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Title: Fencing foil class work illustrated
Author: Ricardo Enrique Manrique
Release date: October 28, 2026 [eBook #79878]
Language: English
Original publication: New York: American Sports Publ. Co., 1920
Other information and formats: www.gutenberg.org/ebooks/79878
Credits: Bryan Ness and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)
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[Illustration: RICARDO E. MANRIQUE.]
SPALDING “RED COVER” SERIES OF
ATHLETIC HANDBOOKS NO. 11R
FENCING FOIL
CLASS WORK
ILLUSTRATED
BY
Ricardo E. Manrique
Maitre d’Armes
New York
_OFFICIAL TEXTBOOK OF
THE NEW YORK NORMAL SCHOOL OF
PHYSICAL EDUCATION_
PUBLISHED BY
AMERICAN SPORTS PUBLISHING
COMPANY
45 ROSE STREET, NEW YORK
COPYRIGHT, 1920
BY THE
AMERICAN SPORTS PUBLISHING COMPANY
NEW YORK
PREFACE
In every well regulated system of study and instruction 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 established arts, such as is “Fencing,” 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 colleges, 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 experience 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.
INTRODUCTION
Fencing in class is one of the most pleasurable subjects for the
instructor to present and assists widely in quickening perception in the
pupil and producing prompt execution 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 combat 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 administered 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 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 masters 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 disappeared 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.
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, covered with cord); the _tongue_
(continuation of the blade that passes through the grip), and the
_pommel_ (heavy 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 finger on the concave side; the other fingers close together
on the remaining side. Allow handle to rest along the life line. Hold
foil lightly, for a hard grasp loses the delicacy of touch so essential
to a really good fencer.
[Illustration: FIRST POSITION.]
POSITION OF ATTENTION
With foil held as described, place the feet, heels together, 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 until 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.
[Illustration: PREPARATORY MOVEMENTS TO COME ON GUARD FROM FIRST
POSITION.]
[Illustration: PREPARATORY MOVEMENTS TO COME ON GUARD FROM FIRST
POSITION.]
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 line of adversary’s eye.
Fifth—Feet keeping same position, bend legs, 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 position” 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 right foot a
convenient distance, left foot following an 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.
[Illustration: EXTENSION OF THE ARM.
THE LUNGE.]
GAIN
This motion consists in drawing the left foot toward 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 forward. The body is held as nearly as possible in a perpendicular
position throughout the lunge.
[Illustration: ON GUARD.]
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 HAND
Foil hand in fencing may assume four different positions, 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 of face in perpendicular
position described, then drop forward as in second part; swing to right
side, nails down, hand shoulder high and look in direction of extended
arm and foil.
[Illustration: POSITION OF FOIL HAND.]
Fourth—Return foil to perpendicular position in front of face, then after
making the last six preparatory movements, come to “on guard.”
FINAL SALUTE
In first position, flex arm, elbow near body, hand in front of chin,
nails in, blade perpendicular in front of face.
Second—Swing point forward and down, extending arm and at the same time
turning hand outward, nails down; halt point at about four inches from
the floor and a little to the right.
THE LINES
The lines are the spaces existing on the different sides of the blade
when on guard.
There are four lines, namely, the space to right of blade is known, as
follows: _right line_, _sixth line_, _third line_, and _outside line_;
space to left of the blade known as follows: _left line_, _fourth line_
and _inside line_; the space above the guard to the collar line, known as
_high line_, and space below guard to the belt line known as _low line_.
The right and left lines are the only lines for engagement. High and low
lines for attacking.
THE ENGAGEMENT
The engagement is the joining of your blade with your adversary’s, in one
of the lines of engagement, in such a manner as to protect yourself, by
carrying adversary’s point away from either side of your body.
[Illustration: THE LINE.]
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, protecting 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 advancing, 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 essential quality of delicacy
and sensitiveness.
THE ATTACK
The attack is the action of a fencer when trying to touch an adversary by
simple or by complex thrust. Simple, when it consists of one movement,
complex, when it consists of more than one.
[Illustration: POSITION OF ENGAGE IN FOURTH.]
[Illustration: POSITION OF ENGAGE IN SIXTH.]
There are only _three_ simple thrusts, namely: the _direct thrust_, the
_disengage_ and the _cut-over_.
The _direct thrust_ 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, and is followed by extension of the arm with
the intention to 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 number.
Further on there will be some explanatory examples given.
THE FEINT
The feint is a counterfeit attack, and must be so executed as to deceive
the adversary into believing it a real thrust, without being accompanied
by a lunge, thus forcing adversary to parry; then your point must be in
readiness 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 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 that 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. 1—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.
The second and eighth are made to the right and in the low line;
The third and sixth are made to the right and in the high line;
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.
EXECUTION OF SECOND
On a thrust at your low 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.
EXECUTION OF THIRD
On a thrust at your right high line, carry your hand to the right, nails
down, turning by articulation of the wrist, 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.
EXECUTION OF FOURTH
On a thrust at your left high line, carry your hand to the left, using a
quarter turn of 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 just 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 in the
opposite line, drop the point of your blade, passing it under that of
the adversary’s and carry it to the original 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, passing 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 facilitate 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 OF EIGHTH
On a thrust at your low line drop the point of your 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’s 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 without limit, for many
parries may be involved by able handling of adversary’s attack.
THE ONE-TWO
The one-two, a complex attack of two motions, consists of two disengages
made in opposite directions, one following immediately after the other;
the first is like a simple 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 (1).
Instructor—Execute parry sixth.
Pupil—Deceive by disengage (2).
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 complex attacks of long duration.
THE DOUBLE
The double is a complex attack of two motions. It consists of two
disengages in the same direction, one following immediately after the
other. Extending the arm during the first disengage (as in one-two); the
second disengage is executed by the aid of the first finger and thumb,
and completes the double; the latter or second disengage deceives the
adversary’s counter-parry.
EXERCISE
_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 opposite direction. It is as the one-two
with one more disengage.
EXERCISE
_Engage in Fourth_
Pupil—Disengage (1).
Instructor—Parry sixth.
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;
double, double, etc., etc. With these and many 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 adversary’s right
foot on the floor.
The simple indirect ripostes are ripostes made by cut-over or disengage.
For a proper execution of complex ripostes it is convenient 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 interruption, 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 disengage 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 studying the adversary’s style to find whether
he usually 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 movement 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, because 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 executed in any line, but never
by a direct thrust, for in such case it would be replacing. The only
opportunity for 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 receiving a touch. At the moment of
recovery of both, either contestant quickly makes a new attack by simple
or complex movement. This is an effective attack because the adversary
may be disconcerted by the preceding phrase of arms, and will find it
difficult to offer successful parry.
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 preceding 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 disengage, 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 dipping 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.
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 _preceding a direct thrust_, the press must be executed
by a slow turning movement of the wrist, without losing contact with
the adversary’s blade. When _preceding a disengage_, the press must
be executed by a rapid turning movement of the wrist, and upon your
adversary’s response, 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 sliding your blade
easily along your adversary’s, with as little 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, in this case plainly drawing your adversary’s
attention so 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, execute first in a high line, a feint of
attack or an attack on the blade, then lower the point of your blade by
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 line. 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
line of your body, then lunge to touch.
If the hind starts from fourth engagement, turn hand, palm down; if from
the sixth engagement, keep your hand palm up.
The _feint of bind_ is as the real bind without the lunge; on your
adversary’s endeavor to parry, deceive that parry by a disengage.
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 adversary, 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 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, parries 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.
PART II
In the preceding pages I have tried to frame, in a concise form, the
foundation of the art of fencing, the art in which there are so many
possibilities, so many beauties, and so many benefits.
After a thorough understanding of what has gone before in the pages of
this little book, we pass to the practical application 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 necessary 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 advisable they wear either a short skirt or bloomers. And,
as an additional advice to women, from a medical standpoint, 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 to cover the face and ears of
the fencer; the glove, a regulation gauntlet, and the shoes, without
heels and with 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.)
[Illustration]
Assuming now there is a class of beginners before us, the instructor will
assemble this class, forming them in 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 Attention_ is: Heels on
the same line and as near each other as the conformation of the body
permits; feet turned out equally and forming with each other an angle of
about sixty degrees; knees straight without stiffness; body erect on
the hips; shoulder square and falling 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 (1) 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 (1) 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_.
(1) First position.
(2) One.
Under (2) raise arm and come to _first position_ in fencing.
Under commands (1), (2), (3), (4), (5), (6), the instructor leads the
class through the execution of the preliminary movements in fencing to
“_on guard_.”
(1) Extend the arm.
(2) One.
Under command (2) extend the right arm, hand palm up.
(1) Class.
(2) Lunge.
Under command (2) execute the lunge.
(1) On guard.
(2) One.
Under command (2) come on guard.
(1) Two calls.
(2) One.
Under command (2) give two calls.
(1) First position.
(2) One.
Under command (2) come back to first position.
(1) Final salute.
(2) One, Two.
Under command (2) make final salute.
(1) 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 position 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 position 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 following
paragraphs.
(1) Mask on; (2) One; (3) Two.
Being in attention position class work, on command (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.
(1) Mask 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 have two sides, one for attacks and one for parries, it is
necessary now at this point to number the pupils; this is done under
the command “Count Off.” Pupils being in a straight line in attention
position class work, mask off, all except the head of the line, turn
heads to the right, as in right dress, the rest of body remaining
motionless, and, beginning with the head man, count _one, two_; each
pupil turns his head and eyes to the front as he counts.
It is imperative at this juncture, 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:
(1) No. 2’s two steps forward; (2) March. Under the command
(2) all No. 2’s will step two steps forward (See Diagram on
following page).
[Illustration]
(In executing step forward or step back always step with the left foot
first.)
The class in two lines as just described.
A—(1) Half-left; (2) Face.
B—(1) First position; (2) One.
C—(1) 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—(1) 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—(1) First position; (2) One.
I—(1) Final salute; (2) One, Two.
J—(1) Front; (2) Face.
[Illustration: THE LUNGE.]
To have class again in one line, Command (1) No. 2’s two steps back; (2)
March.
(1) Right, (2) Dress, (3) Front.
(1) Class, (2) At ease.
At the last command allow the class to relax, and during this period
criticize and correct any individual faults you have noticed and called
attention to during the exercises; 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 motion.)
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 instructor can well demonstrate the right positions,
explaining 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:
(1) No. 2’s four steps forward; (2) March.
(1) No. 2’s one step to the right; (2) March.
(1) 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 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, command:
(1) Half-left; (2) Face.
[Illustration]
Always-having in mind the correct position of the feet, in accordance
with previously explained rules, it is to be noted now, in addition that
with the pupils vis-a-vis, the right foot of each one must point in
direct line to the middle of the left foot of the other one, with the
purpose 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.)
CLASS ENGAGE IN FOURTH
_Direct Thrust._
No. 1—Direct thrust; lunge.
No. 2—Parry fourth (when No. 1 executes the lunge).
BOTH ON GUARD
_Command_ No. 1. (1) Direct thrust; (2) lunge; (3) on guard.
_Disengage_
No. 1—Disengage.
No. 2—Remain motionless.
No. 1—Lunge.
No. 2—Parry sixth.
BOTH ON GUARD
_Command_ No. 1 (1) Disengage; (2) lunge; (3) on guard.
_Cut-over_
No. 1—Change engagement.
No. 2—Attend the new engagement.
No. 1—Cut-over.
No. 2—Remain motionless.
No. 1—Lunge.
No. 2—Parry sixth.
BOTH ON GUARD
_Command_ No. 1. (1) Cut-over; (2) Lunge; (3) On guard.
No. 1—Change of engagement.
No. 2—Attend the new engagement.
The No. 2 will execute all the No. 1 has just done, and No. 1 will do as
No. 2 did.
_Command_—Two calls.
(1) First position; (2) One.
(1) Final salute; (2) One, two.
(1) Front; (2) Face.
(1) No. 2’s, one step to the right; (2) March.
(1) No. 2’s, four steps forward; (2) March.
(1) No. 2’s, About; (2) Face.
(1) Class right; (2) Dress; (3) Front.
(1) Class; (2) Dismiss.
(In class work when the instructor commands No. 1 advance, No. 2 must
retreat or vice versa; this is to keep the partners in the same relative
position.)
(In class work, when the instructor observes the partners are too close,
and gives command for one of the two to retreat, the other one must stand
fast, for the command is to correct distance.)
To instruct in attacks on the blade, and after the pupils are in pairs,
facing each other, the instructor will take apart one pupil and with him
demonstrate the following commands:
CLASS ON GUARD
_Engage in Fourth_
No. 1—_Beat_, _press_, or any _other_ attack on the blade, and direct
thrust.
No. 2—Attend the attack on the blade.
No. 1—Lunge.
No. 2—Parry fourth.
BOTH ON GUARD.
_Command_—No. (1) Beat
Press
Etc.
Direct thrust; (2) Lunge; (3) On guard.
The attacks on the blade could be used to precede any simple or complex
attack, and the commands arrange and given as in the work previously
explained.
As it is now the moment to understand complex attacks, the instructor
will explain each attack; and then from the application of the following
analysis there could be a derivation of all the attacks of more than one
movement.
Hereafter every lesson will be preceded by the Public Salute, therefore
the instructor had best present it now at this point.
_Engage in Fourth_
No. 1—One.
No. 2—Parry sixth.
No. 1—Execute two (deceiving the parry of No. 2) and lunge.
No. 2—Parry fourth.
BOTH ON GUARD
_Command_ No. 1. (1) One, two; (2) Lunge; (3) On guard.
_Engage in Fourth_
No. 1—Disengage.
No. 2—Parry counter—fourth.
No. 1—Execute disengage (deceiving No. 2 counter-parry), and lunge.
No. 2—Parry sixth.
BOTH ON GUARD
_Command_ No. 1. (1) Double; (2) Lunge; (3) On guard.
_Engage in Fourth_
No. 1—Cut-over. (Do not extend the arm.)
No. 2—Parry sixth.
No. 1—Disengage (deceiving No. 2’s parry), and lunge.
No. 2—Parry fourth.
BOTH ON GUARD
_Command_ No. 1. (1) Cut-over, disengage; (2) Lunge; (3) On guard.
Observe that in this case the arm is not extended with the cut-over, this
being the only exception to the rule, and in consequence also it is an
irregularity in the execution of the _feint_. (See definition of feint.)
Riposte and counter-riposte are among the most important movements
in fencing when handled intelligently, and will be explained in the
following exercises:
After you have given to No. 1 any command for attack, then command No. 2
riposte by direct thrust, disengage or any other movement you may decide,
either simple or complex, indicating to No. 1 the parries to be used to
avoid a touch. In the event you have elected to explain the _counter
riposte_ after No. 1 has parried the riposte, then is the opportunity to
explain and command the counter riposte.
_Engage in Fourth_
No. 1—One, two and lunge.
No. 2—Parry sixth and fourth.
No. 2—Riposte by direct thrust and lunge.
No. 1—Coming on guard, parry fourth.
No. 1—Counter riposte by one, two and lunge.
No. 2—Come on guard and parry sixth and fourth.
BOTH ON GUARD
In giving the command put emphasis on _riposte_ or _counter riposte_, as
the case may be.
When executing riposte or counter riposte by complex movements, do not
extend the arm until the last movement.
When presenting attacks advancing, the instructor will emphasize the
following details: In simple attacks, advance at the same time you extend
the right arm, the lunge being executed immediately; in complex attacks,
advance during the first movement, and lunge during the last movement.
_Engage in Fourth_
No. 1—Disengage (1) (advancing).
No. 2—Parry sixth (retreating).
No. 1—Disengage (2).
No. 2—Parry fourth.
No. 1—Disengage (3) lunge.
No. 2—Parry sixth.
BOTH ON GUARD
_Command_—Advancing No. 1. (1) One, two, three; (2) Lunge; (3) On guard.
(Note the application of the rule already given, that when one side
advances, the other retreats, in class work.)
An exercise will give the instructor a clear idea of the importance of
calling the attention in the high line, before deciding on a thrust in
the low line.
EXERCISE
_Engage in Fourth_
No. 1—Feint direct thrust, high line, or beat, press or any other attack
on the blade.
No. 2—Attend the feint by parry fourth.
No. 1—Low thrust, deceiving adversary’s parry and lunge.
No. 2—Parry seventh.
BOTH ON GUARD, COMING TO FOURTH ENGAGE
_Command_ No. 1. (1) Feint direct thrust or any other attack on the
blade, and low thrust; (2) Lunge; (3) On guard.
The following exercises will give a clear idea how to prevent the _bind_
and the _liement_.
THE BIND
_Engage in Fourth_
No. 1—Feint direct thrust.
(2) Bind and lunge.
(1) Bring arm back to fourth position parry, and without losing the
contact with the adversary’s blade, direct the point outside of your body.
BOTH ON GUARD
_Command_ (1) On No. 1’s feint direct thrust; No. 2 bind; (2) Lunge; (3)
On guard.
THE LIEMENT
_Engage in Fourth_
No. 1—Feint direct thrust.
No. 2—Liement and lunge.
No. 1—Bringing arm back to fourth position parry (point a little higher
than usual) and without losing the contact of your adversary’s blade,
direct the point outside of your body.
BOTH ON GUARD
_Command_ (1). On No. 1’s feint direct thrust; No. 2, liement; (2) lunge;
(3) on guard.
THE CROSS
The cross is most practically used after parries, in order to be in
possession of the adversary’s blade during the riposte. However, as has
been previously explained, the cross is not often put into practice.
_Engage in Fourth_
No. 1—Glide, low thrust and lunge.
No. 2—Attend the glide and parry seventh.
No. 2—Riposte by cross and lunge.
No. 1—Come on guard, parrying sixth (without losing contact of
adversary’s blade).
BOTH ON GUARD
_Command._ (1) On No. 1’s glide and low thrust, when lunging; No 2 parry
seventh and riposte by cross; (2) Lunge; (3) On guard.
REMISE
Remise, redoubling and reprise are now in turn analyzed in the following
exercises:
_Engage in Fourth_
No. 1—Direct thrust and lunge.
No. 2—Parry fourth.
No. 2—Riposte by one, two.
No. 1—As soon as No. 2 starts his complex riposte, place your point on
his chest.
_Command_ No. 1. (1) After No. 2 has parried your direct thrust, in
attack, and starts his complex riposte, replace your point on his chest;
(2) Lunge; (3) On guard.
REDOUBLING
_Engage in Fourth_
No. 1—Direct thrust and lunge.
No. 2—Parry fourth and do not riposte.
No. 1—Redouble by disengage or by cut-over.
No. 2—Parry sixth
BOTH ON GUARD
_Command_ No. 1. (1) After No. 2 has parried your direct thrust in
attack and does not riposte, redouble by a disengage; (2) Lunge; (3) On
guard.
REPRISE
_Engage in Fourth_
No. 1—Direct thrust and lunge.
No. 2—Parry fourth and do not riposte.
No. 1—Come on guard and immediately disengage and lunge.
No. 2—Parry sixth.
BOTH ON GUARD
_Command_ No. 1. (1) After No. 2 has parried your direct thrust in attack
and does not riposte, and you have come on guard, make a second attack by
disengage; (2) Lunge; (3) On guard.
An easy application of _Time-Thrust_ and _Stop Thrust_ can be made by
giving exercises such as the following:
_Engage in Fourth_
No. 1—One, two and lunge.
No. 2—Time thrust, low line in eighth parry position, lowering the point
of your foil, carrying the hand from left to right to protect the body,
and at the same time extend the arm with half lunge.
BOTH ON GUARD
_Command_ (1). On No. 1’s one, two in attack, and before the movement is
finished; No. 2 time thrust in eighth; (2) Lunge; (3) On guard.
If the attacking of No. 1 were made advancing, and No. 2 execute the same
movements as explained above, the command would be as follows:
(1) On No. 1’s one, two advancing in attack, and before the movement is
finished; No. 2 stop-thrust in eighth; (2) Lunge; (3) On guard.
GRAND SALUTE
The Grand Salute, prelude of the assault, consists of several attacks
and parries with conventional execution; and it is for three important
reasons, a courteous salutation to the audience; to demonstrate the
classical beauty of the movements, and to prepare the arms and legs for
the strain of the bout.
The two adversaries face one another at a distance of about twelve feet.
The instructor will command, (1) Mask down; (2) One; (3) Two.
Under the command (2) the fencers charge diagonally to the rear, on the
left leg, bending left knee and placing mask on the floor, under command
(3) return to attention position.
When resuming the mask the instructor will command:
(1) Take mask; (2) One; (3) Two.
Under command (2) charge as before and grasp the mask; under command (3)
return with it to attention position.
COMMAND FOR GRAND SALUTE
(1) Class mask down; (2) One; (3) Two.
(1) Half-left; (2) Face.
(1) First position; (2) One.
No. 1—Take measure (this is to extend the right arm, palm up, horizontal
blade and lunge).
No. 2—Remaining at first position, advance or retreat until your
adversary’s point is about six inches from your chest (not losing the
left guide).
No. 1—(1) First position; (2) One.
Instructor commands, Class Public Salute and come on guard, _engaging in
fourth_.
No. 1—Disengage and lunge.
No. 2—Parry sixth and bring hand and arm in position of second parry.
No. 1—When lunging, after the adversary has struck your blade, swing
foil across your face to the left side, arm fully extended, so that the
adversary’s face may be seen between foil and arm.
BOTH ON GUARD ENGAGING IN SIXTH
No. 1—Disengage and lunge.
No. 2—Parry fourth and bring arm in position of parry seventh.
No. 1—When lunging after the adversary has struck your blade, swing foil
to the right side, arm fully extended, blade close to the ear, seeing
adversary’s face in line with the foil.
BOTH ON GUARD ENGAGING IN FOURTH
No. 1—Repeat one more disengage from fourth and another from sixth, as
has been explained.
No. 2—Parry as said.
BOTH ON GUARD ENGAGING IN FOURTH
No. 1—One, two without extending the arm, bring arm and foil in position
of third parry.
No. 2—Parry third.
BOTH COME TO FIRST POSITION
No. 2—Take measure.
No. 1—Remain in first position as before.
No. 2—Do all that No. 1 did before and No. 1 do as No. 2 did.
Both adversaries—First position.
Both adversaries—On guard backward (left foot one step back).
Both adversaries—One call (one stamp with right foot).
Both adversaries—Two calls (two stamps with right foot).
Both adversaries—First position forward (left foot forward).
Both adversaries—Public salute.
Both adversaries—On guard forward.
Both adversaries—Two calls (two stamps with right foot).
Both adversaries—First position forward (left foot forward).
Both adversaries—Final salute.
Both adversaries—Front face.
Both adversaries—Take mask, One, two.
Both adversaries—One step backward, March.
ADVICE TO INSTRUCTORS
In the beginning execute all movements slowly that the pupil will
understand each thrust, parry, etc., and increase velocity gradually, in
order that the pupil may acquire the rapidity so necessary to every good
fencer.
Execute each movement first in the fourth line, then in the sixth line.
Always attend that the pupil is in perfect equilibrium when on guard;
watching carefully that the line of the feet is not crossed, that the
body is erect on both hips, the back is straight, the chest raised and
in profile, that the position of the arm and hand is perfect; beginners
always err in the latter.
Always precede the movements with “engage in, etc.” before commanding the
exercise.
Complete each attacking exercise with the order “lunge,” and as soon as
the movement is terminated, return to guard with the order “on guard.”
Finish each exercise with some direct thrust.
Finish each lesson with two calls and final salute.
Rest after each bout; while resting, make explanations to the pupils.
Change of engagement must be made often, in order that the pupils’
fingers become nimble, an important quality to good fencing.
Always use the same foil, for any change will cause uncertainty in
movements owing to the difference in weight.
Attend well that the pupil does not incline the body forward when
executing an attack, for this fault makes it difficult for him to return
on guard; also attend that the pupil does not make an exaggerated lunge;
both of these defects cause another evil, for with them the left foot
cannot be kept flat on the floor, and _it must be_.
Attend well that the lunge is not made until the right arm is fully
extended.
One of the greatest essentials for an able instructor is patience. Be
your pupil’s friend and guide; anybody can learn to fence; the results
depend on the ability of the instructor.
EPILOGUE
I would be happy to know that through these few pages I have been able
to create a love for fencing among those who have followed the guide of
“class work.”
The love of an art promotes the intelligent comprehension of its
possibilities, and the necessity for deeper research. The class work
gives the understanding, but for the polish of the fencer there must be
hard individual work against the master’s plastron. If the class work has
been a pleasure, the deeper research will be void of weariness. Continue,
and you can be among the first.
Work with a good master; avoid faults that can creep in so easily and
grow so rapidly; never imagine yourself a graduate with a diploma, for
there is always something more to learn; do not be anxious for early
assault; many good pupils have lost all they learned by beginning the
assaults before they are ready for them. One evil acquired by assaulting
prematurely is the acquisition of the habit to avoid being touched by
various contortions of the body, and this incorrect manner will remain
with one as a perpetual obstacle to improvement in the art.
Make your first assaults with the master, for he can correct your faults;
and also, you will not be over-anxious to touch, sacrificing form and the
rules in the art.
THE ART OF FENCING
BY THOMAS A. BUYS, M.D., President Brooklyn Fencing Club.
That fencing is an art, and one that requires a thorough apprenticeship,
all swordsmen know, but as this article may come before the eyes of
the uninitiated it might be well to go a little into details, so that
it will never occur to them, as it did once to a prominent officer of
the National Guard, who, on witnessing a bout with foils, remarked:
“What art is there in two fellows jabbing at each other with foils?” To
start with, fencing is not a recent discovery, but, on the contrary, is
centuries old. In the fifteenth, sixteenth and seventeenth centuries
it was probably at the height of its perfection, for then a lack of
knowledge of this interesting art might have meant sudden death. The
Spanish originated the best school of sword-play, but it has come to us
through various sources, the two recognized ones being the Italian and
French methods. The Italian is rough and forceful, requiring considerable
strength, while the French endeavors to train the hand to the greatest
delicacy, so that the faintest impressions are carried to the brain, as
if the sword, the arm and the body were charged by a highly sensitive
electric current, making the muscles and nerves respond instantly and
with beautiful co-ordination.
But you will say: “The days for duelling are past, of what use is the
sword?” True, the days of chivalry are past; the sword no longer upholds
the honor of family or name, its place being superseded by the police
court and our legal adviser; but for all of that, in these days of
strenuous games, we almost seek in vain for one which will in itself
combine exercise both mental and physical, and while being generally
beneficial, does not dilate the heart, distend the lungs, nor break bones
and tear ligaments, as so many of our so-called amusements do. On the
contrary, fencing brings into play every part, every organ and every
sense in the body, with perhaps the exception of the sense of taste and
the sense of smell. Yet as an exercise it cannot be called violent, and
now that our masks are so improved in construction, cases of injury are
very rare.
The object of the game is to score a touch upon opponent (which means
reaching any part of the body above the waist line and below the collar
line, arms excepted, with the button of your foil), at the same time
protecting yourself. To do this requires a great deal of judgment, as
a man on guard is protected in the direct line of attack and you must
deceive him absolutely to be successful, leading him to suppose that you
will attack him in one line when in reality you intend to strike through
another. This in itself requires coolness, self composure and at the
same time, decision, accuracy, firmness of hand, keenness of eye, speed
and agility, in thrust, lunge and recovery. To perform these properly,
the knees must be bent, with the body poised, its weight resting equally
on each foot, so that an advance or a retreat may be made with equal
facility. The left leg, without rigidity, should be like a coiled spring,
ready on the instant to extend to its fullest extent in the lunge.
Thus all parts are kept on a constant _qui vive_, and as the play is so
extremely rapid, and requires the utmost concentration of the mind to
avoid unpleasant surprises, this in itself banishes dull care and acts as
a rare tonic to the nervous system.
To qualify the statement as to the benefits of fencing as a physical
exercise. Some say it is too onesided, but the truth is that the left arm
is generally the one to become fatigued first, as the dropping of the
arm on the lunge and sudden raising of the same on the recovery bring
into play all the muscles of the shoulder and many of the neck and back,
this tending to expand the chest by raising the ribs and throwing the
shoulders back. In the lunge the entire weight of the body is thrown
violently forward on the right leg, bringing into play all the muscles of
the back and particularly those of the abdomen, causing them to contract
in such a manner as to act like massage upon the bowels, regulating
them and at the same time reducing any tendency to corpulency in those
whose muscles are relaxed and flabby. There is a saying that “It is a
poor rule that won’t work both ways.” This is particularly true of this
form of exercise, for many take it to reduce their weight. This it does
by increased ingestion of oxygen, which burns up the fat, and by rapid
muscular contractions, which rub the fat out from between the muscular
fibers. On the other hand with those people who have no fat and are small
muscled, the increase in the circulation of their blood carries more
nourishment to the muscle, making the individual increase both in weight
and size.
Fencing, through its high nervous tension, produces deep and rapid
respiration, increases the action of the heart without strain, and
causes invariably a profuse perspiration, cleansing the pores of the
skin of all poisonous matter and acting through muscular contraction
and increased circulation on liver and kidneys. Thus we see that apart
from the pleasures of the art as a game, we have all the necessities of
an all-round exercise, which, without being violent, reaches all the
muscles, the excretory and circulatory organs, cleanses and rejuvenates
the entire body, and gives a person who was nervous and fidgity a
firmness and control over his nerves, a keenness of eye and a quick,
graceful, erect carriage, which makes walking a pleasure and induces a
natural tendency to think and act quickly, frequently saving us from
accident.
It must not be assumed that a person who buys a pair of foils and
crosses them upon the wall of his room, will attain any of the benefits
mentioned, nor will they who take one lesson a week and forget where
they left the foil until the next lesson; but those who, when properly
instructed, practice daily, making at least one hundred correct lunges
against some solid object, will soon perceive the truth of my statement.
Fencing, it is believed, has come to stay. Under the supervision of the
Amateur Fencers’ League of America, whose rules and regulations guide
and govern the amateur fencing world, restricting all roughness and
promoting good fellowship and courtesy in conduct and bout work, making
competitions pleasant and insisting upon good form and gentlemanliness,
as absolutely essential to a good swordsman, thus the art will become
more and more popular, until it takes its place, where it belongs, at the
head of the list, the king of all sports.
PROF. RICARDO E. MANRIQUE
from the _Cercle d’Esgrime de l’Havane_, 1888; official instructor at
the Gymnastic Club, 1889-1896; The Military Club, 1890-96; The Progress
Club, 1893-1896, at Havana; Fencing Editor of _El Figaro_, _Los Sports_,
and _La Discusión_, 1890-1896, Havana; Instructor at the Colon-Cervantes
Club, 1896-1899; The New York Normal School of Physical Education, 1899;
The Dr. Savage Physical Development Institute, 1899; Columbia Institute,
1900; Nathan Hale School, 1902; The Berkeley School, 1902; New York
Normal College, 1902; Professional Woman’s League, 1902; The Blythe
Dramatic School, 1902-1905; at Brooklyn Fencers’ Club, 1903; College of
New Rochelle, N. Y., 1907; Blessed Sacrament Convent, New York City,
1907; Saint Angela’s School for girls, 1909; South Orange Field Club,
1903; Lakewood Physical Culture Club, 1903; Orange County Club, N. J.,
1903; Stanhope Wheatcroft Dramatic School, 1905; Barnard College Fencing
Club, 1904; Miss De Lancy School for Ladies, 1904, New York; Central
Branch Young Men’s Christian Association, Brooklyn, 1905; The Veltin
School for Girls, 1906; Mme. A. E. Zeigler School of Art, 1906; Columbia
Grammar School, 1907, New York. Member of the American Physical Education
Association. Author of “The Art of Fencing with the Foil,” according to
the French School; awarded the only medal given for work on Fencing at
the Pan-American Exposition, Buffalo, 1901; Instructor Colonel’s Staff
71st Regiment, N. G. N. Y.; Crescent Athletic Club, Brooklyn, and others.
Fencing Rules
ADOPTED AT A GENERAL MEETING, OCTOBER, 1911.
1. Foil competitions shall be conducted by three judges, whose decisions
shall be final and without appeal. One of them shall act as Director.
There shall also be a timer and a scorer.
2. The judges shall announce when a competitor is touched, whether fair
or foul, by direct attack, riposte or remise. Should they disagree, the
Director shall decide. A judge shall especially watch one fencer, but he
shall announce touches made on either.
Should a judge call a touch, it shall count a point, unless either of the
other judges shall announce to the contrary, in which case the majority
vote shall decide.
3. The Director shall superintend the bout, put the competitors on guard,
and give all necessary directions. He shall announce to the scorer each
touch as awarded.
4. Each bout shall consist of the majority of seven touches, with a time
limit of four minutes. The contestants shall change position after three
touches, or after two minutes in case three touches have not been made in
that time. In case of a tie after four minutes, they shall fence for one
additional touch.
5. A contestant must announce, when he is touched, whether fair or
foul. Failure to do so must be called to his attention by the judges.
Persistent failure will subject the offender, on the concurrence of the
majority of the judges, to a penalty of one point, which shall be added
to his opponent’s score.
6. The Director must stop a corps-a-corps.
7. Each judge shall give one point for form to the fencer he thinks
superior in that respect.
8. Each contestant shall fence with the same hand throughout the bout.
9. Competitors shall wear clean, white fencing jackets and long white
trousers of soft material, unglazed.
10. Contestants shall fence within a marked space twenty feet long and
thirty-six inches wide, with a mark plainly indicating the middle.
11. Foil blades shall not exceed thirty-four inches in length. Guard of
foil shall not exceed four inches in diameter.
12. Blacktarred tape shall not be used for buttons.
13. A touch shall count if delivered upon any part of the body above the
waist line and below the collar line, provided it be made, by a direct
thrust in such a manner that if the foil had a sharp point it would cause
a punctured wound. A touch shall count if it reaches the body after
merely grazing the arm.
A touch is of no value when the point is slapped on or twisted on after
the slap of the foil.
14. Should a fencer unduly cover his body with arm or head, and receive a
touch on either, which otherwise would have been on the body, it shall be
counted as good.
A contestant who advances after a lunge in such a manner as to make it
impossible for his adversary to riposte shall be penalized one point.
15. A touch whether fair or foul invalidates the riposte.
16. A disarmament is of no value. A touch immediately following
disarmament counts.
17. A touch made with a bent arm on the original attack shall not count.
18. A contestant who steps off the fencing strip shall be penalized one
point.
19. The beginning of the assault is marked by the contact of the blades,
which is called the engagement.
After the engagement either fencer has a right to attack, before an
attack is made.
After the engagement either fencer has a right to attack. The full
extension of the arm in the direction of the opponent’s body is a
necessary preliminary of an attack.
20. If both fencers commence an attack at the same moment, and both are
touched, whether on the target or not, neither touch counts. But if only
one is touched on the target and the other is untouched, the touch is
valid.
21. A fencer who during a bout disputes the decision of the judges,
shall, on concurrence of the majority of the judges, be penalized one
point, which shall be added to his adversary’s score.
ACCEPT NO SUBSTITUTE
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[Illustration: No. 3]
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[Illustration: No. 2]
[Illustration: No. 3]
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[Illustration: No. 5]
[Illustration: No. 1]
[Illustration: No. 2]
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[Illustration: No. 17]
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[Illustration: No. 23]
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[Illustration: Fencing Stick]
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[Illustration]
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PROMPT ATTENTION GIVEN TO ANY COMMUNICATIONS ADDRESSED TO US
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[Illustration: No. 15
Correct Shoes for Boxing]
[Illustration: No. 21]
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Spalding Knockabout Leather Gymnasium Shoes
Flexible Soles
No. =GWH=. High cut, special pearl colored leather; flexible
soles: well made. Pair,
No. =GW=. Low cut, otherwise as GWH. Pair,
Spalding Special Bowling Shoes
No. =148=. For bowling and general gymnasium use; light drab
chrome tanned leather uppers, with electric soles,
laces extremely low down. Pair,
Spalding Gymnasium and Acrobatic Shoes
No. =FN=. Corrugated rubber sole, special leather uppers. For
acrobatic and wrestling wear. Pair,
No. =FL=. Extra high cut canvas acrobatic shoes. (Pat. Aug. 17,
1915). Special leather soles, will not harden in
water. Shoes are reinforced where upper and sole
are attached. Pair,
No. =FM=. Three inches lower than No. FL. White canvas shoes,
black trimmed; special leather soles. ”
No. =E=. Low cut canvas, canvas soles. ”
Spalding Fencing Shoes
[Illustration: No. L. Fencing Shoes]
No. =L=. Drab glove leather, red trimmings. Not carried in
stock; supplied on special order only. Specify on
order if to be made with or without toe extension
sole, and on which shoe. Pair,
No. =LW=. Women’s, Otherwise same as No. L. ”
Spalding Clog Shoes
No. =1-0=. Goatskin uppers; wood soles. Special order only. Pair,
HOW TO MEASURE FOR ATHLETIC SHOES
[Illustration]
Running Shoes, Jumping Shoes, Hurdling Shoes, and Pole Vaulting Shoes
are usually worn without stockings; take measurements over bare feet.
All other athletic shoes are worn with stockings; take measurements over
stockings. Take measurements as directed below and send with your order.
Don’t Rush! Be Careful!
In sitting position draw outlines of feet, both the right and left,
measuring over stockings or bare feet as required, according to style of
shoe; then, with tape measure, drawing same tight, measure ball, waist,
instep, heel and ankle, as shown in cut.
=IMPORTANT—Hold pencil perpendicularly all around the foot, especially at
back of heel and end of great toe.=
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 FRONT COVER OF THIS BOOK
PRICES SUBJECT TO CHANGE WITHOUT NOTICE. For Canadian prices see special
Canadian Catalogue
ACCEPT NO SUBSTITUTE
THE SPALDING TRADE-MARK GUARANTEES QUALITY
SPALDING Gymnasium and Athletic Equipment
_Made of Best Materials_
_Durable_
_Comfortable_
_Correct in Design_
_Carefully Made_
Athletic uniforms differ in construction from ordinary clothes in that
they must be especially strengthened in the parts bearing the strain.
Only long years of practical experience in making athletic uniforms can
determine the weak spots.
Spalding has had this experience and puts it into practice in their own
factory, where these goods are made.
Those who wear them have told us they are durable and comfortable.
Spalding gymnastic uniforms have been used for years by colleges,
schools, Y. M. C. A’s, clubs, etc.
Why? Because the leaders of such organizations and institutions have
discovered they meet the approval of those using them, thus eliminating
friction between the director and his pupils or members.
Why? Because the wearer is perfectly satisfied.
WRITE FOR
SPALDING CATALOGUE
_CONTAINS A FULL LINE OF Shirts, Tights, Trunks, Shoes, etc. Suitable for
Gymnasium and Athletic Use_
FREE ON REQUEST
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 FRONT COVER OF THIS BOOK
IN TRACK AND FIELD SPORTS
[Illustration]
Spalding implements are pre-eminent. From the running shoes for Olympic
winners to the missiles of weight throwers, Spalding goods are always in
evidence when championships are won or records made.
Ruling bodies in track and field athletics certify to Spalding. Quality
in the recognition of Spalding implements for use in Olympic and
championship contests.
Don’t be led astray by the false cry of cheapness and “just as good.”
Remember that superiority in competition is the result of Quality in
equipment.
[Illustration: _A. G. Spalding & Bros._]
NEW YORK
CHICAGO
SAN FRANCISCO
LONDON
PARIS
SYDNEY
and all large cities in the United States
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