,,lessons in ,,sabre1 ,,singlestick1 c4 ,illustration ,,lessons in ,,sabre1 ,,singlestick1 ,,sabre ,,bayonet1 and ,,sword ,,feats2 or1 ,,how ,,to ,,use ,a ,,cut-,,and-,,thrust ,,sword4 ,,with #cd ,,illustrations ,,representing ,,the ,,different ,,positions4 ,,by ,j4 ,m4 ,,waite1 ,,professor ,,of ,,fencing1 ,,late #b,,nd ,,life ,,guards4 ,london3 ,,weldon ,co41 #i1 ,,southampton ,,street1 ,,strand1 ,w4,c4 ,,london3 ,,henry ,,blacklock ,,and ,,co41 ,,printers1 ,,allen ,,street1 ,,goswell ,,road4 ,,erratum4 ,,page ,,line #fg #i ,in place of 8hand should be guarded10 ,read 8head should be guarded40 ,,preface4 ,in the pages of this ,manual an attempt is made to give full and practical instruction in ,sabre and ,singlestick ,play1 and in the use of ,sabre against ,bayonet1 and also to explain the course of practice that is necessary for those who wish to perform the difficult sword feats which require at once strength and lightness of hand4 ,how far ,i have succeeded in what ,i have sought to do it will be for the readers of these pages to judge2 but ,i may perhaps be permitted to say that the book which ,i now venture to offer to the public is the result of experience in the use of arms extending over an unusually long period1 and that before ,i began to teach1 some twenty years ago1 ,i was so fortunate as to be trained by teachers of the highest skill4 ,i learnt fencing from the late ,m4 ,prevost1 ,fencing-,master to ,h4,r4,h4 the ,prince of ,wales1 and to the ,royal ,family of ,france1 and1 as pupil and assistant1 practised for many years with this admirable master of the small sword1 who in his prime had been certainly one of the best fencers1 perhaps the best1 fencer in ,paris4 ,to make me as thorough a proficient with the weapon as he was himself1 my esteemed friend spared no pains4 ,in the use of the sabre and singlestick ,i was first trained by ,mr4 ,platts1 who had learnt from the celebrated ,bushman his system of broadsword play4 ,i thus had the advantage of learning from those best qualified to teach2 but when1 after no short or easy period of probation1 ,i became in my turn an instructor1 and gained that knowledge which can only be gained by teaching and by constant combat with adversaries of all degrees of strength1 it appeared to me that that part of the course ,i had gone through had been somewhat conventional1 and though the system of fencing which ,i had learnt from ,prevost could scarcely be altered for the better1 the ,english method of sabre play1 good as it was1 could be considerably improved4 ,sabre-players1 as a rule1 have not been fencers1 or at least have been fencers of trifling skill4 ,accomplished fencers have usually1 from an exaggerated fear of losing their lightness of hand1 not cared to work much with the sabre4 ,the consequence has been that no attempt has been made to bring knowledge of the small sword to bear upon sabre play1 and that little attention has been given to what is really the most formidable way of handling the latter weapon4 ,those who have taught its use seem to have thought of little else than the cuts which can be given with it1 and to have overlooked the fact that the modern sabre1 essentially a cut-and-thrust weapon1 can be used with great effect for thrusts1 and that1 when thrusting1 a man exposes himself less and is more likely to disable his antagonist than when he delivers a cut4 ,it is true that one or two thrusts have been taught1 but small reliance has been placed in them1 and several of the fencer's methods of attack and defence which are admirably suited for sword play have been altogether neglected4 ,daily combats gave me every opportunity for putting my ideas to the rough test of practice1 and ,i soon found that ,i was not mistaken1 and that there were longes and time thrusts which could be delivered with the sword1 and were formidable even to the most skilled opponents4 ,i made it1 therefore1 part of my work as a teacher and sabre player to improve sabre play by adapting to it many movements used in fencing which have hitherto been entirely overlooked by sabre players1 and also by copying the fencer to make the attacks1 c41 in a closer and consequently quicker and more effective manner than they had before been made4 ,these movements are specially described in this manual4 ,that the man who has mastered them will have a more varied and effective manner of using his weapon than one who has only practised the ordinary method1 and will therefore be a far more formidable antagonist1 will1 ,i think1 be admitted by all who1 possessing some knowledge of the subject1 do me the honour of giving attention to these pages2 and inasmuch as sabre practice is not a mere exercise1 but a course of training which teaches a man how to defend his life1 it is scarcely necessary to point out that a really efficacious and not traditional method of using the weapon should be adopted4 ,recent events have shown our soldiers that even in these days of 8arms of precision0 the sword is not by any means obsolete4 ,assuredly these men should be taught to handle it in the best way4 ,a soldier's life may often depend on his being able to wield his sword against a determined antagonist1 and his chances of victory are not likely to be improved by the fact that his instructors have forgotten that a sabre has a point as well as an edge1 and have not taught him the most formidable way of using the weapon they have placed in his hands4 ,it is true that to many of those who learn how to handle the sabre this matter is not of much importance1 inasmuch as what they seek is a healthy and interesting exercise1 and as they are not likely to have to wield the weapon in the defence of their lives4 ,considered1 however1 merely as an amusement and an exercise1 sabre play is better when the conditions of the actual combat are followed as closely as possible in the mimic fight4 ,it is more interesting and seems more real and practical1 while the many varied movements which are required when every possible way of handling the sword is resorted to strengthen the whole frame as no other exercise can4 ,i am not without hope that the altered system of sword play ,i have described in this ,manual will1 if properly followed1 be found interesting by amateurs as well as by soldiers1 and ,i am greatly encouraged in this hope by the fact that the very numerous pupils ,i have had the honour of instructing have never failed to take great interest in what they had to learn and practise3 have often been as anxious to acquire complete mastery over the weapon as if they were shortly to use it in actual fight1 and1 in not a few cases1 have attained exceptional proficiency4 ,i would add that1 while greatly changing the method of using the point in sabre play1 ,i have been careful to retain all that was good in the old system1 and have described minutely and to the best of my ability the established cuts and guards4 ,in these chapters ,i have written nothing special on ,singlestick1 as the stick is merely a substitute for the sabre1 and is used exactly in the same manner1 and throughout the ,manual everything said about sword play applies equally to singlestick play4 ,on contests with sword against bayonet1 nothing1 so far as ,i am aware1 has yet been written1 and as the knowledge of how to use one weapon against another cannot but be of the greatest value to the soldier1 ,i have endeavoured to put into the most practical form what ,i have learnt from observation of assaults innumerable1 and from many hard struggles against vigorous antagonists4 ,sword feats are of less importance than skill in the defensive and offensive use of the weapon1 but when well performed are always greatly admired2 and ,i have frequently found that good swordsmen were anxious to learn how to execute them4 ,i have therefore carefully described the manner of accomplishing a variety of these tours de force4 ,some of these1 such as-- ,cutting a sheep in two at one stroke1 and ,cutting an apple in a handkerchief without injuring the latter1 ,are of my own invention1 and ,i venture to say with confidence that any one possessed of a fair amount of strength1 and accustomed to the use of the weapon1 will be able1 after some practice1 to perform all the sword feats which are mentioned4 ,in conclusion1 ,i trust ,i may be allowed1 not in the usual formal manner1 but as an assurance of respectful regard1 to dedicate this little book to my pupils1 whose attention and intelligence have yielded me unceasing encouragement1 and to whose kind suggestion that ,i should put my system of instruction into a written form1 these pages are due4 ,i have had the honour of instructing the following ,clubs in both ,fencing and ,sabre3-- ,the ,london ,fencing ,club4 ,the ,honourable ,artillery ,company1 who1 on my resignation after being with them upwards of twenty years1 presented me with a very handsome testimonial4 ,the ,london ,athletic ,club4 ,the ,london ,scottish ,v4,r4,c4 ,the #cgth ,middlesex ,v4,r4,c4 ,the #ast ,middlesex ,artillery4 c41 c41 c4 ,the following gentlemen1 all of whom were my pupils1 have won the undermentioned prizes in open competition3-- #ahgf4-- ,london ,athletic ,club ,cups for ,fencing--#ast4 ,g4 ,white1 ,esq4 #bnd4 ,r4 ,pullman1 ,esq4 #ahgg4-- ,london ,athletic ,club ,cups for ,fencing--#ast4 ,p4 ,k4 ,rodger1 ,esq4 #bnd4 ,r4 ,pullman1 ,esq4 #ahgg4-- ,london ,athletic ,club ,cups for ,singlestick--#ast4 ,r4 ,hazard1 ,esq4 #bnd4 ,t4 ,wace1 ,esq4 #ahgh4-- ,london ,athletic ,club ,cups for ,singlestick--#ast4 ,h4 ,h4 ,romilly1 ,esq4 #bnd4 ,r4 ,hazard1 ,esq4 #ahgg4-- ,german ,gymnastic ,society's ,foils for ,fencing--#ast4 ,h4 ,hartjen1 ,esq4 #ahgh4-- ,german ,gymnastic ,society's ,foils for ,fencing--#ast4 ,h4 ,hartjen1 ,esq4 #ahgh4-- ,german ,gymnastic ,society's ,prize for ,singlestick--#ast4 ,r4 ,hazard1 ,esq4 #ahgi4-- ,german ,gymnastic ,society's ,prize for ,fencing--#ast4 ,h4 ,hartjen1 ,esq4 ,j4 ,m4 ,,waite4 #ai1 ,,brewer ,,street1 ,,golden ,,square1 ,,london1 ,w4 ,december1 #ahhj4 ,,list ,,of ,,illustrations4 ,,sabre4 ,,plate ,,page ,i4 ,preliminary position #af ,,ii4 ,engaging guard #ah ,,iii4 ,feint at the head #bf ,,iv4 ,a direct lead off at the head and guard 7prime7 #cj ,v4 ,feint at the head and cut at the left cheek1 and guard 7quarte7 #cd ,,vi4 ,feint at the head and cut at the left breast1 and guard 7prime7 #cf ,,vii4 ,feint at the head and cut at the inside of the wrist #ch ,,viii4 ,feint at the head and cut under right arm1 and guard 7high seconde7 #dj ,,ix4 ,feint at the head and cut outside the leg1 and guard 7seconde7 #db ,x4 ,feint at the breast and cut inside the leg1 and guard #dd ,,xi4 ,shifting the leg to avoid a cut and counter on the head #df ,,xii4 ,shifting the leg when a man attacks with his hand below the shoulder1 and counter on the arm #dh ,,xiii4 ,a draw and guard for shifting the leg and counter on the head or arm #ej ,,xiv4 ,a draw and stop for shifting the leg and counter on the head or arm #eb ,,xv4 ,guard for an upward cut at the fork #ef ,,xvi4 ,to deceive the beat under the blade 7quarte thrust7 #fd ,,xvii4 ,stop cut after deceiving the beat over the blade #ff ,,xviii4 ,stop thrust 7tierce7 when a man draws his hand back to attack #fi ,,xix4 ,time thrust with opposition #gb ,,xx4 ,time cut when a man raises his hand to attack #gd ,,sabre v4 ,,bayonet4 ,,xxi4 ,engaging guard #id ,,xxii4 ,parry of tierce #ih ,,xxiii4 ,parry of quarte #ajj ,,xxiv4 ,cut inside of wrist after feint at head to deceive prime #ajb ,,xxv4 ,cut at head after feint at inside leg to deceive half-circle #ajd ,,xxvi4 ,thrust in quarte after feint in tierce4 8,one1 two0 to deceive tierce #ajf ,,xxvii4 ,thrust under left arm after feint in quarte to deceive quarte #ajh ,,xxviii4 ,how to seize the rifle after parrying prime #aab ,,xxix4 ,how to seize the rifle after parrying quarte #aad ,,sword ,,feats4 ,,xxx4 ,lead cutting 7before delivering the cut7 #abd ,,xxxi4 ,cutting a sheep 7after delivering the cut7 #acj ,,xxxii4 ,cutting a broom handle on wine glasses #acc ,,xxxiii4 ,cutting a veil #acf ,,xxxiv4 ,cutting an apple on a man's hand #adj ,,lessons ,,in ,,sabre1 ,,singlestick1 c4 ,,how ,,to ,,hold ,a ,,sabre4 ,in holding a light sabre1 place the fingers round the grip so that the middle knuckles are in a line with the edge1 and let the thumb lie on the back to enable you to direct the point4 ,with a heavy sabre1 the thumb should be placed round the grip1 or you maybe disarmed by a strong beat made with a sword of the same weight4 ,in singlestick1 do not let the end of the thumb touch the hilt1 or a hard blow on the hilt might seriously injure it4 ,hold the sword securely1 but do not grasp it tightly1 or your hand and arm will soon tire4 ,the grasp should only be tightened when delivering a cut or forming a guard4 ,there is great art in easing the grip directly after a movement has been executed4 ,a swordsman who does this properly has what is termed 8a soft hand10 a great desideratum in sword play4 ,it gives quickness to the hand1 and saves it from being jarred4 ,illustration3 ,,plate ,i4--,,preliminary ,,position4 ,,sabre4 ,,plate ,i4 ,,preliminary ,,position ,,before ,,going ,,on ,,guard4 ,turn the left foot to the left1 and place the right in front of it1 so that the back of the right heel touches the inside of the left4 ,the feet will then be at right angles4 ,easing the grip1 let the back of the sword rest in the hollow of the right shoulder1 the sword-elbow touching the right hip1 and the hand in a direct line in front of it4 ,close the left hand1 and place it on the back of the left hip 7so that it cannot be seen from the front71 with the elbow thrown back4 ,body half turned to the left1 face full to the front4 ,illustration3 ,,plate ,,ii4--,,engaging ,,guard4 ,,plate ,,ii4 ,,engaging ,,guard4 ,move the sword-arm to the front until the hand is directly opposite the hollow of the right shoulder1 bend the elbow slightly and raise it1 sink the wrist1 and turn up the middle knuckles and edge of the sword4 ,advance1 and lower the point until it is nearly opposite and level with the left hip4 ,then advance the right foot about twice its own length straight to the front1 and at the same time bend both knees well4 ,keep the body and head upright1 and divide their weight equally between both legs1 with the loins well pressed in4 ,when this guard is properly formed1 the upper knuckles and elbow are level and in line with the shoulder4 ,it is called ,high ,seconde4 ,on crossing swords1 which should be about nine inches from each other's point1 when it is called an equal engagement1 press your blade gently upon that of your adversary1 so as to close the line in which you are engaged4 ,by this means you are protected from a straight thrust4 ,i prefer this ,engaging ,guard to any other for the following reasons3-- ,that when properly formed1 it protects the arm and body from all cuts1 and the sword is in the best position to defend the head and leg1 which may be done by merely raising and lowering the hand4 ,in other guards you have to turn the point down in addition to doing so4 ,simply raising or lowering the hand will also parry the thrusts1 however high or low or at whatever part they may be aimed4 ,tierce and quarte1 which are the other engaging guards usually taken1 only defend the right and left breasts4 ,the hand and point are also better placed in it than in other guards for giving the stop thrusts and time thrusts by opposition1 and all attacks except those directed at the head4 ,the ,engaging ,guard with the point up is1 however1 preferred and taken by some sabre players4 ,it is called outside guard or tierce when the hand is on the right1 and inside guard or quarte when on the left side of the body4 ,in each of these guards one side of the arm is exposed1 and for that and the above-named reasons ,i do not like either of them so well as the one with the point down 7high seconde74 ,,to ,,form ,,the ,,inside ,,guard ,,or ,,quarte4 ,place the right elbow about eight inches in front of the centre of the right breast1 with the hand advanced and to the left4 ,pommel of the sword opposite the left nipple4 ,the point as high as1 and about two or three inches to the right 7his right7 of your adversary's right eye4 ,edge slightly turned to your left4 ,,to ,,form ,,the ,,outside ,,guard ,,or ,,tierce4 ,move the hand about six or seven inches to the right without shifting the upper arm1 which should be kept near the side1 and slightly turn the palm down4 ,edge to the right4 ,point about two or three inches to the left 7his left7 of your adversary's left eye4 ,hand and point the same height as in ,inside ,guard4 ,these guards may be used as parries with good effect against a bayonet or lance4 ,an ,engaging ,guard formed in the manner above described is called 8,defensive10 as it covers the side on which you are engaged1 and defends it from a straight thrust4 ,it is called 8,offensive0 when the arm is more straightened and the point directed to your adversary1 so that the line in which you are engaged is open4 ,after engaging1 you are not bound to remain with the blades touching1 but it is an advantage to do so to a man who possesses a light hand and has a fine feel of the blade4 ,the feel of the blade often telegraphs to you your adversary's intention4 ,by it you can tell if he is going to attack1 or you may learn what guard he will form on the first movement of your attack upon him4 ,to obtain a proper feel of the blade1 you should not grasp your sword tightly1 but gently press the tips of your fingers on the grip1 and keep as light a touch of your adversary's blade as possible4 ,,to ,,advance4 ,move the right foot about six inches forward1 letting the heel touch the ground first1 then let the left foot follow it the same distance4 ,,to ,,retire4 ,move the left foot back about six inches1 and let the right follow it the same distance4 ,in advancing or retiring1 keep the head and body erect and perfectly steady1 with the knees well bent4 ,,to ,,attack4 ,stretch the sword-arm to its full length as quickly as possible on a level with the shoulder1 without stiffness or jerking or any preliminary movement1 and direct the edge or point of your sword to the part you wish to hit4 ,raise the toes of the right foot1 and step straight to the front1 until the feet are about four times the length of your foot apart2 let the heel touch the ground first4 ,as you raise the foot to longe#a press in the left haunch and straighten the left leg1 keeping the left foot firmly fixed on the ground4 ,in longeing1 let the right heel almost touch the ground4 ,footnote #a3 ,pressing in the left haunch when longeing adds considerable quickness to the attack1 it also causes the body to be upright on the completion of the longe1 and therefore enables a man to recover to the guard with less effort and greater quickness4 ,on the completion of the longe the body and head should be erect1 the shoulders have their natural fall1 and the right knee be perpendicular to the instep1 left leg straight1 and foot flat and firm on the ground1 and the weight of the body equally divided between the haunches4 ,the whole of these movements should be performed together with the greatest rapidity4 ,be careful not to give any sign of preparation1 but make the attack with great boldness and suddenness4 ,do not raise the hand1 or draw it or the point of the sword back when about to deliver an attack2 by so doing you expose your arm to a time cut and the body to a time thrust4 ,in attacking1 never let the foot touch the ground before the sword reaches its destination4 ,in all attacks and returns the point of the sword should travel over no more space than is necessary for it to arrive at its intended destination4 ,,to ,,recover4 ,draw back the arm and foot1 and bending the left knee1 resume the position of ,guard1 with knees well bent4 ,,opposition4 ,is to oppose your sword to that of your adversary when cutting or thrusting1 either in an attack or return1 so as to prevent him from touching you1 at the same time in the same line1 with a counter4 ,thus if you deliver a cut on the left side of his head1 bear your hand to your own left until it is as high as1 and about four inches to the left of1 your eye2 the left side of your head will then be guarded4 ,in like manner1 always cover with the forte of your sword the part of your own person which corresponds with the part you are attacking4 ,while cutting at your adversary's left side or thrusting with your palm turned up in quarte1 your hand should be opposite your left shoulder4 ,while cutting at his right side or thrusting with the palm turned down in tierce1 your hand should be opposite your right shoulder4 ,the elevation of the hand depends on where the attack is made1 but it ought rarely to be below the shoulder1 except when cutting at the leg4 ,against a man who counters on the head1 the hand should be kept as high as your own eye4 ,if you neglect your opposition you are liable to be both guarded and hit at the same time by a man who counters with good opposition4 ,illustration3 ,,plate ,,iii4--,,feint ,,at ,,the ,,head4 ,,plate ,,iii4 ,,feinting4 ,a feint is a threatened attack made to induce your adversary to guard one part while you deliver the real attack on another4 ,it is made by suddenly straightening the arm1 without any movement of the body or feet1 and directing the point at the place you wish him to guard4 ,feints are also made to find out a man's method of defence and general style of play2 when done for that purpose you should watch carefully what he does1 and instantly return to your guard1 but when it is your intention to follow up the feint with an attack the cut should follow the feint with the greatest rapidity4 ,an attack preceded by a feint is done thus3 ,make the feint as directed above1 then longe1 and by a quick and close action of the wrist1 deliver the real attack1 taking care not to draw back the hand as you do so4 ,this is called 8,deceiving a ,guard40 ,,guards4 ,all guards should be made with the edge of the forte of the sword1 that is1 the half of the blade next to the hand 7the other half is called the feeble71 and with the wrist well sunk4 ,a firm guard is thus formed1 and consequently a quick return can be given4 ,too much force should not be used1 so that a second guard may be readily made should the first be deceived4 ,the sword should never be moved one inch more than is necessary to defend the part attacked4 ,illustration3 ,,plate ,,iv4--,a ,,direct ,,lead ,,off ,,at ,,the ,,head ,,and ,,guard 7,,prime74 ,,plate ,,iv4 ,a ,,direct ,,lead ,,off ,,at ,,the ,,head ,,and ,,guard4 ,this is the only direct cut in leading off that can be made with any degree of safety on a man who forms the engaging guard1 shown in ,plate ,,ii4 ,it can be given in five different directions1 viz43-- ,horizontally1 on the right side of the head4 ,ditto on the left do4 do4 ,vertically4 ,diagonally1 on the right temple4 ,ditto on the left temple4 ,i prefer the cuts on the left side of the head1 for the reasons that the extra turn of the wrist necessary for their execution adds considerable force to them1 and that when the opposition is correctly formed the whole of the head is defended from a counter1 which is not the case when the cuts are delivered on the right side4 ,then the opposition only covers that side of the head4 ,this ,i think to be of great importance1 as the head1 as a rule1 is the part at which men naturally and generally counter4 ,the vertical is not an effective one4 ,a downward cut on the top of a man's head protected by a helmet would not do him much harm4 ,in making the horizontal or diagonal cut at the right side of the head1 a man may be timed if his adversary1 instead of guarding1 gives a straight thrust with his hand opposite his right eye as the attack is being made4 ,the opposition thus formed would guard the attack4 ,this cannot be done on the cuts at the left side of the head1 as there is no certain opposition on that side4 ,the diagonal cut at the left side of the head should be aimed at the temple in such a direction that1 should the sword pass through1 it would come out near the right angle of the jaw4#b ,footnote #b3 ,in actual combat ,i should aim the diagonal and horizontal cuts between the ear and the top of the jacket collar4 ,it should be made with the wrist1 and delivered in the manner described in page #bb 7,to ,attack74 ,be careful as you longe to bear your hand to the left1 so that1 as you strike the head1 your hand is as high as1 and a little to the left of1 your left eye and look over your forearm4 ,,guard ,,for ,,the ,,head 7,,prime74 ,raise the hand until it is opposite the right temple1 with the upper knuckles level with the top of the head1 so that you can see under the forte of the sword without lowering the chin4 ,point well advanced1 and nearly opposite to the left elbow1 so as to cover the left cheek and breast4 ,edge upwards4 ,arm slightly bent1 with elbow turned up and hidden behind the hilt4 ,a short man should form this guard a little higher than the right temple4 ,,feint ,a ,,straight ,,thrust ,,at ,,the ,,breast1 ,,and ,,cut ,,at ,,the ,,head4 ,feint a straight thrust at your adversary's breast under his blade1 by suddenly straightening the arm1 with the hand as high as the shoulder1 and hilt turned upwards to protect the arm from a time cut2 then1 without lowering the hand or drawing back the point1 longe and deliver the diagonal cut on the left temple4 ,this attack is sometimes made by feinting at the outside of the leg instead of at the breast4 ,it is not1 however1 so safe1 as you expose the arm to a time cut while making it4 ,illustration3 ,,plate ,v4--,,feint ,,at ,,the ,,head ,,and ,,cut ,,at ,,the ,,left ,,cheek1 ,,and ,,guard 7,,quarte74 ,,plate ,v4 ,,feint ,,at ,,the ,,head ,,and ,,cut ,,at ,,the ,,left ,,cheek ,,and ,,guard4 ,this can only be done when a man forms his head guard with the point too high4 ,feint a cut at the head by straightening the arm and directing the point to a little above the centre of the forehead1 edge of the sword turned downwards4 ,then1 with the action of the wrist1 and without touching your adversary's blade1 pass the sword to your right until you have cleared his point1 and with a longe deliver a cut on his left cheek just below the ear1 the edge of the sword slightly turned up so that the arm may be covered with the hilt4 ,opposition the same as in the diagonal cut at the head 7page #ca74 ,this cut may be given without being preceded by a feint1 when the adversary forms his head guard with the point drawn back and high4 ,illustration3 ,,plate ,,vi4--,,feint ,,at ,,the ,,head ,,and ,,cut ,,at ,,the ,,left ,,breast1 ,,and ,,guard 7,,prime74 ,,guard ,,for ,,the ,,feint ,,at ,,the ,,head ,,and ,,cut ,,at ,,the ,,left ,,cheek4 ,the guard for the head1 described in page #cb1 will stop this attack1 but should you find your opponent is passing his sword under your point1 lower your hand quickly and bear it to your left until the pommel is opposite your left nipple4 ,point as high as the top of your head and a little to the left of your hand1 edge to the left1 wrist sunk1 and inside of forearm resting on the body1 to prevent the cut being given under the wrist4 ,this is the quarte guard with the hand drawn a little back4 ,it may also be used against returns at the left breast4 ,,plate ,,vi4 ,,feint ,,at ,,the ,,head ,,and ,,cut ,,at ,,the ,,left ,,breast1 ,,and ,,guard4 ,this is done under the same circumstances and in the same manner as 8,the ,feint at the ,head and ,cut at the ,left ,cheek10 except that the cut is aimed at the left nipple4 ,opposition the same as when cutting at the head4 ,the guard1 also1 is the same1 except that the hand should be a little lower when forming the quarte4 ,in this illustration the guard is formed with the point down 7prime74 ,illustration3 ,,plate ,,vii4--,,feint ,,at ,,the ,,head ,,and ,,cut ,,at ,,the ,,inside ,,of ,,the ,,wrist4 ,,plate ,,vii4 ,,feint ,,at ,,the ,,head ,,and ,,cut ,,inside ,,the ,,wrist4 ,this is also done under the same circumstances and in the same manner as 8,the ,feint at the ,head and ,cut at the ,left ,cheek10 except that you only make a half longe1 and aiming at the inside of the wrist1 make a retrograde cut by drawing your hand towards your body1 and at the same time retire out of distance to avoid the counter4 ,the guard for this attack is the same as the one for 8,the ,feint at the ,head and ,cut at the ,left ,cheek40 ,none of the three preceding attacks can be made on a man who keeps the point of his sword well down and forward when guarding the head or left breast1 and who does not attempt to return until he has found his opponent's blade4 ,the head guard1 as described in page #cb1 will guard the left cheek and wrist1 and the engaging guard with the edge a little turned to your left will defend the cut at the left breast4 ,they should1 as a rule1 be used against all attacks directed against these parts4 ,the guard with the point up ought only to be used as an auxiliary1 when you find that your point in forming the other guard has got too high4 ,if you always use it to defend the left side1 you may easily be hit by a feint at the left and a cut at the right side or forearm4 ,illustration3 ,,plate ,,viii4--,,feint ,,at ,,the ,,head ,,and ,,cut ,,under ,,right ,,arm1 ,,and ,,guard 7,,high ,,seconde74 ,,plate ,,viii4 ,,feint ,,at ,,the ,,head ,,and ,,cut ,,under ,,the ,,right ,,arm1 ,,and ,,guard4 ,this attack1 when well executed1 is most difficult to judge and guard4 ,feint at the head by suddenly straightening the arm and directing the point to a little above your adversary's forehead1 with the edge of the sword turned down1 then1 without drawing back the arm1 but with the action of the wrist only1 longe and deliver a cut on the right armpit1 the edge slightly turned up so that the arm may be covered with the hilt4 ,always aim this cut high1 so that should your adversary form his guard a little low you will hit the outside of his shoulder4 ,opposition1 hand as high as and opposite to your right shoulder4 ,the cut may sometimes be given on the arm4 ,,guard ,,for ,,the ,,cut ,,under ,,the ,,right ,,arm4 ,should you have been induced to answer the feint and form the head guard1 lower the hand again as quickly as possible to the engaging guard1 with the edge of the sword turned a little to your right4 ,illustration3 ,,plate ,,ix4--,,feint ,,at ,,the ,,head ,,and ,,cut ,,outside ,,the ,,leg1 ,,and ,,guard 7,,seconde74 ,,plate ,,ix4 ,,feint ,,at ,,the ,,head ,,and ,,cut ,,outside ,,the ,,leg1 ,,and ,,guard4 ,this is done under the same circumstances and in the same manner as 8,the ,feint at the ,head and ,cut under the ,right ,arm10 except that you aim the cut at the leg a little below the knee1 or you may make the feint by threatening a thrust at the breast over the blade4 ,opposition to your right1 and as high as possible4 ,,guard ,,for ,,outside ,,leg 7,,seconde74 ,drop the hand as low as the right hip and a little to the right of it4 ,point advanced as in the other guards and about #af inches from the ground4 ,edge upwards4 ,illustration3 ,,plate ,x4--,,feint ,,at ,,the ,,breast ,,and ,,cut ,,inside ,,the ,,leg1 ,,and ,,guard4 ,,plate ,x4 ,a ,,feint ,,at ,,the ,,breast ,,and ,,cut ,,inside ,,the ,,leg4 ,feint a thrust at your adversary's breast over his blade1 and as he raises his guard1 pass your point to your right1 and without touching his blade1 clear his point and deliver a cut inside his leg above the knee with a longe4 ,opposition to your left and as high as possible4 ,,another ,,way ,,of ,,attacking ,,inside ,,of ,,leg4 ,beat your adversary's sword to your right1 then suddenly straighten your arm1 and turning the edge inwards1 longe and deliver a cut on the inside of his leg4 ,opposition to your left1 and as high as possible4 ,,guard ,,for ,,inside ,,of ,,leg4 ,the same as for outside of leg1 except that you move your hand to the left until it hangs over the right knee4 ,illustration3 ,,plate ,,xi4--,,shifting ,,the ,,leg ,,to ,,avoid ,a ,,cut ,,and ,,counter ,,on ,,the ,,head4 ,,plate ,,xi4 ,,shifting ,,the ,,leg ,,to ,,avoid ,a ,,cut1 ,,and ,,countering ,,on ,,the ,,head4 ,as your adversary cuts at your leg1 draw it quickly back and assume the first position shown in ,plate ,i41 and at the same time deliver a diagonal cut on his head or arm1 with good opposition1 so that should your adversary feint at your leg and cut at the head1 the opposition will guard his attack4 ,be careful not to raise the hand in making the counter4 ,this manuvre may also be used against attacks made at the left breast4 ,illustration3 ,,plate ,,xii4--,,shifting ,,the ,,leg ,,when ,a ,,man ,,attacks ,,with ,,his ,,hand ,,below ,,the ,,shoulder1 ,,and ,,counter ,,on ,,the ,,arm4 ,,plate ,,xii4 ,,shifting ,,the ,,leg ,,when ,a ,,man ,,attacks ,,with ,,his ,,hand ,,below ,,the ,,shoulder1 ,,and ,,counter ,,on ,,the ,,arm4 ,the above manuvre may be executed on any cut or thrust given with the hand below the shoulder1 except that the counter should be aimed at the inside of the arm and the left foot moved back about eight inches before drawing up to the first position1 so that you are out of distance4 ,the counter will act as a half circular parry should you not reach the arm4 ,the counter on the head or arm can also be given when a man returns at the leg after guarding his head4 ,in this case you must recover in one movement from the longe to the first position1 and at the same time deliver the counter4 ,it is much more difficult to recover from the longe than from the guard with sufficient quickness to avoid a return1 but practice and good position on the longe will enable any one with good legs to accomplish it4 ,illustration3 ,,plate ,,xiii4--,a ,,draw ,,and ,,guard ,,for ,,shifting ,,the ,,leg ,,and ,,counter ,,on ,,the ,,head ,,or ,,arm4 ,,plate ,,xiii4 ,a ,,draw ,,and ,,guard ,,for ,,shifting ,,the ,,leg ,,to ,,avoid ,a ,,cut ,,and ,,counter ,,on ,,the ,,head ,,or ,,arm4 ,feint a cut at outside leg1 then longe1 and forming the head guard1 receive his counter on your sword and deliver a return under his right arm4 ,illustration3 ,,plate ,,xiv4--,a ,,draw ,,and ,,stop ,,for ,,shifting ,,the ,,leg ,,and ,,counter ,,on ,,the ,,head ,,or ,,arm4 ,,plate ,,xiv4 ,a ,,draw ,,and ,,stop ,,for ,,shifting ,,the ,,leg ,,to ,,avoid ,a ,,cut ,,and ,,counter ,,on ,,the ,,head ,,or ,,arm4 ,feint at outside of leg1 and as your adversary tries to counter1 make a half longe1 and1 aiming at the inside of his wrist1 make a retrograde cut by drawing your hand towards your body1 and at the same time retire out of distance4 ,attacks at the leg should never be made without being preceded by a feint or a beat to divert your adversary's attention1 and even when done in that manner you should be chary of their use4 ,the man on the defensive has the advantage of either guarding and returning or shifting and countering1 and should he adopt the latter method and not shift his leg quickly enough to avoid the hit1 he would have considerably the better of the exchange4 ,i do not1 however1 think that attacks at the leg should be entirely ignored1 neither do ,i think that they should always be avoided by shifting the leg4 ,a man on horseback cannot do so4 ,both methods of defence should be practised4 ,a man who relies entirely upon shifting may easily be drawn into a trap1 as is shown in ,plates ,,xiii4 and ,,xiv4 ,when mounted1 the leg guards defend your horse as well as your leg4 ,returns at the leg may be made without much fear of being countered4 ,,feint ,,and ,,cut ,,at ,,the ,,arm4 ,feint at the right temple and deliver a cut under the forearm1 or feint at the outside of the leg and cut at the top of the forearm4 ,,guard ,,for ,,the ,,arm4 ,,the ,,engaging ,,guard4 ,should your adversary form his engaging guard with his hand higher than his shoulder1 pass the point of your sword suddenly between his forte and wrist1 and1 turning the edge1 deliver a drawing cut on the inside of his wrist1 retiring out of distance as you do so4 ,illustration3 ,,plate ,,xv4--,,guard ,,for ,,an ,,upward ,,cut ,,at ,,the ,,fork4 ,,plate ,,xv4 ,,guard ,,for ,,an ,,upward ,,cut ,,at ,,the ,,fork4 ,this is not a good cut1 and ,i do not recommend its use4 ,to guard it1 draw the right leg up to the first position1 and at the same time form the outside leg guard4 ,,straight ,,thrust4 ,when on guard1 the point of your sword is under the forte of your adversary's1 and a straight thrust may be given should he quit the engagement1 by suddenly straightening the arm and directing the point at his breast2 deliver it with a longe4 ,a good time to make this thrust is when he prepares for his attack or dwells on his feint at your head1 or when he advances1 as described in page #ei4 ,the guard for the straight thrust is the same as that used for guarding the outside of the leg4 ,,thrust ,,by ,,disengaging ,,over ,,the ,,blade4 ,this is given in the same manner and under the same circumstances as the straight thrust1 except that you pass the point of your sword over the forte of your adversary's4 ,these thrusts may be given either with the palm of the hand turned down in tierce1 when the hand should be opposite to your right shoulder1 or with the palm turned up in quarte1 when the hand should be opposite your left shoulder4 ,in both thrusts the edge of the sword should be well turned up1 so that the hand and arm are covered by the hilt1 and the point brought in line with the adversary's breast4 ,as the point touches1 the hand should rise and the grip of the sword be slightly eased1 the arm kept perfectly straight and well stretched4 ,it is dangerous to thrust when practising with sabres1 unless you are well protected with pads2 but with sticks the point should be freely used1 always1 however1 taking care to ease the grip as the point touches1 so that your hand may slip a little up the stick1 and by that means avoid giving your adversary an unpleasant prod4 ,the guard for the thrust over the blade is the same as that used for guarding the head4 ,,feint ,a ,,straight ,,thrust ,,and ,,disengage ,,over ,,the ,,blade4 ,straighten your arm and threaten a straight thrust1 and without bending the arm or drawing it back1 disengage over the blade and deliver the thrust with a longe4 ,,to ,,guard ,,this ,,attack4 ,form the outside leg guard1 and then the head guard1 as quickly1 lightly1 and closely as possible4 8,,one1 ,,two40 ,pass your point over your adversary's blade1 and with a straight arm threaten a thrust1 then1 instantly1 without bending the arm or drawing it back1 pass your point under his sword and deliver a thrust with a longe4 ,to guard this attack1 form the head guard and then the outside leg guard4 ,,attacks ,,made ,,with ,,an ,,advance4 ,all the attacks can be preceded by an advance4 ,when so done1 the movement should be covered with a beat either under or over the adversary's blade1 to prevent a stop thrust being given4 ,the beat should be made very closely with the thumb and forefinger1 and both it and the feint should be done while advancing1 and the cut or thrust given with the longe4#c ,footnote #c3 ,the beat may also be used with great advantage in attacks not preceded by an advance4 ,it should be made when a counter is expected1 which it would most probably prevent1 and should occasionally be used to check the adversary's parry4 ,in the advance and longe the right foot moves twice and the left once4 ,they should move as quickly as it is possible to count 8,one1 two1 three40 ,a short man ought to use this method of attack when opposed to a tall man1 as otherwise he cannot reach him4 ,he should advance very rapidly1 with short steps1 and be prepared to parry as he goes forward should his beat be deceived4 ,a tall man ought seldom or never to advance when attacking4 ,,returns4 ,returns should be made with a longe with the greatest rapidity after guarding4 ,great care must be taken not to draw back the hand or point before making them4 ,they should1 as a rule1 be made direct1 but may sometimes be preceded by a feint1 and should be very much varied4 ,the best returns from the different guards are the following1 placed in the order of their comparative merits1 that is1 the first is a better return than the second1 and so on2 but their application should depend a great deal on your adversary's defence3-- ,,from ,,guarding ,,the ,,head4 ,cut at the head4 ,do4 under the right arm4 ,thrust at breast with palm down 7tierce74 ,cut at outside the leg4 ,do4 left breast4 ,do4 inside the leg4 ,,from ,,guarding ,,the ,,right ,,side ,,under ,,the ,,arm4 ,cut at the head4 ,thrust at the breast with palm down 7tierce74 ,cut under right arm4 ,do4 on outside the leg4 ,do4 on left breast4 ,do4 on inside the leg4 ,,from ,,guarding ,,the ,,left ,,breast ,,with ,,the ,,point ,,of ,,the ,,sword ,,down 7,,prime74 ,cut at the head4 ,thrust at the breast with the palm turned up 7quarte74 ,cut under the right arm4 ,do4 at the outside of leg4 ,do4 do4 left breast4 ,do4 do4 inside of leg4 ,,from ,,guarding ,,the ,,left ,,breast ,,or ,,left ,,cheek ,,with ,,the ,,point ,,up 7,,quarte74 ,thrust at the breast with palm turned up 7quarte74 ,cut at right cheek or neck 7horizontal74 ,do4 at head 7left diagonal74 ,do4 under right arm4 ,do4 outside of leg4 ,do4 left breast4 ,do4 inside of leg4 ,,from ,,guarding ,,outside ,,of ,,the ,,leg4 ,cut at the right side of the head1 neck1 or shoulder4 ,thrust at the breast 7palm turned down74 ,cut at the inside of leg4 ,do4 under the right arm4 ,do4 left breast4 ,do4 outside of leg4 ,do4 left horizontal at head4 ,as you form the guard draw back your sword until it is clear of your adversary's point1 and deliver a horizontal cut on the left side of his head4 ,,from ,,guarding ,,the ,,inside ,,of ,,leg4 ,thrust at the breast 7palm turned up74 ,cut at the head4 ,do4 under the right arm4 ,do4 outside of the leg4 ,do4 left breast4 ,do4 inside of leg4 ,,from ,,guarding ,,the ,,thrust ,,under ,,the ,,blade4 ,make the returns as from guarding outside of the leg4 ,,from ,,guarding ,,the ,,thrust ,,over ,,the ,,blade4 ,make the returns as from guarding the head4 ,returns at the arm should always be made when an opportunity is given4 ,,stop ,,thrusts4 ,a stop thrust is given1 when a man advances with his attack4 ,immediately you see him move1 deliver a straight thrust at his breast with a longe2 you will then1 if your movement is done in proper time1 find your point on his breast as he has completed the advance1 and he will be unable to longe and deliver his attack4 ,to prevent this thrust being made on you1 beat under your adversary's blade as you advance4 ,illustration3 ,,plate ,,xvi4--,,to ,,deceive ,,the ,,beat ,,under ,,the ,,blade 7,,quarte ,,thrust74 ,,plate ,,xvi4 ,,to ,,deceive ,,the ,,beat ,,under ,,the ,,blade 7,,quarte ,,thrust74 ,as your adversary advances with a beat1 pass your point over the forte of his blade1 and thus avoiding his beat1 longe and deliver the thrust4 ,,to ,,avoid ,,this4 ,instead of beating under the blade as you advance1 pass your point over the blade and beat down4 ,illustration3 ,,plate ,,xvii4--,,stop ,,cut ,,after ,,deceiving ,,the ,,beat ,,over ,,the ,,blade4 ,,plate ,,xvii4 ,,stop ,,cut ,,after ,,deceiving ,,the ,,beat ,,over ,,the ,,blade4 ,as he advances with a beat over your blade1 draw your arm back1 and1 avoiding his sword1 deliver a cut at his head1 or a thrust at his breast1 with a longe4#d ,this may also be done on a man who attacks your sword1 or who makes short cuts at your head4 ,on such occasions you must be careful to draw your hand towards your right temple1 so that should he make a real attack your head would be guarded4 ,footnote #d3 ,if it should unfortunately occur that you have to defend yourself with an ordinary stick against a man similarly armed1 he will probably seek to disarm you by cutting at your hand4 ,deceive him by offering the hand1 and on his cut1 draw it back1 and cut straight at his head4 ,his blow will fall harmlessly1 and the effect of yours will be considerably confusing to him4 ,stop thrusts may also be used with great effect on a man who retires as you lead off at him1 and then advances before making his return4 ,to do them under these circumstances1 you must be very quick on your legs1 so as to be able to recover to your guard and deliver the thrust as he advances4 ,if you are not quick enough to do this1 make a false attack with a half longe and draw him2 you will then have more time4 ,,to ,,draw ,,the ,,stop ,,thrust ,,and ,,stop ,,cut4 ,these may be drawn and parried thus3 ,advance as if you intended to attack1 but instead of doing so parry the thrust and return quickly4 ,,plate ,,xviii4 ,,another ,,stop ,,thrust ,,used ,,against ,a ,,man ,,who ,,longes ,,with ,,his ,,arm ,,bent1 ,,or ,,who ,,draws ,,his ,,hand ,,back ,,when ,,attacking4 ,illustration3 ,,plate ,,xviii4--,,stop ,,thrust 7,,tierce7 ,,when ,a ,,man ,,draws ,,his ,,hand ,,back ,,to ,,attack4 ,immediately you see him move1 longe and deliver a straight thrust1 or you may give the thrust without longing1 by merely straightening the arm4 ,i prefer1 however1 to longe with the thrust1 as it is more certain to stop the attack4 ,stop thrusts1 to be successful1 should be given without hesitation and with the greatest boldness4 ,,remise4 ,a remise is a sort of time hit made on the longe1 when a man after guarding delays his return4 ,it is done thus3 ,immediately after you have delivered your attack1 draw your hand and head back to simulate a recovery1 and without moving the foot1 make a second hit at the same place as rapidly as possible4 ,unless this hit is given decidedly before the return is made1 the hit counts to the one who returns4 ,,renewal ,,of ,,the ,,attack ,,or ,,redoubling4 ,a redouble is a renewal of the attack when your adversary after guarding does not return4 ,it should be done with great rapidity and in a different line to that of the first attack4 ,,reprise ,,attack4 ,a reprise is a sudden repetition of the attack1 after a phrase in which no hit has been got and both have returned to the guard4 ,it must be done with great quickness1 so as to catch your adversary a little unprepared4 ,illustration3 ,,plate ,,xix4--,,time ,,thrust ,,with ,,opposition4 ,,plate ,,xix4 ,,time ,,thrust ,,with ,,opposition4 ,a time thrust can be made when a man feints at your head and tries to deliver a cut under your right arm1 or on any part of the right side down to the foot4 ,as he raises his point to feint1 make a straight thrust at his breast with a longe1 keeping your hand as high as your right shoulder and a little to the right of it4 ,palm turned down4 ,should you be quick enough1 your point will fix on his breast1 and his cut will fall on the forte of your sword4 ,if you are too slow1 your thrust will guard his attack1 although you may not touch him4 ,the same movements should be executed on the adversary1 when from the engagement of ,high ,seconde he endeavours to deceive prime1 or1 when from that of tierce1 he tries to deceive quarte with 8,one1 ,two40 ,,another ,,time ,,thrust4 ,when from the engagement of quarte he attempts to deceive tierce by a 8,one1 ,two10 lower your point on his first movement1 and bearing your hand to your right1 deliver a thrust on his right flank with a longe4 ,hand to your right and palm turned down4 ,,to ,,draw ,,and ,,stop ,a ,,time ,,thrust4 ,feint a cut at the head or a thrust over the blade1 and instead of delivering a cut or thrust1 parry the thrust1 and return with a half longe4 ,,plate ,,xx4 ,a ,,time ,,cut4 ,illustration3 ,,plate ,,xx4--,,time ,,cut ,,when ,a ,,man ,,raises ,,his ,,hand ,,to ,,attack4 ,when a man raises his hand or draws it back to lead off1 hit him on the outside of the wrist and get away out of distance4 ,in using the stop thrusts1 remises1 and time thrusts1 great judgment is required4 ,they should never be attempted until the swordsman has had considerable experience4 ,when given at the proper time1 they are beautiful and effective strokes1 but when badly timed1 great danger attends their use1 and mutual hitting is often the result4 ,young players will do well not to attempt them4 ,in an assault1 should you find yourself timed and not know how to draw and stop a time thrust1 your safest plan will be to make direct attacks only1 that is1 attacks not preceded by a feint4 ,,drawing4 ,is to induce your adversary to deliver a certain cut or thrust for which you are prepared4 ,to do this1 make a false attack1 that is1 attack with a half longe so that you can the more readily recover and guard2 thus1 having drawn out and guarded his cut1 instantly deliver a genuine one4 ,to prevent this being done upon you1 draw back your hand as your adversary makes his false attack1 and thus avoiding his sword1 deliver a cut on his head with a longe 7vide ,plate ,,xvii474 ,,observations ,,on ,,feinting4 ,when a man makes a feint on you and you foresee his intention1 do not answer it1 but wait and parry his last movement4 ,when acting on this principle1 take care he does not make a direct attack1 for should he do so1 you will be too late1 as his arm would be straight before you have moved4 ,if you answer a feint1 form your first guard as lightly and as correctly as possible1 so that you have time to make a second one4 ,by not forming the first correctly1 your adversary1 taking advantage of your fault1 would be able to hit you when otherwise he could not4 ,the hits shown in ,plates ,v41 ,,vi41 and ,,vii4 are got through this cause4 ,when you are in doubt about his intentions1 step back out of distance on his first movement4 ,when a man will not answer your feints1 make them with greater energy and rapidity1 and thus force him to do so4 ,,how ,,to ,,deal ,,with ,a ,,man ,,who ,,is ,,continually ,,countering4 ,when you meet with a man who is guilty of this very bad practice1 you should deal with him in the following ways3-- ,either act on the defensive and let him lead off1 then after guarding1 return as quickly as possible and get away4 ,or1 make false attacks1 and thus draw out his counters1 which guard1 and then returning with great quickness1 get away4 ,or1 by opposition1 when1 should his counters be directed at your head or left side1 lead off without feinting with good opposition 7in fact your opposition should be slightly exaggerated7 at the part of his person which will correspond with that of your own at which you think he will aim his counter4 ,if his counters are directed at your right side1 attack him with a straight thrust with your hand as high as1 and a little to the right of1 your right shoulder4 ,palm turned down4 ,,when ,,opposed ,,to ,a ,,man ,,who ,,engages ,,in ,,quarte ,,or ,,tierce4 ,when opposed to a man who engages in quarte or tierce1 you will find that he will guard his right cheek and side with tierce1 and his left side with quarte4 ,you may then make the following attacks in addition to those already shown3-- ,from the ,engagement of ,tierce4 ,cut at the inside of his wrist4 ,feint inside the wrist and cut at the outside4 ,feint at the left cheek and cut at the right4 ,feint at the left breast and cut at the right side or at his forearm4 ,from the ,engagement of ,quarte4 ,cut at the outside of his wrist4 ,feint outside the wrist and cut at the inside4 ,feint at the right cheek and cut at the left4 ,feint at the right side and cut at the left4 ,his stop thrust should be avoided in the following manner3-- ,to prevent him from giving you a straight thrust as you advance to attack1 beat his blade either in tierce or quarte4 ,should he avoid the beat by disengaging and thrust upon you1 make a beat before you move the feet1 then1 as you advance1 change quickly and beat on the other side of his blade1 and instantly deliver your attack4 ,the beat will probably draw his disengagement1 and the change will parry it4 ,to change is to pass your sword under that of your adversary1 and rejoin the blades on the opposite line4 ,,observations4 ,,on ,,countering ,,and ,,hard-,,hitting4 ,when you are making an assault with sabres or sticks1 remember they are substitutes for sharp swords1 and act as though every hit you would receive would either kill or disable you4 ,all your movements must be governed by this idea4 ,you should never attempt to do anything with a stick that you could or would not do with a sword4 ,you must remember that in an actual combat the sabres have sharp points and edges1 and that a very light touch would probably place you hors de combat4 ,hitting at your adversary when he is attacking you is almost as bad as cutting your own throat1 for you are almost certain to be more or less seriously wounded2 your chances of escape are very small indeed4 ,you must1 therefore1 always endeavour to guard the attack and never counter except when you can avoid the hit by shifting4 ,you must never hit after you are hit1 as it is very doubtful if you would be able to do so with sharp swords4 ,the act of countering1 so deservedly popular among boxers1 is not admissible here4 ,a blow with the fist will probably only shake you1 but with a sharp sword the effect would be much more serious4 ,there is no such thing as give and take with that weapon1 and ,i question if there is much in a serious encounter with sticks1 as a well delivered blow on any part of the head would in all probability cause a cessation of hostilities4 ,rough and heavy hitting should be avoided3 it destroys quickness2 greater effect is given to a hit by pace than by force4 ,a hard hitter has to brace himself together before attacking2 he thus prepares1 and while doing so may easily be hit4 ,if his attack is guarded1 he cannot recover and guard a return so readily as he ought to do4 ,his returns are not given so quickly as they should be1 for after guarding1 he is almost certain to draw his hand back in order to make them with greater force4 ,as he hits1 so he will guard2 heaviness will pervade all his movements2 therefore1 if you deceive his guard1 he cannot make a second one with sufficient quickness to stop a good attack1 as he will throw too much force into the first4 ,slowness is the natural result of heaviness1 quickness that of lightness2 therefore1 if you wish to become a bon tireur1 cultivate and practise light play4 ,in trying to play light1 you must not get into the habit of making snatching hits by which you would only scratch your adversary4 ,however lightly you deliver them1 let them be so given that with a sharp sword they would be effective1 and your points fixed so that they would penetrate4 ,,cut versus ,,thrust4 ,some writers on the sword1 acting on the presumption that the sword must be elevated in order to gain force before cutting1 have asserted that the point traverses two-thirds less distance when thrusting than when cutting4 ,if this were correct1 the less use made of the cut the better1 as a good swordsman would most certainly give a time cut on the arm or deliver a thrust on a man while he was thus preparing to cut4 ,i once saw a sketch drawn to prove this assertion1 in which the man thrusting was depicted with his point lowered to a line with his adversary's breast instead of being level with his eye1 while the man who was cutting1 and should have had his sword similarly placed1 had his point drawn back and raised about two feet above his head1 a distance greater than ,i should draw the point of my sword back were ,i going to cut the carcase of a sheep in two at one stroke4 ,the point should not be drawn back or elevated when cutting either in an attack or in a return4 ,there is only one direct cut in leading off 7that at the head71 and that can be given with quite sufficient force without the slightest elevation of the point if the sword arm and leg act together4 ,in all other attacks and returns the feint1 or the act of forming the guard1 gives great impetus to the cut4 ,it has also been asserted that in making a thrust the sword moves in a straight line1 and in making a cut it moves in a circle4 ,this assertion is erroneous1 and having been made without contradiction1 has been generally accepted as a fact1 and hence become a popular error4 ,all straight thrusts and disengagements move in straight lines1 but in the cut over1 the point has to be drawn back before the thrust can be given1 and when a cut over is made after a parry1 the point traverses as great if not a greater distance than in any cut4 ,compare the following movements1 which ,i think are the longest made either in thrusting or cutting4 ,engage with foils in quarte and parry the disengagement into tierce with prime1 and riposte with a cut over4 ,engage with sabres in high seconde1 and1 guarding an attack at the head with prime1 return at the inside of the leg4 ,all direct cuts at the right side on any part from head to foot1 from whatever guards they are made1 move in as straight lines as any thrusts that can be given1 and are consequently as quick4 ,in all other cuts the point moves in a circle4 ,however partial one may be to the thrust1 and ,i acknowledge that ,i am one of its partisans1 justice should be given to the cut1 and although it may not in every instance be so quick or so fatal in its effect as the thrust1 it has its advantages4 ,among others1 it rarely passes1 that is1 goes by the object aimed at1 without touching it1 as the thrust will often do1 more particularly when aimed at the arm or leg4 ,,useful ,,hints4 ,immediately you go on guard1 touch your adversary's sword with yours1 and retire out of distance to avoid a surprise4 ,this is called 8engaging40 ,keep your eyes open and fixed upon your adversary1 watching all his movements4 ,hold yourself in as easy a manner as possible1 particularly the sword arm4 ,keep your knees well bent while setting to2 you cannot longe quickly unless you do4 ,move the feet lightly1 and never drag them on the ground4 ,be careful to always keep sufficient room behind you to be able to retire4 ,should your adversary try to drive you back1 either attack him or threaten an attack4 ,while manuvring1 keep out of reach1 and plan your attacks and deliver them immediately you are within distance1 then recover to the position of guard whether you have succeeded or not4 ,should your adversary guard your attack and return1 form the necessary guard1 and make a second attack without the slightest delay4 ,do not hit at the same place more than twice in succession1 but vary your attacks and returns very much4 ,after two or three exchanges1 break away out of distance to steady yourself and plan your next movements4 ,in making long phrases you get slow and out of form1 and1 consequently1 are not likely to get a hit4 ,always deliver your cuts with a true edge and with the centre of percussion1 which is generally about seven or eight inches from the point4 ,it is the most effective part of the sword to cut with1 and will not jar the arm like a cut made with any other part of the blade4 ,never press upon your adversary's blade after having delivered a cut or thrust1 but recover as quickly as possible to guard the return4 ,should he press upon yours1 disengage and return as quickly as possible4 ,make all your cuts with the wrist2 never throw your arm out of line1 but always keep it in front of you4 ,the action of cutting at your opponent's left side 7called the inside line71 is something like that of throwing1 and at his right side 7outside line7 like that of whipping4 ,always keep in front of your opponent1 never more to your right or left2 should he do so1 keep on your own ground1 turning only so much as to enable you to have your right toes pointed to his4 ,let him move round as much as he likes3 he will only tire himself and gain no advantage4 ,keep the head and body erect and quiet in all positions4#e ,if you lean forward on the attack1 a man much shorter than yourself can thrust you through the head by simply retiring and straightening his arm1 while your attack would not reach him4 ,you also cannot recover quickly1 as too much weight is thrown upon the front leg4 ,footnote #e3 ,the advantages of this are fully and clearly shown by that justly celebrated fencer1 ,captain ,g4 ,chapman1 in his 8,sequel to ,foil ,practice40 ,avoid remaining on the longe and getting to close quarters1 no true defence can be made when in-fighting4 ,if you remain on the longe1 your adversary may easily and without any danger step forward with his left foot and seize the wrist of your sword arm with his left hand4#f ,by always recovering to your guard such a manuvre is avoided1 and1 if attempted1 you may easily deliver a straight thrust as he steps forward4 ,footnote #f3 ,although this would not be permitted in a duel1 a man would not hesitate to do it in actual combat4 ,another reason why you should always recover to your guard after an attack is1 if you remain on the longe and your adversary retires one step1 you cannot reach him2 he has then the advantage of position1 and will be able to attack you1 while you can only act on the defensive4 ,if you can hit your adversary without feinting1 do so1 as it is more dangerous to make two motions than one4 ,use judgment1 study your opponent's play1 and make no meaningless movements4 ,an assault ought not to last longer than ten minutes4 ,after that time1 if you have fenced with energy and vigour1 you lose your quickness and get out of form1 and thereby contract slow and bad habits4 ,,exercises4 ,the following exercises may be practised by two advanced players4 ,the hits and guards must be made as correctly1 smartly1 and as rapidly in succession as possible1 taking it in turns to lead off4 ,care being taken not to move the left feet1 and to strictly preserve the proper distance between you4 ,the following is an example of the way in which they should be gone through3-- ,we are both on guard1 and in hitting distance4 ,i say1 8,you lead off40 ,head1 head1 under right arm4 ,you then lead off at my head1 which ,i guard and return with a longe at yours4 ,you recover1 and guard your head1 and then with a longe hit under my right arm1 ,i guard4 ,we should then remain steady a few moments1 you on the longe hitting under my right arm1 ,i on guard defending my right side1 to see if the positions of the sword arms1 feet1 and bodies are correct4 ,this should invariably be done at the finish of each exercise4 ,it helps to keep you in form4 ,,another ,,example4 ,you say to me1 8,you lead off40 ,feint head1 and hit under right arm4 ,thrust at breast4 ,head4 ,i feint at your head1 and cut under your right arm1 which you guard1 and longeing1 return with a thrust at my breast4 ,i recover and parry it1 then1 with a longe1 cut at your head4 ,both remain steady to see the positions4 #ast ,exercise4--,head4 ,head4 ,head4 #bnd do4--,head4 ,head4 ,under right arm4 #crd do4--,head4 ,head4 ,outside leg4 #dth do4--,head4 ,head4 ,left breast4 #eth do4--,head4 ,head4 ,inside leg4 #fth do4--,feint head1 hit under right arm4 ,thrust at breast4 ,head4 #gth do4--,feint head1 hit outside leg4 ,thrust at breast4 ,head4 #hth do4--,thrust straight at breast4 ,head4 ,hit under right arm4 #ith do4--,disengage with a thrust4 ,hit under right arm4 ,head4 #ajth do4--,head4 ,head4 ,hit under right arm4 ,thrust at breast4 ,head4 #aath do4--,head4 ,head4 ,hit outside leg4 ,thrust at breast4 ,head4 #abth do4--,feint a thrust under the blade1 and hit at the head4 ,inside leg4 ,thrust at the breast4 ,head4 ,head4 ,in these exercises you must not get into the habit of cutting only at each other's swords1 and thereby making a mock combat1 but you should try to hit each other on every occasion4 ,,the ,,salute4 ,the ,salute is a ceremony usually performed by two sabre players previous to making an assault4 ,it is a mark of respect to those looking on1 and an act of courtesy to each other4 ,both should move together1 and keep correct time throughout its performance4 ,there is no established method1 but the following is that generally adopted by the best sabre players ,i know4 ,the two adversaries1 facing each other in the first position1 without wearing masks1 which should be laid on the floor on their left1 go smartly on guard1 as shown in ,plate ,,ii41 and having beat twice on each other's blades1 return to the first position4 ,both bring the hilt to the mouth1 the point of the thumb level with the lower lip1 sword upright1 and edge to the left4 ,this is called 8,recover swords40 ,then turning the face and directing the eyes to the left1 slowly and gracefully extend the arm and the sword in the same direction until the point is level with the centre of the face and arm nearly straight1 hand in quarte1 and as high as the shoulder4 ,after a short pause both again recover swords1 and1 turning the face to the right1 extend the hand in a similar manner to the right4 ,hand in tierce4 ,from there they recover swords1 and1 falling on guard1 beat a double attack with the right foot 7a beat with the heel and one with the flat of the foot in rapid succession74 ,then1 bringing the left foot up to the right1 recover swords1 and lower the hand and sword slowly towards the right hip4 ,arm straight1 palm down1 and edge to the right4 ,,rules4 ,you must not attack until an engagement has been formed4 ,touches on any part are counted good4 ,you must not hit after you are touched1 but recover to the first position and acknowledge the hit4 ,after each hit1 both men should go to their original ground1 and form a fresh engagement before renewing the assault4 ,when a man leads off with proper quickness1 the other should guard before returning4 ,should he not do so1 the hit belongs to the one who led off4 ,when two men lead off together and both hit1 neither hit is counted4 ,when the ,remise or ,redouble and ,return are made together1 the hit belongs to the one making the ,return4 ,if the ,stop ,thrust is not made in sufficient time to prevent the attack being delivered1 the hit counts to the one making the attack4 ,a hit is counted good after a disarmament1 if given immediately after and before there is time to think4 ,,dress ,,for ,,sabre ,,play4 ,although the figures in the preceding illustrations are shown without masks or pads1 no practice ought ever to be made without them4 ,the following is the dress usually worn4 ,a flannel shirt and trousers1 shoes with soles of buff leather1 without heels4 ,a stout leather jacket1 arm guard1 leather apron1 leg guard on right leg1 and a pair of shoulder pads1 shaped like a milkman's yoke4 ,a strong helmet covered with leather on the top1 with large ear guards1 and the mask of strong wire with the meshes sufficiently small to prevent the point of the sabre passing through4 ,a leather stock should also be worn round the neck4 ,when practising with sticks1 the shoulder pad and arm guard may be dispensed with1 and the hand ought to be protected with a buffalo hide hand guard4 ,basket hilts are dangerous1 as the point of the stick is apt to pass through them1 and your hand may thereby be seriously injured4 ,,practice ,,sabre4 ,the practice sabre should have a quill edge1 which is the bluntest edge there is1 and the point should be rounded off4 ,,sabre v4 ,,bayonet4 ,while writing on this subject1 the fencing names of the parries will be used1 viz43-- ,prime 7,head ,guard74 ,seconde 7,outside ,leg ,guard74 ,tierce 7,outside ,guard74 ,quarte 7,inside ,guard74 ,in describing how to deal with a man armed with a rifle and bayonet1 it will be necessary to explain his methods of attack and defence4 ,a bayonet should be used like a foil1 but in consequence of its weight and general unwieldiness1 the simple movements of the latter weapon can only be executed by it1 and as the sabre1 from its weight and shape1 is similarly circumstanced1 the two arms1 in that respect1 are on equal terms4 ,illustration3 ,,plate ,,xxi4--,,engaging ,,guard4 ,,plate ,,xxi4 ,,engaging ,,guard4 ,a bayoneteer1 therefore1 engages in tierce or quarte1 from which he can make the following attacks3-- ,a straight thrust4 ,a disengagement4 ,feint a straight thrust and disengage4 8,one1 ,two0 7feint a disengagement into one line and disengage into another74 ,,how ,,to ,,parry ,,his ,,straight ,,thrusts ,,and ,,disengagements4 ,all his straight thrusts or disengagements over your blade may be parried with prime1 and all those under your blade with seconde4 ,these parries are stronger than tierce and quarte1 and are1 therefore1 better adapted for parrying such a heavy weapon as a rifle and bayonet4 ,they also defend the head and leg as well as the body1 while the others only guard the breast4 ,tierce and quarte may1 however1 be occasionally used against his thrusts at the breast4 ,a greater variety of returns would be thereby obtained4 ,,how ,,to ,,parry1 8,,feint ,a ,,straight ,,thrust1 ,,and ,,disengage40 ,his feint of a straight thrust1 when engaged under the blade and disengagement over the blade1 may be parried with seconde and prime4 ,his feint of a straight thrust1 when engaged over the blade and disengagement under the blade1 may be parried with prime and seconde4 ,,how ,,to ,,parry 8,,one1 ,,two40 ,his 8,one1 ,two0 below and above your blade may be parried with seconde and prime1 and his 8,one1 ,two0 above and below your blade with prime and seconde4 ,if he should deceive your quarte by feinting in quarte and thrusting in tierce1 parry tierce4 ,if he deceive your tierce by 8,one1 ,two10 parry seconde4 ,should you at any time foresee that he is going to attack with 8,one1 ,two10 do not answer the feint1 but wait and parry his last movement4 ,your parries1 which should be made with the edge of the forte of the sword1 must be close1 and finished with firmness1 without stiffness or too much force4 ,,returns4 ,the best returns from the different parries are the following1 placed in the order of their comparative merits2 but their application should greatly depend on the adversary's defence4 ,,from ,,parrying ,,prime4 ,straight thrust at breast 7hand in tierce and opposite your right shoulder74 ,cut at the left forearm4 ,do4 head 7left diagonal74 ,do4 inside leg4 ,,from ,,seconde4 ,thrust at breast over the guard 7palm turned down74 ,cut at the right side of the head1 neck1 or shoulder4 ,do4 left forearm4 ,do4 outside leg4 ,do4 inside leg4 ,illustration3 ,,plate ,,xxii4--,,parry ,,of ,,tierce4 ,,plate ,,xxii4 ,,parry ,,of ,,tierce4 ,,from ,,tierce4 ,thrust at breast under the guard 7hand in tierce and opposite your right shoulder74 ,cut at outside right forearm4 ,do4 head 7left horizontal74 ,do4 do4 7right diagonal74 ,do4 inside leg4 ,illustration3 ,,plate ,,xxiii4--,,parry ,,of ,,quarte4 ,,plate ,,xxiii4 ,,parry ,,of ,,quarte4 ,,from ,,quarte4 ,thrust under left arm 7hand in quarte and opposite left shoulder74 ,cut at left forearm4 ,do4 head 7right horizontal74 ,do4 do4 7left diagonal74 ,do4 outside leg4 ,,how ,,to ,,attack ,a ,,man ,,armed ,,with ,a ,,rifle ,,and ,,bayonet4 ,a man thus armed engages in quarte or tierce1 but standing with his left foot in front1 his quarte will be your tierce and his tierce your quarte2 that is1 his right side is his quarte and your right side is your tierce1 and vice vers4 ,he will parry attacks made at the right side of his head or body with quarte1 and those made at the left side of the head or body with tierce4 ,he will defend the top of his head with prime and his leg with half-circle4 ,in both of these guards his left arm is very much exposed4 ,the following attacks without a feint may be made3-- ,cut at his left wrist4 ,thrust straight when the line in which he is engaged is not closed4 ,disengage with a thrust either from tierce to quarte or from quarte to tierce4 ,,plate ,,xxiv4 ,,to ,,deceive ,,his ,,prime4 ,illustration3 ,,plate ,,xxiv4--,,cut ,,inside ,,of ,,wrist ,,after ,,feint ,,at ,,head ,,to ,,deceive ,,prime4 ,feint at head and thrust under his guard4 7,hand in tierce and opposite your right shoulder47 ,ditto1 and cut inside his left wrist 7vide ,plate ,,xxiv474 ,ditto1 ditto1 inside his leg4 ,illustration3 ,,plate ,,xxv4--,,cut ,,at ,,head ,,after ,,feint ,,at ,,inside ,,leg ,,to ,,deceive ,,half-,,circle4 ,,plate ,,xxv4 ,,to ,,deceive ,,his ,,half-,,circle4 ,feint at inside of leg1 and thrust at left breast over the guard4 7,hand in quarte and opposite your left shoulder47 ,ditto1 and cut at his head 7vide ,plate ,,xxv474 ,ditto1 ditto1 at his left wrist4 ,illustration3 ,,plate ,,xxvi4--,,thrust ,,in ,,quarte ,,after ,,feint ,,in ,,tierce4 8,,one1 ,,two0 ,,to ,,deceive ,,tierce4 ,,plate ,,xxvi4 ,,to ,,deceive ,,his ,,tierce4 ,feint a thrust in tierce 7his left breast7 and disengage with a thrust into quarte 8,one1 ,two40 7,hand in tierce and opposite your right shoulder1 vide ,plate ,,xxvi47 ,feint a cut at his left side and cut at his right4 ,ditto1 ditto1 at his left cheek and cut at his right4 ,illustration3 ,,plate ,,xxvii4--,,thrust ,,under ,,left ,,arm ,,after ,,feint ,,in ,,quarte ,,to ,,deceive ,,quarte4 ,,plate ,,xxvii4 ,,to ,,deceive ,,his ,,quarte4 ,feint a thrust in quarte 7his right breast7 and disengage with a thrust in tierce 8,one1 ,two40 7,hand in quarte and opposite your left shoulder47 ,feint a thrust in quarte1 and disengage under his left arm 8,one1 ,two1 ,low40 7,hand in quarte and opposite your left shoulder1 vide ,plate ,,xxvii47 ,feint a cut at his right side and cut at his left arm4 ,ditto at his right cheek and cut at his left4 ,all the above-named attacks may be preceded by a beat or an advance and beat4 ,the stop thrusts1 time thrusts with opposition1 remise1 redouble1 and reprise can be made upon you by a man armed with a gun and bayonet1 and you can use them against him under the same circumstances as when opposed to a sabre4 ,to avoid his stop thrusts1 you must adopt the methods recommended when opposed to a man who engages in tierce or quarte 7vide page #gh74 ,,general ,,observations4 ,the bayoneteer has the longer weapon4 ,you have the handier one4 ,you must therefore use such tactics as will give it the advantage4 ,on taking guard1 keep out of distance1 and by feinting1 endeavour to find out whether1 if you attack him1 he will parry or counter with a thrust1 which some men1 relying on the superior length of the rifle and bayonet1 do when attacked4 ,if you think that the latter is his intention1 make false attacks1 as described in page #gf1 and draw out his thrust1 which1 having guarded1 return with the greatest rapidity4 ,a counter with a bayonet must be avoided by every means possible4 ,should you see that he is disposed to guard1 you may attack him without much fear of a counter4 ,you should not attack too often1 but rely more upon your guard and quick return4 ,when1 however1 you do attack1 use the feints very much4 ,doing so gives the advantage to the handier weapon4 ,your returns1 in which the thrust should take a prominent part1 must be made with the greatest rapidity1 and the opposition in them1 as in the attacks1 strictly maintained1 so that he cannot possibly deliver a remise thrust4 ,illustration3 ,,plate ,,xxviii4--,,how ,,to ,,seize ,,the ,,rifle ,,after ,,parrying ,,prime4 ,,plate ,,xxviii4 ,,how ,,to ,,seize ,,the ,,rifle ,,after ,,parrying ,,prime4 ,if you at any time have an opportunity of parrying his thrusts with your left hand1 or of seizing the barrel of his rifle with it1 do so4 ,you must not then struggle and try to get it out of his hands1 but must deliver a cut or thrust as quickly as possible4 ,in an actual combat you would then have little difficulty in getting his weapon should you want it4 ,a good time to attempt this is when1 after you have parried prime1 he does not recover quickly to his guard4 ,you should then step forward quickly with the left foot1 and1 seizing the rifle1 pull it down and towards you1 so that he cannot reverse it to strike you with the butt4 ,illustration3 ,,plate ,,xxix4--,,how ,,to ,,seize ,,the ,,rifle ,,after ,,parrying ,,quarte4 ,,plate ,,xxix4 ,,how ,,to ,,seize ,,the ,,rifle ,,after ,,parrying ,,quarte4 ,or you may sometimes get hold of it after your parry of quarte1 when he is slow in recovering4 ,it will not then be necessary to step forward with the left foot1 as your parry will almost send his weapon into your left hand4 ,some men when thrusting leave go of the rifle with the left hand4 ,when your adversary does this and you get hold of it1 a quick and sudden pull will draw it out of his other hand1 or perhaps pull him on his knees4 ,,dress4 ,the dress should be the same as that worn when practising with sabres1 except that the man using the bayonet should have the pad on his left leg1 and both should wear a well-padded fencing or boxing glove on each hand4 ,,on ,,swords4 ,it will be useless for me to say anything about the length and shape of swords1 as in the ,british1 and1 ,i believe1 every other service1 an officer1 whether he belong to the army1 the navy1 or the reserve forces1 is compelled to wear the regulation sword of the corps he belongs to4 ,he can1 however1 purchase it where he likes1 and has a certain amount of discretion in small matters1 which1 if carefully attended to1 may make a most important difference in the utility of his weapon4 8,mony a mickle mak' a muckle40 ,i would advise him by all means to get it from a good sword cutler1 and see the blade properly proved--a very necessary precaution1 as no bad blade will stand so severe a test4 ,he may then be sure that there is no flaw in it or in the tang 7the part that passes through the grip74 ,a flaw in either may cost you your life4 ,the blade should be stiff and not whippy1 as a whippy blade meets with so much resistance from the air when cutting or guarding quickly1 and the point should be light1 so that the sword will feel well balanced in the hand4 ,a whippy blade with a heavy point wrenches the wrist and elbow joints1 and is extremely difficult to use4 ,it altogether mars the proper use of the weapon4 ,the grip should suit your hand1 and the steel back should be roughened to prevent the sword from turning in it4 ,on service1 the grip1 if not too thick1 may be lapped with thin string slightly waxed2 by this means it may be altered to any shape you like1 and you will be able to hold the sword more securely4 ,the sword should be tightly mounted1 that is1 the grip should not be loose1 the blade well shouldered up both back and front1 so that there is no space between the shoulder and the hilt1 and the end of the tang securely screwed and rivetted at the pommel4 ,to test the mounting1 strike both the back and edge of the blade several times sharply against a post4 ,if the grip then remains firm and tight and the blade rings1 it is a proof that the mounting is fairly good4 ,should it1 after being used some time1 become loose1 have it put right at once4 ,you cannot give an effective cut with a loosemounted sword4 ,it stings your hand1 and spoils the general handling of the weapon4 ,,scabbard4 ,the scabbard should be lined with leather or laths of wood1 and the mouthpiece with ,german silver1 which is softer than steel1 to preserve the edge when drawing and returning the sword4 ,,edge4 ,various edges are put on swords1 but the best and most serviceable one1 in my opinion1 is a short chopper edge4 ,it is the one put on swords used for cutting bars of lead1 carcases of sheep and legs of mutton4 ,the bone of a leg of mutton1 which is almost as hard as any substance the edge is likely to come in contact with1 will not turn it4 ,i have now swords with this edge in my possession with which hundreds of bars of lead1 numerous carcases of sheep and legs of mutton and other substances have been cut1 and the edges are still in good condition and fit for use4 ,,some ,,remarks ,,concerning ,,sword ,,hilts4 ,the shape of the grip in the regulation infantry sword is not bad generally1 but the metal back is unnecessary1 and is apt to cause the hand to slip4 ,the grip of ,japanese swords1 but for the fact of their having the curve presented the wrong way1 strikes me as exceedingly good4 ,were ,i having a fighting sword made to my own fancy1 without regard to the regulation of any service1 ,i should direct it to be made with a grip of shark's skin or leather1 with a strong twist of wire wound round at half-inch intervals1 as in the regulation pattern1 but continued all the way round without any metal back4 ,the pommel should be considerably heavier than is customary1 and the shell 7and ,i consider this the most important thing7 should be of a pattern differing materially from that in common use4 ,the present form of shell is carried out into a tolerably bold curve on the outer side1 no doubt for the purpose of covering the knuckles and arm1 which1 in a right-handed man1 are exposed on this side1 while on the reverse side the shell does not project to quite half the same extent4 ,the consequence of this arrangement is that the greater weight on the outside tends to throw over1 ,i mean1 to make the wrist rotate from left to right as it does in attacks on the inner line1 and to make rotation correspondingly difficult on the outer line1 that is1 from right to left4 ,now1 it may be regarded as proved that attacks on the inner line1 although very effective1 expose the swordsman more than those delivered at the outside of his adversary's body1 consequently the tendency to which ,i have referred cannot but be considered a vicious one4 ,again1 it may happen that the swordsman is disabled by a flesh wound sufficiently grave to incapacitate his sword arm1 but not of such severity as to prevent his continuing in action should he have learned to use his left4 ,if he then pass his sword into his left hand1 he will find that the shell1 as at present formed1 offers a most inadequate protection to the hand and arm1 which would not be the case if the projections were equal on both sides4 ,the ,scotch basket hilt1 with some modifications1 so as to give freer play to hand and wrist1 is not a bad pattern4 ,there should be little or no open work about the shell3 an unlucky thrust or cut with the point might disable your hand4 ,i would also recommend that that part of the shell which comes into contact with the point of the thumb where it rests on the back of the grip should be lightly padded with a few thicknesses of soft leather1 so as to lessen the concussion1 which is sometimes of sufficient force to loosen your hold of the sword grip1 or at all events to impair that nicety of touch upon which successful swordsmanship in a high degree depends4 ,before leaving this subject1 ,i should like to remark that1 although the grip of the regulation sword is not so faulty as its shell1 yet it appears to me capable of improvement4 ,the back of the grip is convex throughout its length1 an arrangement which1 when the thumb is pressed upon it1 as it should be in the use of a light sabre1 does not give so good a hold as one presenting in the lower part a concavity into which shall fit the convex surface of the extended thumb4 ,i have in my possession a pair of practice sabres made upon this principle1 and also with a squarer grip than is customary1 which are delightful to handle4 ,,sword ,,feats4 ,illustration3 ,,plate ,,xxx4--,,lead ,,cutting 7,,before ,,delivering ,,the ,,cut47 ,,sword ,,feats4 ,,plate ,,xxx4 ,,lead ,,cutting4 ,to cut a bar of lead in two at one stroke4 ,this feat is sometimes called the 8,cur de ,lion10 deriving its name from the feat said to have been performed by ,richard ,i4 when he met ,saladin the ,saracen at the station of the ,diamond of the ,desert1 vide ,sir ,walter ,scott's 8,talisman40 ,it is one which every sabre-player ought to practise more or less4 ,it teaches how to apply force and edge1 and to finish your cuts with quickness1 by which they are more effective4 ,it also shows the power of a sword-cut when properly delivered4 ,the great secret of this1 and most of the sword feats1 is a free delivery1 true edge1 and striking the object with the part of the blade called the centre of percussion with great velocity4 ,the sword generally used for this purpose is something like a naval cutlass1 but longer and heavier4 ,the best sized sword for a man of average strength is one weighing #c lbs41 with a blade #a inches wide and #ca inches long4 ,the size and weight1 however1 depend a great deal upon a man's strength4 ,a weak man would cut better with a smaller one1 and a very powerful man would find a larger one more suitable4 ,it greatly rests on the velocity you are able to give it4 ,the bar of lead1 which you can cast yourself if you are provided with a melting pan and mould1 should be about #ab inches long and triangular 7equilateral7 in shape with flat ends1 so that you can stand it on one end4 ,it may be either suspended or stood on end on the top of a table or stool2 ,i prefer the latter way1 as it is not so steady when suspended4 ,a three-legged stool about #d feet high1 for a man of #e feet #h inches1 with a level top #i inches square1 will be found as handy as anything for this purpose4 ,place the bar of lead so that your sword will first strike the most acute angle 7should the bar be not quite equilateral71 then put yourself in the position of 8guard10 with the toes of the right foot in a line with the lead1 and at such a distance that when you deliver the cut you will strike it with the centre of percussion of your sword4 ,having taken your distance1 throw your hand quickly back into the bend of the left arm or on to the left shoulder to get an impetus1 and keeping both feet firm on the ground1 deliver a horizontal cut from left to right as rapidly as possible1 using the elbow and forearm freely1 and throwing the weight of the body into the cut4 ,arm straight and point of the sword to your right front at the finish of the cut4 ,in cutting1 the wrist should be well sunk1 the upper knuckles turned up1 and a firm grip of the sword maintained1 particularly at the moment the sword strikes the lead4 ,the sword1 with the edge leading1 should not be turned in the slightest degree1 but kept on a level line so that the cut will be perfectly horizontal4 ,when the lead is suspended1 aim a little above1 and when standing1 a little below the middle4 ,it is dangerous for any one to stand on your right when you are practising this feat1 as the pieces of lead sometimes fly to a considerable distance1 and with great force4 ,a little tallow on your sword will show you what part of the blade you cut with1 and will also slightly assist the cut4 ,the lead may be cut in several other ways1 viz41 from right to left1 but as the hand turns in this cut1 you must be careful to strike the bar before this occurs4 ,it may also be thrown up and cut while in the air1 or it may be placed on a trestle about #c feet high1 and cut with a downward chop3 the way in which ,cur de ,lion is said to have cut the handle of a steel mace4 ,a good practice is also to place the lead at the distance your adversary would be from you were you having an assault1 and make attacks upon it1 or forming a guard1 give the various returns in the manner you would on a real opponent4 ,in this practice the lead should be thin1 say #c inches in circumference1 as the cuts must be made without drawing the hand back1 you therefore do not get the same sweep and force as when cutting in the manner first described4 ,a bar of this size is quite thick enough for your first practice in lead cutting4 ,when you can cut it well1 and with ease and certainty1 you may try one a little thicker4 ,you should not attempt to cut one that is too large and above your power2 you will only jar your elbow and destroy your confidence4 ,when you can cut a bar measuring #a inches on each side1 you may attempt to cut the carcase of a sheep weighing #fj lbs4 or a leg of mutton of #i lbs41 and when you can cut one measuring #b inches on each side 7#f inches in circumference71 you may try your hand on a #ij lb4 sheep or a #ad lb4 leg of mutton4 ,in melting the lead1 which should be pure and unadulterated with any other metal1 see that your mould is dry1 as the slightest damp will cause the hot lead to spurt into your face4 ,before pouring it into the mould1 clear the surface of the dross which you will constantly find on it4 ,illustration3 ,,plate ,,xxxi4--,,cutting ,a ,,sheep 7,,after ,,delivering ,,the ,,cut74 ,,plate ,,xxxi4 ,,to ,,cut ,a ,,sheep ,,in ,,two ,,at ,,one ,,stroke4 ,get the carcase of a sheep dressed in the ordinary way1 as you see them hanging in a butcher's shop before they are cut up into joints4 ,suspend it on a gallows by the hind legs with the belly towards you1 then standing with your right toes in a line with the spine of the sheep1 and so near that the centre of percussion of your sword will reach the back bone1 and aiming at the part where the butcher separates the neck from the loin1 deliver your cut as at the lead4 ,take care to throw the point of your sword to your right front as you finish the cut1 or you will leave part of the flank uncut4 ,,to ,,cut ,a ,,leg ,,of ,,mutton ,,in ,,two ,,at ,,one ,,stroke4 ,hang a leg of mutton by the shank with the bone side to your left1 so that your sword will strike it first1 and aiming at the 8pope's eye10 deliver your cut as at the lead4 ,be particularly careful to grasp your sword tightly1 or the bone1 which is exceedingly hard1 may cause it to turn in your hand4 ,this is rather a risky feat1 for the reason that you have so little space to cut at in order to make a good section4 ,if you cut too low you will find a second bone1 which will probably prevent your sword passing through4 ,if you cut too near the shank1 it will be a bad section4 ,before cutting at the 8pope's eye10 you may cut a thin slice or two off the bottom4 ,see that the shank bone has not been broken4 ,butchers often break it4 ,it would probably spoil your cut4 ,for this and the sheep use the lead-cutting sword1 and take care that the gallows is firm4 ,,plate ,,xxxii4 ,,to ,,cut ,a ,,broom ,,handle ,,or ,,wand ,,on ,,two ,,glasses ,,of ,,water ,,without ,,breaking ,,the ,,glasses ,,or ,,spilling ,,the ,,water4 ,illustration3 ,,plate ,,xxxii4--,,cutting ,a ,,broom ,,handle ,,on ,,wine ,,glasses4 ,take your lead-cutting stool and another of exactly the same height4 ,place a tumbler filled with water on the top of each1 then lay an ordinary broom handle on the glasses1 so that the ends will rest on the inside edges1 each end projecting about half an inch over the water4 ,with your lead-cutter deliver a downward chop with great suddenness and quickness1 striking as near the centre as possible4 ,this feat may also be done with a thinner wand on two wine glasses4 ,or you may hang two loops of paper or strong thread on the edges of two sharp swords and suspend the wand on them4 ,,to ,,cut ,a ,,silk ,,cushion ,,in ,,two ,,at ,,one ,,stroke4 ,hang a silk cushion1 stuffed with feathers or down1 so high that the centre of it would be a few inches higher than the top of your lead-cutting stool1 then1 aiming at the most acute edge1 deliver as at the lead4 ,on account of the inconvenience caused by the escape of the feathers from the cushion when cut1 this feat has of late years been left unperformed at public assaults-of-arms4 ,the last time ,i saw it executed was many years ago by my esteemed friend1 ,mr4 ,alfred ,shury1 at that time one of the best swordsmen in ,london4 ,this and the following are the feats said to have been done by ,saladin1 when he met ,richard ,cur de ,lion in the ,diamond of the ,desert4 ,they consequently bear his name4 ,illustration3 ,,plate ,,xxxiii4--,,cutting ,a ,,veil4 ,,plate ,,xxxiii4 ,,to ,,cut ,a ,,veil ,,in ,,two ,,at ,,one ,,stroke4 ,fold a veil neatly lengthways and lay it on the edge of the sword1 almost close to the hilt4 ,place your feet together1 with your sword hand resting on the bend of the left arm1 the edge of the sword turned up4 ,take two quick steps to your front1 beginning with the left foot1 and as you make the second1 deliver an upward cut with a good edge1 throwing the point of the sword high in the air1 so that when the veil separates the two parts will have some distance to fall4 ,a good effect will thus be produced4 ,at the finish of this cut1 as in the lead cutting one1 the arm should be brought straight4 ,the feat may also be done with a cambric or a silk handkerchief 7the latter is very difficult71 or with a kid glove or ribbon4 ,when ribbon 7which should be very narrow7 is used1 have three or four colours1 about a yard of each1 and lay the whole on the sword at once4 ,after cutting them once1 take all the pieces and cut them again4 ,if they are thrown high they will somewhat resemble the coloured fire falling from a sky-rocket1 and will have a very pretty effect4 ,gauze is the best textile to practise with4 ,try to cut a yard of it into as many pieces as possible1 always taking care to fold each piece lengthways before placing it on the sword4 ,when you can do this well1 try something more difficult4 ,for this and the preceding feat you require a special sword called a handkerchief cutter4 ,it should have the edge of and be kept as sharp as a razor4 ,the edge should be ground and set towards the hand1 and when sharpening or stropping it1 you should always rub from point to hilt4 ,if you look through a very powerful magnifying glass you will find the edge of a sword is serrated like a saw1 but not so regularly2 therefore1 by having the teeth pointed towards the hilt1 the edge more readily lays hold of the veil4 ,to understand this more clearly1 take a common saw1 whose edge is set towards the point1 and rub your finger from handle to point4 ,however hard you may press1 the teeth will not prick you4 ,rub the other way and the effect will be very different4 ,,to ,,cut ,a ,,sheet ,,of ,,note-,,paper ,,unsupported4 ,take a sheet of note-paper1 and1 half opening it1 place it on end on the lead-cutting stool1 the acute angle to your left1 the opening to your right1 and with your handkerchief cutter deliver as at the lead4 ,this is not difficult4 ,in this and the preceding feats the thumb should be round the grip4 ,in the following it will be better to lay it on the back4 ,,to ,,cut ,,an ,,orange ,,while ,,falling4 ,suspend an orange by a piece of thin thread about four or five feet from the ground4 ,place yourself with the right toes in a line with the orange1 then1 with a very light touch of the sword near to the point1 cut the thread1 and quickly turning the hand1 divide the orange as it falls4 ,the thread may be cut from right to left and the orange from left to right1 or vice vers1 whichever you find the handier4 ,in both ways the cuts must be very small and close4 ,for this and the following feats any light and handy sword will do4 ,it should not be very sharp except close to the point1 so that you can cut the thread with ease1 and thus cause the orange to fall straight4 ,illustration3 ,,plate ,,xxxiv4--,,cutting ,,an ,,apple ,,on ,a ,,man',s ,,hand4 ,,plate ,,xxxiv4 ,,to ,,cut ,,an ,,apple ,,in ,,two ,,on ,a ,,man',s ,,hand ,,without ,,injuring ,,him4 ,this is called the 8,napier ,feat10 from the fact that it was done on ,sir ,charles ,napier's hand when in ,india by a native swordsman4 ,it is very dangerous and difficult1 and none but those who have great command over a sword should attempt it4 ,the man who holds the apple should have good nerve1 and should keep his hand very steady4 ,he must raise the palm of his hand as much as possible1 and1 keeping the four fingers close together1 bend them back4 ,the thumb must also be pressed back1 and kept as far as possible from the forefinger4 ,place the apple on his palm1 and standing so that your sword will pass between his thumb and forefinger and point in the same direction1 deliver a downward cut without the slightest draw and with sufficient force and no more than will cut the apple4 ,this is such a delicate and dangerous feat that whenever ,i have to do it ,i practise on several apples of the sort ,i intend to cut1 so that ,i may find out the exact force to apply4 ,apples differ so much in toughness4 ,,to ,,cut ,,an ,,apple ,,in ,a ,,handkerchief ,,without ,,injuring ,,the ,,latter4 ,take a pocket-handkerchief and tie the four corners together with a piece of string4 ,hang it four or five feet from the ground1 then put in the apple so that it will rest exactly in the centre4 ,aiming under the apple1 give an upward cut of sufficient force to pass through4 ,if you make the slightest draw you will cut the handkerchief4 ,when apples cannot be got1 you may use potatoes or thin-skinned turnips for this and the preceding feat4 ,when performing these feats1 take great care that no one is within reach of your sword1 and see that everything is properly placed and steady before delivering your stroke4 ,do not chop or hack1 but make the cuts with neatness and freedom4 ,avoid all parade1 and always remember to grasp your sword so that the middle knuckles are in a line with the edge of the sword4 ,this rule is imperative4 ,,rules ,,of ,,duelling ,,with ,,sabres4 ,,the ,,following ,,are ,,the ,,rules ,,of ,,duelling ,,with ,,sabres1 ,,translated ,,from 8,,essai ,,sur ,,le ,,duel10 ,,by ,,the ,,comte ,,de ,,chateauvillard4 ,,chapter ,,vii4 ,,duel ,,with ,,sabres4 #ast4--,each combatant must have two seconds for this sort of duel1 and one of the two must have a sabre4 ,they must1 if possible1 get sabres with curved blades for the two antagonists1 as being less fatal4 #bnd4--,when arrived on the ground there must be no discussion between the two combatants1 their seconds being their plenipotentiaries4 #crd4--,the seconds having agreed upon the choice of the ground the most proper for the combat--level and equal for the two opponents--must mark the two places1 the distance being calculated as if the two opponents were both on the longe and the points of the two sabres one foot apart4 #dth4--,the seconds1 after having tossed for the places1 take their principals to the place given to each by chance4 #eth4--,gloves with gauntlets are generally used for this duel1 but the seconds of the insulted party 7if belonging to the class spoken of in the #aath sec4 of the #ast chap47 can oblige the combatants not to wear them4 ,nevertheless1 every one is entitled to wear an ordinary glove1 or a pocket-handkerchief round the hand1 but the handkerchief must not hang down4 #fth4--,if the insulted party 7if belonging to the class spoken of in the #ajth and #aath secs4 of the #ast chap47 wishes to wear a glove with a gauntlet1 his seconds must offer a similar one to his opponent1 and if the latter refuses it1 the insulted party may use his and the other wear an ordinary glove or handkerchief4 #gth4--,when the combatants are placed1 the seconds measure the blades1 which must be of equal length and similar shape4 ,the choice of the sabre1 if similar ones are used1 must be tossed for4 ,if by carelessness the sabres are not alike1 the choice should still be tossed for2 but if the sabres are too disproportioned for such a combat it should certainly be put off4 #hth4--,but1 however1 if the combatants belong to the same regiment they can use their own sabres1 but the sabres must be mounted the same4 #ith4--,the insulted party 7if in the class of #aath sec41 #ast chap47 can use a sabre belonging to him1 but he must offer a similar one to his adversary1 who can refuse it and then use his own2 nevertheless1 if the difference should give a too great disadvantage to either one or the other the seconds should postpone the duel1 unless the seconds of both parties present a pair of sabres unknown to the combatants4 ,then the choice of the pair should belong to the insulted party1 and the choice of the sabre to the other4 #ajth4--,the seconds1 after having invited the combatants to take off their coats and waistcoats1 must go up to their principal's opponent1 who must show his naked breast in order to prove that he wears nothing to protect himself against the edge or point of the sabre blade4 ,his refusal would be equivalent to a refusal to fight4 #aath4--,when what is above described is finished1 the seconds should toss for which one of them is to explain the conventions of the duel to the combatants1 to whom the weapons are then given1 with the recommendation to wait until the signal is given to begin4 #abth4--,when the seconds are placed on both sides of the combatants1 the one designed gives the signal by the word--,allez6 #acth4--,if before the signal is given the combatants join blades together it is equivalent to a signal1 but it is blamable if only one of the two does it4 #adth4--,when the signal is given the combatants can cut and thrust at one another1 advance1 retire1 stoop1 turn round1 vault1 and do anything they think profitable to them3 such are the rules of the combat4 #aeth4--,it is against the rules of this combat to strike your opponent when he is disarmed or when he is on the ground1 to take hold of his arms or his body or to take hold of his weapon4 #afth4--,disarmed means when the sabre has fallen out of the hand1 or when dropping the point has touched the ground4 #agth4--,when one of the combatants is wounded his seconds must stop the combat until they think it proper that it should begin again4 #ahth4--,if before there is any wound one of the seconds wishes to stop the duel1 he asks if he can do so to the opposing seconds by lifting up his stick or sabre1 and if an affirmative answer is given by the same movement he suspends the duel4 #aith4--,the seconds can agree beforehand to stop the duel at the first blood shed--humanity and the gravity of the case must guide them4 #bjth4--,if one of the two combatants is killed or wounded against the rules of the duel1 the seconds must refer to the #bjth and #bast art4 of the #dth chap4 ,,duel ,,with ,,sabres ,,without ,,thrusts4 #ast4--,if possible sabres with blunt points must be used for this duel4 #bnd4--,each combatant must have two seconds4 #crd4--,the seconds1 after having agreed upon the choice of the ground best fitted for the combat--level and equal for the two opponents--must mark the two places at the distance calculated as if the opponents were both on the longe and the points joining together4 #dth4--,either combatant can use gloves with gauntlets provided the adversary has one too1 or that a similar one can be offered to him1 otherwise the difference must be levelled by the seconds4 #eth4--,the weapons must be alike and unknown to the combatants1 but if the combatants belong to the same regiment they can use their own sabres1 provided they are of the same sort and have the same mountings4 #fth4--,the seconds1 after having tossed for the places1 take their friends to the places which have fallen to them4 #gth4--,the seconds must toss for which of the two antagonists is to choose his sabre4 #hth4--,the second designed to give the signal must explain to the combatants the conventions of the duel1 which are1 that it is strictly forbidden to make use of the points of the sabres1 which would be felony4 #ith4--,the seconds invite their friend to strip naked down to the waist1 but they may keep their braces on if they are used to them4 #ajth4--,the seconds present both sabres to the combatant who has gained by toss the right to choose1 who picks one out1 they then present the last one to the other combatant and recommend them both to wait for the signal4 #aath4--,when the seconds are placed on both sides of the combatants the signal is given by the word--,allez6 #abth4--,when the signal is given the combatants can cut at one another--taking care not to wound their adversary with the point of their sabre--can stoop1 advance1 retire1 turn round1 vault1 c41 and stop only when the seconds tell them to3 such are the rules of the combat4 #acth4--,the seconds must always stop the duel as soon as one of the combatants is wounded1 in order to see whether he can continue or not--the seconds are the only judges for that2 but the custom in this kind of duel is to stop the combat at the first wound4 #adth4--,if one of the combatants is killed or wounded against the rules1 see #bjth and #bast art4 of #dth chapter4 ,,chapters #ast-#ajth4--,the insulted party has the choice of the duel and weapons4 #aath4--,the insulted party1 if struck or wounded1 has the choice of the duel1 weapons1 distances1 and can forbid his opponent to use weapons belonging to him1 but in that case he must not use his own4 ,,chapters #dth-#bjth4--,the seconds must1 if anything takes place against the rules1 make a written statement of it and prosecute the felon by all the laws in their power 7and poursuivre le fauteur devant les tribunaux par toutes les voies de droit en leur pouvoir74 #bast4--,the seconds of the party who is charged with felony must1 by all means1 declare the truth4 ,they are not otherwise accountable for it1 unless they aided in committing the wrong1 which cannot be supposed possible4 ,,london3 ,,henry ,,blacklock ,,and ,,co41 ,,printers1 ,,allen ,,street1 ,,goswell ,,road4 ---------------------------------------- -------------------------------- ,j4 ,m4 ,,waite 7,late #bnd ,,life ,,guards7 ,,gives ,,instruction ,,daily ,,in ,fencing1 ,singlestick1 ,sabre1 ,sword ,feats1 ,boxing1 ,military ,drill1 ,,club ,,and ,,dumb ,,bell ,,exercises1 c41 ,,at ,,his ,,rooms1 #ai1 ,,brewer ,,st41 ,,golden ,,sq41 ,,london1 ,w4 7,one ,minute's ,walk from ,regent ,quadrant74 ,hours of ,admission for ,class ,instruction and ,practice1 #d to #g p4m4 ,daily4 ,private ,lessons by arrangement at any hour from #aj to #g p4m4 ,evening ,class on ,wednesday and ,friday from #f to #h4 ,,the ,,boxing ,,under ,,the ,,superintendence ,,of ,,ned ,,donnelly4 ,j4 ,m4 ,waite was a ,pupil and subsequently an ,assistant of the late ,m4 ,,prevost1 who was formerly ,professor of ,fencing to the ,ecole ,polytechnique and the ,garde du ,corps1 also ,fencing-,master to ,h4,r4,h4 the ,prince of ,wales and to their ,royal ,highnesses the ,comte de ,paris1 the ,duc de ,chartres1 the ,duc d',aumale1 the ,duc de ,pentievre1 c4 ,,schools ,,families ,,attended ,,in ,,town ,,or ,,country4 ,,terms ,,forwarded ,,on ,,application4 ,all ,articles used in ,fencing1 ,singlestick1 ,sabre1 ,sabre v4 ,bayonet1 ,sword ,feats1 c41 sent to any part on receipt of a remittance4 ,,ned ,,donnelly1 ,professor of ,boxing and ,author of 8,self-defence10 ,,gives ,,lessons ,from #aj to #a and #d to #g o'clock ,daily at ,mr4 ,,waite',s ,,fencing ,,rooms1 #ai1 ,,brewer ,,st41 ,,golden ,,sq4 ,of the #dj ,winners of the ,marquis of ,queensberry's ,cups ,he has taught #af4 ,he will be glad to forward to any ,gentleman a ,copy of the ,revised ,edition of his ,work1 8,self-,defence2 or1 ,the ,art of ,boxing40 ,boxing ,gloves1 ,clubs1 ,dumb ,bells1 c41 sent to any part on receipt of a remittance4 ,illustration ,,weldon ,,co4',s ,,list4 ,illustration ,weldon's ,two ,shilling ,library ,,containing ,,the ,,best ,,works ,,of ,,the ,,best ,,authors4 8,this series comprises the best specimens of imaginative literature40--,times4 ,now ready1 ,crown #hvo41 ,price #bs4 each4 ,bound in neat ,fancy ,boards4 #a4 ,cheveley by ,lady ,bulwer-,lytton4 #b4 ,lottery of ,marriage by ,mrs4 ,trollope4 #c4 ,the ,outlaw by ,mrs4 ,s4 ,c4 ,hall4 #d4 ,margaret ,maitland by ,mrs4 ,oliphant4 #e4 ,the ,rectory ,guest by ,mrs4 ,grey4 #f4 ,the ,courtier by ,mrs4 ,gore4 #g4 ,heir of ,wast-,wayland by ,mary ,howitt4 #h4 ,consuelo by ,george ,sand4 #i4 ,godfrey ,malvern by ,thomas ,miller4 #aj4 ,chevalier by ,mrs4 ,thomson4 #aa4 ,countess of ,rudolstadt by ,george ,sand4 #ab4 ,brambletye ,house by ,horace ,smith4 #ac4 ,miller of ,angibault by ,george ,sand4 #ad4 ,vicar ,of ,wrexhill by ,mrs4 ,trollope4 #ae4 ,traditions of ,london by 8,waters40 #af4 ,mauprat by ,george ,sand4 #ag4 ,lawrie ,todd by ,john ,galt4 #ah4 ,little ,fadette by ,george ,sand4 ,weldon ,co4's ,new and ,popular ,works4 ,weldon's ,shilling ,library4 ,crown #hvo41 price #as4 each1 bound in ,stiff ,fancy ,illustrated ,wrapper4 #a4 ,,john ,,bull',s ,,daughters4 ,by ,,john ,,bennett2 giving full particulars of ,the ,strong-,minded1 ,the ,weak-,minded1 ,the ,extravagant1 and ,intemperate ,daughters4 8444 ,a really clever and amusing book--as pleasant a shilling's worth as we have lately read40--,bookseller4 8444 ,this is a capitally written book40--,brighton ,examiner4 #b4 ,,romance ,,of ,,life4 ,by 8,,waters20 containing 8,retribution0 and 8,the ,saucy ,gipsy40 8444 ,told in the striking and graphic manner of #8,waters4'0--,brighton ,examiner4 #c4 ,,john ,,bull',s ,,sons4 ,by ,,john ,,bennett4 ,the ,gambling1 ,the ,fast1 ,the ,scheming1 and ,intemperate ,sons4 8444 ,we can confidently recommend this book1 it is cleverly written40--,cheltenham ,telegraph4 #d4 ,,the ,,ritualist',s ,,progress2 or1 ,the ,doings of our ,new ,vicar1 the ,rev4 ,septimus ,alban1 ,member of the ,e4,c4,u41 written in satirical verse by a ,graduate of the ,university of ,cambridge4 8444 ,a clever #8jeu d'esprit4' ,the author says a good many shrewd and true things in an amusing way4 ,it is the best satirical contribution to the discussion of the subject of ,ritualism which we have seen40--,literary ,world4 8444 ,this is one of the best satires in verse we have for a long time seen2 ambling easily along1 the reading is of the pleasantest description1 while the satire is keen without being bitter1 so that even the upholders of ,ritualism might read it with amusement1 and certainly with benefit40--,south ,london ,press4 8444 ,is well worth reading40--,cambridge ,express4 8444 ,is a clever poem40--,bristol ,mercury4 ,now ,publishing1 in ,monthly ,parts1 price #as4 each4 ,commenced ,march1 #ahhj4 ,,complete ,,and ,,original ,,work1 ,,pugilistica2 ,,or1 ,,the ,complete ,history of ,british ,boxing from #agai to #ahfc4 ,splendidly ,illustrated1 with #ajj ,portraits of ,celebrities1 after ,original ,pictures and ,engravings1 containing ,,lives ,,of ,,the ,,most ,,celebrated ,,boxers2 ,,full ,,reports ,,of ,,their ,,battles2 ,,authentic ,,portraits1 ,after ,original ,engravings and ,pictures1 by ,sir ,james ,thornhill1 ,hogarth1 ,hayter1 c4 ,biographical ,details and ,anecdotes of the ,principal ,patrons of the ,p4,r42 ,,forming ,,the ,,only ,,complete ,,and ,,chronological ,,history ,,of ,,the ,,ring ,ever ,published1 comprising in all about #b1jjj pages1 and #ajj ,full-page ,portraits4 ,to be complete in ,,twenty ,,monthly ,,parts1 price #as4 each4 ,forming three handsome demy #hvo4 volumes4 ,volume ,i4 will contain #cj full-page ,portraits of ,celebrities4 ,,period ,i4--#agai to #agia4--;,from the ,championship of ,fig to the first appearance of ,daniel ,mendoza4 ,,period ,,ii4--#aghd to #agih4--;,from ,daniel ,mendoza to the first battle of ,james ,belcher4 ,,period ,,iii4--#agih to #ahji4--;,from the ,championship of ,belcher to the appearance of ,tom ,cribb4 ,,period ,,iv4--#ahje to #ahbj4--;,from ,cribb's first battle to the ,championship of ,tom ,spring4 ,volume ,,ii4 will contain ,authentic ,portraits after ,original ,engravings4 ,,period ,v4--#ahbj to #ahbd4--;,from the ,championship of ,spring to his retirement from the ,ring4 ,,period ,,vi4--#ahbe to #ahce4--;,from the ,championship of ,jem ,ward to the appearance of ,bendigo 7,william ,thompson71 of ,nottingham4 ,volume ,,iii4 will contain ,authentic ,portraits1 c4 ,,period ,,vii4--#ahce to #ahde4--;,from the appearance of ,bendigo to his last battle with ,caunt4 ,,period ,,viii4--#ahde to #aheg4--,the interregnum4 ,bill ,perry 7the ,tipton ,slasher71 ,harry ,broome1 ,tom ,paddock1 c4 ,,period ,,ix4--#ahef to #ahfc4--;,from the appearance of ,tom ,sayers to the last ,championship battle of ,king and ,heenan1 ,december1 #ahfc4 ,to each period there is an ,appendix containing notices and sketches of the minor professors of the ars pugnandi1 and of the light-weight boxers of the day4 ,each ,volume will be complete in itself1 price #ajs4 #f;d4 each1 handsomely bound in cloth gilt4 ,,vols4 ,i4 ,,ii4 ,,now ,,ready4 ,,london3 ,,weldon ,,co41 #i1 ,southampton ,street1 ,strand1 ,w4,c4 ,,and ,,all ,,booksellers4 ,handsomely bound in cloth1 gilt1 price #bas41 containing #bd superb coloured plates 7#ah in4 by #aa in471 or in three ,volumes1 containing eight plates1 price #gs4 #f;d4 each4 ,,weldon',s ,,historical ,,fancy ,,costume ,,album4 ,from the earliest period down to the present day4 ,,embracing ,,upwards ,,of ,,two ,,hundred ,,magnificent ,,coloured ,,designs4 ,,of ,english1 ,german1 ,italian1 ,greek1 ,turkish1 ,french1 ,spanish1 ,swiss1 ,russian1 ,hungarian1 ,austrian1 and ,polish ,costumes4 ,including the principal characters of the ,french ,operas1 c41 with full description of each plate4 ,each ,volume may be had separately1 #gs4 #f;d4 ,a detailed list of the ,characters forwarded on receipt of stamped envelope4 ,,english ,,edition ,,of ,,george ,,sand',s ,,works4 ,crown #hvo41 in fancy boards1 price #bs4 each1 or handsomely bound in cloth1 gilt1 bevelled edges1 price #cs4 each4 #a4 ,,consuelo4 ,,by ,,george ,,sand4 8444 ,we cannot be too grateful to ,messrs4 ,,weldon ,,co4 for having placed in the hands of the ,english reading public this excellent translation of the most characteristic romance of the world-famous ,,george ,,sand40--,weekly ,budget4 #b4 ,,countess ,,of ,,rudolstadt4 ,,by ,,george ,,sand4 8444 ,we read the whole with pleasure and amusement1 and cannot help lamenting that there are none who can succeed to ,,george ,,sand',s place as a sound1 clever1 and witty novel writer4 ,the translation is very good in this novel1 and may be pointed to as an example40--,public ,opinion4 #c4 ,,the ,,miller ,,of ,,angibault4 ,,by ,,george ,,sand4 #d4 ,,mauprat4 ,,by ,,george ,,sand4 #e4 ,,little ,,fadette4 ,,by ,,george ,,sand4 7,others in preparation47 ,,weldon',s ,,popular ,,fashion ,,journals ,,for ,,all ,,classes ,,of ,,society4 ,weldon's ,ladies' ,journal of ,dress1 ,fashion1 and ,needlework4 ,price #c;d4 ,monthly4 ,edited by ,madame ,,bayard4 ,every ,quarter a ,cut-out ,pattern may be selected free4 ,weldon's ,ladies' ,quarterly of ,dress1 ,fashion1 and ,needlework4 ,price #i;d4 ,quarterly4 ,containing the ,numbers of the above published during the ,quarter4 ,edited by ,madame ,,bayard4 ,weldon's ,journal of ,costumes3 a ,family ,magazine4 ,price #as4 ,monthly4 ,containing ,three ,charming ,coloured ,plates of ,fashion1 ,needlework ,designs1 ,cut-out ,patterns1 c4 ,edited by ,madame ,,bayard4 ,the ,bouquet of ,dress and ,fashion4 ,price #as4 ,half-yearly 7,april and ,october74 ,containing #ejj ,illustrations of ,ladies' and ,children's ,dress1 ,underclothing1 c4 ,edited by ,madame ,,bayard4 ,every ,purchaser can select ,one ,shilling's worth of ,madame ,,bayard',s ,paper ,patterns free4 ,les ,modes de la ,saison4 ,journal ,illustr de la ,famille4 ,printed in ,french4 ,english description of the ,coloured ,fashion ,plates by ,madame ,,bayard4 ,price #bs4 ,yearly ,subscription1 #bds4 ,every month1 ,four or ,five ,beautiful ,coloured ,plates of ,fashions1 large ,supplements of ,patterns1 ,needlework ,designs1 ,lingerie1 ,bonnets1 c4 ,weldon's ,illustrated ,dressmaker4 ,price #a;d4 ,monthly4 ,containing #dj ,illustrations of the latest ,fashions for ,ladies and ,children4 ,every ,quarter an extra ,supplement of ,children's ,fashions is given away4 ,weldon's ,dressmaker and ,cutter2 or1 8,dressmaking at ,home40 ,complete1 price #a;d41 postage d4 ,edited by the 8,,busy ,,bee40 ,it is complete in itself1 and gives ,explicit ,directions1 illustrated with ,diagrams1 showing how to ,cut-out1 ,fit1 and ,make up ,bodice1 ,short ,skirt1 ,train ,skirt1 ,tunic1 ,polonaise1 ,princess ,dress1 c4 ,sold at half the price of any other ,magazine4 #c;d4 ,,monthly4 #c;d4 ,,monthly4 ,,the ,,best ,,and ,,cheapest ,,journal ,,in ,,the ,,world4 ,this is the opinion of over #ej1jjj ,ladies and #hjj ,newspaper ,reviewers4 ,,weldon',s ,,ladies' ,,journal ,,of ,,dress1 ,,fashion1 ,,and ,,needlework4 ,edited by ,madame ,bayard and the 8,busy ,bee40 ,subscription1 ,post ,free3 ,yearly1 #ds42 ,half-yearly1 #bs42 ,quarterly1 #as4 ,,weldon',s ,,ladies' ,,journal contains #cb large quarto pages of letterpress4 ,,weldon',s ,,ladies' ,,journal contains from #ej to #fj superb engravings of ,novelties in ,dress1 c4 ,,weldon',s ,,ladies' ,,journal contains answers on how to make up or alter ,dresses4 ,,weldon',s ,,ladies' ,,journal contains engravings of ,children's ,dress and ,underclothing4 ,,weldon',s ,,ladies' ,,journal contains superb illustrations and designs in every kind of needlework4 ,,weldon',s ,,ladies' ,,journal contains the best cut-out paper ,patterns in the world4 ,,weldon',s ,,ladies' ,,journal contains ,supplements of ,coloured ,plates1 ,needlework ,designs1 ,braiding ,designs1 ,diagram ,sheets1 ,crewel ,work1 c4 ,,weldon',s ,,ladies' ,,journal contains ,lessons on ,home ,dressmaking1 with ,diagrams4 ,,weldon',s ,,ladies' ,,journal contains articles on ,domestic ,economy1 ,household ,management1 c4 ,,weldon',s ,,ladies' ,,journal contains everything that a lady could possibly wish1 and is a perfect treasure for ladies1 whether young1 middle-aged1 or elderly4 8,manifests so much talent and spirit as to be a prodigious success40--,news of the ,world4 #c;d4 ,,monthly4 ,,postage #a;d4 ,sold by all ,booksellers and ,newsagents1 and at all ,railway ,stations4 ,,weldon ,,co41 #i1 ,,southampton ,,street1 ,,covent ,,garden1 ,w4,c4 99 99 99 99 99 ,illustration ,for ,elegance and ,economy combined1 see ,,weldon',s ,,illustrated ,,dressmaker ,,for ,,families1 ,giving the complete art of ,cutting ,out1 ,making ,up1 and ,fitting any article of ,dress1 c4 ,commenced ,march #ast1 #ahhj4 ,price #a;d4 ,monthly4 #af ,,large ,,pages1 ,size of ,family ,herald1 ,,splendidly ,,illustrated4 ,fifty ,illustrations of the ,,newest ,,parisian ,,styles4 ,,any ,,cut ,,out ,,paper ,,pattern ,post free on receipt of ,sixpence in stamps1 and the ,voucher1 which is given with each number4 ,order of any ,newsagent in the ,kingdom4 ,,london3 ,,weldon ,,co41 #i1 ,,southampton ,,street1 ,,strand1 ,w4,c4 ---------------------------------------- -------------------------------- ,,transcriber',s ,,notes #a4 ,the issue reported in the ,erratum was corrected4 #b4 ,silently corrected obvious typographical errors and variations in spelling4 #c4 ,retained archaic1 non-standard1 and uncertain spellings as printed4 #d4 ,re-indexed footnotes using numbers4 #e4 ,enclosed italics font in underscores4 #f4 ,enclosed bold font in equals4