^jflies a: H«>jf« 

T;fiE 

ART OF DEFENCE ON FOOT 

WITH T^HE 

BROAD SWORD AND SABRE. 

t 

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-I 

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i] 

ART OF DEFENCE ON FOOT, 

 
WITH THE 

BBOAD SWORD AND SABRJS: 

ADAPTED ALSO FOR 

THE SPADROON, OR CUT -AND THRUST SWORD. 

IMF&OTSD, ASD AUOBCSBTTSD WITH 

THE TEN LlfcSSONS 

OF 

 

liate Broadfword Master iolfHU^U HorSe.ypluixteers of London 

 

lI^LtrgTRA^lSP WITH PLATES 

ByR. K.^T0RTER, &q. 

-A 

NE^.YORK. 
PUBLlsaED BY H. DURELL. 

 JobMtoaa K Van Kordea PriBton. 

 

 

t- 

 

THENEWYORK 

TIUDCN fOUNUATlONS 

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s. 

CONTENTS. 

PART I. 

Practice at the Target. 

QF Holding Sword 

Position 

Ijongeing 

J^ium Guard, :,r v- 
Introductory i2fmaflBi*p?i;^A^^ 
Direction of the Cuts 

Page 

 

Method o/practising'the'Six Cuts at the Target'24: 

CutL- 

Cittll'- 

Cui'lV. 

 

Cut,VL 

Combining the Six^-Cuts 

ib. 
t6 
 

 

 
PART H. 

Practice with Antagonist. 

t 

Page 

GeneYaX Observations ---:---3l 

The Adtance --39 

The Retread 40 

^Forcing an Adoersartfs Guard 

Half'CirchGiuirlmtd'Bpa&v^ 52 

Hanging Guard 56 

Battering -63 

 

 

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m 

 

 

Application op the Point. 

 Page 

t 
Cuts differifigfrom the general principles of the 

Cut ai the Mvanced Leg 84 

Paroide and Return for the above 87 

Broad Sword Salute 88 

Ten Lessons as taught by Mr. Taylor 00 
Lesson to be performed ivith the Sword ,^3 
Remarks on the Spadrdon 94 

Appendix. 

C^f^sing the Small Sword l(to 
Spadroon 102 
Musquet and Bayonet 106 

Variations from generalprtncipks ofihe Systefii 

 
k< 

 

 

TH£ 

ART OF DEFENCE^ 

WITH THE 

BfiOADSWORD AND SABRE. 

JL HE following treatise is divided into Two 
Parts. The FIRST containing a Mode of Practice at a Target* which may frequently affi>rd exercise or amusement, when it may not be possible, 
at the instant, to find another^ person equally desirous of improvement in the science. In this p^t 
is described the method of directing the edge, and 
recovering to a guard from any cut \thich may 

 The target for this piirpoM will be foimd at the beginning of die 
lK>ok, from whence it may be taken and fixed against a wall or parti- 
^iooy as dinoted in p. 11. 

have either missed or cut through its objecti without suffering your body to imain exposed, or straining your wrist. 

 It is not, however, necessary for learners to occupy a great length of time wRh the first part, before they proceed to practise with an antagonist it 
will be siifi^iefnt if ihejr idiki( theft!se)veii» acquainted with the direction of the several cuts, and the numbers by which they are dilstinguished. The mode 
of recovering to guard by whirling up the blade, 
and, the turns of the wrist requisite for th^t purposi, 
d3ay be acquired at convenient intervals, by practising with either a sabre, broadsword,, cut-andthrust sword, or hanger; and ^gentlemen will, by 
that means, become accustomed to the weight of 
the 'weapon, and accurate in carrying a true edge 
whereas if they practise only with a stick, the 
weight of the sword will render it so unwieldy, 
when they are compelled to draw it on a real occasion, as to frustrate almost every offensive movement made against an antagonist possessed of either 
science or agility. 

The &EPOND PAET txem of Pnutm 
with m J$angQni9t; hy i^ttm^gf^ to mkialh giaftter 
men may improve each other very faSt, provided 

tb^. apt, ff^^^omwmkm itmv rewfttfe; 5«siH*ct' 
1^ m^ bud 9f Gm»m^ QfitmYimQmf 

mmmomu 

I would noti however, venture to recommend the 
practice with a friend, for the sake of improvement, 
with naked swords since, although not attended 
with danger in the cavalry exercise, yet, as the situ^ 
ation of persons engaged on foot, does not confine 
them to one or two particular cuts at commencing 
the attack, but admits of more various and complicated movements, an error in regard to the parades 
might prove fatal* 

In this treatise, the broadsword and aabre are 
generally mentioned, yet the instructions will be 
found equally applicable to the hanger and spadrooiii 
or light cut-and-thrust sword. The deviations 

which may prove ntcessary for the latter^are noticed 
under the head of Remarks on the Spadroon. 

In the Appendix, are some faints which may be 
found useful when opponng a person armed with a 
small sword, or with a musket and bayonet. T 
variations from the genersd principle^ of the ^stemr, 
when contending with sticks only, are also notioed 
in that put 

PART I. 

PRACTICE AT THE TARGET- 

OF HOLDING THE SWORD OR SABBE. 

X HE broadsword and sabre must be held witk 
the fingers clenched round the gripe, sufficiently 
fast to prciyent the blade wavering^ the thumb being either placed on the back, or towards the 1^, 
as most convenient At the instant of parrying 
or attacking, it will be requisite to grasp it with 
strength; but that exertion of the muscles is so' 
natural, as not to need much insisting on. The 
chief object is to keep the gripe encircled as much 
as possible with the fore finger and thumb, whatever may be the position of the blade, relaxing or 
contracting the other fingers according to its direct 
tion. Placing the thumb upon the back of the 

gripe, is the mode always adopted by small-swordsmen and spadroon players but the hilts of broad^ 
swords and sabres are frequendy ^made too short 
and confined to permit jt, and the curve of the sabreblade renders it unmanageable and unsteady if held 
in that manner. In practising with light sticks, and 
in using the spadroon, or cut-and-thrust sword, the 
placing the thumb in that position will be found to 
^ve a celerity and sharpness to the cut but the 
weight of the blade, of either a broadsword or saktej wiM, in sone instuices, prove too great to be 

thus acted upon, and will frequently require that 

 

die gripe be completely encircled widi die fore fing- 
 and thumb, k which manner i would advise hdding the sword when practbingiihecuts at tJie Target 

1»0SITI0N. 

The first object of the learner should be to attain a firm yet flexi|>le position. For this purpose 
he must learn to, support the mQst part, if not the 
whole, of his weight on his left leg, in order that 
the right, which is to \)^ advanced, may be either 
retire^ from a cij^, or thrown rapidly forward on a 
long^. It is therefore necessary to commeace the 
practice in the following manner 

Fix the sheet, on which the six cuts are described, flat to the wall, the centre of it about one inch 
^below the height of your i^oulder. Leading to the 
perpendicular line down the centre, mark a line 
with chalk tm the floor. At the distance of about 
ten feet from the figure, place your left heel, so as 
jost to touch the Hne, the left knee bent, to throw 
the wei^t of the body on that leg, the right foot 
afivanced about 14 or 16 inches to^wrards the tarjget; 
the t^ poiinting to the perpendicular line. The left 
shoulder must be thrown back, and the body kept 

as much in a line as possible, in order to expose nm 
more of it than necessary to yow supposed antagonist The left hand may be raised to tde height of 
the left ear, in order to preserve the balance of the 
body or may be fixed firm ilirith the inside of it on 
the left hip-bone, as may be found most convenient 

From the above position, practise slipping the 
right foot'.back till the middle of it becomes opposite the left heel, in order to retire the right knee 
from your adversary's reach when necessary, which 
is easily and quickly done, if you rest no more weight 
than directed on that foot 

LONGEING 

I3 the stepping forth with the right fodt from the 
position described in the preceding page, in order 
to efiect a cut or thrust* In beginning tiiis practice, make the first trial without attempting a cut 
at the same time, till you can longe straight upon 

the iiiie on the floor, keeping your left foot firm, 
 and recover yourself wkh. e&se. 

At the instant of longeing, the left band should 
 drop on (he left thigh; from whence it should be 
dirown up smartly to the left as you recover, which 
will assist in regaining your position. 

Although ^xk extensive longe is doubdess ad^tota^Qeous.to those who can make it easily, yet it will 
not be found, on a real occasion, so necesssury as a 
quick recover. For which reason it will be imprudent in gentleipen to accustom themselves to step 
iarlher out, than their strength or activity naturally 
admit. Care must always be taken to place the right 
 foot flat on the ground, and not to make so violent 
an extension, as to pitch on the heel of that foot* 
The proper extent is to bring the left knee^raight, 
and the right kne^perpendicular to the instep. 

 It shoiiki be conside^d thai in real contest, the difference of the 
grbubd, and many other circumstances, concur to render any unneces. 
sary extension hasardons; especially to sqch persons as have used 
themselves to practise on an even floor, penmps with slippers chalked 
at the bottom. 
After practising the longe until you are enabled 
to step well forward, and recover without difficulty, 
the next object is to execute the cuts in such a nuui* 
ner as not to expose yourself to a counter or retort 
by suffering your arm to sway improperly widi the 
motion of your 8W<N'd. 

To prevent accidents, by the sword escaping from 
the hand, it will be necessary to have a leather sword 
knot, which should be soft and pliable, and not so 
tight as to confine the motion of the wrist 

^Before you draw the sword, pass your hand 
through the loop, and give it a couple of turns 
inwards, which will render it sufficiently secure. 

As all attacks should be preceded by a defensive 
posture, and concluded by a return to one, it may 
be necessary to commence with the following guards 
from whence the cuts are chiefly made. I shall reserve the description of the others until I treat on 
the practice with an antagonist. 

MSIDIUM GUARD. 

\I/HIS pi^itioii ta^er tnerits ihe appellarioii (ji 
pi^are to'guardy^mit affiirdisr hardly any probet&^a* 
wHbouts^me change of iiositibn, and shduldibeofli*' 
ly e^optc^ (tf at all) wheii ycAi' are in'ddHbtJ on 
which side your adVeirs^fy nbfkrnfe to joitt^ ahil -Ifl^ 
fore his weapon is within reach of yoursi ''4i ^814sists in presenting your sword perpendicular, with 
the shell c^positelbe bodAm ctf the tafirget, the point 
lipwardidj' ai»l the edge' oppofiite^thelifie doWn the 

 It m«M W obi^hri^dyas an'inrariatile rulo^^t^^^ 
the w«rd^^h'dfeould*b l exactly* over the. ttMdlfe 
knackles, either when holding a guard or making a 
ciity by whidl'ttidaiis the direction ih^-k^iucyes 
will always govern the edge of the weapon; 

From the mei^tDsuard^ I9 a turn dkhe wrist, 
briag die hilt ol the sword opponte A=, the fingw 
nails tipn^ards, the blade slopiBS sufficiently aci^ote 
the target to direct: ^e point tp C^ the aiw o^lyi 
stiaighl(,ftom the sho)»lder to the wrist, batnotsti^ 
Sec Plate III. 

 Ift.thb positioB the edU of the svor^k to receive^ the blow from ao aatag<Kiist;.aiid th^ bevel 
of the blade aext the edge should be opposite to iJ^ 
dotted line from A to C. If you turn the edge too 
muQh j;o the left» yen wffl find a^diffieultg^ ioNstetkingi 
w be exposed to teuton ithe outsit of ]^;W^t 

Hiis guard tiecurds the: face l^|d:fronlkjEHf/theb^ 
from cuts L and V. 

 r OUTSIl^ GUARD. 

 f BOM the last dlescribed posiiioB,"tQr a motion 
of the wrist tora yoiur knuckles outward till the hilt 
aorives opposite B, the blade at the samb instant 
crQ^]p^Q£ the tar^^, p}l th^^ point i^ .directed to I) 
the bevel of the ed 9 ppp^ite tj^e dotted line from 
B to D, and the finger nails downwards. See 

h^Mm'mS ftl^serv^i t^ r4^m m^t^^^ of the^fs 

^^i.^<^ swJifi^ iWd;precif»on,i*s to^jf^ndBr |fc imo 

ftoqa j^P53 si4fi;9^Ac»t aj[ thfl Qther-wi»bQu)t^Wg <irn 
PPfff^Mtbejedg^ofjpur?^^^ r 

I^ t^^parade, ^a^c^dq^pf tb^ wrb^^ 
W(f]^}|>^rebc^de :th9t of,, f^e, idioakler; and be^jwt 
iqE)imc!4)^^X ifo^DW^ by It,, ais iK»t to pi«9ei»it 

EM)I 
opeaing to yoar adversary 1^ holding a crooked 
wrist an erro^to whidi bd^n^ tee very liaUe, 
especially on the inside guard. 

IlitRODUCTORY REMARKS Oisf THE 
SIX- COTS. 

X HE foUawing method of makins the m! ciits^* 
though not practised or Jaiight as a necessary part 
of the science of broadsword in England, till lately 
introduced Into the cavalry bxeime, will Kcj fofand 
afttend6d With tome ^dfvantages. Fof lAstande'^ 
#hen firttt ^ngligltng, Many 't)enfons are apt -to TiMiire 
Git df ^dlstaiocd as you aim' the first or secbnd 
sifoke, if they bave ^mfficieiit space for thitt ^iirposei 
ztA unless such ^cut be iiiafcfe oK'a j[)Hnci{)le'6re^<^' 
pedittously recovering your weap^n^thie lossdf'tibe 
will afibrd your antagonist an opportunity of cutting 
0*' thrusting before ^you tegafn ybur idefensfive postinre. ! Others practise a ikiot^e of isdippingi'icut'by 
iHchdra£Whig't&e<<arm; in 4vMcfa il^& iliik^eed, 

they are alinost certain of throwing in a ent before 
you can recover from a forciblie stroke, except you 
have accustomed yourself to this manner of executing the six cuts* 

Secondly. The strain, from the weight of your 
sword and force of the blow, may so far disable 
your wrist, ai^ to rehdCTyou incapable either of a 
vigorous attadi or of a quick and firm parade* 

On which account a person, who cannot perform 
the cuts upon the^principle here recommended, must 
not attempt to strike with rapidity or force, until he 
perceive an absolute certainty of every blow reaching his antagonist, unless patried by his weapon* 

This disadvantage is obviated by the following 
method of practice, in addition to which, facility^ 
 execution and flexibility of wrist are obtained^ 

In making tats L and IL the point nearly describes a aicle^i from the commencement of the 
ciit to the letum to the guaid .^-^To make this easily from the motion of the wristi and preserve the 
arm in its proper direction^ is of much importance, 
.and can only be attidiled.^ beginning graduaUtfj 
4mA observing how far you can conduct the blade 
in fnaking the cut in the teguisite direction^ without 
straining the wrists or disordering your position. 
For instance, in making cut L you will find that 
yoo cannot proceed further than to bring, your 
point a little below % 4, withoy t some change of 
portion; this diange must be effected by turning 
the wrist, till you can give freedom to the blade to 
complete the remainder of the circle^ which brings 
the point up to the front of your position* £)very 
mwecessary width of motion (which would be a 
a smre coieieq«ence of bending the arm) must be 
avcMded. Therefore, having brpun^t. your point 
from fig. 1 to fig. 4 in the first attempt, pause and 
observe the position necessary to be taken by the 
wrist, as described in the directions for making 
cut One. 

A similar obstruction will be found in making 
cut IL as soon as your point sinks below figure 3, 
which must be surmounted in the same manner, 
by observing the directions given for the third motion of cut II. 

These difficulties may be easily removed by attention and practice; and when the learner has attained the mode of executing the two first cuts, he 
will find little trouble in acquiring the others, as 
they are performed on the ^ame principle. 

It is, however, to be observed, that cuts L and IL 
cannot be well performed with the ancient close or 
basket hilt upon this principle, as independent cuts 
although the six cuts, when combined, may be made 
with it. 

DIRECTION OF THE SIX CUTS. 

X HERE are but six directions in which a cut 
can be properly and safely made with a broad- 
 sword or sabre; four of which are diagonal, and 
two horizontal. Some persons may, perhaps, here 
mention a seventh, viz. perpendicular; but, in 
practice, that cut will be found to partake so much 
of the diagonal direction, and of course be so easily 
parried, eithea* by the inside or outside guard, or if 
aimed at the head, by the hanging guard, or the St 
George, that I shall not trouble the reader farther 
with it, than by observing, that whatever guard he 
resorts to against the upper cuts, if it be correcdy 
held, will form a sufficient obstacle to the perpendicular stroke and proceed to describt the six cuts 
above mentioned. 

CUT I. is made downwards from right to left 
of youi: own position; 

CUT II. downwards from left to right 

CIXX III. upward^ from right to left. 

CUT IV. upwards firom left to right 

CUT V. horizontally from right to left, 

CUT VI. horizont^y from left to right 

Each cut being named according to that fijgurt^ 
on the target from which it is commenced. 

METHOD OF PRACTISING THE SIX 
CUTS AT TH^ TARGET. 

JtlAVING placed yourself opposite the target 
as before directed, adopt the outside guard, and 
from thence commence CUT I. in the following 
manner 

Motion 1. Turn your hand to A. the point of 
your sword to figure 1. 

Motion 2. Conduct the point from figure 1, to 
figure 4, taking care that the edge leads^ 
and the arm remains steady/ 

Motion 3. Turn the wrist so as tobring the thumb 

 

downwards, the back of the hand, and flat 
of the blade opposite yourself, and recover 
to the outside guard, by bringing up the 

 The learner, I tmit, will excuse my repeating the caution given 
in p. fO, thai he must begin graduaUif. If he attempts to make the 
cuts rapidly and toith force, before he attains the proper turn of the 
wrist by which the weapon is to be recovered, he will be liable to unpWasant accidents 

blade widi a sweep, clear of llie inside (or 
front) of your positira. 

Motion 1. h ROM the inside guard turn, your 
knuckles towards B. the point of your 
sword to figure 2. 

Motion 2. Conduct the point of the sword from 

Motioii^ 3. Turn the inside of the wrist upwards, 
 which will drop the poiijt of the sword 
outwards to the rear, relax the three fingers nearest the pommel, and recover to 
the outside guard by raising the blade 
with a sweep clear of the right shoulder* 

Haying ascertained the changes pf the wrist necessary to recover your blade in these two cuts, 
practise them until you are able to perfomLeach as 
one motion without any pause, and to recover from 
either cut to the inside or outside guard, as occasion may require. 

CUT III. 

Motion 1. Sy turning the upper part of the wrist 
and .Iback of the hand doiVnwards froni 
the inside guard, drop the point outwards 
to the right, tiU the edge of the blade is opposite the diagonal line from 3 to 2, at 
the same instant raising the wrist with a 
straight arm as high as the shpulder. 

Motion 2. By the contraction of the fingers and 
motion of the vnrist, conduct the pomt up 
the line from 3 to 2. 

Motion 3. When arrived at figure 2, tiira*the back 
of the hand up, and drop the hand so as 
to bring the blade into the position of 
the ontside guard. 

CUT IV. 

Motion 1. From the outside guard, by a turn of 
the wrist, drop the point to the left, till 
the edge becomes opposite the diagonal 
line from 4 to 1, raising your hand to 
the height of your shoulder, the arm extended and straight. 

i Motion 2. By the spring of the wrist conduct the 

 point along tKe line from 4 to 1. 

Motion 3. Turn the inside of the wrist rather upwards, and sinking the arm, come to the 

CUT V. 

Motion 1. Turn the back of the hand downward from the mside guard, thereby 
dropping the point of the sword to the 
right, till it becomes opposite figure 5. 

Motion % By iaclining the wrist inward, and 
keeping the nails upward, the point will 
be conducted across the target to figure 6. 

Motion 3. Raise the point from figure 6 to C. and 
come to the inside guard. 

CUT VI, 

Xs the reverse of cut V. and is performed with the 
nails downward. 

Motion 1. Drop the point to the left, till opposite 
figure 6. 

Motioa 2» By inclining the wrist outwards make 
the cut across the target to figure 6« 

Motion 3. Raise the point to D. and recoTOr to the 
outside guards 

The preceding guards are not mentioned as the 
only positions to which it will, be necessary to recover, after making these cuts, but as the most eligible in the first stage of practice. 

COMBINING THE SIX CUTS. 

The learner may now proceed to combine the 
six cuts, that they may all be performed without 
pausing, which will be found extremely useful in 
an attack, especially if an antagonist breaks ground 
and continues to retire, as is frequently the case at 
the onset it may also prove advantageous in an 
engagement at night; since, if properly performed, 
the blade will necessarily cross your own position 
in such manner as to afford considerable security 
from the stroke of your adversary, and, by the reit- 
crated attack, will compel him to remain almost entirely oil the defensive, or subject him to a certainty of receiving your edge on his sword arm, particularly if he does not know the direction of those 
cuts which so rapidly succeed the one he may have 
at first escaped or parried. 

The difference t)etween executing the six cuts 
singly, as before describe, and when combined, consists in not resorting to any particular guard after 
each cut, but continuing your attack from cut I. till 
you have made II. III. IV. V. and VI. in doing 
which the jK)int proceeds from the conclusion of 
one cut to the commencement of the next, according to the dotted lines on the plate. 

Be cautious not to lift your arm against the 
figure at which the cut begins, as that would leave 
yniir body unprotected. 

PART II. 

PRACTICE WITH ANTAGONIST. 

GENERAL OBSERVATIONS. 

In cQinmenciag your practice with an antagonist, 
for the sake of improvement, begin slowly the cme 
taking the defensive part entirely; the other attacking, and mentioning the number of the cut he 
means to^make; each carefully observing the motion of his opponent, and informing him what part 
appears to become exposed by the changes from 
one position to another where any defect of th^t 
kind appears, repeat your practice, till, by the correctness or celerity thus acquired, you become more 
perfect* Then change situations, and let the assailant act on the defensive. By making observations eoply in this manijer, yo^ will acquire mere 

1^1 and precission in one lesson, than in playing 
twenty at random; and will likewise avoid unpleasant accidents. 

Next proceed to attack and defend without 
naming what cuts you intend in doing which endeavour first to become correct in making cuts L 
and II. and opposing them by the insido and outside guards. Then add III. and IV* Afterwards 
V. and VI. increasing the celerity of your attack 
by degrees, and opposing each cut according to 
the following table. 

Cat I. Parried by Innieguardt described in page 60 

II. OtUside guard, 65 

C if made by dU- 

III. 2 engaging fronoi Innde Half-hanger, 60 
( the outoide, ) 

C if made by dis- 

lU. engaging from Half^drch guard, 62 
( the infli&, y 

IV. Outside haff-hanger, 60 

or, if made low, by the Inside half-hanger, 60 

 VI. Outside guard, 65 

or Outside h df4ianger, 60 

Cuts made directly at the head are oppoaed by the St. George, 61 

The whole of the %ix cuts may be warded by 
the hanging guards the hand or blade being mov- 

ed a little to right or left, and raised or lowered 
accordingly: but observe, if already engaged on an 
inside guard, it will be useless to attempt taking the 
hanging guard against Cut V. or III. unless your 
antagonist makes a feint at the outside before he 
delivers his cut 

I have before remarked that it will be unsafe in 
friendly practice to make use of broadswords or 
sabres, and shall now take die liberty of cautioning learners, who wish to attain the science of real 
defence^ also, against the false mode of defending 
themselves with a basket so large as that which 

cudgel players generally use, and on which they 

t 
receive two thirds of the blows aimed at them, 

since that will be accustoming themselves to a protection which they cannot have on a real occasion. 

The basket, for this purpose should, therefore, 
be made narrow, and as small as possible without 
hurting the hand and as gentlemen should always 
endeavour to defend themselves rather with the 

fort* of the sword than the hilt, they ought not to j 
practise stopping a blow with the sides, or any 
other part of the basket except where the hilt of a 
sword would equally project, ! 

By marking a narrow line with chalk down the 
supposed edge of the stick, accuracy in carrying 
the edge of the swofd may be acquired. i 

In Part I. the mode qf recovering to guard has 
been considered under the idea of the cuts not 
meeting with sufficient, resistance either from the 
blade or body of your antagonist, to impede their 
course but in practising with an opponent, it is., 
not to be understood that the recovery to guard 
must be always made on that principle: from cuts 
L and IL when parried, the blade naturally rebounds up the line in which it fell, till the point 
rises high enough to form an inside or outside 
guard. From cuts V. and VI. the point must be 

 The fifrt of the sword m that half of the blade next the hilt tbt 
half nearest the point is denOToinatcd the feeble. 

railed in a simiW manner, if die cut is opifQsed by 
the blade of your antagonist- In making cuts IIL 
and.iV/ k should be a rule, never to apply abovll^ 

four inches of i.th6 point, in order that it may free 

itself, and' mount tfe the inside or outside guard 

if that' be prevented by your antagonist's blade 
plrossing above yours, you must vi^ithdraw your 
blade from ^our attempt to niake cut III. uiider 
the half-circle guard, and from attempting cut IV. 
 tinder the hangmg guard. 

Ahev making a cut be careful always to recover 
pfi that guard which brings your ed^e opposed to^ 
Vouranteigonist's blade. 

 If at any time you should be compelled to oppose a weak parade, to yoifr adversary, by your 
wrist being in a constrained positibn, quit tliat pos^ 
r ture as soon as possible, either hj directing a cut 

at him, or springing baqjc at the instant you change. 

 

To attain securitu from a counter stroke whikt 
attacking^ it is requiisite that in every cut made'lgr 

i 

tS6] 

you, ihfi fort of your sword should be directed bt 
some degree towards your antagonist's weapon so 
 iSiat although the)>oint of your swprd may effect the 
cut, yet the fort shaU at the same instant be opposed 
to any blow he may then deliver. For example 

In makitig cut L the hilt b^ng carried to the left 
of your position^ a» much as when on the inside 
guardi at the instant the point commences, thd cut, 
occasions your Wade to form a cross on that of your 
antagonist? and th^eby affordsa certainty ofprotec- 
tion, unless he can chftnge his position considerably 
in less time than yott ean make the cut Cuts I. aq^ 
IL shodd therefore in general be made with the^ 
liand lower than:thashoulder, and III. and IV^ with 

it raised above the Height of the^sboulder. 
On this principal it is that thie arm should never 
be lifted towards die side at which you intend a 
Cut, since by that moti6n both hilt' and blade would 
be entirely re^iov^ from between yourself and 
'.antagonist, and consequently; you must become =^ 
0]tposed to the same cut you aim at him* 

 

 

 

Experience will soon direct to how great a de* 

^ree it is re(iuisite thus to ctoss your adversary's 
blade. By ejctending the prificiple to an unnecessary extreme, you may indeed freouently prevent your own blow taking effect, by encountiviM 
yc'ir autagonist's sword only; and 6a th« other 

Jband, by not sufficiently observing k$ umy becoi^e 

A 

iexposefl yduqplf l?y every cut y«iu attempt 

 

In spme situations it will, undoubted!/, be proper 

to (wxt from your antagonist's blade, 'instead oftd- 

wards it; for instance, in making a cut over and 

within his guard, or under and within h]£t guard 

in such cases this attack may be safely risked^ 

T)ecause you have previously forced his Sword far 

enough from the line to prevent a counter stroke^ 

^T retort before your repover fakes place. 

DISTANCE; 

 \VaNT of attention to preserve the proper d!s- 
1,/ tance is an error to which beginners are very liable. 

 

A 

 No iorariable positive space can be rfcommendeA, 
as almost every situation must depend on the jieight, 
 strength, and attivHy of your opponent. The most 1 
general principle that can be laid down, is, that your 
MtJLnee snbuld be about six or eight indies beyond 
toe reach of your antagonist's point upon the most 
extensive longa he can exert. But it is difficok 
to prove your distance by this method in real con- 

 test; ia that case you ftay judge more easily from 
the p(»Dt of your sword just reaching his shell when j 
both your arms are straight, and neither inclining j 
the body improperly forward. If yotf permit him M 
to advance nearer, he may throw in a cut or thrust i 
too rapidly for your parade, especially if he first 
deceive "you by a feint. To avoid this, some per* 
sons accustom ibemselves to spring back, frequendy 
^dropping Aeir point to their antagonist's face, when 
contending with one of an impetuous and forward 
temper; a mode which will, undoubtedly, be found' 
lery useful, if the ground on which they are engaged 
should afford sufficient room. Others adopt a circular step (called Traversing) to right or left, and 
thereby effect their purpose in less length. Batj 

 

 experience and practice will best determine which 
to make use of, according to the circumstances and 
situatioa ia which ymi may chsKice to contend. 

.THE ADVANCE 

1.S to gain ground upon an adversary when at too 
great a distance to reach him by a longe, or by pressing forwards to compehhim to retreat into worse 
ground, or a more disadvantageous situation it is 
effected by stepping forward with the right foot 
about one third of your longe, at the same time 
transferring the weight of your body from the left 
leg to the right, that you may be enabled to slip the 
left foot along the ground to within six inches of 
the rigl4 heel; then step forward again with the 
right foot, and draw up the left as before (still preserving the position of body, erect, and being careful to oppose a prefer guard) till your object be 
attained. 

THE RETREAT 

Is Qsed to gain a more advantageous situation that 
may be-Sehind you, or to avoid <any inconvenience 
you may sustain from an adversary of superior 
strength or impetuous temper pressing too closely 
upon you. In this situation the left leg must lead, 
and the weight be thrown in the fii^t motion on 
the right, lifting the left foot from the ground to 
avoid any unseen obstacle in the rear, then planting it firmly about sixteen or eighteen inches backwai^d, and drawing the right to within ten. After 
this, raise the left foot, and planting it as before, draw 
the right after it, continuing your retreat as occasion may require. 

TRAVERSINa 

There are two modes of traversing, viz. backward and forward; either of which may be adopted 
according to the ground or other circumstances in 
which you ipay engage, and will be found useful, 
if in retiring from an adversary you are obstructed 
by a ditch or other impediment. Traversing is 
preferred by many to retiring, because it has not sp 
muoh the appearance of suJBfering a defeat. 

THE FORE TRAVERSE 

Is performed in a large circle, the centre of which 
is the middle of the line of defence^* on which line 
you and your adversary engage; such is the line 
p, Q, C, H, G, in the opposite page, and the circle' 
formed by the traverse will be p, a, c, e^ g, i, l, n: 

 A straight line supposed to be drawn through' the centre of 
your own body, and that of your adversary. 

For the right foot being at q, and the left at p, the 
traverse is begun by stepping about with the left 
foot from p, to a, and the right foot immediately 
after from q to b; and then the line a, b, C, k, i, 
will be the line of defence; at the next step remove 
the left foot from a, to c, then the right from 6, to d, 
which will make the line c, d, C, m, l, the line of 
defence. In the same manner continue till you 
have obviated your difficulty, or drawn your antagonist into the bad ground, carefully attending to 
your guard, and not stepping so far as to disorder 
the erect position of your body. 

THE BACK TRAVERSE 

Xs the counter-part of that already described; and 
is commenced by moving the right foot first: for 
instance: Standing in the line of defence p, q, C, 
H, G, remove the right from q to o, the left from p, 
to n, which renders the line n, o, C, f, b, the line of 

defence: Thus stepping back, the right foot moving 
first, you may traverse the whole or such part of 
the circle as may be requisite. 

This practice may, at times, prove exceedingly 
useful, especially if you should be at first engaged 
with sun durectly in your face, as a person who performs it readily, by traversing half the circle, brings 
his opponent into the place he had just quitted, and 
by a vigorous attack at thait instant may redouble 
the embarrassment. 

DISENGAGING 

Consists in quitting that side of your antago^ 
nist's blade on which you arc opposed by his guards 
in order to effect a cut or thrust where an opportunity may present It is performed either by raising 
the point of your sword towards yourself so as just 
sufficiently to clear the blade of your opponent, or 
by dropping the point below his hilt- The change, 
in either way, should be made very quickly, and in 
the instant of passing your adversary's weapon, the 
edge of your blade should be turned to meet any 
cut that he may direct at you, otherwise you become 
liable to be disabled, from the ward-iron not protecting the hand. 

The disengage to effect a cut, is generally performed over the wrist that with intention of thrusting, under it. To cut III. or IV. under the wrist, it 
is sometimes best to disengage below it. 

FORCING YOUR ADVERSARY'S BLADE. 

XF at 9nj time your afbtagonist appears languid 
and weak on his guard, and barely covers his body 
on the side he is opposed by stepping well forward 
and striking your fort smartly on his blade, you may 
be enabled to deliver a cut with out risk, even at the 
part he intends to secure, taking care to direct your 
blade in such a manner that the plate or cross bar of 
your hilt shall prevent his sword coming forward, 
and sufficiently bearing your hand to the side opposite that at which your point is directed, to prevent 
an interchanged cut 

This should be performed pafdy by the sudden 
extension of the arm, and partly by the spring of 
the wrist. 

TIMING 

Is the exact and critical throwing in a cut or 
thrust upon any opening that may occur as your 
antagonist changes his position. For instance, if 
be changes from an inside to an outside guard, or 
from outside to inside, in a negligent manner^ his 
wrist becomes exposed, and frequently part of his 
sword-arm above the elbow. The same opportunity presents itself, if in his feints he should suffer 
his sword to sway his arm, instead of making them 
lightly from his wrist, or should not recover quickly 
from a cut which' you have parried. 

THE SLIP 

Xs performed b^ withdrawing that part at which 
your antagonist directs his cut; in order that his 
weapon, being deprived of the expected resistance, 
may sway his arm from the defensive posture, and 
thereby afford an opening for a cut. It will not. 

however, often ;fffect this purpose against a person 
who can» xecute the cuts on the principle recommended in this work,, as the recovery is so very expeditious but may prove an excellent deception 
against an impetuous antagonist, especially if he be 
ignorant of the science.* 

It will therefore be proper for the learner to aceustotn himself sometimes to recover from the longe 
with his right hand drawn quickly up to the breast, 
the edge of his sword turned to the left or rigb't, 
according to the direction of the cut he means to 
slip. If the cut he intends to avoid be mad^ at 
the inside of the sword-arm, the edge should be 
jturned to the left as-in the inside guard, the point 
raised perpendicular to the hilt, and the return 

 It has been frequently asserted, that a bold active man, unacqnainted with the art, by rushing forward with repeated attacks, will perplex 
a good swordsman, and, if not defeat hiio, reduce the contest to an equal 
hazard but this can only happen, if such swordsman, has never reflected on the measures fit to be adopted in an engagement of that nature. 
For instance, if a swordsman slips a cut attempted by one of that description, instead of parrying it, he may effect a cut before tbe ignorant 
can possibly reeover, and with' such force as totally to deprive his antagonist of that vigour and audacity on which alone he could depend 

from this position should ba cut II. Should the 
attack be made at the outside of his arm, the edge 
should be turned outwai'ds, .and the hilt held a 
little below the right shoulder, returning cut I. the 
instant his adversary's blade passes. 

Some are sp partial to this manoeuvre of slipping 
an adversary's cut, that by practice they become 
enabled* to slip a cut even when directed at thehr 
body. But this, unless exceedingly well executed, 
becomes hazardous, on account of its disordering 
their position, especially if an adversary should 
longe farther than expected, and cut low; added 
to which, by throwing their body from the line of 
defence, the antagonist may be induced to thrust 
upon them in thiat unguarded position, and will 
thereby obtain a decided advantage. 

In circumstances where the withdrawing the 
hand up to the breast is not sufficient, the slipping 
a cut on the inside is effected by drawing the right 
foot backward and sideways to the right of the 
line, letting your adversary's sword pass a little out 

of reach, then f^epping into the fottthx position^ 
return cifiliiv 01^ VL atl4iis oiti^ide, wfateh becomes 
exposed by his .wea^n not meeting, the resistance 
expected 

ed. 

To an outside cut, the slip is performed by drawing the right leg with the whole body backwards 
and sideways a small degree out of the line towards 
the lefty contracting the arm a little, the sword still 
in the line, and under an outside guard hk your 
anitag^liist's point pass, axid returning your right 
foot to its former place, make cut L at the inside 
of the arm, or 11. at the head. I ha^ mentioned 
this ij^ediod of performing the outside^ slip, as it is 
attempted by some, but not with intention of reeomm^iiding it, as the hazard is much girJBat^ than 
the prdbaUe advantage- 
On the hanging guard the slip may be practised 
with ^^at safety, by stepping the Ifbot quite out 
ci ami at i|^ angtes with 1^ line of defence, the 
wbofe >0<ly bekig thus brou^ well beyond it towa»l the -right: and the: goaid remaining still op- 

 tfiOJ 

posed to y^kir antagonist to protect you from his 
cut»' in case, he sho||{d lonHQrfartlyr th||i yon ex- 

 
pect. 

 Turn your hlU to the left, the finger nails upwards, as in Plate III. the pommel directed towards 
the inside 9f your chest, the point opposite your antagonin's left eye, or elevated from one to four inches above it. Should he bear against your blade to 
force itfout of the Ime, raise your point, so as to 
withdraw y«ur feeble from* his bearing; or disengage quickly and cut at the outside of bis ar(p. 

Cuts I. and V. are warded by this position, the 
latter, however, requires a trifling inclination of 
 the hand downwards. 

In parrying cut I. at the cheek, it will be found 
advisable to carry the wrist r^her mo^ to the ]^ft 
as in Plate IV. raising the point nearly perpendicular, to prevent you from being deceived by a feint 

If you suffer your point to remain low, an offer may 
be made at your cheek, and the cut delivered over 
your guard at the head. 

 

Although when standing on an inside or outside 
guard, the right fdots advanced, yet when parrying a cut with either of these guards it isl deemed 
most eligible to slip back thsA foot to the left lest 
instead of cut I. or IL at the upp«r part, your an- 
Agonist may be tempted to cut at. the leg or thigh. 
See Plate XII. 

Cut V. is frequently made too low to be parried by the inside guard, which is intendc^d only to 
ward the inside cuts above the wrist. 'The next 
consideration, therefore, will be the method of parrying inside cuts below the wrist 

 

HALF CIRCLE GUARD. 

X HIS guard is adapted to waM cuts III. or 'JT/ 
made at the inside below the wrfst^ and is formed 
by swiftly dropping your pl^t to the r^ht, as in 
the first^motion of cut III. till it becomes opposite 
your antagonist's bodf carrying your hand to the 
left of your line of defence, and directing the edge 
of your weapon towards your antagonist's sword, 
instead of his body or arm. The general rule for 
the height of your hand is to hold it in line with 
the left eye, but that must depend in a great degree 
on the attack made by your antagonist otherwise, 
if he sinks his fort low enough to strike it across 
your feeble, he will probably beat your blade sufficiently out of the line to effect his cut.* 

Finding his attack p^brried by the half circle^ 
your opponent may endeavour to double his ciit 

 For this reason if eut III. or V. be made at yoa by disengagingfroiD 
the outside guard^it will be best to pany them with an inside half'hanger. Seepage 60. 

(as he rtcovers) on the upper part or outside of 
your arna this jou may prevent by raising your 
point to an inside giard, and thereby meeting his' 
Made with yours, as he endeavours to cut or disen^ge over your wrist. If he disengages by 
throwing his point wide, and thereby escapes your 
ini^de guard, parry by an outside guard. 

This position (or at least one differing only in 
 iu^ing the hilt lower and th^e blade more horizontal) is by many termed the Spadroon Guard; 
it is not however to be considered as a chief position of defence vnth that weapon, being weak and 
very liable to be forcfed. It should thi^refore only 
be adopted for the purpose of parrymgalow cut 
or thrust at the inside, and not as a giiard oh which 
to engage or wait for aii int&gonist, eXceiit by a 
player 'who may be skilful enough to tibe it as a 
lurch,* in order to indiite his antagonist to throw 
at .some part which fie intends to withdraw from 

 When stftndiifg on the Spadroon Guard, it is usual to bring the left 
arm across the chest, and place the left hand on tlie right arm between 
the elbow and the shoulder, in order to steady it. 

his cut, that he may seize the opening afforded Iv 
SMcfa attack. 

When 0a guard, you should always rememr 
ber, that if your antagonbt succeed io making a 
forcible beat on your blade, especially on the back 
of it, he will in all probaltttlity disarm you. TheD^ 
fore, instead of receiving his blow in that position, 
slip it by withdrawing your weapon at the instant, 
and return eut 11. at the outside of his sword anp. 

Caution, however, will be requisite, that you do 
not withdraw your sword instead of parrying a 
blow aimed at yourself. The difference will depend on the distance you are from your antagonist, 
and on his advancing or remaining stationary.— 
Always quit this position as soon as possible, for 
the iftside or outside guard, in doing which spring 
back^ that ypur antagomst may not throw in a cut 
by timing your change of position. 

OUTSIDE GUAFID. 

jL urn your knuckles to the outside, die finger 
nails downwards, ^carrying ute hand about six or 
eight inches to the right of the line of defence, so 
as to protect the outside of your position, and di^rect yow point to the right eye of your antagonist 
<j%e Plate VL) Should he endeavour to for(;e 
your blade out of the position, gain his feeble by 
withdrawing and raising your point,* or disengage 
and cut on the other side* 

This guard secures against cut IL and, by sinking the hand in a small degree, against cut VI. In 
parrying cut II. at the right cheek, be careful to 
turn the hand well outwards, and raise the point, as 
in Plate VII. 

 If your adrenMuy's point has erOBsed above tite back of your bhcle* 
80 as to threaten tbe inaide of your posHioo, adopt the hangmg gaard, 
by throwing up yovar wrist quieUy as possible, and bear his blade off to 
the inside should you attempt to parry by the outside guard, after hit 
point has crossed your blade in such a degree as to come withinside 
yowr guard, you wOl only add to the ^rce of his cut. Sea U$ V. ever 
md wiUutt Uu gumd. (See Rou^d Farades.) 

HANGING GUARD/ 

X HIS may be taken from either the inside or 
outside guard, by dropping the point of your sword 
till it is directed towards your antagonist's body, a 
little above his right hip, raising the hand as high 

 Tbe hanging guard possesses several advantages, and is at the same 
time liable to some objections. I shall mention the principal of eaeb, 
and leave the learner to exercise bis own discreslon in what circumstances to adopt it. 

Among the advantages to be derived from the hanging gaard, the 
most important will be found in tbe protection ft afforcis, by covering so 
large a portion of the body, as the whole of the blade is appropriated to 
that purpose, especially in the direction in which the first and most natural blows are made while from the oblique position of the weapon, a 
blow, however forcible, slides down it without endangering tbe hand. 
For these reasons, it seems well calculated to parry off any sudden attack in the dark, especially if it should be made against a person armed 
only with a tttick. 

The hanging guard is also well adapted to prevent an antagonist 
from thrusting at the body beneath the wrist, and to obviate those 
feints which, might otherwise be made, by shifting his point from side 
to side under your wrist on either the inside or outside guard. 

Another material advantage is, that it requires a very trifling motion of the wrist to meet with your blade any cut whatever that may 
be made. 

The constrained position of the hand, and weight of the weapon, 
Mrill at first be found tiresome on this guard, but practice will soon ove^ 
come that defect, and enable a person to deliver a blew^with amazing 
rapidity and force from it, as may be observed in the practice of tht 
French Spadroon players, many of whom place th«r chief dependence 
on the protection afforded by their guard in seconde, which only differs from this giiard in the wrist not being held quite so high. 

as your head, suid looking yoor adversary in the 
face under the shell of your sword. 

This guard admits of two positions, according to 
the cuts it may be used to oppbse, which may be 
denominated inside hanging guard, and outside 
hanging guard. 

The inside (or prime) hanging guard, is formed 
by bending the elbow, till the back of the wrist is 
brought opposite the forehead over the left eye, 
and is intende^to protect against cuts I. HI, and 
V. when made* at the inside; the left of the he^ 
being covered from attack by the hilt; hut if the 
cut be made direct at the head, it is most prudent 
to adopt the St George's guard, especially as the 
hilts now used have no basket, and very little shell. 

If the antagonist cuts II. PV. or VI. at your out- 
 side, you must meet his edge by carrying the weapcm to the right of your position* 
The outride for Hconde) hanghig gmrd differs 
from the former, in having the arm perfectly 
straight, the blade being carried to the right, so as 
to protect against cut9 IL iV. and VL 

IVhen in this position, the adversary's sword 
must be kept by your blade sufficiendy to the out* 
side to prevent any cut or thrust being made at 
diatpart 

 If your antagonist disengages from the secande 
hanging guard to make cut I. III. gv V. you must 
oppose them by the pnme hanging guard, which is 
formed by inclining your wrist to the left t31 the back 
of the hand is in a line above the left eye, the point 
rather lowered to prevent cut IIL being made un- 
^er it. 

Although the prime hangif^ guard will be found 
veiy useful for parrying cuts III. and V* wheit made 
by disengaging from an outside guard yet it cannot 
be used to parry those cuts when they are made by 

disengagiiis from m inside guard in such case the 
faalfK»rcle guard must be adopted* 

It will be necessai^ by practice to obtain a de-gree of firoiness and celerity in changing from the 
prime to the. «6cam2e hangitig guard, since a cut 
made at either of those guards occasicMis the assailant's sword to rebound with swiftness, and enabfes him without much hazatd to strSke at the 
other side and although it is agamst the rules df 
broadsword play in schools or friendly contests, to 
make two cuts on one longe, yet in an engagement 
for life, thb is not likely to be attended to. 

HALF-HANGING GUARD. 

fY HEN parrying a thrust or cut directed bw, 
it will be unsafe to hold the hand high enough to 
view your adversary under the hilt because such 
position would enable him to apply the fort of his 
blade against your feeble^ and thereby render your 
resistance inadequate to ^e force of his attack. 

To obviate this disadvantage the Inside and 
Outside Half'Jumging Guards must be resorted 
to, which differ from the preceding only in your 
hand not being raised so high> but held low enough 
to view your opponent over your hilt. The right 
foot is to be slipped back, and the point of your 
sword dropped sufficiently dose to your own positicm, to prevent your ai^gtoist forcing in his cut c»r 
thrust, by encountering your sword with the fort of 
his own weapon. See Plates IX. and X. 

ST. GEORGE'S GUARD 

Is intended to ward a blow af the top of the head, 
if your adversary disengages from the outside for 
that purpose it differs from the hanging guard only 
in rising the hand somfewhat higher, drawing back 
the right arm, and bringing the point nearer to yourself. In this position, the fort of your blade, which 
ii^ to receive the blow, will be at least three or four' 
incheiS above your head. The ward-'iron of the hilt 
must be turned well up to protect the knuckles. It 

will be proper to slip the right foot back to the 
left heel at the same instant. See Plate XI. 

Some persons, instead of keeping the sword advanced before them, raise the hand till the blade 
crosses above the head in an horizontal direction 
from right to left 

The latter position is seldom used, and can hard* 
ly ever be necessary, except to protect the head 
from a blow made by an antagonist from behind, 
(for which purpose it is adopted in the Cavalry 
Exercise) or to withdraw your weapon from one 
in front who endeavours to seize it, and is unarmed himself. 

 Against a blow made by a person in front, however near, the first described position will be found 
preferable, raising your si;^ord-hand and hilt, according to circumstances. 

It must be observed that the St George's Guard 
is not intended to Ue under, but only to stop a blow 
at the head, when your antagonist advances so 
closely upon you, that the hanging guard, is not 
sufficiently secure* The best way in general of 
changing from the St George (unless when yoo 

iminediately retura a cut or thrust from it) is to 
adopt the hanging guard, taking care to direct your 
point towards the ribs of your antagonist, and to 
keep your body well in line* From this position, 
there is less danger in taking another than if you 
change directly from the St George to the inside 
or outside guard. 

Having acquired the preceding guards, the ttext 
articles to be attended to^xtbearif^^ battering f the 
feints and disarms. 

BEARING 

Is generally practised by longeing forward briskly 
on the outside guard, opposing the fort of your 
blade to that of your antagonist, and from thence 
slipping your fort towards his feeble,* by which 
means you may press his sword out of the line this 
(unless he takes to the hanging guard) leaves his 
head, neck and breast exposed to your edge, and 
from this position a cut over and within his guard 
may be rpade, but must be executed with celerity. 

 In Attempting ibis, be caroful not to slip your sword too iar down, 
lest your antagonist disengage and cut withinside. 

Bearing on an inside guard is sometioaes prac* 
tised, but is not so safe, as the opponent may easily 
drop his point, and springing back make cut ill. at 
your arm. 

Upon^ the hanging guard, bearing cannot be used 
to advantage, since in bearing on an antagonist's 
blade to .obtain an opening at the outside of his 
position, you expose your own head and inside, 
and by slipping from your bearing, he will in all 
proWbility effect a cut 

BATTERING 

IS striking on your antagonist's sword to obtain 
an opening, and requires the same degree of caution as bearing^ lest your antagonist slip his blade 
from your stroke, and make a cut on the contrary 
side. It can seldom be attended with success 
against any but the outside and spadroon guards, 
when us^ to force an opening on the side at which 
you batter; but sometimes by inducing an adversary to resist that attack, you may disengage and 
cut on the contrary side. 

OF FEINTS. 

A FEINT is an offer at a cut or thrust without 
striking home. There are two sorts, single feints 
Wfid doubk feints. The single feint is made by 
disengaging from that side on which you are opposed by your adversary's guard, and making a slight 
motion at the other, ydtl then return to the first and 
deliver the cut. For instance, if engaged on the 
outside guard, you will disengage over the point, 
and dropping your point on the inside of your adversary's blade about six inches, return to the outside, and deliver cut II. at his arm, or VI. at his ribs. 
If you find him prepared to parry those cuts (IL and 
VL) you will only make an offer as before, which 
constitutes it a double feint, and deliver your cut at 
the head or inside of his position. 

But as cutting at the inside against an antagonist 
who is tolerably perfect in his guards, especially 
from feints, is attended with the danger of a counter-stroke, I would recommend when you intend a 
double feint to. commence it by a disengage from 
the inside. 

The purpose of feints being only to induce your 
adversary to guard a part at which you do not design to strike, the feints, whether single or double, 
may be directed at any other paxX as well as those 
mentioned. Great caution is necessary, that in 
making your feints you do not uncover yourself so 
much as to receive a time thrust or cut The 
feint should also be directed at a part from whence 
you can quickly recover your weapon to effect the 
cut you intend. 

DISARMING, 

X HERE are various methods of disarming attempted, but the safest and most likely to succeed 
is, after parrying an inside cut to change quickly' 
 to the outside, and longeing forward to bear your 
adversary's blade out of the line to the outside, 
then step with your left foot up to his right heel^ 
seize his shell with your left hand, quit your bearing on his blade, and present your point to hi» 
breast 

A disarm on the hanging guard may be effected 
by making cut III. at the feeble of your antagonist's 

bladet traversing at the same time to the left, and 
gliding the edge of youp sword strongly against the 
back of your oi^ponent's. It will however require 
some caution, lest be should turn his wrist at the 
instant you attempt it, and make a cut at the inside. 

Those disarms which are to be effected by wrenching from an inside guard to a seconde hanging guard, 
or from an otAside guard to a half circle will not often succeed, except with very light swords. With 
such they must be commenced by turning the 
knuckles rather more up than usual on those guards, 
and swiftly reversing them as you wrench the adversary's blade down, directing your point rather in a 
diagonal line across his body, than permitting it to 
form a circle. The latter disarms are only applicable if the antagonist presents his blade and arm nearly horizontal and in that case, if they do not succeed in wrenching the sword out of his hand, will 
prove useful to obtain an opening for a cut or thrust. 
The method of avoiding them is by disengaging under your adversary's hilt at the instant h^ endeavours to cross your blade. If this disengage be well 
timed, he may probably throw his own sword from 
his hand) by not meeting the resistance he expected. 

APPLICATION OF THE POINT. 

X HE weight of the broad-sword will not permit 
the same number of thrusts that may be made with 
the small-swbrd. All that can be safely introduced 
among the cuts of the former are four, viz. Carter 
Tierce^ Low Carte, and Scconde which is a low 
tierce these should be a thrust with the hilt high 
enough to ward any blow your adversary may be 
likely to make, and to retard a disengagement 
over your wrist at the instant of longeing. 

Carte is thrust at the inside of the upper part of 
the body, with the bails upward, and the edge of 
the sword turned rather upward to the left, and 
well opposed towards your antagonist's weapon by 
keeping your pommel opposite your left templa at 
the time of longeing.* 

Low CVifte is thrust at the inside of the l&wer 
half of your antagonii^t's body with the same pre- 

 If when tfarastiiig at thd inside of ycmr antagonist yon are appi^hensive of his catting downwards, you must turn your wrist as in the 
half circle guard, that your ward-iron may be upwards. In thrusting 
at the outside, tarn your wrist as in the hanging guard. 

caution of opposing your edge towards your adversary's blade. 

Tierce is thrust at the upper part of your antagonist's body, over his arm, with your nails downward, the edge of your sword turned to the rights 
and opposed towards his blade. 

Secande differs from Tierce in being thrust ber 
bw the sword arm. 

In thrusting Carte and Law Carte, be careful to 
form a good opposition towards your antagonist's 
weapon by carrying your wrist to the left. In 
thrusting Tierce and Secande, the opposition to his 
blade must be formed by bearing your wrist to the 
right.* 

In thrusting with the Sabre, the safest thrusts 
are those already recommended, since the convex 

 Akhough in asing the small sword, there are other thrusts, which 
are made with the back of the blade opposed to the weapon of the antagonist, yet they cannot be executed with a broad sword, without 
great hazard of receiving a cut on the arm at the time of longeing 
4iince if your antagonistaprings back, his body will be out of the reach 
of yourthrust, and your arm become exposed to his edge. This is not 
the case with the small sword, which being much lighter, the thrust 
and recovery t0 4|;nard aie executed with more celerity, «id when opposing another small sword without danger from the edge of your antagonist. 

edge of the satire, wlien opposed to ybur antagonist's 
blade, affords protection from a counter cut or 
thrust Yet the advantage that may sometimes be 
attained by the curve of the sabre enabling ^ou to 
deceive your adversary's guard deserves considera- 
Aoun For instance- 
Engage on an outside guard, your edge opposed 
to mine thrust at me, turning your naik upwards 
as you longe, this forms the thrust cabled Carte over 
the Arm^ and brings the hollow back of your sabre 
against my weapon, and thereby enables you to direct the point six or eight inches more toward my 
left than you otherwise could, and to effect either 
a thrust, or a sawing cut at my face or neck. Observe, that as you deliver this thrust, your opposition to my blade must be formed by carrying your 
wrist to the right of the line of defence. 

If I parry this thrust, of carte over the arm, l^" 
an outside guard the instant your point passes the 
outside of my position, I may cut 11. at the outside 
of your sword arm this you must parry by an outside guard, or a seconde hanging guard or if I 
drop my point over your blade, and cut at your 

cheek, you must parry by a prime hanging guard. 

Some, after parrying carte over the arm by an 
outside guard, whirl the blade round with a half circle parade, and return low carte this may be easily 
effected against a person who is slow in recovering 
from his longe. 

Advantages similar to that in thrusting carte 
over the arm may be obtained with a sabre, by reversing the wrist on the other thrusts these maybe 
better understood by taking the sabre in your hand, 
and observing the effect produced on tlie direction 
of the point by turning your nails up and down, 
than by the most accurate description. However, 
do not be too partial to this mode of obtaining an 
opening, but recollect, that in making a thrust on 
this principle, the ward-iron of your hilt will not 
be on the side where you want the protection, and 
that if your thrust be parried, the position of your 
arm exposes you to the edge of your antagonist as 
you recover. 

As thrusting is not the principle object of the 
broadsword, I shall not trouble die reader farther 
on this head than to recommend his acquiring by 
practice a facility of making the beforementioned 
in good position, directing the point with accuracy, 
and recovering to his guard with expedition for 

which purpose it will be necessary to practise at a 
target with a sword, sometimes thrustiug only, at 
others cutting half way, and finishing with a thrust 
for instance, 

Cut I. half way, then turn up the nails and 
thrust carte, or low carte. 

Cut II. about one third of the line, then turn 
down the nails and thrust tierce, or ^econde. 

Cut III. part of the line and thrust carte or low 
carte. 

Cut IV. half way and thrust seconde. 

By this practice the learner may not only attain 
 accuracy in directing his point, but also a celerity 
 in returning either a cut or thrust after having parried. He should frequently place himself out of 
reach of the target, that he may learn to recover 
from a thrust when parried otherwise if he accustoms himself to find a support from his poipt always 
hitting the target, he will not acquire a proper 
method of recovering to guard. 

OF PARRYING THRUSTS MADE ABOVE 
THE WRIST. 

X HESE thrasts may be parried by an inside or 
outside guard, striking your fort with an abrupt 
beat on your adversary's feeble, and retaining your 
point in the line of defence, presented to his face. 
In doing this it will be proper to sink your hilt rather lower than wh^n opposing a cut, and to keep the 
arm somewhat mofe flexible^ 

OF PARRYIiNG THRUSTS MADE BELOW 
THE WRIST. 

X HE most usual method of parrying thrusts 
made below thf^ wrist, with a broadswordf is to 
beat the, opponent's blade to the outside, by dropping the point to a secondej or outside half 'hanging guard, whether those thrusts be made by disengaging from an outside or inside guard. 

In performing this parade, observe to retain a 
sufficient command of your sword to be able to 

change quickly to an inside (or prime) half-hanging 
guard by carrying your wrist to the left, if necessary; otherwise your antagonijst m^y deceive you by 
a feint, and deliver his thrust at the insicfe. 

This mode of parrying, first with a seconder apd 
then changing to a pr^me half-hanging guard if 
your antagonist disengage to attack the inside of 
your position, seems peculiarly adapted to the broadsword, as the situation of the hand at the same time 
affords great security from a cut 93 well as a thrqst. 

In some circumstances, especially in an attack at 
night, your safety must depend grratly on not losing 
the feel of your emtagonist's blade; you should 
therefore learn to parry the lower thrusts by following your antagonist's weapon with your own blade, 
"with a seconde parade if he disengages from an inside guard and with either a prime or a ha^-circk 
parade, if he disengages from an butsid^ guard.^ 

 The Seeonde Parade Is the sam« as the Outside Htl^hanger. the 
Pfvm Paradt is similar to the Inside Half-hanger h«t in panyiog 
iknut with the Tprimtt the antagonist's sword is Opposed by the back of 
your blade in warding a ^\A with the /fmrfe Balfikmig$r, H is ^ppoMi 
^y your c<<ge. 

OF FOLLOWING YOUR ANTAGONIST'S 
BLADE FROM THE INSIDE TO PAR- 
RY WITH A SECONDE. 

A.S your antagonist drops his point from the inside 
guard, to thrust below your wrist, you must follow 
his blade by the seconde or outside half-hanger. 
Having^parri^d his thrust, you may turn up your 
nails and return cut V. under his blade, or you may 
return a thrust in seconde. 

If he completes the circle with his pouit by continuing the motion tiU he brings it over your hilt 
to thrust at the inside, you must parry by changing from the outside to the inside half-hanger. 

OF FOLLOWING YOUR ANTAGONISTS 
SWORD WITH THE PRIME PARADE. 

A.T the instant the antagonist sinks his point from 
your outside guard in order to thrust under your 
wrisjt, drop your point over his blade, and striking 
the back of your blade on his weapon, draw your 
l^d to within a foot of your forehead, in a line with 

yoqr left temple, so as to bring his thrust clear of 
the inside of your position. To effect this you must 
bend your elbow then having brought his blade 
past your body, extend your arm to a hanging guard, 

turning the back of your hand opposite your fore- 

 

head. This should be practised till youscan perform 

it with readiness as one motion. 

The prime thrust may be frequently delivered 
with safety after forming this parade. It differs 
from the thrust in seconde in being directed at the 
insicle instead of at the outside, and the opposition 
to your, antagonist's blade being formed by bearing 
your wrist to the^ left of the line of defence instead 
of to the right. 

If you intend to return a thrust after having parried by the primCj it will be safest either to oppose 
your antagonist's blade with your left hand as you 
thrust, or to step out of the line to the right as yoH 
parry, which gives you an opportunity of thrusting 
at the inside of your antagonist. 

If your antagonist should only n^ake a half thrust 
and disengage to the outside, you must oppose any 
cut or thrust he may there attempt, by carrying your 
hand to the right as in th$ seconde hanging guard* 

 .iifS 

OF FOLLOWING Y5UR ANTAGONIST'S 

SWORP BY THE HALF-CIRCLE 

PARADE. 

This is to be effected by dropping your point 
over your adversary's blade as he quits your outside* guard to thrust under your hilt, and striking 
with the edge of your sword against his blade, to 
beat his thrust past the inside. In performing this, 
the arm must be extended and inclined to the left 
till the wrist becomes opposite to the left temple, the 
back of the hand downwards, and the pouit direct^ 
ed towards your antagonist's hip. Wh^n by this 
parade you have teat his blade, out of the line to 
the left, you may either return a thrust in low carte, 
or turn the nails down and cut VI. beneath his 
blade as he recovers, springing bac as you cut 

If in performing the half-circle parade, you miss 
the feel of your adversary's blade, by his raising 
his point over your hilt to thrust at your outside, 
you must instantly carry your hand about six inches to the right or outside of your line of defence, 
the inside of the wrist still upwards, and oppose 

his thrust with the back of your blade then whirl 
your point up in a circular direction outwards, and 
thus bring it round to the secdnde hanging guard, 
without sinking your wrist as you turn it.t 

Observe to keep the giipe encircled yrith your 
forefinger and thumb, or you will be Kable to lose 
your sword. Hold your head well back,^nd incline your body on the left hip. This pafade may 
be practised aloncT with your sword, till you can 
perform it rapidly and without any pause. 

If in whirling your blade up, you beat your antagonist's weapon out of the line then, instesrd of 
dropping your point to form a seconder make cut 
II. at his head or arm. 

ROUND PARADES. 

These cannot be well performed withaVeiy 
heavy sword, yet will prove useful to a person auined with a spadroon or light cut and thrust sword. 

 This fonns the Parade called (^inie or Oetavi,hf small swordsmen. 

t Instead of parrying in the above mode, first with hatf-eirch i«d 
then with octave, it will sometimes be preferable to continae tbe mo^ 
tion of your point till it describes the whole chrcle j which may be repeated without stopping if there should be occasion. 

u 

Engage en an inside guard >^^oqx antagonist 
disengages to thrust tierce or carte over the arm 
follow his blade by describing a small circle with 
your pointy keeping your wrist on the line of the 
inside guard; this will bring his blade to the position from which he disengaged. — Observe^ this circle is began by sinking your point from left to righL 

On an outside guard — ^Your opponent disengages to thrust carte follow his blade with a small 
circle began by dropping your point from the right 
to the left keeping your wrist on the outside guard 
this also brings his blade up to the position from 
which he disengaged. 

N. B. The motion of your wrist and th^ circle 
described by your point must not be greater than 
may be sufficient to enable you to preserve or regain the feel of your antagonist's weapon: for 
which reason, when you intend to use these parades .agamst a thrust, you must engage with your 
point directed towards the upper part of your antagonist's breast. 

 

CIRCLE PARADE. 

X HIS is formed by describiog a circle of about 
three feet diameter with your point, keeping your 
wrist to the height of your shoulder, on the line 
of either an in$ide or outBida guard, your weight 
resting on the left leg, and holding your head back. 
This parade is extremely serviceable for regaining 
the feel of an adversaiy's blade, especially when engaged in the dark, and will he found useful against 
a person who may endeavour to embarrass you by 
.9 multiplicity of feiQts. 

It may now be necessary to notice such cuts as 
deviating from the principles of the system become 
exceptions to every general rule, and therefore de-* 
mand particular att^odoq, 

 

Of this description are those cuts in which we 

abandon that general principle qf security ef cutting 

towards an antagonist's blade in order to prevent a 

counter stroke or time thrust. Under this head 

 

may be classed the three following cuts, in which 
security is to be attained by first throwing an adversary's blade out of the line. 

CUT V. UNDER THE SWORD. 

If on the inside guard your antagonist lowers his 
point and presents his arm and blade in a line nearly horizontal, so that you can cross about eight 
inches of his feeble with your fort, drop your blade 

smartly across his, and wreilch his sword to the outside under your blade, then turn your wrist and cut 

v. beneath his blade and recover to an outside 

(In order to be able to perform this cut with safe- 
 ty and effect, it will be necessary frequently to 
practise alone with a sword, dropping the point 
from an inside guard to a seconde hanging guard, 
then tarnixijg up the j|ails cu^ Y. and recover to an 
outside ifuard.) 

If your antagonist be aw^e of your design, he 
will probably withdraw his blade or disengage xxwr 

der your wrist: in which case you must spring 
back OD a IjaugiuR guard the iustaot you lose the 
feel of it, presenting your point at his ribs, or. seek 
his sword by the circle parade. 

The parade to this cut is fori^ed by raising the 
point and dropping your hilt low to an inside guard, 
upon feeling your point borne out of the line, is 
which case the person who attempts the cut must 
also recover to an inside guard. 

CUT VI. UNDER THE SWORD. 

W HEN you are on the outside guard and your 
antagonist presents his point low, as before described, drop your blade smartly across his as if to make 
cut III. wrench his blade to the left, and then quit-r 
ting it, turn the wrist and cut VI. under his sword 
across the body, recovering to the inside guard or to 
a hanging guard. 

Udess this be well executed it is somewhat dangerous, especially if y our antagdnist suspects your 
(design, and withdraw his blade or disengage should 

he do that, you may spring back on the half-circle 
guard the instant you lose, the feel of it; or regain 
his s^ord by the circle parade. 

This, as well as the preceding cut, will require 
practising alone with a sword, first dropping the 
point as in the half-circle parade, and then making 
eut VI. and recovering to an inside or a hanging 

The parade to cut VL thus given beneath the 
sword, must be made by raising your point and 
dropping the hilt low to an outside guard, on the 
instant yoU are borne out of the line. When' the 
cut is thus stopped, the person who attempts it must 
also tsike an outside guard. 

Although it is not to be supposed that in an attack at first a skilful antagonist will be very likely 
to present his blade and arm in the horizontal direction described in the two preceding lessons; nevertheless the method here recommended will prove 
useful, as a practice for improvement, in order to 

attiaun a celerity in returning a cut after having parried a thrust either by the hatf-cirde parade or seconde hanging guard. 

CUT V. OVER AND WITHIN THE 
SWORD. 

If at any time on the outside guard your antagonist holds his wrist too low, bear his blade a little 
out of the Ikie, and turning the back of your blade 
to the back of his, cut V. above his sword across 
the neck, retreating as you cut* 

This must be parried by raising the hand quick* 
ly to a prime hanging guard. 

Your antagonist having parried your cut by the 
hanging guard, your feeble will become opposed to 
his fort: unLbss you withdraw it very quickly, he 
may whirl your blade outwards, and make cut V. 

 A similar col to this may Bometimea be effected against an inside, 
guard, but as that ifl the strongest guard wUch can be held, will not often succeed. 

at yonr hce, or thrust carte over the arm if he 
attempts either, parry by the hanging guard, and 
return a thrust in seconde as he recovers. 

THE CUT AT THE ADVANCED LEG 
OR THIGH. 

X HIS cut can seldom be made without considerable danger to the person who attempts it against 
a swordsman, as it must be always attended with 
an inclination of the body, and the head being thus 
brought forward, becomes exposed, even when the 
leg or thigh at which the stroke is directed, is removed out of distance* 

It, should never be attempted without previously 
diverting your antagonist's blade by a feint at the 
upper part of his position and may afford variety 
of play to gentlemen in friendly assaults for mutual 
diversion, and will so far be necessary in order to attain the parade against it The cut at the leg is 
generally preceded by a feint at the head; but this 
feint brings the anlftgonist to a St. Gedrge's Guard, 
on which almost every one retires the leg, in which 

 

case you must advance considerably to effect your 
cut 

In Plate XII. the assailant is supposed to have 
made a feint at the inside of his antagonist, who 
has parried to the feint, and again returned to Uie 
outside guard, but has neglected to withdraw his leg* 

This cut will always be extremely hazardous 
with the sword in real contest, unless your antagonist advances his right foot by standing much too 
wide upon guard. Otherwise, in striking at his 
leg, your head and sword arm must become exposed even to a person wholly ignorant of the science and his attention not being occupied by endeavouring to parry, his blow at the head would 
probably prove fatal, even though he received a cut 
on the leg at the same instant. 

I must however observe, that in attempting it a 
considerable degree of safety may be attained by 
raising the hand, as in the hanging guard, when 
cutting at the outside of the leg, and sinkmg the 
body behind the protection of the hilt and, when 
cutting at the inside turning the wrist in the position of the spadroon guard. But to effect this requires a very great degree of t)ractic« and agilitj* 

Having mentioned the daikgers to which this attempt is liable, I shall now describe the method of 
executing it in the safest manner according to the 
opinion of an able writer od this science, without 
fear of its being adobted rashly in a real contest. 

*'The first method is to parry an inside cut, and 
instead of returning an outside, step a little forwarder, sinking your body at the same time you 
transfer your weight from the left to the right leg, 
bring the point underneath your adversary's sword, 
and cutting swiftly at the calf of his leg, spring 
back as from a longe under cover of a St George 
or hanging guard. This throw should never he 
used against a master of timing, for if he slip his 
right leg instead of parrying, he may cut you either 
on the head or arm. 

"The second way of going down to the leg is 
by much the safest of the two, and is done by sinking the body very low at half-sword under a St- 
George's guard, make a feint to the leg, recover to 
a St. George, femt to the leg again, then stopping 
fully with a St George, go swiftly down to the leg, 
and spring off as before." 

A very trifling reflection op the openings afibrded 
to youradveisary's point as well as his edgei by 

this manoeuvre, which the author styles tl^ sqfest^ 
will cerfeunly prevent its being too hastily adopted. 

 
Parade against the Cuts at the Leg or Thigh. 

Tf j/ou are upon the inside or cfutside guard. At 
the instant your antagonist drops his wrist to make 
the cut, slip the right foot back to the left fieel^ and 
meet the inside of his sword arm with cut I, III, or 
V, if he cuts at the inside of your leg or thigh.—* 
Make cut II, IV, or VI, if he strikes at the outsit. 
(See Plate XIII.) 

Should you have any reason to suspect tlie offer 
at your leg to be only a feint, present your point opposite to the face of your antagonist, drawing in 
the sword arm a little on either an inside or outside 
guard, (according to which side yoqr adversary i 
may threaten) and retiring the leg. His intention 
may genei^lly be discovered by his inclining the 
head and body forwards if he means to cut;^ and 
retaining them when only making a feint. 

Some persons when they suspect the offer at the 
leg to be only a feint, preset the point to the antagonist's fape, and extend the sword arm^ in order 
to prevent his advancing too close to be avoided by 

slippine the leg. This method must, however, be 
used with caution against a swordsman for when 
you thus present your blade and arm horizontal, if 
your antagonist should strike his fort smartly against 
your feeble, he may beat your blade upwards and 
deliver a low thrust. 

If yotk are upon the hanging guards and your 
antagonist has advanced too near to be avoided by 
slipping the leg, drop your point so as to meet his 
edge with yours, retiring the leg in the manner 
above directed, and as soon as you have parried, 
make cut I. or I L 

BROAD SWORD SALUTE. 

X HE modes of Saluting are vsurious at different 
academies, according to the fancy of the teachers 
the following is taught by Mr. Taylor. 

Draw swords — Inside guard — Take off your hat 
with left handy and poise the sword to a very high 
inside guard turn your face and edge to the left 
and then to the right — ^Drop your point and raise 
your hilt to the inside half-hanger, at the same 
time putting on your hat — Raise your point with, 
a circle to the left, and bring the right; hand across 

F 

the chest so as to place the hilt of your sword in the 
left hand, the pommel between the two middle fingers-^Extend the left hand to the rear, the back of 
the blade fallmg on the left shoulder, and advance 
the right foot, presenting your right hand to your 
antagonist — ^Shake hands — Recover, seize the gripe 
of your sword with right hand, and come to outside 
THE TEN LESSONS 

TAUGHT BT 

Late Broad Sw>rd Jiader to the Light Hone VoUmUen 
oflMuioH and WednumUr* 

LESSON I. 

Cut at my leg outside — Guard your head. 

Feint at my leg — Guard youf head. 
Cut at my leg— Guard your head. 
UL 

Feint at my feg— Guard your head. 
Cut at my leg — Guard your head. 
Cut at my ribs. 
Cut at my leg — Shift your own. 

 

Stand on outsidq guard; drop your point to the 
right, turning the inside of your wrist upwards — 
Parry my cut at your face with a high Inside guard. 

Cut at my thigh outside-^Guard your head. 

Cut at my head^ — Guard your own. 
Stand on inside guard- 
Feint outside at my face, and cut III. at my 
wrist. 
Parry the thrust in carte with inside guard. 
Cut at my head. 
Cut at my arm outside — Guard your head. 
Cut at my head — Guard your arm outside. 
Cut at my ribs — Guard your heac|. 
Cut at my head — Guard your ribs. 
Stand on outside guard — 
Feint at my face inside, and cut at my arm outside — Guard your head. 
Cut at my head*-Guard your own. 

Stand on outside guard — 

Feint inside, and cut at my arm outside — Guard 
your head. 

Cut II L at my wrist — ^and parry carte with inside guard. 

Thrust seconde — Guaf d your head. 

Thrust seconde again — Guard your head. 

Cut at my head. 

X. 
Cut at my head — Guard your face. 
Cut at my arm outside — Guard yoyr belly. 
Cut at my facer-Guard your head- 
Cut at my breast — Guard your arm outside. 
Cut at my belly — Guard your breast 

'4fe 

The foUomng Lesson is intended for Practice 
WITH THE Sword, iqion the Principle on whdch 
/Ae Exercise at the T^LVget has been recommended in Part ! of this Work^ and may be per- 

 formed in Line^ proper 'Caution having been first 
taken to oplen the Files sufficiently^^ 

Left; Half-face 
Carry swords 
Gustrd 

Cut i. at head and recover to St. George^s 

II. at right cheek Outside guard 
L at left cheek Inside guard 

VI. at right side Outside half-hanger 

V. at belly Inside half-hanger 

VI. at knee Shift-St. George 

III. at wrist Half-circle guard 
Guard — Slope swords, Front. 

 U will be prepfir to allow more spece betwe<|i eadi thin may ok 
JiTit seem absolately neceisary beeause the cuts are to be made on a 
loDge, 9id learaera are rery apt to move the left foot, when stepping; 
forward, or to duft their ground as they recover to guard. 

This lesson is intended to impress on the mind the guard applicable 
to each eat, rather than to point out the eaccession in which outs will 
follow each other when in contest. 

REMARKS ON THESPADROON. 

X HE spadrooD being much lighter than the 
broad sword, and made both to cut and thrust, 
is therefore a weapon well adapted to those gentlemen who are masters both of the small and 
broad sword,and unite according to circumstances 
the defensive and offensive movements of the two. 
In thrusting, the spadroon has an advantage 
over the broad sword, on account of the celeiity 
with which that fatal movement may be executed, but in cutting it is much weaker in its effect. 

The chief defensive position of the spadroon 
among the French, resembles the seconde hanging, 
guard, except that the blade is held more horizontal, the point is directed at the antagonist's 
body about two inches below the arm-pit, and 
the wrist held on a level with the shoulder, instead of raising it high enough to view your 
adversary under the shell. 

From this guard, by dropping the point to the 
inside or outside of your position, as the prime 
or secande hanging guard, you may parry any cut 
or thrust made below the neck. Cuts at the 
head are parried by the St. George^ those made at 
the cheek and neck by raising the hilt to prime 
or seconde hanging guard, as with the broad 
sword. 

Much practice will be necessary to enable you 
to hold the sword in the position above describe 
ed, without constraint or wavering, and to attain 
the firmness requisite for parrying, and a suffix^ient degree of cekrity in striking or thrusting. 

The left hand should be placed with the palm 
flat on the left hip bone, in order to preserve the 
balance. The centre of gravity must be thrown 
on the left leg, and the feet placed as directed for 
the broad sword. 

-Although the above guard in seconde is that on 
which the most eminent French masters place 
the chief dependence, and in which they principally instruct their scholars; yet the guards 
mentioned in the preceding work for the broad 

sword, wiU be found equally useful, especially to 
those who oanuot retain their aim a sufficient 
length of time in that posture- 
In adopting the inside and outside guards to 
parry a thrust, remember to sink the hand rather 
lower than when opposing a cut at the arm, and 
keep your point presented to your adversary's 
face. 

The cuts with the spadroon are made on a principle similar to those of the broad sword, except in the following instances. The weapon 
being lighter, and the blade held more horizontal, the disengaging may be effected with a 
smaUer circle described by the point, and the attack made mope rapidly. 

^he mode of recovering from cuts I. and li 
when you chance to miss the object at which 
your cut is directed, may be rather more in 
front than with the broad sword or sabre, instead 
of the blade swinging so much round to the outside or inside of your position, as is necessary 
with those weapons. To facilitate this method 

of recoveriiig, cuts I. and IL with tbe spadrooa 
may be made with a circular direction whereas 
the weight of the sabre renders it difficult to ap-* 
ply the edge unless tbe cut be made in a mor^ 
direct line. 

One cut withinside the arm seems indeed peculiar to the spadrooD^ ^ince few have sufficient 
strength in the arm to effect it with the broad 
sword. It is thus performed your antagonist 
being on the hanging guard, feint a thrust in seconde, and if he attempts to parry it with his 
feeble, turn jour nails up without disengag-ing, 
and^ raising your point, cut at the inside of his 
sword arm. This cut, if performed with spirit, 
is generally sure to disable and is rendered 
safe, by your Antagonist's feeble being occupied 
in a vain attempt to bear out your fort, which is 
brought against his feeble by your longeing forward as you raise your point. If he sinks his 
hand to parrv with his fort, spring off with a 
cut at the upper part of his arm, on the outside. 

The most eligible thrusts to be made with the 
 spadroon are^ those already recommended, p. 69, 

for the broad ^word. — Those who wish to be* 
come perfect masters of the spadroon should 
however be acquainted also with the system of 
the Amall sword, oo which there are already so 
many treatises published that it is unnecessary to 
swell this work with further remarks on the subject That published by Mr. Angelo, entitled 
the School of Fencing, is indeed so clear and 
comprehensive, that it cannot be too much re-* 
commended to those who are desirous of attaining a just idea of that art, and yet may not be 
able to attend regularly to lessons from a fenc" 
ing master. 

In retiring from a superior force, the mode 
taught by the French of flourishing the weapon 
is sty led a /a df^^andlode, and consists in brandishing 
it in front of your position from right to left, 
turning the wrist up and down so as to lead with 
a true edge, the point describing the figure QO, 
the wrist held level with the shoulder. By this 
method an antisigonist may be prevented advancing too fast upon you, as he must first stop the 
motion of your blade before he can safely attack, 

and the next step you retreat again sets your 
weapon at liberty, 

The practising this figure alone with the 
sword, will tend much to supple the wrist, and 
to give you a proper command of your weapon* 
It should be performed sometimes in the manner 
of cut I. and IL combined at others as cut IIL 
and IV. only in a direction more horizontal. 

APPENDIX. 

OPPOSING THE SMALL SWORp. 

JIN contending ivith a broad sword against a 
small sword, your first object should be to disable your antagonist's sword arm if possible, 
keeping your body well back, and, springing off 
at the instant he longes^ far enough to remove 
your body from bis thrust, cut at his arm. Be 
cautious not to make wide motions, or to strike 
with too much exertion and recover to your 
guard with your point well opposed to his face. 

When you parry a thrust by the inside or 1 
outside guard, remember to ^ink the hilt lower 
than when opposing a cut. 

If your antagonist disengages from an inside, 
guard, and thrusts below your wrist, follow his 

blade by dropping your point to the outside halfhanger, and haying parried his thrust^to the'out* 
aide of your position, turn your wrist, and before he recovers from his longe cut V. beneath 
his blade. If from the outside guard he lowers 
his point to thrust beneath the hilt, parry with 
the half dircle or prime parade, and cut VI. under his blade* 

Should your antagonist be so near when on 
the above longe as not to allow sufficient sweep 
to give cuts v. and VI. with force in that case, 
instead of striking, draw your sword edge fwiftly across his body, retreating or traversing at 
the instant 

Observe that after parrying a thrust made at 
you with a small sword, your chief advantage 
lies in returning a cut without longeing forward, 
because your antagonist will always endeavpur 
to recover from his longe with his point directed towards your body* This renders it necessary to confine your attack particularly to his 
sword arm, except when you may be ahle to 
beat his sword first out of the line otherwise 

if you longe eagerly to effect a cut at his head 
or body, you will rush on his point.. If you 
have an opportunity of striking on the back of 
his blade, as he recovers from a longe, you may 
probably disarm him. 

 PPO0ING turn 8PA»R00M' 

Td oppose this weapon, you must be master 
ofiba parades against the thrusts (described p. 
75 to 82,) since thrusting is a principal object 
with the spadrQon. Should your antagonist's 
weapon be much shorter than your own, be always ready to spring off from an attempt to inclose, otherwise he will get within your point, 
knd the length of your sword will prove a material disadvantage. 

Many persons ^se the spadroon in a manner 
very similar to that already described for the 
broad sword, against those the guards and caution before mentioned will be sufiidexit. T shall 

therefore only observe, that ib contendRtng with 
such as depend on ibe guard in seconder it will 
be best to engage them with the hand in the. position of the inside guard, the fort of your blade 
crossing s^bove your antagortist's feeble, and 
your point above eight inches to the right of 
your line of defence, threatening the inside of 
his position.^ At the same tinle sink on your 
knees, keeping your body well poised, and your 
left hand on your hip, but do not rest too much 

weight on your right foot, lest you should be 

 

unable to withdraw it, or to spring off, when 
necessary. i»v 

If your antagonist endeavours^ to thrust under 
your hilt, parry by sinking your hand on an 
outside guard. If he. disengages under your 
hilt, your hand is already on an inside guard, 
and you have only to raise your point to the 
left. If he disengages over your point, he must 
expose the inside of his position and sword arm. 

 Tour point would otherwise be opposed to your ad^renary's hiU, 
and both weapons in parallel liaes, by which you would lose your 
principle of deience, which must always dep^ngi tSol a great measure mt 
the cros»your weapon forms to that of your antag^onist. 

In attacking the spadroon ivhen held in sb' 
conde^ the easiest cut to effect will be on the out« 
side of the s^ord arm, first makiDg a light feint 
at the head or inside of the face, but be careful 
not tQ make wide motions. 

Another cut maj be effected, bj attacking 

the feeble of his blade briskly with jour fojrt, 

 and beating it downwards to the outside of his 

position^ then turn your wrist and cut VI. at his 

ribs, recorering to an inside guard. 

The mode of commencing with a cut and 
finishing with a thrust (p. 73, 71,) will be found 
useful. against this guard of the spadroon. If 
your antagonist holds his thumb on the back of 
the gripe, wHen on this guard of seconde, you 
may disarm him by making cut III. at the feeble 
ef his blade. In performing this keep out of 
distance of a longe. 

It will not be prudent to attempt beating the 
spadroon to the outside of yoyr position, because your antagonist can easily slip from that 
beat and thrust at your inside nbither would I 
recommend the broad sword hanging guard fo 

X)e opposed to the spadroon, except merelj to 
stop a cut, udess you are in considerable practice, and much accustomed to that guard for 
the spadroon is so much lighter and swifter in 
its motions, that by repeated feints your arm 
will tire, and your antagonist soon gain an ad-* 
vantage from your not being able to answer his 
motions with sufficient celerity.^ 

 Th» huag^ikg gavd, vith a long he^Tf sword, win not afibrd jmi 
BO much reil proteotion against the point of a determined adversary^ 
«8 it may at first yiew of the position be thought to do. This adyaatage arises from the ease with which he may attack your feeble with 
Ub Ibrt, and beat it out of the line of defence, by which he gains nm 
 palling to thrust carte, or low earte. To avoid this attack, you may 
nise your pcMnt with a .fl^rcular motion oyer his blade at the iastftat 
ke itrikes at your feeble i^'and having thus slipped i)rom his stroke, r»tarn a thrust in seeonde, or a cut at his outside should your blade be 
loo heavy to effect this, spring off. Ifyou are aware of his intention 
time «H>ugfa, the best method of resisting his attack will be to drop 
your point and incline your hand towards the prime hanging guard, 
mestiBg his blew with your edge, la performing this do not make 
your motion too wide, nor bend your arm unnecessarily, lest your tfa^ 
iM^mtX tifioot ft cut at tlie outside of your arp. 

f Jte 1 

OPPOSING THE MVSqVET AITD BAYONET. 

It will be in general best to parry the bayonet 
to the outside bj dropping the blade across the 
barrel of the musquet, as in the outside half 
hanging guard, the back of your fort close behind the elbow of the bayonet. The purchase 
thus obtained will assist your stepping forward 
with the left foot to seize the barrel with the left 
hand, wnich being once effected, places your 
adversary's life in your power* 

If you parry witb the inside half hanger, the 
fort of your sword should be directed to the 
hollow of the elbow of your antagonist's bayonet, and you must step obliquely to the right 
with the right foot, advancing your left hand 
under the arch formed by your right arm to 
seize your antagonist's weapon. 

In this method it is to be observed that although yoilr parade may not have weight enough 
to beat the bayonet far out of the line of defence, yet by stepping about with your left or 

right foot, according to which parade you use, 
you change the line of defence, while your blade 
prevents your antagonist from withdrawing his 
weapon, or following your motion with his point* 

Another method by which the thrust of a bayonet may be parried, is by opposing the fort of 
the bayonet with that of your sword on an inside 
guard, and, beating the bayonet towards the left 
of the line of defence, seize it with your left 
hand. But in performing this. Unless you are 
very quicks your adversary may deceive you by 
disengaging under the hilt of your sword. 

BNGAGINC WITH STICKS. 

As it may happen that a gentleman may be 
compelled to defend himself with a common 
walking stick, against a ruffian who may pre-' 
sume on his skill in cudgel playing, the following 
hints may prove useful, in pointing out such deviatiens from the general system of broad sword 
as are requisite to be knowD in that case. 

In a contest with sticks, if you parry with an 

inside or outside guard, you must endeavour to 
meet your antagonist's blow with your forty 
rather more to the left or right of theiine of defence, according to which side you are protect* 
ing than with a sword. By these means the 
recoil of the sticks will prerent the blow sliding 
down your knuckles, and in proportion as yea 
can stop your antagonist's blow wide of the line 
of defence, you obtain a greater opening to re-> 
turn it 

The han^g guard is however the most usual 
and often the safest, as it affords more protection to the head and face, at which blows with 
a stick are generally directed. The only difference in holding this guai*d with a stick in* 
stead of a sword consists in directing the point 
about six inches towards the outside of your antagonist's right hip, instead of opposite his side; 
because the point of a stick, if held stationary 
like the point of a sword, will not prevent his advancing; but on the contrary may be seized 
with his left hand. 

Among cudgel players the blows from this 

positioi^ are- effected iff. a. turn of the wrist dif- 

fering from thVt used ivith ttie broad sword, the 

large .knuckles of the hand (iiDstead of the nud- 
 tfife piiiea)' Mng-directect towards *the object at 

which the blow is discharged, and turned down- 

wardtii.at. tiie instant of makimr it* If the op- 

ponent springs off.-ffom ,^'bhow -oi^de in this n 

inaDn^r,*th^ gtjieral ^cofisequenceto the assail- 

ant is a strain of the wrist, or tlje, loss, of liit*; 

stj<;k.. Another' mate.FJal 'disadvantage in this 

mode of striking j^^ tljat unless -tliey engage 

yery cloee tftey.canfvot* reistch to. fait, their antago* 
 nifllli. 

 

t^When contending with, a person. who endea- 
 voCir^ to advance for 'Jthis purpTose, receive, his 
 blows onjQiji; hanging gvard^and ^etdrri a 
W -r thrust beneath^ his arm eitber«^khi»face« fight 

side, or btUj, gnping your stick vey^firip Jlhat5**"^» 
^yowr thrust may be ^of sq^cifent^fbrce*; recSver i*_ 
 quickly^ to a hanging gttard/ 

If you stand on guard iyith .a stick jJrevious Id 

your antagonist making his attack, it is impos-^'^ 
sible to avoid presenting your knuckles as an 

J 
object for bis cut, without some ebange cfjfMi-^ 
 tton, and the more correctly your are on guard 
(that is the less opening you leave at your head 
or body) the tnore probable will it become that 
he should select your hand as the part at which 
to direct his blow. To avoid giving him this 
opportunity, you must change repeatedly froia 
the inside to the outside and hanging guards^ 
threatening his face with your point in each motion, which will occupy his attention, khd |H^e- 
Tent his making such choice of if you do not 
choose thus to become the assailant, but wish 
that your antagonist should' mal^e the fij-sliat-' 
tack, adopt the following 

Stand on a jivide outside guard, your Yight 

foot advanced rather more than 'usual this bre^** i 

 sents^an opening at your head and insideV'the 4 

4 in^t^al^t' he* moves to seize this advantage, shut. 

y up. the opening by dropping your peint^^abd J 

raising your hand to an inside hanging guard, 

 at the same time drawing back the right foot; 

 which in all probability will remove you so far 

that his blow will fall to the ground, or sway his 

 t 

 in.] 

'A i^^^nn #^ fituch as to leave him eiposed to yoijir # 

 mJfciirvc^ Jhat the haijgingji guar^ for the*^' I 
 |(boVis Uprf^se is notMo-be taken b^ rai^g the* t 

#|^tit ^rstr frith a sweep. and then dropgi^gj^; 
but by ff^imifif dropping: the poijU^ and raismjif Ihe.^ 
hfnd to the left, aiid will require patjenc^to exe-* j^* 
 cOte it with streAgith'and celerity. tf> 

Gudg<Bl players' seldqlb pay much attention tpt» 

protecting the outside <bf their right arm or ribs. 

It will not however be safe to strike at their out- 

IT 

side, except in returning a^Wow which you havfe 
just parried* If you commence ao attack at thai 

part, you will most probably receive a cut in 
the face at the same instant. The best method' T.. 
therefore is to receive and return a. few blovfs 

on ^the hanging guard, and alternately intermix 
yow play with cutting at the wrist and'elboiir, 

and Arising, thus keeping them at a greater 
distance than they have been accustomed to 
and if you can by this mode of attack induce 
them to defend their ribs, feint at their outside 
and throw at the he^. 

 

4 Very few cudgel players «ccu$toiii ^heme^e^ J 
 to longe at the time of striking^ tber^forj^CjT '(fl 
 ^n ke^ th<^m a| a proffer distance, *yeoi wil4j^' 
 ^ut of their reaoh ni^iile they are within j^oufis; 

 SboAld your, antagonist sircofeed in nusni^^iic 
 close up, to yoUf/iotYvifhstauding ^11 yflt^ etidea-* 
.TOUTS to l^eep bim at a proppr clistance, yOU 

 imnr easHy disarm him at the jsstant he' closesw 

 If he advances on a, hanging guard, oppose 

 

him with the same guar^jf lower your body by 

suddenly bending your k'lees, ayd pass your left 
 band under your right' wrist, seize^bis stick, ^ad- 
Vance your left foot 'ahd knee behind his right, 
^d dart the pommel of your sfick in his face, 
striking up hie right foot at the sane instant 

Or as your opponent advances, you may thrust 
your If ft arm into the upper angle formed by 
the cross of your weapons, twine your arm j 
round his, by passing your hand under his wrist 
and over his arm, and bear it downwards. Use 
your pommel and left foot as before. 

 If he advances on an outside guard, lay h^ld 

pt hiif ifticfc with jour left handy and pull it downw^rdil^oyer jour own^ at the same time dropl^ip^ jour point and raising jour weapon forcihi J to tl^ poshion of the seconde hanging 

There are other methods of disarming bj ad- 

»yaii,cing the left hand &nd foot, but these are the 

^^asiest and most readilj executed, as thej re- 

quire onlj a previous reflection on the position^ 

to enable a (>erson to adopt them whenever 

there maj be occasion. 

 

 

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