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BROADSWORD 

AS TAUGHT BY THE CELEBRATED ITALIAN MASTERS, 

SIGNORS 

MASIELLO AND CIULLINI, 

OF FLORENCE. 

BY 

FRANCIS VERE WRIGHT. 

LONDON: 
W. H. ALLEN & Co., PUBLISHERS TO THE INDIA OFFICE, 
18, WATERLOO PLACE. 

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THE NEW YURK 
PUBLIC LIBRARY 

ASTO2, LENOX AND 
TILDEN FUUNNATIUNS 
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Gren, seeemeseeercen.. 

Hammond 1“ Mereh ty’ 

Dedicates 
BY KIND PERMISSION TO 
H.R.H. THE DUKE OF CAMBRIDGE, 
(COMMANDER-IN-CHIEF ) 
BY HIS 
RESPECIFUL AND OBEDIENT SERVANT, 
VERE WRIGHT, 

COLONEL COMMANDING THE PRINCE OF WALES’ 
4TH NORTH STAFFORD REGIMENT. 

PREFACE. 

In introducing this translation from the work of Sigr. Prof. 
Masiello, it is well to mention that the Italian School of Fencing 
has for some years thrown the French and others in the shade. 
Amateurs have beat the most renowned Maitre d’armes at Paris, 
Turin, and Brussels, M. L. Mérignac among the number, who at 
the International Exhibition last year, at his special request, 
fenced with chalked foils, and to his bitter disgust, received 
thirteen hits to his own three. 

If with the foil Italians have more than held their own with 

the broadsword, their school is without a rival. 

 If therefore officers of Her Majesty’s Regular Army, Militia, 
or Volunteers can be induced to make themselves masters of the 
weapon they carry at their side, and would not fail them, like an 

empty pistol, in time of need, this work will not be in vain. 

F. VERE WRIGHT, 
Officer Cavaliere of the Crown of Italy. 

Shelton, Notts., 

INTRODUCTION. 

‘RMU ILE only weapon of the early Gladiators was the gladius (from 
which the name is derived), a short bladed sword. After 

Ew the Punic wars the long sword was introduced from Spain 
into the army and the school of Gladiators. What was this school ? 
Its origin among the Romans and ancient Greeks was to honour funerals 
with the slaughter of prisoners, or slaves that belonged to the deceased, ° 
with religious rites. In the year 490, under the Consulship of Appius 
Claudius, a descendant of the famous Brutus, being dead, presents of 
slaves and prisoners were sent to do honour at his funeral, but the 
Marco and Decimo, who perhaps had not the savage nature of their 
ancestor, thinking it far too cruel to massacre these unhappy individuals, and still not wishing to be wanting in their duty, determined to 
divide them in couples and let them fight for their lives. 

From that day the combats became more frequent, not only for 
funerals but on any great occasion. It soon became the interest of the 
Gladiators to study the art of self-defence; and they were not allowed 
 to appear before the public until they were approved of, going through 
exercises with wooden swords, making cuts in the air to loosen their 
limbs, sometimes being provided with a straw figure in armour, or told 
off in couples for practise, until they entered the class of spfecfatz and 

commenced their life of gladiators, 
In 649, the Roman legions having been beaten in Spain, &c., on 
account of the privations they had undergone and the inferior arms 
they carried, a new and rational system was introduced for delivery and 
guarding blows, and thus unite art with valour, valour with art, until 
the one, with the impetus of the other, soon became more efficacious. 

Duels were not fought in those times, the much abused ‘repair of 
honour ”’ with the sword, but only fierce combats to the death to prove 
their art of fence. 

 There were two classes of gladiators. Volunteers to acquire glory, 
or impelled by desperation arising from ruined affairs, and professionals, 
being prisoners or condemned persons. History gives but few samples 
of fanaticism. Magistrates and Senators did not disdain to enter the 
lists with free or condemned men, so long as they gained the applause 
of the public and the female stars of the time. 

The gladiators that did not fall acquired immense renown, and 
became the idols of every class. Gladiators who were horribly 
mutilated were the objects of preference and sympathy on the part of 
dames of high degree, who, to follow them, refused splendid matches 
and abandoned their homes. 

Celebrated also is the Mausoleum, built by Caracalla to a gladiator 
named Batoni, who was obliged by him to encounter three, competitors, 
and fell at the hands of the last. 

These public entertainments were advertised some days before, 
with the number of couples, the names of the trainers, and those who 
had distinguished themselves on former occasions. All the combatants 
meet at a genial banquet (cena libera) the evening before, when owners, 
amateurs, and patrons gave them handsome presents of every kind, 
wishing them success and to see them at the second feast (stlicernium ), 
held in honour of the dead. 

The spectacle commenced with a ‘procession of all the gladiators 
round the arena, when passing under the imperial box they raised the 
well known cry, ‘Ave, Caesar imperator, moriturt te salutant.” They 
then commenced with pointless or wooden arms, while bands were 
playing and the spectators began to give their favour to this or that 
combatant. After the real arms had been examined the men were 
paired off and the lot began no rules, no courtesy, no pity. The victors 
and the vanquished sought only to please the spectators, some naked, 
some covered with armour; others armed with shield and sword 
according to the nation to which they belonged. When one of the 
combatants was conquered and fell it rested with the Xditor Muneris. to 
decide whether he was to live or die, which was carried out in a place 
called the spoliarium. 

Towards the end of the Republic this decision was left to the 
public, when the conquered man threw down his arms, with one knee 
on the ground and raised the first finger of the left hand. If favour 
was shown handkerchiefs were waved, if condemned the arm was 
stretched out and the thumb turned downwards. If grace was refused, 
the victor turned on him with these words, ‘recipe ferrum.’ The 
greater part in receiving their death blow did not forget the honour of 
their profession, and presented their neck or their breast without even 
a word or a change of colour; some, though desperately wounded, 
again seized their weapons and fell fighting. 

A victor was by no means secure, a8 sometimes he had to meet a 
second and third, and even a fourth, who might in their turn bring him 
to the ground. During the interval of repose the dead were removed, 
those wounded without the hope of recovery were carried to the 
spoliarium to be killed. 

Tacitus shows that duels for private quarrels came from the north 
‘with the Barbarians, and that the Germans alone adjusted their affairs 
by this means. Livy also mentions with astonishment that in Spain 
this custom had taken root. 

It is impossible to record all the glorious deeds and unhappy 
victims of tournaments. Many a fine warrior who had escaped the 
steel of the Saracens and the perils of distant wars found death from 
one of their companions in arms in a mere spectacle with blunted 
weapons, or a button at the end of their lance. 

In 1240, in a tournament at Nuis, more than sixty persons perished 
from wounds, for the armour was often driven into the body by the 
force used. At Chalons, in 1274, one between English and French 
turned into a regular slaughter with sharp weapons. 

It should be understood that a light well-balanced broadsword, 
with hilt formed according to the design of Prof. Masiello, in the hands 
of an active swordsman, can beat the foil or the small sword now used by 
officers in the French army. Also that of two swords, however equally 
good and well porved, the one which was well handled would break the 
other, or force in the guards if not formed with a true edge. 

The system therefore of assaults with single stick, as carried 
on in England, is contrary to common sense, and would often account 
for the swords of our cavalry being broken on service. 

The system of broadsword proposed is worked out in full by 
Sigr. Prof. Masiello, to whom I refer all who can read Italian, and his 
work on fencing is translated by Mr. Peploe, a pupil like myself at the 
Fencing School of the Masters Sigr. Masiello and Ciullini, of Florence. 

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DUELS. 

There were two kinds of duels; the one for affairs of honour, with 
which the tribunals had nothing to do, and there were no witnesses 
except the shield bearers the other ordered by the tribunals when the 
proof was not sufficiently clear. Both in criminal and civil cases the 
authorities fixed the day and prepared a closed field. If they were 
gentlemen they fought with a long broad sword only and shield, or on 
horseback armed at all points and with a lance. If a gentleman 
provoked a servant he had to fight with the arms of the servant. 

There were champions of the weak, the women, old men, and 
children. If one of the duellists did not turn up he was called three 
times, the other then cut a few blows in the air, and the judge condemned the absent one. 

The difference between the first and second: period is visible. In 
the first a duel was used as a tribunal, in the second to avoid a tribunal, 
and as Beaummanoir says, Autre gne gentilhomme ne peut guerroyer, i.0., 
it was confined to the upper ten. The duel of the third period is condemned by law, but still in vigour, except in England, where it was 
put a stop to by act of Parliament in 1819. 

For duels in Italy at the present time the broad sword is used in 
the proportion of thirty to one over pistol and small sword together. It 
allows a strong and resolute man in a few lessons to use it efficaciously 
against a superior swordsman, and defend his life in an affair of 
honour, it being one thing to fence well in a sale d’arme and another 
to conquer in the field, besides, wounds from cuts are far legs 
 dangerous than those from points. It is also a certain check upon 
those, who being clever at fence, or crack shots with a pistol, might be 
disposed to provoke with an idea of false glory or excitement, for it 
has often proved that victory has fallen to the least expert, if cool, 
strong, and careful, and as there are half a dozen or more professed 
duellists in nearly every town on the continent this becomes a subject 
of no small interest. 

Previous to 1886 the broad sword was considered an exceptional 
weapon in France, but since the introduction of general military service 
it has been used in the majority of cases. Self respect is a necessity 

if a man is to hold his own in society, and carry influence in the councils 

of his county. But where duels are allowed; or rather winked at, men 
become far too sensitive, and for this reason a “jury of honour” is 
established in all the large towns in Italy, the duty of which is to settle 
matters if possible, or define the position of the principles. In the 
army an officer is punished if he is the cause of a duel, at the same 
time he is dismissed if he did not go out when challenged. The duties 
of the seconds are heavy, there being two for each principal, and it 
rests with them to attend and accommodate matters, or decide which is 
the offending party, at times a most difficult question, as both principals 
may fancy that they have received an equal amount of offence. The 
place, the time, the means used, the object in view, the quality and 
kind of offence have all to be considered. Itis not the person who is 
called out that has the choice of arms, time, and place, but the person 
who has been insulted. Every man has a right to his own opinions so 
long as they are not personal, and would have the right of choice, if 
called out on account of those opinions. 

Where the laws of a county are weak or tyrannical, duels become 

@ necessity as a choice of evils, for revenge would find other and still 
worse means if not governed by certain moral and traditional laws. 

The new Codice Cavalleresco of Sig. Cav. F. Gelli, 1888, who quotes 
from the works of Genl. A. Angelini, Comte du Verger De Saint 
Thomas (1887), and other French writers of recognised authority. 

Offence is divided under three heads :— 

(A)}—Sueple, or with insult, which gives the insulted persen the 
choice of ams. 

 ae ee 
(B)—Serious, or with outrage, gives the choice of arms and condition of the encounter. 

(C)—A/frocious, gives the outraged person the choice of arms, the 
conditions of the encounter, and the kind of encounter, 
whether to the death in cases of small or broad sword. In 
duels with pistols whether fixed positions, or advancing; 
taking aim at will, or by command, and the distance between 
the combatants. 

The offence may vary according to 

(A}—The social condition, ag@, moral and material power of the 
offender, and the reputation he has in public opinion 

(B)—The social condition and age of the offended, of the consequences moral or material that he may or has sustained 

(C)—The place where the offence was given, whether in public or 
not, in the house of one of the contending parties, in the 
presence of persons dear to him, or of superiors or inferiors, 
in the presence of many, few, or no one, as the offence 
injures more according as it is likely to spread 

(D)—The means of offence, 7.c., by words, acts, gesture, writings 
or drawings: if with arms, scabbard, stick or switch: fist 
or kick: before or behind 

(E)—The kind of offence, whether cavalier or in bad form, and 
unworthy of a gentleman: if accompanied with words or 
deeds, with slight or strong threats, disguised or evident, or 
by means of the papers; 

(F)—The quality of the offence, if serious in substance or appearance: if deserved, provoked, true, or false; 

(G)—If following provocation or insult: if for self advantage or 
for contempt: if the object be to offend or defend: for 
resentment or revenge on your own part or for others. 

It appears that editors and correspondents are bound to refuse 
satisfaction if they give only reports or express their opinions on what 
has taken place without personal allusions, but this is by no means 
adherred to. 

 A “Tribunal of Honour,” held at Naples in March, 1885— 
Question: ‘If one consented to accept would not the liberty of the 
press and the discussion of matters of public interest be violated ? 
Answer unanimous: Yes.” 
To impede the abuse of duels the legislature is severe against 
those who go out. 

(1st)—If the dispute has not first been referred to a “jury of 
honour.” 

(2nd)—If the conditions have not been arranged for by the four 
seconds. 

(8rd)—If the arms adopted are not equal, or are not either small 
sword, broad sword, or pistol with the same charge. 

(4th)—If there is an expressed understanding that one of the 
combatants must be killed. 

Article 346.—If there is any fraud on the part of one of the 
duellists he is sentenced for premeditated homicide or bodily harm, as 
the case may be, besides losing all cast as a gentleman. 

EXAMPLE OF A WRriTTEN CoNnTRACT. 

Date... cece eee cee eee hour.......... place of meeting 

Mr. M., considering himself insulted by Mr. N., because 
ace cee cece eee eee enes (show cause), nominates Messrs. A. and B. to 
request reparation. Mr. N. having been made aware of this either 
personally or by letter, accepts the challenge and deputes Messrs. OC. 
and D. to act for him. The four representatives having met and 
examined the question, agree that Mr. M. is the offended party 
(indicate whether simple or serious). Before appealing to arms they 
have attempted to arrange the matter, and laid it before a Tribunal of 
Honour. But this being fruitless by reason of the gravity of the 
offence, the four representatives determine that the duel must take 
place with (arms chosen), without the exclusion of blows, 
and that it should continue until one of the combatants is seriously 
wounded. That each assault should last (say ten minutes); that each 
rest should not exceed (three minutes), that the combat be suspended 
every time there is a wound, on the declaration of the wounded man or 
when noticed by the seconds. That the two antagonists are not to take 
the sword in their left hand (unless left handed, which must be decided 
beforehand), an exception being given to Mr. M., being the offended 
person, in case he be wounded in the right hand or arm. The duellists 
can make use of a glove (indicate the kind), but not fasten the weapon 
to the wrist. The combatants can wear a linen shirt without collar. 

yen 
The direction of the encounter shall be entrusted to Messrs. A. and D.; 
the choice of ground to Messrs. C. and B. The examination of arms 

(indicate day and hour), at the place chosen by the said Messrs. B. and C. 
(Signed) On 

Between two o’clock and five o’clock is the best hour, as it gives a 
chance to those who have never fought before to settle down after a 
sleepless night. For those little skilled with their weapons: A direct 
point, with or without feint; retire slightly when attacked points at 
advanced part of your adversaries body; are probaby the best suggestions, but let the best master you can get judge of your capacity. 

Lunch off meat of easy digestion a good three hours before; take 

coffee, but avoid liquors. 
 

Each party should have two carriages in case of accident. 

The senior witness, or second, invites those of the other principal to 
examine the dress of his client. This is necéssary, and can be done 
when they change for the assault. 

A certain Ollivier, powerful as a fencer, and who had had nine 
duels, was out with M. Fenilherade, who was far from expert. Fortune 
favoured the weaker, and Ollivier was struck in the breast above and 
fell to the ground. When his shirt was opened by the doctors it was 
found he had a steel coat of mail covering the lower part of the breast 
and belly. 

For a duel with pistols it is best to dress in black with silk shirt, 
and no undershirt, as the arm is freer. 

The duty of the four witnesses is to regulate the combat: 
1.—The principals do not commence without the order to do so. 
3.—It is never allowed to lay hold of the sword of your adversary 
with the other hand, though it has sometimes been done to 
the discredit of the person who does it. 

In a duel near Rome about four years ago the adversary of the 
celebrated General Nicotera laid hold of the hilt of the General’s sword. 
About the same time there was another case at Paris which was brought 
before an ordinary Tribunal. 
5.—The combatants may not strike with the hilt. 
6.—Neither may he hurt him with his hand or foot. 

10.—It is allowable to wound at the samo time as you disarm, i.e., 
before the sword has reached the ground, but if possible it 
should be avoided. 

13.—When the sword has arrived on the ground, or been broken, it 
is equal to the act of an assassin to strike. 

15.—If the duel is not to the death, and one is wounded, the other 
should jump back out of distance, remaining on guard, without 
waiting for the word “ Halt.” 

16.—The offended person has the right to strike again if wounded, 
in which case the offender can return it. 

18.—The witnesses alone are allowed to stop a duel. 

22.—At the word “‘ Halt,” for whatever motive, the combatants 
must jump back ous of distance, and remain on guard. 

An excuse given on the ground is the same as to refuse to fight. 

In looking over the weapons care must be taken that they are 

equal in length and weight two pair for each principal it is the best if 
all the pairs are alike. Well balanced, without rust or notches (which 
may create bad wounds) well pointed, and sharp. The ground should 
be marked so that the combatants can advance or retire, from 15 to 20 
yards, not more; and sideways about eight yards from the line of 
attack. If one attempts to retire beyond the mark it is necessary to 
place him against a wall or ditch, and if he refused the terms 

 the matter is at an end. The usual method is to place the combatants at double distance before they commence; and they must not 
speak for fear of some treacherous act. 

5.—The Director of the duel says, Gentlemen, on guard, and standin the middle takes a point in each hand. 

6.— Letting the points go and stepping back he says “a loro,” “at 
them.” 
If the doctors say a wound is severe, the witnesses are bound to 
stop the combat, at any rate for the day. 

A challenge must be delivered within twenty-four hours after 
receiving an insult. 

The able work of Sigr. Cavaliere F. Gelli, from which these 
extracts are taken, would form a study of itself if well translated, and 
I take this opportunity of thanking that gentleman for the information 
he allowed me to collect. 
THE SWORD. 

An arm to give blows of cut and thrust, and guard with blade and 
hilt; weight, about 270 grammi. The blade is of steel and slightly 

 bent; weight, about 220 grammi, and length 83 centi metri. A round 

 

edge is given to the sword for practice in place of a point. The edge 
begins at the point and extends two-thirds of the blade. The blade is 
known for instruction in three parts, the forte near the hilt, the middle, 
and the weak next the point. 

The centre of gravity is four centi metri from the hilt, the nearer 
to the hilt the lighter it is, therefore can be used with more precision, 
and great velocity. 

In holding the sword insert the four fingers united, so that the 
first joint of the forefinger is pressed against the hilt. The thumb 
rests in a direct line towards the blade, and lower part of the handle 
against the muscles of the hand. 

Experience has shown that the sword handled in this manner 
delivers points and cuts with greater accuracy than if held like a stick. 
The movements of the sword should be governed by the muscles of the 
arm. The point specially by that of the shoulder; cuts by those of 
the elbow seconded by those of the wrist. The hand should never be 
bent, axcept in lateral movements with the elbow, and in extension 
bending tends to carry the sword away from its mark, lateral movements 
on the other hand enable one to strike one’s adversary over a half 
parry, and the movements of extension assist, as will be hereafter seen, 
determined action. 

Ln first posttion tarn your right flank towards your adversary, feet 
at right angles, heels together, point of right foot, in a direct line, 
knees stiff, the body upright, the stomach drawn in, and breast thrown 
out; the shoulders open and level; the head up, and glance towards 
your adversary. The left arm hanging naturally by the side, with the 
palm of the hand against the thigh. The right arm extended in front, 
the hand being about ten inches from the thigh, the blade in a line with 
the arm, the point being a few inches from the ground, and the edge 
turned to the right. 

The directing line is that which runs (if marked out) from the heels 
of the one fencer to those of the other. This line must be strictly kept 
to. 

Sword in line is executed in one movement by raising the sword, 
with stiff arm, to the level of the shoulder, edge to the right, thus 
sword, arm, and shoulder are in one line. 

The positions of the hand, from the sword in line, are five, the first 
is obtained by turning the arm on its own axis until the back of the 
hand is turned to the left, and the edge upwards. The second by 
turning till the back of the hand is turned upwards, and the edge to 
the right. The third by turning the back of the hand half-right, and 
the edge downward to the right. The fourth by turning the edge to 
the left, and bending the hand back as far as it will go. The fifth takes 
@ position between the third and fourth. 

The salute is executed in seven movements: 

(A)—Raise the sword in line with extended arm, then bend it so as 
to bring the sword perpendicular with hilt just below the 
right eye, the point upwards, elbow close to the body, nails 
turned inwards. 

(B)—Extend the arm and sword in line with hand in second, and 
salute your adversary. 

(C)—Bend arm as before. 

(D)—Then extend and carry it to the left, to salute those on that 
side. 

(E)—Bend the arm as before. 
(F)—Extend again, and carry it to the mght. 

(G)—Return to the original position. 

N.B.—When there is necessity to salute with special respect certain 
persons, commence on that side, affer saluting your adversary. It is 
necessary that these movements be carried out with ease and grace, the 
eye and chest acting in unison with the arm. 

The guard is intended to be that position of the body and sword 
most advantageous for either attack or defence, and likely to havea 
moral effect on one’s adversary. First, take the position of sword in 
line, at same time bend left arm, and place fingers in belt of trousers. 
Secondly, bend the knees and advance the right foot in a direct line, 
until the space between the heels is four-tenths of your stature. The 
centre of the body and lower part of right leg should be perpendicular 
to the directing line bent to an angle of 120 degrees, the weight of the 
body resting equally on both legs; left knee perpendicular with point 
of foot; the belly drawn back, the chest thrown forward, the shoulders 
level, the head up, the glance fixed on the eyes of your adversary, the 
sword held as already explained, with point directed at breast of 
adversary, and hand in line with the shoulder. This would be hird 
guard which generally is used at the commencement. Though in an 
assault the second guard which consists in the hand being the height of 
the breast and the point directed at the flank, may be found more 
useful. 
For repose, straighten the knees bringing the right heel up to the 
left, the pupil can then move one leg or other. 

The line of offence is that formed by line and arm, which if 
prolonged would touch the flank or breast of adversary. It is most 
advantageous, as it prevents him getting in, without first executing 

some movement. 

The blows in fencing are confined to the head and body above the 
hip bone. It is not considered ‘‘cavalleresco” to strike at the lower 
parts. 

The feet are raised and beaten on the ground with force without 
losing balance or oscillating the point of the sword; with the object of 
habituating the pupil to change the weight with activity and correct- 

ness. 

The measure is the distance between two fencers on guard, this can 
be long, medium, or short. Out of distance when your adversary 
would have to advance before delivering a blow. Correct distance when 
you can strike by lunging with a third of your blade. Within measure 
when less than the above. It is easy to understand that the arm may 
be within measure while the body is out. It is more necessary in sword 
exercise than fencing to avoid being within measure. 

In the advance you bring the right foot as far as necessary, then 
immediately follow with the left, so as to maintain the position of guard. 

N.B.—Sometimes the swordsman has to advance two steps to 
acquire the distance, in that case you can advance the left foot up to the 
right before lunging, and by that means gain your distance and deliver 
a blow that your adversary does not expect to recezve. 

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The step back is to render the attack more difficult. Ist, Carry 
back left foot, straightening the leg, then bending the left knee, bring 
back the mght beating the ground with the foot in exact position 
of guard. 

It is posstble also to jump back from guard or the lunge with great 
rapidity, by contracting the muscles of the legs, and pressing the right 
foot with force on the ground, thus carrying the right back towards the 
left, and placing the left at proper distance for position of guard. 
Care must be taken not to lose balance, and to Heep the directing line 
and the sword in line of attack. 

Invites are to draw your adyersary’s attack, and become acquainted 
with his system of offence. An invite may he either with the sword 
clear of that of your adversary, or in ‘contact and dominating the 
grades. The former are ‘ simple,” the latter “by pressure ;” there are 

(A)—In the first simple invite carry the sword to the left with stiff 
arm, so that the hand is level with the shoulder, and rather 
outside it, the point in same line about ten inches to left of 
the right shoulder of your adversary, the edge upwards to 
the right. Neither this nor the fourth can be attempted 
when your adversary’s sword is in line. 

(B)—The: second is executed in one movement taking almost the same 
position as second guard, but more to the right, so that the. 
point should be about six inches from his flank. 

(0)—The third invite, carry the sword with stiff arm, with hand in 
line of shoulder, and outside it, the point a little higher. 
than the hand, and about six inches to the right of your 
‘adversary’s shoulder, the edge upwards to the right. 

(D)--An the fourth invite carry the sword to the left with arm half 
bent; the hand the height of breast, and to the left of it; 
the point a little higher than the hand and gbout six inches to 

a 
the left of your adversary’s right shoulder, the edge downwards to the left. This cannot be executed when your 
adversary has his sword in line with point directed at your 
breast, as your arm would come in contact with the edge of 
his blade 

(E)—In the fifth invite you move the arm and sword into a 
"position between that of first and third, the arm being 
slightly bent, the hand level with the face, the eye under 
the blade, the edge upwards and slightly to the right. 

The ‘‘ Legamento,” or binding, consists in uniting the strong part of 
your weapon to the weak grades of your adversary’s, carrying it from 
the line of attack. This to succeed, whether at correct distance, or out 
of distance, should be carried out with as short a leverage as possible 
of the arm. ‘There are five: the only difference is that you keep 
touch of your adversary’s blade while in the invites you are clear. 

A parry is any movement, whether of sword or body, that avoids or 
guards a blow. Itis always better to guard a blow with your own 
blade than by withdrawing the body, because the action of the arm is 
quicker than that of the whole body. It is also well to mention that even 
if the same object be obtained that which is steadiest and most elegant is 
the best. Parries may be simple, contro, and yielding. The former 
serve as a base for all the others. 

The simple parries are first, second, third, fourth, fifth, sixth, third 
low, fourth low. The fourth, sixth, third low and fourth low should 
not be used except from absolute necessity, as they expose more of the 
body. Before explaining the passage from one guard to another it will 
be well to describe the position of each. 

First parry.—The arm is imperceptibly bent, the sword being in the 
position of first invite, with edge upwards to the left; the eye over the 
hilt. This parries the inside, the inside of arm, and point. 

Second.—Like second invite, it parries flank and point. 
Lhird.—Like third invite, but bending slightly the arm; parries 
blows at right cheek, outside arm, and point. 

Fourth.—Like fourth invite, parries those directed at left cheek, 
breast, inside arm, and point. 

Fifth.—Like fifth invite, parries head and sometimes a point. 

Sixth.i—The sword is in front with hilt to the left, point to the 
right, the arm bent to an obtuse angle; the hand a little to the front of, 
and the left of the head; the point slightly higher than the hilt, and 
well in front of it; the edge upwards. This parries the head. 

Third low.—The arm should be bent with elbow to the left, and as 
it were touching the side; the hand forming an angle with the fore 
arm; the sword to the right with the hilt a few inches above the knee 
the point the height of the shoulders and somewhat outside of it; the 
edge downwards. Parries blows at flank. 

Fourth low.—The arm is much bent; the forearm in contact with 
right side; the hand a few inches from the groin; the point of blade 
the height of shoulder and somewhat to the left of it; the edge downwards. Parries blows at belly, also point, for which the hand is a little 
more in advance and to the left. Third and fourth low guard are 

always executed in touch. 

N.B.—The position of arm, hand and point must vary according to 
the blows of your adversary. Also a greater or less binding of the 
arm according to the distance of the opponents. Blows must be always 
parried with the forte, and with the edge of the blade. 

From first guard you pass in one movement 

(A) Zo the second, lowering the hand without bending it, carry the 
sword to the right, opposing the forte of your blade to that 
of your adversary. 

(B) Zo the third by an upward movement of the forearm, carry the 
sword to the right, making the point describe an arch with 
the convex above, and the hand to the height of the 
shoulder. 
(C) Zo the fourth low raise the point of the sword, turn the edge to 

the ground, lowering the arm and sword, taking care not to 
bend the hand. 

From the second guard 

(A) Zo the first carry the sword to the left, raising diagonally 
the arm let the point take the shortest way. 

(B) Zo the fifth carry the sword above the head, raising the arm 

without bending the hand, and carrying the point the 
shortest way. 

(C) Zo the third by moving the forearm carry the sword upwards 
to the nght, making the point describe a half circle with 
the convex below. 

From third guard pass to the 

(A) Fourth by turning the forearm, and without bending the hand 
carry the sword to the left, the point taking the shortest 
way. 

(B) To the fourth low the same as above, and lowering the hand. 

(C) To the stxth carry the sword above the head, bending slightly 
the arm and turning the forearm without moving the hand, 
take the point by shortest way. 

(D) To the second by making a pivot of the elbow and keeping the 
hand stiff; describe with the point an arch with the convex 
to the left, then carry the sword down. 

From the fourth guard 

(A) To the fourth low by bending still more the arm, but keeping 
the wrist stiff, and lowering the hand to the height of the 
groin. 

(B) To the fifth carry the sword above the head by the twisting of 
the forearm, and keeping the wrist stiff. 

(C) To the hird by a rotary movement of the forearm without 
bending the wrist, carry the sword to the right, the point 
taking the shortest way. 
(D) To the third low as above, but lowering and making an angle 
with the hand. 

(E) To the second by a turning movement of the forearm, without 
bending the wrist, describe with the point an arch with the 
convex to the left; carry the sword down and to the right. 

From the fifth guard 

(A. To the fourth without bending the wrist, turn the arm and 
carry the sword to the left. 

(B) To the sixth low as before, but bending more the arm. 

(C) To the hird by moving the forearm without the least movement 
of the wrist, make the point describe an arch with convex 
above, carry in this way the sword to the right. 

(D) To the second keeping the wrist stiff and making a pivot of the 
elbow, make the point describe an arch with the convex 
to the left, thus carry the sword downwards to the right. 

From the sixth guard 
(A) To the fourth low lower the sword, passing the arm close to 
the body. 

(B) To the htrd without bending the wrist but turning the forearm, 
lower somewhat the sword and carry it to the right, éextending the arm almost as muchas possible. 

(C) To the hird low lower the arm and form an angle with the hand. 

(D) To the second by making a pivot of the elbow and carrying the 
sword down to the right, make the point describe an arch 
with the convex. to the left, and extend the arm. 

Take care in lowering the sword not to carry the point below the 
From the third low guard in one movement 

(A) To the sixth extending the hand, raise the arm, and carry the 
sword above the head. 
(B) To the fourth extending the hand and arm, carry the sword to 
the left by a movement of the forearm. 

(C) To the fourth low extending entirely the hand, carry the sword 
to the left by a movement of the foréarm. 

From the fourth low guard 

(A) To the hird low by bringing the elbow into the side as much 
as possible, with the forearm to the right at an angle with 
the hand. 

(B) To the hird by raising and extending almost entirely the arm 
carry the sword to the right. 

(C) To the fifth by raising and extending almost entirely the arm 
carry the sword above the head, twisting the arm to position 
required. 

N.B.—The master must take care that the pupil in passing from 
one guard to another keeps the sword well balanced, and avoids the 
defect of leaving the point behind, that the grasp of the sword be 
tightened at the moment of contact with the blade of the adversary 
and in delivering a blow; and remember that in all parries it is 
necessary to oppose the forfe of your own blade to the middle or weak 
part of your adversary’s. 

Circles of the forearm and sword are executed with the object of 
giving a blow. Circles are not only useful but indispensable; useful 
because they develope the full force and velocity of the arm. Indispensable because many of the most important cuts cannot be carried 
out without them. They also assist in keeping the sword well balanced 
and in directing the blows with accuracy at their mark. The muscles 
of the shoulder must assist in the least degree. Those of the shoulder 
should be assisted by lateral movements and by extension of the hand, 
so as to give to the circles all that elasticity necessary to arrive at the 
desired effect. The circles are of head, figure, and flank, and can be 
executed to right or left according to the guard, from which a start is 
made. 

From the position of ‘hird guard you can execute the circle of head 
from the left in two movements. 

(1st) Raising and bending energetically the arm and lowering the 
point carry the sword behind the head, making it pass close 
to the body. The arm must be in a diagonal position with 
edge to the rear, and point the height of flank, the hand 
above the forehead, the eye under the forearm. 

(2nd) Making a pivot of the elbow and extending with force and 
elasticity the arm to the front, and making the point describe 
the arch of a circle; the hand should result in third position, 
the height of the forehead. 

From fourth guard ‘you execute the circle of head from the right. 

(1st) Raising and bending the arm until the edge is uppermost, 
and lowering the point carry the sword behind the loins, 
assisting the action by a slight movement of the bust. The 

 arm should result in a diagonal position, with the blade 
near the right shoulder, the edge to the rear and the hand 
the height of the head. 

(2nd) Making a pivot of the elbow, extend the arm as in the other 
circle. 

N.B.—This circle is not used in an assault, but only to develope 
the strength and elasticity of the pupil. 

From the position of fourth guard execute the circle at face from 
the left in two movements. First, bending almost entirely the arm, and 
making the point describe a: semicircle in‘a vertical sense without 
bending the hand, raise and carry the sword in front of the face. The 
elbow should be in a line with, and the height of, the shoulder, the 
hand with that of the forehead, the blade horizontal, and as much as 
possible in line with the forearm, the edge turned to the left. Second, 
making a pivot of the elbow, and describing with the point a semicircle 
in a horizontal sense, extend energetically the arm to the front. The 
hand must result in the second posttion in a line with and the height of 
the shoulder, the edge to the right, and as it were imperceptibly 
upwards. 

From the position of hird guard execute a circle at face from the 
right. First, bending entirely the arm without bending the wrist, make 
the point describe a semicircle in a vertical sense, raise and carry the 
sword behind the head, the hand to result on a level with the temple, 
the sword horizontal with edge to the right. Second, the second is 
carried out as in circle from the left, and results in the fourth position 
with edge to the left. 

From the fourth guard execute the circle of flank from the left. 
First, the first movement is as in circle of face from the left. Second, 
the second also except that the sword is lowered so that the point result 
at height of the flank. 

From the third guard execute the circle of flank from the nght, 
carry it out as in circle of face from the right only lowering the sword 
so as to cut at the flank. 

N.B.—The second movement of each circle should be assisted by 
the inclination of the body to the front, taking care that the blade does 
not oscillate. A movement of the bust and left shoulder should accompany the circles from the right, to render the blows more decisive and 
to facilitate the execution. The master must take care when the 
exercise is carried out in one movement that the point is not left behind, 
that there is no unnecessary bending of the wrist, that the handle is 
properly grasped, and let the circles be executed from every guard. 
These exercises will not only render the limbs more agile and strong, 
-but make the pupil master of his weapon so necessary for clean cuts. 

The lunge is required for every blow except the arm. But in case 
your adversary is within distance this must be carried out by raising the 
body on the toes, then with energy carry the left leg back to an 
extended position half the length of your guard. From the position of 
guard you press the left foot on the ground, contract the muscles of the 
lower part of the leg, so that by springing you can propel your body 
to the front, also your right foot in a direct line, half as much again as 
the distance between your feet when on guard. The left foot remaining 
immovable, the weight of the body being almost entirely on the right 
leg. In this position the hand and shoulder should form a direct line 
the body and left leg a diagonal line; the lower part of the right leg 
must be perpendicular to the ground the body should form with the 
thigh an angle of about 90 grades; the thigh with ‘the leg an angle of 
about 110 grades. 

The requisites of the lunge are she length, to be able to strike as 
far as possible so long as you do not subject yourself to the dangers 
that must inevitably result from being too near; she balance, so as to 
sustain the shock of a strong parry when returning on guard with a 
quick precise action; the simultaneous action of the entire system. 

N.B.—The master should caution his pupil to contract the muscles 
previous to the spring, so as to obtain the greatest possible result. 

In returning on guard the pupil presses with the right leg and 
foot, making a lever of it, and bending the left leg brings the body 
back; at the same time carry the right leg back and beat the foot on 
the ground, taking up the exact position of guard. 

The points are direct, filo, and disengage. It is called direct when 
it is delivered without touching the blade of your adversary and in a 
direct line. It is called j/o when your blade is in contact with that of 
your adversary and still keptin adirect line. Itis called a ‘‘cavazione”’ 
or disengage when your own point is pressed upon by that of your 
adversary and you carry it under or over, then when clear deliver a 
point at the part left exposed by that pressure. 

N:B.—Every point with the broadsword must be delivered with the 
hand furned in the second position, and clasp tight as the point touchés 
the mark. 
Po 

The direct point is the most simple among the actions of attack, as 
it is not necessary to change the position of ejther the arm or the 
sword, but only to lunge in the manner already described. Taking 
care there is no oscillation from the energetic spring of the Jeft leg. 
It can be executed from any of the five invites of the adversary and 
must be always in one movement. 

The point of ‘f/o”’ can be carried out from your own ‘ /egamento” 
ér pressure, or follow your own second or third parry, with the name of 
second or third filo, being executed in one movement. In second filo 
commanding the weak part of your adversary’s blade deliver a point at 
the flank, making your weapon slip down his. The third filo commanding the weak part slip down and deliver point at breast. 

The disengage point is executed from any pressure of your 
adversary, in one movement, and making a pivot of the shoulder (this is 
the great principle of this school, instead of twisting the wrist, whether 
it be with the foil or the broadsword) so as to make as small circles as 
possible, and obtain the greatest velocity. They are known as: 

(A)—Cavazione under, when the point has its origin from the first, 
third, or fifth binding of the adversary, with a quick 
movement of the arm clear your blade, making it pass from 
above to below close to the hilt and arm of your adversary, 
deliver a point at the flank. 

(B)—Cavazione at breast above when the point has its origin from a 
second binding, clear your blade making it pass from below 
to above, and deliver the point at breast above. 

(C)—Cavasione at breast within from the third pressure, clear your 
blade making it pass from left to right, deliver point at 
breast within. 

(D)\—Cavazione at outside breast from that of fourth pressure is the 
most difficult as the pomt has further to go. Clear the 
blade making it pass from right to left and deliver the point 
at outside breast. 
N.B.—The movement of the point must precede that of the body, 
the hand must be kept entirely in the second position without bending 
the muscles, the breath should be held, the movement of the arm should 
be imperceptible, and the circles as close as possible. Do not stiffen or 
contract the muscles of the shoulder, make it turn freely in the socket. 

The cuts are direct, circles, and coupe. A direct cut is that which 
is delivered by the shortest way at any part undefended by the enemy’s 
blade, circles are carried out as already shown, with a coupfe you clear 
your sword upwards over that of your adversary without making a circle 
with the point. 

A direct cut at the head is given in one movement from the follow- 

ing positions 

(A)—From your own third invite or parry, you turn your hand to 
third position without lowering your elbow, you will bend 
the arm a little to give greater force to the blow, and 
extending it again deliver a cut in a vertical direction at the 
head, then the arm and sword take the position of the 
second movement of circle at the head. 

(B)—From your own fourth parry or binding as before, carrying 
the hand in a line with the shoulder when in the act of 

bending the arm. 
(C)—From your own third low guard raise and extend the arm, 
carrying the hand to the third position, and deliver the cut 

in a vertical sense. 
(D)—From fourth low the same as in the preceding. 
Direct cuts at the inside cheek are delivered in one movement: 

(A)—From your own third invite or your own fourth parry or 
binding, moving your hand into the fifth position, bend 
slightly the arm and carry the sword a little to the right, 
then extending it with energy and elasticity give a cut in a 
horizontal sense at the left cheek. The arm and sword will 
result in the second time of circle at cheek from the right. 

(B)—From the third low parry, you raise and extend the arm 
turning the hand to the fourth position, cut at left cheek as 
in the previous case. 

(C)—From the fourth low parry raising and turning the hand to 
the fourth position, cut as before. 

Direct cuts at the outside cheek from the following positions 

(A)—From the second invite, parry, or pressure, bend the arm to 
give greater vigour to the blow, then raised, extend it, 
keeping the hand all the time in the second position, cut as 
in the second time of circle from the left. 

(B)—From the fourth invite, pressure, or parry, you turn the hand 
to the second position, and deliver the blow as before. 

(C)—From fourth low parry, raise and turn the hand to second 
position, and cut as before. 

Direct cuts at breast and belly are delivered in one movement: 
(A)—From the third guard or binding, or fourth parry, with hand 
in fifth position, bend and extend the arm, keeping the hand 
in the fourth position and level with the shoulders for a cut 

at the breast, and on a level with the breast for one at the 
belly. 

(B)—From the sixth parry, lower and extend the arm as from the 
fourth parry. 

(C)—From third low parry, raise the arm and turn the hand to the 
fourth position, and cut in a horizontal sense at the breast. 

(D)—F rom fourth low parry cut as above. 

ml 
Direct cut at flank in one movement: 
(A)—From your first parry or pressure, turn the hand to second 

position, lower and bend the arm as in circle at flank from 
the left. 

(B)—From your third parry or binding, cut as above. 

(C)—From your fifth parry or binding, as before. 

The circle cuts at head in one movement: 

(A)—-From your first parry or binding, hend and raise the arm 
until jt is the height of the forehead, withdrawing the sword 
so as to be clear of that of your adversary, the hand and 
point take the direction of circle cut from the left. 

(B)—From your second parry or binding, and also from second 
pressure of your adversary. Clear your sword bending and 
raising the arm to level of the forehead, and making your 
blade pass close to the body, deliver a restricted circle from 
the left at the head. 

(C)—From your fifth parry or binding lower the sword vertically 
and cut as before. 

 Circle cuts at inside face, breast, or belly in one movement, from 
the following 

(A)—From your third parry or binding, or third binding of your 
opponent, bend the forearm back without lowering the 
elbow, make the blade run up that of your adversary, 
and when cutting the hand ends in the fourth position. 

(B)—From your fifth parry or binding, also from the fifth binding 
of your adversary cut as above. 

(C)—From your first parry or binding as above. 

a AIT 10 Ute Av UI BHF at 

hing gag 

Circle cut at outside face in one movement: 

(A)—From fourth binding of your adversary, bend the arm without 
lowering the elbow, and making your blade run up that of 
your opponent, and keeping the hand in the second position 
cut as in circle at face from the left. 

(B)—From your first parry or binding as above, turning your hand 
to the second position at the last movement in the circle. 

The circle cut at flank in one movement, from the fourth parry or 
binding or sixth parry, bend as much as possible your arm, and make 
your blade pass close to your adversary’s point, execute a circle from 
the left. 

Coupe in one movement 

(A)—From the fourth binding of your adversary it takes the name 
of outside coupe, bend the arm without lowering the elbow, 
carry the hand outside your head, pass your blade close to 
the point of your opponent, and deliver a blow vertically at 
his head, with hand the height of the forehead, and arm 
perpendicular to the direct cut. 

(B)—From your adversary’s third binding called inside coupe 
proceed in the same way. 

N.B.—These coupes can be executed from your third or fourth 
binding or parry, if your adversary’s blade presses hard. 

Cuts at the arm are direct, circle, and coupe, same as at the body. 
Cuts at the arm from above can be given whenever cuts at the head 
might be given. Those at inside arm when left cheek is clear. Those 
at outside arm when flank or right cheek are open to attack. 

N.B.—The master should see that his pupil delivers all his cuts 
_with elasticity, and that he makes as great an angle as possible in a 
lateral sense. That he should always make a direct cut in preference 
to a circle, because the arm is less exposed to a time cut. 

A return can be given with either point or cut, in the former case 
the sword may be either in contact or not with the blade of your 
adversary, but in the latter always clear. From first parry you can 
respond with 

(A}—Circle cuts at head, inside, or outside cheek, breast, belly, or 

arm above. 

(B)—Direct cut at flank. 

(C)—Disengage point within. 

From second parry: 

(A)—Circle cut at head, or arm above. 

(B)—Direct cut at outside cheek. 

(C)—Point of filo, or disengage at breast above. 

From fhird parry: 

(A)—With circle cut at inside cheek, breast, belly, or inside arm. 

(B)—Direct cut at flank, head, or outside arm. 

(O}—Point of filo, or disengage under. 

From fourth parry: 

(A)—Direct cut at head, inside or outside cheek, breast, belly, or 

(B)—Direct point. 

(C)—Circle cut at flank, or outside arm. 

From jifth parry 

(A)—Circle cut at head, inside cheek, breast, belly, or inside arm. 

(B)—Direct cut at outside arm or flank. 

(C)—Disengage point. 

From sixth parry: 

(A)—Direct cut at breast, belly, or inside arm. 

(B)—Circle cut at outside arm or flank. 

From third low parry 
(A)—Direct cut at head, inside or outside cheek, breast, or arm 

(B)—Direct point at breast above. 

From fourth low parry: 

(A)—Direct cut at head, inside or outside cheek, breast, belly, or 
arm above. 

(B)—With direct point at breast. 
N.B.—“ Returns” are of vast importance when executed instantly, 
it is almost impossible for the adversary to remain untouched, all the 
more if he has lunged with the necessary decision and velocity to strike. 
The return can be easily parried, however quick, if the preceding blow 
was delivered in an indecisive manner, and with the preconceived idea 
of a return. It should ‘strike before the adversary has returned on 
guard, then it will be unnecessary to advance the right leg for its 
execution, finding yourself too near your adversary you extend the left 
leg to the rear so as to give greater velocity. When the pupil can 
attack with precision the master can make him execute repeated returns 
until he arrives at an easy and quick way of delivering the same. 

The “contro” parry is carried out by the hand and point taking a 
longer way than a simple parry. The object is to avoid using the 
fourth, sixth, fourth low, or third low parries which expose the body so 
much. 

The first contro is executed when your adversary follows his first, 
third, fourth, fifth, or sixth parry, with a cut at the inside, you turn 
your hand to the second position, carrying the hand a little to the nght 
with stiff arm, you lower the point making it circle from outside to 
inside, and take the position of first parry. This can also be done from 
your own first, third, or fifth parry or binding. 

The second contro is when the adversary follows his fourth or sixth — 
parry with a return at flank, turn the hand to second position carrying 
the sword a little to the left with stiff arm, lower the point, and make it 
circle from within to outside, take up the position of second parry. 

The third contro is when the adversary after your first parry 
responds with circle at outside cheek, or with direct cut after fourth, or 
fourth low, turn the hand to second position, lower the point and make 
it circle close to your adversary’s arm, taking the position of third parry. 

The fifth contro is when your adversary follows his first, fourth, 
fourth low, or fifth parry with return at head, executing the same 
movement as for first contro, take up the position of fifth parry, this 
can also be carried out from your own third parry or binding. In the 
above parries take care not to bend the hand. 

When your adversary has gained the grades of your blade by a 

second parry or binding, and responds with a point in filo, this is easiest 
to parry with a “‘ceduta” of fourth low. In one movement turn by 
degrees the hand into the third position, bend the arm and lower the 
elbow until the hand is almost touching the side, thus raise the point 
of your blade whilst keeping it constantly 3 in contact, and take position 
of fourth low guard. 

Any movement of the sword or body which makes your adversary 
believe you intend to deliver a blow is called a feint. It obliges him to 
defend a well simulated attack, and thus leaves some other part of the 
body exposed, it must therefore be carried out with energy and expression, for defence is the instinct of man; but when little care is 
taken in the execution, it is not only useless, but dangerous—useless 
because it does not produce the desired effect—dangerous because 
during the feint your adversary may give a time cut. So that the feint 
may obtain the greatest results, it is necessary to prepare your adversary 
for it by directing one or more simple cuts at that part where you 
intend to feint, it must be always accompanied by a resolute movement 
of the body, for experience has shown that the movement of the body 
rather than the movement of the sword obliges your adversary to 
parry. The velocity of the feint must correspond to the velocity of the 
parry, since executing the feint with greater velocity than your 
adversary comes to his guard, the final blow may come in contact with 
his sword without hitting him. They are simple and double. 

The feint of direct point can be executed from any of the five 

invites in one movement. 

Feint direct point above, and disengage at flank. 
MASTER. PUPIL. 
Second invite. From second or third guard in- 

cline slightly but energetically 
the body to the front, beating 
the right foot on the ground, 
feint a direct point. 

Parry first or fifth. Avoid contact with the blade of 
your adversary, and give an 
instantaneous disengage at 

Bas 
Feint direct point above, and cut direct at flank. 
MasTER. Pupiu. 

Second invite. From second or third guard incline the body as before, your 
point being near the breast of 
your adversary. 

 Parry first or fifth. Avoid contact, and cut direct at 
 flank. 
Feint direct point above, and cut at left cheek, breast, or belly. 
Second invite. From second or third guard as 
° before. 

Fifth parry. Avoid contact and strike with restricted circle left cheek, breast, 
or belly. 

Feint direct point at flank, and disengage at breast above. 
First or fifth invite. From second guard as before. 
Second parry. Avoiding contact deliver a dis- 
 engage point above. 
Feint direct point at flank, and give direct cut at right cheek. 
First or fifth invite. From second guard as before. 
Second parry. Avoid contact and cut at right 
‘ Feint direct point at flank, and cut at head. 
First or fifth invite. From second guard as before, 
 stamping simultaneously with 
the foot. 
Second parry. Withdraw your point and execute 
with quickness a_ restricted 
circle from the left at the head. 
Feint direct point outside, and disengage within. 

Fourth invite. From third guard simulate a 
point at outside breast, stamping the right foot and inclining 
forward the body. 

Third parry. Avoid contact and circle your point 

near arm of adversary and 
give disengage point within. 
Feint direct point outside, and coupe within. 
Masru. PupiL. 
Fourth invite. From third guard as in previous 
feint. 
Third parry. Raising and withdrawing your 

point and keeping your blade 
clear, deliver coupe at the head. 

Feint point direct outside, and cut at inside cheek, breast, or belly. 

Fourth invite. From third guard as in previous 
feint. 
Third parry. Avoid contact and cut with re- 

stricted circle at left cheek, 

Feint direct point within, and disengage outside. 
Third invite. From third guard feint at inside 
breast. 
Fourth parry. Avoiding contact make your.point 

circle close to the arm of your 
adversary, deliver a point out- 

side. 
Feint direct point within, and disengage at flank. 
Third invite. From third guard as before. 
Parry first contro. Follow with disengage point at 
Feint direct point within, and cut. direct at flank. 
Third invite. From third guard feint as before. 
Parry first contro. Circling your point round arm of 
adversary and avoiding contact, 
cut direct at flank. 
Feint direct point within, and cut at right cheek or flank. 
Third invite. From third guard as before. 
Fourth parry. Raising and withdrawing the 

point circle at right cheek or 

3S 

Feint direct point within, coupe outside. 
MASTER. Puri. 
Third invite. From third guard as before. 
Fourth parry. Raise the point near that of your 

adversary and deliver a coupe. 
N.B.—To execute a feint when advancing, it must be made with 
firat step, and the blow given standing still. 
The feint of “filo” can be executed either advancing or without 
moving the feet from your binding of second or third. 

 Feint third filo, and disengage within. 
Third guard with hand the height From third binding make an 
of breast. — energetic third filo retaining 
contact of the blade, advancing 
the body and stamping on the 
ground. OO 
Third parry. Clearing your point deliver a dis- 
 engage at breast within. 
Feint third filo, and disengage at flank. 
Third guard. From third binding as before. 
First parry. Clear point and disengage at 
Feint third filo, and cut direct at flank. 
Third guard as above. From third binding feint a point 
at breast outside. 
First parry. Clear blade and cut direct at 
Feint third filo, and cut at left cheek, breast, or belly. 
 Third guard. From third binding as before. 
 Third parry. Passing the edge of your blade 

along that of your opponent 
clear the point, and make restricted circle at left cheek, 
Feint third filo, and coupe within. 
MASTER. Puri. 

Third guard. From third binding as before. 

Third parry. Clear swords asin last, and coupe 
at the head. 

Feint second filo, and disengage at breast above. 

 Second guard. From second guard feint a filo 
at flank, retaining contact of blades.’ 

Second parry or ‘‘ceduta” of Then give disengage point at 

fourth low. breast. 
Feint second filo, and cut direct at right cheek. 

Second guard. From second guard as before, 
maintaining the contact of 
blades. 

Second parry or “‘ceduta” of Clearing your blade cut direct at 

fourth low. right cheek. 

Feint second filo, and cut at head. 

Second guard. From second guard feint as 
before. 

Second parry or fourth low Clear sword and circle cut at 
 ceduta.”’ head. 

N.B.—All the above feints of filo can be executed while advancing, 

taking care that the blades remain in contact. 

The disengage feint or ‘‘cavazione” is carried out with the arm 
only, without lunging, but throwing the body forward, from any bind- 

ing In one movement. 

Feint disengage at flank, and disengage point above. 
MastTER. Puri. 
First or fifth binding. Feint a disengage point passing 

your point close to the arm and 
stamping with your foot. 
Second parry. Avoiding parry, circle your point 
round the arm and deliver disengage at breast above. 
Feint disengage at flank, and cut direct at mght cheek. 
MasTER. Puriu. 

First or fifth binding. Feint, disengage at flank as 
before. 

Second parry. Avoiding the parry, bend and extend the arm making the point 
describe an arch and give 
direct cut at right cheek. 

Feint disengage at flank, and cut at head. 

First or fifth binding. Inclining the body to the front 
simulate a disengage at flank. 

Second parry. Withdraw instantly the point, 
bending and raising the arm, 
and execute a circle at head. 

Feint disengage at breast above, and ‘‘cavazione”’ at flank. 
Second binding. Feint as before described. 

Fifth parry. Then deliver disengage point at 

Feint disengage at breast above, and cut at left cheek, breast, or 
belly. 

Second binding. Feint, disengage. 
Parry third or fifth. Cut restricted circle at left cheek, 
Feint disengage at breast within, and disengage outside. 
Third binding. Feint within. 
Fourth parry. Deliver disengage point at breast 
 outside. 
Feint disengage within, and coupe outside. 
Third binding. Feint disengage as before. 
Fourth parry. Avoiding the parry coupe outside. 
Feint disengage outside, and disengage within. 
Fourth binding. Feint as before. 
Third parry. Avoid parry and deliver dis- 

engage point at inside breast. 
Feint disengage outgide, and coupe inside. 
MasrEp, PurPiu. 

Fourth binding. Feint as before. 

Third parry. Bending and extending the arm, 
coupe at head avoiding the 
parry. — 

Voint disengage outside, and cut at left cheek, breast or belly. 

Vourth binding. Feint point. 

Third parry. Avoid parry apd make circle cut. 

N.B.--Jf advanping the feint is made with ‘he s/ep and the blow 
from on guaed. 
Feints of dixect cut are executed from any of the five invites in 
one movement. 

Feint direct at head qr left cheek, and cut at right cheek or flank. 
Masrze. Puri. 
Third invite. From third guard make a direct 
feint at head or left cheek. 
Parry sixth, second, or fourth, Avoid the parry and execute 
according as the feint is slight circle on other side. directed. 
Feint direct at head and disengage at flank. 

Second invite. From third guard as before. 
Fifth parry. Deliver disengage point at flank. 

Feint direct at flank and cut at head. 
Fourth invite. Bend the arm, &c., as shown on 
previous occasions. 
Second parry. Avoid parry and deliver circle at 
 head. 
Feint direct gt right cheek and disengage. at flank or breast. 
Fourth invite. From third guard or fourth,jpwite 
 feint at night cheek. 
hind parry: Deliver disengage point. 
Feint direct at right cheek and cut at left cheek, breast, op belly. 
Fourth invite. From third guard or feysth invite 
feint as before, 
Third parry. Avoid parry and delivey yeotrioted 
circle at left cheek, 
N.B.—These can also be carried qut advancing, 

Feints of circle cuts are executed in one movement, That at head 
is preferable from the second guard. Those at face, belly, or flenk, 
from third guard. 

Feint circle at head and disengage at flank. 

Second guard or binding. From second guard fet circle, 
stamping with the foot. 

Fifth parry. Avoiding the parry deliver a digengage point at flank. 

Femt at head and cut at flank. 

Second guard or binding. From second guard feint cizcle at 

Fifth parry. Avoid parry and execute small 

 circle at flank. 
Feint at left cheek and cut at right cheek or flank. 

Third binding. From third guard execute a quick 
circle, running your sword 
down that of. your adversary, 
and passing close te the point 
feint at left cheek. 

Fourth parry. Circle on other side as previously 
shown. 

Feint at breast or flank and cut at head. 

Third binding. From third guard make circle 

feint at breast or flank. 

Parry fourth or fourth low. |! Circle at head. 
Feint at right cheek and cut at head. 
MastTER. Puri. 
Fourth binding. From third guard feint circle as 
before. 
Third parry. Avoiding parry deliver circle at 
head from the left. 
Feint at outside cheek and cut at inside, breast or belly. 
Fourth binding. From third guard feint at right 
Third parry. Avoid parry and deliver circle at 
belly, &e. 
Feint at flank and disengage at breast above. 
Fourth binding. From third guard feint circle at 
Parry second contro. With a quick disengage avoid 
 blade and point at breast. 
Feint at flank and cut at head. 
Fourth binding. From third guard feint cut at 
Parry third low. Cut with quick circle from the 
 left at head. 
N.B.—These can be executed advancing. 

A coupe feint can be executed either outside or inside from the 
third or fourth binding of your adversary or of your own. 

Feint coupe within and circle at right cheek or flank. 
Third binding. From third guard or binding clear 
your blade and feint coupe. 
Sixth parry. Avoiding parry give quick circle 
at flank, &. 
Feint coupe outside and cut at left cheek, breast, or belly. 
Fourth binding. From third guard or fourth bind- 
 ing coupe. 
Fifth parry. Avoid contact and circle at breast, 

All feints can be made at the arm—in that case it is not necessary 
to advance when out of distance in fact you should take care to be out 
of measure, this is extremely useful when your adversary thinks more 
of attack than defence, for you can give a blow while he is in action. 
When the pupil knows how to feimt with accuracy and retain his 
balance, the stamping can be dropped. 

The double feint is very useful against impressionable adversaries, 
but dangerous against ‘‘timeists’’ and those who use their heads. The 
partial execution of double feints is bad and dangerous, as previously 
shown in the case of simple feints. 

Feint direct point above and disengage at flank, then deliver a 

circle cut at head. 

Master. Puri. 
Second invite. From second or third guard 
simulate point at breast. 
First or fifth parry. Follow immediately with disengage at flank. 
Second parry. Circle at head. 

Feint direct point at flank, disengage above, then cut at left cheek, 

First or fifth invite. From second guard feint at flank. 
Second parry. Immediately after disengage at 
breast. 
Fifth parry. Circle at left cheek, &c. 

Feint third filo, circle at breast, and disengago at flank. 
Third guard with hand the height From your own third pressure 

of breast. without detaching your blade 
feint point of filo. 
Third parry. Circle at breast. 
First contro. Deliver disengage at flank. 
Feint third filo, then coupe and circle at flank. 
Third guard as above. From your own third pressure 
 feint filo, then 

Third parry. Feint coupe within. 

Sixth parry. Circle at flank. 
Feint disengage at breast above, disengage at flank, and circle at 
head. 
Master. Pouriu. 
Second pressure. Disengage at breast above. 
Fifth parry. Disengage at flank. 
Second parry. Circle from left at head. 

Feint disengage at breast above, at left cheek, and coupe. 
Second pressure. Disengage at breast above. 
Fifth parry. Circle at left cheek. 

Fourth parry. Avoid parry and coupe. 

Feint direct at head, disengage at flank, and circle at head. 
Second invite. Feint, direct cut at head. 
Fifth perry. Disengage at flank. 

Second parry. ‘Circle at head. 

Feint direct at right cheek, left cheek, and disengage at flank. 
Fourth invite. Direct cut at right cheek. 
Third parry. Circle at left cheek. 

Parry first contro. And strike with disengage point 

Feint at head, disengage at flank, and cut circle at head. 
Second guard or pressure. Circle cut at head. 
Fifth parry. Disengage at flank. 

Second parry. Strike with circle at head. 
Feint at head, feint’at flank, and ‘circle at head. 
Second giaril or pressure. Circle at head. 
Fifth parry. Circle at flank. 
Second parry. Quick circle at head. 

Feint coupe within, right cheek, and cut at left cheek, breast, or 
belly. 

Third pressure. Olearing your blade coupe. 
Sixth parry. Avoiding the parry circle at rizht 

Third parry. Strike with circle left cheek or 

Feint coupe outside and left cheek, thén cut at flank. 
Fourth binding. Coupe outside. 
Fifth parry. Circle at left cheek. 
Fourth parry. Strike with circle at flank. 

N.B.—If carried out advancing, take caro that the first feint is 
with first step, the second while standing on guard, and strike with a 
lunge, or from on guard if atthe arm. 

To return with feint immediately after a parry, or with double 
feint, but this last cannot be recommended, as the great advantage of a 
return is lost, viz. to strike your adversary before he réturns on guard. 

The ‘ransport is, having dominated the adversary’s blade to pass it 
from one position to another, describing a conical movement. The 
object is to carry the blade from the line of breast or flank to opeh a 
way for your blows; and to invite your adversary to attempt ‘‘a time” 
cut or point. In the former case the ebject being attack, two movements 
are required, the one to carry off the point, the other to deliver a simple 
blow. The second case is an invite in one movement. There are five 
transports. 

The first transport without moving the feet 

From your third or fifth binding with the hilt and strong part of 
your blade you imprison the weak part of your adversary’ 8 without 
losing the touch, and describing with the arm and blade a conical way, 
carry it to your own left and take up position of first parry, then you 
can execute the following 

(A)—Point within. 

(B)—Circle cut at head. 

(C)—Circle at left cheek, breast, or belly. 

(D)—Cut at right cheek by means of circle at head. 

(E)—Direct cut at flank. 

(F)—Cuts at the arm. 
Second transport: 

As before carry the opponent’s blade, from your own foarth bitid: 
ing outside your flank, take up the position of second parry, turning 
the hand to that position, which can be followed by 

(A)—Filo point. 

(B)—Direct cut at mght cheek. 

*(C)—Circle at head from the left. 

(D)—Cut at the arm outside. 

Third transport: 

From your own first or fifth binding carry the opponent's blade to 
your own right, and take up position of third parry, followed by: 

(A)}—Filo point. 

(B)—Disengage point under. 

(O}—Coupe within. 

(D)—Direct cut at flank. 

(E)—Circle cut at left cheek, breast, or belly. 

(F)—Cuts at arm. 

Fourth transport: 

From second binding, carry the enemy’s blade to your own left, 
turning gradually the hand to the fifth position, and taking the Position 
of fourth parry, followed by: 

(A)—Direct cut at inside or outside cheek. 

(B)—Direct cut at head. 

(C)}—Coupe outside. 

(D)—Circle cut at flank. 

(E)—Cuts at the arm. 

Fifth transport: 7 

Is carried out from the first binding, the same as that of third 
transport, except that in place of bearing it to the right the blade of 
your adversary is carried upwards, and you take position of fifth parry, 
followed by: 

(A)—Disengage under. 

(B)—Direct cut at flank. 

(C)—Circle cut at left cheek, breast, belly, and arm. 

Transports can also be carried out advancing and with feints, in 
that case there are three movements, the transport, the feint, and lastly 
the point or cut. 

‘‘ Copertini” have the double scope of gaining the grades of your 
adversary’s blade, and of transporting it to the right or left of the line 
of attack. They can be carried out only in the third and fourth bindings of your adversary, either on guard or advancing. 

Third copertino is executed in one movement from third binding. 
Raise the arm diagonally to the left so that your blade slips down that 
of your adversary, gains the grades, and continuing the movement 
carries it to the right, and takes position of third parry. The blows 
that can follow are point of filo, and direct cut at right cheek or head. 

Fourth copertino is executed from fourth binding as before, but to 
the left, turning the hand gradually to the fifth position, and take 
position of fourth parry, which can be followed by direct point, direct 
cut at outside or inside cheek, head, breast, or belly. 

With copertino a feint is also employed, in three movements, first 
the ‘‘copertino,” second the feint, and thirdly the blow. 

N.B.—In carrying out the above care must be taken to push off 
the opponent’s blade suficcently, so as to run no risk of a counter. 

By ‘‘deviamento” is understood that slight pressure which is 
sufficient to make it deviate from the direct line of attack; also to find 
out with what force your opponent grasps his weapon, so as too choose 
the attack most opportune. There are five—first, second, third, fourth, 
and fifth. All can be carried out either from on guard or advancing 
by gaining the grades and a slight pressure on your adversary’s blade 
you obtain the ‘“‘legamento” or binding which your opponent previously had. Thus carry off his point from the direction of your 
breast or flank, moving your own point as little as possible from the line 
of attack. 

First ‘‘deviamento” and cut at head. 
Second guard. From second guard execute first 

Allow your sword to be carried Circle cut at head from the left. 
off, 
Second ‘“ deviamento”’ and cut at head. 

Second guard. From third guard ,execute second 

Allow your sword to deviate. Clear your blade and circle at 

Third ‘‘deviamento” and direct cut at flank. 

Third guard. From second guard execute third 

Allow your blade to deviate. Direct cut at flank keeping the 
hand all the time in second 

Fourth ‘‘deviamento ” and direct cut at right cheek. 
Third guard. From second or third guard ex- 

ecute the fourth deviamento 
turning the hand to the fifth 

Allow your sword to be carried Turning your hand again to 
off. second position deliver direct 
 out at right cheek. 
Fifth ‘“deviamento” and eut at left cheek, breast, or belly. 
Third guard. From second guard execute fifth 
Allow your sword to be carried Circle cut at left cheek, breast, 
off. or belly. 

The deviamento can be followed by a feint and then a cut or point, 

at either body or arm. Thus making three movements. 

Cambiamenti consist in a disengage preceding the first, third, and 
fourth deviamenti. The first cambiamento is executed from the second 
legamento of your adversary; that of third from the fourth, that of 
the fourth from the third legamenti. 

By ‘“‘focco” is intended a smart rap on one part, not down your 
adversary’s blade to make it deviate from breast or flank. They are 
executed from your second or third guard, also from your own invites, 

ol 

in one movement. No action of “filo” can follow as the contact of the 

blades is not retained. They must be carried out instantaneously to 

avoid an action in time. They are first, second, third, fourth, and fifth. 

First tocco, when standing still, is executed when your adversary 
 1s on second guard. From guard or second or third invite give with the 
edge and “‘ forte’’ of your blade a sharp rap on the back and centre of 
your opponents blade, sending it to the left, which can be best followed 
by a direct cut at flank. 

Second tocco is carried out when you find the adversary on second 
guard. From first, third, or fifth invites give rap as before, which can 
be followed by direct point, cut at arm, head, or right cheek. 

Third tocco is executed when the adversary is on third guard. 
From second invite or third guard, finding the swords in contact give 
asharp rap sending it tothe right. This can be followed by a point, 
direct cut at flank, at arm, at right cheek, head, or circle cut at belly. 

Fourth tocco when the adversary is on third guard. From third 
guard, the blades being clear, give rap on back as before sending it 
downwards to the left. Follow up with direct cut at arm, right or left 
cheek, head, breast, belly, or a point. 

Fifth tocco when adversary is on third guard. From second invite 
or guard with he strong part of your blade give rap as before sending 
it upwards, and follow with point, direct cut at flank, arm, circle at left 
cheek, breast, or belly. They can be carried out advancing the same 
time as the step. If instead of striking immediately after the ‘tocco” 
you make a feint and then strike, this is in three movements, first the 
tocco, second the feint, third the blow. 

The disengage tocco is carried out from the first, third, or fourth 
binding of your adversary. It is carried out either advancing or not, 
in one movement. 

First disengage tocco is executed from the second binding of your 

adversary. With a quick movement you pass your blade from one side 
to the other of that of your opponent, same as in a disengage above, and 
give a rap as in P. 134. 
Third disengage tocco is from fourth binding as in P. 136. 

From the third binding carry out the fourth disengage tocco as in 

N.B.—In the execution of the ‘‘ occo,”” whether simple or disengage, 
take care that your point does not go far out of the line of attack. 
That it should not go higher than the hand in the first /occo, nor lower 
in those of the second, third, and fourth, neither abandon your arm, so 
as to be ready to guard a time blow on the opposite side, nor bend the 
wrist in the act of striking, but tighten the grasp. 

The simple “‘sforzo” is the act of striking with your own the 
middle of the blade of your adversary, slipping down it forcibly, with 
the object of making it deviate from the line of attack, and of rendering 
his defence less easy. It is most useful when your adversary is on 
second or third guard, with point in line. They are second, third, and 
fourth. Executed in one movement whether advancing or standing still. 

The second sforzo is from your own first or fifth invite, also when 
on second guard when the blades are in contact. After having bent 
the forearm, extend it instantly, with hand in second position, striking 
and slipping down with the forte of your own blade on the middle of 
your adversary’s and making it deviate by that means to the right, take 
the position of second invite. 

The third sforzo is executed from the third guard when the blades 

are in contact; you detach your blade from that of your adversary, 
bending and extending the arm as before, carrying the opponent’s 
sword downwards to the right, then take the position of third invite. 

The fourth sforzo is from same position as fourth occo, bending 
your arm and turning the hand to fifth position strike as before, and 
take a position between fourth and fourth low guard. They can also 
be followed by blows. When with a feint it requires three movements, 
one for sforzo, one for feint, and lastly the blow. 
N.B.—The sforzo must be executed only by a movement of the 
forearm, keeping the rest of the arm firm, and the wrist stiff, so that 
the point may be as little as possible carried from the line of offence. 

The sforzo with disengage has for its object either to disarm ‘or 
to render a return on guard impossible before a blow is delivered. Tt 
can be carried out advancing or standing still. 

The third disengage sforzo is from your adversary’s fourth binding 
by an instantaneous movement, bending and extending the forearm, 
without twisting the wrist, clear your blade from that of your adversary, 
making it pass close over the point, and execute the shird sforzo, as 

The fouth disengage sforzo is from your opponent’s third binding, 

as before. 

To continue the attack when your adversary has avoided your lunge 
by retiring you must regain your distance by advancing the left foot, 
retaking the position. of guard, and delivering an immediate blow. 
When the adversary retires without guarding the final blow of any 
action of attack; on the re-attack you might carry out a direct point or 
a direct cut. When he retires and parries at the same time you can 
execute a disengage poimt or cut. Lastly, when he retires without 
guarding, but with his sword in line of attack, you must execute a 
deviamento or tocco, &c., so as to carry off his point before attempting a 
blow. Re-attacking may be either simple, complicated, or with feints. 

Simple, when you take up your guard by advancing the left foot 
and then deliver a cut or point. 

Complicated, when you first carry off your opponent’s point from 
the line of attack, bring up the left leg, and execute a deviamento or 
sforso simultaneously, and then the blow. Also with one or two feints. 

N.B.—The Re-atfack must be carried out with care, as your 
adversary may have some predetermined action, such asa time cut or 

point. 

The Second intention, is when a swordsman, having provoked the 
determined action of his adversary, either by return or time cut, acts on 
the same with parry and return either in /zme or contro time. 
Examples of second intention 
Popi. Master. Puriu. 
Third sforzo. Disengage in time. Parry fourth low and 
cut at right cheek. 
Contro time at outside arm. 

Fourth tocco with dis- Disengage in time. 
engage. 

A time cut is that delivered during the attack of your adversary. 
This requires the greatest prudence, but when correctly executed is a 
great resource against a furious assailant. ‘I'he knowledge of distance, 
the grades of the blade, quickness of eye as well as arm, cunning, 
resolution and precision, are indispensible requisites for its execution. 
An action tn time is carried out by preference, when out of distance while 
your adversary advances, as at correct distance it may end in a counter. 
A time cut may be developed at the first, second or third action but to 
avoid a counter it is well to execute it on the first. They are the arrest, 
disengage, and cut at the arm. 

The arrest is a direct point delivered during the development of 
some action of attack. If from your own first invite or binding your 
adversary advances with a feint below, you deliver the arrest above. If 
following your second invite or binding he feints high, deliver an arrest 
at flank or at breast. If from your third invite or binding he feints 
within, deliver an arrest at breast within. If from your fourth invite or 
binding he feints outside, give an arrest at flank. Lastly, if from your 
fifth invite or binding he feints below, deliver a point at breast above. 

A feint of arrest is given after you have made an impression on 

your adversary with one or more real arrests, executed during his action 

of attack. 

The disengage in time should be carried out while the sword of your 
adversary is in the act of striking or transporting your blade so as to 
carry it from the line of attack. You disengage within when your 
opponent seeks to encounter or strike your blade to the right. Qn the 
other hand outside when he endeavours to strike it towards the left. 
When he seeks to carry it upwards disengage at flank. Lastly, when 
downwards disengage at breast above. You can also feint a disengage in 
time and develope another blow. 
N.B.—It is necessary always to keep in mind that your adversary 
may expose his body so as to draw an arrest by an exaggerated transport, deviamento, &c., and then deliver a contro time. A sharp brain 
must then be brought to bear, without which no one can be a good 
swordsman. 

The ‘ime blow at the arm consists in delivering a cut while your 
opponent prepares for an action of attack. It should always be accompanied by a spring backwards. This is safer than other time blows. 
since it alone avoids the danger of a counter. After having delivered 
a blow return your point into line, or some parry, if you have failed in 
the attempt, as your adversary will be in a position to carry out his 

form of attack. 

The counter time can only be delivered at the arm, while your adversary attempts a “me blow. To carry it out you must provoke your 
adversary to execute an arrest, or disengage in time. 

EXAMPLES. 
Pupiu. MastTER. Puri. 
From second guard| From second guard Do not come on guard, 
executc feint at without taking notice but instead deliver 
head. of feint deliver arrest while your adver- 

point at flank. sary attempts the 
arrest, a cut at arm 
above, at same time 

jumping backwards 

From first binding Execute disengage in Without heeding the 
execute a transport time at flank. disengage in time 
into fifth cut at arm above, 

jumping back. 

The counter time at arm is opportune when your adversary has the 
bad habit of constantly attempting time blows without attending to the 
necessary guards. 

The most difficult part is the teaching of the many actions, that 
can be developed in the art by a good swordsman, in a rational and 
methodical manner. 

The following exercises show 

A—The position of the two opponents. 
B—The action suitable to any occasion. 
C—The parry that action may deceive. 

D—The final parry. 

E—The return which follows the final parry. 

 —The various time cuts. 

G—The counter time which can be opposed to each of these. 

It is well for the master to make his pupils go through these 
exercises, under his own eye, because they will have greater emulation 
and spirit than when opposed to him neither should there be too great 
a disparity between the couples in first assaults. Above all not to allow 
them to hegin Joose play before they have learnt all the preceding actions 
in this treatise. 

In an assault, having to do with an opponent quick in attack, it is 
well to either keep out of distance or attack him in return, thus cross 
him in his play. Having on the other hand one who does little else 
than parry, it is better to attack him with feints and double feints focco 
and. sforzo, 

When you have to do with a :mezs/, pretend to attack him furiously 
and advance with a parry ready, and then develope a return, and if 
possible a contro time at the arm. If your adversary responds quickly 
deliver half blows so as to return quickly on guard and respond. 

In front of a furious opponent, develope time blows at the arms, 
and respond quickly when the blades meet. Being opposed to a 
muscular man, not over expert, keep clear of his blade, and if he 
endeavours /occo, deviamento, &*c., use time cuts or point. 

In front of a tall adversary addicted to time cuts, pretend to 
attack, then parry advancing and return sharp blows at the lower 
part of body are preferable. 

Every small adversary should be kept at a distance, avoiding 
contact of the blade, deliver cuts at the head or breast or points above. 

It is well to have assaults with weak fencers as well as with the 
strong then study the action of the former, and carry them out on the 
latter. You should neither fear one nor despise the other. 

Remember you can only be a good swordsman after long practice 
and constant change of adversary. 

Left-handed swordsmen have a great advantage, as few have any 
practice against them, and they have seldom met one another. Practice 
with a master can alone overcome this difficulty. For young men, it is 
well to learn to use the sword in the left hand, and thus obtain confidence 
by means of left-handed assaults. 

‘SIMPLE ACTION 
AND 

DOUBLE ACTION. 

ii. PART I. 

ee ACTION OF HE PakrRY THAT FrtaL 
N OF HE WHO OF HE WHO WHO FOLLOWS UP ATTACK DECEIVES PARRY 
 INVITES. ATTACKS, 
1 Ist invite from second direct point —_ second, 
guard fourth low 
or first contro 
Q 2nd invite from second or direct point —— first 
or fifth 
8 8rd invite from second or direct point fourth 
third guard 
4 5th invite from second direct point —_—_— second 
guard fourth low 
5 Sword in touch] from ‘second second filo —_—— second 
binding fourth yielding 
6 In touch from third third filo _——- first 
7 1st binding in touch disengage at, flank —_—_— second 
8 2nd binding in touch“ disengage above —_—— first 
9 3rd binding in touch disengage within —_— fourth 
10 4th binding in touch disengage outside —_——— third 
11 Sth binding in touch disengage at flank —— second 
12 1st invite Qnd guard direct cut at flank —— second 
18 1st invite Qnd guard at breast or belly -—— fourth low 
14 1st invite Qnd gnard at arm outside —_—_—_— third 
15 Ist invite Qnd guard at arm within _—— fourth low 
16 2nd invite Srd guard at head fifth 
17 2nd invite 8rd guard at left cheek _—_— first 

SIMPLE ACTION. 

‘THe RETURNS THAT CAN BE CARRIED 
OUT FROM ‘THE FINAL PARRY 

oint, head, right and left cheek, "breast, belly, or arm 
isengage, head, inside or outside cheek, breast, belly, 
flank, or arm 

belly, flank, and arm 

point, head, inside or outside cheek, breast, belly, arm, 
flank, coupe outside 

point, head, inside and outside cheek, breast, belly, 

belly, flank, and arm 

disengage, filo, head, outside cheek and arm 

point, head, inside and outside cheek, breast, belly 

belly, flank, and arm 

point, head, inside an outeide cheek, b breast, belly, 
flank, arm, coupe outside 

disengage, head, inside and outside cheek, breast, belly, 

e, head, left or right cheek, breast, belly, 
fla »and arm 

flank, or arm 

and coupe withi 

point, head, right or left cheek, breast, belly, flank, 
ems coupe outside 

poin head, right or left cheek, breast, belly, and arm 
ngage, head, right or left cheek, breast, belly, 

disengage, filo, head, at right cheek or arm 
point, head, outside or inside cheek, breast, belly, and 

disengage, he head, d, right and left cheek, breast, belly, 

disengage, filo, head, right eheek, and arm 
arm 

é 

point, head, inside and outside cheek, breast, belly, 

disengage, et head, inside or outside cheek, breast, belly, 
andjarm 

outside arm 

inside or outeide 
arm 

iv. PART I. SIMPLE 
Le 

ee ACTION oF HE PARRY THAT FINaL 
No.| OF HE WHO OF HE WHO WHO FOLLOWS UP ATTACK. DECEIVES. PARRY. 
INVITES. toe 
‘ta|nainvito sra guard atrighteme 2nd invite 8rd guard at right cheek —_— third 
19 ad invite 8rd guard at breast or belly — first 
Qnd invite Srd guard at arm above —_—— third 
Srd invite Srd guard at head ——_— sixth 
99 ard invite Srd guard at left cheek ——— fourth 
23 8rd invite 8rd guard at breast or belly —-— fourth 
94 Srd invite Srd guard inside arm —_— fourth 
25 8th invite Qnd or 8rd grd.| at flank ——— second 
26 Sth invite and gnard at breast or belly ——— fourth 
 foarth low 
97 Ist binding in touch at flank ee second 
28 Ist binding in touch at arm above —_——- third 
Ist binding in touch circle cut at left cheek —_—— fourth 
80 1st binding in touch circle at breast or belly —_——-_ fourth 
31 1st binding in touch circle at arm within ——— fourth 
82 2nd bindiug in touch direct cut at right cheek —— third 
33 2nd binding in touch at head ox een fifth 
84 Qnd binding in touch at left cheek —_-—= first 
35 2nd binding in touch at breast or belly —_— first 
86 nd binding in touch at arm above eee third 
87 Gnd binding in touch at head eee fifth 

ACTION.—Conrinvep. v. 

THE RETURKS THAT CAN BE CARRIED Tm ConTRO 
OUT FROM THE FINAL PARRY, BLOW. TEMPO. 

disengage, filo, left cheek, breast, belly, flank, armand arm inside —_—— 
coupe within 

ean and head, right or left cheek, breast, belly, arm within a 

d arm 

disengage, filo, left cheek, breast, belly, flank, arm, ———— —_——— 

cut at breast, belly, flank, an arm within ——e 

disengage, head, left oma breast, belly, flank, 

point, he head, inside or outside cheek, breast, belly, arm within _—__ 

ank, arm, and coupe outside 

diseng head, right or left cheek, breast, belly, 
flank or arm 

point, head, right or left cheek, breast, belly, flank, arm within — 
rai or coupe outside 
pol int, head, rig t or left cheek, breast, belly, and arm 
ngage: es ead, in inside or outside cheek, breast, belly, 

point, head, i inside or outaide face, breast, belly, flank, —_— ————— 
arm, and cou 

disengage, head, Beside ove or outside cheek, breast, belly, 

disengage, filo, head, right cheek, and arm arm above —_—_—— 

point, head, inside and outside face, breast, belly, arm within -—— 
Bees head, right or left cheek, breast, belly, and arm 
@ he head, right or le cheek, breast, belly, 

disengage, filo, head, right cheek, and arm arm above —_——— 

disengage, filo, left cheek, breast, belly, flank, arm, _—_—__ —_— 

point, head, inside and outside cheek, breast, belly, arm within -_—— 

belly, flank,andarm =... 

point, head, inside and outside face, breast, belly, stm within —_—_— 
) arm, and coupe outside 
point, h head, inside and outside face, breast, belly, and 

disengage, head, wright and left cheek, breast, belly, 

 point, head, right and left cheek, breast, belly flank, 

disengage, he head, right and left cheek, breast, belly, 
disengage, filo, left cheek, breast, belly, flank, arm and arm within or 
coupe within without 
disengage, head, left cheek, breast, belly, arm, and arm inside or 
coupe within outside 
disengage, he head, right and left cheek, breast, belly. arm withio 

disengage, he head, ad, right and left cheek, breast, belly, arm within 

disengage, filo, left cheek, breast, belly, flank, arm, —_—— 

disengage, h left cheek, breast, belly, flank, arm, arm outside or 
and coupe within inside 
hs 

s 

No. 

$8 8rd binding 
80 Sxrd binding 

INVITES. 

8rd binding 

8rd binding 

$rd binding 

$rd binding 

4th binding" 

Sth binding 

Sth binding 

ATTACKS, 

direct cut at flank 
coupe within 

circle at-head 

circle at left cheek 

circle at breast or belly 

circle at arm within 

coupe outside 
circle at right cheek 
circle at flank 

coupe arm above 
direct cut at flank 
direct cut at arm outaide 

circle at left cheek 

circle at breast or‘belly 

circle a arm within 

+a se ome 

sixth 

sixth 

eecond 

first centro 

AQOTION.,—ContTInveEn. 

Tum RETURNS THAT GAN BE CARRIED 

disengage, bead, left cheek, breast, belly, flank, 
arm, coupe within 

breast, belly, flank, d 
disengage, "read, ott cheek, breast, belly, flank, 

arm, and coupe wi 

k, arm, and coupe outside 
disengage, head, inside and outside face, breast, 
y, flank, and arm 

point, head, inside and outside face, breast, belly, 
k, arm, and coupe outside 
point, t, head, inside and outside face, breast, belly, 

disengage, head, inside and outside face, breast, 
belly, flank, and 

diseng gage, hes head, d, right and left cheek, breast, belly, 

disengage, filo, left cheek, breast, bell flank, arm 
and coupe within 7 

and coupe 

disengage, head, left cheek, breast, belly, fl 
atm a and coupe within %, Meok, 

and coupe within y 

point, Bae right and left cheek, breast, belly, ° 

di ag hee. oad righ? ped 1 fick b 
sen, and Lert c 
ngage, es en eek, breast, belly, 

point, head, right and left cheek, breast, belly}: 

point, h head, right and left cheek, breast, belly, and 

disengage, head, right and left cheek, breast, 
flank, and arm ae belly, 

oint, head, right and left cheek, b 
P flank, arm, end coupe outside reast, belly, 

disen, ie ee head, 4, right and left cheek, breast, belly, 

outside arm 
outside arm 

owe Gees 

lat invite 
Gnd invite 

Srd inyite 
8rd invite 
rd invite 
Srd invite 
Srd invite 
Srd invite 

4th invite 
4th invite 
4th invite 

INVITES. 

esti 
ATTACKS. 

Qnd or Srd 

Qnd or 8rd 

8rd guard 

f direct and disengage at 
"breast above" 

feint, point. and cut direct at right 
feint, point, and cut direct at head 
fetnt, petnt, and cut direct at left 
fein in d cut at b 

belly t, and cut at breast or 
feint, point, and circle at head 
feint, direct point, and 

po disengage at 

feint, point, and cut direct at flank 

feint, point, circle at left cheek 

feint, point, circle at breast or belly 

feint, point, circle at arm within 

feint, point, disengage outside 
feint, point, and coupe outside 
feint, point, circle at right cheek 

 
feint, point, circle at flank 

 feint, point, cut at arm above 

feint, point, and cut direct at flank third 

feint, point, and ceupe within 

DOUBLE ACTION. 

disen rhs er head, right or left cheek, breast, belly, 
disengage, Ale Ie left cheek, breast, belly, flank, arm, 

and coupe within eek, om 

disengage, filo, left cheek, breast, belly, fi arm, 
and coupe within y, Hank, 

disengage, he head, right and left cheek, breast, belly, 
fl and arm 
disengage, filo, left eheek, breast, belly, flank, arm 
within y 

and coupe 

arm 

disengage, be head, right and left cheek, breast, belly, 
d arm 

disengage, filo, left che>k, breast, belly, flank, arm, 

disengage, filo, left cheek, breast, belly, k, arm, 
and coupe within flan 

Sines filo, head, right cheek, and arm 

disengage, lilo, head, right cheek, and arm 

e, head, left cheek, breast, belly, flank, arm, 

TIME ACTION Conrro 
Fimsr SECOND ON 
arrest above: arm within or arm within or 
without without 
arrest above arm in or arm in or 
outside outside 
arrest above arm in or arm in or 
outside outaide 
arrest abov arm within arm in or 
ove outaide 
arrest above arm within arm iner — 
arrest above ——— arm in or 
arrest above arm in or arm in or — 
outside outside 
arrest within —— arm within or 
arrest within arm within arm within or 
arrest within arm within arm within or 
 
arrest within —_—_—— arm within or 
arrest within arm outside arm within or 
arrest within arm outside arm within or 
arrest within arm outside arm within er 
arrest within —_——— arm within or 
arrest at flank arm above arm above 
arrest at flank arm above arm above 
arrest at flank arm within arm above 
No.| INVITES. ATTAOKS. 
1 1st invite from 2nd 
Q 1st invite 2nd guard 
3 Ist invite and guard 
4 Ist invite 2nd guard 
5 lst invite and guard 
6 lst invite and guard 
q 1st invite 2nd guard 
8 Ind invite Qnd or Srd 
9 2nd invite 2nd or Srd 
10 2nd invite and or Srd 
Gnd invite 2nd or 3rd 
19 Ind invite Gnd or Srd 
13 2nd invite 2nd or srd 
4| Srdinyite ‘| Srd guard 
15 8rd invite Srd guard 
$rd invite 8rd guard 
17 3rd invite Srd guard 
18 Srd invite Srd guard 
19 8rd invite Srd guard 
20 4th invite 8rd guard 
91 4th invite 8rd guard 
92 4th invite Srd guard 

feint, direct point, and disengage at 
breast above — 

fein and cut direct at right 

ray “s 
feint, point, and cut direct at head 
fein int, and cut direct at left 

sean 
fein int, and cut at breast 

t iy a or 
feint, point, and circle at head 
feint, direct point, and 

po disengage at 

feint, point, and cut direct at flank 

feint, point, circle at left cheek 

feint, point, circle at breast or belly 

feint, point, circle at arm within 

feint, point, disengage outside 
feint, point, and coupe outside 
feint, point, circle at right cheek 

 
feint, point, circle at flank 

 feint, point, cut at arm above 

feint, point, and cut direct at flank 
feint, point, and coupe within 

sixth 

a 

DOUBLE ACTION. 

ner en er me 
 TIME ACTION ContTRO 
THE RETURNS THAT OAN BE CARRIED cr ————_$_—_—_——_—-, TEMPO 
OUT FROM THE FINAL PARRY. First: SECOND ON 

arrest above? 

and arm without without 
disengage, filo, left cheek, breast, belly, flank, arm, arrest above arm in or arm in or 
and coupe within ° f outside outside 
disengage, head, left cheek, breast, belly, flank, arm, arrest above arm in or arminor — 
and coupe within outside outside 
disengage, head, right and left cheek, breast, belly, arrest above arm within arm in or 
flank, and arm y outside 
disengage, head, right and left cheek, breast, belly, arrest above arm within arm in er 
flank, and arm outside 
disengage, filo, left eheek, breast, belly, flank, arm arrest above —— arm in or 
and coupe within outside 
disengage, head, left cheek, breast, belly, flank, arm, arrest above arm in or arm in or — 
and coupe within outside outside 
disengage, filo, head, right cheek, and arm arrest within arm above arm within or 
disengage, filo, head, right cheek, and arm arrest within arm above arm within or 
disengage, file, left cheek, breast, belly, flank, arm, arrest within ———_— arm within or 
point, head, right and left cheek, breast, belly, flank, arrest within arm within arm within or 
 arm, and coupe outside above 
point, head, right and left cheek, breast, belly, flank, arrest within arm within arm within or 
arm, and coupe outside above 
arm 
disengage, head, right and left cheek, breast, bell 
flank, and arm 8 ° nds 
point, head, right and left cheek, breast, belly, and arrest within —_————- arm within or 
1 disengage, filo, left che>k, breast, belly, flank, arm, arrest within arm outside arm within or 
disengage, head, left cheek, breast, belly, flank, arm, arrest within arm outside arm within or 
 and coupe within above 
disengage, filo, left cheek, breast, belly, flank, arm, arrest within arm outside arm within or 
 coupe within above 
 point, head, left cheek, breast, and arm arrest within arm above arm within or 
 engage, filo, head, right cheek, and arm above 
disengage, filo, left cheek, breast, belly, flank, arm, arrest within ——— arm within or 
disengage, filo, head, right cheek, and arm arrest within arm above arm within or 
disengage, filo, head, right cheek, and arm arrest at flank arm above arm above 
disengage, file, head, right cheek, and arm arrest at flank arm above arm above 
breast, belly, flank, and arm arrestat flank arm within arm above 

 ecm San 

4th invite Sed guard 
4th invite Srd guard 
dhinvite ard guard 
4th invite Srd gaard 
5th invite 2nd guard 
5th invite @nd guard 
Sth invite Qnd guard 
Sth invite 2nd guard 
5th invite @nd guard 
Sth invite Qnd guard 
5th invite Qnd guard 
binding Qnd binding 
binding and binding” 
binding Qnd binding 
binding 2nd binding 

feint point, and circle at head 

feint point, circle at left cheek 

feint t, and circle at breast or 

feint point, and circle at arm within 
feint point, and disengage above 

feint peint. and cut direct at right 

feint point, and cut direct at head 

feint peint, and cut at left cheek 

feint point, cut direct at breast, or 
belly 

feint point, cut at arm above 

feint point, circle at head 

feint filo, disengage above 

foint filo, cut at right cheek 
feint filo, cirele at head 

feint filo, circle at arm above 
feint filo, and disengage at flank 
feint filo, and coupe within 
feint filo, circle at head 

feint filo, circle at left cheek 

secoud 

sixth 
firat contro 

sixth 

OUT FROM THE FINAL PARBY, 

arm, coupe and within 

disengage, hes head, right and left cheek, breast, belly, 

point, at, head, right and left cheek, breast belly, 

Tinengage, hes head, right and left cheek, breast, belly, 

flank, arm, and coupe outsi 

disengage, filo, Jett cheek, breast, belly, flank, arm, 

dise e, head, right and left cheek, breast, bell 
flank, and po % 

disengage, head, left che breast, belly, flank, 
anne and coupe within” ’: 

disengage, filo, left cheek, breagt, belly, flank, arm, 
aint compe, within heek, breast, belly, flank, 
ngage, eft chee as 
arm, and coupe within % 

disengago, filo, left cheek, breast, belly, flank, arm, 

breast, nee flank, and arm 
head, A, right and k left cheek, breast, belly, 

breast, belly, flank, and a: 
disengage, ead, left cheek, 

point, head, right and left cheek, breast, 

anggags itd eit td Sua, rat bly 

PH aoe ne ane eek, breast, belly, 

breast, belly, flank, 

ee — 
First SECOND 
TIME, TIME, 

arrest at flank arm above or 

arrest at flank 

arrest at flank 

arrest at flank 

without 

ConTRO 

ON 
FIRST TIME, 

TT 

arm eutside 

arm in er 
outaide 

— 4 ACTION OF HE PakRY THAT FINaL 
No OF HE WHO OF HE WHO WHO FOLLOWS UP ATTACK DEOCEIVES PARRY 
° INVITES. ATTACKS. 
42 binding 8rd binding feint;filo, circle at breast or belly third foarth low 
45 binding Srd binding feint filo, circle at arm within third fourth 
44 1st binding binding feint disengage under and disengage second third 
abo 
ve fifth 
45 1st binding binding feint disengage under, and cut direct second third 
at right cheek 
46 1st binding binding feint disengage under, and cut direct second fifth 
at hea 
47 1st binding binding feint disengage under, and cut at left second first 
chee 
48 1st binding binding feint disengage under, and cut at second first 
1st binding binding feint, Gisengage under, and circle at second fifth 
60 1st binding binding feint pitisengage under, cut at arm second third 
above afth 
51 Qnd binding binding feint disengage above and disengage first second 
62 2nd binding binding feint disengage above, and disengage third fourth 
ie fourth low 
53 2nd binding binding feint disengage above, and cutat flank first second 
54 Qnd bindin bin ‘| third sixth 
g ding feint disengage above and coupe SEED intro 
55 Qnd binding binding feint disengage above, and circle at third fourth 
left cheek 
56 2nd binding binding feint disengage above, and circle at third fourth 
57 Qnd binding binding feint disengage above, and cut at third fourth 
arm withi 
68 3rd binding binding feint disengage within, anddisengage fourth third 
50 Srd binding binding feint disengage within, and coupe fourth fifth 
60 8rd binding binding feint sdisengage within, circle at right foarth third 
chee 
61 8rd binding binding fourth third low 

feint disengage within, and circle at 

ACTION .—-ContinvEp. xii 

ee 

Time ACTION CoxrTRro 
THE RETURNS THAT CAN BE CARRIED cn Or TEMPO 
OUT FROM THE FINAL PARRY Frest SECOND ON 
TIME. TIME. FIBST TIME. 
point, head, right and left cheek, breast, belly, or arm disengage arm within arm above 
engage, head, right left or cheek, breast, belly, under 
point, head, right and left cheek, breast, belly flank, disengage ——s arm above 
arm, and coupe outside under 
disengage, filo, left cheek, breast, belly, flank, arm, arrest above outside arm outside arm 
arm and coupe withi 
disengage, filo, left cheek, breast, belly, flank, arm, arrest above outside arm outside arm 
disengage, head, left cheek, breast, belly, arm, and arrest above outside arm outside arm 
coupe within 
disengage, head, right and left cheek, breast, belly. arrest above arm within outside arm 
disengage, head, right and left cheek, breast, belly, arrest above arm within outside arm 
disengage, head, left cheek, breast, belly, flank, arm, arrest above arm outside arm outside 
disengage, filo, left cheek, breast, belly, flank, arm, arrest above —_—_— outside arm 
disenpage bead Left cheek, b belly, flank, arm, 
engage, head, left che reast, belly, 
and coupe within ed 
disengage, filo, head, right eheek, and arm arrest under arm above arm above 
point, head, right or left cheek, breast, belly, flank, arrest under arm|within arm above 
arm, coupe outside 
point, head, right or left cheek, breast, belly, and arm 
engage, head, right or left cheek, breast, belly, 
disengage, filo, head, right cheek, and arm arrest under arm above arm above 
breast, belly, flank, and arm arrest under arm within arm above 
point, head, right or left cheek, breast, belly, flank, arrest under arm within arm‘above 
disengage, head, right or left check, breast, belly, 
flank, or arm 
point, head, right and left cheek breast, belly, flank, atrestunder arm within arm above 
int, head, right or left cheek, breast, belly, and arm 
sengage, head, right or left cheek, breast, belly, 
point, head, right and left cheek, breast, belly, flank, arrest ander _—— arm above 
 arm, and coupe outside 
disengage, filo, left cheek, breast, belly, flank, arm, atrest within outside arm arm within or 
disengage, head, left cheek, breast. flank, arrest within outside arm arm within or 
and coupe within belly, rms above 
disengage, filo, left cheek, breast, belly, flank, arm and arrest within arm oytside arm within or 
coupe within above 
point, head, left cheek, breast, and arm arrest within arm above 

ngage, filo, head, right cheek, and arm 

xiv; PART I, DOUBER 

——<$<$$+* ACTION OF HE PaBRYE THAT Finan 
OF HE WHO OF HE WHO WHO FOLLOWS UP ATTACK. DEOCRIVES. PARRY. 
binding feint disengage within, and cut at fourth third 
68 8rd binding binding feint disengage within, disengage first contro second 
64 Srd binding binding feint disengage within, cut direct first.contro second 
65 4th binding b feint outside, and dis thie fourth 
inding Sa gaisenans cued, 
fo low 
eontro 
4th bin binding feint disengage outside, and cut third second 
ding direct at flank 
4th bin bin feint disenga e outside, and cou third 
ding ding within was Pe fifth contro 
68 4th bindin bin feint dise e outside, and circle third fourth 
ad ding at left check 
first contre 
60 4th binding binding feint disengage outside, cirele at third fourth 
70 4th binding binding feins Gisengage outside, cut abarm third fourth 
71 Sth binding binding feint disengyge under, and dis- second or third 
 engage above fourth low 
72 Sth binding bin feint disengage under, and cut second or third 
ding direct at right cheek fourth low 
73 6th binding binding feint dise under, and cut second or fifth 
direct athead fourth low 
741 6th bin bindin feint di e under, and cut at 
ding inding lott see ’ second firat 
75 6th binding binding feint disengage under, and cut at seeond' first 
breast and belly 
76 Sth binding binding feint disengage under, and cut at second or third 
arm above fourth low 
77 5th bin binding feint disengage under, and circle at second or fifth 
aing head ‘fourth low 
78 1st or 5th Qnd guard feint direct cut at flank, and cut at third 
or oth ite ga right cheek ’ second 
79 1st or 6th viéa Snd guard feint at flank, and disengage above second third 
in 
80 1st or oh vite Qnd guard feint at flank, and circle at head second fifth 
G1} Qndinvite 8rd guard feint direct at head, and disengage arth second 
under fourth low 

ACTION.—ContinvED. 

snd coupe within 

‘point, head, right and left cheek, breast, belly, flank, 

int, head, right or left cheek, breast, belly, and arm 
isengage, head, right and left cheek, breast, belly, 

disengage, ead, left cheek, breast, belly, flank, arm 

arm, and coupe outside 

arm 

disengage, head, right and left cheek, breast, {belly, 

disengage, head, right and Deft cheek, breast, belly, 

— —— TEMPO 
Fist SECOND ON 
 TIME. TYME, YIRST TIME 
arrest within ae arm within or 
arrest below arm within or arm atove 
arrest under arm above arm above 
arrest under arm within arm above 
arrest under arm within arm above 
arrest below arm within arm above 
arrest below _—_———— arm above 
outatde 
arrest above erm in or tid 
outside arm outside 
Farrest above arm outside} 
arrest above ‘ arm in or arm outside 
arrest below arm above arm. above 

arm 

disengage, herd, wight and left cheek, breast, belly, 

xvi. PART W. DOUBLE 

a ACTION oF HE PARRY THAT FINAL 
N OF WHO OF HE WHO WHO FOLLOWS UP ATTACK. DECEIVES, PARRY. 
0-) LNWITES. ATTACES. 
2nd invite 8rd guard feint direct at head, and cut at flank fifth second 2 
2nd invite $rd guard feint at head, circle at left cheek fifth fourth 
84 2nd invite Srd guard feint direct at head, and circle at fifth fourth low 
breast and belly 
85 2nd invite Srd guard feint at left cheek, breast, or belly, first second 
disengage at flank fourth low 
Gnd invite 8rd guard feint at left cheek, breast, or belly, first second 
cut at flank 
Qnd invite Srd guard feint at left cheek, circle at belly first fourth low 
° first contro 
86 8rd invite Srd guard feint at head, cut at breast or belly sixth fourth low 
99 3rd invite Srd guard feint direct at head, and circle at sixth third 
Tight cheek 
90 3rd invite Srd guard feint at head, and circle at flank sixth third low 
91 Srd invite Srd guard feint at head, and circle at arm sixth third 
92 Srd invite Srd guard feint direct at left cheek, and ceupe fourth fifth 
93 3rd inyite 8rd guard feint at left cheek, and circle at right fourth third 
94 Srd invite Srd guard feint at left cheek, and circle at flank fourth third low 
95 Srd invite 3rd guard feint at left cheek, and cut at outside fourth third 
arm 
96 Srd invite Srd guard feint at breast or belly, and circle at fourth low fifth 
97 Srd invite Srd guard feint at breast or belly, and circle at fourth low third 
98 4th invite 3rd guard feint direct at head, and disengage fifth second 
under fourth low 
99 4th invite Srd guard feint direct at head, and cut at flank fifth second 
100 4th invite $rd guard feint at head, and circle at left cheek fifth fourth 
101 4th invite 8rd guard feint, at head, and circle at breast or fifth fourth 
y 

ACTION.—OonrinveEp. 

disengage, filo, head,oright cheek, and arm 

disengage, hee head, 4, right and left cheek, breast, belly, 

arm 
e, head, right and left cheek, breast, belly, 

 

disengage, file, head, right cheek, and arm 

arm 

arm 

 and coupe within 

point, h head, right and left cheek, breast, belly, and 

disengas e, head, right and left cheek, breast, belly, 

diser aoe and head, right and left cheek, breast, belly, 
d arm 

rn A$ 
First SECOND 
TIME. TIME, 
arrest below arm above 
arrest within arm within 
arrest within —————— 
arrest within 
arrest under arm above 
arrest under arm above 

a ee pee pe 

ContTRO 
TEMPO 
ON 
FIRST TIME, 

abeve 

feint circle at head, and circle at left 

a, Be ET 
Position 
—_—_—_———4 ACTION OF HE PaRRY THAT FIN an 
OF HB WHO OF HE WHO WHO FOLLOWS UP ATTACK DECEIVES PARRY 
4th invite Srd guard feint at head, and circleat arm within fifth fourth 
4th invite 8rd guard feint at right cheek, and disengage third fourth 
4th invite Srd guard feint at right check, and cut direct at third second 
4th invite Srd guard feint direet at right cheek, and coupe third sixth 
within fifth contro 
4th invite Srd guard feint direct cut at right cheek, and» third fourth 
circle at left 
4th invite 8rd guard feint out at right cheek, and circle at third fourth low 
t, or belly 
4th invite Srd guard feint cut at flank, and disengage above second contro third 
4th invite Srd guard feint cat at flank, and cut at right second contro third 
 
4th invite Srd guard feint at flank, and circle at head second contro fifth 
1st or 5th binding feint circle at flank, and cut direct at second third 
binding right cheek 
Ast or 5th binding feint circle at flank, and circle athead second fifth 
1st or 5th binding feint circle at flank, and disengage second third 
binding above 
Ist or 5th binding feint circle at breast or belly, and fourth low fifth 
binding cirele at head 
Qnd binding binding feint direct cut at right cheek, and third second 
cut at flank 
2nd binding binding feint direct eut at right cheek, and third sixth 
coupe within firat centro 
Qnd binding binding feint direct cut at right cheek, and third fourth 
circle at left 
2nd binding binding feint direct at righ t cheek, and circle third foarth low 
at breast or belly 
2nd binding binding feint circle at head, and circleatflank fifth second 
2nd binding binding fifth fourth 

ACTION.—ConrinveEp. 

 arm, and coupe outside 

ank, and arm 

arm 

disengage, filo, loft cheek, breast, belly, flank, arm, 

disengage, head, left check, breast, belly, flank, arm, 

disengage, filo, left ch b belly, 
ngas’ cupe ft eek, breast, belly, flank, arm, 

wit. 

disengage, head, right and left 
a Boge need, g cheek, breast, belly, 

disengage, head, left sonore breast, belly, flank, 

arm and coupe wi 
aisengage, Goad, Loft chook, bre flank 
isengage, head, left cheek, breast, bell 
and coupe within y em 
point, head, right or left cheek, breast, belly, flank, 
 arm, and coupe outside 
rm 
Alsen gages head, wight and left cheek,’ breast, belly, 

ead, left cheek, breast, belly, flank, arm, 

cer ey 

TIME. 

arrest under 

ra 

arrest within 

arrest under 

TIME. 

arm within} 

t 

eee 

SSS 

a 
No.| Invrres. ATTACKS. 
121 2nd binding binding 
122 2nd binding binding 
125 Srd binding binding 
181 srd binding binding 
137 4th binding binding 

feint circle at head, and circle at 
breast and belly 

feint circle at head, and disengage 
below 

feint coupe within, cut direct at 

feint coupe within, and circle at 

feint coupe within, circle at flank 

feint circle at left cheek, and cut at 
belly 

feint circle at left cheek, and coupe 

feint circle at left cheek, and circle 
at right 

feint circle at left cheek, and circle 

feint circle at left cheek, and circle 
at belly 

feint circle at left cheek, ‘and disengage under 

feint circle at belly, and circle at 

feint circle at belly, and circle at 

feint coupe outside, and disengage 

feint coupe outside, and cut at flank 

feint cou =putside, and circle at 
left c 
feint coupe outside, and circle at 

feint cirole at at right cheek, and disengage wi 

feint circle at right cheek, and cut 

feint circle at right cheek, and coupe 

PARRY THAT 
DEOEIVES. 

sixth 
sixth 
sixth 

Fina. 
PARRY. 

 

firat contro 

second centro 

first contre 

sixth 

ACTION.—Continven. 

point, head, right and left cheek, breast, belly, or arm 
engage, head, right or left cheek, breast, belly, 

int, head, right and left cheek breast, belly, and arm 
isengage, head, right and left cheek, breast, belly, 

and coupe withi 

poiat, head, right and left cheek, breast, belly, and arm 

disengage, filo, head, right eheek, and arm 

disengage, head, right and left eheek, breast, belly, 

int, head, right and left cheek, breast, belly, and arm 
isengage, head, right and left cheek, breast, belly, 

ank, and arm 

dise e, head, right and left cheek, breast, belly, 

ngage, head, right and left cheek, breast, belly, 

e 

ro 
First SECUND 
TIME. TIME, 
arrest below arm above 
arrest within arm within 
 arrest within arm above 
arrest within arm within 
 arrest within arm outside 
arrest within arm inside or 
arrest below arm outside or 
aboye 
arrest below arm outside or 
arrest below arm above 

ConTRO 
TEMPO 
ON 
FIRST TIME. 

arm within 

arm akove 

arm outeide 

Oe 
OF HE WH OF HE WHO 
No.| INVITES. ATTACKS, 
144 binding 8rd binding 
145 binding ord binding 
146 binding 8rd binding 
147 binding 8rd binding 
148 binding Srd binding 
149 binding 4th binding 
150 binding 4th binding 
1151 binding 4th binding 
152 binding 1st or 5th 
bin 
153 binding 1st or 5th 
bin 
154 binding Ist or Sth 
155 in touch 1st or 5th 
bin 
156 in touch ist or 5th 
157 in touch 1st or 5th 
bindi 
‘|158 in touch 2nd binding 
159 in touch 9nd binding 

feint circle at right cheek, and circle 
at left 

feint circle at Nie cheek, and circle 
at breast 

feint circle at right cheek, and circle 
at arm within 

1st transport, and point within 

1st transport, and circle at head 

1st {ransport, and circle at left 
transport, and circle at breast 

1st transport, and circle at right 

2nd transport and filo 

Qnd transport, and cut at right 

Qnd transport, and circle at head 

ord transport and filo 

ard transport, and disengage under 

Srd transport, and coupe within 

Srd.transport, and cut at flank 

Srd transport, and circle at left 

8rd transport, and circle at breast 
or belly 

4th transport, and cut direct at 
right chee. 

4th transport, and cut at left cheek 

Parry THAT 
DECEIVES. 

Finan 
PARRY. 

secoud 

sixth 

sixth 

AOTION.—ContTInvEeD. XXxill. 

OUT FROM THE FINAL PARRY. Fist SECOND ON 
TIME. TIME. FIRST TIME, 
 

ee eee, 
Cc” 

point, head, right and left cheek, breast, belly, arrest below arm within arm outside 
disen: e, bi heed, d, right and left cheek, breast, belly, 
point, head, right and left cheek, breast belly, arrest below arm within arm outside 
disengage, het head, ri right and left cheek, breast, belly, 
point head, right and left cheek, breast, belly, arrest below —_— arm outside 
disengage, head, Tight and left cheek, breast, belly, 
disen head, d, right and left cheek, breast, belly, dise ) arm above arm eutside 
 and under 
 disengage, head, left cheek, breast, belly, flank, disengage arm within arm outside 
arm, and coupe within under 
disen head, d, right and left cheek, breast, belly, arm within arm outside 
flank, ‘and under 
disengage, head, right and left cheek, breast, bell e 
ngage hes a, rig ’ belly, disengage ger within arm outside 
breast, belly, flank, and arm disengage thin 
disengage, filo, left. cheek, r, breast, belly, flank, arm, und arm wi arm outaide 
disengage, filo, head, right cheek, and arm disengage thin 
point’ head, right ‘and left cheek, breast belly, Eo ne arm above arm with’ 
disengage, filo, left cheek, breast, belly, flank, arm, dise arm outside arm within 
disengage, head, left cheek, breast, belly, flank, disengage arm outside arm within 
arm, and coupe wit above 
disengage, head, right and left cheek, breast, belly, disengage 
Bank nis. me y: oe ithin arm outside arm within 
disengage, filo, loft cheek, breast, belly, flank, arm, 
disengage. filo, head, right cheek, and arm disengage 
point, head, right and left cheek, breast, belly, and fevithin °7m above arm within 
breast, bell ,! flank and a disen, 
 Yead, left cheek, breast, belly, flank, eeeithin Sm within arm within 
 and ate within 
disengage, filo, head, right cheek, and arm disengage in arm above arm within 
int, head, right and left cheek, breast, belly, disengage 
po"iank, arm, and coupe outeide eithin Within arm within 
aman ae head, a, right and left cheek, breast, belly, 
point, head, right and left cheek, breast, belly, and disengage arm within arm within 
arm thin 
breast, belly, flank, and arm disengage thin 
disengage, filo, left cheek, k, breast, belly, flank, arm, outside arm wi arm outaide 
point, head, right and Jeft cheek, breast, belly, flank, disengage arm within arm outside 

——$$4-_ ACTION oF HE PARRY THAT FINAL 
OF HE WHO OF HE WHO WHO FOLLOWS UP ATTACK. DECEIVES, PARRY. 
a 
in touch Qad binding 4th transport and cut at head —_—— sixth 
in touch Gnd binding 4th transport and coupe outside —_—— fifth 
in teuch Qnd binding 4th transport and circle at flank ——— third low 
in touch Ist binding 6th transport and disengage under —— second 
in touch ist binding Sth transport and cut at flank _——— second 
in touch Ist binding 6th transport and circle at left cheek —— fourth 
in touch 1st binding 6th transport and circle at breast and —— fourth low 
y 
8rd binding in touch Srd copertino and filo —_— first 
4th binding in touch 4th copertino and direct cut at right —_—_—_ sixth 
cheek third contro 
Qnd guard from 2nd ist deviamento and point within — first 
Qnd guard 2nd guard 1st deviamento and circle at head _— fifth 
Qnd guard Qnd guard 1st deviamentoand circle at left cheek —_—-- first 
2nd guard nd guard 1st deviamonto and circle at breast or —_—— first 
y 
and guard 2nd guard 1st deviamento and circle at right _—_— sixth 
cheek third contro 
2nd guard Srd guard Qnd deviamento and filo _— second 
fourth yielding 
2nd guard Srd guard Qad deviamento and direct cut at —— third 
and guard Srd guard Qnd deviamento and circle at head — fifth 
Srd guard 2nd guard Srd deviamento and filo —_— first 
Srd guard @nd guard Srd deviamento and disengage under —_—— second 
Srd guard Gnd guard Srd deviamento and coupe within — sixth 

ACTION .—ContinveEp. 

 TIME ACTION ContTRO 
THE RETURNS THAT CAN BE CARRIED —oO TEMPO 
OUT FROM THE FINAL PARRY, Fist — SECOND ON 
breast, flank, and arm disen e arm within i 
disengage, head, left cheek, breast, belly, flank, eeeutside arm outside 
disengage, head, left cheek, breast, belly, flank, arm, disengage arm outside arm outside 
and coupe within outside 
int, head, left cheek, breast, and arm arm above i 
ngage, filo, head, right cheek, and arm outside 4 arm outside 
 disengage, file, head, right cheek, and arm disengage arm within 
 point. head, right a dott cheek, breast, belly, and under arm above 
arm 
dise nage, head, right and left cheek, breast, belly, 
disengage, filo, head, right cheek, and arm S auder arm above arm above 
 point, head, right bape cheek, breast, belly, flank, disengage der arm within arm above 
 disengage, head, right and left cheek, breast, belly, 
point, head, right and left cheek, breast, belly, and disen e der °° within arm above 
arm 
disengage, head, right and left cheek, breast, belly, disengage. arm outside arm within 
breast, belly, flank, and arm oC arm within arm within 
disengage, filo, left cheek, breast, belly, flank, arm, outside 
 disen; 
disengage, head, r right and left cheek, breast, belly, oer a der within arm above 
disengage, head, left cheek, breast, belly, flank, arm, disengage arm within arm above 
and coupe within under 
i t reas disengage i 
cinerea head, righ and Jjeft cheek, breast, belly, under arm within arm above 
 head, right disengage 
disengage head, 1 ght and left cheek, breast, belly, See" wader arm within arm above 
breast, belly, flank, and arm disengage arm within arm above 
disengage, filo, left cheek, breast, bell under 
and coupe within 6 flank, arm 
disengage, filo, head, right cheek, and arm disengage i 
point, head, right and left check, hrosse Poly, flank, above m Shove arm within 
 disengage, file, left cheek, breast, belly, flank, disengage 
and coupe + thin y; arm, Bee bove arm outside arm within 
disengage, head, left cheek, breast, belly, flank, disengage thin 
and coupe within arm, above Sr? Outside arm wi 
disengage, head, right and left cheek, breast, belly, disengage. tin outside arm within 
disengage, filo, left cheek, breast, belly, # 
ae eape within” ree Pelly, flank, arm, 
disengage, filo, head, right cheek, and arm diseugage arm ithi 
point, head, right and left cheek, breast, belly, and eer i above arm wishin 
arm 
breast, belly, flank, and arm disengage =| arm within arm within 
disengage, within 

left cheek, b 
arm, ind coupe withine ” reast, belly, fank, 
——_—_—— ACTION OF HE 
OF HE WHO OF HE WHO WHO FOLLOWS UP ATTACK. 
No.| ODNvITEs. ATTACKS, 
180 Srd guard @nd guard Srd deviamento and cut at flank 
181 8rd guard Qnd guard Srd deviamento and circle at left 
188 Srd guard nd guard Srd deviamento and circle at breast 
or belly 

183 Srd guard Qnd or Srd 4th deviamento and cut at right 

guard cheek, ig 
184 Srd guard Qnd or Srd 4th deviamento and cut at left cheek 

guard 
185 3rd guard Qnd or Srd 4th deviamento and cut at head 
186 Srd guard Qnd or 8rd 4th deviamento and coupe outside 
187 3rd guard Qnd or srd 4th deviamento and circle at flank 
198 8rd guard Qnd guard 5th deviamento and disengage under 
189 38ed guard Qnd guard 5th deviamento and cut at flank 
190 3rd guard 2nd guard 6th deviamento and circle at left 

chee 
Qnd guard 6th deviamento and circle at b 
191 Srd guard gua or belly at breast 
192 2nd binding in touch Ist change and point within 
198 2nd binding in touch 1st change and circle at head 
194 2nd binding in teuch 1st change and circle at left cheek 
196 2nd binding in touch 1st change and circle at breast and 
 A 

196 2nd binding in touch 1st change and circle at right cheek 
197 4th binding in touch Srd change and point at breast 
198 4th binding in touch $rd change and eoupe within 
199 4th binding in touch Srd change and cut at head 

sixth 

sixth 

second centro 

first contro 

sixth 

thi 

ACTION .—ContrnveEp. 

point ant head, right and left cheek, breast, belly, 

disen, haere head, right and left cheek, breast, belly, 

disengage, filo, left cheek, breast, belly, flank, 

disengage, head, left ‘cheek, breast, belly, flank, 

point, b head, right and left cheek, breast, belly, and 

disen ngago, es head, right and left cheek, breast, belly, 

e, head, right and left cheek, breast, belly, 

disen 

flank, and a 

dinengage ne head, d, right and left cheek, breast, belly, 

breast, belly, flank, and a 
disengage, filo, left cheek, "preast, belly, flank, arm, 

flank, and arm me 

disengage, filo, lef left cheek, breast, belly, flank, arm, 

breast, belly, flank, and 

disengage, head, left tt cheek, breast, belly, flank, arm, 

XxXV11. 
TIME ACTION ContRo 
First SECOND ON 
a 
disengage. arm above arm within 
wi 
disengage arm within arm within 
disengage arm within arm within 
disengage arm within arm eutside 
ngage arm within arm outside 
disengage arm outside arm outside 
disengage arm above arm outside 
disengage arm above arm above 
disengage arm above arm above 
disengage arm within arm above 
disengage arm within arm above 
disengage arm within arm eutside 
wit 
disengage arm within arm within 

No OF HE WHO OF HE WHO WHO FOLLOWS UP ATTACK 
° INVITES. ATTACKS, 
200 4th binding in touch Srd change and cut at right cheek 
201 4th binding in touch Srd change and cut at left cheek 
202 4th binding in touch 8rd change and cut at flank 
203 3rd binding in touch 4th change and cut at right cheek 
204 8rd binding in touch 4th change and cut at head 
205 3rd binding in touch 4th change and cut at left cheek 
206 8rd binding in touch 4th change and coupe outside 
207 $rd binding in touch 4th change and circle at flank 
208 2nd guard 2nd or 8rd 1st tocce and point within 
g 
209 2nd guard Qnd or 8rd Ist tocco and cut at flank 
guard 

210 2nd guard 2nd guard 2nd tocco and point below 

211 Qnd guard Qnd guard Qnd tocco and cut at right cheek 

212 2nd guard d guard 2nd tocco and circle at head 

213 3rd guard 2nd guard 3rd tocco and point below 
214 8rd guard Qnd guard 8rd tocco and cut at head 
215 3rd guard Qnd guard 3rd tocco and cut at flank 
216 3rd guard Srd guard 4th tocco and cut at right cheek 
217 3rd guard 3rd guard 4th tocco and cut at left cheek 
218 3rd guard Srd guard 4th tocco and cut at head 
219 Srd guard Qnd guard 5th tocco and point below 
220 3rd guard 2nd guard 5th tocco and cut at flank 
221 3rd guard 5th tocco and circle at left cheek 

@nd guard 

Finan 
PARRY 

sixth 

sixth 

Ysecond 

sixth 

sixth 

ACTION .—Conrirvep. 

aeenzeee filo, head, right cheek, and arm 

Freel ve flank, and 

ead, left cheek, breast, belly, flank, arm, 

disengage, hes head, a. ight and left cheek, breast, belly, 

disengage, head, ict eheek, breast, belly, flank, arm 

ome filo, head, right cheek, and arm 

disengage, hes head, i, right and left cheek, breast, belly, 

point, head, right and la left cheek, breast, belly, and arm 

 and coupe within 

head, left cheek, breast, belly, flank, arm, 

disengage’ head right wat lett cheek, breast, bell 
seLgage, head, right an r e 
flank "and arm % 

disengage, ead, left cheek, breast, belly, flank, arm, 

oint, head, right and left cheek, breast, belly, and arm 
nga head, right and left cheek, breast, belly, 

disengage, he head, right and left cheek, breast, belly, 

Fest SECOND ON 

eevee SS ts 

disengage arm outside arm wi 
within thin 
di arm outside arm wi 
ce ee thin within 
disengage arm above arm within 
arm within arm outside 
outside tal 
arm within arm outside 
outside 
 arm within arm outside 
isengage arm eutside arm eutaide 
arm above arm outside 
disengage arm above arm outside 
) arm outside arm within 
disen: arm outside’ arm within 
disengage — arm outside arm within 
disengage arm above or arm within 
within outside 
entside arm within arm. outside 
ge arm within arm outside 
eee iteide 
 arm within’ arm outside 
disengage arm above arm above 
arm above arm above 
disengage arm within arti Above 

No. 

BH & 

PostrTion 
eS 

Srd guard 2nd guard 

2nd binding in touch 

and binding in touch 

3rd binding in touch 

S$rd binding in touch 

Sed binding in touch 
Qnd guard 

and guard in touch 
Gnd guard 

and guard a touch 
2nd guard 

Qnd guard rae touch 

8rd guard 2nd guard 

Srd guard 2nd guard 

8rd guard 2nd guard 

Srd guard Srd guard 

Srd guard Srd guard 

Srd guard Srd guard 

Srd binding in touch 

3rd binding in touch 

3rd binding in touch 

ACTION oF HE PaRRY THAT Fina. 
WHO FOLLOWS UP ATTACK. DECEIVES, PARRY, 
6th tocco and circle at breast or belly -_—- foarth low 
lst change tocco and point within first 
lst change toceo and cut at flank —_ third low 

8rd change tocco and point above 

Srd change tocco and cut at head 
3rd change tocco and cut at flank 

4th change tocco and cut at right 

4th change tocco and cut at left cheek 

4th change tocco and cut at head 

2nd sforso and point under 

_Qnd sforso and cut at right cheek 

2nd sforzo and circle at head 
8rd sforzo and point under 
8rd sforzo and cut at head 
3rd sforzo and cut at flank 

4th sforzo and cut at right cheek 

4th sforzo and cut at left cheek 

4th sforze and cut at head 

3rd change sforzo and point above 

3rd change’sforzo and cut at flank 

4th change sforzo and cut at right 

4th change sforzo and cut at left 

4th change sforzo and cut at head 

 

sixth 

sixth 

sixth 

sixth 

sixth 

sixth 

ACTION.—ContTiInvED. 

oint, head, right and left cheek, breast, belly, and arm 
visengs e, head, right and eft cheek, breast, belly, 

disengage, head, right and left cheek, breast, bell disengage 
flenk, and arm ° y one onder 

Meengage, filo, head, right cheek, and arm 

arm and coupe inside 

and eoupe inside 

breast, belly, dank, and arm 

fi and arm 

oie itside 

dise 6 
ee taide 

eee tside 

disen 
Bee bove 

dise 
eee ove 

“iseng Eee 
men BB in 
ween EAEG tn 
ONES in 

oe side 

disen, 
eeeithin 

arm above or 

arm above or