Chapter II: Part 2

To change is to pass your sword under that of your adversary, and rejoin the blades on the opposite line.

OBSERVATIONS.
ON COUNTERING AND HARD-HITTING.

When you are making an assault with sabres or sticks, remember they are substitutes for sharp swords, and act as though every hit you would receive would either kill or disable you. All your movements must be governed by this idea. You should never attempt to do anything with a stick that you could or would not do with a sword.

You must remember that in an actual combat the sabres have sharp points and edges, and that a very light touch would probably place you _hors de combat_.

Hitting at your adversary when he is attacking you is almost as bad as cutting your own throat, for you are almost certain to be more or less seriously wounded; your chances of escape are very small indeed. You must, therefore, always endeavour to guard the attack and never counter except when you can avoid the hit by shifting.

You must never hit after you are hit, as it is very doubtful if you would be able to do so with sharp swords.

The act of countering, so deservedly popular among boxers, is not admissible here. A blow with the fist will probably only shake you, but with a sharp sword the effect would be much more serious. There is no such thing as give and take with that weapon, and I question if there is much in a serious encounter with sticks, as a well delivered blow on any part of the head would in all probability cause a cessation of hostilities.

Rough and heavy hitting should be avoided: it destroys quickness; greater effect is given to a hit by pace than by force.

A hard hitter has to brace himself together before attacking; he thus prepares, and while doing so may easily be hit.

If his attack is guarded, he cannot recover and guard a return so readily as he ought to do.

His returns are not given so quickly as they should be, for after guarding, he is almost certain to draw his hand back in order to make them with greater force.

As he hits, so he will guard; heaviness will pervade all his movements; therefore, if you deceive his guard, he cannot make a second one with sufficient quickness to stop a good attack, as he will throw too much force into the first.

Slowness is the natural result of heaviness, quickness that of lightness; therefore, if you wish to become a _bon tireur_, cultivate and practise light play.

In trying to play light, you must not get into the habit of making snatching hits by which you would only scratch your adversary. However lightly you deliver them, let them be so given that with a sharp sword they would be effective, and your points fixed so that they would penetrate.

CUT _versus_ THRUST.

Some writers on the sword, acting on the presumption that the sword must be elevated in order to gain force before cutting, have asserted that the point traverses two-thirds less distance when thrusting than when cutting. If this were correct, the less use made of the cut the better, 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 cut.

I once saw a sketch drawn to prove this assertion, 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 eye, while the man who was cutting, and should have had his sword similarly placed, had his point drawn back and raised about two feet above his head, 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 stroke.

The point should not be drawn back or elevated when cutting either in an attack or in a return.

There is only one direct cut in leading off (that at the head), and that can be given with quite sufficient force without the slightest elevation of the point if the sword arm and leg act together.

In all other attacks and returns the feint, or the act of forming the guard, gives great impetus to the cut.

It has also been asserted that in making a thrust the sword moves in a straight line, and in making a cut it moves in a circle.

This assertion is erroneous, and having been made without contradiction, has been generally accepted as a fact, and hence become a popular error.

All straight thrusts and disengagements move in straight lines, but in the cut over, the point has to be drawn back before the thrust can be given, and when a cut over is made after a parry, the point traverses as great if not a greater distance than in any cut.

Compare the following movements, which I think are the longest made either in thrusting or cutting.

Engage with foils in quarte and parry the disengagement into tierce with prime, and riposte with a cut over.

Engage with sabres in high seconde, and, guarding an attack at the head with prime, return at the inside of the leg.

All direct cuts at the right side on any part from head to foot, from whatever guards they are made, move in as straight lines as any thrusts that can be given, and are consequently as quick.

In all other cuts the point moves in a circle.

However partial one may be to the thrust, and I acknowledge that I am one of its partisans, justice should be given to the cut, and although it may not in every instance be so quick or so fatal in its effect as the thrust, it has its advantages. Among others, it rarely passes, that is, goes by the object aimed at, without touching it, as the thrust will often do, more particularly when aimed at the arm or leg.

USEFUL HINTS.

Immediately you go on guard, touch your adversary’s sword with yours, and retire out of distance to avoid a surprise. This is called “engaging.”

Keep your eyes open and fixed upon your adversary, watching all his movements.

Hold yourself in as easy a manner as possible, particularly the sword arm.

Keep your knees well bent while setting to; you cannot longe quickly unless you do.

Move the feet lightly, and never drag them on the ground.

Be careful to always keep sufficient room behind you to be able to retire. Should your adversary try to drive you back, either attack him or threaten an attack.

While manœuvring, keep out of reach, and plan your attacks and deliver them immediately you are within distance, then recover to the position of guard whether you have succeeded or not.

Should your adversary guard your attack and return, form the necessary guard, and make a second attack without the slightest delay.

Do not hit at the same place more than twice in succession, but vary your attacks and returns very much.

After two or three exchanges, break away out of distance to steady yourself and plan your next movements. In making long phrases you get slow and out of form, and, consequently, are not likely to get a hit.

Always deliver your cuts with a true edge and with the centre of percussion, which is generally about seven or eight inches from the point. It is the most effective part of the sword to cut with, and will not jar the arm like a cut made with any other part of the blade.

Never press upon your adversary’s blade after having delivered a cut or thrust, but recover as quickly as possible to guard the return. Should he press upon yours, disengage and return as quickly as possible.

Make all your cuts with the wrist; never throw your arm out of line, but always keep it in front of you.

The action of cutting at your opponent’s left side (called the inside line), is something like that of throwing, and at his right side (outside line) like that of whipping.

Always keep in front of your opponent, never more to your right or left; should he do so, keep on your own ground, turning only so much as to enable you to have your right toes pointed to his. Let him move round as much as he likes: he will only tire himself and gain no advantage.

Keep the head and body erect and quiet in all positions.[5] If you lean forward on the attack, a man much shorter than yourself can thrust you through the head by simply retiring and straightening his arm, while your attack would not reach him. You also cannot recover quickly, as too much weight is thrown upon the front leg.

Footnote 5:

The advantages of this are fully and clearly shown by that justly
celebrated fencer, Captain G. Chapman, in his “Sequel to Foil
Practice.”

Avoid remaining on the longe and getting to close quarters, no true defence can be made when in-fighting.

If you remain on the longe, 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 hand.[6] By always recovering to your guard such a manœuvre is avoided, and, if attempted, you may easily deliver a straight thrust as he steps forward.

Footnote 6:

Although this would not be permitted in a duel, a man would not
hesitate to do it in actual combat.

Another reason why you should always recover to your guard after an attack is, if you remain on the longe and your adversary retires one step, you cannot reach him; he has then the advantage of position, and will be able to attack you, while you can only act on the defensive.

If you can hit your adversary without feinting, do so, as it is more dangerous to make two motions than one.

Use judgment, study your opponent’s play, and make no meaningless movements. An assault ought not to last longer than ten minutes. After that time, if you have fenced with energy and vigour, you lose your quickness and get out of form, and thereby contract slow and bad habits.

EXERCISES.

The following exercises may be practised by two advanced players. The hits and guards must be made as correctly, smartly, and as rapidly in succession as possible, taking it in turns to lead off. Care being taken not to move the left feet, and to strictly preserve the proper distance between you.

The following is an example of the way in which they should be gone through:—

We are both on guard, and in hitting distance.

I say, “You lead off.”

Head, head, under right arm.

You then lead off at my head, which I guard and return with a longe at yours.

You recover, and guard your head, and then with a longe hit under my right arm, I guard.

We should then remain steady a few moments, you on the longe hitting under my right arm, I on guard defending my right side, to see if the positions of the sword arms, feet, and bodies are correct.

This should invariably be done at the finish of each exercise. It helps to keep you in form.

ANOTHER EXAMPLE.

You say to me, “You lead off.”

Feint head, and hit under right arm. Thrust at breast. Head.

I feint at your head, and cut under your right arm, which you guard, and longeing, return with a thrust at my breast.

I recover and parry it, then, with a longe, cut at your head. Both remain steady to see the positions.

_1st Exercise._—Head. Head. Head.

_2nd do._—Head. Head. Under right arm.

_3rd do._—Head. Head. Outside leg.

_4th do._—Head. Head. Left breast.

_5th do._—Head. Head. Inside leg.

_6th do._—Feint head, hit under right arm. Thrust at breast. Head.

_7th do._—Feint head, hit outside leg. Thrust at breast. Head.

_8th do._—Thrust straight at breast. Head. Hit under right arm.

_9th do._—Disengage with a thrust. Hit under right arm. Head.

_10th do._—Head. Head. Hit under right arm. Thrust at breast. Head.

_11th do._—Head. Head. Hit outside leg. Thrust at breast. Head.

_12th do._—Feint a thrust under the blade, and hit at the head. Inside
leg. Thrust at the breast. Head. Head.

In these exercises you must not get into the habit of cutting only at each other’s swords, and thereby making a mock combat, but you should try to hit each other on every occasion.

THE SALUTE.

The Salute is a ceremony usually performed by two sabre players previous to making an assault. It is a mark of respect to those looking on, and an act of courtesy to each other.

Both should move together, and keep correct time throughout its performance.

There is no established method, but the following is that generally adopted by the best sabre players I know.

The two adversaries, facing each other in the first position, without wearing masks, which should be laid on the floor on their left, go smartly on guard, as shown in Plate II., and having beat twice on each other’s blades, return to the first position.

Both bring the hilt to the mouth, the point of the thumb level with the lower lip, sword upright, and edge to the left. This is called “Recover swords.” Then turning the face and directing the eyes to the left, 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 straight, hand in quarte, and as high as the shoulder.

After a short pause both again recover swords, and, turning the face to the right, extend the hand in a similar manner to the right. Hand in tierce.

From there they recover swords, and, falling on guard, beat a double attack with the right foot (a beat with the heel and one with the flat of the foot in rapid succession). Then, bringing the left foot up to the right, recover swords, and lower the hand and sword slowly towards the right hip. Arm straight, palm down, and edge to the right.

RULES.

You must not attack until an engagement has been formed.

Touches on any part are counted good.

You must not hit after you are touched, but recover to the first position and acknowledge the hit.

After each hit, both men should go to their original ground, and form a fresh engagement before renewing the assault.

When a man leads off with proper quickness, the other should guard before returning. Should he not do so, the hit belongs to the one who led off.

When two men lead off together and both hit, neither hit is counted.

When the Remise or Redouble and Return are made together, the hit belongs to the one making the Return.

If the Stop Thrust is not made in sufficient time to prevent the attack being delivered, the hit counts to the one making the attack.

A hit is counted good after a disarmament, if given immediately after and before there is time to think.

DRESS FOR SABRE PLAY.

Although the figures in the preceding illustrations are shown without masks or pads, no practice ought ever to be made without them. The following is the dress usually worn.

A flannel shirt and trousers, shoes with soles of buff leather, without heels.

A stout leather jacket, arm guard, leather apron, leg guard on right leg, and a pair of shoulder pads, shaped like a milkman’s yoke.

A strong helmet covered with leather on the top, with large ear guards, and the mask of strong wire with the meshes sufficiently small to prevent the point of the sabre passing through. A leather stock should also be worn round the neck.

When practising with sticks, the shoulder pad and arm guard may be dispensed with, and the hand ought to be protected with a buffalo hide hand guard.

Basket hilts are dangerous, as the point of the stick is apt to pass through them, and your hand may thereby be seriously injured.

PRACTICE SABRE.

The practice sabre should have a quill edge, which is the bluntest edge there is, and the point should be rounded off.

SABRE _v._ BAYONET.

While writing on this subject, the fencing names of the parries will be used, viz.:—

Prime (Head Guard).
Seconde (Outside Leg Guard).
Tierce (Outside Guard).
Quarte (Inside Guard).

In describing how to deal with a man armed with a rifle and bayonet, it will be necessary to explain his methods of attack and defence.

A bayonet should be used like a foil, but in consequence of its weight and general unwieldiness, the simple movements of the latter weapon can only be executed by it, and as the sabre, from its weight and shape, is similarly circumstanced, the two arms, in that respect, are on equal terms.

PLATE XXI.
ENGAGING GUARD.

A bayoneteer, therefore, engages in tierce or quarte, from which he can make the following attacks:—

A straight thrust.

A disengagement.

Feint a straight thrust and disengage.

“One, Two” (feint a disengagement into one line and disengage into another).

HOW TO PARRY HIS STRAIGHT THRUSTS AND DISENGAGEMENTS.

All his straight thrusts or disengagements over your blade may be parried with prime, and all those under your blade with seconde.

These parries are stronger than tierce and quarte, and are, therefore, better adapted for parrying such a heavy weapon as a rifle and bayonet.

They also defend the head and leg as well as the body, while the others only guard the breast.

Tierce and quarte may, however, be occasionally used against his thrusts at the breast. A greater variety of returns would be thereby obtained.

HOW TO PARRY, “FEINT A STRAIGHT THRUST, AND DISENGAGE.”

His feint of a straight thrust, when engaged under the blade and disengagement over the blade, may be parried with seconde and prime.

His feint of a straight thrust, when engaged over the blade and disengagement under the blade, may be parried with prime and seconde.

HOW TO PARRY “ONE, TWO.”

His “One, Two” below and above your blade may be parried with seconde and prime, and his “One, Two” above and below your blade with prime and seconde.

If he should deceive your quarte by feinting in quarte and thrusting in tierce, parry tierce.

If he deceive your tierce by “One, Two,” parry seconde.

Should you at any time foresee that he is going to attack with “One, Two,” do not answer the feint, but wait and parry his last movement.

Your parries, which should be made with the edge of the forte of the sword, must be close, and finished with firmness, without stiffness or too much force.

RETURNS.

The best returns from the different parries are the following, placed in the order of their comparative merits; but their application should greatly depend on the adversary’s defence.

FROM PARRYING PRIME.

Straight thrust at breast (hand in tierce and opposite your right
shoulder).
Cut at the left forearm.
Do. head (left diagonal).
Do. inside leg.

FROM SECONDE.

Thrust at breast over the guard (palm turned down).
Cut at the right side of the head, neck, or shoulder.
Do. left forearm.
Do. outside leg.
Do. inside leg.

PLATE XXII.
PARRY OF TIERCE.

FROM TIERCE.

Thrust at breast under the guard (hand in tierce and opposite your
right shoulder).
Cut at outside right forearm.
Do. head (left horizontal).
Do. do. (right diagonal).
Do. inside leg.

PLATE XXIII.
PARRY OF QUARTE.

FROM QUARTE.

Thrust under left arm (hand in quarte and opposite left shoulder).
Cut at left forearm.
Do. head (right horizontal).
Do. do. (left diagonal).
Do. outside leg.

HOW TO ATTACK A MAN ARMED WITH A RIFLE AND BAYONET.

A man thus armed engages in quarte or tierce, but standing with his left foot in front, his quarte will be your tierce and his tierce your quarte; that is, his right side is his quarte and your right side is your tierce, and _vice versâ_.

He will parry attacks made at the right side of his head or body with quarte, and those made at the left side of the head or body with tierce.

He will defend the top of his head with prime and his leg with half-circle. In both of these guards his left arm is very much exposed.

The following attacks without a feint may be made:—

Cut at his left wrist.

Thrust straight when the line in which he is engaged is not closed.

Disengage with a thrust either from tierce to quarte or from quarte to tierce.

PLATE XXIV.
TO DECEIVE HIS PRIME.

Feint at head and thrust under his guard. (Hand in tierce and opposite your right shoulder.)

Ditto, and cut inside his left wrist (_vide_ Plate XXIV.).

Ditto, ditto, inside his leg.

PLATE XXV.
TO DECEIVE HIS HALF-CIRCLE.

Feint at inside of leg, and thrust at left breast over the guard. (Hand in quarte and opposite your left shoulder.)

Ditto, and cut at his head (_vide_ Plate XXV.). Ditto, ditto, at his left wrist.

PLATE XXVI.
TO DECEIVE HIS TIERCE.

Feint a thrust in tierce (his left breast) and disengage with a thrust into quarte “One, Two.” (Hand in tierce and opposite your right shoulder, _vide_ Plate XXVI.)

Feint a cut at his left side and cut at his right.

Ditto, ditto, at his left cheek and cut at his right.

PLATE XXVII.
TO DECEIVE HIS QUARTE.

Feint a thrust in quarte (his right breast) and disengage with a thrust in tierce “One, Two.” (Hand in quarte and opposite your left shoulder.)

Feint a thrust in quarte, and disengage under his left arm “One, Two, Low.” (Hand in quarte and opposite your left shoulder, _vide_ Plate XXVII.)

Feint a cut at his right side and cut at his left arm.

Ditto at his right cheek and cut at his left.

All the above-named attacks may be preceded by a beat or an advance and beat.

The stop thrusts, time thrusts with opposition, remise, redouble, and reprise can be made upon you by a man armed with a gun and bayonet, and you can use them against him under the same circumstances as when opposed to a sabre.

To avoid his stop thrusts, you must adopt the methods recommended when opposed to a man who engages in tierce or quarte (_vide_ page 78).

GENERAL OBSERVATIONS.

The bayoneteer has the longer weapon. You have the handier one. You must therefore use such tactics as will give it the advantage.

On taking guard, keep out of distance, and by feinting, endeavour to find out whether, if you attack him, he will parry or counter with a thrust, which some men, relying on the superior length of the rifle and bayonet, do when attacked.

If you think that the latter is his intention, make false attacks, as described in page 76, and draw out his thrust, which, having guarded, return with the greatest rapidity. A counter with a bayonet must be avoided by every means possible.

Should you see that he is disposed to guard, you may attack him without much fear of a counter.

You should not attack too often, but rely more upon your guard and quick return. When, however, you do attack, use the feints very much. Doing so gives the advantage to the handier weapon.

Your returns, in which the thrust should take a prominent part, must be made with the greatest rapidity, and the opposition in them, as in the attacks, strictly maintained, so that he cannot possibly deliver a remise thrust.

PLATE XXVIII.
HOW TO SEIZE THE RIFLE AFTER PARRYING PRIME.

If you at any time have an opportunity of parrying his thrusts with your left hand, or of seizing the barrel of his rifle with it, do so. You must not then struggle and try to get it out of his hands, but must deliver a cut or thrust as quickly as possible. In an actual combat you would then have little difficulty in getting his weapon should you want it.

A good time to attempt this is when, after you have parried prime, he does not recover quickly to his guard. You should then step forward quickly with the left foot, and, seizing the rifle, pull it down and towards you, so that he cannot reverse it to strike you with the butt.

PLATE XXIX.
HOW TO SEIZE THE RIFLE AFTER PARRYING QUARTE.

Or you may sometimes get hold of it after your parry of quarte, when he is slow in recovering. It will not then be necessary to step forward with the left foot, as your parry will almost send his weapon into your left hand.

Some men when thrusting leave go of the rifle with the left hand. When your adversary does this and you get hold of it, a quick and sudden pull will draw it out of his other hand, or perhaps pull him on his knees.

DRESS.

The dress should be the same as that worn when practising with sabres, except that the man using the bayonet should have the pad on his left leg, and both should wear a well-padded fencing or boxing glove on each hand.

ON SWORDS.

It will be useless for me to say anything about the length and shape of swords, as in the British, and, I believe, every other service, an officer, whether he belong to the army, the navy, or the reserve forces, is compelled to wear the regulation sword of the corps he belongs to.

He can, however, purchase it where he likes, and has a certain amount of discretion in small matters, which, if carefully attended to, may make a most important difference in the utility of his weapon. “Mony a mickle mak’ a muckle.”

I would advise him by all means to get it from a good sword cutler, and see the blade properly proved—a very necessary precaution, as no bad blade will stand so severe a test.

He may then be sure that there is no flaw in it or in the tang (the part that passes through the grip).

A flaw in either may cost you your life.

The blade should be stiff and not whippy, as a whippy blade meets with so much resistance from the air when cutting or guarding quickly, and the point should be light, so that the sword will feel well balanced in the hand.

A whippy blade with a heavy point wrenches the wrist and elbow joints, and is extremely difficult to use. It altogether mars the proper use of the weapon.

The grip should suit your hand, and the steel back should be roughened to prevent the sword from turning in it.

On service, the grip, if not too thick, may be lapped with thin string slightly waxed; by this means it may be altered to any shape you like, and you will be able to hold the sword more securely.

The sword should be tightly mounted, that is, the grip should not be loose, the blade well shouldered up both back and front, so that there is no space between the shoulder and the hilt, and the end of the tang securely screwed and rivetted at the pommel.

To test the mounting, strike both the back and edge of the blade several times sharply against a post. If the grip then remains firm and tight and the blade rings, it is a proof that the mounting is fairly good. Should it, after being used some time, become loose, have it put right at once.

You cannot give an effective cut with a loosemounted sword. It stings your hand, and spoils the general handling of the weapon.

SCABBARD.

The scabbard should be lined with leather or laths of wood, and the mouthpiece with German silver, which is softer than steel, to preserve the edge when drawing and returning the sword.

EDGE.

Various edges are put on swords, but the best and most serviceable one, in my opinion, is a short chopper edge. It is the one put on swords used for cutting bars of lead, carcases of sheep and legs of mutton.

The bone of a leg of mutton, which is almost as hard as any substance the edge is likely to come in contact with, will not turn it.

I have now swords with this edge in my possession with which hundreds of bars of lead, numerous carcases of sheep and legs of mutton and other substances have been cut, and the edges are still in good condition and fit for use.

SOME REMARKS CONCERNING SWORD HILTS.

The shape of the grip in the regulation infantry sword is not bad generally, but the metal back is unnecessary, and is apt to cause the hand to slip.

The grip of Japanese swords, but for the fact of their having the curve presented the wrong way, strikes me as exceedingly good.

Were I having a fighting sword made to my own fancy, without regard to the regulation of any service, I should direct it to be made with a grip of shark’s skin or leather, with a strong twist of wire wound round at half-inch intervals, as in the regulation pattern, but continued all the way round without any metal back.

The pommel should be considerably heavier than is customary, and the shell (and I consider this the most important thing) should be of a pattern differing materially from that in common use.

The present form of shell is carried out into a tolerably bold curve on the outer side, no doubt for the purpose of covering the knuckles and arm, which, in a right-handed man, are exposed on this side, while on the reverse side the shell does not project to quite half the same extent.

The consequence of this arrangement is that the greater weight on the outside tends to throw over, I mean, to make the wrist rotate from left to right as it does in attacks on the inner line, and to make rotation correspondingly difficult on the outer line, that is, from right to left.

Now, it may be regarded as proved that attacks on the inner line, although very effective, expose the swordsman more than those delivered at the outside of his adversary’s body, consequently the tendency to which I have referred cannot but be considered a vicious one. Again, it may happen that the swordsman is disabled by a flesh wound sufficiently grave to incapacitate his sword arm, but not of such severity as to prevent his continuing in action should he have learned to use his left. If he then pass his sword into his left hand, he will find that the shell, as at present formed, offers a most inadequate protection to the hand and arm, which would not be the case if the projections were equal on both sides.

The Scotch basket hilt, with some modifications, so as to give freer play to hand and wrist, is not a bad pattern.

There should be little or no open work about the shell: an unlucky thrust or cut with the point might disable your hand.

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 leather, so as to lessen the concussion, which is sometimes of sufficient force to loosen your hold of the sword grip, or at all events to impair that nicety of touch upon which successful swordsmanship in a high degree depends.

Before leaving this subject, I should like to remark that, although the grip of the regulation sword is not so faulty as its shell, yet it appears to me capable of improvement.

The back of the grip is convex throughout its length, an arrangement which, when the thumb is pressed upon it, as it should be in the use of a light sabre, 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 thumb. I have in my possession a pair of practice sabres made upon this principle, and also with a squarer grip than is customary, which are delightful to handle.

SWORD FEATS.

SWORD FEATS.

PLATE XXX.
LEAD CUTTING.

To cut a bar of lead in two at one stroke.

This feat is sometimes called the “Cœur de Lion,” deriving its name from the feat said to have been performed by Richard I. when he met Saladin the Saracen at the station of the Diamond of the Desert, _vide_ Sir Walter Scott’s “Talisman.”

It is one which every sabre-player ought to practise more or less. It teaches how to apply force and edge, and to finish your cuts with quickness, by which they are more effective. It also shows the power of a sword-cut when properly delivered.

The great secret of this, and most of the sword feats, is a free delivery, true edge, and striking the object with the part of the blade called the centre of percussion with great velocity.

The sword generally used for this purpose is something like a naval cutlass, but longer and heavier.

The best sized sword for a man of average strength is one weighing 3¼ lbs., with a blade 1¾ inches wide and 31 inches long. The size and weight, however, depend a great deal upon a man’s strength. A weak man would cut better with a smaller one, and a very powerful man would find a larger one more suitable. It greatly rests on the velocity you are able to give it.

The bar of lead, which you can cast yourself if you are provided with a melting pan and mould, should be about 12 inches long and triangular (equilateral) in shape with flat ends, so that you can stand it on one end.

It may be either suspended or stood on end on the top of a table or stool; I prefer the latter way, as it is not so steady when suspended.

A three-legged stool about 4 feet high, for a man of 5 feet 8 inches, with a level top 9 inches square, will be found as handy as anything for this purpose.

Place the bar of lead so that your sword will first strike the most acute angle (should the bar be not quite equilateral), then put yourself in the position of “guard,” with the toes of the right foot in a line with the lead, and at such a distance that when you deliver the cut you will strike it with the centre of percussion of your sword.

Having taken your distance, throw your hand quickly back into the bend of the left arm or on to the left shoulder to get an impetus, and keeping both feet firm on the ground, deliver a horizontal cut from left to right as rapidly as possible, using the elbow and forearm freely, and throwing the weight of the body into the cut. Arm straight and point of the sword to your right front at the finish of the cut.

In cutting, the wrist should be well sunk, the upper knuckles turned up, and a firm grip of the sword maintained, particularly at the moment the sword strikes the lead.

The sword, with the edge leading, should not be turned in the slightest degree, but kept on a level line so that the cut will be perfectly horizontal.

When the lead is suspended, aim a little above, and when standing, a little below the middle.

It is dangerous for any one to stand on your right when you are practising this feat, as the pieces of lead sometimes fly to a considerable distance, and with great force.

A little tallow on your sword will show you what part of the blade you cut with, and will also slightly assist the cut.

The lead may be cut in several other ways, viz., from right to left, but as the hand turns in this cut, you must be careful to strike the bar before this occurs.

It may also be thrown up and cut while in the air, or it may be placed on a trestle about 3 feet high, and cut with a downward chop: the way in which Cœur de Lion is said to have cut the handle of a steel mace.

A good practice is also to place the lead at the distance your adversary would be from you were you having an assault, and make attacks upon it, or forming a guard, give the various returns in the manner you would on a real opponent.

In this practice the lead should be thin, say 3 inches in circumference, as the cuts must be made without drawing the hand back, you therefore do not get the same sweep and force as when cutting in the manner first described.

A bar of this size is quite thick enough for your first practice in lead cutting. When you can cut it well, and with ease and certainty, you may try one a little thicker.

You should not attempt to cut one that is too large and above your power; you will only jar your elbow and destroy your confidence.

When you can cut a bar measuring 1½ inches on each side, you may attempt to cut the carcase of a sheep weighing 60 lbs. or a leg of mutton of 9 lbs., and when you can cut one measuring 2 inches on each side (6 inches in circumference), you may try your hand on a 90 lb. sheep or a 14 lb. leg of mutton.

In melting the lead, which should be pure and unadulterated with any other metal, see that your mould is dry, as the slightest damp will cause the hot lead to spurt into your face.

Before pouring it into the mould, clear the surface of the dross which you will constantly find on it.

PLATE XXXI.
TO CUT A SHEEP IN TWO AT ONE STROKE.

Get the carcase of a sheep dressed in the ordinary way, as you see them hanging in a butcher’s shop before they are cut up into joints.

Suspend it on a gallows by the hind legs with the belly towards you, then standing with your right toes in a line with the spine of the sheep, and so near that the centre of percussion of your sword will reach the back bone, and aiming at the part where the butcher separates the neck from the loin, deliver your cut as at the lead.

Take care to throw the point of your sword to your right front as you finish the cut, or you will leave part of the flank uncut.

TO CUT A LEG OF MUTTON IN TWO AT ONE STROKE.

Hang a leg of mutton by the shank with the bone side to your left, so that your sword will strike it first, and aiming at the “pope’s eye,” deliver your cut as at the lead.

Be particularly careful to grasp your sword tightly, or the bone, which is exceedingly hard, may cause it to turn in your hand.

This is rather a risky feat, for the reason that you have so little space to cut at in order to make a good section.

If you cut too low you will find a second bone, which will probably prevent your sword passing through.

If you cut too near the shank, it will be a bad section.

Before cutting at the “pope’s eye,” you may cut a thin slice or two off the bottom.

See that the shank bone has not been broken. Butchers often break it. It would probably spoil your cut.

For this and the sheep use the lead-cutting sword, and take care that the gallows is firm.

PLATE XXXII.
TO CUT A BROOM HANDLE OR WAND ON TWO GLASSES OF WATER WITHOUT BREAKING
THE GLASSES OR SPILLING THE WATER.

Take your lead-cutting stool and another of exactly the same height. Place a tumbler filled with water on the top of each, then lay an ordinary broom handle on the glasses, so that the ends will rest on the inside edges, each end projecting about half an inch over the water.

With your lead-cutter deliver a downward chop with great suddenness and quickness, striking as near the centre as possible.

This feat may also be done with a thinner wand on two wine glasses.

Or you may hang two loops of paper or strong thread on the edges of two sharp swords and suspend the wand on them.

TO CUT A SILK CUSHION IN TWO AT ONE STROKE.

Hang a silk cushion, stuffed with feathers or down, so high that the centre of it would be a few inches higher than the top of your lead-cutting stool, then, aiming at the most acute edge, deliver as at the lead. On account of the inconvenience caused by the escape of the feathers from the cushion when cut, this feat has of late years been left unperformed at public assaults-of-arms. The last time I saw it executed was many years ago by my esteemed friend, Mr. Alfred Shury, at that time one of the best swordsmen in London.

This and the following are the feats said to have been done by Saladin, when he met Richard Cœur de Lion in the Diamond of the Desert.

They consequently bear his name.

PLATE XXXIII.
TO CUT A VEIL IN TWO AT ONE STROKE.

Fold a veil neatly lengthways and lay it on the edge of the sword, almost close to the hilt.

Place your feet together, with your sword hand resting on the bend of the left arm, the edge of the sword turned up. Take two quick steps to your front, beginning with the left foot, and as you make the second, deliver an upward cut with a good edge, throwing the point of the sword high in the air, so that when the veil separates the two parts will have some distance to fall. A good effect will thus be produced.

At the finish of this cut, as in the lead cutting one, the arm should be brought straight.

The feat may also be done with a cambric or a silk handkerchief (the latter is very difficult), or with a kid glove or ribbon.

When ribbon (which should be very narrow) is used, have three or four colours, about a yard of each, and lay the whole on the sword at once.

After cutting them once, take all the pieces and cut them again. If they are thrown high they will somewhat resemble the coloured fire falling from a sky-rocket, and will have a very pretty effect.

Gauze is the best textile to practise with. Try to cut a yard of it into as many pieces as possible, always taking care to fold each piece lengthways before placing it on the sword.

When you can do this well, try something more difficult.

For this and the preceding feat you require a special sword called a handkerchief cutter. It should have the edge of and be kept as sharp as a razor.

The edge should be ground and set towards the hand, and when sharpening or stropping it, you should always rub from point to hilt.

If you look through a very powerful magnifying glass you will find the edge of a sword is serrated like a saw, but not so regularly; therefore, by having the teeth pointed towards the hilt, the edge more readily lays hold of the veil.

To understand this more clearly, take a common saw, whose edge is set towards the point, and rub your finger from handle to point. However hard you may press, the teeth will not prick you. Rub the other way and the effect will be very different.

TO CUT A SHEET OF NOTE-PAPER UNSUPPORTED.

Take a sheet of note-paper, and, half opening it, place it on end on the lead-cutting stool, the acute angle to your left, the opening to your right, and with your handkerchief cutter deliver as at the lead. This is not difficult.

In this and the preceding feats the thumb should be round the grip.

In the following it will be better to lay it on the back.

TO CUT AN ORANGE WHILE FALLING.

Suspend an orange by a piece of thin thread about four or five feet from the ground. Place yourself with the right toes in a line with the orange, then, with a very light touch of the sword near to the point, cut the thread, and quickly turning the hand, divide the orange as it falls.

The thread may be cut from right to left and the orange from left to right, or _vice versâ_, whichever you find the handier. In both ways the cuts must be very small and close.

For this and the following feats any light and handy sword will do. It should not be very sharp except close to the point, so that you can cut the thread with ease, and thus cause the orange to fall straight.

PLATE XXXIV.
TO CUT AN APPLE IN TWO ON A MAN’S HAND WITHOUT INJURING HIM.

This is called the “Napier Feat,” from the fact that it was done on Sir Charles Napier’s hand when in India by a native swordsman.

It is very dangerous and difficult, and none but those who have great command over a sword should attempt it.

The man who holds the apple should have good nerve, and should keep his hand very steady. He must raise the palm of his hand as much as possible, and, keeping the four fingers close together, bend them back. The thumb must also be pressed back, and kept as far as possible from the forefinger.

Place the apple on his palm, and standing so that your sword will pass between his thumb and forefinger and point in the same direction, deliver a downward cut without the slightest draw and with sufficient force and no more than will cut the apple.

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 cut, so that I may find out the exact force to apply. Apples differ so much in toughness.

TO CUT AN APPLE IN A HANDKERCHIEF WITHOUT INJURING THE LATTER.

Take a pocket-handkerchief and tie the four corners together with a piece of string. Hang it four or five feet from the ground, then put in the apple so that it will rest exactly in the centre.

Aiming under the apple, give an upward cut of sufficient force to pass through. If you make the slightest draw you will cut the handkerchief.

When apples cannot be got, you may use potatoes or thin-skinned turnips for this and the preceding feat.

When performing these feats, take great care that no one is within reach of your sword, and see that everything is properly placed and steady before delivering your stroke.

Do not chop or hack, but make the cuts with neatness and freedom. Avoid all parade, and always remember to grasp your sword so that the middle knuckles are in a line with the edge of the sword. This rule is imperative.

RULES OF
DUELLING WITH SABRES.

THE FOLLOWING ARE THE
RULES OF DUELLING WITH SABRES,
TRANSLATED FROM “ESSAI SUR LE DUEL,”
BY THE
COMTE DE CHATEAUVILLARD.

CHAPTER VII.
DUEL WITH SABRES.

1st.—Each combatant must have two seconds for this sort of duel, and one of the two must have a sabre. They must, if possible, get sabres with curved blades for the two antagonists, as being less fatal.

2nd.—When arrived on the ground there must be no discussion between the two combatants, their seconds being their plenipotentiaries.

3rd.—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 places, the distance being calculated as if the two opponents were both on the longe and the points of the two sabres one foot apart.

4th.—The seconds, after having tossed for the places, take their principals to the place given to each by chance.

5th.—Gloves with gauntlets are generally used for this duel, but the seconds of the insulted party (if belonging to the class spoken of in the 11th sec. of the 1st chap.) can oblige the combatants not to wear them. Nevertheless, every one is entitled to wear an ordinary glove, or a pocket-handkerchief round the hand, but the handkerchief must not hang down.

6th.—If the insulted party (if belonging to the class spoken of in the 10th and 11th secs. of the 1st chap.) wishes to wear a glove with a gauntlet, his seconds must offer a similar one to his opponent, and if the latter refuses it, the insulted party may use his and the other wear an ordinary glove or handkerchief.

7th.—When the combatants are placed, the seconds measure the blades, which must be of equal length and similar shape. The choice of the sabre, if similar ones are used, must be tossed for. If by carelessness the sabres are not alike, the choice should still be tossed for; but if the sabres are too disproportioned for such a combat it should certainly be put off.

8th.—But, however, if the combatants belong to the same regiment they can use their own sabres, but the sabres must be mounted the same.

9th.—The insulted party (if in the class of 11th sec., 1st chap.) can use a sabre belonging to him, but he must offer a similar one to his adversary, who can refuse it and then use his own; nevertheless, if the difference should give a too great disadvantage to either one or the other the seconds should postpone the duel, unless the seconds of both parties present a pair of sabres unknown to the combatants. Then the choice of the pair should belong to the insulted party, and the choice of the sabre to the other.

10th.—The seconds, after having invited the combatants to take off their coats and waistcoats, must go up to their principal’s opponent, 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 blade. His refusal would be equivalent to a refusal to fight.

11th.—When what is above described is finished, the seconds should toss for which one of them is to explain the conventions of the duel to the combatants, to whom the weapons are then given, with the recommendation to wait until the signal is given to begin.

12th.—When the seconds are placed on both sides of the combatants, the one designed gives the signal by the word—_Allez!_

13th.—If before the signal is given the combatants join blades together it is equivalent to a signal, but it is blamable if only one of the two does it.

14th.—When the signal is given the combatants can cut and thrust at one another, advance, retire, stoop, turn round, vault, and do anything they think profitable to them: such are the rules of the combat.

15th.—It is against the rules of this combat to strike your opponent when he is disarmed or when he is on the ground, to take hold of his arms or his body or to take hold of his weapon.

16th.—Disarmed means when the sabre has fallen out of the hand, or when dropping the point has touched the ground.

17th.—When one of the combatants is wounded his seconds must stop the combat until they think it proper that it should begin again.

18th.—If before there is any wound one of the seconds wishes to stop the duel, he asks if he can do so to the opposing seconds by lifting up his stick or sabre, and if an affirmative answer is given by the same movement he suspends the duel.

19th.—The seconds can agree beforehand to stop the duel at the first blood shed—humanity and the gravity of the case must guide them.

20th.—If one of the two combatants is killed or wounded against the rules of the duel, the seconds must refer to the 20th and 21st art. of the 4th chap.

DUEL WITH SABRES WITHOUT THRUSTS.

1st.—If possible sabres with blunt points must be used for this duel.

2nd.—Each combatant must have two seconds.

3rd.—The seconds, 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 together.

4th.—Either combatant can use gloves with gauntlets provided the adversary has one too, or that a similar one can be offered to him, otherwise the difference must be levelled by the seconds.

5th.—The weapons must be alike and unknown to the combatants, but if the combatants belong to the same regiment they can use their own sabres, provided they are of the same sort and have the same mountings.

6th.—The seconds, after having tossed for the places, take their friends to the places which have fallen to them.

7th.—The seconds must toss for which of the two antagonists is to choose his sabre.