excellent code for the army1 and whose influence with successive war ministers1 as some one truly said1 have aided largely in introducing that admirable training which is transforming the stiff1 slow-moving grenadier of past times into the vigorous1 rapid1 and enduring soldier of the present day4 ,squad drill is not likely to make a good swordsman1 yet economy of time renders it a necessity4 ,it must be practised first without1 then with1 weapons1 after which those who show unusual capabilities should be taken individually in hand by the master4 ,the latest ,french system 7,manuel1 etc47 divides the four lessons into two degrees3 #a4 ,preparatory ,movements2 moulinets and simple attacks and parries4 #b4 ,compound attacks and parries4 ,the formation of the squad is in the usual line1 with open order at arm's length from the right or left4 ,the men are then taught the three positions as follows3-- ,illustration3 ,first ,position4 ,second ,position4 ,third ,position4 ,in two movements4 ,in two movements4 ,in two movements4 #b4 ,first ,position in ,two ,motions4 ,one4--,place the hands smartly behind the back1 the left grasping the right arm just above the elbow1 and the right similarly supporting the left elbow4 ,two4--,make a half-face right by pivoting smartly on both heels1 which must be kept close together2 the feet at right angles2 the left pointing to the front1 the face looking towards the opponent1 or the right-hand man1 and the weight of the body balanced equally upon both haunches and legs4 ,second ,position in ,two ,motions 7,guard74 ,one4--,bend the knees gradually till they are perpendicular to the instep1 keeping the head and body erect1 and both feet firm on the ground4 ,the instructor must be careful that the knees do not incline inwards--a general fault4 ,two4--,advance the right foot smartly about #bj inches in front of and in line with the right heel1 and rest the whole weight of the body upon both haunches and legs4#h ,in the second position1 that of ,guard for the feet1 care must be taken that the left foot remains firm on the ground1 without shuffling or turning inwards or outwards4 ,many swordsmen find a better balance when the right heel is on a line with the hollow of the left foot4 ,third ,position in ,two ,motions 7from ,guard to ,lunge74 ,one4--,advance the body slightly forward1 and bring the right shoulder and knee perpendicular to the point of the right foot4 ,two4--,advance the right foot smartly1 about #bj inches1 or double the distance of ,no4 #b1 ,second ,position 7,guard71 taking care that the foot does not overhang the instep2 extend the left leg with a spring1 the left foot remaining true and firm1 and the left knee perfectly straight2 let the shoulders expand and the body be profiled and slightly inclined forwards1 or towards the opponent4 ,this is the position of the legs in the ,lunge1 and the greatest care must be taken to prevent the recruit learning it in a careless1 shuffling way4 ,above all things he must accustom himself to separate the action into its two composing parts1 otherwise the lower limbs will often take precedence of the upper 7shoulder1 arm1 and hand71 and the ,lunge become worse than useless4 ,when recovering guard the contrary is the case2 the left knee must be bent before the right foot is moved1 and the latter should exert a slight pressure on the ground2 at the same time the body must be drawn backwards1 not jerked upwards4 ,these measures of ,guard 7#bj inches7 and of ,lunge 7#dj inches7 are best fitted for average-sized men2 in exceptional cases they must be shortened or lengthened according to the stature and stride of the recruit4 ,the rule for guard is the measure of two foot-lengths2 the ,lunge doubles that span2 and the least vigorous men require the greatest distances4 ,these movements must be learned1 first in slow1 and afterwards in quick and in double-quick1 time2 the same may be said of all practice with and without the sword4 ,squad attention6 and ,stand at ,ease6 need hardly be explained4 ,the recruits' muscles soon become fatigued by the unusual and monotonous exercise1 causing them to remain too long in one position2 the easiest way to relieve them is to change front1 making the left leg stand on guard and lunge1 as a left-handed fencer would do4 ,this double practice is as useful and recommendable in fencing and broadsword play as in bayonet exercise3 it gives additional balance to the body1 it equalizes the muscular strength of both sides1 and it makes the soldier feel that if his right arm be disabled he can still depend upon his left4 ,the word ,steady must not be used as a command3 it should be a caution given at the completion of any part of a practice with the view of correcting faults4 #c4 ,attacking1 ,advancing1 and ,retiring4 ,single ,attack4--,raise the right foot well off the ground and beat smartly with the whole sole1 the greatest force being upon the ball of the foot1 and the least upon the heel4 ,double ,attack4--,the same movement made twice4 ,the instructor should carefully avoid the directions of the #8,infantry ,sword ,exercise1'--first with the heel1 then with the flat of the foot4 ,nothing jars the leg more than this use of the heel2 it is a bad habit to use it for anything but 8pivoting40 ,advance4--,smartly advance the right foot about six inches and bring up the left as nearly as possible to the same distance4 ,the soles must just clear the ground1 and the toes be kept on a straight line with the knee1 and never turned inside or outside4 ,neglect of the latter precaution leads to a loose1 unsteady1 and slovenly style which1 easily learnt1 is hardly to be unlearnt4 ,single ,attack4--,as before4 ,retire4--,move the left foot lightly to the rear about six inches1 and let the right foot follow it4 ,recruits are uncommonly apt to 8step short10 and this can be remedied only by making them retire for considerable distances4 ,the weight and balance of the body must be equally distributed on both haunches and legs1 not resting upon the left1 which can serve only to give cramp4 ,double ,attack4--,as before4 ,front4--,resume the position of 8,attention40 ,,section ,,ii4 ,,preparatory ,,instruction ,,with ,,the ,,sword4 #a4 ,explanation and ,use of the ,target4 ,the ,target prefixed to these pages explains itself4 ,the shape is oblong1 the frame measuring #f feet by #c1 and the figure #e feet #h inches by #a foot4 ,as the latter represents the opponent1 the centre should be about #d feet from the ground1 the height of the recruit's breast4 ,perpendicular to the foot of the figure in each ,target a horizontal line is drawn1 forming for the feet1 the legs1 the body1 and the arms1 the 8directing line0 of the scientific schools4 ,at a distance of #aj feet the recruit is placed in the position of 8,attention10 with his left heel on the line1 so that at the command 8,first ,position0 his right foot may cover it4 ,the parallelogram shows the direction and the numbering of the ,cuts1 concerning which further details will presently be given4 ,they should be regulated according to the lines described upon the ,target2 nor should the recruit be practised in any other mode until he has gained the proper direction of the blade4 ,nothing need be added to the directions of the #8,infantry ,sword ,exercise' 7pp4 #ab1 #ac1 #ad71 as regards the movements subject to the following words of command3 much1 on the other hand1 with great advantage1 might be taken away1 and the result would be the increased efficiency that results from simplicity4 ,draw ,swords 7should be much abridged2 after the modern ,french ,school1 pp4 #afe1 #aff3 ,rglement ,provisoire1 c472 ,slope ,swords2 ,return ,swords 7should be simplified72 ,stand at ,ease2 ,attention2 ,prepare for ,sword ,exercise2 ,right prove ,distance2 ,slope ,swords2 ,front prove ,distance2 and ,slope ,swords4 ,at the order1 ,stand on ,guard1 the recruit having assumed the ,second ,position1 ,no4 #b1 falls on ,guard3 the pommel of the sword fronts his right breast2 the point is directed at his opponent's right eye2 his right arm is extended with an easy bend at the elbow2 the wrist is inclined1 with the knuckles slightly turned upwards1 to his own right1 so as to cover him in case of a straight thrust1 and the left hand is placed upon the left flank just below the ribs1 with the fingers to the front and the thumb to the rear4 ,the several guards 7parries7 are learned by holding the sword opposite to and in the inclination of the dotted lines which have sword-hilts attached to them2 the recruit is thus taught from the ,target the angle of the blade and the position of the wrist4 ,the ,target directs the recruit how to make the ,cuts and to form the ,guards1 but not exactly where2 this must depend upon how the opponent acts during the attack and the defence4 ,cuts #a1 #c1 #e1 #g1 #i1 and #aa 7odd numbers7 are all from ,carte1 which the #8,infantry ,sword ,exercise' calls ,inside4 ,the corresponding even numbers 7#b1 #d1 #f1 #h1 #aj1 and #ab7 are from ,tierce1 or ,outside4 ,the same nomenclature applies to the ,guards or parries4 ,when the recruit thoroughly understands the use of the ,target he need no longer be practised in front of it2 but the instructor 7sword in hand7 should consider it a sure guide and reference for correctly forming the ,guards and for giving a suitable direction to the edge when making the ,cuts4 #b4 ,the ,moulinet4#i ,this rotation movement should be learnt before the recruit proceeds to the ,cut4 ,there is nothing better for 8breaking10 as the ,french say1 the recruit's wrist than this sweep of the sword2 and the style of a swordsman may always be known by his ,moulinet4 ,we will divide it into three kinds1 viz4 7#a7 horizontal1 7#b7 diagonal1 and 7#c7 vertical2 the latter again may be either 7a7 ascending or 7b7 descending2 but as the second 7diagonal7 is a mere modification of the first and the third1 it will be sufficient to notice only two2 these are3-- #ast4 ,the horizontal movement1 or ,moulinet proper1 circling the sword round the head4 ,the grip is held as lightly as possible1 chiefly with the thumb and the first finger1 resting the pommel upon the palm1 and carrying the nails upwards4 ,the blade should be moved as horizontally as it can be1 with the back just clearing the swordsman's crown3 it should describe1 not a true circle1 but an oval with a long diameter in the directing line to the centre of the ,target through the heels or ankles of the recruit4 ,finally1 the point should be lanced or thrown out1 as it were1 towards the opponent's face4 ,evidently it may be done in two ways1 first1 from right to left1 which ,i will call the 8,tierce ,moulinet0 7,moulinet gauche72 this is by far the easiest and the more habitual1 corresponding with ,tierce 8,counter10 opposition1 or describing with the blade a circle round the adversary's blade1 in the fencing school4 ,the reverse movement 78,carte ,moulinet10 ,moulinet droite71 from left to right1 requires1 like the ,counter of ,carte1 much more practice4 ,in these directions 8right and left0 apply to the right and left of the swordsman's wrist4 #bnd4 ,in ,france the term 8,moulinet0 is mostly applied to these two rotations of the sword round the head1 but we will extend it to all circlings of the point4 ,the vertical form is also made from the hand in ,tierce 7,outside ,guard71 the blade is brought sharply round with the back towards the breast and left shoulder1 and returns to its original position2 we will call this the 8,inside ,moulinet10 having reference to the performer1 not the adversary4 ,the 8,outside ,moulinet0 is when from 8,tierce or ,outside ,guard0 the blade passes along the right shoulder1 it is simply the former done in the outer line4 ,illustration3 ,horizontal ,moulinet4 ,again the 8,inside ,moulinet10 which ends with the ,cut from above downwards 7the ,french enlev71 may be inverted so as to cut from downwards upwards 7the bris74 ,the same may be done with the 8,outside ,moulinet10 when the wrist must be turned upwards1 and the ,cut given in the ascending line4 ,this difficult movement should be practised in order to ensure a flexible wrist1 but it exposes the whole arm4 ,in the four latter 8,cuts10 the one invariable rule is to circle the point as vertically as possible4 ,the ,french ,manuel 7pp4 #bcd1 #bce7 gives3 #a1 the enlev cutting from above downwards2 and it may be either gauche 7,tierce ,moulinet7 or droite 7,carte ,moulinet72 #b1 the ,moulinet proper2 and #c1 the bris1 cutting from downwards upwards1 thus reversing the enlev2 and this also may be done gauche 7,tierce ,moulinet7 or droite 7,carte ,moulinet74 ,illustration3 ,vertical ,moulinet4 ,the 8,moulinet0 should be practised first without1 then with1 the sword1 and on foot1 before attempting it on horseback4 ,in the earlier stage the recruit must turn the hand1 with the arm nearly extended1 in the horizontal and vertical movements1 without stiffness and displacement of the elbow4 ,in the second he may1 if no ,target be procurable1 work before a cross chalked on the wall so as to secure horizontality and verticality4 ,finally1 the soldier will combine the two1 ,tierce and ,carte1 by passing rapidly from one to the other4 ,whilst practising the ,moulinet the recruit must be taught the two main divisions of the sword-blade4 ,fencers have introduced an immense complication into this simple matter2 and some have proposed eight parts3 for broadsword it is sufficient to divide the length4 ,the 8,feeble10 or weak half1 is that contained between the point and the centre2 this1 the proper part for the ,cut or attack is ground to a thinner edge1 and consequently is more liable to an injury from another sword if the ,cut be not very true4 ,the 8,fort10 or strong half1 is from the centre to the hilt1 and upon this we must rely for defence4 ,a few hours' practice and a few pressings upon the different parts of the blade under the surveillance of the instructor will teach the recruit the high importance of this lesson4 ,he will learn that in opposing the adversary's sword the strength of the defence decreases from the hilt upwards in proportion as the ,cut is received towards the point2 and that1 vice vers1 it increases from the point downwards to the hand4 ,the strongest man cannot 8force in0 the opponent's ,guard if the ,cut or ,thrust be received upon the part near the handle4 ,with a true ,guard the ordinary fencing foil can turn off the thrust of a musket and bayonet weighing #aj lbs4 ,the practised swordsman always attempts1 when attacking1 to gain with his 8,fort0 the 8,feeble0 of the opponent's weapon1 in which case the superior leverage will often beat down the parry2 and this manuvre should be carefully practised by men of superior muscular strength4 ,the ,cuts must1 as a rule1 be delivered within eight inches of the point and at the 8centre of percussion10#aj so that the sword may clear itself and the arm escape a 8jar40 ,the two virtues of the ,cut are its trueness and its velocity4 ,unless true it will become a blow with the flat that would shiver to pieces any brittle ,eastern blade4 ,assuming the vis viva or force of a moving body to be its weight multiplied by the square of the velocity1 let us suppose a strong man cutting with a sword weighing #d lbs41 to which he can give a velocity which we will call #a1 or #d #a #d3 a weaker man who applies double the velocity to a #b lb4 sword will thus produce a momentum of #h1 doubling the force of the blow4 ,but let the stronger man take the lighter sword1 evidently he will obtain a higher velocity1 which we will assume at #c3 in this case the effect will be #ah4 ,thus the power of the ,cut is enormously increased by increased velocity1 but much less by increased weight in the moving body4 #c4 ,the ,cuts4 ,the ,target prefixed to the #8,infantry ,sword ,exercise' gives ,seven ,cuts1 an insufficient number4 ,the ,german systems add an eighth blow perpendicularly upwards1 when the whole of the swordsman's arm from wrist to shoulder would be completely at the opponent's mercy4 ,the ,french ,manuel has only seven1 viz4 the ,coup de ,tte2 #b1 the ,coup de ,banderole2 #c1 the ,coup de ,figure droite2 #d1 the ,coup de ,figure gauche2 #e1 the ,coup de ,flanc2 #f1 the ,coup de ,ventre2 and #g1 the ,coup de ,manchette4 ,illustration3 ,german ,system4 ,the subjoined diagram shows the ,twelve ,cuts#aa which serve to 8loosen0 the rigid arm of the recruit4 ,illustration3 ,the ,twelve ,cuts 7shown by the thick strokes71 the dotted lines denoting the course of the blade in 8,moulinet01 or rather in 8,semi-,moulinet40 ,,carte4 ,,tierce4 ,cut #a4 ,cut #b 7,head ,cuts74 ,cut #c4 ,cut #d 7,face ,cuts74 ,cut #e4 ,cut #f 7,shoulder ,cuts74 ,cut #g4 ,cut #h 7,breast ,cuts74 ,cut #i4 ,cut #aj 7,stomach ,cuts74 ,cut #aa4 ,cut #ab 7,groin and ,thigh ,cuts74 ,the figure represents the opponent2 the thick lines show the direction of the edge when cutting2 and the dotted continuations denote the course of the blade when describing the several 8,moulinets40 ,the ,cuts should be continuous1 the regular succession always beginning from ,carte or the ,inside1 that is1 from the rear of the left shoulder4 ,as in the 8,moulinet10 the less the arm is bent and the sword-hand is moved from the line of direction 7to the front71 the greater is the value of the movement4 ,the recruit1 who must walk before he runs1 should deliver the whole dozen in continuous sweep without pause1 but at first very slowly1 till1 by the proper and timely use of the wrist1 the ,cuts lead into one another4 ,the more advanced swordsman1 whose pliability of strength is free from contractions and other vicious habits1 should practise the series of twelve with increased rapidity till the blade whistles through the air4 ,all the ,cuts should be given strong1 with the edge leading well forwards and with the arm extended to its utmost in the delivery4 ,the following are the ,twelve ,cuts3-- ,i4 and ,,ii4 ,these ,cuts are made1 after falling into ,tierce or ,outside ,guard1 from above downwards at the opponent's head4 ,in ,no4 ,i4 the point1 beginning as usual from the left shoulder 7,carte71 describes a full circle 78,inside ,moulinet10 the bris gauche of the ,french ,manuel71 the hand moving as little as possible so as to cover the body2 the knuckles turned up and the blade passing close to the breast3 it finishes by delivering a vertical ,cut1 with the 8,feeble0 close to the point1 at the right half of the adversary's crown4 ,no4 ,,ii41 which follows without interruption1 reverses the process2 the knuckles are turned down and the blade sweeps past the right shoulder 7bris droite72 ending with the left half of the opponent's head4 ,the latter ,cut is by far the more difficult to make without moving the hand1 but it is good practice for 8breaking0 the wrist4 ,,iii4 and ,,iv4 ,the horizontal face-cuts1 also beginning from the left 7,carte71 an invariable rule1 and ending with the right1 that is1 at the adversary's left cheek4 ,the reason of this practice is to make the movement habitual to the recruit2 cutting from left to right always causes less exposure of the inner wrist than cutting from right to left4 ,v4 and ,,vi4 ,the slanting shoulder-cuts1 also from above downwards 7,nos4 #a and #b1 or rather #b and #a1 of the #8,infantry ,sword ,exercise1' pp4 #ad1 #ag1 and the ,coups de ,banderole of the ,manuel72 describing two diagonal ,moulinets1 first from left to right1 and then from right to left4 ,the sword again makes a double 8,moulinet0 with the edge downwards1 and descends first upon the opponent's right and then upon his left shoulder4 ,,vii4 and ,,viii4 ,the horizontal breast-cuts1 parallel with the face-cuts1 and1 like them1 delivered with the blade as horizontal as possible4 ,,ix4 and ,x4 ,the horizontal stomach-cuts1 parallel with1 and lower than1 the breast-cuts4 ,,xi4 and ,,xii4 ,the slanting groin or thigh-cuts1 diagonally from downwards upwards2 in fact1 the reverse of the shoulder-cuts 7,nos4 #d and #c of the #8,exercise1' and the briss of the ,manuel74 ,in these diagonal ,moulinets1 the elbow must not be bent2 the hand should deviate as little as possible from the directing line under pain of dangerous exposure2 and the two movements should follow each other without a break4 ,whenever the recruit fails to carry the edge well forward in making the attack1 he should be practised slowly and repeatedly in combining the opposites1 as ,head-cut 7,no4 #a7 and ,thigh-cut 7,no4 #ab71 ,head-cut 7,no4 #b7 and ,thigh-cut 7,no4 #aa71 and so forth4 ,the instructor must see that the edge leads on to the respective lines of the ,target1 the point being darted out at the end of each cut4 ,the ,cuts will be practised first in ,no4 #b 8,second ,position0 7,guard71 and afterwards in ,no4 #b 8,third ,position0 7,lunge74 ,illustration3 ,prime1 or ,hanging ,guard4 #d4 ,the ,engaging ,guards1 or ,engagements4 ,as the #8,infantry ,sword ,exercise' has a deficiency of ,cuts1 so it has a superfluity of 8,engaging ,guards40 ,i have already expressed my opinion concerning the ,guard 7p4 #ah of #ahgd7 popularly called the 8,hanging ,guard40 ,even with the best position1 the head erect and the eyes looking straight and not upwards1 it is utterly faulty2 it displaces the arm and the sword1 and1 as no serious attack can be made directly from it1 it necessitates a movement entailing a considerable amount of exposure4 ,it is now chiefly confined to students' duels with the ,german ,schlger1 wherein slitting the opposing nose1 which can be done with a mere jerk upwards1 is the swordsman's highest aim and ambition4 ,the 8,engaging ,guards0 are thus reduced to the two following3-- ,tierce 7or outside7 ,guard2 defending the outer lines1 arm1 shoulder1 back1 and flank4 ,the recruit having assumed the 8,second ,position0 7,no4 #b71 brings the pommel of his sword to the centre of his right breast2 opposes the point to the adversary's right eye2 extends his right arm with an easy bend of the elbow2 inclines the wrist with the knuckles upwards to his own right1 so as to cover himself in case of a straight thrust1 and places his left hand upon his left flank with the fingers to the front and the thumb to the rear4 ,in ,tierce of course the edge of the sword is to the right or outside4 ,illustration3 ,engaging ,guard in ,tierce 7,outside74 ,carte 7or ,inside7 ,guard4 ,this movement defends the inner lines1 chest and stomach2 the knuckles are turned down2 the opposition is made to the left1 and the edge is carried in the same direction4 ,illustration3 ,engaging ,guard in ,carte 7,inside74 ,when engaging in guard 7joining weapons71 the swords should meet each other about eight inches from the points4 ,if the distance is diminished the opponents are 8out of measure0 7or distance72 if increased1 they are 8within measure40 ,the recruit must be taught slightly to press upon the opponent's blade1 but not to rest upon it2 by this 8opposition0 his hand and wrist will be more ready to follow the weapon during the attack4 ,thus also the 8,engaging ,guards10 ,tierce1 and ,carte 7outside and inside7 afford protection preparatory to the movements for offence and defence4 ,the eye must be fixed upon the eye and the hand or the blade-point of the opponent1 not upon the eye only4 ,guard may be partly defensive when the bust is advanced and the point approaches the opponent1 or it may be purely protective when its sole object is the 8parry40 ,the right-handed recruit must be taught always to attempt ,engaging in ,tierce1#ab with his opponent's blade in the outer line 7sur les armes74 ,the reason is simply that in the reverse position 7dans les armes71 the fore-arm1 from the elbow to the wrist1 is comparatively unguarded2 whereas ,tierce facilitates the defence of the 8low lines0 7i4 e4 those below the wrist74 ,tierce therefore has invariably the advantage with the sabre1 as ,carte carries off the palm with the small-sword1 the foil1 and the rapier4#ac ,but the right-handed man engaging in ,tierce puts his left-handed opponent in ,carte2 and the latter1 if a skilful sworder1 will manuvre1 by withdrawing his blade1 by coups or degagements over the point1 and by other feints1 to regain the ground of vantage4 ,the best treatment of this case is to make a time-cut in ,seconde 78inner ,moulinet10 or bris gauche7 at the adversary's knuckles1 a movement which will presently be explained4 #e4 ,the ,guards or ,parries4#ad ,the #8,infantry ,sword ,exercise' proposes ,seven ,guards1 a number which can hardly be reduced for practice on the drill-ground or in the schools3 the ,manuel contains the same number1 including one for the ,point4 ,but of the seven no less than five are 8,hanging ,guards10 and ,nos4 #c and #d serve only to defend the inside and the outside of the advanced leg4 ,this limb requires no assistance of the kind3 an able swordsman never exposes his head and shoulders by cutting so low1 and1 if he does1 the leg can be smartly withdrawn 7parade retrograde1 or en chappant71 rendering the attack not only useless but dangerous to the assailant4 ,even in fencing1 8low thrusts10 that is1 at the body below the wrist1 are never made1 for fear of the 8,time0 being taken1 until the upper line has been closed by a feint4 ,in our ,single-stick practice the first thought seems to be to attack the advanced leg--which may be well enough for ,single-stick4 ,illustration3 ,lunge and ,cut in ,carte 7,inside74 ,the following are the full number of guards or parries in which the edge must invariably be used3 they are evidently dividable into two2 7#a7 ,head 7with face7 ,guards1 and 7#b7 ,body ,guards3-- ,i4 ,prime 7p4 #ch71 so called because it is the 8first0 position of defence after drawing the blade1 that which the unpractised man would naturally assume to defend his head4 ,it is the #gth ,guard of the #8,infantry ,sword ,exercise4' ,in practice the point is more inclined to the horizontal line than when the blade is unsheathed2 the edge is carried somewhat inside or to the left2 the arm is shortened and so raised that the eyes look under it1 but the head remains upright4 ,the recruit must be careful not to 8bend the body20 not to 8draw in the chest and neck20 and not to 8bring the left shoulder a little forward40 ,the defect of ,prime is its being a 8,hanging guard10 rendering the riposte or reply difficult1 and modern practice prefers 8,high ,tierce40 ,,ii4 ,seconde 7#dth ,guard71 so termed because following ,prime3 the arm is extended1 the edge is carried to the outside or to the right2 in practice the hilt is lowered1 and the point1 threatening the opponent's loins1 is depressed to the half of a right angle4 ,this position must be learned for the sake of feinting3 as a parade it is not much used1 because it defends only the hip and leg1 and a good swordsman will never expose himself to exceeding danger by making low cuts4 ,modern practice prefers 8low ,tierce40 ,,iii4 ,tierce 7#bnd ,guard7 has been described 7p4 #ci7 under 8,standing on ,guard0 and 8,engaging ,guards20 it defends the outer lines1 arm1 shoulder1 and back4 ,,iv4 ,high ,tierce is a head-guard3 the hand is raised to above the shoulder to the maximum level of the swordsman's right eye1 and the blade is carried at an angle of #de with the edge up and the point to the left4 ,v4 ,low ,tierce is a flank-guard2 the arm is shortened1 the hand is depressed six inches2 the opposition is to the outside1 and the point is held vertically or almost vertically1 as the attack demands4 ,,vi4 ,carte 7#ast ,guard7 has been described 7p4 #dj7 under 8,engaging ,guards10 as defending the inner lines1 chest and stomach4 ,for the purposes of parrying1 the arm is withdrawn till the elbow1 almost touching the belt1 forms an equilateral triangle with the hilt and the left side4 ,,vii4 ,high ,carte is a head-guard like high ,tierce3 the hand is raised to the left of the left eye1 and the blade1 crossing the face at an angle of #de1 carries the edge up1 and the point to the right4 ,,viii4 ,low ,carte is a stomach guard4 ,as in ,low ,tierce the arm is shortened1 the hand is depressed six inches2 the opposition is to the inside1 and the point is held vertically or almost vertically1 as the attack demands4 ,in practice the advanced swordsman will confine himself to ,tierce and ,carte with their natural modifications4 ,he will consult his own feelings about the head-guard1 abolishing ,prime in favour of ,high ,tierce or ,high ,carte1 and he will prefer ,low ,tierce or withdrawing the leg 7rassemblement7 to using ,seconde4 ,of these movements the simplest are always the best4 ,when parrying1 the sword-arm must invariably be drawn for defence nearer the body1 and the grip should be sensibly tightened to receive the cut4 ,no strength is necessary when making the parries3 ,i cannot accept the 8,sforzi0 or guard-forcings of the neo-,italian broadsword school1 dry blows upon the blade1 which1 intended to disarm1 are essentially dangerous4 ,the ,guards or ,parries will be practised like the ,cuts1 first in the 8,second ,position0 7,guard71 and afterwards in the 8,third ,position0 7,lunge74 ,,section ,,iii4 ,,the ,,manchette ,,or ,,fore-,,arm ,,play4 #a4 ,preliminary4 ,the recruit is now sufficiently advanced to begin the system of ,manchette1 which1 as it is the most valuable part of sword-drill1 has been practised the least1 and should be practised the most4 ,a swordsman thoroughly trained in this section does not allow the opponent to deliver a cut4 ,it is certain that hand and wrist1 short-arm and elbow1 are capable of as many different attacks and defences as the whole body3 these are the parts most prominent1 most exposed1 and consequently most readily made the point de mire4 ,yet this true and simple secret of the broadsword has been universally neglected1 or rather not worked out3 in ,england we content ourselves with the parades technically called retrogrades1 that is1 withdrawing the limb from the assault1 by shortening the arm and1 sometimes1 by retiring the right foot either near to1 or up to1 or behind the left heel3 even this evasion which cannot expect to pass for a ,guard1 is not described nor figured in the official #8,infantry ,sword ,exercise4'#ae ,in ,france1 and even in ,italy where most subjects are exhaustively treated1 ,manchette is dismissed with a few careless words4 ,the ,manuel gives to the ,coup de ,manchette only these few lines3 8,excuter un enlev 7vertical ,moulinet from above downwards7 en arrire droite1 et arrter le sabre vis--vis le milieu du ,corps1 le tranchant en dessus1 le poule lgrement droite2 diriger l'enlev de manire empcher en arrtant l'avant bras1 l'excution d'un coup de tte40 ,capitano ,settimo del ,frate 7p4 #ej1 ,istruzione sul ,maneggio e ,scherma della ,sciabola7 in one of the latest works on swordsmanship contents himself with the following desultory observations3 8,manchett0 7sic7 8can attack the fore-arm either above or below1 according as the opponent gives an opening4 8,manchett is generally used against an adversary whose guard is defective4 ,by merely extending the arm with a turn of the wrist1 this attack may readily succeed should the opponent neglect to provide against it4 8,one of the most dangerous guards against ,manchett is ,tierce2 the surest is ,high ,seconde1 which indeed is also the best parry adapted to this system of attack40 ,the first member of the last paragraph is sensible2 the second is thoroughly fallacious4 ,as has been stated1 the right-handed man must always engage in ,tierce1 and1 as will presently appear1 ,tierce is the safest1 indeed the only safe guard against ,manchette cuts4 ,another ,italian writer of our day describes and figures the 8,position of the weaponed arm to escape the arm-cut0 7,colpo di braccio71 with the elbow-joint left clean open4 ,the #8,infantry ,sword ,exercise' limits itself 7p4 #cj7 to these few lines3 8,if opposed to the ,small ,sword 7sic1 meaning straight sword or rapier7 have recourse to ,cuts ,three 7,no4 #ac of this system7 and ,four 7,no4 #aa71 directing them at the arm1 by which means there is every probability of the cuts taking effect1 as it must always come within range of the edge1 before the point can be sufficiently advanced to reach your body3 if the above cuts are quickly given and continued1 they will also be found advantageous in advancing against the ,small ,sword1 as they constitute an attack and form a defence at the same moment2 but should the opponent be the most skilful and quickest 7sic7 in his movements1 then it is best to retire whilst giving them1 cautiously preserving the proper distance1 so that each cut may just reach the fore part of his arm40 ,the ,french content themselves with single oppositions of ,tierce and ,carte4 ,but why multiply instances of ignorance8--they would fill many a useless page4 ,finally ,i meditated upon the comparative humanity of 8,manchette10 of disabling the opponent by an arm-cut1 rather than laying open his flank or his head4 ,during single rencontres in the field1 especially at the end of ,indian battles1 it is so often necessary to put hors de combat some unfortunate1 whose pluck or sense of honour induces him to prolong the hopeless attack4 ,these considerations led me to reflect seriously for a number of years upon the ,jeu de ,manchette1 the ,colpi all' avambraccio1 or fore-arm play1 which has been so much neglected by master-swordsmen4 ,at last an unlooked-for opportunity1 a short study in the ,salle d'armes of ,herr ,balthasar ,reich of ,trieste1 enabled me to reduce it to a system1 and present it to the public4 ,i should premise1 however1 that the following observations are intended for professional men4 ,it is therefore necessary only to name and number the ,direct ,cuts1 the ,guards and the ,feints1 the ,reverse ,cuts1 and the ,time ,cuts of ,manchette1 as in most cases the simplest mention will suffice4 ,the proficient will at once perceive that ,i offer a mere outline of the system whose many details must be learned by long practice4 ,it is enough to give first principles3 the minuti could not even be noticed without stretching description to a wearisome length4 ,there is no objection1 ,i have said1 to teaching squads of recruits all the simpler preparatory matter3 the ,three ,positions2 the ,moulinet2 the ,engaging ,guard1 and the ,guards or ,parries4 ,at a certain stage of progress1 however1 especially when beginning ,manchette1 the quick and intelligent soldier1 who is likely to qualify himself as a master1 must be instructed singly4 #b4 ,the ,direct ,cuts in ,manchette4 ,the following are the direct attacks in ,manchette1 simple and compound2 all are done from the 8,engaging ,guard10 the ,lunge being here inadmissible4 ,i4 ,carte de ,manchette4--,extend the sword-arm to the full length and deliver the cut1 with a flip as it were1 at the opponent's fore-arm1 between the elbow and the wrist4 ,this can be done with the back of the blade 7,reverse ,cut7 under circumstances presently to be described4 ,no4 ,i4 is useful if the adversary unwisely engages you in ,carte otherwise 7from ,tierce7 it must be avoided1 as he easily parries by withdrawing the arm and replies with a ,tierce ,cut4 ,,ii4 ,carte de ,manchette and ,cut ,tierce4--,this movement is ,no4 ,i4 followed by a close rotation of the point 78,tierce ,moulinet072 if1 however1 the circle be too small1 it will not clear the sword-guard4 ,,iii4 ,double ,carte de ,manchette and ,cut ,carte4--,no4 ,,iii4 is to be done when the opponent1 as he generally will after an attack of ,no4 ,,ii41 successively parries ,carte and ,tierce4 ,it is simply the double of ,no4 ,i41 and thus the 8,tierce ,moulinet0 cuts1 of course1 inside the arm4 ,,iv4 ,double ,carte de ,manchette and ,cut ,tierce4--,useful when the adversary parries ,carte1 ,tierce and ,carte2 it is the double of ,no4 ,,ii4 and thus cuts outside the arm4 ,no4 ,,ii4 guards the arm and is therefore unexceptionable4 ,nos4 ,,iii4 and ,,iv4 are dangerous1 because1 like ,no4 ,i41 when opposed to an agile hand1 they may lay the wrist open to a ,time ,cut4 ,the two first and all four against a slow unready swordsman may be varied by combinations with coups1 or passing the blade sharply over the adversary's point4 ,for instance1 if the adversary come too wildly to the ,tierce parade of your double ,carte and ,tierce 7,no4 ,,iii471 a coup will reach his arm in ,carte4 ,a golden rule which cannot be repeated too often is that all the ,manchette-,cuts in ,tierce 7outside71 either from above or from below1 must be as nearly vertical as possible1 whilst all the ,cuts in ,carte 7inside7 should be as horizontal as they can be made4 ,the reason is simply that these positions cover the arm and render the attack less dangerous4 #c4 ,the ,guards 7,parries7 and ,feints in ,manchette4 ,the ,guards of the ,target will be found sufficient for parrying all attacks in ,manchette4 ,the soldier1 however1 should especially practise the retrograde parades1 that is withdrawing the right fore-arm with and without the right leg4 ,feinting with the broadsword is necessarily more simple than with the foil1 being generally confined to ,coups and ,secondes4 ,the neo-,italian school of sabre uses1 ,i have said1 the fencing movements1 but it is at best a bastard style4 ,if the opponent attempts to 8degage10 that is to pass his point under your blade from ,tierce to ,carte1 or vice vers1 retire by withdrawing the right heel to the left1 and cut at the arm which his movement has exposed4 ,the ,coup1 the reverse of the degagement1 passes the point over1 not under1 the opposing blade2 this legitimate feint1 used in every school1 may be effected in four several ways4 ,i4 ,one4 ,from the usual engagement in ,tierce pass the blade over the opposite point1 just clearing it1 and cut inside4 ,the two movements raising and dropping the point should be as rapid as possible4 ,,ii4 ,one1 ,two1 a double ,coup1 with the cut in ,tierce4 ,,iii4 ,one1 ,two1 ,three3 as with the foil2 against a nervous opponent the cut should be made at the face with a dart and a jerk 7the ,italian ,slancio72 against a slow player the cut may be ,carte de ,manchette4 ,,iv4 ,one1 ,two1 ,three1 ,four2 like the former1 but cutting in ,tierce3 to be attempted only with the most unready of opponents4 ,the two latter may be combined with a breast 7inside7 or shoulder 7outside7 8,moulinet0 between the penultimate and the last 7cut7 movement2 but these long feints are radically vicious1 because they lay the swordsman open to ,time ,cuts4 ,they are1 however1 useful1 as will appear in making the ,reverse ,cuts4 ,perhaps the ,seconde-feints are better than the ,coups4 ,i4 ,one3 the simple ,seconde ,cut4--,make a little more opposition in ,tierce1 sweep the blade past and along the breast2 7inside ,moulinet1 or the bris gauche7 and1 lowering the hand a little1 cut upwards with a jerk and a flip4 ,the nearer the swordsman's own body his blade circles the better1 because the cut will be more in the vertical line3 if it be much out of the perpendicular the opponent can 8take a time0 in ,carte4 ,the ,moulinet serves also to embarrass the adversary and to add strength to the cut4 ,this simple and most valuable movement must not be confounded with the old-fashioned ,seconde cut at the leg3 the latter is objected to1 as ,i have said1 by swordsmen2 the parry is too easy1 and the ripost far too dangerous4 ,,ii4 ,feint ,seconde4--,from ,tierce make a short and sharp movement to ,seconde with the knuckles turned upwards2 the opponent will probably come to the ,seconde-parry1 thereby exposing the fore-arm4 ,you then cut ,tierce perpendicularly as usual1 from above downwards 7the enlev71 either without or with a breast 8,moulinet40 ,,iii4 ,feint ,seconde1 ,feint ,tierce and ,cut ,carte1 with two short1 sharp movements1 and deliver the horizontal cut in ,carte4 ,,iv4 ,feint ,seconde1 feint ,tierce and ,cut ,seconde1 from downwards upwards1 always with a breast 8,moulinet40 ,at times the two first feinting movements in ,nos4 ,,iii4 and ,,iv4 may be done more emphatically3 this of course makes the movement slower1 but it is a variety which embarrasses an adversary accustomed only to short1 quick action4 #d4 ,the ,reverse or ,back ,cuts in ,manchette4 ,as the ,manchette system has been strangely neglected1 so the ,reverse or ,back ,cut may be pronounced unknown to the majority of the profession3 the latter1 instead of utilizing the 8false edge0 of the blade1 still lose time and incur great danger by turning hand and wrist in using the true edge1 especially when 8,cutting within the ,sword40#af ,more extraordinary still1 although almost all the civilized world prefers what is technically called the 8flat-backed and spear-pointed0 sabre1 yet no one seems to think of employing1 or even of sharpening one of the most important parts of the weapon4 ,the ,regulation blade with the false edge1 that is to say1 the blade sharpened from the point to the ,centre of ,percussion1 about one-third of the length1 was introduced into ,england about #ahdd1 and the first specimens were made by the late ,henry ,wilkinson1 acting with the late ,henry ,angelo1 then ,superintendent of ,sword ,exercise4#ag ,this back-edge of the blade should be ground to the sharpness of a razor4 ,when practising the ,reverse ,cuts 7,revers or ,rovescio71 the handle is held loosely with the thumb and the two first fingers1 and the wrist and fore-arm should bring the blade up with a jerk1 the grip being at the same time sharply tightened4 ,practice will soon enable the swordsman to deliver a strong 8drawing0 cut1 equal to the ,thrust-cut of the so-called 8,damascus0 blades4 ,this valuable movement has the immense merit of not uncovering the swordsman1 and what makes the sabre so rude a weapon is that every movement of attack1 in the old systems1 lays the body open by raising hand and point when a blow is to be given4 ,with the ,reverse ,cut no such dangerous process is necessary2 the point is still directed at the opponent whilst the cut is being delivered4 ,finally1 it is always unexpected by the opponent who has not practised it1 and although it rarely begins an assault1 except against the inexperienced1 nor should it be done alone as a rule1 it may either follow or conclude every attack1 feint or 8time40 ,i4 ,the ,half-,feint 7,revers de dessous1 ,rovescio di sotto1 or ,revers von unten7 is done thus4--,when in ,tierce extend the arm as if intending to cut ,tierce2 the opponent makes an opposition of ,tierce2 drop the point1 and cut sharply upwards with the false edge at his fingers1 wrist1 or fore-arm1 drawing the blade towards you and keeping the point opposite the adversary's breast4 ,this movement is one of the neatest known1 and it is sure to succeed with one who does not expect it4 ,the first part of the feint1 or dropping the point1 may lead to a cut with the true edge1 but this movement1 which is still practised in the schools1 involves delay by turning the hand4 ,again1 it may be combined with the inside 7breast7 or outside 7shoulder7 ,moulinet4 ,,ii4 ,feint ,seconde and ,cut upwards4--,this movement may be varied by feinting ,tierce and cutting upwards4 ,,iii4 ,one-two-three4--,this is not the succession of simple ,coups1 the dangerous movement before described4 ,no4 #a ,coup shifts the hand from ,tierce to ,carte with the nails up2 ,no4 #b turns the nails down1 still remaining in ,carte2 and ,no4 #c delivers the ,reverse ,cut1 of course in ,carte1 where it is least expected4 ,when the point is passed well under and within the sword-arm it is very difficult to parry the horizontal ,reverse ,cut in ,carte4 ,the true edge may be used1 but again it wastes time by turning the hand4 ,,iv4 ,the ,pass1 properly called 8en passant40--,from ,tierce make a feint-movement in ,seconde1 and1 when the adversary attempts to parry it by lowering the point1 turn the knuckles up 7in old ,tierce71 sweep the blade over his sword-arm and as close as possible to your right leg from left to right with the arm well raised1 and1 returning from right to left with a similar sweep1 but with the blade held higher1 cut1 in ,carte1 with the false edge and close to the point1 inside his wrist4 ,unskilfully attempted1 this feint is equally dangerous to both1 but it will do yeoman's service in the hands of a practised swordsman4 ,the true edge may be used1 but that involves a change of position and the delay of turning the hand with the knuckles downwards4 ,some make a double sweep1 and1 after the second movement1 cut outside or in ,tierce--the exposure is too great1 unless confronted by an unusually phlegmatic temperament4 #e4 ,the ,time ,cuts in ,manchette4 ,the ,time ,cut is the flower of the ,manchette system1 as the ,manchette is of the broadsword2 and it is1 perhaps1 the part least capable of being taught in books4 ,when well mastered it never allows the opponent to raise his arm without imminent risk1 and1 even if it fail1 the intention1 once recognized1 tends greatly to cramp and embarrass the adversary's play4 ,the natural man cuts as if he were using a stick or a club1 and the preliminary movement lays open the whole of his body2 indeed1 exposure1 ,i have said1 is the main danger of every attack with the sabre1 however closely and skilfully conducted4 ,a cut through the muscles of the fore-arm1 either inside or outside1 causes the sword instantly to be relaxed and dropped2 the man in fact is hamstrung in the upper works4 ,i4 ,carte de ,manchette4--,when the opponent from ,tierce makes a ,coup or any attack in ,carte1 stop further movement by a ,carte de ,manchette1 a horizontal ,cut in ,carte4 ,the same may be done with the false edge1 in which case the blade should be advanced as far as is possible2 and this is to be preferred because it loses less time4 ,,ii4 ,parade ,retrograde and ,cut ,tierce4--,when the opponent from ,tierce attempts a ,manchette in ,carte withdraw the arm 7parade retrograde7 and deliver the vertical ,cut in ,tierce downwards at his extended arm2 both movements being combined in one4 ,it is not necessary even with the tallest man to withdraw the right leg2 the ,cut will amply suffice4 ,this ,tierce ,cut serves to defend from all attacks when the ,guard does not cover the adversary2 and it has lopped off many a careless arm4 ,if slowly done it becomes a mere parade and ripost4 ,,iii4 ,the ,reverse ,cut-upwards1 ,revers en montant1 ,rovescio montante1 ,ger4 ,revers montant4--,you feint in ,seconde2 the opponent comes to its parry and replies in ,tierce2 you withdraw the arm1 leaving the heels as they were1 and cut upwards with the false edge1 tightening the grasp of thumb and fore-fingers as much as possible4 ,this movement is especially useful2 it is one of the best of ,time ,cuts1 when the adversary indulges in long and complicated feints and false attacks4 ,it may be done with the true edge1 but the latter is less safe4 ,,iv4 ,the ,time ,pass2 which is merely 8,the ,pass0 turned into a ,time ,cut4 ,when the opponent attempts a 8,manchette0 or any movement in ,seconde1 and expects you to reply by a time ,cut in ,tierce with the true edge1 turn the knuckles up 7in old ,tierce71 sweep the blade over his sword-arm as close as possible to your right leg1 from left to right1 with the arm well raised1 and returning from right to left with a similar sweep1 but with the blade held higher1 cut in ,carte with the false edge and close to the point inside his wrist4 ,the true edge may be used1 but1 again1 it wastes time4 ,the double sweep possible as in 8,the ,pass10 but it causes too much exposure4 ,this ,time ,pass may also be done with the hand held high in ,prime or rather 8demi-circle0 with the nails turned up1 the arm outstretched1 and the point lowered4 ,in this case the leg must be shifted till the fore heel touches the rear heel1 so as to give additional height to the hand4 ,this is not a ,reverse or ,back ,cut as you use the true edge2 it is in fact one of the old movements called 8,cutting within the ,sword40 #f4 ,rsum4 ,the following is a synoptical table of ,manchette or ,fore-arm play1 showing the ,cuts1 the ,guards 7,parries7 for the ,cuts1 and the ,riposts or replies that should follow each ,parade4 ,the ,instructor will remember that instead of ,prime we use ,high ,tierce or ,high ,carte1 and for ,seconde ,low ,tierce or withdrawing the leg4 ,direct ,cuts4 ,,cut4 ,,parry4 ,,ripost4 #a4 ,carte de ,manchette4 ,,iv4 7,carte74 ,,ii4 7,seconde74 #b4 ,ditto and cut ,tierce4 ,,iv4 and ,,iii4 7,tierce74 ,,iii4 #c4 ,double ,carte de ,manchette ,,iv41 ,,iii4 and ,,iv4 ,,ii4 and cut ,carte4 #d4 ,double ,carte de ,manchette ,parade ,retrograde by ,,iii4 or ,,iv4 and cut ,tierce4 withdrawing arm4 ,reverse ,cuts4 #a4 ,half-feint4 ,,ii4 or ,,iii4 ,,iii4 or ,,iv4 #b4 ,feint ,seconde and cut ,,ii4 ,cut with false upwards4 edge upwards4 #c4 ,feint ,tierce and cut ,,iii4 and ,,ii4 ,,ii4 upwards4 #d4 ,one-two-three1 and cut ,parade ,retrograde4 ,,iii4 or ,,iv4 upwards4 #e4 ,the ,pass4 ,,ii4 and ,i4 7,prime74 ,,iii4 ,time ,cuts4 #a4 ,on all ,cuts in ,carte4 ,parry with time in ,,iv4 ,,iv4 7,carte de ,manchette74 #b4 ,on feints in ,carte ending ,parade ,retrograde4 ,,iii4 or ,,iv4 with ,cuts in ,tierce4 #c4 ,on ,cuts in ,tierce4 ,reverse ,cut upwards4 ,,iii4 #d4 ,on ,reverse ,cut upwards4 ,,ii4 and ,,iii4 ,,iv4 #e4 ,on ,cuts in ,seconde4 ,the ,time ,pass4 ,,iii4 ,feints of ,coup in ,manchette4 #a4 ,single ,coup4 ,,iii4 or ,,iv4 ,,ii4 #b4 ,one-two 7 74 ,,iv4 and ,,iii4 ,,iii4 #c4 ,one-two-three4 ,,ii41 ,,iii4 and ,,ii4 ,,iii4 or ,,iv4 #d4 ,one-two-three-four4 ,parade ,retrograde4 ,,iii4 ,feints of ,seconde in ,manchette4 #a4 ,simple ,seconde4 ,,ii4 ,,iii4 #b4 ,feint ,seconde and cut ,,ii4 and ,,iii4 ,,iii4 or ,,iv4 ,tierce #c4 ,feint ,seconde1 feint ,,ii41 ,,iii4 and ,,ii4 ,,iii4 or ,,iv4 ,tierce1 and cut ,carte4 #d4 ,feint ,seconde1 feint ,parade ,retrograde4 ,,iii4 or ,,iv4 ,tierce1 and cut ,seconde4 ,,conclusion4 ,i will end this system of ,manchette with the words of old ,achille ,marozzo1 written some three centuries and a half ago3 8,i would that ye swear upon your sword-hilts never to use this knowledge against me1 your master40 ,but1 in lieu of insisting that my readers never teach it without obtaining formal permission1 ,i only hope that they will favour me by spreading it far and wide4 ,,appendix4 ,in p4 #bf allusion has been made to an improved form of sabre handle2 it was first attempted by the ,capitano ,settimo del ,frate in the work before alluded to4 ,the gallant officer's ,plates show that in the ,italian cavalry-sword the upper portion of the handle is at least horizontal1 whereas in ours it droops backwards and downwards1 giving the grip additional facility for slipping out of the swordsman's grasp4 ,the author's remarks#ah being even more applicable to the ,english military sabre2 ,i give them at full length4 8,the equilibrium of the sabre1 and the facility of firmly grasping the handle1 are the two prime requisites for a good weapon4 8,when properly balanced and easily held1 the sword calls for less exertion of strength2 and the quickness and true direction of the ,cuts are greatly facilitated4 ,in direct proportion to the economy of force1 we find the swordsman enabled to continue his exertion4 8,however well made and scientifically poised be the blade1 it is subject to several variations of equilibrium according to the position in which it is held4 8,the nearer the centre of gravity approaches the hilt1 the lighter and the better balanced will be the weapon1 and vice vers4#ai ,therefore3 8,it should be our principal object to effect this improvement without changing the proper centre of percussion and the other requisites for offence and defence40 ,the following ,plates fully explain the author's meaning4 ,illustration3 ,fig4 #a4 ,sabre handle actually used by ,italian cavalry4 ,illustration3 ,fig4 #b4 ,capt4 ,del ,frate's improvement4 ,illustration3 ,fig4 #c4 ,capt4 ,del ,frate's last modification4 a4 ,thumb-plate4 b4 ,rest for the little finger4 c4 ,support for the index finger4 ,illustration3 ,fig4 #d4 ,improved handle with thumb-guard4 7,r4 ,f4 ,burton47 ,illustration3 ,the hand grasping the actual handle4 ,the hand grasping the modified handle4 ,i would further modify his ,fig4 #a1 so as to give more fulcrum to the hand4 ,the thumb-plate should be made weighty and the guard light1 otherwise the blade will be over-balanced1 that is1 heavier on one side than on the other4 ,it need hardly be said that the grip before going into battle should be whipped round with thin whipcord1 or better still1 with web-cloth4 ,,london3 ,,printed ,,by ,,wm4 ,,clowes ,,and ,,sons1 ,,stamford ,,street ,,and ,,charing ,,cross ,,footnotes #a ,the exceptions are in 8,right ,prove ,distance0 7p4 #ac7 and ,no4 ,seven ,cut 7p4 #af74 ,in the other ,cuts the thumb 8grasps the handle40 #b ,the ,french divide l',escrime into two parts3 7#a7 ,escrime l'pe1 or ,escrime pointe2 and 7#b7 ,escrime au sabre1 or ,escrime contrepointe4 #c ,the question is considered at great length in my forthcoming volume entitled #8,the ,sword3' here it is sufficient simply to state results4 #d ,when every regiment shall have its salle d'armes1 the fencer will modify his own fencing thrusts to suit the clumsier weapon4 ,i do not1 however1 see any reason why the three ,points of the ,infantry ,sword ,exercise should not be delivered in the posizione media of the ,italian school1 with the thumb upwards and extended along the back of the sword-handle3 nor why1 as in the ,french ,manuel1 they should not be reduced to a single ,coup de ,pointe 7p4 #bci71 which is thus described4 8,baisser la pointe du sabre hauteur de la poitrine et dployer le bras en tournant la main1 le pouce en dessous1 le tranchant du sabre en dessus40 #e ,as ,mr4 ,john ,latham justly says 78,the ,shape of ,sword-blades10 #8,journal of the ,royal ,united ,service ,institution1' vol4 vi473--8,the proper shape for a thrusting sword is pre-eminently straight40 ,the ,clay-more1 for instance1 moving in a direct line1 cuts a hole exactly the size of the blade2 the ,regulation sword1 slightly curved1 widens it to about double1 and the bent scimitar and the ,talwr1 to five or six times1 thus meeting with five or six times the resistance to its penetration4 ,mr4 ,latham is again quoted in another part of this ,system4 #f ,my only objections to this volume are the two following3-- 7a7 ,the author will 8throw the whole weight of the body on the left leg40 7,fig4 #b1 p4 #fi47 ,yet in his ,introductory ,remarks 7p4 #e7 he sensibly says1 8,to the haunches1 as to the common centre of motion of the human figure1 are ultimately referred all the movements performed in military tactics0 7and swordsmanship72 8as just poise is important to the correct exertion of action1 whatever it may be1 it is necessary that poise or balance be studied1 understood1 and tried in all positions4 ,it is clear that bodily action cannot possess compass1 power1 and ease1 unless the movement be made justly and correctly upon the haunches1 as on a central pivot4 ,if the movement have not compass1 power1 and ease2 force and endurance will not be found in the ,military act40 7b7 ,in the ,lunge our author not only keeps the body 8perfectly erect10 he even inclines it backwards whilst he allows both feet to abandon the perpendicular in the most slovenly way3 see ,fig4 #b1 p4 #gj1 and ,figs4 #a and #b1 p4 #ga4 ,the same is the case with the official #8,infantry ,sword ,exercise4' #g ,my old friend and instructor set out upon a thoroughly scientific principle1 and the able way in which he has worked out his system will entitle him to the gratitude of the posteri4 ,having established the fact that in all our popular athletic1 as opposed to gymnastic1 exercises1 our walking and running1 cricket and football1 fives1 tennis1 and racquets1 and especially rowing--which has advanced as an art but has declined as an exercise--we circumscribe the line of muscular operation by giving the greatest share of the work to the lower limbs1 and by developing one half to the injury of the other2 he resolved to cultivate the whole by a wider and more varied range of training2 hence he supplemented 8,recreative exercise0 by 8,educational exercise10 and hence his systematized national gymnasia1 which1 taken up by ,h4,r4,h4 the ,duke of ,cambridge and by the late ,sidney ,herbert1 have been introduced into the military stations of the ,cardwell system1 into ,oxford and ,cambridge1 and into all our public schools1 with one 8base exception0--,eton4 ,mr4 ,mac,laren1 in his #8,system of ,fencing4' c4 7p4 #i71 sensibly advocates 8resting the weight of the body equally upon both legs40 ,he also lowers the right hand in the ,lunge 7p4 #aa71 and 7ibid47 he throws the trunk forward1 perhaps with a little exaggeration4 #h ,the #8,infantry ,sword ,exercise 7see the figures over the ,target representing the 8,preparatory ,positions071 8,second ,position in #b ,motions10 makes ,no4 #b turn the left knee out instead of carrying it square to the front2 the same may be remarked in 8,balance ,motions0 7,no4 #d74 #i ,the ,moulinet 7,ital4 ,molinetto7 is even on horseback a favourite movement with ,french sabrers 7,see ,rglement ,provisoire1 c41 ,tome ,i4 ,titres ,i4 et ,,ii474 ,it is divided into-- #a4 8 gauche ,moulinet0 7#a temps1 #b mouvements74 ,the directions are3 8 la dernire partie du commandement1 qui est ,,moulinet1 tendre le bras droit en avant de toute sa longueur1 le poignet en tierce et hauteur des yeux40 8,baisser la lame en arrire du coude gauche pour dcrire un circle d'arrire en avant 444 et se remettre en garde40 #b4 8 droite ,moulinet0 7#a temps1 #b mouvements74 8 la dernire partie du commandement1 qui est ,,moulinet1 tendre le bras droit en avant de toute sa longueur1 le poignet en quarte et hauteur des yeux40 8,baisser la lame en arrire du coude droit pour dcrire un circle d'arrire en avant 444 et se remettre en garde40 #c4 8 gauche et droite ,moulinet0 7#a temps1 #b mouvements74 8 la dernire partie du commandement1 qui est ,,moulinet1 excuter le premier mouvement de gauche ,moulinet40 8,excuter alternativement et sans s'arrter sur aucun mouvement le ,moulinet gauche et le ,moulinet droite40 8 gauche et droite ,,moulinet40 #d4 8 droite et gauche ,moulinet 7#a temps1 #b mouvements74 la dernire partie du commandement1 qui est ,,moulinet1 excuter le premier mouvement de droite ,moulinet4 8,excuter alternativement et sans s'arrter sur aucun mouvement1 le ,moulinet droite et le ,moulinet gauche40 8 droite et gauche ,,moulinet40 #e4 8,en arrire ,moulinet 7#a temps1 #b mouvements74 la dernire partie du commandement1 qui est ,,moulinet1 lever le bras en arrire droite de toute sa longueur1 la pointe du sabre en l'air1 le tranchant droite1 le pouce allong sur le dos de la poigne1 le corps lgrement tourn droite40 8,dcrire un circle en arrire de gauche droite1 le poignet loign du corps le plus possible1 et se remettre en garde40 8,en arrire ,,moulinet40 8,les cavaliers1 excutant bien les ,moulinets1 on leur en fait faire plusieurs de suite1 en faisant prcder cet exercice de l'indication2 les ,moulinets continueront jusq'au commandement3 ,,en ,,garde4 8,les ,moulinets ayant pour objet d'assouplir les articulations du bras et du poignet1 il faut que les cavaliers y soient exercs comme prparation aux autres mouvements2 on commence et on finit donc chaque leon par des ,moulinets excuts un degr de vitesse proportionn aux progrs des cavaliers40 #aj ,in the ,regulation sword the 8centre of percussion0 is about one-third from the point2 here there is no vibration1 and consequently the ,cut exercises its whole force4 ,the 8centre of gravity0 is in the third nearest the hilt1 and the 8balance0 of the sword results from the relative positions of the two centres4 ,in light swords these points may be farther apart than in heavy blades2 they should be closer in straight than in curved swords1 and nearer in thrusting than in cutting weapons4 #aa ,the following are the five principal ways of cutting3-- #a4 ,the ,chopping or ,downright ,cut1 from the shoulder and fore-arm4 ,this appears to be the instinctive method preserved by ,europe2 most men who take up a sword for the first time use it in this way4 #b4 ,the ,sliding ,cut1 common throughout the ,east4 ,in this movement the elbow and wrist are held stiff and the blow is given from the strong muscles of the back and shoulder1 nearly ten times larger than the muscles of the arm1 while the whole force and weight of the body are thrown in4 ,hence the people of ,india use small hilts with mere crutch-guards1 which confine the hand and prevent the play of the wrist2 the larger grip required for the ,chopping ,cut only lessens the cutting force4 ,the terrible effect of these cuts is well known4 #c4 ,the ,thrust ,cut1 with the curved 78,damascus07 blade2 a combination of point and edge1 the latter being obliquely thrust forward and along the body aimed at4 ,this movement is a favourite on horseback1 when speed supplies the necessary force1 which can hardly be applied on foot4 ,it must be parried like a ,point4 #d4 ,the ,whip ,cut2 in which the arm and elbow are kept almost motionless1 and the blow is delivered from the wrist4 ,this is the principal ,cut allowed in my system2 it is capable of sufficient effect upon the opponent whilst it does not uncover the swordsman who uses it4 #e4 ,the ,drawing or ,reverse ,cut1 which will be explained in the following pages2 it is the reverse of the 8,thrust ,cut40 #ab ,this fact is well known to the ,manuel1 which says1 8,des deux engagements celui de droite par la position de la main a le plus d'application40 ,it therefore makes all the ,cuts and ,parries begin from ,tierce4 ,this elementary rule is not recognized by the #8,infantry ,sword ,exercise' 7p4 #cb72 8your defence is always more effective in the left 7,carte7 than in the right 7,tierce740 ,such ,i assert is the case with the foil and rapier1 certainly not with the sabre or broadsword4 ,on horseback the left is of course the weak side4 #ac ,used in this sense the 8small-sword0 is the triangular weapon1 the rapier is the flat1 or rather the bi-convex blade4 #ad ,in p4 #bi of the #8,infantry ,sword ,exercise' we read of 8a circular motion of the blade1 termed the ,parry20 but the latter word must not be limited to this sense4 #ae ,the only allusion to it is the 8shifting of the leg10 in p4 #cj4 #af ,see the #8,infantry ,sword ,exercise1' p4 #ca4 #ag ,in ,france the false edge is hardly known2 such blades are called deux tranchants2 it is the ,italian schiena or chine1 mezzo-filo1 or falso opposed to vero taglio1 and the ,german1 rckschneide or kurzeschneide1 thus distinguished from the lange-schneide4 #ah ,see his ,appendix1 entitled 8,modificazione all' impugnatura e guardia delle ,sciabola di cavalleria per facilitarne l'equilibrio ed avantaggiare la fermezza della mano sull' impugnatura40 #ai ,a notable instance of this is the old ,highland ,clay-more4 ,transcriber's ,notes ,simple typographical errors were corrected4 ,punctuation1 hyphenation1 and spelling were made consistent when a predominant preference was found in the original book2 otherwise they were not changed4