No30R PRICE 25 CENTS* Group XI V. d Cover" Series of Athletic Handbooks f 1 he ARTdf FENCING \S BY SENAC 4 FENCIN S#Z *C BY BRECK V: American sp^^Spublishing Co.| ■i.-i><«*» 2/ Warren Street, NewYorK C'S,?"'! Spalding & Bros. %IN MAINTAIN THEIR OWN HOUSES FOR DISTRIBUTING THE 1 ^ Spalding ^^ COMPLETE LINE OF ,J\ .-, Athletic Goods .', JN THE FOLLOWING CITIES J 24-128 Nassau St. '.fi.wi.S20 Fifth Avenue NEWARK, N. J. 845 Broad Street PHILADELPHIA, PA. 1210 Chestnut Street 60S Wood Street BUFFALO, N. Y. 811 Main Street SYRACUSE, N. Y. 357 So. Warren Street ... mwim ^bl^o > mil CHICAGO 28-30 So. Wabash Ave. INDIANAPOLIS. IND. 138 N. Pennsylvania St. CINCINNATI, O. 119 East Fifth Avenue CLEVELAND, O. 741 Euclid Avenue WASHINGTON, D. C. 613 14th Street, N.W. LOUISVILLE, KY. 328 West Jefferson St. NEW ORLEANS, LA. 140 Carondelet Street DALLAS, TEX. 1S03 Commerce Street MANCHESTER, ENG. 4, Oxford St. and 1, Lower Mosley St. BRISTOL, ENG. 42, High Street SAN FRANCISCO 156-1S8 Geary Street SEATTLE. WASH. 711 Second Avenue LOS ANGELES, C AL. 43S South Spring St. PORTLAND, ORE. 345 Washington Street SALT LAKE CITY, UTAH 27 E. 2nd South St. ST. LOUIS. MO. 415 North Seventh St. KANSAS CITY, MO. 1120 Grand Avenue MILWAUKEE, WIS. 379 East Water Street DENVER, COL. 622 Sixteenth Street MINNEAPOLIS, MINN. , 52 Seventh St., South ST. PAUL, MINN. 388 Minnesota Street i. -l'UI>l\(,4BgOS..«! THE SPALDING TRADE - MARK QUALITY AND SELLING POLICY Constitute the Solid Foundation of the Spalding Business y»- ,,. -,v .„.y^.,,„,_ .;-.,,. ,....^w..- ..„.,,■■ ..» ..■, ,^... - r |r ^. ||nlf|i - |rr . r ^ SPALDING ATHLETIC LIBRARY o a Giving the Titles of all Spalding Athletic Library Books now in print, grouped lor ready reference ^ ^^^fL? mciAL aWuXiS -O No No. 2. No. 6. No. 7. No. 7A. No. 9 ™ G ' S OFFICIAL BASE BALL GUIDE Pr i ce i 0c X.KXESS SK IC,AL F00T BALL GUIDE. . Prce Oc 5^^2 2SSKH?«s«w guide. . R 2: XiffiS i FF,c,AL BASKET ball guide: , SPALDING'S OFFICIAL WOMEN'S BASKET BAI I GHinF SPALDING'S OFFICIAL INDOOR BASE BALL GIJIDF No. 12A. SPALDING'S OFFICIAL ATHLETIC RULES No. JR. SPALDING'S OFFICIAL ATHLET C ALMANAC * ' No. 3R SPALDING'S OFFICIAL GOLF GUIDE " No. 55R. SPALDING'S OFFICIAL SOCCER FOOT BALL GUIDE* No. 57R. SPALDING'S OFFICIAL LAWN TENNIS ANNUAL No. 59R. SPALDING'S OFFICIAL BASE BALL RECORD ' No. 31R. SPALDING'S INTERNATIONAL POLO GUIDE ' ' Group I No, 1 Price 10c. Price 10c. . Price 10c. . Price 10c. . Price 25c. . Price 25c. . Price 25c. . Price 25c. . Price 25c. . Price 50c. Base Ball No. 202 No, 219 No. 223 No. 224 No. 225 No. 226 No. 227 No. 228 No. 229 No. 230 No. 232 No. 231 Group II. Foot Ball No. 2 Spalding's Official Foot Ball Guide No. 335 How to Play Rugby. Spalding's Official Base Ball Guide How to Play Base Ball Ready Reckoner of Base Ball How to Bat (Percentages How to Play the Outfield How to Play First Base How to Play Second Base How to Play Third Base How to Play Shortstop How to Catch How to Pitch How to Run Bases f How to Organize a Base Ball I Ho^toOrganize a BaseBaH J r0U P VL Hockey | How to Manage a Base Balli No - 6 Spalding's Official Ice Hockey f Club | Guide , How toTrain a Base BallTeam Na 180 Rin % Hockey How to Captain a Base Ball u Te \ m TT • Group VII. Basket Ball LTSntfe^afems j N °' 7 ^^y s Official B^tl^l ! No. 7a FOOT BALL AUXILIARIES No. 351 Official Rugby Foot Bali Guide No. 358 Official College Soccer Foot Ball Guide Group IV. Lawn Tennis No. 157 How to Play Lawn Tennis No. 350 How to Score No. 193 Guide Spalding's Official Women's Basket Ball Guide How to Play Basket Ball BASE BALL AUXILIARIES £J°* III Minor League Base Ball Guide I No. 356 Official Book National League Group VIII. Lacrosse of Prof. Base Ball Clubs | No. 201 How to Play Lacrosse (Continued on the next page.) ANY OF THE ABOVE BOOKS MAILED POSTPAID UPON RECEIPT OF 10 CENTS *£JL£ tW - nal h0 ° ks ° n athletic subjects see list of Spalding's "Green Covor" tUtmrSorw on next page and Spalding's -Red Cove?" Season second pagefollow%ng. 12 . l6 . u SPALDING ATHLETIC LIBRARY Indoor Base Ball Group XIV. Group IX. No. 9 Spalding's Official Indoor Base Ball Guide Group X. Polo No. 129 Water Polo No. 199 Equestrian Polo Group XI. Miscellaneous Games No. 13 Hand Ball No. 14 Curling No. 167 Quoits No. 170 Push Ball No. 207 Lawn Bowls Group XII. Athletics No. 12a Spalding's Official Athletic Rules College Athletics Official Sporting Rules Athletic Primer Athletes' Guide All Around Athletics Athletic Training for School- boys How to Run 100 Yards How to Become a Weighl Thrower Marathon Running Schoolyard Athletics Walking for Health and Com- petition ATHLETIC AUXILIARIES No. 302 Y. M. C. A. Odicial Handbook No. 313 Public Schools Athletic- League Odicial Handbook No. 314 Girls' Athletics Group XIII. Athletic Accomplishments No. 'S.\ Canoeing No. 128 How to Row No. 17S How to Train for Bicycling No. 209 How to Become a Skater No. 282 Roller Skating Guide Manly Sports No. 27 No. 55 No. 87 No. 156 No. 182 No. 240 No. 255 No. 259 No. 317 No. 331 No. 342 No. L! ( .) Pulley Weight Exercises No. 102 < rround Tumbling No. L43 [ndian Clubs and Dumb Bells No. L65 Fencing I By Senac) No. I'.tl How to Punch the Bag No. 262 Medicine Ball Exercises No. 289 Tumbling for Amateurs Group XV. Gymnastics No. 124 No. 214 No. 254 No. 287 How to Become a Gymnast <; tailed Calisl henics and Dumb Bell Drills Barnjum Bar Bell Drill Fancy Dumb Bell and March- ing Drills GYMNASTIC AUXILIARY No. 345 Official Handbook I. C. A. A. Gymnasts of America Group XVI. Physical Culture No. ll'.l No. 161 No. 185 No. 208 No. 234 No. 238 No. 285 No. 288 No. 325 Scientific Physical Training and Care of the Body Ten Minutes' Exercise for Busy Men Hints on Health Physical Education and Hy- giene School Tactics and Maze Run- ning Muscle Building Health by Muscular Gym- nastics Indigestion Treated by Gym- nastics Twenty-Minute Exercises Spalding " Green Cover " Primer Series No IP. How to Play Tennis— For Beginners. . By P. A. Vaile. Price 10c. No. 21'. How to Learn Golf By P. A. Vaile. Price 10c. No. 3P. How to Become an Athlete. . By James E. Sullivan. Price 10c. No. 4P. HowtoSprint Price 10c. ANY OF THE ABOVE BOOKS MAILED POSTPAID UPON RECEIPT OF 10 CENTS Far additional books on athletic subjects see list of Spalding's" Red Cover]' Series on next page. SPALDING ATHLETIC LIBRARY a Red Cover" Series No. 1R. Spalding's Official Athletic Almanac* Price 25c. No. 2k. Strokes and Science of Lawn Tennis Price 25c. Nr». 3R. Spalding's Official Golf Guide.* Price 25c. No. 4R. How to Play Golf Price 25c. No. 6R. Cricket, and How to Play It Price 25c. No. 7k. Physical Training Simplified Price 25c. No. 8R. The Art of Skating Price 25c. No. ( JR. How to Live 100 Years Price 25c. No. 10R. SingleStick Drill. Price 25c. No. 11R. Fencing Foil Work Illustrated Price 25c. No. 12R. Exercises on the Side Horse Price 25c. No. 13R. Horizontal Bar Exercises Price 25c. No. ilk. Trapeze, Long Horse and Rope Exercises Price 25c. No. 15R. Exerci es on the Flying Rings. Price 25c. No. L6R. Team Wand Drill Price 25c. No. 17k. Olympic Games, Stockholm, 1912 Price 25c. No. L8R. Wrestling Price 25c. No. L9R. Professional Wrestling Price 25c. No. 20k. How to Play Ice Hockey Price 25c. No. 21k. Jin Jit.su Price 25c. No. 22R. How to Swing Indian Clubs Price 25c. No. 23R. Get Well; Keep W T ell Price 25c. No.24R. Dumb Bell Exercises Price 25c. No.25R. Boxing Price 25c. No. 27k. CalisthenicDrillsandFancyMarchingfortheCIassRoom Price 25c. No. 28R. Winter Sports Price 25c. No. 29R. Children's Gamei Price 25c. No.30R. Fencing. (By Breck.) Price 25c. No. 32k. Physical Training for the School and Class Room. . . Price 25c. No. 33 R. Tensing Exercises Price 25c. No. 34R. Grading of Gymnastic Exercises Price 25c. No. 35R. Exerci e on the Parallel Bars Price 25c. No. 36R. Speed Swimming Price 25c. No. 37R. How to Swim Price 25c. No.38R. Field Hockey Price 25c. No. 39R. How to Play Soccer Price 25c. No. 40R. Indoor and Outdoor Gymnastic Games Price 25c. No. 41R. Newcomh Price 25c. No. 42R. Davis Cup Contests in Australasia Price 25c. No. 43k. Archery, Lawn Hockey, Parlor Hockey, Lawn Games. Price 25c. No. Ilk. Howto Wrestle Price 25c. No.45R. Intercollegiate Official Handbook Price 25c. No. 47k. How to Play Foot Ball Price 25c. No. 48R. Distance and Cross Country Running Price 25c No.49R. Howto Bowl. . Price 25c. No. 50R. Court Games Price 26c. No.51R. 285 Health Answen Price 25c No. 52R. Pyramid Building Without Apparatus Price 25c. No. 53R. Pyramid Building With Wands, Chairs and Ladders. . Price 25c. No. 55R. Spalding's Official Soccer Foot Ball Guide.* Price 25c No. 57k. Spalding's Official Lawn Tennis Annual.* Price 25c No.58R. Official Collegiate Basket Ball Handbook.* Price 25c No. 59R. Official Base Ball Record (Including College Records;.* Price 25c No. 31R. Spalding's International Polo Guide.* Price 50c •Published annually. 12-19-14 -j I — Spalding "Red Coves" Sekiei <>< Athletic Handbooei No. 30R THE ART OF FENCING BY REGIS and LOUIS SENAC OF HEW YOBS PROFESSIONAL CHAMP] OF AMERICA *T PUBLISHED BY AMERICAN SPORTS PUBLISHING CO 21 '.. f — ' LJ ' — COPYRIGHT. 1915 BY Ambrican Sports Publishing Company New York #6> j \ % MAY -5 im ©CU398708 0/ Spalding's Athletic Library. 'i he I wro best known and most i apable in iti u< toi i in America are Regis and Louis Senac, the Parisian i perts who have long condui ted an academy in New Vol I- ( -iiy. Reg! ' ■• na< father of I ,ouis Senac, was for many years instrui tor of fen( ing in the French army, ili<- Boldiers ol which have won a world wide reputation as e q>on< tits oi the highe \\ foi m ol the foil, sword an has quai in the Berkeley Lyceum, in West Forty fifth Street, where be giveb lemons twice a v/eek. Spalding's Athletic Library. A sport for even the kingliest of kings and a science worthy of the closest study is fencing, and many years of popularity have firmly imbedded it in the hearts of thousands of people. The noble art of attack and defense with the foil is one of the oldest diversions having wide latter-day vogue, and the fact that it has held its own with the multitudinous pastimes of the present period speaks volumes in testimony of the fascinations of the play and clash of steel. Modern fencing was fathered by the swordplay of the medieval ages when, too often perhaps for the comfort and longevity of the populace, "might made right" and the life and honor of dashing cavaliers depended on their ability to wield the rapier or the sword. For purposes of pleasurable exercise and bodily train- ing the ponderous old-time swords gave way in after years to the sensitive, tapering foil with which we are all familiar. Downward slashes and side cuts were replaced by the thrust, and science made success more the fruit of art and less the reward of mere brute strength. History tells us that the first swords were used by the Greeks and the Romans. The weapons of that ancient epoch were clumsy implements of bronze, which inflicted a terrible wound. So far as the scientific use of the blade is concerned, however, we must look back to Spain, where the possibilities of the sword were first realized and developed. The Spaniards caused the " Song of the Sword" to become familiar " music" throughout their own land and others, and the daring dons, swarthy of mien and haughty in bearing, rise to heights in their deftness with the glistening steel. Spalding's Athletic Library. 6 From Spain swordplay was introduced into Italy and France and later it spread into Germany, England and America, etc. The word "sword" is used in a somewhat general sense, for the weapons, while they may be so described, exhibited a variety in form. There were huge, double-bladed bars of metal which were swung with both hands, and their office was to crush the heavy plates of armor worn by warriors of the period. Also there were weighty pointed blades, with both edges sharpened, to be manceuvered with one hand, and then came the rapier, a lighter weapon that permitted scientific handling, etc., etc. Daggers, too, were considered a necessary adjunct to the accoutrement of the Sir Knight and to the dress of the gentleman of leisure. During the sixteenth and seventeenth centuries the introduc- tion and usage of steel weapons was one of the "striking" features of life. It has been said that the history of the sword is the history of the world, and this statement is particularly true of the hundred years extending from the middle of the sixteenth century to the middle of the seventeenth century. The popular weapon of the times was the Spanish-Italian rapier, with its accompaniments— a poniard and a buckler, a gauntlet or a cloak, the latter being used as a means of defence. The advent of the rapier brought about "the most quarrelsome period in history," and everywhere instructions in the handling of the implements of assault and protection were in demand. In Italy experts made fortunes in giving lessons, and duels, street fights and other hand-to-hand engagements multiplied with in- credible rapidity. It seemed that men sought to know the secrets of the sword and rapier science merely to demonstrate to the world the extent of their prowess, and which could be evidenced only by the spilling of blood in large quantities. The rapier began as a plain, cross-hilted sword. Finally it «, Spalding's Athletic Library. acquired guards u n protection to the hand, and afterward it took on the cup form ol handle, b) which we nov» | Seldom |i is than foin feet in length, extending in som< feet, and tapering to the sharpcsl oi points, .t deadly wound could easily ' e lult fi i 'in •' tin ii .1 . v. i he adjun< i < >\ i he i apiei . 1 1 1 « - d i n c< uld be used, n>>i only to parrj blow • with the rd, but also i>> supplemenl the attack with thai weapon, \ common use of the ; to give the H coup d< aftei the i ontest w it h the sword had been won, The combatants usually stripped to their shirts foi the en counter, and when both weapons were used the fight was sure to be picturesque and exciting In ili> - extreme, Among the ti attempted by the fighters was that ol sei Ing an opponent's da j :>■! by i1 • blade and v\ reaching it fi om hi in oi del i" pi e> >'ni this, thi i u in de with aw like teeth, set backward, to cut through the gloved hand of the swordsman and cruelly lacerate thai member, ^s a countei measure, fine mail was sewed into the gauntlet, protecting the hand, and bi th oi the ' Sometinn s, after the daggei had been torn from the hand ol an antagonist, the sv\ ord tman * ould i hi ow it into the aii v ii:. u it has been known to pierce and kill the opponent in its des* ent . I n ir. ol time the blade w is made shorter and deprived of some of its weight, With this lightei instrument came rapid ad\ -nu es in I 6 ol > apiei usage. The ] I and the lunge became established and recogni . and then followed the lunge, The lunge is the forward movement ol the body, executed bj advancing the forward footj the right, without displacing the real foot, The credit foi the discovery of the lungs Sfittldi • ■■; ' s ' '■■ ' v. 7 Iven to diGrassi, i noted [tilitn fencing mattei oi ( i"" (crulli , ( Mini \. riir introduction oi fencing Into Italy and France resulted In the founding »>i two distinct schools 01 ly stems <>i attack ind defense. The Frem ii system Is held bo be the superloi ■'" man <>■ woman Is capable ol manl festing. 1 1 ' ■ a - 1 ■<• "i i "ii> 1 1 .in- 1 go every moment, i he Frem h in. in win; by finesse, by the apotheosis <>i ikllful maneuvering! The Italian depends to •> great extent on the powei "i in • attai '•. m;; i(. beai opponents down by iheei itrength, He puts more force Into his thrust i snd frequently itamps in ■ forward foot violently and exclaims, \ n authority once saldi ' ' \ Hercules Is required in the making oi s successful ftallan fencer; •> woman in n i lit to t he top in the Fi em i> s< hool. ' While that statement may perhaps be overdrawn, the Idei ol the difference in the two lystems 1 1 well conveyed. Henri Saint Dldler, s fencing Instructoi In Paris In > v/". was < >nr t ii the leading pioneers ol the art In France. 1 1 Is generally believed that he gave names i" the thrusts, etc., then In the fencer's repertoire. A teachet aftet Saint Dldler's time, Paer, arranged the various parries in i lasses, five In all, prime, seconde, tierce, quarte ■""I qulnte. The government military establish m rui near Paris, the High School ol Military Gymnastics, is principally responsible foi the progress ol fencing In France ol late years. Masters-at arms are graduated from this Institution who are lent to instruct the men In the various regiments ol the Fi em ii .ii in v . France, Italy and Spain have long lists oi names oi fencers that have added to the fame ol theii countri< i. Aside from Saint g Spalding 's Athletic Library. Didier probably one of the best known of the old French experts was Chevalier d'Eon de Beaumont. He was born in 1728 and died in 1810. As a punishment for a political offense, the king of France, Louis XV., ordered him to wear woman's clothes, and as a result many people believed him to be really a woman. Beaumont went to London in 1763 as a plenipotentiary from the French court. His greatest fencing feat occurred when he met and defeated the then renowned Chevalier de Saint George. He reached the body of Saint George seven times, the latter scoring not even a single point. Saint George, by the way, was born at Guadaloupe, and was the son of a wealthy planter and a negress known as "La Belle Nanon." At exhibitions in London it was once remarked in regard to Saint George that "no professor or amateur ever showed so much accuracy, such strength, such length of lunge, and such quickness as he; his attacks were a perpetual series of hits; his parade was so close that it was in vain to attempt to touch him; in short, he was all nerve." Other eminent masters of the French school in bygone days were Boessiere, the two Bertrands and Charlemangue. Oldtime Italian fencers of note, who also wrote about the art, were Marozzo, Agrippa, Grassi, Fabris and Manciolino. Car- ranza and Narvaez were leaders in Spain. Germans showed comparatively little originality in rapier play, having adopted first the Italian, and then a mixture of the Italian and French styles, but they are held in esteem as practical swords- men. The Kreussler fencers, taught by one Kreussler, the founder of a family of twelve fencing masters, made a reputation for themselves all over Europe. From the middle of the eighteenth century fencing was regarded as the study of paramount importance at German universities. At Jena, Halle, Leipzig, Heidelberg, and, later on, at Goettingen, OFFERING AN OPPONENT THE CHOICE OF FOILS BEFORE A CONTEST- Spalding s Athletic Library. 17 Hclmstadt and Siessen, duels became so common and dangerous, -the play being simply cut and thrust fencing-that even the most peaceable student was never sure of his life for a single day. Until about the third decade of the last century, the students insisted on fighting with the rapier, and on being either killed or dangerously wounded in an encounter. But as the German univer- sity fencing schools lost their importance the modern French foil play came into existence, while the system of fencing followed by the students became so specialized as to lose its true character, the object being simply to lacerate the opponent's head and face as much as possible, meanwhile protecting one's self from similar injuries. Constant rivalry exists between the French and Italian schools. Their exponents seldom if ever weary of claiming preeminence for their own particular method. On several occasions matches have been engaged in by representatives of these two countries, and great interest has always been attracted to them. The most recent important contest of this sort was held in Paris a few years ago, when M. Damote, a maitre d'armes of Paris, clashed with and was wounded by M. Athos de San Malato, an Italian expert of prominence. A careful consideration of the respective merits of the two schools teaches that the Italian school is, and always will be, inferior to the French, at least as long as the Italian fencer relies upon vigor and gymnastic ability instead of upon skill and agility, as does the Frenchman. The art of the fencer consists more of adroitness than of mere strength, and its principles have long ago been laid down and explained. To fence according to the Italian method a man must be gifted naturally with considerable bodily strength, while, according to French authorities, a fencer who develops his mus- cles abnormally will seldom excel with the foil. 18 Spalding 's Athletic Library. The fact is that there are in France a great number of persons in the very highest ranks of society, who, while skilful fencers, are yet by no means remarkably strong. It is undoubtedly true that in most contests between Italians and Frenchmen, where both had an equal reputation, the French ex- pert won. For those who have studied the question the position of the French fencer is more to be admired than that of the Italian. The former is majestic, guards composedly, and is always covered; the Italian, on the other hand, is continually in movement, some- times crouching, sometimes erect, but all the time apparently ready to jump upon his adversary, while from his throat issue strange guttural sounds, which are only too apt to mislead the spectators into believing his attacks much more dangerous than they really are. Most modern French fencing masters are graduates from the government school of Joinville-le-Pont, before mentioned. Such a school does not exist in Italy, or, in fact, in any other country outside the French dominions. At this school there are ten French teachers and but one Italian. History tells of the celebrated Jean Louis, who, in 1814, while with the French army then invading Spain, killed thirteen Italian fencing masters in succession. In Shakespeare's time, fencing with rapier and dagger was a prime favorite among recreations, and other less peaceable pur- suits. We find many passages in the works of the Bard of Avon referring to sword play. In " Romeo and Juliet " we read : He tilts With piercing steel at bold Mercutio's breast ; Who, all as hot, turns deadly point to point, And, with a martial scorn, with one hand beats Cold death aside, and with the other sends It back to Tybalt, whose dexterity Retorts it. Spalding's Athletic Library, 19 THE REWARDS OF FENCING. The fencer is always enthusiastic concerning his art, his " grande passion." And why is this the case ? Why does he not accept his fencing pleasures philosophically and continue in the even tenor of his way ? The truth is, that he has found something of great value, of undeniable fascination, and about which he believes all his friends and acquaintances should know. Therefore does he publish the tidings abroad. Sometimes uninitiated folk marvel at the unbounded praise fencing devotees shower on their favorite diversion. They stand aloof with a superior air and occasionally condescend to show a modicum of interest in the foils. There comes a time, however, when the supercilious one becomes infected by the fever. He dons fencing garb, grasps a foil, and makes some instructor's life one continuous round of labor for weeks at a time. Then one day he realizes that he is actually a convert tc the foils and that his enthusiasm may well be said to border on the fanatical. " I came to laugh and I re- mained to learn." he says to himself, and delves still deeper into the mysteries of the intricate, yet unparalleled science. It is through many rewards to its disciples that fencing holds the attention of every man and woman, even though he or she taste ever so sparingly of its cup of pleasure. First, the practice of fencing affords an exercise that is absolutely unrivaled as a natural aid to the highest form of physical development and edu- cation. (Muscles as well as brains can be educated.) Can you fail to recognize the fencer ? His grace and elasticity of bearing ; his elegance of manner ; his calm reserve, and, withal, the keenest of eyes ; his firm hand-clasp, literally vibrating with energy ; the admirable poise of his head ; his erect carriage, and his buoyant step set him apart from ordinary men, men of sedentary pursuits. 20 Spalding's Athletic Library. The fencer is more what the Creator intended man to be, than is the merchant or banker who shuts himself in his private office from morning until night, cramping his chest and lungs, rounding his shoulders and breathing " second-hand " air. The physical benefits of fencing are so numerous, in fact, that he that would enumerate them in detail must needs possess a vast measure of endurance. Every muscle is brought into play, in- dividually and in combination, and the system is invigorated sur- prisingly. As a stimulant, a fencing bout is far more effective than the best tonic a physician could prescribe. So if you are a victim of any sort of a depressing affliction, try the fencing cure. After finishing with the foils, a cold bath and a rub down with a rough towel will chop off at least ten years from the burden Old Father Time has rolled upon j^ou. The fingers, wrists, arms, shoulders and legs are doubled in power by methodical fencing. This development of the muscular tissues, moreover, is invariably symmetrical. No huge, unsightly bunches of muscle stand out to impress bystanders. Lithe, agile and quick as a wildcat, the operator of the foil is as far removed from the abnormal as is the product of a sculptor's chisel. Large muscles, such as some few of the Italian fencers possess, for in- stance, retard the rapidity of movement and render impossible good form of even the most elementary description. In addition, overdeveloped muscles tire far more quickly than do those of average size. Fencing also gives a man a mental equipment superior to that which he originally devoted to the art. The exercise requires study, thought and memory. It is none the less a science for being a recreation. Do not deceive yourself on this point. The brain is prompted to act without a moment's hesitation. It must change perception into action instantaneously. Readiness of wit STRATCHTENTNC TTIK. FOI), AFTER A TOUCH. No. 7 THE FIRST POSITION OP "ON GUARD" (RIGHT HAND). No - SECOND POSITION <»!■' THE GUARD (RIGHT HANlo No 9 THIKP POSITION OF THE GUARD (RIGHT HAND). No. 10-FOHRTH POSITION OF THE CHARD (RIGHT HAND) CORRECT. No. 10A-FOTT-RTH POSITION OF THE CUATJD (RIGHT HANI*) [NCORRECT. [NoTE-Bhuie of foil is dropped too much from a straight hue.] No. 11-FTFTH POSTTTON OF THF CUARD (RIGHT HANDV Spalding's Athletic Library. 29 is an unmistakable attribute of the fencer. He is as resourceful and as full of cunning as an Apache brave, and this is by no means a comparison to be sneered at. The fencer should make a better financier or diplomat than should a man reared along re- stricted lines. He should be quick to detect the weakness or strength of an argument or a situation and act swiftly, unerringly. He must do this very thing in fencing bouts. Cannot the same practice be transferred to business or professional life ? There is no apparent reason to the contrary. In social and everyday life the fencer has a distinct advantage over his narrower, disinterested, more prosaic co-laborer. He feels sure of himself at all times and under all conditions. His training has rendered it impossible for him to strike an awkward pose. He will unconsciously make movements that will attract attention through their ease. The constant use of his arms and hands has made him stronger than the ordinary man and the knowledge of this fact gives him confidence he would otherwise lack. In the business world he will be able to stand a great strain. No task will appal. The fresh blood and newly formed tissues will support him through many a crisis when competitors are exhausted and mayhap seriously ill through their efforts, The atmosphere of freshness and enthusiasm that he will uncon- sciously carry with him is certain to favorably impress the people with whom he comes in contact. Fencing knowledge has often saved a man's life, or at least preserved him from serious bodily injury or loss of valuables. Attacked by footpads in a lonely spot, the fencer is able to keep his assailants at a distance with nothing more than a cane and possibly disable them. A relative of the writer was once sur- prised in his home by a burglar. The intruder, a burly ruffian, sought to overpower the man in question by brute force. The so Spalding's Athletic Library, latter, however, seized an umbrella, and, being an expert fencer, resisted the rushes of his opponent and punished him so severely that he was unable to escape from the police. WOMEN AND FENCING. Women find the art of handling the foils to be a wonderful benefit in many ways. The exercise reduces surplus adipose tissue, making their figures trim and comely, rounds their muscles, develops their busts, and the stimulus to the circulation of the blood improves their complexions to a highly desirable degree. They find fencing to be as conducive to lightness of foot and all around gracefulness as dancing, and all the large fencers' clubs reserve certain hours each week for the conve- nience of the wives atul daughters of the members. In the New York Fencers' Club, for instance, an extract from the provisions of the House Committee reads as follows: "The Ladies' Class has the privileges of the Club every Mon- day, Wednesday and Friday morning from 10 until I o'clock. The Maitre d' Amies and Prevot will be in attendance to give lessons." Some of the woman fencers in this country are remaikably expert in execution of the various thrusts, parries and feints, and Miss Toupie Lowther, the well known champion of the English women's fencing world, is more than a match for many a man that considers himself a capable performer. Spalding's Athletic Library. 31 HOW TO FENCE He that would become proficient in fencing must make up his mind to devote a somewhat lengthy period to study and practice. The intricacies of the art are such that only the determined man can ever hope to excel. The erratic genius, the intermittent dabbler, the half hearted imitation enthusiast has no place on a fencing floor. A competent instructor is an absolute necessity, one that has mastered all the ins and outs of foil wielding, and when obtained his words should be given serious heed. One of the first things you will learn will be the proper manner of holding the foil. You can never rise above the mediocre in fencing unless you are taught this point. HOLDING THE FOIL-SUPINATION AND PRONATION. Hold the foil with the thumb resting on the upper and broader side. Do not allow your thumb to come in contact with the hilt. Some fencers raise its tip so as to avoid receiving a jar during an interchange of blows or thrusts. Close the fingers firmly around the handle and do not let them overlap the thumb. When the fingers monopolize space that should be devoted to the thumb harmful interference results. If the foil is properly held the front of the thumb nail will face upwards and the nails of the fingers will face to your left — unless you are left handed. The importance of the proper holding of the foil will be realized when it is known that the fingers direct the course the point is to take and also prevent the handle from swerving in the hand. The mode of holding the foil which has just been described, is known as 32 Spalding* s Athletic Library. supination. In addition to it there is a position termed pronation. A foil held in supination is shown in Photo No. I. When a foil is held in pronation the ringers are drawn closer together than in supination. The thumb comes closer to the fingers and the back of the hand is turned upwards. The position known as pronation is assumed in some attacks and parries, but supination is more frequently used. Do not forget, as do many superficial students of fencing, that the play of the wrist and the fingers is the prim- ary, and the manipulation of the arm the secondary, consideration in a bout. A foil held in pronation is shown in Photo No. 2. For varia- tions in grip see also illustrations Nos. 3, 4, 5 and 6. Probably every beginner finds the fencing grip and variations tiresome to persist in practising. But later on, when the muscles of the fingers and the hands become accustomed to the positions no inconvenience will result. The elementary position in fencing is " on guard." The com- batant takes his pose at the beginning of an engagement and from it moves into the general action involved in parries, attack, etc. In putting yourself on guard, proceed according to the poses— for the right hand— illustrated in Photos Nos. 7, 8, 9, 10, 11, 12 and 13, for left hand, Nos. 14, I5> 16, 17 and 18, all of which are as follows : THE MOVEMENTS OF "ON GUARD." (Right Hand.) FIRST POSITION-/ 3 //^ No. 7. In the first position to be assumed in coming to "on guard " stand erect, facing outward toward your opponent. Hold your heels close together, your calves touching, if possible. Point the feet outward at a right angle. Extend the fingers of the left hand, the palm facing outwards. Hold the foil in supination in No 1? -SIXTH POSTTTON OF THE CTTARD (PJr.'TTT UANTfi. No. 13-SEVKNTH POSITION OF TTTE GUARD (RIGHT HAND). No. 14-FIRST POSITION OF THE GUARD a. KIT HAND). SECOND POSITION OF THE GUARD (LEFT HAND). No. ir,-TTJim> position OP THE oiiaud (LEFT HAND). No. 17-FOITRTTT POSTTTON OF TTTF GUARD (LEFT TTAND). [Note in fifth position of guard (left hand) the bodj is held in same position as above, ex< epl thai the arms are lowered aa in No 11, la aixth ^io^itioij, v.unpb U >>d .1 M. knees as m Wo I-'. J H POS I'Akli (LEFT H \.ND). No L9 W Ari'iNi ; r< >i: THE A.DVERS \ \:\ Spalding's Athletic Library. 45 the right hand, the nails turned upwards. Straighten the right arm and slant it outward from the body, as in Photo No. 7. SECOND POSITION— /%v< : ry i ir body, every nerve of eye and hand, all are < alert; and you live more intensely, more vividly in an a of a quarter of an hour, than n. ■eminently the ; but, unlike many otto ' o, yachting, etc., it is within the re poor'man. Just as the noble, but impecunious D'Artagnan won hi to fame by his rapier alone, so the champion fencer of t is made with a vf-ry moderate outlay. Foils, jackets, and a good master, or failing him, a fii of the art, are all that is required. What are the advantages of fencing? Let us first -- what it is superior to ail other sports. In training the judg- ment ' in giving i supple .-, and grace of movement; and in .. habits of courtesy. As a training for the . yields to no light gymnastics, not even to boxing., the populai \ j n a much more systematic and less violent m arm- young friend of mine, an enth a . ■:-, and gi gentler sister art, y persuaded to take fenci: En1 his bout, I heard liirn exclaim breathlessly, and with the pouring of! him, "Well, I never knew fencing took hold of a man so!" Mistorical Sl£etclr|. The modern school of fencing Is Founded, as we know, upon the old sword play of Spain, and was Introduced Into F by travelers from that country, ami into Italy through the conquest of Sicily by the Spanish Bourbons. From this period i two schools of Italy and France. While the Italian masters have kept to this date the long foil with its bell- guard, direct descendant of the old Spanish rapier, the French have modified their weapon so, that It to-day harmonizes more perfectly with the national charaoter, being lighter and more supple than ua. Scienl aid to date from the 16th Century, and was a sport patronized by royalty and cultivated by the noblesse Henry m, who was hi expert fencer down to Louis XVI, this wonder- ful tradition of the French school was preserved without inter. q, and the return of the Bourbons after I Napoleon, was the signal The year 18 theculmina i lenoe during the first half ol letwo . Jean-Louis. Boessiere, Saint Ge< Oharlei id a host of others held high the bai art 01 modern iy of the first rank mig named, such as] we may count worthy represe French school In Oorbessier, Rondelle, Jacoby, Qouspy, ler, Senac nafous. S< ateurs will be mentioned at the elose of this volume. The Italian Bohool Is also by no means to be despis Italians themselves. \ . full of lire and :e agility, have «en known as I swordsmen, although ; mion of most modern j the French school exhibits a decided superiority Ln point ol form and stylo over the Italian. THE ITOIL. "When, you buy your outfit, v,<> to a first-elftff dealer and o eneap stuff. It : generally bad, and often . 1/5 Of 'eight for your ber too light than too I which be m the blade Is laid - ■ an inch from the hilt. The handle should In i bo curved, and bound frith twine. Do not I d Into buying a pair of thoj gold-handled affaire, with which some dea rant. En the Qne mesh only, The common, s-mesh mi i r en by reputable dealei at menace to life, and shouli prohibited by law. i' earing one of 1 t a prominent Pall River physician sing mai I : d through the and Into the victim';: eye and brain -truly a terrible b cheap and worthii The i . i ench with broad leather are the beet, but many pi bb a rubber sole. Indpal requirement i - ; that It shall not slip. The glove should be loose but well ftttii raid be out In gam iiion. o lid be made ol ome otbei J. backed with ; I to by all I per /fence without a mask. To ■ lie of all well-i dngform i i t for mere than In recover, tiie different pai i n6 FENCING. HOW TO HOLD THE FOIL. This is the most important element, as in this sport, all the real play is restricted to the fingers, the aim playing a sub- ordinate part. Let the concave of the handle rest in the palm of the hand, the thumb stretched along the convex, and the forefinger a trifle in advance of the thumb. Hold the foil lightly but firmly, and so flexibly that the point can be raised by the mere action of the fingers, which will ache for a time, until used to this unwonted exertion. This position of the hand is called supination. The other position is called prona- tion, and is secured by simply reversing the hand, so that the linger nails are turned downwards. (See figs. 1 and 2.) FIG. 1. — HOW TO HOLD THE FOIL — SlipinatiOJl. fig. 2.— how TO hold THE foil— Pronation. The first position is the one most generally employed, and may be recommended to the almost exclusive use of begin- FENCING. II 7 ners. The great master Lafaugere gave his pupils the follow- ing excellent rule: "Hold your sword as if you had a little bird in your hand; firmly enough to prevent its escaping, yet not so firmly as to crush it." HOW TO GET ON GUARD. First take the position of attention; the feet at right angles with each other, the head erect, and right arm and foil extending downwards to the right, so that the button is about 4 inches from the floor; let the left hand hang down naturally, and poise the body so that your profile will be towards your opponent. The movements necessary for coming On Guard are seven in number. 1. Being in the position of attention, raise the arm and foil and extend them towards the adversary, the hand being op- posite the eye. (See fig 3.) 2. Let the arm and foil drop slowly until the point is about four inches from the floor. 3. Swing the point of the foil around to the left side of the body until the foil is held horizontally across the hip, the right hand being reversed, nails downward, and the point of tl pointing bach at the same time, place the fingers of the left hand together upon the blade, the palm up and the nails touching the guard. 4. Carry the foil, with- out altering the posi- ti' >n of the hands, above the head until the arms are extended to their full reach, the foil being kept horizontal and close to the body as it rises. no. 3.— coming on guakd.— First movement. Ilg FENCING. 6. Let the left arm fall back behind the head to a curved position, the hand being slightly above the head; at the same time bring the right hand down to the height of your right chest, about eight inches from the body; keep the elbow well in. The point of your sword is now directed towards your opponent, and in line with his eye. 6. Bend the legs by separating them at the knees, but without moving the feet. 7. Shift the weight of the body ^ entirely on to the left leg, ad- vance the right foot a short dis- FIG. 4.-ON GUARD. ^^ ^ ^ „. ^ ^ ft direcfc line from the left heel towards your opponent. (See fig. 4.) This is the position of On Guard. THE ADVANCE. Being On Guard, take a short step forward with the right foot and let the left foot follow directly after with the same distance, taking great care not to alter the position of body, head, arm or hand. This step or series of steps should be made with great rapidity, but the right foot should always move first. THE RETREAT. Being On Guard, take a short step with the left foot back- ward and instantly let the right foot follow ; the other parts of the body should not be moved, and the left foot should always move first. THE CALLS. This is an exercise to test the perfect equilibrium of the body, the weight of which should be so poised on the left leg as to make the following simple movements easy to execute. Being On Guard, strike or slap the floor lightly but sharply twice with the right foot, but without altering the position of any other part of the body. Care must be taken that the blow should be quick and light, which is impossible if the body is poised too much on the right leg. wmacanG. ITQ EXTENSION. FIG. 5.— EXTENSION. Without moving: the other parts of the body extend the right arm quickly, but without jerking, so that the arm, wrist and hand shall form a straight line with the foil, the hand and foil being on a line with the shoulder. The position of On Guard is resumed by simply rebending the arm. This exercise should be practised carefully, as on its per- fect execution depends the success of a lunge. (See fig. 5.) THE LUNGE. Extend the arm as above described, and immediately after- wards straighten the left leg, and throw forward the right foot so that it shall strike the floor so far forward as is pos- sible without losing the equilibrium ; the left foot should not be moved at all, while the right foot should be planted at right angles to the left, the right lower leg and thigh forming a right angle or nearly so. As the body moves, let the left arm fall straight back so that it shall hang four inches above the left leg. (See fig. 6.) To return On Guard, bend the leg and throw the body back with the right leg, which follows it to its position. The lunge should be practised against a leather plastron or other device, hung upon the wall at the heighth of a man's breast, at least a couple ^ of ..^^ LUNQB , hundred times daily, care being 120 FENCING. taken to execute the movements with the greatest smooth- ness and precision. The movements should at first be made slowly and in the order given above ; later on, the move- ments are accelerated and follow each other with such rapidity that the whole seems really to form but one movement. The mistake into which beginners are most likely to fall, is to throw the right leg and body forward before extending the arm ; this should be carefully guarded against. GAIN. This movement consists in bringing up the left foot towards the right, keeping the knees still bent. In this way a step is really gained, and an especially long lunge can be made with- out the adversary's knowledge. The movement should on this account be made as stealthily as possible, care being taken not to let the body sway when the weight is shifted onto thb right leg. The " Gain " is to be especially recommended to short fencers, as it has the effect of lengthening the lunge considerably. THE SALUTE. Having " recovered," carry the right hand to a position just in front of the throat, holding the blade vertically before the face, the hilt at the chin and the knuckles outward, then lower FIG. 7.— THE SALUTE. and extend the arm, nails up, until the point is four inches from the floor and a little to the right of the body. (See fig. 7. J The Grand Salute will be mentioned further on. FENCING. 121 THE EECOVER. This is the action necessary in coming from the position of On Guard to that of Attention. It is accomplished by extend- ing the right arm, lowering the left hand, and straightening the legs by drawing the rear foot up to the one which is in advance. The " Kecover " backwards is done in the same way, except that the forward foot is drawn back to the one in the rear. LINES OF ENGAGEMENT. For practical purposes the fencing jacket may be supposed to be marked out in quarters, the two upper halves being called the "High Lines," and the lower halves the "Low Lines." This is done in order to indicate as accurately as possible the place where the point of the foil arrives, or is in- tended to arrive. There are really four parries made with the hand in supination, and four, really the same, made with the hand in pronation. The first or sixte line is the upper right hand quarter of the body; a thrust at this portion is called a thrust or lunge in sixte, and the parry is called, • 5 with the hand in supination, the parry of sixte, or if the hand is in pronation, the parry of tierce. ,ei The second "High Line" is the left quarter of the breast, and is called the line of quarte or quinte. A thrust at this por- tion is called a thrust in quarte, and the parry is called, with the hand in supina- 6ow /octave Jjq. 8.— LINES OP ENGAGEMENT. 122 TENCTXQ. tion, the [parry of quarte, or with the hand in pronation, the parry of quint c. The third and fourth linos representing the lower half of 1 he body, are called the " Low Lines." The first, or loft hand lines, occupying the left lower half of the body are called the octave or seconde, according to the position of the hand, while the left lower portion is called the "Line of Half Circle" or prime. The positions of these two lines of en- gagement are easily soon in our illustration. (See iig. 8.) THE FAERIES. In general it may be remarked that all parries should be made with the Least ezpenditureof time and exertion possible. An export fencer parries almost entirely by a movement of tho wrist and fingers, hooping the arm nearly immovable. Most of the parries are made with a Light quick tap with the forte, or stronger half of the blade, on the foible, or weaker half of the other, ka a general rule, all parries should be made with the edges of the blade and not with the flat sides. Nothing is more common than to see young fencers slashing about in 1 ho air in their efforts to parry, as if they were cut- ting daisies. A good rule for the beginner is to make his par- ries— at least the simple ones — as far as possible without moving the point of the foil, but only the hand and wrist. There are two kinds of parries, the "simple," in which the attack is warded off by a single movement, and the " counter," in which a circle or series of circles is described with the point of the foil either to the right or left, the point of the foil returning to its original position. THE SIMPLE PARRIES. The "simple" parries are called prime, seconde, tierce, quarte, quinle, septime and octave. The veptime is often called half- circle. N otk.— Prim* Is pronouttcvd " proem ; '* teoonde Is the same excepting that the accent is on tne last sjllablo ; tierce la " toealrce," with the accent on the"alroe;" quarte Is "carte; " quint Is "cant;" septime Is " eepte m," and octave Is " octahvo, " FENCING. 123 THE PARRY OF PRIME. Being on guard, move the hand, reversing it nails down- ward at the same time, to a position opposite the left eye, but keeping the point towards thd adversary's knee, and receiving the foible of his foil upon the forte of your own. This guard is somewhat difficult to execute, and is little used, the simpler parry of quarte being usually chosen, although if well exe- cuted by a quick motion it is effective, as it covers both the high and the low lines of the left side of the body. (See fig. 9.) FIG, 9,—f &BMY 01" llUJlE. THE PARRY OF SECOND E. This is to ward off a thrust made by your adversary at the lower right-hand side of your body, and is executed by a slight but quick downward movement of the hand, catching the hos- tile blade and turning it aside, the right hand being turned nails downward during the movement. (See fig. 10.) 124 FENCING. FIG. 10.— PAEEY OF SECONDE. THE PARRY OF TIERCE. This is to ward off your adversary's thrust at the upper right-hand part of your body, and is executed by turning your nails downward and moving your hand slightly to the right, just enough to throw aside your adversary's blade. Be care- ful not to make this movement too wide, and to keep the point of your foil towards your adversary and not allow it to fly away off to the right. (See fig. 11 .) TIG. 11.— IWBBY OF TTEBCE. FENCING. 125 THE PARRY OF QUABTE. This very important parry, perhaps more used than any of the others, is employed to ward off the adversary's thrust at the left-hand side of your body, particularly in the high lines. It is executed by moving your hand towards the left until your forte encounters the foible of the adversary's foil and throws it aside. In making this parry incline the thumb slightly to tho right, and keep your point opposite the op- ponent. (See fig. 12.) FIG. 12 PAP.RY OF QUAETE. THE PARRY OF QUINTE. This is to ward off a thrust at the lower left-hand part of your body. It is executed by letting the hand drop from the position of quarte a little towards the left, and tapping the adversary's blade clear of the body. In doing so be careful to keep the point of your foil directed towards your adve. The parry of quinte can be executed either with the hand in lion or in pronation, although the latter is usually employed. THE PARRY OF SIXTE. This is to ward off a thrust at the upper right-hand part of your body, an I is executed by carrying y< to the right to catch and turn aside th< Be careful not to make the movement any wider than is abso- 126 FENCING. lutely necessary, and to keep your point directed towards your opponent. This parry should be carefully learned, as it is employed nearly as muoh as the parry of quarte. (See tiff. 13.) FIG. 13.— PAKBY OF SIXTE. THE PAEEY OF SEPTIME Is, like the parry of quinte, to ward off a thrust at the lower left-hand side of your body, and is executed by describing with the point of your foil a small semi-circle downward and towards the left, your hand at the same time being carried slightly to the left, just enough to throw aside your oppo- nent's blade. (See fig. l±.) FIG, H.— PABJiT OP SEPILtfE. FENCING. 127 THE PARRY OF OCTAVE. This is to ward off a thrust at the lower right-hand part of your body, and is executed by describing with the point of your foil a small semi-circle downward towards the right, your hand at the same time being carried slightly to the right, just enough to throw off your opponent's blade. The principal danger for the beginner in executing these simple parries is to make them too wide. The movements of the hand should be as light as possible, in order that the body may not be uncovered, a state of things which will soon be taken advantage of by a quick adversary. As I said before, on making these parries try to keep the point of the foil as immovable as possible. (See fig. 15.) FIG. 15.— PAEEY OF" OCTAVE, TIIE COUNTER PARRIES. Although the simple parries which I have just described are theoretically sufficient to stop any kind of thrust, yet, when a feint attack is made, as, for instance, when your adversary feints at your right side, and, dropping his point under, thrusts at your left, a counter parry is often the surer. Ron- delle's definition of the counter is as follows : "The counter is a circular parry, intended to seek the adverse blade in whatever quarter it may threaten you, and 128 FENCING. to direct it to the opposite quarter, or line. In a counter the point of your foil describes a small but complete circle, while your hand remains stationary." * Each simple parry has its counter, made with the hand in the same position, and on the same side, as the simple parry, but it will be sufficient to describe the execution of the four most important. THE COUNTER OP QUAKTE. — C0TTN- Being on guard in quarte, if your oppo- nent thrusts in sixte, or, in other words, at your right breast, follow his blade round by describing a small circle downward and to the right, then up over to the left, and back again to the same position in which your hand and foil were when you began the movement. If you have done this quickly and smoothly enough, you will still be en- gaged with your adversary in quarte, having caught and forced his blade across your body and out of line. Make the circle as narrow quaete. as possible. (See iig. 16.) THE COUNTER OF SEPTIME. Being engaged (on guard) in septime, on your adversary's thrust make your circle this time by raising your point over his blade; i. e., by starting it over towards the right and back, under, to the left. (See fig. 17.) FIG. 17.— COUN- TER OF SEPTIME. Rondelle'B Foil and Sabre, page 21. FENCING. 129 THE COUNTER OF SIXTE. Being engaged (on guard) in sixte, on your adversary's dropping his point and thrusting in high SfZZJy quarte [i. e., at your left breast), lower your C^/^\ P° int and describe with it a small circle, beginning the movement from right to left. (See fig. 18.) This parry and the counter of quarte are very much used by fencers, particularly by those who have strong wrists. Indeed, some fencers go so far as to use little else, indulg- ing in a succession of furious circles to the right or left upon every feint of the adver- sary. This is of course dangerous business with a skillful opponent, and tends to deprive one's style of variety. FIG. 18.— COUN- TER OF SIXTE. THE COUNTER OF OCTAVE. Being on guard in octave, to ward off your adversary's thrust in low quarte (i. e., at the lower left-hand part of your body) describe a small circle, beginning the movement from right to left, catching and turning aside his blade in the course of it. (See fig. 19.) GENERAL REMARKS ON THE PARRIES. It is impoesible in the course of so limited a pamphlet as this to go very deeply into the relative values of the different parries, but a few words as to the manner in which they should be used will suffice for the intelligent reader. The safest advice is to practice assiduously all the parries, excepting perhaps prime, which is difficult to execute and very little used in foil play. As the beginner beeomes more dexterous he will soon see for himself what FIG. 19.— COUN- TER OF OCTAVE. 130 FENCING. guards are the safest to rely upon. Successful parrying de- pends to a great extent upon a trained instinct, which enables one to foresee the direction of the opponent's attack, and upon icy and judgment in executing a movement. The im- portant thing is not to be led off into making your parries too wide, for in fencing, as in everything else, the conservation of energy is vital. It is easy to see that if, upon your adver- sary's feint in sixte, you allow your blade to fly too far off to the right, you will be unable to get it back in time to parry his real thrust in quart. Therefore, begin by trying to make your parries too narrow, and only broadening them when you see that you are hit too often. At the same time try to avoid moving the arm, using the fingers and wrist almost entirely. The greatest compliment that can be paid a fencer is to say that his doigte is excellent; i. e., his finger-play. The beginner is recommended to perfect himself in the counter parries, and to practice them industriously, as they will tire the strongest wrist at first. I shall not describe the complex parries at length, as they are but combinations of two or more simple parries. A very serviceable one is the counter of quarte followed by the parry of sixte ; indeed, some fencers almost invariably follow up a counter by some simple parry, in order that, if your opponent has foreseen your counter and his point has followed yours around the same circle (called doubling), his eventual thrust in the opposite line will be stopped. Strong combinations of this kind are the counter of quarte with the parry of octave, and the counter of sixte with the parry of septime or seconde. The pupil should experiment with all these, for with them comes experience, and through experience that trained instinct which is the mother of judgment and foresight. FINGEEING. Before going further it is well to call the pupil's attention to an exercise calculated to give him accuracy and delicacy. Fingering really consists in changing the position of the foil in the hand merely by the action of the lingers alone. A good FENCING. 131 fencer often parries a thrust by the mere displacement of his fingers without any perceptible movement of the wrist or arm. The following exercises are recommended, and should be practiced industriously : Being on guard, throw the point of your foil towards the right by relaxing the grip of the last two fingers, but without moving the hand ; then by replacing the last two fingers bring the blade back to its original position, at the same time giving your adversary's blade a sharp, but light, dry beat. This will have the tendency, if he holds his hand as lightly as he should, to throw his point off to the right, upon which he executes the same beat upon your blade, and so on alternately. This capital exercise should be practiced by two beginners for at least fifty or a hundred beats at a time, the greatest care being taken to use the fingers only in moving the foil. ENGAGEMENT. The engagement is the act of crossing blades with your adversary in an opposite line to the one in which you were j ust engaged with him. This is done merely by lowering your point and passing it under his blade, using the fingers only, and taking great care after completing the movement that you are well covered, and that your point isin line with your adversary's eye. THE ATTACK. Your primary object, as you cross blades with your adver- sary is to place your point on the body of his jacket between the collar and the belt, and, furthermore, to do this correctly, gracefully, and without unnecessary expenditure of force or laying yourself open to his attack at the same time. Now, you may attack in two ways. Either you may your- self begin by a direct thrust, a feint and thrust, or some other manoeuvre, or you can wait for him to attack and then take advantage of an opening to score yourself. All attacks like the first mentioned, in which you yourself take the initiative, are called Primary Attacks, and all others Secondary Attacks, 132 FENCING. The manner and correct moment to put these into practice will appear in the following exposition. Eemember that the foundation of the attack is the lunge, and therefore that your execution of this movement should be practiced until perfect. Three important rules should be kept constantly in mind: 1. Straighten the arm before lunging, even if only the fifth part of a second, for a thrust with a bent arm will throw your point wide four times out of five. 2. Throw your hand up and your point down ; otherwise you leave yourself open, and your foil is apt to bend down instead of up— an ugly result. 3. Be careful always to "oppose" towards the side on which your opponent's foil is. By "opposition" is meant tne movement of hand and foil into such a position, when you are stretched out in lunge, that a direct, straight thrust of your adversary is impossible. For instance, if, when engaged in quarte, you drop your point under and lunge at your oppo- nent's right breast, be sure to carry your hand somewhat to the right, as his blade is now on that side of yours, and if he parries your lunge he will yet not be able to hit you by simply straightening his arm. If, however, you carry your hand towards the left you leave your whole body exposed. PKIMAKY ATTACKS. These are divided into Simple, Feint and Force Attacks. SIMPLE ATTACKS are those made with one simple movement only, and are four in number, viz. : the direct Lunge, the disengage, the counter- disengage, and the cut-over. The Direct Lunge is only used when the adversary exposes himself in the line he is engaged in. A simple, straight thrust is also used on a feint by the adversary, or at the beginning of his attack, but it is then called a stop-thrust or time-thrust, and is a secondary attack. The Disengage has already been described. It consists merely in lunging in a line different from the one you are engaged in. This is often used when the opponent engages heavily and presses your blade. FENCING. 1 33 The Counter-Disengage is executed by a circular motion fol- lowed by a quick lunge the moment your adversary changes the line of engagement. For instance, if, wnile engaged in quarte, your opponent starts to engage on the other side, drop your point, and, fol- lowing his blade round by a narrow circular movement, lunge in quarte, with your hand opposed (or held) to the left. The effect of a counter-disengage is always a lunge on your part in the same line in which you were engaged before your oppo- nent started to change it. Two counter-disengages imme- diately following one another are called a double change. The Cut-Over (French coupe) is used to attack the adversary in the high lines. It is a disengage executed by passing your point over (never under) your adversary's and lunging in the new line. The movement of raising your point should be effected by the fingers only, and not by drawing back the arm. The Cut-Over is a dangerous attack in the hands of a strong, quick fencer, for it is difficult to parry and can be changed instantly into a parry or an attack of a different description. The great danger in executing it is to slap, and to throw the point wide. To avoid this, practice slowly at first, and be sure to throw up your hand when delivering your point. FEINT ATTACKS. These form the second group of Primary Attacks, and con- sist of the One-Two, the One-Two-Three, etc., and the Double. A feint is, of course, a false thrust, made to deceive the ad- versary into thinking it a real one. It is made by extending the arm as in a lunge, but not moving any other part of the body, excepting, perhaps, a slight advance of the right foot. It is, in fact, exactly the same movement as extension. In feinting stretch the arm well out, the point directed full at the adversary's breast, else he will not be deceived by the move- ment. ONE-TWO. This is executed by feinting in one line and really lunging in the original line of engagement. Thus, being in quarte, drop your point under and extend your arm as if to lunge in 134 FENCING. sixte, but, instead of doing so, the moment lie parries move your point back again and lunge in quarto. You can feint in any line and lunge in almost any other, so that the combina- tions are numerous. A feint of cut-over may be substituted for the simple extension to vary your play, although this is rather difficult to execute. ONE-TWO-THBEE. This is a group of two feints (made by extending your arm and dropping your point under his and back again on his parry), followed by a final lunge, your third movement. Thus, being in sixte, feint in quarte, then in sixte, and lunge finally in quarte. The movement made in feinting should be as narrow and rapid as possible. DOUBLE. You cannot execute the One-Two if your opponent parries by a counter, that is a circular parry, but you can get out of its way by going round it, i. e. by describing a circle yourself and lunging in. Thus if, when from quarte, your feint in sixte is met by the counter of quarte, simply raise youi point, circle round his blade again and thrust in sixte. This is a Double, and is a combination of the disengage and the counter- disengage. A little pratice in this attack will reveal to the pupil its great utility. A good check to the Double is a counter followed by a simple parry, a strong defense in almost any case. FOECE ATTACKS. These are executed by means of displacing the adversary's blade, instead of avoiding it, as in the previous attacks. The Beat, the Press, the Glide and the Bind belong to this class. THE BEAT is a quick, sharp blow of your blade upon that of your oppo- nent, for the purpose of opening a way for your lunge which immediately follows. This stroke should be made with the hand only, and should be sharp but dry. A false beat is a FENCING. T 35 somewhat lighter blow of the same kind, made to draw out the opponent, or to disquiet him. The beat is often followed by a disengage. THE PRESS is analogous to the beat, excepting that, instead of striking the adversary's blade, you give it a sudden pressure, heavy enough to force it aside and make way for your lunge. The traverse is a species of press made by continuing the push, sliding your blade along his, and then forcing your point. TIIE GLIDE. This, again, is a kind of traverse, but much lighter, and is used not so much to force your opponent's blade aside as to deceive him, and slide your point along towards his hilt before he appreciates what you are up to. The glide is most often used as a feint before a disengage. THE B.ND. This consists in passing your point over your adversary's blade and pressing it down, your forte on his foible,* and into the opposite low line. (Thus from high quarte to low sixte, called flanconade). The bind is difficult to execute, and is attended with much risk when engaged with a strong oppo- nent. It is hardly to be recommended to beginners, and is in any case little used. SECONDAEY ATTACKS. These are made (1) when your adversary begins to attack you, (2) during his attack, and (3) on the completion of his attack if it fails. 1. ATTACKS ON THE ADVERSARY'S PREPARATION. In plain English these are attacks which you make the mo- ment you perceive an intention on your opponent's part to attack you. For instance, if you feel a pressure on your blade •The forte of a foil Is the thicker, and the foible the thinner half or the blade. 136 FENCING. instead of waiting for his direct lunge or disengage, you dis- engage yourself like lightning, thus taking him off his guard. Another case is where you foresee his intention, to precede his attack with a "Beat." The moment he tries this movement you avoid the blow by dropping your point under and lunging smartly. All these attacks on the preparation depends upon judgment and the trained instinct which comes with practice. Generally speaking they are only to be put in practice when your adversary's preparatory movements take up time enough for you to push your own attack. If you are slow the result will be that both will lunge at once, and as his attack was begun first the point (providing he hits you) will go to him, for the strict rule is that he who is attacked must parry. Thus if A lunges at B, hitting him fairly, and B, instead of parry- ing, simply straightens his arm, hitting A fairly, it is A's point, for B should have parried. Of course, if A's point goes wide, and B's hits, it is B's point. Practice gives a man the faculty of feeling, by the touch of his adversary's blade, about what the latter is going to do. 2. ATTACKS DUEING THE ADVERSARY'S ATTACK, or "on the development," are such as are undertaken in the midst of an attack upon you, and are mostly time attacks. They are very like the preparation attacks, excepting that they are begun a little later. The Bind is a common attack on the development, it being made easier for you by the fact that your opponent is nearer you than when he is on guard. 3. ATTACKS ON THE COMPLETION are such as you undertake when your adversary has attacked but failed to hit you, and are called Ripostes. Suppose, being in quart © , he attacks you with the one-two, and you parry successfully his lunge in quarte. The moment his point passes you, straighten your arm and hit him before lie can recover himself. As he is stretched out in lunge it will FENCING. 137 take him some time to jump back on guard, during which, if your parry was not too wide, and your riposte accurate, he is 'your meat." (See fig. 20.) FIG. 20.— KIPOSTE AFTER PARRYING QUARTS. The great mistake made by beginners in riposting is in moving the body. This is quite unnecessary, as your ad- versary, being in lunge, is very near you, and in moving forward you only overreach yourself and your riposte will be apt to fly wide. A good rule, and one which characterizes all really good fencers is never to omit to riposte after your adversary's attack. Beginners nearly always forget to do this, being satisfied to have parried successfully. A master of the riposte is a dan- gerous man, for his adversary knows that if his attack fails he is lost. Remember that you cannot riposte if your parries are too wide, for by the time you bring your blade back into line your adversary is on guard again. Again, if your lunge has been parried and your adversary ripostes , get back on guard like a flash, at the same time parrying in your turn, and throwing in your point, which is apt to hit him if you are very quick. In fig. 21 Right has lunged quarte ; Left has parried and riposted, but Right has drawn back his hand in tierce quickly enough to parry Left's riposte. Now, if Right is 138 FENCING. Fig. 21.— Tierce Parky of Direct Eiposte. quick enough, he can, as he jumps back on guard, straighten his arm again and riposte in his turn. To see a good fencer lunge out freely and fearlessly, and, failing to hit, parry the riposte successfully, and finally score in his turn by a counter- riposte, is a very pretty sight. Beginners are recommended while getting back on guard after an unsuccessful lunge, to execute a quick counter-parry. This frequently stops' a riposte. FALSE ATTACKS. These are not feints, but broader movements calculated to draw out your opponent and make him attack you, or in order < o discover what parry he is likely to use. Most fencers have certain favorite parries which they use constantly. On cross- ing blades with a swordsman whose strength and style are unfamiliar, it is an excellent plan to employ a false attack, which will be likely to make him show the kind of parry he habitually relies upon. Falseattacks are of almost all descrip- tions. Thus, straightening the arm, changing the line of engagement, a step in advance, in short, any movement that will make your adversary belive you are really attacking him, is a falso attack. A favorite one is to uncover yourself a trifle! fencing. 139 in order to draw a straight thrust or a disengage from your adversary. The execution of these attacks depends, of course, on judgment alone, as does also the power of dis- tinguishing between a true and a false attack. THE GEAND SALUTE is a series of manoeuvres executed by two combatants for the purpose of "limbering up" and usually precedes a formal assault. Although difficult to master without a teacher, it is given below in the words of H. A. Colmore Dunn, a well-known English amateur : " The two opponents come forward, equipped in all respects for assault, with the exception of the masks, which they carry in the ieft hand, and place on the ground beside them on the left. " Then, standing face to face, foil in hand, just out of lunging range of the one with the longer reach, the two opponents together assume the preliminary position, and thence proceed to the position of guard, engaging their blades in quarte, foible to foible, before advancing the right foot. " Thereupon, one of the two, either the more honorable or the one chosen by agreement beforehand, proceeds to measure the distance between himself and his opponent, while the other goes back to the preliminary position in order to leave the way open. " The one who is selected to open the attack takes distance in the following manner : First he comes to the upright po- sition; then straightens his arm with the hand well raised up and in supination, and then lunges out so as to bring his point close up to the defender's breast, but without touching it. "After taking distance, the assailant resumes the upright position, and draws back the hilt of his foil close to and on a I evel with his mouth, the point directed straight upward. The defender, watching his actions, lowers the hilt of his foil so as to take up a like position at the same time. " Then both togethar proceed to salute, first to left then to right, as follows : They begin by showing the parry of quarte, carrying hand, arm, and point farther over to the left than in the ordinary way of forming the parry, so as to emphasize the movement; then, on the return from the parry, they bring the hand back on a level with the mouth , and, changing the hand into pronation by a turn of the wrist, show the parry of tierce in a like pronounced manner. 140 FENCING. "After this both the opponents go through the movements necessary to bring them from the preliminary position to that of guard, as before, crossing the blades previously to advanc- ing the right foot. " The assailant then proceeds to pass a series of disengages —say four— to which the defender offers the corresponding parries. "Thus, the assailant disengages into sixte, and as the arm is straightened in that line, the defender parries tierce with a crisp tap, taking care not to harsh his blade. On feeling the *j»arry, the assailant smartly reverses his foil, turning the yoint toward, and so as to pass close beside his left ear, the /tilt resting on the back of the hand, and the grip being held by the thumb and first finger only, while the other fingers are Tanged beneath the first ; and he lunges in with the pummel directed toward the defender, whom he keeps in view by carrying his hand far enough to the left to leave an opening between arm and blade. " In order to make way for the lunge, the defender drops his j>oint from the parry of tierce so as to show the parry of vctave, only carrying the point far enough across the body of ihe assailant to avoid hitting him on the move forward. " On the assailant's recovering from the lunge, the opponents form the engagement of sixte or tierce. Again the assailant disengages, and, on the parry of quarte from the defender, reverses his foil as before, but directs the point toward and clear of his right ear, and in lunging with the pummel toward the defender, his hand is carried far enough to the right to enable the assailant to see him between blade and arm. " Here, to make way for the lunge, the defender shows the parry of septime, carrying the point across the body of the assailant to the other side. "The remaining disengages are given and received with a repetition of the same movements as in the first two disen- gages. " In delivering the first and last lunges, the assailant dwells a little time; but he passes the intermediate disengages as fast as possible. "On recovering from the last lunge, the assailant shows a r>ne— two without lunging, and the defender shows the parry of tierce, so that on this occasion the blades do not come in contact; and then both of them resume the upright position, the assailant raising his point as in the preliminary position, and the defender proceeding to imitate in all respects the actions of the assailant in taking distance. "This done, the former defender becomes in his turn the assailant, and the latter now assumes the character of de- fender, each of them going through the same movements as FENCING. 141 his predecessor in the past, saluting; in quarte and tierce, disengaging and parrying as before laid down. " On the feint one — two of the now assailant, bofh opponents resume the upright position and fall on guard, not in the usual way, but with a backward movement of the left foot about twice its own length, and with the hand in the position of tierce. " Next they both beat twice with the right foot, resume the upright position by bringing the left heel up to the right, and salute in quarte and tierce. " In conclusion, both opponents come on guard as from the preliminary position, beat twice with the right foot, bring the left heel to the right, and salute one another by carrying the hilt up to a level with the mouth, the point directed upward, and then lowering hand and point to the positioa of seconde." THE ASSAULT. All that we have learned in the preceding pages is but pre- liminary to formal fencing, called, when in public, an " assault," and in the fencing-room a " friendly bout" or "loose play." If you are studying under a master, never fence for points until he thinks you sufficiently advanced, and always take the lesson first ; or, if no master is present, practice thrusts and parries with your friends. Begin every bout by saluting your adversary before falling on guard, and whenever you are hon- estly touched, never fail to acknowledge it by saying " touch." Kemember that fencing without perfect courtesy is not fenc- ing at all, and if you find a man who habitually fails to acknowledge hits, my advice is to avoid crossing foils with him. If you are hit on any part of the person outside the prescribed lines, you must acknowledge it all the same, as such a hit stops the bout until both combatants have crossed blades again on guard. Thus if you are hit on the mask or arm, call out " on the mask ! " or " on the arm !" Do not for- get that, if attacked, you must parry, and that, when both lunge together, the touch is usually counted to the one who made the last parry. As the rules of the Amateur Fencers' League of America govern all the contests in this country, fencers are recommended to study them care- fully, and to accustom themselves to them. For instance, if possible always fence within a space twenty feet long by 14* FENCING. three feet wide, and let each bout consist of five points. One exception, however, is recommended in friendly bouts. Count every hit on every part of the jacket between collar and belt, and not only those of the right side of the middle line, as pre- scribed by the A. F. L. A. This is so as to get used to parrying all hits. Moreover, the median line rule is one that obtains in America alone, being unknown abroad. It is a good one for us, however, as it encourages accuracy, and leaves less space for the somewhat random hits of the "slasher" and the "rusher." Disarming does not count and should never be done intentionally. Bemember that no hit counts that is made by a stab, that is, a blow made by drawing the elbow back beyond the body. Fence lightly, for the heavy-handed man will, other things being equal, always be beaten, and will tire first, on account of his waste of energy. the: sabre:. The blade of a sabre is divided into edge, point, back, heel and tongue, the last-named part being that piercing the handle. The handle is divided into a guard and a grip. TO HOLD A SABRE CORRECTLY, Grasp it firmly with the fingers, placing tho thuMmfalong the back of the grip. PRELIMINARY POSITION. Stand with the heels together and the feet at right angles, the right arm extending down near to but not touching the body, and the point of the sabre four inches from the t : FENCING. FIG. 25.— HEAD CUT AND PARRY. LEFT CHEEK CUT. Raising your point over your opponent's blade, extend your arm, turning the hand to quarte, and execute a drawing" cut on your adversary's left cheek. Recover quickly. (See fig. 36.) FIG. 26.— LETT CHEEK CUT AND PARRY. 147 The Right Cheek Cut is executed •when on guard in quarts (See fig. 27.) FIG. 27.— EIGHT CUT CHEEK AND PABBY. BREAST CUT. This is like the Cheek Cut, excepting that the object of the slash is the chest. (See fig. 28.) FIG. 28.— CHEST OUT AND TABBY. 148 FENCING. WAIST OR GIRDLE CUT. Carry your point under the adversary's blade, extend the arm, turning- the hand to quarte, and execute the drawing out across his -waist. Recover as always. (See fig. 29.) FIG. 29.— WAIST OR GIRDLE OUT, FLANK CUT. Drop your hand, extend, and slash the adversary's hip (See fig. 30.) FIG. 30.— FLANK CUT AND PARRY. FENCING. 149 THIGH CUT. This is like the preceding, only its object is the adversary's thigh. Of course the opponent's right breast, waist, flank and thigh can also be attacked, the movements, from the regular guard, not requiring the avoiding of his blade; but these attacks are somewhat easier to parry. (See fig. 31.) FIG. 31 .—THIGH CUT, ESCAPE, AND AEM CUT POINT THKUST. Drop your point under, extend, and lunge quickly, the edge of the sabre being turned up. (See fig. 32.) "EIQ. 32.— POINT THRUST. 150 FENCING. ARM CUT. There are several ways of executing this. You may use a combination of the glide and press and cut the upper side of the adversary's arm, turning your hand over as you strike. You may force his blade aside with a beat and cut in sharply. You may pass under his blade, extend your arm, turning the hand, and cut his wrist or forearm. This cut is a very good one when the adversary's guard is careless. Figure 31 shows an arm cut made by taking a short step just out of range when the adversary attacks, and deliv- ering the cut when his arm is extended. THE PARRIES. All parries are made by catching the adverse blade on the heel of your sabre, and edge to edge. HEAD PARRY. Hold your weapon horizontally in front of the crown of your head. (See fig. 25.) CHEEK PARRY, LEFT OR RIGHT. To parry a cut at your left cheek, raise your hand to a posi- tion opposite the left breast and a few inches from it, the sabre blade pointing upward, forward, and a trifle towards the right. (See fig. 26.) The Right Cheek Parry is the same, only executed on the right side. (See fig. 27.) The cheek par- ries are also used against shoulder cuts. BREAST AND GIRDLE PARRIES. Hold the sabre forearm horizontally across the upper chest, she blade hanging almost vertically, about six inches from the aody, the edge towards the left. (See figs. 28 and 29.) FLANK PARRY. Ho.\» the hand just beyond the body at the right, opposite the wai t, the blade pointing downward, the edge to the right. (See fig. ao.) JFENODM. 151 TO PARRY POINT THRtJSTS c/se the common parries of tierce, quarte, or, in the low lino-i seconde. In fig. 30 a point thrust in the low lines is being par- ried by seconde. TO AVOID ARM CUTS Draw your sabre hand back out of range, or oppose your blade in time. AVOID THIGH CUTS By escaping to the rear, or, in other words, by withdrawing the leg which is attacked. (See fig. 31.) This is well to prac- tice, although, as a matter of fact, no cuts are counted below the hip by the rules of the A. F. L. A. THE RIPOSTE. Never riposte until you are sure of being covered, or that your adversary's blade is not in dangerous proximity. Riposte at the nearest or most exposed part of your opponent's per- son, which is most frequently his arm. (See fig. 31.) THE TIME THRUST Is an attack on the adversary's development, and is either a Point Thrust or an Arm Cut. (See fig. 33.) On his Head Cut you can escape and slash his arm. Also upon his Thigh or FIG. 33— TIME THRUST. 152 FENCING. "Waist Cut. (See fig. 81.) On his Flank Cut execute No. 42. Hickory Sticks only. Pr..40c. /g^ No. Foil Blades W A. FineSolingen St.el Blades, 34-in.Ea.,70c. If B. Fine Brunon Steel Blades. 34-in. " 70c. NoTc C Rubber Foil LiuUoua. a Per pair, 10c. PROMPT ATTtKTIOH GIVEN TO | INT COMMUNICATIONS ADDRESSED TO US 9 A. G.SPALDING & BROS. STORES IN ALL LARGE CITIES FOR COMPUTE UST OF STORES SEE INSIDE FRONT COVE? ' OF THIS BOOt * Price* in eff eel January 5, 1915. Subject to change without notice. For Canadian pricet tee special Canadian Catalogue. ACCEPT NO SUBSTITUTE THE SPALDING TRADEMARK 'SW Spalding Foil Masks Close mesh and strongly made. Trimmed with black patent leather, padded head spring and chin piece. No. 1. Face guard only Pair, $2.75 No. 2. Face and ear guards 3.50 No. 3. Face, ear and forehead guards. . . 4.00 Spalding Foil and Broadsword Masks No. 42. Close mesh and heavy wire. . . Pair, $8.00 No. 41. Heavy reinforced twisted wire. . 14.00 Spalding Broadsword Helmet No.4. Heavy wire, reinforced. Well padded. Pair,$10.00 Spalding Fencing Plastrons Good quality leather; heavily padded and quilted. No. 2. Chest and right side Each, $2.50 No. 3. Chest and right "and left side. . . " 3.00 No. 3L. Women's. Same as No. 3, but shaped for waist. 3.00 Spalding Fencing Jackets No. C. Special quality brown canvas, with collar. Each, $3.50 No. M. Same as No. C, but of good quality moleskin. " 4.50 Spalding Foil Gloves. Made in Rights or Lefts No. 1. Short soft leather cuff, nicely padded. . Each, $1.25 No. 2. Gauntlet of soft leather, nicely padded. 1.50 No. 3. Patent leather, stiff elbow gauntlet, padded. " 2.00 No. 6. Ladies' White buck Gauntlet Glove. . " 1.25 No. 61. White buck, with Gauntlet " 1.50 No. 63. White buck leather, soft gauntlet. . . " 2.00 Spalding French Duelling Gloves. (Mousquetaire Pattern) No. D. Soft leather, extra long soft gauntlet. Each, $2.50 No. 60. Unpadded, flexible white buck leather. " 1.25 Spalding Broadsword Gloves No. 5. Full padded, stiff elbow gauntlet. . Each, $3.50 No. 7. Same as above, but shorter cuff. . . 3.00 PROMPT ATTENTION GIVEN TO | ANY COMMUNICATIONS ADDRESSED TO US A. G. SPALDING & BROS. STORES IN ALL LARGE CITIES FOR COMPLETE LIST OF STORES SEE INSIDE FRONI COVEP OF THIS BOOK >» Pricet in effect January 5, 1915. Subject to change without potice. For Canadian prices tee special Canadian Catalogue.' sS^Ke THE SPALDING TRADEMARK G K T T E v ES QUALITY SPALDING CANVAS TOP GYMNASIUM AND BASKET BALL SHOES ****5t hoes, but of ^<'^J.- \» \ thick as on & " O \ * No. HB. Boys'. 2K to 5; No. HH. High cut. white canvas uppers. Sole surf; is similar to our popular gy white, best quality rubber, rubber sole canvas gymnasium shoes Men's sizes, 6 to 12, inclusive. Pair, $2.25 * $24.30 Do HHB. Boys', iy 2 to 5'A ^ inclusive. Otherwise I same as No. fill. ■ Pair. $2.00 if $21.60 Doz No HHX. Youths'. I to 2. inclusive. Other- wise same as No. HH. Pair. $1.80 * $19.44 Doz. No. H. Men''s. same as No. HH, but low cut. Sizes. 6 to 12, inclusive. Pair, $2.00 * $21.60 Doz. inclusive. Otherwise as No. H. I No. HX. Youth: Pair. $1.75 * $18.90 Doz. \ N^i No. IH II to 2, inclusive. Otherwise as No. H. Pair. $1.60 -k $17.28 Doz. Spalding Canvas Shoes, with Rubber Soles MEN'S— Sizes, 6 to 12, inclusive. j YOUTHS'-Sizes, 1 1 to 2, inclusive. BOYS' -Sizes, Z% to 5',, inclusive. No. IH. High cut, best quality white' No. IHX. High cut, best quality white ; No. 1HB. High rut, best quality white rubber soles. Men's, white canvas; worn- rubber soles. Youths', white canvas; rubber soles. Boys', white canvas; girls'. en's, black. Pair. $1.75 * $18.90 Doz. No. I. Low cut. Otherwise as No. IH Pair. $1.50 * $16.20 Doz. No.M. High cot. Pr.,.90 * 9.72 " No. K. Low cut. ".80* S.64 " misses.black. Pr.,$1.40* $!/./.» Doz.' black. . . Pair. $1.60 * $17.28 Doz No. IX. Low cut. Otherwise same No. IB. Low cut. Otherwise same as No. IHX. Pair. $1.25 if $13.50 Doz. \ as No. IHB. Pair, $1.50 * $16. 20 Doz. No. MX. High cut. .80 * 8.64 No. KX. Low cut. .70* 7.56 t SpaldingClogShoes No. 1-0. Goatskin uppers. Specially seasoned wood soles. . . Pair. $4.00 No.MS. Highcut. Pr.,.85* 9. IS No.KB. Low cut. " .75* 8.10 No. 1-0 Clog Shoe Spalding Fencing Shoes No. L. Drab Glove Lea- ther, red trimrnings. Not carried in stock. Specify on order if to be made with or without toe extension sole, and on which shoe. Pair, $5.00 No. LW. Women's. Otherwise same as No. L Pair. $5.00 Gymnasium and Acrobatic Shoes No. FS. Flexible Soles. Special acrobatic shoes. Leather uppers, very high cut, and soft leather soles Pair. $3.00 No. FL. Extra high cut acrobatic shoes. (Patent applied for.) Special leather soles. 11 not harden. Shoes are reinforced where upper and sole are at- tached Pair. $1.50 FE. Extra high cut. best quality canvas shoes with leather es. Especially for acro- icwork. Pair. $1.25 if $13.50 Doz. No. E. Low cut 35c. tolies opposite items marked with # will be quoted only on'orders for NOT allowed on iUrm NOT marked wxth • No.GWH. High cut. Special pearl colored leather. Flexible soles. Well made. . . . Pair. $1.50 No.GW. Low cut, otherwise as No.GWH." 1.25 -half dozen pairs or more. Quantity prices PROMPT ATTENTION GIVEN TO ANY COMMUNICATIONS ADDRESSED TO US A.G.SPALDING &. BROS. STORES IN ALL LARGE CITIES COMPLETE LIST OP STORES INSIDE FRONT COVTJt i^ Of THIS BGOt Pricet in effect January 5, 1915 Stftject to change without notica. For Canadian price* ••« apacial C a n adian CataJogua. ACCEPT NO SUBSTITUTE THE SPALDING TRADEMARK G S T T E v ES SPALDING GYMNASIUM SHOES Shoes must be comfortable and easy, yet fit snugly and give the wearer a wire footing — the Spalding Gymnasium Shoes possess all of these good qualities anc No. 15. High cut, kanga- roo uppers, genuine elk- skin soles. Will not slip on floor; extra light. The correct shoes to wear for ng. Pair. $5.00 No* 155. High cut, elk- skin soles, and will not slip on floor; soft and flex- ible , women's and men's si^es. . . Pair. $4.50 No 166. Low cut. se- lected leather, extra light and electric soles; men's sizes only. Pair. $3.00 No. 66L. Women's. Low cut, extra light, selected ather uppers. Electric soles. . . Pair. $3.00 No. 90L. Women's. Low cut, black leather, elec- tric soles and corrugated rubber heels. Pair. $2.50 No. 21. High cut, black leather, electric soles. Sewed and turned which makes shoes ex- tremely light and flexible. Pair. $2.50 No 20. Low cut. Other- wise as No. 21 Sewed and turned shoes. Pair. $2.00 No. 20L. Women's. Other- wise as No. 20. Sewed and turned shoes. Pair. $2.00 Spalding Special Bowling Shoes No. 133. Best selected drab chrome tanned lea- ther uppers with corruga- ted rubber soles and flexible shank. A perfect bowling shoe and very satisfactory also for gen- eral gymnasium use. Pair, $4.50 No. 148. For bowling and general gymnasium use Light drab chrome tanned leather uppers with electric soles. Laces extremely low down Pair, $3.50 PROMPT ATTENTION GIVEN TO ANY COMMUNICATIONS ADDRESSED TO US A.G.SPALDING &, BROS. STORES IN ALL LARGE CITIES FOR COMPUTE UST OF STORES SEE INSIDE FRONT COVER OF THIS BOOt effect January S, 1915. Subject to change without notice. For Canadian price* see special Canadian Catalogue Enron THE SPALDING TRADEMARK Sf gPALDHN(S MEW ATILETHC (GOODfS CATALOGUE The following selection of items from Spalding's latest Catalogue will give an idea of the great variety of ATHLETIC GOODS manufactured by A. G. SPALDING & BROS. v. v. SEND FOR A FREE COPY. SEE COMPLETE LIST OF SPALDING STORE ADDRESSES ON INSIDE FRONT COVER OF THIS BOOK Archery Ash Bars Athletic Library Attachm'ts.Che Bathing Suil Caddy Cricket Sinking •Un?fot S m Balls- Base Basket Cricket Field Hockey Golf Hand Indoor Medicine Playground VoMey Water Polo Ball Cleaner. Go Bandages. E.asti Bar Bells Bars. Horizontal Indoor Bathing Suits Batons Bats- Base Bali Cricket Indoor Batting Cage. Base 1 Belts - Leather and Wors Basket Ball Striking Bai Blades. F, Blankets hie Caddy Badges Caps- Base Ball Knitted University Water Polo Center Forks. Iron Center Straps. Canv; Chest Weights Circle. Seven-Foot Clock Golf Corks. Running Covers. Racket Cricket Goods Croquet Goods Cross Bars Discs- Marking, Golf Discus. Olympic Disks. Striking Bag Dumb Bells Emblems Embroidery Equestrian Polo Exercisers. Elast., Felt Letters Fencing Sticks Field Hockey Finger Protectior Flags- Collegv Marking Golf Foils. Fencing Glove Softener Goals- Basket Ball Goll Ball Washer Golf Clubs Golf Counters Golfette Athletic Golf Gut Preservative. Guy Ropes and P< Gym'm Suits. Wor Hammers. Athletic. Handle Cover. Rubber Hangers for Indian Club Hats. University Health Pull Hob Nails Hole Cutter. Golf Hole R,m. Golf Home Gymnasium Hurdles. Safety Hurley Goods Indian Clubs Inflaters- Striking Bag Jackets. Fe Javelins Jersey. Lacrosse Lanes for Sprii Lawn Bowl. Cricket Field Hockey Leotards Letters Embroidered Felt Liniment Mallets- Cricket Equestrian I Roque Markers- Tennis Golf Masks- Base Ball Fencing Mattresses Megaphones M,i Nets- Cricket Golf Driving Volley Ball Newcomb Numbers, Competitors' Pads- Chamois. Fencing Sliding. Base Ball Wrestling Paint. Golf Pants- Base Ball Bathing. Knee Boys' Knee Running Pennants. College Plastrons. Fencing Plates- Base Ball Shoe Home Marking. Tennis Pitchers' Box Pitchers' Toe Teeing. Golf Platforms. Striking B Poles. Vaulting Polo. Equestrian Polo. Roller. Goods Posts- Backstop. Tennis Lawn Tennis Protectors- Shot- Abdomen Athletic Base Ball Body Indoor Base Ball Bruise Skate Rollers Indoor Base Ball Skates. Roller Thumb Slippers, Bathing Pulleys and Axle. Tennis Squash Goods Push Ball Standards- Pushers- Vaulting Volley Ball Chamois Leather Straps- Puttees. Golf Base Ball For Three-Legged Rac« Spikes. Cncket Steel Cable. Tennis Net Sticks. Polo Racket Covers Stockings Racket Presses Stop Boards Striking Bag* Stumps and Bails Rackets. Lawn Tennis Rackets Restrung Racks. Golf Ball Suits- Rapiers Gymna'm, Women's Reels for Tennis Posts Swimming Referees' Whistle Supporters — Rings- Ankle Exercising Wnst Swinging Suspensories Roque Sweat Band Rowing Machines Sweaters, Swivels. Striking Bag Swords- Duelling Quoits Fencing Take-OfT Board Tape- Adhesive Sacks, for Sack Racing Cricket. Measuring Sandow Dumb Bells Marking. Tennis Score Books- Measuring Steel Base Ball Tees. Golf Basket Ball Tether Tennis Cricket Tights- Golf Athletic Tennis Full Score Tablets. Base Ball Full. Wrestling Shirts- Foe Boards Athletic Base Ball Trousers. Y.M.C.A Training Trunks- Shoes- Bathing Acrobatic Velvet Base Ball Worsted Basket Ball Tug-of-War Belt Bowling Clog Cricket Cross Count Field Hocke Fencing Golf Gymnasium Jumping Outing Running Squash Street Tennis Walking Wands. Calisthenic Watches. Stop Water Wings Weights. 56-lb. Whistles. Referees' Wrestling Equipment Wrist Machines PROMPT ATTENTION GIVEN TO ANT COMMUNICATIONS ' ADORESSEO TO US A. G. SPALDING &. BROS STORES IN ALL LARGE CITIES FOB COMPLETE LIST OF STORES SEE INSIDE FRONT COVER OF THIS BOOI © Pnc.s .n effect January 5. 1915 Subject to change without no tic*. For C»D»di»o pricos *«• ipocwl CinxiiMi Caul of uk Standard Policy of Dual Profits, the manufacturer is oHI^id ^ ~V meet these conditions price on his goods to the consumer § * * pro P° rtlo ^tely high list a^vf^s^ j^onfag, to figure out absolutely essentia ; but their real nurnn J w f A u gh llst .P»ces are wh.ch vary with local trade conditions * " g Spec,al Amounts," and Vh"tbbir £££# ta as fet ^tCrn^'^"!^'"™ en.ng and degrading of the quality of his product ' V ' Z " the cheap " A G S e nS eg01 K 0nA j 0nsbeca r so int °lerable that 16 years ago in 1899 ||^e?f„ & d?n^S^ra^ The Spalding Policy" eliminates the jobber entirely so far a« <^ IJ- assured a fair and legitimate profit on all Spaldfng XSle ic Goon, li .k" consumer is assured « >Su -dard Quality and is'protected tmiSpos, ion^ ^ users ff A^^ P i7» d ^^ w ^ e lnterest ■»«* Paction of the M> S «.-The user is assured of genuine Official Standard Athletic Goods Second.— As manufacturers, we can proceed wifK ™„fiJ purchasing at the proper time, the ve^elfla^materids required in the manufacture of our various goods, well ahead of .If; respective seasons and this enables us to provide the necessarl quant,ty and absolutely maintain the Spalding* Standard of Sty PrlC All S a o a S ld m,lar /°? dS arG 8 °! d f ° r » °- Ne " S ChT c ago n and other sto™ In other words, The Spalding Policy" is a "square deaTfor everybody A. G. SPALDING & BROS. By (Z<$kdfi&^*^f. PRESIDENT. \S Standard Quality An article that is universally given the appellation "Standard'* is therehv conceded to be the criterion, to which are compared all other tf»n« f i nature. For instance, the Gold Dollar of the United S toe. s me S. A T and the fact of Us being Genuine is guaranteed by the Government Stamn hereon. As a protection to the users of this currency agamst counterfeiting Zd other tricks cons.derable money is expended in maintaining a Secret SerXe Bureau of Experts. Under the law. citizen manufacturers must de P end7o a great extent upon Trade-Marks and similar devices to protect themselves agamst counterfeit products-without the aid of "Government Detectives' o''P u bl c Opinion to assist them. ruonc Consequently the "Consume,-, Protection" again,, misrepresentation and 'tZSZ ~* -** "^ "" *-* ^ '—*»" .hi«^' C ' SP! ' ldin8 & Br ?\ h « ve ' b " ** 'is.ro,. attention to "Quality." for two'rH asTc " , '"J T.,ade.M,rk '° b — ^own ,h,„„ 8 ho u S S W Cn"en a ;tsfnir fi n ei" " ^ " ^""^ " ** « " *• The necessity of upholding the Guarantee of the Spalding Trade-Mark and maintaining the Standard Quahty of their Athletic Goods. 18 . merefore a obv: ousas is the necessity of the Government in maintaining a Standard Currency Thus each consumer is not only insuring himself but also protecting other consumers when he assets a Reliable Manufacturer in upholding his T ad" Mark and all that „ stands for. Therefore, we urge all users of our Athletic Goods to assist us in m. mtaining the Spalding Standard of Excellence by msrstmg that our Trade-Mark be plainly stamped on all athletic goods which Lnd l {^T" ^ ° Ut thlS Precaut '° n our best efforts towards maintaining Standard Quality and preventing fraudulent substitution will be ineffectual Manufacturers of Standard Articles invariably suffer the reputation of being ^zitr- : T m r is tostered and empiwe d * ■»■«<«• °* infenor goods, w-th whom low pnces are the main consideration. A manufacturer of recognized Standard Goods, with a reputation to uphold turer a orr mee ^"T "? "^^ haVC hi ^ P^es than a manufac- turer of cheap goods, whose idea of and basis of a claim for Standard Quality depends principally upon the eloquence of the salesman. ™vL ekn ° W , f r m eX J PerienCC J that there » no quicksand more unstable than poverty ,n quahty-and we avoid this quicksand by Standard Quahty. LIBRARY ATHLETIC A separate book covers every Athletic Spor and is Official and Standard Price 10 cents each GRAND PR1ZI GRAND PRIX ; ,, 9 o4 SPALDING par. ATHLETIC GOODS ARE THE STANDARD OF THE WORLD A.G. Spalding ® Bros. MAINTAIN WHOLESALE and RETAIL STORES in the FOLLOWING CITIES NEW YORK CHICAGO ST. LOUIS BOSTON MILWAUKEE KANSAS CITY PHILADELPHIA DETROIT SAN FRANCISCO NEWARK CINCINNATI LOS ANGELES ALBANY CLEVELAND SEATTLE BUFFALO COLUMBUS SALT LAKE ( SYRACUSE INDIANAPOLIS PORTLAND ROCHESTER * BALTIMORE WASHINGTON LONDON. ENGLAND LIVERPOOL. ENGLAND BIRMINGHAM. ENGLAND MANCHESTER, ENGLAND EDINBURGH. SCOTLAND GLASGOW, SCOTLAND PITTSBURGH MINNEAPOLIS ATLANTA ST. PAUL LOUISVILLE DENVER NEW ORLEANS DALLAS MONTREAL. CANADA TORONTO. CANADA 5 PARIS. FRANCE D SYDNEY. AUSTRALIA \rits owned and operated hyA.G.Spaldmj? & Bros, and where *"* f J* a 'f< n / 2 Marked Athletic Good I are made are located tn the following c,U_es CHICAGO SAN FRANCISCO CHICOPEE, MASS. BROOKLYN BOSTON PHILADELPHIA LONDON. ENG.