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Manrique Maitre d'Armes New York OFFICIAL TEXTBOOK OF THE NEW YORK NORMAL SCHOOL OF PHYSICAL EDUCATION Published by n AMERICAN SPORTS PUBLISHING fl —.zr\ COMPANY Fnr- I — ' *-* *--) 45 Rose Street, New York e — ' ^ * — i '\?FrRrGHT, 1920 BY THE Abusrican Sports Publishing Company New Yobs PREFACE In every well regulated system of study and instruc- tion there must be some basis which, by experience and practice, has presented itself most acceptable for the requirements and results. In the choice of basis for the educational system, when the subjects are long estabHshed arts, such as is "Fenc- ing," the ''School'' most universally used is accepted, as its universalism speaks its adaptability to most persons. It is in this way the "French School" in fencing has been uniformly established throughout the United States. This book aims to present, in the form of class work, all the elementary conditions of fencing, according to the ^'French School," and to prepare the fencers, who will in the future be the representatives of the art in the col- leges, in the universities and in the clubs. The following work has been written by Professor Ricardo E. Manrique, graduate of the "French School" and a teacher for twenty-five years, with a wide experi- ence in handling large classes. Prof. Manrique is the author of "The Art of Fencing With the Foil, According to the French School," and was awarded the only medal given for work on fencing at the Pan-American Exposition^ Buffalo, 1901. 544439 INTRODUCTION Fencing in class is one of the most pleasurable subjects for the instructor to present and assists widely in quick- ening perception in the pupil and producing prompt execu- tion of commands. This work aims to be a convenient and a concise guide for the teacher, simplifying the evolutions of the foil in action, and to smooth the path for the beginners by the character of class work, for it affords the inevitable help and pleasure of companionship and observations that are essentially more agreeable through the early routine than is the hard, dry, individual work vis-a-vis with the instructor. HISTORY OF FENCING Fencing, the art of self-defense with the sword, has passed through several phases since the days of its origin. At the time of its birth and early development, the sword in use was a very heavy weapon, and adversaries in com- bat trusted more to inspiration and agility than to any established principles. It was through the experience of many generations of practical men that the principles of sword-play were deduced, formulated, simplified and adapted to the human anatomy. The art of fencing has changed according to the change of arms and the manner of combat. The beginning of the middle ages was the epoch for heavy blows admin- istered with bludgeons, and the victor was he who hit the hardest. When combatants were mounted on horse the resistance of their armor controlled the result and their physical strength was only secondary. It was with the complete discarding of armor that the art of fencing, properly speaking, began. In the course of time, and after the passing of the days of armor, there was a lighter and a shorter sword introduced. This weapon was easy to manage and well suited to the custom of going afoot ; it was adopted by those gentlemen of the cloak and sword who were obliged to protect their lives, devising malicious attacks and avoiding cunning thrusts. Their method differed from modern methods because at that time the sword had as 6 SPALDING S ATHLETIC LIBRARY auxiliary the dagger, and offered complications quite out of the question in fencing of our day. When the dagger fell into disuse, the court sword was adopted, so called because Dame Fashion demanded that it be an adjunct to the apparel of every gentleman. This was the signal for the advancement of an art which has been continually evolving to develop into the perfection of the present day. At about the time of the adoption of the court sword two schools of fencing were formed in Europe, the French and the Italian, still holding their own to-day. The former had the advantage of royal protection, hence mas- ters of arms declare with pride that in France, in 1567 A. D. was established the first institution known as an Academy of Fencing. This Academy of Arms disap- peared during the Revolution, when both its patrons and its masters were suppressed. In 1886 it reorganized, with the expressed object to create a common center for fencing masters, to establish constant intercourse and fellowship among them, and to watch over the profession and promote its prosperity. Spalding's athletic library ** / ' PART I The Foil. / The foil used by the French School is divided into two parts, the blade and the handle. The blade has three equal subdivisions (imaginary, for convenience, not by actual markings), the forte, part nearest handle; the middle and part between middle and end called foible. The handle has four subdivisions : the guard (made either bell-shape, or number 8) ; the grip (wood, cov- ered with cord) ; the tongue (continuation of the blade that passes through the grip), and the pommel (hea^y metal knob completing the handle). There are several numbers in blades, the most usual being No. 4 and No. 5, 34 and 35 inches in length from guard to point. To find proper balance of foil, poise the blade on a finger and about one inch from guard, the exact balance is regulated by the weight of the pommel. How TO Hold the Foil Hold the foil with the second phalange of the thumb about one-half inch from the guard on convex side of handle; the second and third phalanges of the index fin- ger on the concave side; the other fingers close together on the remaining side. Allow handle to rest along the First Position, SPALDING S ATHLETIC LIBRARY 9 life une. Hold foil lightly, for a hard grasp loses the delicacy of touch so essential to a really good fencer. ^-Position of Attention With foil held as described, place the feet, heels to- gether, at right angles to one another, head up, right arm and foil extended downward and slightly to the side, button four inches from floor, left hand at side, naturally, stand as much in profile as possible, without rigidity. First Position. From position of attention, keeping arm and foil in straight line, raise them toward the adversary and slightly to the right, until the hand is at the height of your own forehead, nails up. Preparatory Movements to Come ""On Guard^^ From First Position From first position just given — First — -Lower foil imtil button is four inches from floor. Second — Continue movement of point till the blade rests in a horizontal position in front of the body, finger nails of right hand toward floor; at same time place left hand, fingers together on blade, palm up, finger tips near guard. P:reparatory Movements to Come on Guard From First Position. Preparatory Movements to Come on Guard Fr.oii First Position, rZ • SPALDING S AT HLEirC LIBRARY :: Third^ — Both hands maintaining same relative position,, carry foil over head, blade horizontal, arms bent. Fourth — Drop left hand to the side and height of the: head, movement and position curved;, at the same time- bring right hand with foil in front of adversary, hand; kept chest high, nails in, arm bent, elbow in and about: eight inches from body, point of foil in hue of adversary's. eye. Fifth — Feet keeping: same position, bend le^s, knees> separate^ weight maintained by both legs. Sixth — Bring right foot forward, two foot lengths, between heels, keeping the right angle position; then you. are "on guard."' The Recover How to do it: To recover is to return to "first posi- tion" from "on guard." Extending right arm and foil upward and forward,, hand forehead high^ nails up ; at the same time bring left hand down to side,, right foot back„ legs straight, heels, together. The Advance From "^on •guard''' with body in' same position, advance fight foot a convenient distance,: left foot following am equal distance. The Retreat Being "'on guard"' and keeping body and arm in same position, take one step back with left foot, letting right foot follow immediately.. 14 spalding s athletic library Gain This motion consists in drawing the left foot towardl the right foot, the distance you wish to approach your| adversary in attack. The movement is made just before lunging, keeping legs bent. ' The Calls Stamp right foot on floor, once or twice quickly and! audibly, rest of body remaining motionless ; these stamps! may be used to insure a perfect balance, or as a means to ' call an adversary's attention to your desire that the bout should stop. Extension of Arm Extend right arm with easy and smooth movement, hand held nails up, arm and foil making straight line and at level of chin. To resume former position, draw back arm with foil, in the easy, smooth way, and bring elbow to within eight inches of body. The Lunge. The arm extended, as described, lift right foot about one inch from floor, and pushing back with the left leg, throw body forward until left leg is extended to its full length with foot flat on floor, then the right foot, with instep perpendicular to knee and with right thigh nearly horizontal, returns to floor to receive weight of body. Simultaneously with the thrust of the left leg, drop the left hand backward and down in a curved movement, until it rests within four inches of the thigh, palm turned On Guard. l6 SPALDING^S ATHLETIC LIBRARY forward. The body is held as nearly as possible in a perpendicular position throughout the lunge. To return ''on guard," bending left leg at knee, draw back right foot to original position, with weight of body evenly distributed ; at same time swing left arm upward,, and flex right arm with foil as described before. Position" of Foil Haistd Foil hand in fencing may assume four different posi- tions, namely : First — Thumb down, nails to right. Second — Thumb to left, nails down. Third^ — Thumb up, nails to left. Fourth — Thumb to right, nails up. First, second and fourth can be used in attacks and parries ; third in parries only. Public Salute" First — Being in first position, bring foil in front of face, blade perpendicular^ handle chin high, palm toward face, nails in. Second — Without moving arm, drop foil forward to* horizontal position, then swing to left side, arm extended,, nails up, hand shoulder high, look in direction of foil. Third — Withdraw arm and carry foil to front oi face in perpendicular position described,, then drop forward as in second part; swing to right side, nails down, han:! shoulder high and look in direction of exteaded arm and foil. r8 SPALDING^'S ATHLETrC LIBRARY Fourth — Return foil to perpendicular position in front of face, then after making the last six preparatory move- ments, come to "on guard/' Final Salute In first position, flex arm, elbow near body, hand in- front of chin, nails in, blade perpendicular m front of face. Second — Swing point forward and down, extending: arm ind at the same time turning hand outward, nails dov.n ; halt point at about four inches from the floor and a ^^ille to the right. -^^ The Lines The lines are the spaces existing on^he different sides; of the blade when on guard. ^here are four lines, namely, the space to right of blade is known, as follows: right line, sixth Fine, third line, and outside line ; space to left of the blade known as follows : left hne, fourth line and inside line; the space above the guard to vhe collar line, known as high line,, and space below guard to the belt line known as Igzu line^ The right and left lines are the only lines for engage- ment. High and low lines for attacking. The Engagement The engagement is the joining of your blade with your adversary's, in one of the 4ines of engagement, in such a manner as to protect yourself, by carrying adversarv's point away from either side of your body. ^ '^w ^^M ^^^s The Line. 20 Spalding's athletic library Change of Engagement The change of engagement is a new engagement, made on the opposite from the one in which the blades were originally. In making the change, lower your point (movement made by the fingers only) and pass it under and as near as possible to the adversary's blade, protect- ing yourself, as described, in the line of engagement. If the change of engagement is made advancing, the step forward must be preceded by the finger movement, the advance being' executed during completion of this movement. Double Engagement The double engagement is made by two successive engagements, the second beginning in the opposite line to the one of the first engagement. If executed advanc- ing, the advance must be completed during the first change of engagement. : Fingering Fingering consists of having the guidance of the blades entirely under the control of the fingers, more especially the thumb and index finger. Fingering gives the real fencer the most e'ssential quality of delicacy and sensitiveness. The Attack The attack is the action of a fencer when trying tc touch an adversary by simple or by complex thrust. Sim- ple, when it consists of one movement, complex, When it consists of more than one. Position of Engage in Fourth. Position of Engage in Sixth SPALDING S ATHLFTIC LIBRARY 2}^ There are only three simple thrusts, namely : the direct thrust, the disengage and the cut-over. The direct thrus' is the action of the fencer when he makes a direct extension of the arm, with the intention to touch his adversary in the line of engagement. The disengage is a pass under the adversary's blade, keeping as near to it as possible, -^nd is followed by exten- sion of the arm with the intenticr tc touch the adversary in opposite line to the line of engagement. The cut-over is a pass over the adversary's blade and as near to it as possible, motion made by thumb and index finger only, and is followed by extension of the arm with the intention to touch the adversary in the opposite line to the line of engagement. The complex attacks are without limit in iuimber. Further on there will be some explanatory examples given. The Feint The feint is a counterfeit attack, and must be so exe- cuted as to deceive the adversary into believing it a real thrust, without being accompanied by a lunge, thus forc- ing adversary to parry ; then your point must be in readi- ness to make another feint or to execute a thrust in another line; by so doing, complex attacks are formed. The Parry The parry is the action of attempting to direct, beyond your body, the point your adversary has thrust at you (this attempt may be or may not be successful, in either 24 Spalding's athletic library case it is a parry). The parry is made by the forte of your blade against the foible of your adversary's. The Counter-Parry. The counter-parry is a reverse parry which seeks your adversary's blade in the line in which it presents itself, to be forced into opposite line. In execution the point describes a small but complete circle, while hand remains fixed. Opposition Parry The opposition is diat special parry which meets the adversary's blade, accompanying it, without a tap, beyond the front of the body, using a forceful pressure of the hand, forte to foible. Contraction Parry The contraction parry is an awkward and unnecessary parry, as it carries the adversary's point through all the lines, exposing the body, for example: Engage in fourth — No. I — Attack by one-two. No. 2 — Instead of parrying sixth and fourth or sixth and counter-sixth, parry sixth and counter-fourth (this counter-fourth is a contraction parry). The Different Parries There are eight parries, each one of which has its counter. These parries are first, second, third, fourth, fifth, sixth, seventh or semi-circle and eighth. SPALDING S ATHLlilTIC LIHRARY 2$ The second and e'ghth are made to the right and in the low Hne ; The third and sixth are made to the right and in the high Hne ; The fourth and first are made to the left and in the high line ; The fifth and seventh to the left and in the low line. Execution of First On a thrust at your left high line, turn your hand, nails out, elbow raised and bent, forearm horizontal, handle at height of left eye, point directed- to adversary's low line. The Counter of First Being in position just described, on your adversary s attack in opposite line, raise point of your blade above adversary's, carrying it with yours to original position. ExEcuTior^^F Second On a thrust at your Iovva line, lower your handle, in motion from left to right, turning your hand, nails down, bringing forearm, handle and blade in a position nearly horizontal. The Counter of Second Being in position just described, on your adversary's attack in opposite low line, raise point of your blade above your adversary's and carry adversary's blade to original position. ^ 26 Spalding's athletic library Execution, of Third On a thrust at your right high Hne, carry your hand to the right, nails down, turning by articulation of the wiist, ending with point at height of and in line with your right eye. The Counter of Third Being in position just described, on your adversary's attack in opposite line; drop your point under your adversary's and carry your adversary's blade to original position. ExEcuxioisr OF Fourth On a thrust at your left high line, carry your hand to the left, u.sing a quarter turn if the wrist, thumb slightly inclined to the right, point at height of and in line with your left eye. The Counter of Fourth Being in position jus.; described, on your adversary's attack in opposite line, drop point of blade under your adversary's, carry adversary's blade to original position. Execution of Fifth On a thrust at your left line, turn your hand slightly, nails down, lowering your wrist diagonally over your adversary's blade, carrying the latter to the low line. At the end of the stroke the forearm, wrist and blade should be in horizontal line across the body. The Counter of Fifth Being in position just described, on your adversary's attack ill che opposite line, drop the point of your blade, Spalding's athletic library 2y passing it under that of the adversary's and carry it to the o»-!ginal position. Execution of Sixth On a thrust at your right high line, carry the hand to the side, nails slightly upward, motion made with the wrist, and finish with the point of your blade at the height of and in line with the right eye. The Counter of Sixth Being in position just described, on your adversary's attack in opposite line, drop the point of your blade, pass- ing it under your adversary's, and carry adversary's blade to original position. Execution of Seventh or Semi-Circle On a thrust at your low line, drop your point under the adversary's wrist, turning hand, nails up, by wrist movement, and carry adversary's blade to the left of your body; at the end of this parry the hand should be chin high, and the arm must be somewhat extended to facili- tate the movement. The Counter of Seventh Being in position just described, on your adversary's attack in opposite low line, raise the point of your blade, passing it over your adversary's, and carry adversary's blade to original position. Execution; gf Eighth On a thrust at your low line drop the point of your Cb SPALDING S ATHLETIC LIBRARY blade under adversary's wrist^ turning nails slightly up^ without changing height of wrist, and carry adversary's blade to the right of your body. The Counter of Eighth Being in position just described, on your adversary'^ attack in the opposite low line, raise the point of your blade, passing it over your adversary's, carry adversary's* blade to original position. Complex Attacks Having explained the parries, it is now the moment in which to grasp the complex attacks. As has been said before,, the complex attacks- are with- out limit, for many parries may be involved by able hand- ling of adversary's attack. The One-Two The one-two, a complex attack of two motions, con- sists of two disengages made in opposite directions, one following immediately after the other ; the first is fike a ,_sinm[e disengage, the second (made by motion of first finger and thumb) is the one to deceive adversary's parry. Exercise: Engage in Fourth Pupil — Disengage (i). Instructor — Execute parry sixth. Pupil — Deceive by disengage (2). y spat.ding''s athl,t:tic •libkai^y 29 In this example the one-two is executed, but in the event that the instructor executed the other parry that the pupil should deceive, the result could be a series -of movements being made before the end of the attack, thus proving the possibility of compkx attacks of long dur- ation. The Double The double is a complex attack of two motions. It con- :sists of two disengages in the same direction, one follow- ing immediately after the other. Extending the arm during the first disengage (as in one-two) ; the second 'disengage is executed hy the aid of the first finger and thumb, and completes the double; the latter or second disengage deceives the adversary's counter-parry, ExEIiCISE Engage in Fourth Pupil — Disengage (first part of double). Instructor — Parry counter-fourth. Pupil — Deceive by disengage (end of double). The One-Two-Three The one-two-three consists of three disengages, one following immediately after the other, but made in op- posite direction. It is as the one-two with one more disengage. Exercise Engage in Fourib Pupil — Disengage (i). Instructor — Parry sixth. 30 SPALDING S ATHLETIC LIBRARY Pupil — Deceive by disengage (2). Instructor — Parry fourth. Pupil — Deceive by disengage (3). In every case these exercises could be done from the sixth engagement with opposite parries. Disengage, cut-over ; cut-over, disengage ; cut-over, cut-over; double, one-two; one-two, double; double, one-two-three; one-two-three, double; dbuble, double, etc., etc. With these and malny other combinations the instructor can enlarge on the number of complex attacks. The Riposte This is the attack following a successful parry, with or without the lunge. According to the position and movements of your adversary, the riposte may be made immediately after parry or in a brief interval of time. The ripostes are simple and complex ; the simple ripostes are those executed with one movement and the complex ripostes are those consisting of two or more movements. The simple ripostes are divided into simple direct and simple indirect. The simple direct is the most rapid of all ripostes, and is called the riposte of tac-au-tac; it is executed in the same line in which you have parried your, adversary's attack, and when made on your adversary's lunge, should be made simultaneously with the stamp of your ad- versary's right foot on the floor. The simple indirect ripostes are ripostes made by cut- over or disengage. SPALDING S ATHLETIC LIBRARY 3I For a proper execution of complex ripostes it is con- venient not to abandon your adversary's blade as quickly as for simple ripostes, but observe whether he returns quickly or slowly to ''on guard," To execute either of the two simple indirect ripostes it is advisable to hold adversary's blade as in complex riposte. The Counter-Riposte The counter-riposte is the attack following a parry of a riposte : it has the divisions and same suggestions as for riposte. . The Second Counter-Riposte The second counter-riposte is the attack following a parry of the first counter-riposte; and the third and fourth counter-ripostes, etc., are made in the same order, thus forming long or short "phrases of arms." Phrase of Arms A phrase of arms is a series of attacks, parries, ripostes, etc., etc., one after the other, without interrup- tion, and ending only when one of the fencers is touched or when they are out of distance by retreating. The shortest possible phrase of arms is a direct thrust, a dis- engage or a cut-over. The Replacing (Remise) The replacing is the second attack executed always by a direct thrust in the same line in which the first attack was made. You should never replace without first study- ing the adversary's style to find whether he usually 32r SPALDING S ATHLETIC LIBRARY ripostes by complex movement, which condition presents the opportunity for replacing. Replace after adversary's first feint, the result will be that you stop his final move- ment by an opposition, and touch him before he could execute it. A good fencer will never replace with an adversary who has the habit to riposte by tac-au-tac, be- cause the result will be, as a rule,, a double touch. The Redoubling (Redoublement) The redoubling is the action of making a second attack without coming on guard after the first. It can be exe- cuted in any line, but never by a direct thrust, for in such case it would be replacing. The only opportunity tor redoubling presents itself when in the adversary's parry of your first attack he does not riposte ; this second attack (the redoubling) must be made, while still in the lunge, either by disengage or cut-over. Accompany the motion of the hand by a slight pretence of recovery, in order to deceive the adversary with the idea that you are about to come ''on guard/' The Reprise The reprise is a new attack made after the contestants have engaged in a phrase of arms, without either receiv- ing a touch. At the moment of recovery of both, either contestant quickly makes a new attack by simple or com- plex movement. This is an efTective attack because the adversary may be disconcerted by the preceding phrase of arms, and will find it difficult to ofifer successful parry. spalding s athletic library 33 Attacks on the Blade Attacks on the blade are those executed to derange the position of the adversary's blade, driving it from its line of defence. The Beat The beat is a tap, more or less light, made with your blade against your adversary's; it must be done with a quick motion of the index finger and the thumb. There are three beats. Beat preceding direct thrust is forcible and at the place where the blades cross: it is made to open room for the direct thrust. Beat preced- ing disengage is light and is made with the foible of your blade near the forte of the adversary's; it is executed thus in order to call attention on the one side of the blade and open room on the other side. Beat preceding a cut- over is executed lightly, as is the beat preceding dis- engage, but is made with a backward motion, sliding your blade along your adversary's until you clear the point. The Double Beat The double beat is the immediate succession of two beats. The first beat is made in the line of engagement, the other in the opposite line, and is made after dip- ping your blade under your adversary's. The double beat can also be made by preceding each beat with a change of engagement. When the double beat is to be followed by a direct thrust, the first beat must be slower and lighter than the second ; both to be made with about the center of your adversary's blade with the center of your own blade. 34 SPALDING S ATHLETIC LIBRARY When the double beat is followed by a disengage, the first beat must be slower and lighter than the second and on the center of the blades, but the second must be made near the adversary's forte and with your foible. When the double beat is to be followed by a cut-over, both beats are light taps ; the second beat is the same as the simple beat preceding cut-over, explained before. The Press The press is a pressure, more or less light, with your blade against your adversary's, in order to open your adversary's guard and facilitate an attack. When pre- ceding a direct thrust, the press must be executed by a slow turning movement of the wrist, without losing con- tact with the adversary's blade. When preceding a dis- engage, the press must be executed by a rapid turning movement of the wrist, and upon your adversary's re- sponse, disengage; in this latter case start with your point lower than in the preceding case. The Glide The glide is the feint of a direct thrust made by slid- ing your blade easily along your adversary's, with as lit- tle warning as possible. When the glide is intended to realize a direct thrust, glide with the forte of your blade on your adversary's foible, elevating your handle and lowering your point to touch. If your glide is intended to realize a disengage, it must be executed by sliding the foible of your blade along the length of your adversary's, SPALDING S ATHLETIC LIBRARY 35 in this case plainly drawing your adversary's attention sg as to induce him to cover that line. The Traverse The traverse is a prolonged and sharp press, sliding your blade along your adversary's down toward the hilt, in order to make an opening through which to thrust your point. The Low Thrust The low thrust is the attack made by passing^ your blade from a high line to a low line. To realize this, exe- cute first in a high line, a feint of attack or an attack on the blade, then lower the point of your blade hy a turn of the wrist, and in a low line lunge to touch; at the same time raise your handle as much as possible for self protection. The. Bind- The bind is the action by which, with the possession of your adversary's blade, you carry It from a high line to* an opposite low hne. On your adversary's slow feint or when his arm is extended, seize the foible of his blade with your own forte, thus taking^ possession of his blade,, and, carrying your point to a low line, carry adversary's point outside the hne of your body, then lunge to touch. If the bind starts from fourth engagement, turn hand,, palm down ; if from the sixth engagement, keep your hand palm up. The fcinf of bind is as the real bind without the lunge; on your adversary's endeavor to parry,, deceive that parry- by a disengage. 36 Spalding's athletic library The Cross The cross is a brusque movement which is realized by involving your adversary's foible with your forte, and carrying it from a high line to a low line or vice versa, usually after parrying. From fourth to second. From sixth to seventh. From second to fourth. From seventh to sixth. The Liement The liement is a movement which forms a complete circle, carrying your adversary's blade (his arm being extended), forte to foible, through all the lines, until arriving again at point of departure, immediately follow by a glide and direct thrust. Though I explain this movement I must say it is, generally speaking, not used by good fencers as it carries the adversary's point across your body, which is disconcerting. The Time Thrust The time thrust is an attack calculated to surprise your adversary ; it is therefore an attack executed in the time intervening between the two final feints of your ad- versary, or when his blade is momentarily out of line, or on a prolonged feint, or during an attack disconcerted by your adversary lunging before having extended his arm, or on a feint beyond the body. It is a movement, at once a thrust and a parry, and I advise it be executed in the SPALDING S ATHLETIC LIBRARY 37 outside line, because in the inside line there is a greater chance of a double touch. The time thrust should not be encouraged in a pupil until he is thoroughly familiar with all the attacks, par- ries and ripostes. Only advanced fencers should attempt to execute a time thrust. The Stop Thrust The stop thrust is a rapid attack, executed in the face of an advancing attack which is composed of wide feints. In short, it is a time thrust realized on your adversary's advance. 38 Spalding's athletic lip.rary PART II In the preceding pages I have tried to frame, in a con- cise form, the foundation of the art of fencing, the art in which there are so many possibiHties, so many beauties, and so many benefits. After a thorough understanding of what has gone before in the pages of this Httle book, we pass to the practical appHcation in class work. In class work the individuals assembled receive and execute in concert all the movements on which fencing is built. The only parts of the fencer's costume absolutely neces- sary for this work are the foil, the mask, the glove and the shoes. A. G. Spalding & Bros, have regulation fencing jackets for both men and women. For men, there are fencing trousers to be bought if desired. For women, it is advis- able they wear either a short skirt or bloomers. And, as an additional advice to women, from a medical stand- point, it is best to protect the chest by wrapping strips of cloth across it and under the arms to form a bandage to guard against any possible bruise from being struck there with the foil button ; about three yards of cheese cloth or similar material crossed and recrossed until a firm solid bandage is made as suggested. As to the uniformly necessary adjuncts, the foil already described ; the mask, a specially prepared net work made SPALDING S ATHLETIC LIBRARY 39 to cover the face and ears of the fencer; the glove, a regulation gauntlet, and the shoes, without heels and Avith a rough sole, made especially for the purpose. The Spalding catalogue contains a full list, with prices of fencing equipment. Class Work (All commands have two orders, one preparatory and one for execution.) Assuming now there is a class of beginners before us, the instructor will assemble this class, forming them in LEFT RIGHT 12 12 1 2 1 2 INSTRUCTOR one line, according to height and facing the instructor, the tallest at the extreme left ; command used will be '"class, fall in." (See diagram above.) (The pupil at the end of line at instructor's left will be known hereafter as the head of the line.) The class thus formed in line, the Position of Atten- lion is: Heels on the same line and as near each other as the conformation of the body permits ; feet turned cut equally and forming with each other an angle of about 40 SPALDING S ATHLETIC LIBRARY sixty degrees ; knees straight without stiffness ; body erect on the hips ; shoulder square and f aUing equally ; arms and hands hanging naturally; elbows near body; head erect and square to the front, chin slightly drawn in, without constraint; eyes straight to the front. At the command (i) Right, (2) Dress, (3) Front; the pupils, except the head of the line, turn the head to the right, so as to bring the left eye in a line about two inches to the right of the center of the body, eyes fixed on the line of eyes of pupils in that direction ; at the same time place the left hand on the hips, thumb to the back, the four fingers together toward the front, elbow lightly against the right arm of the next pupil. The instructor must verify the alignment. Then at the command front, all heads and eyes to the front and drop left hand to the side. (In fencing, the position of the feet must always be at right angles.) The class now in straight line and facing front after preceding commands. At the command (i) Half-left, (2) Face, rest on left heel and turn one-quarter to the left, this turn brings the left foot of every pupil in a straight line and pointing to the left, bring right heel to left heel, feet forming right angles. Simultaneously with the turn, raise right hand away from body, slightly forward and to the right, palm down ; the class is now in attention position in fencing. (i) First position. (2) One. SPALDING S ATHLETIC LIBRARY 4I Under (2) raise arm and come to first position in fencing. Under commands (i), (2), (3), (4), (5), (6), the instructor leads the class through the execution of the preliminary movements in fencing to ''on guard/' (i) Extend the arm. (2) One. Under command (2) extend the right arm, hand palm up. (i) Class. (2) Lunge. Under command (2) execute the lunge. (i) On guard. (2) One. Under command (2) come on guard. (i) Two calls. (2) One. Under command (2) give two calls. ( 1 ) First position. (2) One. Under command (2) come back to first position. (i) Final salute. (2) One, Two. Under command (2) make final salute. 42 SPALDING S ATHLETIC LIBRARY (i) Front, (2) Face. Under command (2) rest on left heel and turn one- quarter to the right ; right hand to the side ; the line is in position of attention class work. Foil and Mask. After the class has received and executed the work without the foil, the order is given to take foil and mask. The foil is held between the first finger and thumb, pommel down; thumb on the convex side of handle and index finger on the concave side, blade perpendicular and at the side. Now to come to fencing attention position. Simultaneously with the half left face, by motion of first finger and thumb, drop foil forward and down, turning wrist brusquely, until the point is about four inches from the floor. From this position, to come to attention posi- tion class work, simultaneously with the command front face, swing blade up by a brusque motion of the wrist to perpendicular position at the side. The mask is held by the left hand, the second and third finger grasping the back part, in order that in posi- tion of right dress the face of the mask is toward the front ; this manner of holding also facilitates in placing the mask on and in removing it, as explained in the fol- lowing paragraphs. (i) Mask on; (2) One; (3) Two. Being in attention position class work, on command SPALDING S ATHLETIC LIBIIATIY 43 ((2) bring lower part of the mask under the chin and in -front of the face; on command (3) draw back part of mask over the back of the head, release hold and drop the hand to the side. (f ) Maslc off: (2) One; (3) Two. Being in position of attention class work, on command ■■(2) grasp back part of the mask with second and third finger; on command (3) remove mask and bring hand with mask to position at the side. Count Off In order to Tiave two sides, one for attacks and one for parries^ it is necessary now at this point to number the pupils; this is done und^r the command ''Count Off." Pupils being in a straight line in attention position class work, mask off, all except the head of the line, turnlieads to the right, as in right dress, the rest of body remainmg motionless, and, beginning with th^ head man, count one^ tzvo ; each pupil turns his head and ey^s to the front as he •counts. It is imperative at this juncfture, in order to give space for freedom of movement, that the class be formed into two lines; this is done easily by executing the commands, as follows: (i) No. 2''s two steps forward^ (2) March. Under ;the command (2) all No. 2's will step two steps forward ^See Diagram on follawing page)^ 44 i5PALDIIVG:'s ATHLETIC LIBRARY 1 2 12 1 ,i f- -t • NSTRUCTOH^ (In executing step forward or step back always step with the left foot first.) The class in two lines as Just described. A— (i) Half-left; (2) Face. B — (i) First position;, (2) One, C — (i) Preliminary movements to come on guard. (When on guard in class work, always keep the guide to the left of the line; that is, the line must be regulated from the pupils at the extreme left.) D — (i) Extend the arm ; (2) Lunge; (3) On guard. (In his Section D, after the execution of ''extend the arm,"^ place the hand in all the different positions used in fencing before the lunge,) E — Advance, F— Retreat. G — Two calls.. H^ — (i) First position ; (2) One, . The Luj^ce. 46 Spalding's athletic library- I — (i) Final salute; (2) One,, Two. J — (i) Front; (2) Face. To have class again in one line. Command (.1) No. 2'si two steps back; (2) March. (i) Right, (2) Dress, (3) Front, (i) Class, (2) At ease. At the last command allow tht class to relax, and dur- ing this period criticize and correct any individual faults- you have noticed and called attention to during the exer- cises ; demonstrate the correction. With the class in one line and after half-left, face,, command, "right arm in position of on guard." (The- work at this point is for the right hand and arm only,. the rest of the body remains without moticm.) Having one pupil step four steps forward engage his blade ; the class will follow the movements of this pupil,. each engaging an imaginary blade; in this way the in- structor can well demonstrate the right positions, explain- ing now^ how to parry fourth and how to parry sixth, (and make individual criticisms). In order to have the members of the class in regular distances and one facing another, Command: (i) No. 2's four steps forward; (2) March, f i) No. 2's one step to the right; (2) March, (i) No. 2's about; (2) Face, At the command "about" carry the toe of the right foot about eight inches to the rear and three inches tO' the left of the left heel, without changing the position of SPALDING S ATHLETIC riBllAlRY 47 the left foot; at the command "face/* face to the rear, ^turning to the right on the left heel and right toe ; replace •the right heel by the side of the left. (U. S. A.) With the class in this position, commands (i) Half-left; (2) Face. Always liaving in mind the correct position of tlie iee% in accordance with previously explained rules, it is to be noted now, in addition that with the papils vis-a-vis, the HI right foot of each one must point in direct line to the middle of the left foot of the other one, with the pur- pose to be exactly opposite. (See Diagram above.) Then following the necessary command bring the class to on guard, and from fourth engagement, then from sixth engagement, command as follows; (Attend that always in engagement position, the point of your blade must be at the height of, and in line with, the adversary's eye.) 48 SFALDTNG^S ATTILETrC LrBK-ARY" Class Engage in Fourth Direct Thrust, No. I — Direct thrust ; lunge. No. 2 — Parry fourth (when Na i executes the lunge).. Both on Guard Command No. r. (i) Direct thrust; (2) lunge; (3) on guard Disengage No. I — Disengage. No. 2 — Remain motionless. No. I — Lunge. No. 2 — Parry sixth. Both on Guard Command No. i (i) Disengage; (2) lunge; (3) on guarcL Cut-over No. I — Change engagement. No. 2 — Attend the new engagement. No. I — Cut-over. No. 2 — Remaiu motionless. " No. I — ^Lunge. No. 2 — Parry sixth. Both on Guard Command No. i. (i) Cut-over; (2) Lunge; (3) On guard. No. I — Change of eng-igement. No. 2 — Attend the nev/ engagement. SPALDING S ATHLETIC LIBRAIRY ^9 The No. 2 will execute all the -Na i has just done., and No. I will do as No. 2 di