The Art of Fencing Reduced to Its True Principles

8/11/2019 The Art of Fencing Reduced to Its True Principles

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M. de Saint Martin

Senior Officer of Cavalry,

and

Imperial Master-of-Arms, Vienna 1804


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The Art of Fencing Reduced

to True Principles

containing every necessary principle for this art,

all which are explained in a clear and intelligible manner.

This work is composed for young nobles and those persons destined for a

career in war, and for those who carry a sword.

Wherein one will find the true principles of this art, useful and necessary for

the military, in which they are explained in an easy manner to which is

added some truly new findings.

Dedicated to S.A.R. MonsieurArchduke Charles

By

M.J. de St Martin,

Imperial Master of Arms of the Theresian Academy,

and Senior Officer of the Cavalry.

Enriched with images to aid in understanding the work.

To Vienna

Printed by Janne Schramble

1804

Translated from the French by P. T. Crawley

Images and Editing by V.S. Markland

2013


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Preliminary Discourse

There are many published works on military tactics, I have even written on

the subject, but there are few authors who have done anything passable on

fencing; one sees very little that is correct in these works, that for many has

been a progression; these days they attach more to old routines than theory,

which is in fact the foundation, because in teaching a certain art, one mustmake it known to ones pupils the reasons why one works one method more

than another, and they are not a master who does not employ practice, let

alone new findings, nor allow his own pupils to ask questions.

Those who cite Girard, dAngelo, Danet &c. are far from complete, and none

of them make mention of the spadroon.

I, myself, was a pupil of Danet, the first master of Paris, and I never

intended to speak of this canon, which is the most essential in the wielding

of weapons.

My taste for the military arts, and my zeal for the advantage of service in the

Imperial army, my lively seeking of the bounty of the Grand Monarch whom

I have had the honour of serving for seven years who deigned to give me a

place as imperial professor of the Theresian Academy for fencing,

determined that I publish and make public this work; to communicate my

findings, which I must do as a homage to him, and if I am lucky enough that

this will be of use I will have achieved my aim.

These are the fruits of thirty years of experience, and a reflective study on

the lessons of the great masters, and of the most renowned assaults in thesalle, and upon the manoeuvres and various actions in which I found myself

in the last war.

Compelled by an irresistible force which I hardly dare qualify in the name of

taste, I tried to reform the old uses, and go further along the route from

which others openly steal without going so far as to do the same as them in

order to ask questions on a subject of this importance. I pay homage to

these luminaries, I confess to have profited well from them; I have no doubt

that another can take greater advantage of it than me; however I hope that

they will find in this work many things that they wont find in others.

My aim is to fill this if I manage it is to facilitate the nobility and all those

who embrace a career in arms with the means to benefit from these findings,

that cost me my work and infinite cares, which I shall reveal in this little

work, given a new plan and detailed principles, with all the clarity I can put

in them, so as not to be useful only to other masters, who are willing to put

in the effort in practice.


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It is not for me to say that the art of fencing is one of the elements that

make up the military arts, and that public order relies upon it; one must

also recall that in its nature it has the principle of true valour, and the glory

of heroes; there is no one who, in an altercation, would not wish to possess

the art of fencing to parry a mortal blow, or to defend the weak from danger.

There is no other art which of more use to youth it develops constitution;gives them poise; promotes health; clears the passages, develops

temperament; corrects youth with poor posture; of this I have seen much

proof during my lessons. It also gives a superior agility, it gives precision to

the movement of the limbs, it teaches how to hold oneself, to salute and

walk with grace, it gives a noble bearing, it inspires a desire to gain glory,

and since glory cannot work without honour, and there is no honour

without virtue, this part of the education seems to achieve all that is

proposed, when one works to develop the young.

The order established in the exercise salles promotes honesty, politeness,respect for religion, and for sovereign authority; it guards against all and

indecent actions; politeness towards strangers, and those people who

present at the fencing salle, is strictly enforced. I display well-ordered rules

of the salle so that they bring about good learning, and give rise to good

practices, good humour and order in the state.

Possessing the art of fencing is not the work of a single day, of all the

masters today have gained their great ability and great ease by regular

application of the principles.

The gladiators of Rome proved to us that the art of fencing has progressed inthe 490 years since the foundation of Rome, in the consulship of Appius

Claudius and Marcus Fulvius, who did not compete unless they had trained

for a long time, and even at the same time they sword fought with a sword, a

dagger and a cutlass; others sword fought with two cutlasses, two swords

and two daggers.

There is no place where fencing is more esteemed than the West Indies;

there is even an exercise reserved for nobles, who carry on their weapons a

distinctive mark, that the King has given them with great ceremony. History

teaches us that the use of the sword precedes the first Monarchy, but inthose ancient times brute force always won out.

In the last two centuries the art made more progress than could be found

during the last five thousand years.


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But it has especially the grand advantage of the protection of several

monarchs, who are believed to have erected the academies of fence, and

given the statutes and regulations, to promote emulation, and add honour

to the usefulness of this art than has any right to pretend otherwise.

In 1656 Louis XIV issued proclamations, by which he accorded six of the

most senior masters of the Paris Academy, after twenty years of practice,hereditary letters of Nobility.

The good choice of blade, how to mount it, how best to hold your arm so as

to not tire it, and so it does not allow one to be disarmed, body position,

precision in parries, ripostes and all actions, are here essential rules, and

given exact observation will be at first seen as minutiae to an impatient

youth, who will regard them as useless, yet the latter are necessary to

achieve perfection.

I shall uncover everything and develop by degrees all the principles of the

art, while demonstrating what must be observed in attacks, defences, feints,

and all other matters.

But now I speak of the spadroon, this important article which I propose to

detail with the greatest clarity and with as much precision as I am able.

As for the spadroon, I do not find it named by certain authors but I do not

see that this is related.

I have gained all the knowledge I have, such as the theory that I have

created myself, after a practice which I have had the opportunity to put into

practice in several combats and other particular affairs that I found myself

engaged in.

I will show in the course of this work how a cavalier can alone combat

several aggressors, and this will be proven by reason and experience, that a

single person can bring about against a great number of enemies, by means

of a simple moulinet, in two or four directions.

It will also be demonstrated with evidence, that, in an attack of cavalry

against cavalry, the simple and double moulinet are the only thing to use, as

it is the most certain; because by this method one can make a coup deJarnac,which the enemy will only be able to parry with great risk.

The use of a moulinet in all four directions, if required by an isolated

cavalier, is indispensible to all officers, who finds himself attacked

individually by several cavaliers, by this means he will be freed from danger.


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There will be a great utility to learn this new manoeuvre for the cavalry, the

cavalier will have the reassurance of not fearing the enemys point, finding a

means by which he can almost escape, if he is carried too far away by his

horse, or that, guided by a purely instinctive courage, or by a desire to

distinguish them, they must be made to the front.

If he can find himself on some occasion (which will be a rare chance) thatthe cavalry wants to rout a corps of infantry, in this case military tactics

requires that the infantry present bayonet above the chest of the horse; but

by the method I teach, the cavalry will be prevented by the greatest ease of

the bayonet to be able to pierce the chest of his horse, and not be toppled. It

will facilitate more the method of charging into infantry with the spadroon.

I do not allow the use of the point with the baton in practicing the spadroon,

because it will be clearly palpable that is being used in these exercises, the

cavalier will find himself in one action, believing himself able to wield a

sabre in the same way as a baton; but the sabre is more cumbersome, notas wieldy nor having the same agility, nor the same surety of grip, and he

will be more tiring than if they had done the exercises with the sabre.

I limit myself to great brevity, so as to not tire the reader, without leaving

out the essentials. A pupil of some intelligence, if the lessons are directed by

a good master, will gain ability of a greater precision than I am able to

define.

I also hope that you will pardon me by default for any mistakes I make

which I miss or escape me, as proven I am a military man who studied the

military arts, more than literature and eloquence.

It is desirable to employ a good master for the instruction of youths,

preferably one of the more profound masters of this art, one will see as a

result the pupils will learn the weapons with more nobility, present

themselves and walk with more grace, and in the assault they will not have

a gauche air, by which they will be distinguishable easily from those who

have taken lessons from masters, though more versed in the art, are less

capable of teaching good and true principles.

The result of all this, is that those who follow a master who has only

experience and technique have all the pain of the world to undo the bad

methods of their fencing, and makes learning the good method more difficult

to do, than if they had never held a foil.

Editors note


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Rules which Must be Observed in the Salle dArmes

1.

Do not take the name of God in vain

2.

Noone shall speak ill of the Sovereign

3.

One should abstain from speaking ill of anyone, present or absent

4.

Do make false promises

5.

Do not gossip, for falsehoods often follow

6.

Do not mock anyone while fencing

7.

Do not throw a sword in the salle

8.

Do not trail your sword on the ground

9.

Do not bother those who are fencing

10.

Smoking and drinking are not allowed in the salle


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11.

Be polite to all presentable people, who come to the salle; offer them foils,

with the masters permission

12.

Broken foils are the property of students when they are presented to visitors

in an assault

13.

Foils which are broken in the same salle by students, are to be paid for by

the one who holds the broken remains.

14.

If while fencing one causes the adversarys foil to fall, then gather it up

quickly and hand it to him politely

15.

If by accident while fencing one strikes the adversary in the face one isencouraged to make an apology

16.

If it happens that you step on someones foot then offer an apology

17.

It is poor manners to blow ones nose too loudly

18.

If someone has an unfortunate cough, he must abstain from playing in

grand assaults

19.

A student must take lessons without interruption, as without this they will

not make progress

20.

They must also pay for foils broken when they practice against the Master

or Provost of the salle.


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General Principals

Of the Faculties Required to Learn Fencing

The sentiment depeeis made known by the joining of swords. The position

where one finds oneself, with relation to the adversary is made

distinguishable by contact, joining with my sword with that of the enemy,

engaged inside or outside the arm; this contact warns us of a croisement, ora coulwith the sword, and by it I can sense if he disengages or makes false

attacks.

Speed-of-eye allows us to promptly distinguish his plans; ones sight must

be lively, neat and precise, because the aliveness of the speed-of-eye is often

decisive and a great aid.

Judgement allows you to quickly determine the offensive actions of the

adversary, and the defensive actions that you must use to oppose him.

The canon of fencing judgement contains speculation, which is theexperience that one learns through theory and practice. With speculation

and sound judgement speed-of-eye overcomes the causes and results of

these actions.

From experience, judgement serves to expose, by the actions of our

adversary, their intentions so that they can be avoided and prevented. I have

demonstrated this on the field.


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Method for Mounting a Sword

When one wishes to mount a sword do not file the tang of the blade, unless

it is too big to fit through the grip. If it is of a suitable size then you need not

do anything else to adjust it, for fear of weakening it, and if the inside of the

body of the guard is not open enough then you can file it; you will then use

little wooden shims, which you will fit into place with a small wooden mallet,so as to fill the void that you found there, and by this means all will become

firm, having paid attention that it is all true; one must also be assured that

the small end of the tang is well riveted to the tip of the guard, which must

be placed right up to the dish of the strong of the blade.

Observe that it is better that the grip is too long than too short, because this

allows it to be wielded with greater ease.

A fullered blade is more useful than a flat one intended for specific combats

due to its slenderness. The flat one is only useful to the army, either on foot

or on horse, as it is always too heavy at the tip.

In order to have a point of the correct proportion, it must be, from the guard

to the tip, two and a half French feet in length, because a too long blade is

dangerous, as it obliges one to withdraw the arm in order to use the point,

which gives the adversary the advantage of using tempo against one.

Method for Holding the Sword

To best hold the sword the grip must be between the ring finger and the

little finger, in such a way that the butt of the grip is placed in the crease at

the top of the hand, while aligning the thumb and other two fingers with the

guard, and at the same time the index finger is placed underneath the grip,

fairly near the guard, observing that the hand does not seize the grip until

the moment that you thrust or parry, in both cases so that the hand is not

numbed by contracting the muscles too long.

Although the ring finger and little finger are the principal supports of the

sword, it is however sometimes necessary to let go with them to facilitate

certain blows. The master must on these occasions warn his students.


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The first two positions


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First Position

While facing the adversary, with the heels placed on the same line, and

bringing them together, the toe of the foot a little less than at right-angles,

the ankles bent without stiffness, arms hanging naturally; one then make a

quarter-turn to the left while raising the toe a little, turning upon the heels,

and holding the sword scabbard in the left hand, then extend the right handgracefully in a semi-circle, carrying the hand to the grip of your sword, while

extending it in such a way that the thumb finds itself two fingers away from

the guard, such that the sword pommel is placed at the start of the hand,

while gripping it as said previously. One must have the body well-turned,

head a little to the rear, right hand well clear of the neck-tie.

Second Position

Draw your sword from its scabbard while equally extending both arms,

holding your sword in such a way that the tip is a little higher than the

guard, which must be at breast height. One must also ensure that the left

arm is raised in a semi-circle, a little extended and fully clear in such a way

that the hand is raised to the height of the temple, with the fingers bent a

little, the elbow bent a little to the outside; the right arm must be flexible

and barely held away from the body, and the elbow a little to the inside.

Then bend both knees while shifting the bodyweight to the left side; carry

the right foot a little to the fore by a distance of twenty inches, and parallel

with the tip of the sword.


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Step Forward

To step forward firstly advance the right foot the length of one foot, next the

left without changing their direction, the body and head must also stay in

position.

This step, whether forwards or backwards, must be made with suchprecision and subtlety such that the feet do not go at the same time, but as

two actions.

One can make (depending upon the situation) large or small steps, always in

the same way that has been shown, but it is always preferable to make

small steps.

Regular Step

Hold the sword to the fore, with the point in the direction of attack, place the

right foot to the fore by about twenty inches, making sure that the heel isopposite to the ankle of the left foot, and it must have the toes pointed a

little to the outside; bend the left knee in such a way that it will be placed

perpendicular over the toes of the foot.

The Retreat

To make a retreat is to do the opposite of the step, that is to say,

withdrawing a step in order to avoid being found defenceless, when the

adversary reaches out to touch you.

Carry the left foot to the rear by about the length of one foot, and follow up

by the same amount with the right foot, in such a way that they each is

found to be in the same direction.


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Method for Coming On Guard

To be in a well-formed guard, one must be in an easy, amenable and

graceful posture.

I shall profess a suitable and common guard suitable for all.

I have given a good method for holding a sword, observing that the edge

must be raised a little, and that the sword point is at the shoulder height.

Place the body in such a way that it is in profile; making sure that also the

feet, haunches, shoulders and arms are all in alignment, as, due to this, one

can carry oneself more easily to the fore.

Place the right foot in such a way that the left has the heel a little in front of

the right heel, which is placed in such a way that it will not hinder the right

foot; the left arm must form a slightly extended semi-circle, well detached,

with the hand raised at the height of the temple, the fingers slightly bentand the elbow to the outside, and the right is flexible, barely bent, with the

elbow a little to the inside; and the left knee, bent to the outside, is over the

tip of the foot on which it leans; one must have the head straight, upright,

gaze fixed upon the adversary, body straight, well balanced upon the thighs

and leaning over the left foot.

Next the extension, the left foot must be flat and firm, with the thigh well

steadied, so that it is found to be in a state able to recover with ease, the

right leg carried to the front, must be flexed at the knee, well-balanced and

placed with regard to the ankle.

Having made the attack, one must, while recovering, bend the left knee a

little, and the right is supple and flexible; one must also make sure the

head, a little to the rear, is straight, and turned to the adversarys side while

gazing at him, and the grip placed in such a way as to be able to protect

you.

If a person has one leg shorter than another, or some other physical

deformity, then have him make an appel by striking two taps quickly with

the right foot, in order to make him carry his weight to his left side, his knee

bent. By this manoeuvre he will take up a position amenable to him.


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The two positions of the salute


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The Salute of Arms

The salute is required because practice demands politeness; one never

commences an exercise without having saluted.

To make a salute with good grace one must make all the moves in perfect

unison.

While thrusting the sword one must form a circle with the wrist and the

point of the blade to the inside, and on guard.

Next make an appel by tapping twice with the right foot; raise your left hand

up to your hat and doff it with grace, without haste, without moving the

head and while gazing at the adversary; such that the one horn of your hat

is raised up high and the other low, and such that the right foot is brought

back to the left foot.

Raise the right wrist to eye height with the nails on top, while extending thearm.

Lower the left arm at the same time as you pass the right foot behind the left

next to the ankle, where it will form a right-angle.

Hold the thighs apart in this position, the body upright, solid, well-turned,

your arm forming a transverse line, with the left wrist to the outside.

Finish the presentation in the salute of arms with a wrist movement to

shoulder height, one to quarte, the other to tierce with ease.

Recover the left foot by one and a half feet and return to guard.

Then pass the sword close to the body, making a circle while presenting the

point at the adversarys body, and while you make a circle with the sword,

make a semi-circle with the left arm, returning it to where it came from,

then recover the left foot in order to return it to its first position. Then tap

the right foot twice quickly, and salute again to the left and right, replacing

the hat on ones head with grace, and return to guard.

Note that the first salute is done to your adversary, and then to anyone

especially notable present.


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Third Position of the Salute


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Engagements

To make an engagement is to connect the weak of ones sword with the weak

of that of his adversary, without turning the wrist. When in measure the

sword will be connected by the strong to the adversarys weak when one

finds oneself reaching out to hit.

To form engagements in quarte and tierce, balance the body over the left

thigh, which must be straight, firm and unbent, in order to have greater

freedom to perform the hand actions.

Engagements while Standing Still

Place yourself in a guard of tierce, connecting with your adversarys blade,

while ensuring at the same time that it is done without force. If you lead the

exercise, disengage and thrust quarte along his blade, while opposing the

strong of your blade with the weak of his, and return to guard. If your

adversary closes measure upon you then pay attention while retreating todisengage at the same time.

Engagements while Stepping

If the adversary breaks measure one must regain it by advancing with small

steps and retake the advantage with a new engagement in quarte with the

strong of your sword against the weak of his, by whatever means possible.

All while lowering the point of your sword, in order to pass skilfully over the

adversarys blade, without exposing oneself, and ensuring that the

movement of the weapon arm, and the step with the right foot and that of

the left foot are done as one.

One must become accustomed to promptly returning to guard every time

one thrusts, while holding the sword in front of you, preferably in quarte.


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First Part


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Simple Parries

The disengage and parry are done as one, or parry, keeping apart with a dry

blow with the point, the adversarys sword when he makes his blow, with a

little movement of the wrist to the inside or outside of the weapon, then a

large advance is made with the riposte.

The parry ensures the defensive, and must be considered as the most

essential part of the fencing canon; also, as you can comprehend its

importance, it must not be neglected, as can happen at times,

If it is useful to know how to thrust with accuracy and speed, it is of greater

advantage to know how to avoid the blows of ones adversary, because once

one has acquired a certainty of the parry we do not become tired by them,

and soon they offer more than one occasion to riposte at an adversary with

certainty.

All parries are made with the strong, or the cutting edge of the blade uponthe weak of that of the adversary, by a movement of the wrist, which one

lowers, either inside or outside, to form a parry.

As soon as you have parried return to guard with speed, while holding the

tip of your sword at shoulder height, pay attention to your adversary, for

greater protection and to be better ready to riposte at him with greater

speed.

The dry parry is the action of striking the adversarys sword with a firm

and sharp movement in order to set it aside but without following it, that is

to say, the wrist stopped upon the contact, so that there is a spring which

lets it stay at the end of his release.

I have seen from daily experience that those fencers who are negligent in

learning to parry with precision, or who are not secure in all their actions in

the thrust, are those who on frequent occasions make double-hits in the

assault, or who do not give sufficient respect to the button of the foil which

they often find opposite them, they make, while riposting hastily, violent

attacks, such that the foil often breaks, such that one can consider what a

danger they will be while thrusting with the sword.


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Ordinary Parries

Disengage the sword in tierce, parry quarte while making the fore-arm

always move first, with the point of the sword a little low, the body well-

supported by the thighs and the head well-raised.

While you recover with a parry of counter-quarte upon my disengagement,disengage the sword to quarte, parry tierce and return quarte over the

sword. As I disengage under the weapon, parry demi-circle, and return

direct, replace quickly over the weapon then disengage the sword to tierce,

parry your demi-circle, and riposte with speed, while you recover upon his

change of the sword, and parry tierce and riposte quarte over the arm;

disengage the sword to quarte and parry octave.

The parry of octave is made with the strong of the sword with the hand at

eye-height, while bending the wrist a little; upon his attack in quarte inside

the arm recover and riposte direct, disengage your sword to quarte upon his

disengagement, and parry counter-quarte, and riposte quarte over the arm.

Disengage the sword upon my disengagement of quarte over the arm; parry

counter-tierce and riposte quarte over the arm, while recovering.

Upon my change of the sword, parry your demi-circle, riposte direct and

return to guard.

Disengage the sword in quarte, and upon my disengagement of quarte, parry

counter-quarte and demi-circle, while binding well both parries with the

wrist; this must be done as a single movement, which must be done as

finely as possible, while observing that the parry of demi-circle is made with

the wrist at eye-height, nails high.


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Parry of Circle in Quarte


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Observation

I belief it is more necessary to begin by instructing the pupil to parry and

riposte, than for him to thrust direct or feint before he knows how to parry

and riposte; because one is infinitely more certain of an attack well-parried

and of the riposte than of an attack, because practising an attack by itself

will impress the pupils into wanting to attack

Method for parrying and riposting for the simple parries

This exercise of six parries, and the different positions, of the arm, the wrist

and the legs is more or less offensive and defensive.

The six parries are: quarte, tierce, demi-circle, octave, quinte and prime.

One must assign good form to all these parries, and make good simple

parries before assigning to doubles, which give a great suppleness to the

wrist, and speed to the fore-arm.

Each of these parries has a counter, which is why someone who is weaker

than his adversary must always gather up the sword with doubles in order

to return with simples, which will tire his enemy and prevent him from

making a feint.

And, as a result of what of what I have said, a good parry is one of the most

essential parts of the art (because an attack in itself requires a joining of

theory to practice); everyone must know how to fence well, having parried

well, so that the riposte is more certain than the attack.

Each parry has two very short tempi. The first is made while launching

upon the adversary (well extended but within the reach of the fencer, to give

him greater ease in his retreat) upon the adversary, and for him to throw the

blow. The second is the recovery and return to guard.

There are three wrist positions to execute these moves, known as supination

(which is to have the wrist with the nails on top), pronation (this is to have

the wrist and the nails turned towards the ground) and the medium position

(with the wrist and nails to the inside) one must place the thumb on top of

the bent fingers; the parry of prime has the wrist at temple-height, fingers to

the outside, thumb underneath and the sword hanging down, presented

directly at the adversarys flanks.

A parry which will deflect all blows to the forearm; it is also used to parry

direct blows forced through over the weapon.


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The fifth parry is quinte, used in the past, which is used at the lowest line.

Several authors name it low quarte, and others quarte- coup; this is

because they had not made a distinction.

Those who teach it as low-quarte go against the true principles; Angelo in

his treatise composed to the highest level, calls it quinte.

Upon a blow from quinte one must use the parry of octave and riposte in the

same way, because with a riposte of octave I cover myself and put myself out

of danger, and make my riposte certain.

If I advise the parry of quinte its because I see that one can sometimes be

put into use to deceive ones enemy, and see to it that one does not put

ones point into a trap by risking a seizure of the sword, which is made by

turning on the sole of the right foot and lunging with the left foot; the left

hand can thus seize his sword by the wrist, but with quinte one can render

this useless in order to riposte with my attack.

Charles Besnard, master-of-arms from Rennes, in his theory on the practice

of the sword, dedicated in 1633 to the Seniors of the state of Brittany, shows

a little use of prime, but no mention of quinte.

There are many references to prime and quinte together with the parries but

far from the degree of their usefulness, nor the occasions where one must

make use of them; on the contrary, they are most often disparaged as

inconvenient. But I think that, as I have just proposed, one will know that

this is their true use, and usefulness when fencing.

These days the art of fencing is well perfected, so one must adopt the game

of the higher line as it gives the greatest assurance and more certainty.


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Parry of Circle in Prime


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Disengages

I shall name disengagements, the action of transporting the adversarys epee

from one side to another by going under or over that of his adversary, from

quarte to tierce or tierce to quarte.

The disengage is performed by describing a semi-circle with the tip of thesword by going over or under the adversarys sword, by using a skilful

movement of the thumb and fingers.

For the disengage to end, it must be made by the shortest path, and always

after the adversary has done some movement; but while finishing the

disengage one must seek to acquire the weak of the sword with the strong of

his own.

I include two types of disengagement, known as the willing and the forced.

Willing ones are those done by intention, without being constrained by theadversarys blade.

To perform them one must skilfully pass the point of the sword near to the

guard of his sword, either under or over, so that the wrist is raised to

shoulder height.

A forced disengage is one of those where the enemy dominates the weak of

yours with the strong of his in order to depart from your point in order to

touch you.

This disengage is done in two ways; the first is done in the instant that he

forces your blade, by passing your point strongly near to the guard of his

sword, while raising and turning the wrist, just as one does to parry tierce

or quarte.

The second is made upon the first movement when he makes to strike your

blade in order to make it lower or raise up.

Upon this movement disengage immediately, because he will quit the blade

with his beat. Observe that all beats made while quitting the blade oblige

you to thrust direct, because it is contrary to all the principles of fencing to

quit the blade in order to make a beat.


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Counter-Disengagements

If you:

Disengage in quarte, I thrust tierce upon your disengagement; parry tierce

and riposte tierce.

Disengage in tierce, I thrust quarte upon your disengagement; parry quarte,

riposte quarte.

Disengage quarte, I thrust quarte over the arm, upon your disengagement,

parry tierce and riposte seconde.

Disengage tierce, I thrust seconde upon your disengagement, parry demi-

circle and riposte quarte.

Disengage tierce, I thrust quarte upon your disengagement, parry quarte

and riposte quinte.

Alternatively this disengage can be done when the adversary is not secure in

his parry and simple riposte. One can also perform this when he breaks

measure, for fear that he will secure your sword with a beat.

So then, while thrusting quarte, you parry quarte and riposte quarte, and I

in turn will equally parry your riposte, you must thus deceive my parry with

a second blow.

Example: I thrust at you in quarte, parry quarte, and as I recover, disengage

and thrust tierce.

I thrust at you in tierce, parry tierce; and as I recover, disengage and thrust

quarte.

I thrust at you in quarte, parry quarte; and as I recover, disengage and

thrust quarte over the arm.


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Direct attack thrust inside the arm


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Second Part


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Direct Attacks Inside the Weapon

Theory shows us that each sword attack has its feint. To thrust direct inside

the weapon one must profit a little from the play that our adversary can give

you.

The direct attack is thrust while lowering the point of the sword a little, thewrist well raised, while leading first with the forearm, while launching

oneself quickly, the left side well held, body balanced upon the thighs, the

wrist and nails turned up high, head upright, a little, however, tilted to the

rear.

Direct Attack Over the Weapon

This blow is thrust in the preceding positions.

The parry for the direct attack over the weapon is tierce, and the riposte is

quarte over the arm. One can again riposte it with a same parry of tierce,and while thrusting in seconde, the hand well raised but below the head,

while turning on the sole of the right foot, and while lunging with the left leg;

the body weight must be carried on the left side.


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Direct attack thrust over the Arm

Feints with a direct attack,

to make the adversary parry in 4th


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Feints with a Direct Attack to make the Adversary Parry in Quarte

One must have the sword engaged in quarte the point raised up to shoulder

height, nails turned in such a way that they are on top, bodyweight over the

left thigh, left hand part exposed and placed at head height. And then

advance the forearm, in order to make a feint of a direct thrust; this will

oblige the adversary to make a parry of quarte, then I will disengage andthrust quarte over the arm, I then deceive his riposte thus; he must parry

tierce, for which the riposte is a thrust in seconde downwards towards the

forearm, without lunging.

The same feint is made is also made over the weapon to thrust quarte inside

the arm, which is parried with demi-circle or octave, and the riposte is the

same without changing position, and while staying on guard.

The riposte to this direct thrust inside the weapon, it is parried quarte inside

the arm with the strong of the sword.


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The feint with a direct attack deceived,

while thrusting in quarte over the arm

Riposte with a direct attack inside the arm


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Remise upon Direct Attacks Parried

Upon the thrust direct inside the weapon parried, I deceive my adversary

with a half-withdrawal, and I re-enter direct with a remiseand I thrust

direct over the weapon.

The parry to this attack is thrust direct over the weapon in tierce; when hewishes to riposte quarte over the arm, I make a half-retreat of the body and I

stop-hit with an attack in seconde; and return to guard.

Upon a parry of tierce that the adversary makes upon a direct thrust over

the weapon, I riposte with a quarte thrust over the weapon; and return to

guard.

Observation

One must take care that all attacks underneath or quarte cutovers, inside or

outside the weapon, must be parried with a demi-circle or octave.

To parry octave one must bend the wrist so as to make a good cross with the

sword.

To parry demi-circle one must raise the hand as high as possible, with the

nails high, and parry with the strong of the sword.

Here, according to my advice, is the most certain method to parry all attacks

underneath.


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Riposte with a direct attack thrust inside the arm

Sliding the sword over the arm,

while passing with ones left leg to thrust seconde


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Sliding the Sword over the Arm while Passing with ones Left Leg

to Thrust Seconde

A slide is, when one finds oneself in measure with the adversary, to glide

upon the weak of his blade with a fast pressuring sensation, and in the

tempo that he opposes in order to parry, disengage skilfully and thrust

direct at him.

The slide is one of the more certain attacks; in that it will force the

adversary to make a parry.

Observation

One slides while standing rather than while stepping, with a disengage and

without a disengage.

To make a slide one must have the body well-turned and set upon the left

thigh, holding the sword directly in front of oneself, gain and slide upon theadversarys sword, making certain by using the strong.

Feint Seconde to Thrust Seconde

This feint is done while still rather than while stepping. When out of

measure, one must have the body weighted over the left side, while gazing

hard at the adversary; make a movement of the forearm with the tip of the

sword a little raised, so that the wrist and nails are turned down low; make

this move in two tempi, turning them skilfully in order to make the

adversary go to parry in tierce, which you will deceive by thrusting seconde.


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Feint seconde to thrust seconde

Feint second accomplished and parried with Counter-quarte and riposted


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For example;

1stI disengage my sword to quarte while forcing the weak of your sword

against the strong of mine; then cede your point with a disengage in tierce;

and return to guard.

2nd

I engage equally in tierce while forcing upon your sword; disengage inquarte, make a feint in tierce and thrust quarte inside the arm.

I parry your attack of quarte inside the arm, and on the retreat I force an

attack; and return to guard.

3rdI engage in quarte over the arm while forcing, disengage immediately and

thrust seconde.

These forcings are deceiveed by a feint One-Two.


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Attack in quarte parried inside the arm and riposted,

with an attack upon the retreat inside the arm


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Third Part


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Simple Feints of One Two, In and Over the Arm

To make a feint, is to make an intention to thrust at one side and to perform

the attack in another.

The simple One-Two feint is made while extending the forearm a little, while

at the same time making the first disengagement while inclining the body tothe fore a little, to oblige the adversary to make a movement to tierce which

you give with ease to your thrust of seconde. Feint with speed on the

principle that you will avoid a time-hit.

Sometimes when these are made on the fly, the adversary taking the tempo,

you become susceptible to mutual injury.

Time Hit Inside the Weapon Upon a Feint,

When not Covered by the Point

This stop-hit is done with a raised foot, while first making the forearm go

forth quickly, it must be well-raised, with the nails and wrist on high, while

opposing with the left hand, do avoid a double-hit.

But I think to avoid this double-hit it is convenient to, in order to have the

greatest assurance, to quit the line to the right, while launching the sword

at the adversarys body.

One-Two-Three Feint,

from an Engagement of Quarte Inside theArm

One-two-three feints are done while going forth with the forearm and leaning

the body a little toward the adversary so as to confuse him with a simple

feint to oblige the adversary to parry quarte; then I thrust my third

disengage in quarte over the arm with the greatest of speed.

The parry to this feint is tierce, from which the riposte is quarte over the

arm; and return to guard.


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Time hit inside the arm upon a feint,

when not covered by the point


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One-Two-Three Feint from an Engagement of Quarte over the Arm

This feint is done, as before, while changing the tempo.

The parry to this feint is that of quarte over the arm.

Upon my One-Two-Three feint, if my adversary takes up counter-quarte or

counter-tierce over the weapon I must deceive this counter by making one

and a half circles, as adroitly as possible, and then return to guard.

Feint One-Two Three to Deceive the Counter

If my adversary takes a counter-quarte or tierce, I must counter this counter

by making one and a half turns with the sword, to foil the counter and

thrust quarte, inside or over the weapon, with great speed; and return to

guard.

Feint One-Two Under the Hand Parried with a Demi-Circle,

while Opposing with the Left Hand

This one-two under the hand is thrust when the adversary raises his left

hand a little, the hilt of the sword is very low, and the wrist is very high.

The parry to this feint is that of demi-circle; and return to guard.

Feint One-Two to Deceive the Circle

One-Two feints to deceive circle are done while standing still.

Intend your feint well, while lowering the sword point with the wrist well

raised, to oblige your adversary to make a parry of demi-circle.

I deceive the demi-circle while passing over his sword, and thrust quarte

outside the arm, and return to guard.


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Feint one-two under the hand parried with a semi-circle,

while opposing with the left hand

Position for binding seconde


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Bind in Seconde

Set-asides in seconde are done when the adversary holds his sword at your

body; they are done with the strong against the weak of the sword, while

turning the nails underneath, done with a forceful wrist-turn in an attempt

to disarm the enemy, then you must return quickly to quarte, and thrust

quarte inside the arm; and return to guard.

Bind in Seconde to Thrust Quarte Inside the Arm

This bind is provoked by a sword-slide while turning the wrist with a little

force, nails low, in order to master the enemys sword, then you thrust

quarte inside the arm with great speed, while raising the hand to quarte in

order to provide cover.

The parry to this attack is that of quarte inside the arm, and riposte quarte;

returning to guard.


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Bind in seconde to thrust quarte inside the arm

Parry of Prime upon a direct attack forced over the arm.

The riposte is an attack in front of the arm as is

indicated by the dashes

Direct Attack Forced Over the Arm to Parry Prime


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This attack is thrust with speed and accuracy.

It is parried with high prime, and its riposte is an attack from the forearm in

seconde without lunging; returning the hand quickly to quarte and

thrusting, as you recover, quarte inside the arm.

Upon which I disengage quarte over the arm; you parry and disengagecounter-quarte; at my riposte make a cutover and thrust over the weapon.

A cutover is made by bending the arm a little at the elbow, and plunging the

sword point downwards, raise the arm to head height, thrust with speed,


Observation

Simple cutovers and disengages must never be made as an attack, because

this is too dangerous and can be stopped by a time-hit, but they can be

thrust upon the adversarys retreat without danger.

Do not thrust them at those times when you are not in a position to recover

and always act quickly with the sword point.


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Feint of One Two to Thrust Low Quarte

When my adversary is on guard, with the wrist turned, sword point raised, I

give him a feint one-two on high to make him raise his wrist and go into a

parry of quarte; I pass narrowly my sword under the arm and I thrust him

in low quarte with my wrist high, fingers low and the sword point

descending towards the flank, holding the strong of my sword well-pressedupon his arm, to prevent him from making any movement.

I take care that in the position of that guard I will be able to thrust direct;

but like the greater art of those that take up this guard, who are always

certain of their parries, I thought about deceiveing them with this feint, to

thrust quarte low inside the arm.

The parry to this low quarte inside the arm is octave, for which the riposte is

quarte inside the arm, in the normal manner.

When I engage the sword in quarte over the arm, my adversary having takena low guard, I make a one-two feint at him over the weapon. To make him go

to tierce, I thrust seconde inside the arm to surprise him.

The parry to this is that of octave, and the riposte quarte inside the arm;


Note that quarte is divided into several types, known as quarte inside the

arm, quarte over the arm and low quarte outside the arm.

Low quarte is done immediately following a direct thrust, to oblige the

adversary to raise the wrist, upon which one thrusts low quarte with speed.

Engagement of Quarte Inside the Arm to Thrust Low Quarte

I engage my sword in quarte inside the arm, I make a feint with the point

and slide along the length of my adversarys sword, I thrust low quarte in

the aforementioned position.

The parry to this attack is a parry of octave, and then a return promptly to

guard.


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Low Quarte

Parry of octave to parry low quarte


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Feint of Low Quarte

I make a feint with a slide along the length of my enemys sword, I lower the

power of my sword into a position as if I wanted to thrust low quarte, having

the nails low with the wrist well raised.

The adversary goes to parry octave but I deceive it while thrusting quarteover the arm.

The parry of this attack is the parry of tierce, from which the riposte is an

attack of quarte over the arm, or an attack to the hand in seconde, while

descending the blow to the forearm with great speed.

False Attacks of a Feint of Low Quarte, with an Appel of the Foot

The false attack of a feint of low quarte is made while lowering the point of

the sword, and while raising the wrist to eye height, to oblige the adversary

to make a parry of octave. When he makes the parry of octave, I thrustquarte over the arm, which is parried with tierce.

The riposte is quarte over the arm, and then a quick return to guard.


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Feint of low quarte to make the adversary go to a parry of

octave to thrust quarte over the arm

Crois of octave made while standing still


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False Attacks with a Feint of Seconde, with an Appel of the Foot

This false attack is done with a feint in seconde, to oblige the adversary to

make a parry of octave, and I thrust quarte over the arm.

The parry to this attack is that of quarte, from which the riposte is quarte

over the arm; and to guard.

But if the adversary takes up counter-quarte, where he counter-disengages

with a turn and a half, I must then parry counter-quarte and tierce, and

riposte with an attack of seconde; and to guard.

Crois of Octave

The crois of octave is made upon a man who has a raised guard. While

making a slide on the blade, and lowering the point of his sword over and

then underneath that of the adversary, and then raising the arm well and

the nails up high, then thrust a crois of octave very slowly, and withoutpressing upon the sword of the adversary.

This attack is parried with octave, and the riposte is the same, and to guard.

Demi-Crois of Octave to Deceive the Crois

The half-crois of octave is made while advancing the forearm a little, with

the sword a little lowered while crossing over that of the adversary, and

making a small beat with the wrist against him, to thrust quarte over the

arm.

The parry to this attack is the parry of quarte, and one must riposte direct,and return to guard.

Observation

Take care that, after thrusting all these attacks, one must return fully to

guard, and take care to always direct ones sword towards the adversary

while observing, with great care, in order to attempt to uncover his

intentions, thus to not be surprised, or taken unawares.

To do this with great ease, one must with the left arm, which lies about a

foot away from the left thigh, is placed very quickly up high with the handhalf-opened, and such that the body is found, at the same instant, pressed

on the left thigh, they must also ensure that the body and shoulders are

well-turned and the head upright, also a little to the rear, as is done in all

manners of attack.


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Method for Thrusting at the Wall

It is called thrusting at the wall exercise when one trains the hand to adjust

in a straight line, and with speed, the thrusts upon the parts of the body

which one finds exposed.

This exercise is one of the base fundamentals of the art of fencing; itproduces four good effects, steadiness of body and legs, speed, correctness

and the knowledge of measure.

To better thrust at the wall one must be placed in a guard of tierce, then doff

ones hat with the left hand with ease, without turning or lowering the head;

then pass the point of his sword underneath he sword point of the

adversary, while extending in quarte, and while opposing the wrist strongly

extend the button of the foil near to him, without touching him, to ascertain

measure, and then return to guard.

Then one must disengage and thrust quarte over the arm, or tierce, withoutmoving the left foot, observing that one must make neat disengages, and

does not raise his foot off the floor, then to gain more speed and to hold the

wrist high while retiring, while then continuing to adjust quarte and tierce

alternately without lunging out of measure.

One must not make time-hits, attacks nor feints; one must not stay for any

monger than ordinary use allows. One must not, as certain fencers do, stay

in the engagement, waiting for a parry to go wrong, in order to be able to

take advantage of his actions.

The natural inclination of those youth who thrust at the wall is a grand

obstacle to their advancement because they do not acquire the necessary

quickness, make poor use of coordinating their forces, and thus hamper

their actions and render all their actions ungraceful.


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Of Parrying at the Wall

To parry at the wall one must hold ones guard position, hold the body

steady and turn the shoulders well, the left foot fixed, the head upright, the

wrist a little lower than the usual guard, while giving a little play; and at the

same time as the thruster wants to come into measure against you, as you

have done to him, he must doff his hat and expose himself in quarte, andthen at the same time as the thruster, hold in the same position as the

guard but not with all ones weight on the thigh, while observing that he

adjust his thrust against you satisfactorily, checking that he thrusts

consistently, so as to help regulate his hand; but this need not happen

between pupils from the same academy.

This was the method for thrusting and parrying at the wall, as is generally

practiced in academies.


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First position for attacking while standing still


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Attacks

Attacking the sword of his adversary is done with one of several very slight

actions of the wrist to the fore to unsettle him, then to touch him while he is

disordered.

When the adversary holds his sword carelessly, and breaks measure, makesimple attacks at him, without telegraphing.

Enter an engagement while stepping, to find the sword of ones adversary

strong-to-weak without pressuring it, and while thrusting vigorously directly

in line either in quarte or tierce, or quarte over the arm.

Simple Attacks while Stepping

1st. Attack quarte and advance one step while sliding along the

adversarys sword blade without pressuring it, and if you emerge from

this action, thrust in quarte quickly.

2nd. Attack tierce in the same way and thrust tierce

Never step without first securing your adversarys sword, otherwise you risk

being hit upon your first action, and an attacking step must only be done

only as a small pace.

Your adversary may have the same intention to attack as you, and if you

make the same attack, he will show his intent, from which you must try to

benefit.


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First position for attacking while stepping


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Sword Beats

Sword beats are made in quarte and tierce, while striking with the strong of

your sword upon the weak of your adversarys sword, without quitting his

blade.

The beat of quarte is made while thrusting quarte inside the arm

Beat of Tierce to Thrust Quarte over the Arm

The beat of tierce to thrust quarte over the arm is made with the strong of

the sword, without quitting that of the adversary, to thrust quarte over the

arm.

Beat of Tierce to Thrust Seconde

Beats of tierce to thrust seconde are done while turning he hand from

quarte to tierce, nails under, while striking the flat of the sword weak-to-

strong, to raise the adversarys sword, and thrust second under the arm.

Pressure on the Sword Inside the Arm while Stepping

Pressuring the blade out of measure is made while pressuring the blade

weak-to-strong of the adversarys sword, while turning the hand to demi-

tierce, while stepping one measure with the body to the rear and carried

over the left side, while always stopping for an instant doing the step;

because all sword beats are susceptible to disengagements; to remain the

master of the adversarys blade, return the hand to quarte, to thrust quarte

inside the arm, with the hand well raised.

Observe that the pressure on the sword is not thrust from out of measure.

The pressure on the sword is parried in quarte and riposted with quarte

inside the arm.


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Pressure on the sword inside the arm while stepping

accomplished

Pressure on the sword over the arm

while stepping to thrust seconde

Pressure on the Sword Over the Arm


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The pressure on the sword over the weapon is done while turning the hand

a little to tierce, and returning quarte over the arm.

If while pressuring the sword the adversary disengages quarte inside the

arm, you parry this disengagement with a parry of octave, and riposte

quarte under the arm.

He must observe that one can deceive all pressures on the sword (when the

adversary resists your pressurings) with a disengage or a feint one-two, or

with a bind in seconde, when it is inside the weapon.

Pressurings of the sword over the arm are deceiveed by a feint of seconde, to

thrust quarte over the arm, or seconde under the arm.

Pressures of the sword can be parried in prime or counter-quarte; seconde is

parried with octave, and riposted with quarte under the arm.


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Feint with a pressure on the sword inside the arm

Pressure on the sword over the arm while stepping

accomplished


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Another Pressure on the Sword while Stepping

This other pressure on the sword, while stepping, is done to oblige the

adversary to thrust quarte over the arm.

The parry to this attack is the parry of tierce, and return tierce over the arm

while you separate the left leg, with the wrist well raised and the nailsturned over.

Binding in Seconde inside the Arm while Stepping

The bind in seconde while stepping is made when one is out of measure,

while turning the hand to tierce, and stopping a little while stepping; having

mastered the adversarys blade, thrust quarte inside the arm, in the usual

way.

The parry to this attack is the parry of demi-circle, then riposte quarte

inside the arm, and return to guard.

He must observe that if the adversary disengages while making the bind of

seconde, on must immediately make a counter-quarte inside the arm.

Crois of Octave while Stepping

Make use of the crois of octave when the adversary holds the wrist raised

and is out of measure. While stepping, and sliding the sword blade along

his, while lowering ones point, the hand very soft and well raised, without

pushing on the adversarys blade, and thrust low quarte outside the arm.

The parry to this attack is the parry of octave, and riposte quarteunderneath the arm, and back to guard.


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Binding in seconde inside the arm while stepping

accomplished


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Observation

The crois of octave replaces in the canon that which the ancients called the

flanconade, though it is not quite the same thing. Using the flanconade

shows that you have taken the most dangerous course, and by choosing the

crois one takes charge of ones adversary, in a less dangerous way.

Feints of the Crois of Octave while Stepping

This feint of the crois of octave is made while stepping in the same position

as a crois of octave, to oblige the adversary to make a parry of octave; cross

his blade with a dry parry of octave, and thrust quarte over the arm; and go

to guard.

Of Stepping Forward

To step forward one must observe the rules given before, while sliding the

sword along the blade of your adversary, while making a feint with the pointat him, to oblige him to parry quarte, which I then deceive him with by

thrusting quarte over the arm.

The parry to this attack is the parry of tierce; to thrust seconde; and to

guard.


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Parry of high quarte against high quarte inside the arm

Quarte coup outside the arm


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Engagement of Quarte Over the Arm

This engagement is done as before, to oblige the adversary to go to a parry of

tierce, which I deceive while thrusting quarte inside the arm.

The parry to this attack is the parry of demi-circle; and to guard

Engagement of Quarte Inside the Arm, Out of Measure

The engagement of quarte inside the arm, out of measure, is done while

carrying the body weight over the left side, with the head upright, gazing at

the adversary, the left arm raised, the fingers turned to quarte at brow

height, the right arm flexed, sword point raised a little more than when in

guard; step with the right foot by raising it about an inch, while making the

left foot follow by the same amount; the body must be positioned more to the

rear than to the front, slide the sword along the length of the adversarys,

strong- to-weak, to oblige a parry of quarte.

I deceive this while thrusting quarte over the arm or a One-Two inside the

weapon.

The parry to these two attacks is one, tierce, and the other quarte inside the

arm.

If the adversary does not make a parry of quarte, or does not thrust quarte

over the arm, nor make a feint of One-Two, one is thus obliged to disorder

the sword which you hold at his body, with a bind in seconde, to thrust

quarte, to thrust quarte inside the arm, and to guard.

Engagement of Quarte Inside the Arm, Out of Measure while Stepping

Engagement of quarte over the arm while stepping, to make a feint of

seconde, is done while stepping with the bodyweight well over the left side,

in the same way as has been said in the preceding article.

The feint of seconde is done while turning the hand to tierce, while lowering

the sword point, nails turned over, to oblige the adversary to make a parry of

octave; return the hand to quarte and thrust quarte over the arm with

quickness.

The parry to this attack is the parry of tierce or prime, and the riposte is an

attack of quarte outside the arm; the riposte to prime is an attack of

seconde; and to guard.


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Time-hit thrust over the arm with a covering action

Feint seconde, while stepping, over the arm

accomplished


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Feint of Seconde while Stepping

This feint of seconde is done while observing that it is practiced as below.

The double feint of seconde is done in two measures; step while thrusting at

the second measure and when thrusting quickly, without quitting the

adversarys sword; thrust quarte over the arm, taking care that you coveryourself well to avoid a stop hit.

Observation on Stepping

While on guard, out of measure from the adversary, sword in front, body

back and steady, gazing ahead, with the head upright, advance the right foot

while sliding it forward by the length of twelve inches, without moving the

left foot, which must stay firmly and flat on the ground; he must not

disengage the point either to the inside nor the outside, while stepping,

making sure that you have always gained the adversarys sword.

This is the method to use for thrusting with speed along the length of the

adversarys blade when advancing. One must lead with the hand so that the

attack will be well-made.

Here is the true means of being protected from a stop hit. Because you must

observe that if you step and disengage at the same time, inside or over the

arm, you will be susceptible to a stop hit.

Secondly, when on guard, sword to the fore and out of measure, one must

raise the right foot close to the ground, and advance in a straight line the

length of one and a half feet, the left foot must follow by the same amount;make sure that the body is steady and to the rear, the thigh straight, bent,

and the shoulders back, to be in a state to thrust and parry.


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Stophit over the arm while disengaging and stepping

Stophit made inside the arm on the adversary,

while disengaging and stepping together


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False Times

Tempo is the time of one action, either of the sword or the foot, one can

make no other movement, whatever is tried, it will consist of one tempo,

whether a disengagement, advance, retreat &c. Or take a tempo with the

weapon, to take advantage of the moment when you feel that the adversary

seeks your sword, to thrust at your exposed body parts.

However, this is not a result of chance as a fencer can sometimes do this by

intent, that is to say, to touch the other without being touched. This is a

great outcome but is often the result of an absence or lack of precaution on

the adversarys part.

However when a fencer goes to make a certain action, upon an arm held too

short, or against a body part left exposed, he can sometimes make use of

this.

Observe that there is greater ease and less peril to make these touchesagainst an adversary with a raised foot, seeing as an adversary cannot step

and thrust in the same instant.

I must also prevent, that one must never risk making time-hits with the

sword at the hand, especially if your adversary has quickness, experience

and skill because although you have the element of surprise you risk being

surprised equally. It is more prudent to make use of simple parries, those of

counter, double counter, circle and demi-circle, which give certain ripostes.

To perform these uncertain tempi, one must be well pressed over the left

thigh, and have a straight knee so that the arm is very flexible.


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True Times

To take a certain time is to take a moment where the adversary tries to

lunge, in order to thrust at the same time as him with an attack which one

will parry him while touching.

Combatants may, though, thrust at one another at the same time, when notdone as a dirty trick, because they both set themselves up to do so at the

same time, as double hits are against the intent of fencers, and is not

observed sufficiently, thus to not leave together, and to not have riposted at

one part or another.

Although the true tempo actions are easily parried with simple actions they

are, however, the most difficult actions in fencing, and the most beautiful,

and when one is in a state of good-judgement, and making them with

precision, one can flatter oneself that you have achieved the highest degree

of the science of the art.

To impede the effect of double hits, I launch the sword at the body of the

adversary, I step with the left leg then the right leg, while quitting the line I

carry myself to the right, and thus I avoid the adversarys attack.

One can also make the same movements, either to the inside or outside of

the weapon.

The same manoeuvre is done with the right foot.


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Nothing is more dangerous than seizures and disarms. If a disarm, which

cannot be completely relied upon, is successful; if your disarmed adversary

does not wish to depart, as happens sometimes; one can however

assassinate the vanquished enemy, on the pretext that it is better to kill

than be killed, by a process as untrustworthy as it is blameworthy, you will

be deemed contemptible, as there is no glory in having attacked an unarmed

enemy.

On the other hand, there is the opinion that when return his sword you

required to recommence the combat, which is always questionable.

Of these you must judge well what is most prudent when trying a disarm.

However if by his own error he finds himself to make a full lunge, or both

combatants have entered into measure at the same time, or lastly if they

remain too long in their attack, having neglected to return to guard; here is

how to seize his sword inside the weapon.

If someone wishes to lunge at you in tierce, parry tierce; if the adversary

does not recover out of fear of a riposte, oppose strongly against his strong,

and seize the guard of his sword with the left hand, and while passing the

left foot to where the right foot was, lower the point of his sword towards the

ground, while presenting his outstretched at his body, to avoid any

surprises.

Where I attack my adversary over the weapon to make him attack quarte

within the weapon, I parry his attack of quarte with a parry of octave while I

lunge with my left leg, left hand seizing the guard of his sword, and by thismethod I make his sword pass under my right arm, and clamp it fast to my

body. This is the most certain seizure.

Suppose that you have lunged in tierce, and opposed strong to strong, the

adversary goes to seize the guard of your sword, upon the action of his wrist;

quickly and at the same time reprise in seconde.


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Seizing the sword

Seizing the sword during a parry of octave


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Crois of Octave

Croiss of octave are done against a man who has a raised guard, while

making a slide on the sword, while lowering the point underneath the

adversarys sword while raising well the arm with the nails high, to attack

the flank.

This crois is parried with octave and the riposte is the same. Then return to

guard.

Demi-Crois of Octave to Deceive the Crois

The demi-crois of octave is done while advancing the forearm a little, while

lowering the sword point crossing that of the adversary, making a little beat

against him with the wrist to thrust quarte inside the arm.

The parry to this attack is a parry of quarte; riposte direct and return to

guard.


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Crois of octave while stepping off line

Feint of crois of octave when stepping


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Counter to the Crois and Bind of the Sword

When one wishes to avoid this attack, one must pay attention to the action

of his wrist, and cross his sword in quarte; he must also seize the tempo in

which he turns the wrist to seconde, disengage and thrust promptly in

quarte over the arm.

Or if he crosses your blade in quarte over the arm, he must thus seize the

tempo of demi-circle while outside the weapon, quickly turn the wrist to

prime, then make a reprise with the hand in prime and be in seconde while

returning to guard.

Observation on the Crois and Bind of the Sword

The crois and binds of the sword are susceptible to disengages when one

does not make them strong to weak of the sword with force and speed; onemust thus start with quickness to complete these attacks, and by this

means one Is not at risk from a disengagement.

Method for Perfecting ones Pupil for the Assault by Reciprocal Attack

To put this method into practice, I attack you in tierce, leaving from quarte

inside the arm, with speed.

I parry your attack of quarte, and I riposte quarte inside the arm; you

recover while parrying quarte inside the arm.

Make a feint of one-two inside the arm and return to guard.

Upon my attack of quarte inside the arm with an appel, disengage quarte

over the arm speedily, I parry quarte and I disengage quarte over the arm;

you recover quickly while parrying counter-quarte, and upon my retreat

riposte with an attack over the arm.

Upon my attack of tierce disengage quarte inside the arm; I parry your demi-

circle, and I return to quarte inside the arm.


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Parry of demi-circle over a low quarte


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I attack you with an attack of quarte inside the arm; leave with an attack of

quarte over the arm; I parry your attack of quarte over the arm ; riposte with

an attack of seconde, which must be parried octave and demi-circle; and to

guard.

I attack tierce to oblige him to thrust a feint one-two. Which is parried with

a parry of prime, then the riposte is an attack with the hand in seconde.

Upon my attack of quarte inside the arm thrust feint one-two, I parry it

quarte, riposte quarte inside the arm; and to guard.

Upon my attack of quarte inside the arm, leaving while thrusting low quarte,

with the point of the sword a little low, and the wrist well-raised.

The parry to this attack is that of octave, then a riposte is thrust in quarte

inside the arm, and to guard.

Upon my attack of tierce makes a feint of seconde over the arm.

The parry to this feint is a parry of tierce and this is riposted tierce over

tierce; and to guard.

Upon my attack of tierce leaving from an attack of seconde or of octave while

underneath the arm.

I parry your attack of seconde or octave, and I thrust quarte over the arm,

which you must parry counter-quarte; and the riposte is a cutover

disengaged while passing under the right arm, and to guard.

I attack with an attack of tierce; showing me a feint of one-two over the arm,which I parry with a parry of tierce, to which I want to riposte quarte over

the arm, you stop me with an attack in seconde.

Observation

Ensure that the pupil faces the master with the same manoeuvres which

have been done with him, thus to know well the theory, and to perfect

practice, and to better fell the tic-tac of the sword, which must be thrust

with the greatest speed.

Documents

The Art of Fencing Reduced to Its True Principles