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FENCING 
 
 WALTER H. JPLLOCK, F. C. GROVE, AND 
 CAMILLE PREVOST, Maitre d'Armes 
 
 WITH A COMPLETE BIBLIOGRAPHY OF THE ART 
 BY EGERTON CASTLE, M.A., F.S.A, 
 
 BOXI NG 
 
 E. B. MICHELL 
 
 WRESTLING 
 
 BY 
 
 WALTER ARMSTRONG 
 
 IVITH ILLUSTRATIONS FROM INSTANTANEOUS PHOTOGRAPHS 
 
 LONDON 
 LONGMANS, GREEN, AND CO 
 
 1890 
 
 All rights reserved 
 
v^^ 
 
 a 
 
 SGO 
 
 20ST0K COLLEGE LIB- ^ -^ 
 Om P5 1273 
 
m 
 
 DEDICA TION 
 
 TO 
 
 H.R.H. THE PRINCE OF WALES. 
 
 Badminton : October^ 1889. ' 
 
 Having received permission to dedicate these volumes, 
 the Badminton Library of Sports and Pastimes, 
 to His Royal Highness the Prince of Wales, 
 I do so feeling that I am dedicating them to one of the 
 best and keenest sportsmen of our time. I can say, from 
 personal observation, that there is no man who can 
 extricate himself from a bustling and pushing crowd of 
 horsemen, when a fox breaks covert, more dexterously 
 and quickly than His Royal Highness ; and that when 
 hounds run hard over a big country, no man can take a 
 line of his own and live with them better. Also, when 
 the wind has been blowing hard, often have I seen 
 His Royal Highness knocking over driven grouse and 
 partridges and high-rocketing pheasants in first-rate 
 
vi DEDICATION 
 
 workmanlike style. He is held to be a good yachtsman, 
 and as Commodore of the Royal Yacht Squadron is 
 looked up to by those who love that pleasant and 
 exhilarating pastime. His encouragement of racing is 
 well known, and his attendance at the University, Public 
 School, and other important Matches testifies to his 
 being, like most English gentlemen, fond of all manly 
 sports. I consider it a great privilege to be allowed to 
 dedicate these volumes to so eminent a sportsman as 
 His Royal Highness the Prince of Wales, and I do 
 so with sincere feelings of respect and esteem and loyal 
 devotion. 
 
 BEAUFORT. 
 
PREFACE 
 
 A FEW LINES only are necessary to explain the object 
 with which these volumes are put forth. There is no 
 modern encyclopaedia to which the inexperienced man, 
 who seeks guidance in the practice of the various British 
 Sports and Pastimes, can turn for information. Some 
 books there are on Hunting, some on Racing, some 
 on Lawn Tennis, some on Fishing, and so on ; but one 
 Library, or succession of volumes, which treats of the 
 Sports and Pastimes indulged in by Englishmen — and 
 women — is wanting. The Badminton Library is offered 
 to supply the want. Of the imperfections which must 
 be found in the execution of such a design we are 
 
viii ' PREFACE 
 
 conscious. Experts often differ. But this we may say, 
 that those who are seeking for knowledge on any of the 
 subjects dealt with will find the results of many years' 
 experience written by men who are in every case adepts 
 at the Sport or Pastime of which they write. It is to 
 point the way to success to those who are ignorant of 
 the sciences they aspire to master, and who have no 
 friend to help or coach them, that these volumes are 
 written. 
 
 To those who have worked hard to place simply and 
 clearly before the reader that which he will find within, 
 the best thanks of the Editor are due. That it has been 
 no slight labour to supervise all that has been written he 
 must acknowledge; but it has been a labour of love, 
 and very much lightened by the courtesy of the Publisher, 
 by the unflinching, indefatigable assistance of the Sub- 
 Editor, and by the intelligent and able arrangement 
 of each subject by the various writers, who are so 
 thoroughly masters of the subjects of which they treat. 
 The reward we all hope to reap is that our work may 
 prove useful to this and future generations. 
 
 THE EDITOR. 
 
CONTENTS. 
 
 FENCING. 
 
 CHAPTER PAGE 
 
 Introduction i 
 
 I. Practical Instructions. 35 
 
 II. Practical Instructions— ^<?;2//;^^^^. . , . 43 
 
 III. Practical Instructions— ^^;^//;?^/^^ . . . 59 
 
 IV. Practical Instructions — continued , . . . 74 
 
 V. Practical Instructions — contiitiied . . .88 
 
 VI. Practical Instructions~<:^;?//;^^^<^. . . . 98 
 
 VII. Singlestick . . . . , . , .110 
 
 BOXING AND SPARRING. 
 
 I. The History of Boxing T17 
 
 II. The Old School 135 
 
 III. The Art of Boxing 148 
 
X CONTENTS 
 
 WRESTLING. 
 
 CHAPTER PAGE 
 
 Introduction 175 
 
 I. Cumberland and Westmoreland . . .190 
 II. ^Chips' 197 
 
 III. Ring Reminiscences 206 
 
 IV. Styles and Systems 221 
 
 Appendix— Bibliotheca artis Dimicatori^ . 241 
 Index . . . . 295 
 
ILL USTRA TIONS. 
 
 The eighteen Intaglio Plates in ' Fencing'' are given, by permissiojt of 
 Messrs. Hachette 6^ Co. , from a French work in preparation, entitled 
 * L'Escrime, par C. Prevost and G, Jollivet.^ The Woodcuts are engraved 
 by J. D. Cooper after Photographs by Geo. Mitchell. 
 
 FENCING. 
 
 Vignette on Title page 
 The Salute : position after disengagement into outside 
 
 line. Parried by tierce ...... Frontispiece 
 
 First Position To face p. 36 
 
 Second Position : on guard. 
 
 Third Position : the lunge or extension 
 
 Engagement in Tierce . 
 
 Parry in Seconde . . 
 
 Parry in Tierce .... 
 
 Parry in Quarte . . . 
 
 Parry in Septime .... 
 
 Time Thrust in Sixte 
 
 Time Thrust in Octave . 
 
 The Salute : taking position 
 
 38 
 38 
 44 
 44 
 44 
 44 
 44 
 92 
 92 
 98 
 
xii ILL US TEA TIOJVS 
 
 The Salute : First position To face p, 98 
 
 The Salute : taking distance ,, 100 
 
 The Salute: Recognition to the left ... ,, 100 
 
 The Salute : Recognition to the right .... ,, 100 
 The Salute : position after disengagement into inside 
 
 line. Parried by quarte . . . . • ,, 102 
 
 End of the Salute: adversaries saluting each other . ,, 102 
 
 BOXING. 
 
 On Guard ,, 117 
 
 Stop with the Left ,, 122 
 
 Stop for Right-Hand Lead-off . . . . ,, 126 
 
 Retreat in good order ,, 130 
 
 Ducking to the Right ,, 134 
 
 The Side Step ,, 140 
 
 Slipping ,, 144 
 
 Left Arm Guard ,, 148 
 
 Left-hand Lead-off „ 152 
 
 Right Arm Guard Page 156 
 
 Lead-off at the Body To face p, 156 
 
 Double Lead-off with the Right . , , . „ 158 
 
 Right-hand Lead-off at the Body . , . ,, 160 
 
 Right-hand Cross-counter ,, 162 
 
 Cross-counter Body-blow ,, 166 
 
 Left-hand Cross-counter ,, 16S 
 
ILLUSTRATIONS 
 
 xui 
 
 WRESTLING. 
 
 The Hank 
 
 Catch Hold Style 
 
 Buttock . . . . 
 
 Inside Lock or Click, Cornwall and Devon 
 
 The Hipe 
 
 The Hold 
 
 Bally Heave, Cornwall and Devon . 
 Half Nelson, Lancashire . . . • 
 
 To face p. 175 
 194 
 198 
 200 
 
 202 
 204 
 224 
 2^0 
 
FENCING. 
 
 BY 
 
 W. H. POLLOCK, F. C. GROVE, and CAMILLE PREVOST. 
 
FENCING. 
 
 INTRODUCTION. 
 
 By F. C. Grove. 
 
 The art of giving without receiving has been studied for a very 
 considerable time ; but, though those who devoted themselves 
 to it had every possible reason for endeavouring to improve it, 
 to develop its true principles, to bring it to perfection so far 
 as might be — were in fact stimulated by the strongest and most 
 enlightened form of self-interest, that which urges a man to 
 take his enemy's life and preserve his own — but very little pro- 
 gress was made for a long period, and the ' noble science,' as 
 it was very early called, remained in a terribly imperfect state, 
 hindered and encumbered by infinite pedantry and nonsense, 
 and taught by pragmatical and very foolish Masters of Fence to 
 pupils who were content to follow egregiously wrong systems, 
 although skill in disposing of an adversary was literally a 
 matter of most vital concern to them. It might be thought 
 that truth at the sword's point would soon penetrate, but such 
 was far from being the case. 
 
 To show clearly how tardy w^as the development of fencing, 
 and how singularly wrong were the methods followed in what was 
 of the highest importance to all who were or aspired to be gentle- 
 
 B 
 
2 FENCING 
 
 men, in the old-fashioned sense of the word, we must reverse 
 the usual process and begin at the end of our story. Let us, 
 then, take fencing as it is now taught and practised, and sup- 
 pose that some man accustomed to various forms of athletic 
 exercise, but totally ignorant of fencing and its history, sees for 
 the first time an accomplished French swordsman place him- 
 self * en garde.' He will very likely perceive that the attitude 
 is obviously the right one, so far as anything can be said to be 
 perfect in a world in which methods of destruction are always 
 being improved. The combatant's sword-arm is free as can be 
 for any thrust or parry he may wish to execute. He is perfectly 
 firm on his feet, and at the same time can advance or retire 
 with ease, while the body is no more exposed than is necessary 
 for a steady balance. The hand and sword are in the position 
 which is best for attack, and at the same time for defending 
 the vital parts. After admiring the really adrnirable attitude of 
 the swordsman, the unlearned observer will probably think 
 that it is clearly the right one, and the only right one ; that it 
 must have been hit upon without very much trouble, and that, 
 whatever the complexities of lunges, parries, ripostes, &c. may 
 have been, the fittest way of facing an adversary must soon 
 have been discovered by those who devoted themselves to the 
 art of fer\ce. 
 
 Well ; it took them about two centuries and three-quarters 
 to fipd it out. Men began to ponder in Italy on the best way 
 of encountering an * opposite' who could thrust as well as 
 slash in the first half of the sixteenth century, and when the 
 position which is now adopted by all the best swordsmen was 
 finally decided upon, the present century was at least a quarter 
 sped; some would fix the date a good deal later. 
 
 The layman would thus be very considerably in error ; but 
 nevertheless his mistake would be a most pardonable one. 
 The position now taken by the fencer when he throws himself 
 
INTRODUCTION 3 
 
 on guard seems so certainly the right one, and, if we may use 
 the expression, the natural one, that it appears difficult to under- 
 stand why it took so long to find it out ; and, if this be thought 
 an over-bold expression of opinion and a hasty condemnation of 
 the great masters, we may quote, in support of it, the authority 
 of one who was well versed in the old literature of the schools, 
 and who ranked high amongst the quickest fencers that even 
 Paris ever saw, enjoying a considerable reputation in what we 
 may call the Bertrand period, when skill was carried as far as 
 it has ever been, before or since. 
 
 In that inimitable book, * Les Secrets de I'Epee,' the 
 Baron de Bazancourt describes himself as seeking to show 
 a totally untutored man how to face the foe in real or mimic 
 
 fight. * My dear C ^,' he says, \ you have never taken to 
 
 fencing, I think — will you kindly allow me to use you as 
 an exponent?' HVith pleasure,' answers the other, adding, 
 naturally enough, that he will be very awkward. ' For a few 
 minutes, perhaps,' replies the Baron; *that is the common 
 fate, and none can escape it. Now place yourself on guard. 
 This expression alone tells you what you have to strive for — 
 to be on guard — that is, to be equally ready for attack and 
 defence. Bend the haunches (forgive an expression which 
 is perhaps incorrect, but expresses my meaning with clear- 
 ness) ; sink the body a little. {Asseyez-vous sur vous-meme /) 
 The right arm must be half stretched out. . . . With this 
 position the sword can pass through all the lines it has to 
 guard. 
 
 ' I advance on you. To retreat, and at the same time keep 
 your proper distance, you have only to step back with the left 
 foot, and let the right follow immediately. To advance is the 
 same thing reversed : the right foot advances, the left follows. 
 
 * Bravo ! you are moving like a fencing-master [some par- 
 donable exaggeration here]. Take care to keep the legs bent 
 
 B 3 
 
4 FENCING 
 
 and the body steadily balanced, equally ready for attack and 
 defence. . . . Are you tired ? ' 
 
 ^No/ 
 
 * So much the better ; it shows that your attitude -is the 
 right one, that none of the muscles are cramped, and that it 
 does not paralyse you in any movement. Such is defence.' 
 After this Bazancourt goes on to explain, in like simple man- 
 ner, the principal attacks of the fencer, and winds up by saying, 
 ^ One last word ; why have this position and these movements 
 been chosen ? Because they are natural and instinctive.' 
 
 He certainly seems right in so far as such words can be 
 apphed to the use of the sword ; but it is strange that people 
 should have laboured for two hundred and seventy-five years 
 before they learnt to rely on ' natural and instinctive ' move- 
 ments. How these years were for the most part misspent, and 
 how by a remarkably slow process of evolution the right 
 method was reached at last, we shall endeavour to tell : but 
 our chronicle must be a brief one, as this is a practical Manual 
 of Fencing, not a History of the Art of Fence. 
 
 It has been said with perfect justice by Mr. Egerton Castle 
 in his well-known work,* by far the best which exists on the 
 subject, indeed the only real history of fencing there is, that, 
 strange as it may seem, fencing resulted from the introduction 
 of fire-arms. The Barons of old, who are usually referred to in 
 no very complimentary way, but from whom nevertheless every- 
 one would fain think himself descended, cultivated precision 
 with the lance, but when fighting with the sword they had little 
 need for anything but strength. Their hand-to-hand combats 
 must in one respect have resembled what in the great days oi 
 prize-fighting was known as a real slogging match. Covered with 
 
 1 Schools and Masters of Fence from the Middle Ages to the Eighteenth 
 Centii7y, with a Sketch of the Development of the Art of Fencing witli the Rapier 
 and the Small Sword : by Egerton Castle, M.A., Con Brevetto di Nomina a 
 Maestro di Scherma ; London : Georse Bell and Sons. 
 
INTRODUCTION 5 
 
 plate-armour, and often with a shield to boot, they had no need 
 to think of not exposing the body unnecessarily, or of protect- 
 ing it with the sw^ord. They hacked away at each other vigor- 
 ously until a joint w^as pierced, weak armour cut through, or 
 until one succumbed from sheer exhaustion. As, however, 
 armour by degrees fell into disuse, and as duels very much 
 resembling modern duels gradually took the place of the 
 tremendous battle on horse or on foot in which the knights 
 delighted, it grew more and more incumbent on those who 
 had any self-respect to acquire what they at first despised and 
 left to men of low degree, skill in the use of the sword ; until in 
 time it became as necessary for a gentleman to fence as it is 
 now for a man to ride or shoot : indeed, there was far more 
 need for fencing than there can be for riding and shooting, 
 because these do not preserve from sudden death, whereas it 
 was fervently hoped, not without reason, that fencing might. 
 
 Dexterity in the use of the sword — as distinguished from 
 mere hacking and hewing — which thus became so impor- 
 tant, originated with the sword-and-buckler men who, bearing 
 only the latter for defence, and not being clad in armour of 
 proof, had need to be deft with their w^eapons. In time gentle- 
 men had to imitate their vulgar skill, and although at first skill 
 in fencing was despised, not only in England, but also, strangely 
 enough, in France, it gradually became apparent that a gentle- 
 man w^ould do well to gain proficiency with the sword, unless 
 he was willing to be killed by the first bully he met, or to fall 
 in any sudden quarrel. It is needless to say, however, that he 
 soon changed the weapon of his humbler fellow-creature. As 
 schools of fence grew to be the resort of men of gentle blood, 
 the cutting sword, derived from the knight's ponderous weapon, 
 was discarded for the rapier, w^hich, we w^ould here remark, must 
 never be confounded with the small-sw^ord of later days. The 
 error is a very common one, at least in England, and, w^hen 
 
6 FENCING 
 
 there i^ a public exhibition of fencing, an assault with rai)iers is 
 very frequently announced. 'J'his is entirely wrong, being, as 
 lawyers would say, a frightful misnomer. The rapier, which 
 was used by many generations of fighting men before the small- 
 sword was heard of, was essentially a cut and-thrust wea])()n, 
 having a long narrow blade, often double-edged. As it remained 
 in use during so many generations, there is hardly any need to 
 say that its length and si/c varied considerably at different 
 times. One of us has handled in an Italian collection a 
 beautifully mounted rapier, so long that it was hard to under- 
 stand how any ordinary man could wield it, or how any man 
 under seven feet and a half could even draw it. 'J'he ])ra(^ti(al 
 good sense of duellists, however, discarded this absurdity after 
 awhile, and the rapier, reduced to reasonable proportions, be- 
 c:ame a very useful and formidable weapon. It w\as not so 
 deadly as its successor the small-sword, and could not be 
 handled wMth anything like the same precision ; but for a con- 
 siderable period it was found quite good enough for all ordinary 
 purposes. Probably, if a duellist of the day could be revived, 
 he would say that rapier fights very often ended in the death 
 of one of the combatants, and what more, after all, could be 
 required ? We need hardly inform our readers that for weai)ons 
 of this kind were devised those exquisitely beautiful hilts which 
 are at the present day the glory and delight of the collector of 
 arms. 
 
 To the Italians and the Spaniards belongs the honour of 
 having been first pre-eminent in rapier i)ractice, and both had 
 schools of arms of high repute ; but the latter, following an 
 utterly irrational system, most deservedly lost after a time the 
 reputation they had gained, and the principal fact now re- 
 membered in connection with their schools is that one of their 
 famous teachers produced the most elaborate, and quite the 
 most ridiculous, treatise on fencing ever written, which, we may 
 
INTRODUCTION 7 
 
 observe, is sa)ing a great deal. In Italy the case was different, 
 as there was after long time progress, though very slow progress. 
 The method, \{ method it can be called, of the early Italian 
 swordsmen was a very bad one ; but this is not at all astonishing, 
 as the use of the pointed sword was a totally new art, which 
 had to be learnt. Considering, however, the vital importance 
 of fencing in those days, indeed its necessity for gentlemen and, 
 we may add, for others who wished to preserve a whole skin, 
 it does seem surprising that a vicious system should have lasted 
 so long, and that progress should have been so slow. In our 
 own days we have seen what excellence may result where there 
 are strong reasons of expediency for being handy with one par- 
 ticular weapon. Some citizens of the Great Republic have found 
 it highly advisable to be good revolver shots, and in consequence 
 a quickness and precision in firing have been attained in parts 
 of America which seem miraculous to those Europeans who have 
 been lucky enough to witness and survive an exhibition of skill. 
 With the primitive fencers, however, the pressing need for the 
 sword did not lead to anything like effective use of it, and though 
 the early Italian fencers may have been formidable from con- 
 stant practice, and may have mastered some dangerous tricks, 
 their method remained, even after there had been ample time 
 for developing it, a singularly h)ad one, altogether opposed in 
 many respects to the true art of swordsmanship as now under- 
 stood, which we may observe is, in theory, so perfectly simple 
 that men may be pardoned for agreeing with the Baron de 
 Bazancourt, and for wondering greatly when they learn what a 
 long time has been taken to evolve it : but it is always dangerous 
 to judge early students by the light of after-acquired knowledge. 
 It must also of course be borne in mind that the Italian 
 swordsmen fought at first with sword and buckler, and after- 
 wards with sword and dagger, and that the use of the former 
 weapons necessitated an attitude differing somewhat consider- 
 
8 FENCING 
 
 ably from that now assumed. With the dagger, however, the 
 best position was not, or rather should not have been, of so differ- 
 ent a character. The principal use of the weapon must have 
 been for parrying thrusts directed to the left, and for use at close 
 quarters. To attack left-handed with the dagger a man who 
 held a sword in his right hand would be to court death ; and we 
 can hardly suppose that the old masters of fence ever practised, 
 or even counselled, such attacks in actual combat, though they 
 may have described them in their books, in which they certainly 
 seem to have described every attitude and movement possible 
 except the right ones. But it is difficult to believe that all the 
 antics they spoke of, and set forth in picture, were meant for 
 serious and practical combatants. They probably inserted a 
 large amount of superfluous matter to give an imposing appear- 
 ance to their works, and to fill pupils with amazement and 
 admiration at the Maestro di Scherma's knowledge ; and in this 
 respect the usage of the old masters has unfortunately not been 
 so much departed from as might be wished in later days. 
 There was also another and a more creditable reason why the 
 old teachers should set forth for their pupils' benefit various 
 strange gymnastics. They had to teach men, not merely how 
 to wield the sword in a regular combat, but also how to defend 
 themselves against a sudden attack, or in la rixe. For this 
 purpose tricks and antics, if practised till they became almost 
 instinctive, might be very valuable. 
 
 Of books to tell us how the old swordsmen were trained to 
 fight, either in sudden brawl or with all ceremony on the field 
 of honour, there are many, though the earliest have disap- 
 peared. The works of Jayme Pona de Majorca, published, or 
 said to have been published, at Perpifian ; of Pedro de la Torre ; 
 of Pietro Moncio, pubUshed in 1509 ; and *Francisco Roman, 
 published in 1532, are not now to be found, and some doubt has 
 been felt as to their ever having existed ; but, on the whole, it 
 
INTRODUCTION 9 
 
 seems most probable that these were real books, though now be- 
 yond even the book-hunter's ken. The earliest works at present 
 extant are those of Antonio Manciolino, which appeared in 153 1, 
 and of Achille Marozzo, which was produced at Modena and 
 Venice in 1536. The latter writer had apparently a great repu- 
 tation as a fencing-master, and several editions of his work ap- 
 peared ; but it had nothing like the value of that of Camillo 
 Agrippa, published at Rome in 1553, or of Giacomo de' Grassi, 
 which saw the light seventeen years later at Venice. The first 
 of these was an amateur— that is to say, fencing was not his sole 
 or main pursuit — and it is therefore to an amateur or quasi- 
 amateur that belongs the honour of having first made an im- 
 portant step in the use of the rapier. The Schoolmen calculated 
 how many angels could dance on the point of a needle, and 
 Agrippa first discerned the vast capacity for homicide which lay 
 in the point of a sword, and how many souls could be rapidly 
 released from the bondage of the flesh, if puncturing, rather than 
 slashing, was resorted to. Grassi saw the value of the point 
 quite as clearly as his predecessor, and bade fighters rely upon 
 it for straightforward attacks. In all probability both writers 
 utilised largely the unwritten lore of the schools, which, however, 
 they were certainly the first to put into a clear and definite 
 form, thus laying the foundation of modern fencing; but it 
 must be said that the superstructure took a considerable time 
 to raise. 
 
 It was to the knowledge of the value of the point which was 
 first insisted on in their published works by these two accom- 
 plished swordsmen that the Italians owed their skill and repu- 
 tation as fencers. In many respects their system was absurd ; 
 and, though it may seem easy to speak thus va 1889, the con- 
 demnation will hardly appear excessive when it is known that 
 they persisted in making passes to both sides— i.e. in skipping 
 about first to one side and then to the other — long after 
 
lo FENCING 
 
 Agrippa had taught that, generally speaking, it was best to 
 keep the right foot forward. He and Grassi were succeeded 
 by Viggiani, whose book * Lo Schermo ^ appeared at Venice in 
 1575. In one respect he made, and almost literally, a real 
 step. His ' punta sopra mano,' as described by him, and as 
 illustrated afterwards by his imitator, Meyer, was certainly a 
 direct ancestor of the developpe?nent of the French fencers, and, 
 though far from being so near an approach to the true attack 
 as that which Capo Ferro showed forty years later, indicated 
 the right movement. Viggiani, w^e should observe, was really 
 a contemporary of Agrippa and Grassi, as his book was 
 finished fifteen years before it was published ; but in this case, 
 as in others, credit must be given to those who have first made 
 themselves known to the world. Of these three wTiters, Agrippa 
 was certainly, on the whole, the most original ; to him, in the 
 first place, but to the other two not a little, belongs the credit 
 of having insisted on the use of the point. In this respect they 
 w^ere enlightened swordsmen, and it was the knowledge of the 
 use of the point instilled by these writers and acquired in the 
 schools of fence of Italy which made the Italian fencers so 
 formidable and famous throughout Europe. The English con- 
 tinued to hack and hew one another in a barbarous, brutal, but 
 withal somewhat jolly fashion. The Spaniards were slaves to a 
 senseless pedantry, and obeyed a set of elaborate rules which had 
 as much to do with fencing as they had with astronomy. Even 
 the French made little progress at first ; but the Italian method 
 had one cardinal merit, and Italian teachers were for long the 
 best. It seems strange indeed that, having comparatively 
 early got so far, they did not, during many years, get any 
 further, but continued for generations to teach a variety of wild 
 and senseless movements, unable, after having made a great 
 advance, to free themselves any more from the thraldom of 
 tradition. 
 
INTRODUCTION ii 
 
 The next work of any importance by an Italian was Vincentio 
 Saviolo's * Practise,' published in London in 1595. Saviolo, like 
 others of his countrymen in the sixteenth century, and like 
 Angelo in the eighteenth, came over to instruct the barbarians — 
 i.e. Englishmen — in the art offence ; and he seems to have been 
 much patronised by men of high degree ; but with humbler 
 people he fared very ill, having been, according to the amusing 
 narrative of George Silver, to be referred to later on, insulted 
 and thrashed by English masters of defence. His book was no 
 great advance on those which had preceded it, but is a valuable 
 compendium of all relating to the art as then understood, and 
 was certainly quite good enough for Englishmen, who had every- 
 thing to learn, and who, save in the ranks of the nobility, showed 
 a marked distaste for rapier play, which has never altogether died 
 away. It is not a little remarkable that the only two original 
 works of any note in the English language on fencing should 
 have been written by Italians. Next in order of time to Saviolo 
 came Docciolini, whose book was pubhshed at Florence, and 
 Fabris of Bologna, who brought out his very stately work under 
 the august patronage of Christian IV. of Denmark. It had 
 merit, but merit hardly proportioned to its size and grandeur 
 and it may be said that no special advance was made in the art 
 of using the sword from the time when Viggiani foreshadowed 
 the lunge in his ' punta sopra mano,' until Nicoletto Giganti 
 taught at Venice and Ridolfo Capo Ferro at Siena. Whether 
 one learnt from the other, or from report of the other's teach- 
 ing, it is impossible to say ; but both explained and drew for 
 their fortunate, and we doubt not enraptured, pupils the lunge, 
 very nearly as now taught and delivered. It is curious to see, 
 however, what deadly error there was when one truth had at last 
 been reached. Fencers who have not read Mr. Castle's or Capo 
 Ferro's work will shudder to learn that he bids the combatant 
 to keep his eye on the adversary's blade, so as to see its move- 
 
12 FENCING 
 
 ments and determine what he had better do. Nothing could 
 be more purely vicious. This is precisely what the modern 
 inaitre d'armes most emphatically and most justly teTlshis pupil 
 not to do on the first attack. Where there is great disparity of 
 skill, the better fencer, infinitely quicker than the other, may 
 parry by the eye ; but in ordinary contests no course can be 
 followed at the outset more likely to ensure defeat on the ground 
 or in the salle d'armes. 
 
 With these tw^o distinguished writers and masters of the 
 sword fencing may be said to have culminated in Italy. 
 Men continued to cultivate it with great vigour : there w^re 
 teachers of renown and others of less note. Three works of 
 some value appeared during the century ; but, if the art did 
 not sensibly decline, it made no progress in the hands of 
 Italians, and by degrees the sw^ordsmen of the Peninsula 
 lost their prominent position, ceased to be looked upon as 
 the first in Europe, and had to give place to the inaitres 
 d'armes of France. During the latter part of the sixteenth 
 century the French were really dependent on the Italians for 
 instruction in the sword. The treatise of St. Didier, published 
 in 1573, was entirely taken from Italian sources; but in the 
 first half of the seventeenth century Ducoudray flourished, w^ho, 
 if he has been wrongly credited with the invention of the lunge, 
 probably made attack more formidable ; and, in 1653, Besnard 
 of Rennes brought out a work which showed that, after care- 
 fully studying the Italian method, the French masters had 
 improved on it. One thing he and his contemporaries saw very 
 clearly which was never comprehended by the Italians, who, 
 zealous as they were, and clever as they w^ere, do sometimes 
 remind one of Charles Lamb's Chinamen who burnt dow^n their 
 houses to eat roast pig. The maestri would have no purely 
 defensive movements with the sword. Every parry must also 
 be a thrust. The Frenchmen perceived what the quick-witted 
 
INTRODUCTION 13 
 
 Italians ought to have perceived before, that, generally speaking, 
 trying to do two things at once was a mistake ; separated the 
 defensive from the offensive movements, and indicated faintly 
 \vhat was long afterwards developed into the * riposte de pied 
 ferme,' perhaps the most deadly of all thrusts with the sw^ord. In 
 other ways improvements on the Italian methods were indicated 
 by Besnard, who was followed in 1670 by De la Touche, whose 
 name seems almost as appropriate as that of Gatechair did in 
 our own time, by De Liancourt in 1686 and by Labat in 1690, 
 ,1696, and 1 701. When the latter wrote the French schools 
 were supreme. The Italians had had their day. They had 
 practised fencing with fervour, written about it with eloquence, 
 and illustrated it with great beauty. But now they were 
 completely distanced by their ultramontane brethren, who, 
 if they had advanced slowly, had continued to advance, and 
 who, at the end of the seventeenth century, had learnt to rely 
 entirely on the point. The illustrations of Labat show very 
 clearly what fencing was at this time. Some of the movements 
 resembled those of a swordsman of the latter part of the last 
 century or the beginning of this; but the Italian waltzing was not 
 yet altogether abandoned, and the left hand played a large part 
 in the encounter, sometimes parrying, sometimes grasping the 
 adversary's sword. One of Labat's illustrations represents a fencer 
 apparently wresting the sword from the other's grasp with his left; 
 and we may here observe that the practice of using the left 
 thus— which, of course, prevailed in the days of the earlier 
 swordsmen — quite explains, as Mr. Castle points out, the fight 
 in ' Hamlet,' which has puzzled so many people. In struggling 
 at close quarters, one combatant might succeed in wrenching 
 his adversary's sword from his hand, but lose his own weapon 
 at the same moment. One of us once saw a sailor of extra- 
 ordinary strength seize a cutlass close to the hilt, where the 
 edge is blunt, and break it short off. In fencing the use of the 
 
14 FENCING 
 
 left hand gradually disappeared ; but it is not a little curious 
 that, after enjoying a long period of repose, it should again, in 
 every sense, have come to the front. In a comparatively recent 
 duel one of the combatants parried with his left hand and 
 killed his antagonist. There were peculiar circumstances in 
 the case which made his conduct perfectly fair, but the question 
 naturally arose whether the use of the left hand is permissible. 
 There was apparently no body which could give a formal 
 decision ; but we believe that the general opinion of French 
 fencers was that parrying with the left hand is strictly forbidden, 
 alike in the mimic and real combat. 
 
 At the beginning of the eighteenth century the edge was, 
 as has just been said, practically discarded for the point, and a 
 weapon much resembling the present epee de combat was used ; 
 but albeit French masters of fence were incontestably the 
 first in Europe, they did not, after having made a marked 
 advance, improve their art so much as might have been ex- 
 pected ; nothing like modern fencing— that is, fencing as it has 
 prevailed from the days of Bertrand's fame to our own time — 
 was approached. One reason which may partly account for 
 this slow progress when the art had such intense interest for 
 the best society will be presently stated. Books were published, 
 but they had no very great value, the only one of importance 
 being that of Danet, which appeared in 1766. Though some- 
 what pedantic, he wrote sensibly about his art : but un- 
 fortunately he was too slow in addressing the world, and 
 allowed himself to be anticipated by one who spoke from 
 amidst the outer barbarians, though he was not of them. 
 Before Danet published, Angelo had dared to bring forth, in 
 London, of all places in the world, his magnificent work, which, 
 whatever the true skill of the author as a swordsman may 
 have been, was undoubtedly a complete and admirable ex- 
 position of the art of fencing as it then existed, showing 
 
INTRODUCTION 15 
 
 perfectly the system which the French fencing-masters had 
 developed from the complex rapier play of the Italian masters. 
 Before, however, speaking of this grandiose volume, it is neces- 
 sary to glance at the history of fencing in other countries than 
 Italy and France, and also to describe briefly the methods 
 of attack and defence which gradually led to small-sword 
 play. 
 
 Respecting the history of fencing, i.e., rapier and small-sword 
 play, in Germany and Spain, there is little to be said of interest 
 to any, save those who wish to make themselves exhaustively 
 acquainted with the history of the sword. The Germans had a 
 mighty corporation, with all sorts of exclusive rights and privi- 
 leges ; but, like some of those families which had the monopoly 
 of the executioner's office, they do not seem to have attained any 
 great excellence in their work, though undoubtedly they suc- 
 ceeded in killing somehow or other. They began to write about 
 swordsmanship very early ; but it would be difficult to name any 
 German writer who attained a reputation approaching that of 
 Marozzo, Agrippa, Grassi, Viggiani, Capo Ferro, Marcelli, Lian- 
 court, Labat, or Angelo. Indeed, the best works in the German 
 language were translations, and though there were schools of 
 arms in Germany, there do not seem to have been any in which 
 skill in rapier play was acquired, as it was in those of Italy or 
 France. As the Germans then were, when using the rapier, 
 nothing but followers of the swordsmen of these two countries, 
 it is not necessary to make any mention of German manuals of 
 the art of fence. It would be something like writing about 
 English violinists. In Spain the case was different : the 
 Spaniards had at first, as has been said, a reputation equal to 
 that of the Italians, and were thought to be great masters of the 
 refined and mystic art of wielding the rapier, and their schools 
 were sought by gentlemen desirous of completing an education 
 lamentably deficient in one respect. But while the Italian 
 
1 6 FENCING 
 
 maestri long preserved their glory, the Spaniards soon succeeded 
 in losing their early renown. The most practical of arts was lost 
 in a haze of pedantry, and though the courage of the Spaniards 
 and constant practice must have made them very formidable duel- 
 lists, they probably, like the English athletes who went through 
 the training in vogue fifty years ago, became strong in spite of 
 the system they followed, and not by reason of it. In 1599- 
 1600, forty-six years after Agrippa wrote in Italy, and only seven 
 years before Giganti's work appeared, Don Luis Pachecco de 
 Narvaez published at Madrid a treatise already referred to, 
 which, even when all allowance is made for the crude condition 
 of swordsmanship at the time, appears absurd. It seems some- 
 thing like those Eastern systems of medicine which are elaborate, 
 and even symmetrical, but unfortunately have no relation what- 
 ever to the human body or its ailments. A magic circle was 
 inscribed in which the combatants had to go through a series 
 of solemn movements, which seem to have borne about the same 
 relation to the passes and ' volti ' of the Italians that a minuet 
 does to a waltz. This work is worth mentioning on account of 
 the reputation it acquired amongst a people very fond of arbitrary 
 and elaborate rules based on nothing in particular, and also 
 because an elaborate paraphrase ^ of it was published in very 
 magnificent fashion thirty years after its appearance; but of the 
 other Spanish writers, and of the Spanish schools, there is no 
 need to speak. So far as anything good was taught in them, it 
 probably came from Italy. 
 
 Much more amusing is the history of fencing in England, 
 though, perhaps, it is something like what a history of boxing in 
 France would be. When the rapier was first introduced into 
 our country by men who had travelled in Italy and Spain, and 
 when the use of the point as well as the edge was first advo- 
 cated, the English people viewed the new sword play with 
 
 ^ Girard Thibault, ' Academic de I'Epee,' folio, Leyden, 1628. 
 
INTRODUCTION 17 
 
 extreme disfavour, not because it was more deadly than the 
 other — men were not troubled with humanitarian scruples in 
 those days — but seemingly because Englishmen had been 
 accustomed to hack and slash each other, and regarded this 
 way of operating as the only legitimate kind of fighting, and 
 looked upon the new system as treacherous, unfair, and ignoble : 
 why, it is impossible to say: but no dislikes are so deeply rooted 
 and so lasting as those for which no reason can be given. The 
 aversion with which the English people from the first regarded 
 the pointed rapier has certainly proved lasting, since the preju- 
 dice against fencers was, if the expression may be allowed, 
 transferred en bloc in a liberal spirit, when Frenchmen took the 
 place of Italians, and, as has been already observed, can hardly 
 be said to be extinct now. How strong this dislike was from the 
 first is shown by an amusing episode in the history of swords- 
 manship which Mr. Castle has described fully, but of which we 
 can only speak in very brief and cursory fashion. 
 
 In the latter part of the sixteenth century Italians came to 
 England to teach swordsmanship, much to the disgust of the 
 indigenous swordsmen. Amongst the native masters of defence 
 who were greatly aggrieved by the advent of the foreigner, 
 twice accursed, first insomuch as he was a foreigner, and secondly 
 because he came to take honest Englishmen's bread, was one 
 George Silver, who was by no means inclined to remain inactive 
 under grievous wrongs, and who, having helped to discom- 
 fit the Italians, told of their discomfiture by himself and 
 others, and argued with no mean skill against their method of 
 fighting. In his * Paradoxe of Defence,' published in London 
 in 1599, he tells of three Italians, 'teachers of offence ' of great 
 reputation, established in London in his time, who certainly, 
 if they gave as much offence as they received, must have been 
 adepts in their art and well competent to instruct anybody. 
 These were ' Signior Rocko,' who seems to have occupied much 
 
 c 
 
1 8 FENCING 
 
 the same position that Angelo did a century and three-quarters 
 later ; Jerqnymo, his son, and Vincentio Saviolo already spoken 
 of. Now if it be true, as Silver says, that Rocko received twenty, 
 forty, fifty, or a hundred pounds for a course of lessons, it is not 
 wonderful, considering what these sums then represented, that 
 the English masters of defence grew very wroth. When men are 
 hit at once in purse and vanity, they are apt to grow desperate, 
 and even unmannerly. The English swordsmen proved both. 
 First one Austen Bagger went to the house of Rocko, called 
 him a cowardly fellow and bade him come forth. This Rocko 
 did with a ' two-hand sword,' but Bagger defended himself well, 
 tripped the other up, cut him over with a stroke more familiar 
 to Eton boys in the head master's presence, without ' first fault' 
 to plead, than to fencers, and trampled upon him, but allowed 
 him to live. On the second occasion when injured feehng broke 
 forth, words only passed, but these were of a serious nature be- 
 fitting the grave dispute. Rocko the younger and Saviolo spoke 
 contemptuously of English swordsmanship. There was then, 
 as there would be now, some reason for their sneers, but their 
 remarks were not in good taste, and they certainly chose their 
 time very badly. They having asserted that Englishmen were 
 accustomed to retreat before the sword, Silver and his brother 
 Toby challenged them to fight on a scaffold, so that the man w^ho 
 ran away would be in danger of breaking his neck ; but this 
 highly practical proposal, which, with due modifications, is some- 
 times carried out in our day, w^as not accepted, and the Italians 
 were put to shame. Afterwards Saviolo was still more dis- 
 comfited, as he was mauled by a Somersetshire bravo, towards 
 whom he showed, according to Silver, the most Christian for- 
 bearance. The dispute ended tragically, as disputes usually did 
 in those days. Poor Jeronymo Rocko was run through the 
 body by an Englishman named Chiefe, who, seeing him in a 
 coach with a girl to whom he was attached, thought it a happy 
 
INTRODUCTION 19 
 
 and obvious occasion for calling on him to fight, and killed 
 him forthwith. 
 
 So the Italian Maestri di Scherma fared very ill at the hands 
 of their English brethren, and proved themselves less stout 
 men, having all the worst of it in actual combat, and fearing to 
 accept a challenge, if Silver's narrative is to be trusted ; but 
 probably it was largely adorned by fancy, which has usually 
 played a great part in fencing stories. A maitre darmes^ telling 
 of his own defeat, or of the defeat of a fellow-countryman by 
 a foreigner, is a phenomenon as yet unobserved by a student 
 of the science of arms. Given the personality and nationahty 
 of the speaker, the conclusion of an account of an assault or 
 duel may be stated almost with the certainty of a mathematical 
 solution. Whether truthful or not, however, Silver's pages are 
 most amusing ; and it must be said that his suggestion men- 
 tioned above was an admirable one, and might well be carried 
 into effect in our own time. Nothing would tend more to 
 promote steady play and to make men acquire it, than causing 
 them to fence on a platform without rails and only allowing some 
 four steps backwards. Putting individual cases apart, it is not 
 to be desired that fugitives should break their necks, as Silver 
 charitably hoped the Italians might ; but a series of ignominious 
 tumbles would bring about an amount of ridicule w^hich w^ould 
 cause those timorous fencers who dance away from an attack 
 like frightened girls either to mend the error of their ways 
 or to give up a mascuhne sport which is entirely unsuited to 
 their peculiar idiosyncrasies. 
 
 The dislike for fencing — i.e. for thrusting — and the love for 
 the cutting sword, which Silver expressed so vigorously, con- 
 tinued to animate his countrymen, and the result of the fond- 
 ness of Englishmen for what was looked upon, for some inex- 
 plicable reason, as the national weapon may be seen in our 
 own time in the game of single-stick, which is neither ^abre 
 
 c 2 
 
20 FENCING 
 
 play nor cudgel, but a bastard sport, with no particular 
 meaning. By the mass of Englishmen fencing was for long 
 regarded as a fashionable amusement of objectionable foreign 
 origin, suited only for line gentlemen, just as the Italian opera, 
 after its introduction, was for long looked upon as an entertain- 
 ment fit only for the hyper-refined. It is with the most sincere 
 contrition that we allude to anyone so frequently forced on the 
 public as the Needy Knifegrinder, but really his hackneyed 
 saying is most applicable to fencing in England. With or 
 without the blessing of Providence, story there is none to tell. 
 During a good many generations a certain number of English- 
 men learnt fencing as it was practised in Italy and France, but 
 nothing originated here, and, though a good many works were 
 published by Englishmen, none save translations had any real 
 value. It is true that Sir William Hope, who wrote several 
 books on fencing, had a few good ideas, but on the whole his 
 elaborate writings had no great merit, and, though he studied 
 in France, he was behind the French fencers of his day. It 
 may almost be said that fencing was the one subject on which 
 Englishmen and Scotchmen could not produce a good manual ; 
 for after the publication of Saviolo's treatise no original books 
 of real value saw the light until Angelo brought out his gorgeous 
 folio ' L'Ecole des Armes.' ^ 
 
 To this magnificent work we have already referred. When 
 it appeared the art of fencing was growing something like 
 what it now is ; and, after long time, an approximation to a 
 symmetrical and rational method had been reached, though 
 one vitally important change had to be made, and for this, 
 strange to say, people had to wait some fifty years longer. 
 Much, however, had been done when Angelo wrote, though 
 
 1 There is a ghistly story about this book. It is said that some of the 
 plates were eng-aved by a man condemned to death, who was allowed a respite 
 to finish them for the benefit of his wife and children. The work done, he was 
 hanged. Whether this painful legend is true, we are unable to say. 
 
 $\ 
 
INTRODUCTION 21 
 
 certainly the old masters of fence took an unconscionable time 
 over their work. From Marozzo in 1536 to Domenico Angelo 
 Malevolti Tremamondo (simpHfied at the request of a * noble 
 friend ' into plain Angelo) in 1763 seems a long period when the 
 important and highly practical nature of the art is considered ; 
 and, strange to say, the improvement which was so slowly made 
 consisted more in getting rid of what was bad than in introducing 
 what was good. As has been seen, when the pointed rapier 
 first came into use, the buckler was carried for defence. 
 Afterwards the dagger served both for offence and defence, 
 though far less for the former than for the latter. The use of 
 these two arms partly accounts for some of the features of the 
 old fencing, but does not altogether account for them ; and, 
 when every allowance has been made for the peculiarities of 
 swordmanship which were due to these two arms, it is, as has 
 been said already, very hard to understand why, as the impor- 
 tance of the point became more and more appreciated, the 
 old fencers failed to see the impropriety — we might almost 
 say the bad taste — of gymnastics, antics, and gambols, which 
 made accurate use of the point about as practicable as good 
 covert shooting would be for a man who persisted \\\ standing 
 on one leg. To give any idea of their antics and gambols would 
 necessitate, not only a long description, but also a long series 
 of illustrations showing how not to do it, which cannot be 
 given here. The reader who desires to become well acquainted 
 with the quaint history of a deadly pursuit is referred to 
 Mr. Castle's instructive pages. It is sufficient now to say that 
 what is in the present day most strictly forbidden was formerly 
 most strictly enjoined. To begin with, the swordsman were, 
 as has been stated, taught that every movement of defence 
 must also be one of attack ; that each guard or parry must also 
 be a thrust ; that is to say, with no command of point, they 
 were told to do in every instance what with perfect command 
 
23 FENCING 
 
 of it is now recognised as the most difficult feat possible, only 
 to be rarely attempted. Although the advantage of keeping 
 the right foot foremost was perceived early, it was not thought 
 necessary to keep it steadily foremost. It was quite permissible 
 to bring the left foot to the fore, not always for the sake of 
 using the dagger, but to facilitate a quick twist round of the 
 body, the enormous danger run being overlooked. A variety 
 of movements to the right and left, for the purpose of avoiding 
 the sword and taking the adversary at a disadvantage, were 
 taught, sometimes the right foot, sometimes the left, being fore- 
 most ; and though the point must have been * most irregularly ' 
 disordered, these no doubt were executed by the duellist with 
 much grace and vigour. It was a chasse-croise ending in death. 
 Occasionally a combatant did more than step to the right or left. 
 One of Agrippa's pictures represents a fencer in a position which 
 seems to invite a thrust in a portion of the frame usually thought 
 to be more in danger from the boot than from the sword ; and 
 when it is remembered that in those days ignominy attached 
 to wounds behind, it seems strange that such away of avoiding 
 thrust should be counselled ; but, in truth, the old masters of 
 fence were altogether strange in their method of defending 
 themselves against thrusts. They failed to see the advantage 
 of internal lines, and to perceive that a man who stepped to the 
 right or left in front of his antagonist, exposed himself and 
 could not by any possibility retain perfect command over the 
 sword. It could not be done, even with the light weapon of 
 our days, much less with the ponderous rapier. 
 
 In course of time, however, the French masters, and it should 
 be added some of the later Italians, gradually saw their way 
 to better things. While retaining the dagger for a time and, 
 after it was dropped, the parry with the left hand, and even 
 allowing the left foot to be brought forward now and then, they 
 perceived that, on the whole, it was better to keep the right foot 
 
INTRODUCTION 23 
 
 for the most pirt to the front, and also that transverse move- 
 ments were a mistake, and that the fencer should step forwards 
 and backwards in one h'ne. They also much improved the 
 parries, and improved if they did not perfect, the riposte — most 
 formidable of all ways of using the sword, mastery of which 
 beyond aught else makes a man formidable in the duel. 
 
 When Angelo wrote, then, a very pretty system of swords- 
 manship existed, though he thought fit to give historical illus- 
 trations, probably for the purpose of swelling out his book. 
 The principal part of it taught very practical small-sword play ; 
 but in the method which he set forth there was one vital 
 defect, due to the singular obstinacy of amateurs and masters 
 of fence, who refused for long to accept a contrivance which 
 would have greatly aided them in the pursuit to which they 
 were devoted. As had happened before, and as happened after- 
 wards, an art which ought to be as practical as book-keeping 
 was made the subject of a senseless pedantry. 
 
 For, strange to say, the old fencers were very slow in con- 
 senting to wear masks. As long ago as the middle of the last 
 century coverings for the face, not indeed such as they now 
 are, but giving protection, were invented ; but, though it might 
 be difficult to say precisely when they came into general use, it 
 seems clear that, for a considerable time, fencers of repute 
 would have none of them. It was thought bad taste, or, as it 
 would now be called, bad form, to wear them. To hit an 
 antagonist in the face, even by accident, was considered dis- 
 creditable in the mimic combat, and gentlemen apparently 
 would not take a precaution which indicated a fear of inartistic 
 work by an opponent ; which was courteous certainly ; but 
 even when the elaborate ceremonial of the time is taken into 
 consideration, the courtesy seems a little strained ; for it can 
 have been but a partial consolation to a man who had just 
 been gouged to know that his antagonist was seriously annoyed, 
 
24 FENCING 
 
 and would be thought careless and inelegant in style. Then it 
 seems singular that those who were given to swordsmanship 
 did not perceive how much masks would aid their practice. 
 Without them the fencer was obliged, in order to avoid the 
 risk of grave accident, to keep his head back as far as 
 possible, and to rest the whole weight of the body on the 
 left leg ; and this must have made assaults slow, clumsy, and 
 unreal. Anyone trained in the modern method, who will take 
 the trouble to assume the position of the ancients, will find how 
 awkward and cramped play becomes, and will probably wonder 
 much that the old swordsmen did not accept a necessary safe- 
 guard which would have made the free use of their limbs 
 possible. As it was, the free use of the limbs was not gained 
 until some time after the safeguard was generally adopted. As 
 has often happened in other things than fencing, rules made 
 for certain circumstances were obeyed when circumstances had 
 changed. Fencing-masters taught what they had learnt in 
 their youth, and men who fought each other on the smallest 
 pretext obeyed the pedantic dicta of their instructors withbhnd 
 and touching devotion. 
 
 After the time of Angelo's work the history of fencing is to 
 a certain extent traditional, and must be gathered in part from 
 the unwritten lore of fencing-rooms and from contemporary 
 journalism. There is every reason to believe that, even after 
 the use of masks was introduced, and after the style of play 
 had become more free, pedantry was, as it had been before, 
 the bane of fencing. Stiff and formal, the fencing-masters of 
 the early part of the century executed each movement with 
 absolute precision, and, not altogether without reason, were 
 most intolerant of anything like rough-and-ready sword play ; 
 and, in a way, their assaults must have been very pretty, but 
 they were wanting in spontaneity, quickness, and reality. A 
 great master of fence, himself now long departed, who well 
 
INTRODUCTION 25 
 
 remembered the old days, described to one of us what an 
 assault between two ?naitres (Tarmes was like when form 
 still reigned supreme ; how each would throw himself on guard, 
 making an * appel ' (which, alas, they seem to have been given 
 to) with a defiant ^ Voila, monsieur ! ' followed perhaps by another 
 beat of the foot : how an elaborate lunge, perfect in style, but 
 not erring on the side of quickness, was parried and answered by 
 a riposte, not ' du tac-au-tac ' certainly or of lightning rapidity, 
 but, as the lunge was, perfect in style : how one combatant 
 would form, with exquisite precision, half a dozen successive 
 parries, which the other, in an equally polished manner, would 
 deceive : how throughout there was strict adherence to rule ; 
 no flurry, no unseemly scrambling. It was very finished, very 
 clever in its way, but it was not ' la guerre,^ * La guerre^'' how- 
 ever, was destined to come in time. 
 
 For, after the stately old fencing-masters had reigned for 
 long — retarding, so far as can be told now, the progress of an 
 art which ought to have become much more practical after 
 masks came into general use — the terrible Bertrand, who has 
 been called the Napoleon of fencing, appeared, to baffle and 
 bewilder the dogmatic veterans, as Napoleon baffled and be- 
 wildered the generals of Austria. He did not by any means 
 despise rule, or 'form ' as it would now be called; but, on the 
 contrary, accepted all that was good in it, and never belonged 
 to the ranks of the energetic insurgents known as irregular 
 fencers ; but he absolutely refused to be bound — in practice at 
 least — by what was pedantic and artificial, or to consider any- 
 thing as forbidden merely because the fencing-masters chose to 
 forbid it without giving any vahd reasons. In a word, he broke 
 through rule where rule was unmeaning, showed that move- 
 ments of defence and assault which were thought too hazardous 
 to be attempted were safe and practicable ; and bringing life, 
 vigour, and fire to the assault, made it what it ought to be, 
 
26 FENCING 
 
 the image of the actual combat. The old fencers shuddered ; 
 but, beating them and their disciples, Bertrand prevailed. If 
 a yearly average of his hits, as compared with those of others, 
 could have been compiled, it would have been an amusing 
 one. As has been indicated, it was in practice chiefly that he 
 shone, for he was not a theorist, and left no work behind 
 him ; nor was he very successful as a teacher, only producing 
 during his whole career one pupil of great renown, the justly 
 celebrated Pierre Prevost,^ long resident in this country. But 
 in the assault he was supreme, and the force of his example 
 largely influenced fencing in Paris, and to him more than to 
 anyone else in this century is due the modern French school 
 which, combining regularity with freedom, demands obedience 
 to rule, but only to rule for which practical and unassailable 
 reasons can be given. 
 
 M. Legouve has drawn a charming sketch of this extra- 
 ordinary fencer, who seems, like those men who can play 
 twenty games of chess at once, to have been created for his 
 special pursuit, and to have been physically gifted as perhaps one 
 man may be in two or three generations. Of his extraordinary 
 vitality the following story, told to one of us by the person who 
 had the misfortune to be reproved by him, may give some idea. 
 It was his custom when making his rounds in the morning 
 to run from the house of one pupil to another, not the least 
 because he was in a hurry, for he was a man who would not 
 hurry himself for anybody, but because walking was too 
 slow for his superabundant energy. One very frosty morn- 
 ing when he and his assistant were going along at a smart 
 pace together, the latter slipped and fell. * Trainard,^ 
 said Bertram, * c'est parceque votes laissez la patte trap loitg- 
 temps par terre, Levez-la vite^ et vous n'avez pas le temps de 
 glisser,^ Which he exemplified by running off at his full 
 
 1 Father of Camille Prevost, part author of this w ork. 
 
INTRODUCTION 27 
 
 speed — which was very high speed indeed — along the shppery 
 pavement, leaving the other to follow as best he might. 
 Another story from the same source shows his astonishing 
 skill. At a pubUc assault, he fell out with his antagonist, a very 
 famous fencing-master of the day, because the latter would 
 not acknowledge hits. The public seemed rather disposed to 
 side with his foe, whereupon Bertrand, after a very impertinent 
 remark to the audience, put on his mask, which he had taken 
 off for a moment, and placed himself on guard. His an- 
 tagonist attacked with rare vigour and rapidity. He was met 
 by an irreproachable parry, but there was no riposte. A second 
 onslaught followed, which met with a like response, and presently 
 it became apparent that Bertrand would not attack or riposte 
 or retreat an inch. Naturally exasperated, the other did 'all he 
 knew,' to use the apt language of the Ring; but in vain : he could 
 not mark Bertrand's jacket with a touch that would have killed a 
 fly, and after a long effort had to give up exhausted. Such feats 
 have often been described in novels, even as the splitting of the 
 willow wand by an arrow was described in. the famous romance; 
 but in real life they have been, to say the least, extremely rare. 
 AVhen the antagonist has skill and quickness, a fencer who acts 
 only on the defensive, and does not retreat, is almost certain to 
 be hit before long. Another story shows Bertrand's intense 
 vanity, and also his readiness. One day, coming late to his 
 fencing-room, he found a gorgeously clad young officer of the 
 Gardes du Corps who had been waiting for some time. * M. 
 Bertrand^ observed the youth sharply, ' vous etes eii retard,^ 
 '/e ne suis pas un cocker de fiacre,' retorted the other. ' Qu'-est- 
 ce que vous etes done ? Vous etes un maitre d'armes.^ ' Afon- 
 sieur,' replied the maitre d'annes with infinite scorn and 
 majesty, ^ avec deux aunes de drap on fait un officier comme 
 vous — et dans le monde entier il n'y a qu'un Bertrand.' 
 
 The art which this prince of swordsmen exemplified has had, 
 
28 FENCING 
 
 as may well be imagined, various literary exponents during the 
 present century, but, of many books, however, only four need 
 be named ; those of Possellier, known by the pseudonym of 
 Gomard ; Grisier, Cordelois, and Prevost aine, and that of 
 Bazancourt already mentioned. The first of these, who adopted 
 the name of a fencing-master to whose school he succeeded, 
 was very well versed in the history of the sword— unusually so, 
 indeed, for the time at which he wrote — and his ' Theorie de 
 TEscrime,' pubhshed in 1845, contains a list of the Italian and 
 French writers on the subject which was the best, or one of 
 the best, to be found until Mr. Castle's work appeared. 
 Grisier's book enjoyed popularity for a time, and the writer 
 had the enormous advantage of having it heralded by a long 
 preface from the pen of Alexandre Dumas ; but the work has 
 for some time ceased to be accepted as a standard authority, 
 and is now but little studied. The well-known ' Legons 
 d'Armes ' of Cordelois appeared in 1862. Copious, written 
 with the greatest care, and admirably illustrated, it achieved 
 deserved renown, and has long been an honoured text-book 
 in the schools. We cannot but think that it is open to con- 
 siderable criticism; but we do not wish to undertake the 
 invidious task of picking holes in the work of a distinguished 
 fencer, who is still remembered by many. On one point, how- 
 ever, it is necessary to speak plainly. Cordelois condemned 
 the ' coup de temps ' and ' coup d' arret,'' which Bertrand had 
 perfected. The coup de temps is a dangerous stroke, but when 
 delivered with proper judgment is one of the most brilliant in 
 fencing. The coup d'arret is invaluable in the fencing-room, 
 and on the ground against a rash and unskilled antagonist. 
 
 The little work of Prevost aine, 'Theorie Pratique de 
 TEscrime,' published in London, in i860, and translated into 
 English, was, as might be expected, perfect of its kind. Con- 
 cise in the extreme, but at the same time perfectly clear, it 
 
INTRODUCTION 29 
 
 contained all the instruction which could possibly be given in 
 the very limited space to which the author strictly confined 
 himself. His pamphlet was not meant to be a full and exhaus- 
 tive manual of fencing, but was intended principally for the use 
 of his own pupils, who desired to study carefully his method of 
 teaching, and who also desired that some record of it should 
 remain. Necessarily, however, it was but an abstract. Any- 
 thing more would have been useless at the time in this country. 
 Of a very different nature from the four works named is 
 'Les Secrets de TEpee' of the Baron de Bazancourt quoted at the 
 beginning of this brief history. The others were swordsmen 
 who took to writing. He was a writer who had a fancy for dis- 
 coursing about the sword. More courageous than the famous 
 author who was content to preface Grisier's volume, he spoke for 
 himself, absolutely, as an instructor, and boldly contravened 
 many of the dogmas most cherished and revered by the pundits 
 of the salle d^armes^ and this he did, it must be said, with infinite 
 skill, fire, and audacity. The fencing-masters thought first, and 
 last too in all probability, of explaining precisely how to use 
 the sword. Bazancourt — albeit a mighty swordsman him- 
 self and much interested in the art— followed inevitably the 
 writer's instinct, and thought first of pleasing : which he did 
 unmistakably. From its happy title to the happy sentence 
 which ends it, his book, written in that perfect style which 
 seems no style at all— just as the best manners are no manners 
 at all— never palls or loses its hold on the reader, and, unlike 
 most works on fencing which seem somewhat severe outside 
 the fencing-room, it may be read afar from the clink of the 
 foils. But, fascinating as his lio^ht-hearted writing is, the reader 
 must not forget that he is dealing with a very expert hterary 
 dodger, and that for the literary mind bright paradox has often 
 an irresistible charm. In bright paradox the Baron de 
 Bazancourt dealt largely ; but, being an able man, his paradox 
 
30 FENCING 
 
 was not all in all to him, as it would have been to a weak one, 
 and he mixed up with it a certain amount of good sense. 
 * Why have I written this book ? ' he pleasantly asks in his open- 
 ing sentence. ' To amuse and to mislead ' might be answered 
 by an indignant swordsman of the old school, and the answer 
 would not be altogether without truth, though it should in fair- 
 ness be added, that it was in some respects a not unsuccessful 
 effort to instruct. 
 
 Clever as his work is, however, it would not need other than 
 the most brief notice in this attempt to give an epitome of the 
 history of fencing were it not that he represents in the most 
 brilliant manner the malcontents whose very name stirs to fury 
 a righteous maitre (T amies — professeur d'escrime it should be — ■ 
 but we may be allowed to follow the example of M. Legouve, 
 and loathe this modern appellation, which, by the way, some 
 great fencers seem inclined to reject. The irregular combatants 
 can no more be ignored in any account of swordsmanship than 
 naval critics can be ignored by the Admiralty, and, possibly hke 
 the latter, mingle some truth with a great deal of nonsense. 
 They are the irreconcilables of the salle d'armes^ thoroughly 
 discontented with existing laws, and no inapt or dull opponents 
 of them. They are not a party of recent date, but have existed 
 since the days of the battle between the romantics and the 
 classics, if not from an earher time, and they are a power to be 
 reckoned with, as regular swordsmen now and then find to 
 their cost. To give their views would be impossible, because 
 they are not bound, as the others are, by any set of views 
 set forth in the shape of rules and instruction ; but 
 Bazancourt may be regarded as their best literary exponent, 
 though, as is usually the case with rebel leaders, he has been 
 hugely outstripped by those who have followed him. Shortly, 
 it may be said that the irregular fencer thinks that he is at 
 liberty to get at his antagonist, or to avoid his thrusts, in any 
 
INTRODUCTION 31 
 
 way that seems good to him ; to contort the body, tp twist, 
 to duck, to double himself up, to run back^-to'prod and 
 poke as he thinks fit : which at first sight appears plausible 
 enough ; but it must be remembered that, if rules are artificial, 
 fencing itself is artificial. A man does not come into the world 
 with a sword in his hand, though a sword in somebody else's 
 often sends him out of it. To attempt to follow instinct where 
 it can be no real guide may be, not only to do what is wrong, but 
 perhaps to do the exact opposite of what is right. Men used 
 bows and arrows for a considerable time before it was dis- 
 covered that it was best to draw the string to the ear. 
 
 As has been shown briefly, and but imperfectly we fear, 
 modern fencing is the result of a long study, extending over 
 very many generations, of the art of using the sword. It was 
 impeded and hindered by pedantry, by undue conservatism, 
 by a kind of mysticism, and even by wild fancies innumerable; 
 but still, being of great practical importance, it made progress 
 by degrees, got slowly better and better, more precise, more 
 certain, more based on knowledge of how to make the limbs 
 and body serve the sword — more deadly, in a word; and three 
 centuries after Marozzo wrote it may be assumed that the art 
 of using the weapon had become as nearly perfect as can be 
 hoped for in an imperfect world, and certainly very much 
 better than anything that anybody could invent for himself out 
 of his own mother- wit. 
 
 It was three centuries after Marozzo that Bertrand flourished, 
 and to Bertrand's period Bazancourt belonged ; but the rules 
 which that volcanic genius was willing to obey were too 
 severe for the amateur, and, not content with girding most 
 happily at pedantry, he claimed license for the fencer to caper 
 about according to his own sweet fancy, of which his followers 
 have availed themselves to an extent which certainly he never 
 anticipated. Such license is not and was not permissible, 
 
32 FENCING 
 
 plausible as may be the reasons given for granting it. A system 
 which it has taken three centuries to mature must be studied 
 and mastered throughout, not taken up and dropped just as 
 suits the pupil. Though tenacious of life almost beyond belief, 
 absurdities and pedantry have gradually been threshed out, and 
 fencing according to the system of the French school as expanded 
 by Bertrand is now as practical as anything can be. Of this 
 there can be no better proof than the amusing sentence of 
 Bazancourt, quoted at the beginning of this chapter; he thought 
 that the position of guard must be natural and instinctive, 
 because it w^as so eminently practical, and obviously, as it 
 seemed to him, the right position. So far as can be told now, 
 it is the best position ; and the German manner of using the 
 bow of the violin is undoubtedly the best. One is about as 
 spontaneous, obvious, and natural as the other. 
 
 So with the rest. The rules of fencing are not, as was 
 once the case, due to dogma and caprice, but are the result 
 of hundreds of thousands of combats, and of infinite pains 
 devoted to one object, the most practical method of handling 
 the sword. Difficult the system undoubtedly is, and time and 
 work are required to master it, but this is the case in any pursuit 
 where excellence is desired. After the system has been mastered, 
 and real skill with the foil attained, the fencer will be in a 
 position to judge what it is worth, and may abandon it and 
 join those who deride discipline ; but the probability of his 
 coming to the conclusion that his pains have been thrown 
 away is, to say the least, remote. There is, we believe, no case 
 on record of a swordsman who, having attained repute as 
 a regular fencer, went over to those who claimed liberty to do 
 as they pleased. It is easy to deride method, but less easy to 
 deal with a sword which is always in line and a point never far 
 from the body. ^ Rirabien qui rij-a le dernier,^ Of course it 
 may happen that an irregular fencer beats a regular one hollow. 
 
INTRODUCTION 33 
 
 Nc system can altogether make up for the inequalities of nature 
 and put the slow by the side of the swift, and a man who is 
 naturally quick and active may be too much for one who is 
 naturally slow and heavy. Bazancourt, who was a left-handed 
 swordsman, had astounding natural quickness, and may have 
 prevailed against well-skilled fencers. In like manner a man 
 who has a natural talent for acting, but has never studied, in 
 the old sense of the word, may produce certain brilliant effects : 
 but study is advisable for those who' wish to act all the 
 same. 
 
 In the pages which follow this chapter, an attempt is made 
 to acquaint Englishmen in the most practical manner possible 
 with the method of fencing or small-sword play which is now 
 followed in the best French schools. The system followed is 
 essentially that of Bertrand, with whom, perhaps, swordsmanship 
 culminated after its long period of slow progress ; for assuredly, 
 despite the zealous efforts of ambitious and most accom- 
 phshed fencers, his method of using the point has been but little 
 departed from or improved upon during the time which has 
 elapsed since he was supreme in the assault. As has been 
 said, he left nothing written behind him ; but his system was 
 thoroughly mastered by his one really distinguished pupil, the 
 elder Prevost, who in turn imparted it to his son, labouring 
 most strenuously to teach it to him during a long course of 
 careful tuition. Aided by such knowledge as practice in fencing 
 since the age of five, and more than twenty years' experience 
 as prevot and maitre d'armes in Paris had given him, the son, 
 working for French fencers, endeavoured to put the method of 
 the great swordsman in a written form, with such modification 
 in detail and amplification in some respects as experience had 
 shown to be neccFsary. An attempt is now made by two 
 Enghsh colleagues and by himself to do the like for those who 
 practise fencing in England, and to give what is believed to be 
 
 D 
 
34 FENCING 
 
 a really practical theory of small-sword play — that is, a rule of 
 instruction which, while altogether rejecting irregular fencing, 
 recognises regularity merely as a means to an end, and exacts 
 obedience to rule, but only to rule which can be thoroughly 
 explained and indisputably justified. 
 
 tL 
 
PRACTICAL INSTRUCTIONS 55 
 
 In order to deceive — that is, to nullify or avoid a foreseen 
 parry by preventing it from reaching the blade in time — a com- 
 posed attack, in which one or more feints precede the real 
 attempt to hit, must be made, save in some few cases which 
 need not now be considered. 
 
 It is by no means uncommon for fencers to advance the 
 hand a little and no more on each feint, only stretching the 
 arm out fully at the end. We cannot but think this a mistake. 
 The arm should be extended on the first movement ; but it 
 must be kept quite supple, and great care must be taken not to 
 move the body forward. The reasons for extending the arm 
 are very simple. The adversary, startled by seeing the point so 
 close to him, is almost obliged to make a parry in the line in 
 which he appears to be in danger, thereby rendering it all the 
 more likely that he will be a victim to the real attack. Further : 
 \n composed attacks the end must be quicker than the begin- 
 ning. The nearer the point to the body the quicker the end 
 will be. 
 
 In feints the body must be kept perfectly steady, and, for 
 their fit execution, command of finger-play is essential. In 
 all feints, even in those in the low lines, the hand should be in 
 supination. 
 
 Whatever the nature of the composed attack may be, the full 
 extension [i.e., the movement of the right foot and of the body] 
 must be at the end — that is to say, there must be no extension 
 with the false movement. When there is an advance with 
 a composed attack, step and feint must be together, the 
 extension being made with the real attack only. 
 
 To nullify or avoid the adversary's parries, or to cheat his 
 steel, if a paraphrase of the French expression * tromper le fer ' 
 may be allowed, it is necessary to foresee what his parry will be, 
 or to watch his blade and, by superior quickness and precision 
 due to finger-play, avoid it as each parry is formed. This latter 
 
56 FENCING 
 
 course is, generally speaking, only practicable when there is some 
 disparity in skill. It is almost needless to say that no rules can 
 be laid down for this, which depends entirely on mastery of foil 
 and quickness of perception. The personal equation comes in 
 here. 
 
 The first way of cheating the steel may be called nullifying 
 by forecast, the other nullifying parries by the eye. When a 
 series of parries are to be nullified, both methods may be 
 resorted to. The fencer makes a guess what the first parry w^ill 
 be, and, this proving right, trusts to eye and hand for nullifying 
 the others. In doing this it is essential for him to regulate his 
 speed by that of the adversary. 
 
 Too many fencers unfortunately try to nullify parries in a 
 haphazard and utterly meaningless manner. They make a 
 composed attack, without considering what the parry is that 
 this movement nullifies or what the adversary's defence 
 is hkely to be. Of course such an attack may succeed, 
 but it is due to pure chance, and reflects no credit on the 
 swordsman. Very often an attack of this kind brings about 
 one of those unpleasant jars which are known as parries by 
 contraction. 
 
 It cannot be too strongly insisted on that every move?nent in 
 fencing should have a purpose. There can be no greater mis- 
 take than to indulge in vague flourishes of the sword or move- 
 ments made without any definite object. To do this is to be 
 like a child who thumps the keys of a piano under the impression 
 that it is playing. 
 
 COUNTER PARRIES. 
 
 A counter is a circular parry — that is to say, one in which 
 the blade makes a circular movement following that of the 
 adversary in order to meet it again at the point of departure and 
 ward it off the body. The word counter is chosen as the near- 
 
PRACTICAL INSTRUCTIONS 57 
 
 est approach to the French contre, for which there is no precise 
 equivalent. Counters are named according to the engagement 
 from which the parry is made. They can only be properly 
 made when the adversary attacks in the line opposed to that 
 of the engagement — i.e. attacks in quarte from tierce or vice 
 versa ; in seconde from septime or vice versa. Counters are 
 made as follows : — 
 
 Engaged in quarte to parry counter-qitarte. — The moment 
 the adversary disengages or makes a coupe, to attack in out- 
 side line, describe a circle with your point passing under his 
 blade or hand from left to right in the lower segment of the 
 circle, and take opposition in quarte, as your blade catches his. 
 The point must be directed by the thumb and forefinger, aided 
 at the last moment by smart pressure of the fingers, so as to 
 give a sharp clean rap which will drive the other blade away. 
 
 From tierce to parry counter- tierce, — The instant the adver- 
 sary disengages or makes a coupe to attack in inside line, make 
 the point describe a reverse circle to that of counter-quarte, 
 following the principles laid down for that parry. 
 
 From seconde to parry counter-seconde. — Directly the 
 adversary quits the blade to attack in the low line, make the 
 point describe a circle moving first from right to left, passing over 
 his hand, and follow the same principles as in counter-quarte. 
 
 From septime to parry counter-septime. — The moment the 
 sword is quitted for attack in exterior line, make the point 
 describe a circle, moving first from left to right, passing over his 
 hand, and observe the same principles as in the other parries. 
 
 When there is no junction of the steel, the parries are 
 named according to the lines approximated to. If the blades 
 are to the left of each other, with the points high, the parry is 
 called counter-quarte ; with points low, counter-septime ; and 
 so with the other two. 
 
 Septime, it is to be observed, may very often be advan- 
 
58 FENCING 
 
 tageously used instead of counter-tierce. It protects from 
 the same attacks as the other, and covers the lower lines as 
 well as the upper. It can, moreover, be executed more quickly 
 than counter-tierce, as, owing to the point having to describe 
 considerably less than a circle, the antagonist's blade is much 
 sooner caught. 
 
 REVERSED COUNTER-PARRIES (CONTRE-OPPOSfiS). 
 
 These, as the name indicates, are the ordinary counter- 
 parries executed the opposite way. Thus, being engaged in 
 quarte, to parry the reversed counter (contre-oppose de quarte) is 
 to parry counter-tierce. In order to take opposition there must 
 be a transverse as well as circular movement, but the two must 
 be welded so as to form one continuous parry. Reversed 
 counter from quarte engagement is, therefore, tierce and 
 counter-tierce ; reversed counter from tierce engagement, quarte 
 and counter-quarte. The first is seldom resorted to, but the 
 other is an excellent parry, as it is easily made and not easily 
 avoided. Reversed counters are hardly ever used in the lower 
 lines, save when the adversary parries seconde with direct riposte 
 (to be explained later on) then, in retreating, septime and 
 counter-septime may sometimes be useful. 
 
59 
 
 CHAPTER III. 
 
 PRACTICAL INSTRUCTIONS— r^;^//;^^^^^. 
 
 HOW TO NULLIFY OR AVOID THE SIMPLE PARRIES. 
 
 Engaged in quarte to nullify the parry of quai^te (the adversary 
 being exposed in the line of the engagement, without which of 
 course there can be no straight thrust) : 
 
 1. Simulate a straight thrust, or make a beat, and disengage 
 into the outside or low line (line of tierce or septime). 
 
 2. Simulate straight thrust or beat, and make a coupe. 
 
 In the other lines parries corresponding to the line of 
 engagement are nullified in a similar manner, but in the lower 
 lines there can be no coupe. 
 
 From engage77ient in quarte, — To nullify seconde : dis- 
 engage into the outside line. 
 
 To nullify tierce : — 
 
 1. Simulate disengagement into outside line and disengage 
 into inside line. This is called one-two, and is a frequent 
 attack in fencing. It may be abridged by simulating thrust 
 in low line and attacking in inside line, and by simulating dis- 
 engage into outside line and attacking in exterior line. 
 
 2. Disengage into low line. 
 
 3. Change engagement, giving a pressure or beat; or the 
 scrape on making the change, and disengage into exterior or 
 inside line. 
 
6o FENCING 
 
 To nullify septime : — 
 
 1. Make feint in low line, feint, well-marked, in inside line 
 (one-two low and quarte lines) and counter-disengage. 
 
 2. If the adversary is exposed in the line of engagement, 
 simulate straight thrust or beat, and counter-disengage. 
 
 Fi'om engagei7ient in tierce, — To nullify seconde : one-two, 
 first dropping point as though to attack in seconde, then attack- 
 ing in tierce. 
 
 To nullify quarte : — 
 
 1. One-two, feinting of course in quarte and attacking in 
 tierce. 
 
 2. One-two low, feinting in quarte and attacking in low^ line. 
 
 3. Change engagement, with a pressure or beat on making 
 change, and disengage into outside or low line. 
 
 To nullify septime : — 
 
 1. Feint disengage into quarte, and counter-disengage 
 into exterior line. This is called a double disengage, or simply 
 a double. 
 
 2. Simulate coupe and counter-disengage. 
 
 3. Change engagement with beat and counter-disengage. 
 From e7igagemejit in seconde. — To nullify tierce : one- two 
 
 simulating attack in tierce, and attacking in exterior hne. 
 To nullify quarte : — 
 
 1. Disengage into low line. 
 
 2. Feint, disengage into quarte, and counter-disengage into 
 tierce. 
 
 To nullify septime : — One-two, going over the adversary's 
 hilt. One may be marked high or lov/. 
 
 Fro?7i engagement in septime, — To nullify seconde : one- 
 two over the hilt. 
 
 To nullify quarte : one-two, ending the attack in tierce. 
 
PRACTICAL INSTRUCTIONS 6i 
 
 PARRIES FOR MEETING THE ATTACKS JUST DESCRIBED. 
 
 With engagement in qitarte. — i. To one-two in inside line : 
 counter-quarte, septime or tierce and quarte. Seconde may be 
 parried if the feint is in outside (or upper) line, but not if the 
 feint is in exterior line ; anyhow, this requires great nicety of 
 judgment. 
 
 2. To one-two in exterior line : septime, or better, seconde, 
 when the attack has been rightly judged. 
 
 A change of engagement in the upper line, with a beat, 
 pressure, or scrape on the change, and disengage into quarte, 
 is parried in the same way as the first of the attacks described 
 in the above paragraph ; a change with one of these movements 
 and thrust in exterior line, in the same manner as the second. 
 
 3. To disengagement into exterior line : parry septime or 
 seconde. 
 
 4. To one-two counter-disengage, beat and counter-dis- 
 engage, feint of straight thrust and counter-disengage : parry 
 septime and seconde, or septime and counter-septime, or 
 septime and quarte. 
 
 Engaged in tierce, — i. To meet one-two in upper line : 
 counter-tierce, or quarte and tierce. If the attack is rightly 
 judged, tierce only may of course be parried. 
 
 2. To one-two with thrust in low line : septime, or quarte 
 and seconde. A change of engagement with a beat or pressure 
 on change, and disengage in outside line, is parried in the same 
 w^ay as the first attack mentioned above ; a change so followed 
 with attack in low line in the same manner as the second 
 attack spoken of. 
 
 3. To a double, or feint of coupe and counter-disengage, or 
 change of engagement and counter-disengage : parry septime 
 and seconde, or septime and counter-septime. 
 
62 FENCING 
 
 HOW TO NULLIFY OR AVOID COUNTER-TARRIES. 
 
 Engaged in quarte to avoid counter-quarte, — i. Double the 
 disengagement — that is to say, simulate disengagement into 
 tierce, and counter-disengage and lunge in tierce. 
 
 2. Double disengage ending low : double, as before, but 
 end in low line. The hand may, in this case, be in complete 
 pronation at the last, and should be a little lower than the 
 shoulder, but the point must be kept high on the disengage, 
 so as to make the adversary raise his hand. 
 
 3. Simulate disengagement into tierce and make a coupe, 
 just at the end of the other's parry, into tierce (this might be 
 called counter-coupe). 
 
 4. Simulate coupe and counter-disengage into quarte or 
 into low-line ; in the latter case the hand may be in complete 
 pronation at the end. 
 
 Engaged in tierce^ to avoid counter-tierce, — i. Double dis- 
 engage, ending in quarte or in exterior line. 
 
 2. Simulate disengagement and make coupe into quarte; 
 or, simulate coupe into quarte, and counter-disengage into 
 quarte or exterior line. Counter-seconde and counter-septime 
 are avoided by doubling, the attacks ending either high or low 
 for counter-seconde. 
 
 HOW TO MEET THE ATTACKS LAST MENTIONED. 
 
 Engaged in quarte, — To meet a double disengage in upper 
 line : parry counter-quarte and tierce, or double counter- 
 quarte — that is to say, parry counter-quarte twice. To meet 
 a double disengage in lower line : parry counter-quarte and 
 septime or counter-quarte and seconde. 
 
 Engaged in tierce, — i. To meet a double disengage into 
 
PRACTICAL INSTRUCTIONS 63 
 
 inside line, feint of disengage and coupe into inside line, or 
 feint of coupe and counter-disengage into the same line : parry 
 counter-tierce and quarte, or counter-tierce and septime, or 
 double counter-tierce. 
 
 2. To meet a double into exterior line or feint of coupe 
 and counter-disengage into exterior line : parry counter-tierce 
 and seconde, or counter-tierce and septime. 
 
 In seconde, meet a double disengage, ending low, by double 
 counter-seconde; ending in upper line, meet by counter-seconde 
 and tierce or quarte ; in septime, meet the same by double 
 counter-septime, or counter-septime and quarte, if the adversary's 
 point is aimed high.^ 
 
 HOW TO FRUSTRATE A CHANGE OF ENGAGEMENT AND 
 AVOID A SIMPLE PARRY IN THE UPPER LINES. 
 
 Engaged in quarte, — To frustrate a change of engagement to 
 tierce and parry in quarte : simulate counter-disengage (which 
 will mduce the adversary to parry quarte) and disengage ; this 
 movement is called one-two on a change. To avoid the 
 change to tierce' and parry in seconde : one-two on the change, 
 with the feint in seconde, and the end in tierce. 
 
 To frustrate a change to tierce and parry in septime : double 
 the counter-disengage, attacking in exterior (seconde) line. 
 
 Engaged in tierce, — To avoid change of engagement to 
 quarte and parry in tierce : — 
 
 1. One- two on the change. 
 
 2. Counter-disengage into low line. 
 
 To avoid change in quarte, and parry in seconde : counter- 
 disengage into upper (tierce) line. 
 
 To avoid change to quarte and parry in septime : simulate 
 
 1 See page 30. 
 
64 ; FENCING 
 
 a counter disengage into low line, then, passing point over 
 adversary's hilt, attack in exterior (seconde) line. 
 
 HOW TO MEET THESE ATTACKS. 
 
 Engaged in quarte, — i. To raeet one-two on the change: 
 after the change parry the reversed counter (quarte and counter- 
 quarte) or quarte and tierce. To meet the counter-disengage 
 into seconde (exterior) line : after the change parry seconde or 
 septime. To meet the double counter-disengage : after the 
 change parry septime and seconde, or septime and counter- 
 septime ; or, if the attack is aimed high, septime and quarte. 
 
 Engaged in tierce : — i. To meet one-two : after the change 
 parry septime, or tierce and quarte, or seconde. 
 
 2. To the counter-disengage into low line : reply by parrying 
 after the change septime or seconde. 
 
 To the counter-disengage into the upper line : reply by 
 tierce and counter-quarte. 
 
 To feint of counter-disengage into low line and disengage 
 into exterior line : reply after the change by septime and counter- 
 septime, or septime and seconde; or, if the attack is aimed 
 high, septime and quarte. 
 
 To frustrate a double engage and avoid a simple parry, — On 
 the change to the second engagement, make the movements 
 which have been described above. To meet these attacks, 
 resort to the same defences as have been given for the attacks 
 on the single change of engagement. 
 
 To frustrate a change from one high line to the other ^ and 
 7iullify a counter -parry. — From engagement in quarte to nullify 
 counter-tierce : double the counter-disengage, ending in the 
 inside or exterior line. 
 
 From engagement in tierce to nullify counter-quarte : double 
 disengage into outside or low line. 
 
PRACTICAL INSTRUCTIONS 65 
 
 To meet the first of these attacks when ending in inside 
 line : parry, after the change, counter-tierce and quarte, or 
 counter-tierce and septime, or double counter-tierce ; to the 
 second answer by counter-tierce and seconde, or counter-tierce 
 and septime. 
 
 A double-engage is frustrated, and the circular parry 
 nullified, by similar movements on the second change ; and 
 these attacks are met by defences similar to those described for 
 the single change. 
 
 VARIOUS MANNERS OF NULLIFYING TWO SIMPLE 
 
 PARRIES. 
 
 Engaged in quarte^ to avoid tierce and quarte. — Make one- 
 tivo-three — that is to say, feint in tierce, then in quarte, and 
 attack in tierce. This may often be shortened by making the 
 first feint low, the second inside (in quarte), and the attack in 
 the low or in the tierce line ; or by making the first feint in 
 the upper or outside line, the second in the exterior line, and 
 the attack in the outside line. By this last movement, tierce 
 and seconde may be nullified. 
 
 Quarte and tierce from engagement in tierce are avoided 
 in the same way as tierce and quarte, the order being of course 
 reversed. 
 
 From engagement in seconde to nullify septime and seconde, 
 ■ — Make one-two-three over the hilt. This may be shortened 
 by making the first feint in tierce, the second in exterior line, 
 and attacking in low fine, or by feint in tierce or in low line, 
 feint in seconde (exterior) and attack in tierce. 
 
 To avoid septime and seconde from septime, — One-two-three, 
 over the hilt 
 
6^ FENCING 
 
 HOW TO MEET THE ATTACKS LAST DESCRIBED. 
 
 Fro 771 engage77ient in quarte to 77ieet ojte- two -three, — Parry 
 tierce and reversed counter (counter-tierce) ; or Lhe real attack 
 may be awaited, and simple tierce parried or counter-quarter, 
 but this requires nice judgment. When the attack is in the 
 low line, parry tierce and septime, or tierce, quarte and seconde. 
 
 Fro77i engagemeTit iTi tierce, — Parry quarte and septime (which 
 on the second movement here is better than the reversed 
 counter) ; or, without responding to the feints, septime on the 
 attack. 
 
 Fro77i sec'07tde and septime. — Parry septime and reverse - 
 counter ; or, septime on the attack ; or, seconde and reversed 
 counter ; or, seconde on the attack. 
 
 METHODS OF NULLIFYING A COUNTER AND 
 SIMPLE PARRY. 
 
 Engaged in quarte, — To nullify counter-quarte and tierce :— 
 
 1. Simulate double-disengage, feinting in tierce or septime 
 (low line), and disengage into quarte. 
 
 2. Double-disengage into low line. In this special case the 
 hand is best in supination at the end. 
 
 3. Feint coupe and counter-disengage into tierce or sep- 
 time ; disengage into quarte. 
 
 4. Feint coupe, then counter-disengage into septime. Hand 
 best in supination. 
 
 5. Feint disengage, and then feint coupe, to avoid the 
 counter, and disengage into quarte. This requires consider- 
 able precision. 
 
 To nullify counter-quarte and seconde : — 
 
 1. Double-disengage into tierce. 
 
 2. Feint a coupe and counter-disengage into tierce. 
 
PRACTICAL INSTRUCTIONS 67 
 
 To nullify counter-quarte and septime : — 
 
 I. Simulate double-disengage into tierce, then double the 
 opposite way into exterior line. This attack may be shortened 
 and made more easy by simulating the double-disengage into 
 septime (low line), instead of simulating it into tierce. 
 
 In complicated attacks of this kind, the necessity of having 
 the hand in supination in the feints is even more imperative 
 than in simple attacks. With the hand in pronation it is not 
 possible for the fencer to have such mastery of finger-play as 
 will enable him to regulate the speed of his movements by 
 that of the adversary's. There must be perfect command over 
 the body, and leaning forward must be carefully avoided. 
 
 Engaged in tierce, — To nullify counter-tierce and quarte : — 
 
 1. Simulate double-disengage into inside hne, and dis- 
 engage into outside line. 
 
 2. Double into exterior line, the hand in- pronation at the 
 end. 
 
 3. Feint a coupe, and then either simulate a counter-dis- 
 engage into exterior line and attack in outside line, or simulate 
 counter-disengage into inside hne and disengage into outside 
 line. 
 
 4. Feint a coupe, and counter-disengage into exterior 
 line. 
 
 To nullify counter-tierce and seconde : — 
 
 1. Simulate double- disengage into exterior line and disengage 
 (passing the point over the hilt) into low or outside line. 
 
 2. Feint a coupe, and counter-disengage into exterior line, 
 and then disengage into low or outside line. 
 
 Counter-tierce and septime are practically the same as 
 double counter-tierce, and theoretically this defence should be 
 nullified by a triple disengage ; but attacks of this kind are 
 dangerous and should be avoided. It is better to try to suc- 
 ceed with a double disengage by sheer quickness, or, if tne 
 
68 FENCING 
 
 fencer has not speed and precision for this, to rely on the 
 counter-riposte or second thrust, to be explained here- 
 after. 
 
 From seconde to avoid counter-seconde and septime : 
 simulate a double-disengage into low line and disengage over 
 hilt into exterior line. 
 
 From septime to avoid counter-septime and seconde : simu- 
 late a double disengage into exterior line, and disengage over 
 hilt into inside or low line. 
 
 DEFENCES AGAINST THE ATTACKS JUST DESCRIBED. 
 
 Engaged in quarte, — i. To meet feint of double disengage 
 into tierce or septime, and disengage into quarte, feint of 
 coupe and of counter-disengage into tierce or septime, and 
 disengage into quarte : parry counter-quarte, tierce and quarte ; 
 counter- quarte and seconde; or counter-quarte and septime. 
 The last is, generally speaking, the best defence. 
 
 2. To meet double-disengage into septime line (2) or feint 
 of coupe, and counter-disengage into septime (4) : counter- 
 quarte and seconde or septime. 
 
 3. To meet attacks intended to avoid counter-quarte and 
 septime : parry counter-quarte, septime and seconde, or (better) 
 counter-quarte, septime and counter-septime. 
 
 Engaged in tierce, — i. To meet the double-disengage, and 
 disengage into outside line, the feints of coupe, counter-disengage 
 into inside or exterior line, and attacks in tierce : parry counter- 
 tierce, quarte and tierce, or (better) counter-tierce and reversed 
 counter. 
 
 To meet attacks intended to avoid counter-seconde and 
 septime, and counter-septime and seconde : parry respectively 
 counter-seconde septime and seconde, and counter-septime, 
 seconde and septime. These attacks, however, are r^ot common, 
 
PRACTICAL INSTRUCTIONS 69 
 
 at least in the French school, and probably in each case a stop 
 thrust is the best answer. 
 
 VARIOUS WAYS OF NULLIFYING REVERSED COUNTER- 
 
 PARRIES. 
 
 •Engaged in quarte, to nullify reversed counter. — i. Simulate 
 one-two (marking the first feint high or low), and counter dis- 
 engage into inside line, or simply into seconde. 
 
 2. If the adversary is exposed in the line of engagement, 
 make a beat, or feint a straight thrust, and counter-disengage 
 as above. 
 
 Engaged in tierce^ to nullify reversed counter. — \, Simulate 
 one-two and counter-disengage into tierce or into low line. In 
 both these attacks the first feint may be in seconde. 
 
 3. If the adversary is exposed in the line of engagement, 
 make a beat, or give a scrape, or simulate the straight thrust, 
 and counter-disengage into tierce or low line. 
 
 Reversed counter-parries in seconde and septime are 
 avoided by one-two and counter-disengage into exterior-seconde 
 line, and by one-two and counter-disengage into quarte or low 
 line respectively. 
 
 VARIOUS METHODS OF MEETING THE ATTACKS JUST 
 
 DESCRIBED. 
 
 Engaged in quarte. — i. To meet one-two and counter-dis- 
 engage to inside line, or beat and counter-disengage to inside 
 line : parry reversed counter and quarte, or reversed counter 
 and septime. 
 
 2. To meet one-two and counter-disengage into seconde, or 
 beat, scrape, or feint of straight thrust, and counter-disengage : 
 parry reversed counter and seconde or septime. 
 
yo FENCING 
 
 Engaged in tierce. — i. To meet one-two and counter-dis- 
 engage into tierce, or beat, scrape, or feint of straight thrust 
 and counter-disengage into tierce : parry reversed counter and 
 tierce, or double the reversed counter parry (i.e. quarte and 
 double counter-quarte). 
 
 2. To meet one-two and counter-disengage into low line, or 
 beat, scrape, or feint of straight thrust and counter-disengage to 
 low line : parry the reversed counter and septime or seconde. 
 
 The scrape, unless made with great lightness and quickness, 
 may be frustrated, and the adversary caught on the false move- 
 ment, by a disengage in the manner indicated when speaking of 
 that attack on the sword. 
 
 From seconde and septime to meet one-two counter-dis- 
 engage : parry reversed counter and seconde, or reversed 
 counter and septime, or^ in either case, double the reversed 
 counter-parry. 
 
 VARIOUS METHODS OF AVOIDING A REVERSED 
 COUNTER AND SIMPLE PARRY. 
 
 Engaged in quarte, — To avoid reversed counter and 
 seconde : — 
 
 1. Simulate one-two, counter disengage into exterior line, 
 and disengage over hilt into tierce. 
 
 2. Make a beat or simulate a straight thrust, counter-dis- 
 engage into exterior line, and disengage (over hilt) into tierce. 
 
 To avoid reversed counter and quarte : — i. Simulate one- 
 two, counter-disengage into quarte or into seconde, and dis- 
 engage into tierce. 
 
 2. Give a beat or simulate a straight thrust and counter- 
 disengage into quarte or only into seconde, and disengage into 
 tierce. 
 
 3. Simulate one-two and counter-disengage into seconde. 
 
PRACTICAL INSTRUCTIONS 71 
 
 4. Give a beat or feint a straight thrust and counter-dis- 
 engage into seconde. 
 
 To avoid reversed counter and septime : — 
 
 1. Simulate one- two and make double counter-disengage 
 into seconde, 
 
 2. Give a beat or feint a straight thrust and make a double 
 counter-disengage. 
 
 Engaged in tierce, — To avoid reversed counter and seconde : 
 
 1. Simulate one-two and counter-disengage in tierce. 
 
 2. Give a beat, or a scrape, or feint a straight thrust and 
 counter-disengage into tierce. 
 
 To avoid reversed counter and tierce : — 
 
 1. Simulate one-two, counter-disengage into tierce and dis- 
 engage into quarte. 
 
 2. Give a beat, a scrape, or feint a straight thrust, counter- 
 disengage into tierce, and disengage into quarte. 
 
 3. Simulate one-two and counter-disengage into line of 
 septime. 
 
 4. Give a beat, a scrape, or feint a straight thrust and coun- 
 ter-disengage into line of septime. 
 
 To avoid the reversed counter and septime : — 
 
 1. Simulate one-two, counter-disengage into tierce, and 
 double-disengage into seconde. 
 
 2. Give a beat, a scrape, or feint a straight thrust, counter- 
 disengage into septime, and disengage over the hilt into 
 seconde. . „.,.. . . .. 
 
 METHODS OF MEETING THE ATTACKS JUST 
 DESCRIBED. 
 
 Engaged in quarte, — i. To meet one-two, counter-dis- 
 engage and thrust or disengage in tierce, or beat or feint a 
 
72 FENCING 
 
 straight thrust with similar movement : parry the two reversed 
 counters (counter-tierce and counter-quarte). 
 
 2. Meet one-two and counter-disengage into seconde, or 
 beat or feint of straight thrust and counter-disengage into 
 seconde by reversed counter-parry and septime. 
 
 3. Meet one-two and double counter-disengage into seconde, 
 or beat or feint of straight thrust and double counter-disengage 
 with the reversed counter, septime and seconde, or if the end 
 is in the inside Hne, with reversed counter, septime and quarte. 
 
 Engaged in tierce. — i. To meet one-two and counter-disen- 
 gage into tierce, or beat, scrape, or feint of straight thrust and 
 counter-disengage into tierce : parry reversed counter and 
 tierce or the double reversed counters (quarte and double 
 counter-quarte). 
 
 2. To meet one-two counter-disengage into tierce and dis- 
 engage into quarte, or beat, scrape, or feint of straight thrust, 
 followed by similar attacks : parry reversed counter, tierce and 
 quarte, or reversed counter and septime. Meet these attacks 
 ending in low line with the last-named parry, or reversed coun- 
 ter and seconde. 
 
 3. To meet one-two counter-disengage into septime and 
 disengage over the hilt into seconde, or beat, scrape, or feint 
 of straight thrust, followed by similar attacks : parry reversed 
 counter, septime and counter-septime or reversed counter, 
 septime and seconde. 
 
 We have now described most of the attacks which can be 
 made with the foil or small-sword, and the defences by 
 which those attacks can be met. Other and yet more complex 
 attacks there are to be met by yet more elaborate parries. 
 Thus the aggressive fencer may deceive a counter-parry fol- 
 lowed by two simple ones, or a reversed parry followed in like 
 
PRACTICAL INS2RUCTI0NS j^ 
 
 manner, or two counter or two reversed counter-parries : and 
 to each of these movements of offence there is a fitting answer, 
 but we do not think it necessary to speak at length of these 
 protracted phrases. First, because the fencer who has tho- 
 roughly mastered the movements which have been described 
 will easily be able to reason them out for himself; and, secondly, 
 because they will be of very little use to him if he does. 
 Where there is not high skill and perfect regularity on both 
 sides, the blades get entangled in these complicated figures, 
 and the result is mere vulgar and senseless prodding. When 
 there is real mastery of fence, it is tolerably certain that the 
 aggressive but long-winded fencer will not be allowed to ter- 
 minate his phrase in peace. The other will intimate to him 
 by means of a time or stop thrust that there is such a thing as 
 despatch, and that, whatever may have been the case formerly, 
 prolixity is now out of fashion ; and if the combat be with 
 swords, he will probably be left to complete his prolegomena 
 in another world. We will therefore dismiss these attacks, and 
 proceed to describe the terrible return-thrust of the French 
 fencers, the aptness of which was so obvious that the word which 
 describes it has, unlike any other fencing expression, been 
 adopted in ordinary speech, and has long been synonymous 
 with a happy and ready retort. The riposte is not confined to 
 the duelHng ground or the fencing-room. 
 
74 FENCING 
 
 CHAPTER IV. 
 
 PRACTICAL INSTRUCTIONS— ^<^;?//;///^i'. 
 
 THE RIPOSTE. 
 
 The riposte is the return thrust which is dehvered after parry- 
 ing; not, be it understood, after making a parry, which is 
 avoided by the attacking fencer, but after the parry which 
 actually meets the antagonist's blade and wards it off the body. 
 
 On the defensive movement the riposte depends. Just in 
 proportion as the first is smart and precise, so will the second 
 be quick and deadly, and the more accurate the parry, the 
 safer the riposte. 
 
 The return thrust is certainly more difficult than the attack, 
 because it is necessary to parry before delivering it, and be- 
 cause the defensive movement may have necessitated such 
 quickness as to cause some contraction of the muscles, which 
 tends to impede the thrust : but, on the other hand, the riposte 
 is less dangerous than the attack, by reason of the parry which 
 has driven off the adversary's blade, thereby somewhat discon- 
 certing him, and also because the adversary is near when it is 
 given, and can be touched by merely extending the arm with- 
 out moving the body. 
 
 The pressure of the fingers which is needed for the parry is 
 not required for the riposte, as the fingers are not used in the 
 same way when driving off the steel and when thrusting. To 
 deliver the riposte with quickness they must be slightly 
 
PRACTICAL INSTRUCTIONS ys 
 
 loosened immediately after the clash of the parry. Some 
 cases apart, the fencer should always riposte after he has found 
 the steel by his parry. 
 
 There are three kinds of ripostes : the direct or straight 
 riposte ; the riposte with a change of line or some preparatory 
 movement, and the riposte with a pause (riposte a te^nps 
 perdu). 
 
 The direct riposte, — The direct or straight riposte is a thrust 
 in the line of the parry, that is to say, of the line in which the 
 adversary's blade is found. Thus, to give the simplest in- 
 stance, if, on a disengage from tierce into quarte, the fencer 
 attacked parries quarte, and then thrusts in quarte, he gives 
 the direct riposte. 
 
 It may be delivered in two ways : without quitting the 
 steel, which is called the riposte with opposition ; or, quitting 
 the steel after a clean, smart parry, which ought to sound like 
 the click of a good gun-lock. This is called, with happy ono- 
 matopeia, the riposte du tac-au-tac^ and, being quicker than the 
 other, is better. As has been already said, it is perhaps the 
 most deadly of the fencer's thrusts. 
 
 The direct riposte must be dtXivtreA without moving the foot, 
 because it ought to be given at the time when the antagonist 
 is extended on the lunge. Indeed the point ought to touch him 
 at the moment when his right foot presses the ground. Great 
 care must be taken not to bring the body into play ^ i.e. not to 
 move it forward or raise the shoidder, as doing so deadens the 
 riposte and tends to make the point miss the antagonist's body. 
 
 To deliver what we will call the Bertrand riposte {tac-au- 
 tac) from quarte. — Turn the hand to supination, and thrust 
 with all possible rapidity, taking opposition to the left. To 
 execute this riposte properly, it is indispensable that the parry 
 should be smart and properly made. 
 
 The riposte without quitting the steel should only be 
 
1(^ ' FENCING 
 
 made when the adversary presses strongly on the steel in such 
 a way as to make it impossible to clear the blades. To execute 
 it : — Keep the point a httle higher than usual in parrying, so 
 as to bring with the more certainty the strong part of the sword 
 against the yielding part of the adversary's ; turn the hand to 
 complete supination, and raise it so as to dominate the anta- 
 gonist ; drop the point somewhat, taking a marked opposition, 
 and be careful to keep the strong part of the blade near the 
 hilt against the yielding part of the other. 
 
 To give the Bertrand riposte after parryiiig tierce. — The 
 moment the parry has struck true (i.e. of course, the moment 
 the parry has warded off the blade) bring the hand to com- 
 plete supination, so as to direct the point, and extend the arm. 
 The riposte with opposition in tierce should, so far as pos- 
 sible, only be given when the adversary presses strongly on the 
 blade, so as to make the Bertrand riposte impossible. To 
 deliver it : — After parrying, raise the point a httle higher than 
 usual ; raise the hand, turning to complete supination ; then 
 drop the point towards the body and extend the arm, taking 
 marked opposition to the right. 
 
 It sometimes happens, however, that the swordsman who 
 has parried tierce cannot clear his blade for the tac-au tac, 
 although the adversary does not press upon it. In this case 
 the riposte with opposition should be executed in the same way 
 as the tac-au-tac riposte, except, of course, that the steel is 
 not quitted. There is another kind of direct riposte in the 
 outside line, called de tierce pour tierce— ?cc\ eccentric, not to 
 say barbarous, term which we must confess oui utter inability 
 to translate. This, which would seem to be a sort of mixture 
 of tierce and prime, is executed in the following manner: — 
 
 The moment the parry has told, whether it be clean or with 
 opposition, bring the hand into complete pronation, the thumb 
 towards the ground, the hand at the same time being raised to 
 
PRACTICAL INSTRUCTIONS 77 
 
 a level with the shoulder. Extend the arm, directing the point 
 to the body, and take opposition to the right. We do not 
 counsel this riposte for several reasons. 
 
 1. It is difficult to execute, because the sudden turn or 
 twist of the hand into the most marked pronation has a strong 
 tendency to make the fencer lift his shoulder, stiffening it at 
 the same time, and also to make the body lean or sway to the 
 left, the result being that the flat of the blade, and not its 
 point, touches the body. 
 
 2. Because, if the riposte is parried or passes (i.e. misses 
 the body), it is extremely difficult to form another parry with 
 the speed necessary to meet a counter-riposte promptly de- 
 livered. 
 
 From seconde^ to give the Bertrand riposte. — The instant 
 the parry has told, direct the point on to the adversary's body 
 by the spring of the thumb and forefinger, loosening the other 
 three fingers. The riposte with opposition is executed in the 
 same manner. 
 
 From septime^ to give the Bertrand riposte. — Instantly after 
 the parry, drop the point so that it may pass under the 
 hand of the adversary without touching it ; and point it to 
 the body while extending the arm, the hand being kept in 
 supination. 
 
 METHODS OF MEETING THE RIPOSTES JUST DESCRIBED. 
 
 To meet the tac-au-tac riposte after a parry in quarte. — • 
 Parry quarte, rising, i.e. regaining the second position (guard), 
 at the same time. 
 
 To meet the riposte with opposition after a parry in quarte.— 
 With those fencers who make hard or heavy parries, and press 
 heavily on the steel when taking opposition, seeking to succeed 
 by sheer strength, notwithstanding the other's parry, the fencer 
 
^Z FENCING 
 
 must lift his point sharply, at the same time bringing the elbow 
 to the side again so as to regain the advantage of having the 
 fort against the faible of the antagonist's blade, and must take 
 opposition as he rises. Often, to frustrate this riposte, it is 
 sufficient to yield the point completely, so that the adversary 
 finds nothing to resist his pressure, no support so to speak for 
 his blade. When this is done, strength tells against the man 
 who is exerting it, and sends his point out of line, which gives 
 time to his antagonist to take guard (i.e. to put himself on 
 guard) out of reach, or to resume the offensive. 
 
 To meet the tac-au-tac riposte after a parry in tierce. — 
 Parry tierce while rising ; or, parry while rising 'the reversed 
 counter (counter-quarte), making use of the impetus given to 
 the blade by that of the adversary, and keeping the hand 
 higher than in the usual quarte position. Septime with op- 
 position may also be parried in the following manner : keep 
 the hand very high and to the right while rising, directing the 
 point to the left, the hand somewhat bent with the thumb 
 highest, and take the position described for septime, but with 
 the hand more raised than when making that parry in the 
 ordinary manner. 
 
 To meet the riposte with opposition after a parry in tierce, 
 or the riposte called fierce pour tierce, — Parry while rising the 
 reversed counter, making use of the impetus given by the 
 adversary's blade, and keeping the hand higher than in the 
 ordinary quarte position; or parry septime with opposition 
 while rising, as described above. 
 
 To meet the Bertrand riposte in seconde. — Parry seconde ; 
 this riposte can also be parried in the same way as the 
 *fianconnade.' 
 
 To meet the tac-au-tac riposte after a parry in septime. — 
 Parry septime, or, if the other's point is directed high, quarte. 
 
PRACTICAL INSTRUCTIONS 79 
 
 RIPOSTES WITH A CHANGE OF LINE, OR WITH A 
 FEINT OR OTHER PREVIOUS MOVEMENT. 
 
 By ripostes with a change of line one or more parries are 
 nullified, save in some few cases. 
 
 To succeed with these ripostes, it is necessary to make a 
 forecast of the defence, to know the parry to which the anta- 
 gonist is prone, and which his hand will almost instinctively 
 form. The French call it ' la parade qu'un tireur a dans la 
 main ' — that is, the parry which a fencer makes with the greatest 
 ease and, from pure habit, often makes automatically. 
 
 The ripostes with change of line and with feint, &c. are 
 many in number. The principal ripostes of this kind are with 
 the disengage, the coupe, the counter-disengage, the twist, 
 one-two, the coupe-disengage and the double. Others could 
 be named. There are just as many ripostes of this kind as 
 there are attacks ; but it is best not to attempt any riposte 
 more elaborate than with the double-disengage. 
 
 These ripostes must be made instantly after the strike of 
 the parry, without the scintilla of a pause. 
 
 It is sometimes useful in the composed riposte (riposte 
 with feint, &c.) to extend a little — e.g. if the adversary draws his 
 body back, or rises, while making a parry. In this case the 
 composed riposte which nullifies this parry may take so long 
 as to make it impossible to reach him before his body is partly 
 withdrawn. In such a case it is necessary to make a half- 
 extension, advancing the foot about a sole's length in order to 
 reach him before he has resumed guard. But the fencer cannot 
 be too strongly warned that this half- extension or semi-lunge 
 with the riposte should only take place when it is impossible to 
 reach the adversary by the extension of the arm alone, i.e. by 
 thrusting (after the feint, &c.) without movement of the foot or 
 
So FENCING 
 
 body; and that, if it is sometimes well to extend, it is invari- 
 ably wrong to stoop forward, or to let the upper part of the 
 body drop forward. 
 
 After a parry in quarte. — To avoid quarte when the hand 
 is held very high : riposte in low line. This much resembles 
 the tac-au-tac riposte, and can be executed nearly as quickly. 
 
 To meet this riposte : parry septime or seconde while rising. 
 
 To avoid quarte when the hand is not held very high or 
 seconde : riposte by a disengage into tierce. To execute this, 
 the point must be passed as far forward under the adversary's 
 arm as possible, the hand being in supination, and, in the 
 thrust, marked opposition must be taken to the right, without 
 any extension. To deliver this riposte properly considerable 
 command of fmger-play is required. Just as the parry is light, 
 smart and accurate, so will the blade clear the other quickly 
 and the riposte be true and formidable. 
 
 To nullify quarte with the hand low : riposte by coupe into 
 tierce. To execute this, the point must be raised towards the 
 left shoulder, and the hand drawn a little back towards the left 
 breast, so as to pass the point quickly over that of the antago- 
 nist : then the point must be smartly dropped in the tierce line 
 as the thrust is made, the hand being in supination. 
 
 To meet the riposte by a disengage into tierce, or by a 
 coupe into tierce : parry quarte and tierce ; or counter-quarte ; 
 or, if the riposte has been divined, and if it is quickly made, 
 parry tierce while rising, without making any movement in 
 quarte. 
 
 To nullify the parry of septime made promptly without 
 any pause : counter-disengage into exterior line, the hand in 
 supination. 
 
 To meet this riposte : parry septime and seconde ; or, if 
 the point is directed high, parry septime and quarte while 
 rising. 
 
PRACTICAL INSTRUCTIONS 8i 
 
 If, in attacking, the adversary takes marked opposition to 
 the left, the riposte may be made by a twist into the exterior Hne. 
 In dehvering this riposte opposition must not be taken to the 
 right as when making an attack with the twist, but, on the con- 
 trary, the hand must be kept to the left and the fort of the 
 blade, close to the hilt, held against the faible of the adver- 
 sary's blade, the hand being a little higher than the belt and in 
 supination. 
 
 The reasons for this difference between the manner of 
 delivering the attack with the twist and the riposte are as 
 follows : — 
 
 When an attack is made with the twist, the adversary's blade 
 is well in front of his body, and if the fencer does not take 
 opposition to the right, he will spit himself on the other's 
 point. When, on the other hand, the riposte with the twist is 
 given the adversary has just attacked and his point is driven 
 over to the left by the parry. The respective positions, there- 
 fore, are not the same as in the attack, and the fencer could not 
 take opposition to the right without bringing the point into his 
 own breast. 
 
 To meet this riposte : turn the hand to pronation, taking 
 opposition in seconde. Owing to the position, the riposte by 
 a twist cannot be parried in the same way that the fiancon- 
 nade is. 
 
 To nullify a parry in tierce : riposte with one-two, the finale 
 of course in quarte, and the feint in the low line. In ripostes 
 of this kind it is not possible to stretch the hand out fully on 
 the first movement, as is done with the similar attacks ; the 
 arm can only be fully extended at the end. 
 
 - To meet this riposte : parry tierce and quarte or septime, or 
 seconde while rising. 
 
 Quarte and tierce or tierce may be nullified by a riposte 
 with coupe and thrust in the exterior line. To execute this : 
 
 G 
 
82 FENCING 
 
 the point must be raised towards the left shoulder, the hand 
 drawn back a little towards the fencer's left breast, so that he 
 may whip his blade neatly over the adversary's point. When 
 it has cleared the point (i.e. the riposting fencer's point) must be 
 rapidly dropped into the exterior line and the arm extended, 
 the hand being in supination and a little lower than the 
 shoulder. 
 
 With an adversary who turns round bringing the right 
 shoulder forward and leans over covering himself with his hand 
 and arm so as to expose his body as little as possible, the 
 riposte by a coupe and thrust in exterior line is most telling ; 
 but in this case the hand ought to be inclined towards prona- 
 tion at the end, and the point directed towards the right flank 
 a little above the belt to the right of and close to the elbow. 
 
 To meet this riposte : parry second or septime while rising ; 
 or, remain extended and parry tierce with the hand very low 
 and the point high. 
 
 To nullify counter-quarte made promptly without the 
 slightest pause or hesitation : riposte by a double ending in 
 low or outside line. 
 
 To meet a riposte with a double ending low : parry while 
 rising, counter-quarte and septime or seconde ; or parry tierce 
 with judgment so as to catch the blade on the first part of its 
 movement, the point being kept high so as to bar the line. 
 
 To meet a riposte with a double ending in outside line : 
 parry counter-quarte and tierce ; or parry tierce in first part 
 of movement as just described. 
 
 After a parry in tierce. — To nullify tierce with the hand 
 high : riposte by a disengage into quarte, the hand in supina- 
 tion. 
 
 To meet this riposte : parry quarte or septime while 
 rising. 
 
 Another way of nullifying tierce with the hand high which 
 
PRACTICAL INSTRUCTIONS Zz 
 
 also avails to nullify septime with opposition is to riposte by a 
 thrust in exterior line with the hand in supination. This riposte 
 is excellent with an adversary who, knowing that he cannot 
 parry a straight riposte, turns his body round and stoops in 
 order to avoid it. When this is done — and many fencers are not 
 ashamed to resort to this ignoble device — the riposting fencer 
 must, as above stated, deliver his thrust with the hand inclined 
 towards pronation, and direct the point a little above the belt 
 close to and to the right of the adversary's elbow. 
 
 To meet this riposte : parry seconde or septime while 
 rising. 
 
 To nullify tierce with the hand low : riposte by a coupe. 
 To execute this the point must be raised towards the right 
 and the hand moved towards the right shoulder, while the arm is 
 wxll bent, so that the blade may be easily passed over the adver; 
 sary's point ; the instant it is cleared, the point (i.e. the riposting 
 fencer's point) must be promptly dropped into quarte, and the 
 arm extended with the hand in supination^ opposition being 
 taken, so far as may be practicable, to the left. 
 
 To meet this riposte : parry quarte while rising. 
 
 To avoid quarte or seconde : riposte by one-two, ending in 
 tierce and marking the feint in the exterior line; the hand in 
 supination, with opposition to the right. 
 
 To meet this riposte : parry quarte and tierce or reversed 
 counter (i.e. counter-quarte) while rising. 
 
 To nullify quarte with the hand high : riposte with a coupe 
 and disengage into low line, the hand either in pronation or 
 supination. 
 
 To meet this riposte : parry septime or quarte and seconde. 
 
 To nullify the reversed counter made instantly : riposte by 
 a counter-disengage into low line, the hand in pronation, or by 
 counter-disengage into tierce, the hand in supination. 
 
 To meet the riposte by a counter-disengage into tierce line : 
 
 G 2 
 
84 FENCING 
 
 parry reversed counter (counter-quarte) and tierce, or parry 
 double reversed counter. 
 
 To nullify septime : riposte by a double into exterior line, 
 the hand in supination. 
 
 To meet this riposte : parry septime and seconde ; or, if the 
 point is directed high, septime and quarte. 
 
 Ajter a parry in seconde, — To nullify quarte : riposte by a 
 disengage into tierce. To execute this it is necessary while 
 turning the hand to supination to make the point describe 
 a curve large enough to pass round the arm of the adversary. 
 
 To meet this riposte : parry tierce. 
 
 To nullify tierce : riposte by one-two into exterior line, the 
 hand in supination. To ' meet this riposte : parry reversed 
 counter ; or, with judgment, seconde at the end. 
 
 To nullify a reversed counter made instantly without a move- 
 ment of hesitation : riposte by a counter-disengage in exterior 
 line. 
 
 To meet this riposte : parry reversed counter and 
 seconde. 
 
 After a parry in septime, — If the adversary's hand is low : 
 riposte by a twist from septime into tierce, holding his blade 
 the while. This may be called ' septime holding the sword ' 
 [parade de septime enveloppee). To execute it : the hand 
 must be kept high, in supination, and to the right. There 
 must be no extension. 
 
 To meet this riposte : parry septime with opposition, or 
 reversed counter. 
 
 The parry of septime with opposition is avoided by a direct 
 riposte or by the feint of a twist into upper line just marked, 
 and a disengage into low^ line. 
 
 To nullify quarte : simulate the direct riposte in low line 
 and counter-disengage into high line (tierce). This resembles 
 one-two ending high. 
 
PRACTICAL INSTRUCTIONS 85 
 
 To meet this riposte : parry quarte and tierce ; or, better, 
 quarte and counter-quarte. 
 
 To nullify septime : simulate direct riposte in low line and 
 disengage (over the hilt, of course) into exterior line. 
 
 To meet this riposte : parry septime and seconde, or, if the 
 thrust is directed high (though still in the exterior line), parry 
 septime and quarte. 
 
 RIPOSTES WITH A PAUSE (RIPOSTES A TEMPS PERDU). 
 
 Ripostes of this kind are those which are preceded by a 
 brief pause, touch of the steel being abandoned, so that the 
 adversary may half make or indicate a parry which the ripost- 
 ing fencer can nullify. 
 
 When the parry is perfectly true, this moment's pause 
 enables the fencer to regulate his riposte by the adversary's 
 movement, and, if it has been rightly forecast, the pause helps 
 the fencer in regulating his speed by that of the adversary. 
 
 When the parry is not perfectly true, the pause enables 
 the fencer to bring his blade into line, and to deliver the 
 riposte with accuracy. 
 
 If the adversary bends the body forward, making a low 
 stoop when attacking, the pause enables the fencer to riposte 
 just at the moment when he (the adversary) is raising himself 
 
 All the direct ripostes, save the riposte with opposition, and 
 all the ripostes with change of line, or preceded by a feint, 
 save the riposte by a twist, can be made with the pause, which 
 is specially useful when the adversary hesitates or falters in 
 making his parry ; but nevertheless the fencer will do well not 
 to indulge overmuch in this kind of riposte, as the adversary 
 may make use of the remise. 
 
 Remarks, — Ripostes with a pause, when made by means of 
 a coupe, have this peculiarity, that the pause is made during 
 
86 FENCIXG 
 
 the execution of the stroke — that is to say, while the point is 
 raised. 
 
 After a parry in quarte the coupe riposte with a pause can be 
 dehvered in the following manner : Directly the parry has been 
 made, lift the point to the right, bringing the hand towards the 
 right shoulder ; then, when the adversary has parried quarte, 
 drop the point in the outside line, extending the arm. 
 
 After a parry in tierce it can be delivered thus : After the 
 parry, lift the point to the left, bringing the hand towards the 
 left breast, and directly the adversary has parried tierce, drop 
 the point in the inside line, extending the arm. 
 
 This method of executing the riposte with a pause by a 
 coupe is decidedly dangerous, as it leaves the whole of the 
 body uncovered. 
 
 THE COUNTER-RIPOSTE. 
 
 This is the thrust which is given when the riposte has been 
 parried. The fencer whose attack has been defeated, and 
 who has in turn parried the riposte, can deliver the counter- 
 riposte. 
 
 It has already been said that to parry the riposte the fencer 
 should, whenever it is possible, rise, coming back to the posi- 
 tion of guard ; and, indeed, in the lesson the pupil should 
 always be taught to rise, in order that he may acquire the in- 
 valuable habit of rapidly withdrawing the body, so as to get it 
 out of danger, and have perfect command of any attack. For 
 the counter-riposte, then, it is necessary to extend just as for a 
 first attack. 
 
 Counter-ripostes may be direct or with change of line, or 
 preceded by a feint, like ripostes, but they differ from these 
 thrusts in requiring extension, which, as has been said, should 
 not usually be necessary with a riposte. 
 
 A thrust delivered after parrying the counter-riposte is 
 
PRACTICAL INSTRUCTIONS By 
 
 called a second counter-riposte, and, in like manner, there are 
 third and fourth counter-ripostes, and the rules which have 
 been just given apply to them ; but to deliver the second, 
 fourth, &c., it is well to avoid extension, if possible, as the 
 adversary should extend to deliver the first, third, &c. 
 
 Counter-ripostes are most useful, and should be largely 
 practised. Few things are prettier in an assault than a vigorous 
 attack and defence, in which a series of well-judged counter- 
 ripostes are exchanged ; but the moment the fencer perceives 
 that the combat is hkely to degenerate into a breast-to-breast 
 struggle, a corps-a-corps^ to use the French expression, he must 
 bring the phrase to an end by promptly and rapidly placing 
 himself out of distance, taking care to keep the correct position, 
 so as to be able to assume instantly the offensive or defensive, 
 as need may be. 
 
88 FENCING 
 
 CHAPTER V. 
 
 PRACTICAL INSTRUCTIONS— (Tt?;^//;^//^^. 
 
 QUITTING BLADES. 
 
 Quitting blades (absence d'epee ou de fer) is the action of 
 breaking the engagement when you precede an attack or a feint 
 by a pause in order to mystify the adversary and make him 
 lose touch of your movements : it is the action, too, of breaking 
 the engagement and opening the line slightly to draw an attack 
 from the adversary. 
 
 Quitting blades is dangerous. To do it you must be sure 
 of your parry, for your judgment must depend on a comprehen- 
 sive glance. 
 
 It is well not to attempt this except with an adversary who 
 IS not very firm on his legs, or very apt at a swift attack 
 withe ut preparation. 
 
 THE FALSE ATTACK 
 
 The false attack is an attack of any kind which is only half 
 executed and which does not aim at reaching the adversary's 
 body. You wish him to take it for a real attack, and yet not 
 to expose yourself to the risks of a real attack. 
 
 The notion is to make him parry and riposte, keeping your 
 own counter-riposte or remise in readiness as the case may be. 
 Or you induce him to make an extension, or a time, on which 
 
PRACTICAL INSTRUCTIONS 89 
 
 you parry and riposte. Or you may do it merely to mystify 
 him or to upset or discover his plans ; or else to find out what 
 are his favourite parries so as to be able to deceive them when 
 the occasion arises. 
 
 The false attack should approach more or less nearly to a 
 complete lunge according to circumstances. If it is made with 
 a view to bringing off your own counter-riposte or remise, it 
 should go so far as nearly to touch the adversary. Thus he 
 will take it for a true attack and reply with a full riposte. If it 
 is made to lead him on to an extension or a time, it should 
 not reach so far, as there will be no question of the adversary 
 parrying. In other cases you must judge by the degree of 
 quickness you discover in your adversary's susceptibility. The 
 false attack is a useful manoeuvre, but one on no account to be 
 abused. 
 
 ATTACKS ON PREPARATIONS. 
 
 These are attacks, as their name implies, made while the 
 adversary is himself preparing an attack with the help of 
 changes of engagement, on pressures, on quitting blades ; on 
 false attacks made to draw favourite parries ; on any movement 
 of the legs made to facilitate attack ; or simply on shifting the 
 grip to the pummel of the foil to obtain a longer reach, a 
 thing which makes parrying very difficult and riposting almost 
 impossible. 
 
 Attacks on preparations are safe enough if they are made 
 just at the right time. The adversary, occupied as he is 
 with his own plan of attack, is seldom able to parry with the 
 accuracy and swiftness needed to ward off a sudden and decided 
 attack. 
 
 Attacks on preparations are generally simple attacks such 
 as the straight thrusts, disengagements, preceded sometimes 
 by a light beat, and counter-disengagements. To ensure their 
 
90 FENCING 
 
 success you must have a good guard, so that you can execute 
 the attack without one unnecessary movement. If you have 
 yourself to make the very slightest preparation for attack, the 
 two attacks might start together and result in a double lunge of 
 the worst kind. 
 
 Sometimes, if you mistrust your quickness with a straight 
 thrust on a preparation made by quitting blades, or if you judge 
 that this is a false preparation intended to draw a straight 
 thrust, then you may make a false attack to lead to a parry and 
 counter-riposte, or you can feint a straight thrust to drav/ a 
 parry and deceive it. 
 
 RENEWED ATTACK. 
 
 A renewed attack (reprise d' attaque") is an attack made 
 immediately upon the conclusion of a phrase. For example, 
 after one attack and one parry at the least, the two adversaries 
 find themselves on guard again, without either one having been 
 hit. Then one of the two takes or retakes the offensive by a 
 simple or complicated attack, whether advancing at the same 
 time or not. This constitutes a renewed attack. 
 
 These often succeed, but to execute them well you must 
 be sure on your legs, you must keep your hand well in line, 
 and must not lose your balance or position during a phrase. 
 
 To make a simple renewed attack proves much coolness, 
 presence of mind, and adaptability ; to make a complicated 
 renewed attack proves the possession, not only of these qualities, 
 but also of much judgment, swiftness in comprehending the 
 whole situation, and superior finger-play. Indeed it is one of 
 the prettiest things in the science of fencing. 
 
 The longer the phrase, the more difficult to execute, but 
 the more likely to succeed, is the renewed attack. 
 
PRACTICAL INSTRUCTIONS 91 
 
 THE STOP-THRUST. 
 ( i. e. Coup d A rrit, ) 
 
 The Stop-thrust is, as indicated by its name, a simple 
 attack made on the adversary's advance to stop him when he 
 attacks while thus advancing. The stop-thrust must be made 
 at the moment when the adversary lifts his foot to take a step. 
 The attack must be fully developed without a moment's hesita- 
 tion. Otherwise it might result in a double lunge. 
 
 The stop-thrust is a good, even a brilliant, answer to 
 fencers who attack with the advance, or with a rush (that is to 
 say, with several swift steps of advance), their object being to 
 come so near as to embarrass you in parrying or riposting, or 
 to provoke a mere hand-to-hand struggle. 
 
 If you try the stop-thrust you must have all your wits 
 about you, and you must not dream of any preparation. A 
 stop-thrust delivered one moment too late is as bad and dan- 
 gerous as anything in fencing can be. 
 
 It is almost impossible to parry a wxll-executed stop-thrust 
 unless you have foreseen its execution. 
 
 TIME-THRUSTS. 
 
 The time-thrust is an attack made with opposition on a 
 complicated attack, and intended to intercept the line where 
 such an attack is meant to finish. The time-thrust is a thing 
 of the most accurate judgment and readiness; you must, to 
 execute it, gauge both the attack and the quickness of your 
 adversary. Well done, it is one of the best things, ill done, 
 one of the worst things, in the possibilities of fencing. 
 
 The time must be taken before the finish of the adversary's 
 attack, and if, as is right, he does not develop the lunge before 
 the finish, you must make a half -lunge to meet him half-way to 
 
92 FENCING 
 
 touch him, or, at least, to make it harder for him to parry. 
 The finish of the attack must decide the hne of the time. 
 
 In quarte, to take a time on a one-two or on a coupe- 
 degage in the inside or exterior Hne : at the moment when the 
 adversary leaves your blade lower your point with a movement 
 resembling counter-disengage into the exterior line, with a 
 strong opposition to the right, and with a half- lunge, the nails 
 upwards. This ' time ' can also be taken with the hand in the 
 * seconde' position, but the aim of the point will be less certain. 
 
 To make a good time on a one-tw^o in the quarte line, it is 
 necessary that the attacker's feint should be made in the 
 upper line. If it is made in the lower line, the time is scarcely 
 possible without a binding of the blades or a rencontre de garde 
 — which tends to put the points of both combatants out of the 
 line — unless a quickness infinitely superior to that of the 
 attacker makes the time possible on the very moment of the 
 attacker's feint. 
 
 In tierce, to take the time on a one-two in the outside 
 (tierce) line, whether the attacker's feint is made in the inside 
 or exterior line, or on a coupe-degage in the outside line : at 
 the moment when the adversary quits your blade make a straight 
 thrust with opposition to the right, to close the outside hne, the 
 nails upwards with a half-lunge. 
 
 In quarte, to take the time on a double, in the outside line 
 intended to deceive counter-quarte : at the moment w^hen the 
 adversary quits your blade, counter-disengage as if to avoid a 
 change, with the exception that you must oppose to the right 
 and half-lunge. 
 
 In tierce, to take the time on a double, intended to deceive 
 counter-tierce or septime : at the moment when the adversary 
 quits your blade lower the point as if to parry septime and 
 thrust in the exterior line, nails up, opposition to right, half- 
 lunge. 
 
PRACTICAL INSTRUCTIONS 93 
 
 * 
 
 In quarte, to take the time on a one-two- three above (to 
 
 deceive tierce and quarte) : answer the first feint by an opposi- 
 tion in tierce and make a straight thrust in the outside hne, 
 nails up, opposition to right, and half-lunge. 
 
 In tierce, to take the time on one-two-three (to deceive 
 quarte and tierce) : answer the first feint by an opposition in 
 quarte, and lower the point in the exterior line ; opposition to 
 right, nails up, half-lunge. 
 
 In quarte, to take the time on a one-two counter-disengage 
 meant to deceive the reversed counter or septime : feign the 
 parry of septime, and instead of executing it, thrust in the 
 exterior line ; opposition to right, nails up, half-lunge. 
 
 In tierce, to take the time on a one-two counter-disengage 
 meant to deceive the reversed counter : feign the parry of the 
 contre-oppose, and instead of executing it, thrust in the inside 
 line, which becomes the outside line at the finale of the adver- 
 sary's attack ; opposition to right, half-lunge. 
 
 In quarte, to take the time on a double and disengage 
 meant to deceive counter-quarte and tierce : at the moment 
 when the adversary quits your blade, double the counter- 
 disengagement in the outside line, extending the arm only at 
 the finale ; opposition to right, nails up, half-lunge. 
 
 In tierce, to take the time on a double and disengage 
 in the outside line meant to deceive counter-tierce and quarte 
 or seconde : feign the parry of septime and thrust in the out- 
 side line ; opposition to right, half-lunge. 
 
 TIME PARRIES. 
 
 If you are engaged in quarte, and think that your adversary 
 proposes to make a time-thrust on your one-two : feign a dis- 
 engagement in the outside line, and instead of completing the 
 second movement of a one-two, parry seconde with a half-lunge 
 
94 FENCING 
 
 (to inspire more confidence in your adversary who intends to 
 time you) and then riposte. 
 
 In tierce, if you think he will time your one-two outside : 
 feign a disengagement in the exterior line, and instead of com- 
 pleting the second movement of a one-two, parry tierce with 
 the hand high and with a half-lunge and riposte. Another way 
 is to feign a disengagement and — as the finale of the attack 
 determines the line of the time — instead of executing it, parry 
 septime with the hand high. 
 
 In quarte, if you think the adversary means to take the 
 time on your double : as you make the second movement 
 of the double, parry tierce with the hand high with a half-lunge 
 and riposte. Another way is, instead of executing the second 
 movement of the double, to parry septime with the hand high, 
 or seconde. 
 
 In tierce, if you think the adversary means to take the 
 time on your double — instead of completing the second move- 
 ment of the double, parry seconde with a half-lunge and 
 riposte. 
 
 In quarte, if you think the adversary means to take the 
 time on your one-two-three : in executing the third movement 
 of the one-two-three, parry tierce with the hand high ; or, instead 
 of completing the third movement, parry septime with the 
 hand high, half-lunge, and riposte. 
 
 In tierce, if you think the adversary means to time on your 
 one-two-three : instead of executing the third movement, parry 
 seconde with half-lunge and riposte. 
 
 In quarte, if you think the adversary means to time your 
 one-two counter-disengage : instead of executing the third 
 movement, that is the counter- disengage, parry seconde with 
 half-lunge and riposte. 
 
 In tierce, if you think the adversary means to time your 
 one-two counter-disengage in the outside line : in executing the 
 
PRACTICAL INSTRUCTIONS 95 
 
 third movement, or counter-disengagement, parry tierce with 
 the hand high with a half-lunge and riposte ; or, instead of 
 executing the third movement, parry septime with the hand 
 high, or seconde. 
 
 In quarte, if you think the adversary means to time your 
 double and disengage: parry seconde with half-lunge and riposte. 
 
 In tierce, if you think the adversary means to time your 
 double and disengage : in executing the third movement parry 
 tierce with the hand high, with a half-lunge and riposte, or 
 parry septime with the hand high, or simulate a double parry 
 quarte and riposte. 
 
 THE REMISE. 
 
 The term remise is applied to the action of again aiming 
 your point at your opponent's body when he ripostes, after an 
 attack which he has parried, either with a compound riposte, 
 or a timed riposte, or a retraction of the arm before riposting. 
 
 Generally the remise is made in the same line as the parry. 
 It is done by a slight drawing back of the body (you must not 
 draw yourself up completely) so as to feign a retreat, and by 
 again aiming your point at your adversary's body with opposi- 
 tion, if opposition is needed. 
 
 A remise is wrong when the riposte hits, or when it fails 
 only from want of skill. A remise, therefore, can never be 
 rightly given on a direct riposte. 
 
 Opposition is not wanted in a rem.ise made on a timed 
 riposte, for the remise must take place during the pause— that 
 is, the withdrawal of the blade — which precedes the actual 
 riposte. It is well to resume position rapidly after executing 
 it. Again, opposition is not necessary in a remise on a riposte 
 preceded by a retraction of the arm, for the remise takes place 
 during the drawing back of the arm. 
 
 The remise with opposition is certainly to be preferred ; for. 
 
96 FENCING 
 
 to make this, you must judge first that the riposte will not be a 
 direct one, and secondly what form it will take. 
 
 After parrying quarte : it is wrong to remise on a riposte 
 made by a disengagement in the low Hne. A remise cannot 
 be made on a riposte by a twist into the exterior line. It is 
 good to remise on a riposte made by a disengagement or a cut- 
 over in the outside line. Then you get your remise without 
 changing the line, and with opposition on the right to bar the 
 line in which only can the riposte take effect. 
 
 As to the ripostes of one-two into quarte and cut-over and 
 thrust in exterior line : on these you cannot remise as you can 
 time, in the exterior line, because in riposting you hardly ever 
 finish the first movement of the one-two in the tierce hne, and 
 because in making a cut-over and thrust in the exterior line, the 
 hand is low, which makes that line inaccessible. On these 
 ripostes, however, you can remise without change of line and 
 without opposition. In this case you must execute the move- 
 ment with great rapidity, and come quickly back to position. 
 Under these conditions the remise is sure to get the first hit, 
 but the riposte may also get in a hit, though late. It is better, 
 therefore, to try to parry these ripostes, unless, indeed, they are 
 ripostes with a pause. 
 
 After the parry of tierce : it is wrong to remise on a dis- 
 engagement in exterior or inside line, or on a cut-over. 
 
 On a riposte of one-two or of cut-over and thrust in the out- 
 side line, or on the riposte of the double, you can remise with- 
 out change of line and with opposition to the right. 
 
 After the parry of seconde : on the riposte, timed or not, 
 of a disengagement on the outside line you can remise in the 
 outside line with opposition to the right. 
 
 On the riposte of one-two exterior you can remise in the 
 exterior line with opposition to the right, the nails of the hand 
 up or down as you please. 
 
PRACTICAL INSTRUCTIONS 97 
 
 After the parry of septime : on a riposte made with a feint 
 below and a counter-disengagement above, one must make a 
 remise without changing the engagement and with opposition 
 to the right. 
 
 On a riposte made with a feint below and a disengage- 
 ment over the hilt, the same remise holds good. Counter- 
 ripostes affect the remise exactly as ripostes do ; in all cases a 
 remise is discounted by quitting the adversary's blade after 
 the parry, and then using the same parry a second time. But, 
 as an exception, if on a disengage riposte after a parry in 
 seconde the adversary remises in the outside or tierce line, 
 then parry tierce. 
 
 REDOUBLING. 
 
 This is repeating an attack while still on the lunge when the 
 adversary parries but does not riposte. It is done either by a 
 cut-over or by a disengagement. A slight drawing back of the 
 body is necessary ; but above all the arm must not be drawn 
 back. 
 
 H 
 
98 FENCING 
 
 CHAPTER VI. 
 PRACTICAL INSTRUCTIONS — Continued, 
 
 THE SALUTE. 
 
 The Salute, or prelude to the Assault, was, towards the end 
 of 1888, put into definite and official form by the Academie 
 d'Armes of Paris, founded in 1886. Until then it had been 
 practised in various schools, with various differences of detail. 
 The rules laid down by the Academy are here embodied. 
 
 The purpose of the Salute is to give both fencers an oppor- 
 tunity of showing courtesy to each other and to the spectators, 
 and, it may be added, of exhibiting their own proficiency in 
 correctness and elegance. It is thus conducted : — 
 
 Each fencer, having put his mask on the floor about a yard 
 to his left, assumes the First Position opposite his adversary at 
 the proper distance, letting his arms fall naturally, the point of 
 the foil nearly touching the ground in front of him, and to the 
 left of the right foot. Then both execute simultaneously the 
 first movement of coming on guard. 
 
 The first movement consists in making a step forward, 
 raising and extending the right arm, with the nails of the right 
 hand turned upwards on a level with the top of the head, and 
 a little to the right, and the blade extended with the arm. 
 Then the hand is quickly brought close to the chin, the nails 
 towards the face, and the sword upright, so that the fencer can 
 
P o 
 
 3 ^ 
 
 < a. 
 
 coO 
 
 c/0 
 
 
< ° 
 
PRACTICAL INSTRUCTIONS 99 
 
 go on to salute his adversary by dropping the sword to the 
 right at the full extension of the arm, with the palm of the 
 hand turned to the ground. 
 
 The second movement consists in bringing back the right 
 arm towards the left hand, which seizes, without grasping it, 
 the shoulder of the blade, imitating the gesture necessary to 
 sheathe and unsheathe a sword. 
 
 The third movement consists in elevating both hands to- 
 gether above the head with a graceful curve. 
 
 The fourth consists m letting go the blade from the left 
 hand, which takes its place behind, and at the level of the top 
 of, the head, the left arm still being bent, while the right hand 
 drops to the level of the right breast, the arm half extended, 
 the elbow in front of, and close to, the body, the point of the 
 sword on a level with the face. 
 
 In the fifth movement you advance the right foot about 
 two steps in front of the left heel, sinking down on the legs 
 and keeping the body upright. 
 
 [These movements, here separated for clearness of demon- 
 stration, must in practice glide into each other.] 
 
 In coming on guard for the Salute, each fencer must take 
 care to touch his adversary's point in tierce at the moment 
 when the right hand drops, so as to give the signal for the 
 movement of the legs. At the moment when the right feet 
 are firm on the ground, the right hands must keep the position 
 of tierce, with the blades joined. 
 
 Once on guard, both fencers recover to the position of the 
 first movement. 
 
 One of the fencers invites the other, with the words, ' A 
 vous^ Monsieur,'' to take distance first. It is customary to give 
 precedence in this matter to the elder fencer or to an invited 
 guest. 
 
 The one who does take distance first becomes the attacker, 
 
 n 2 
 
loo FENCING 
 
 To take distance : direct the point, with arm full stretched 
 and the nails up, the hand on the level of the chin, at the 
 adversary's body, without touching him. 
 
 To execute this movement, advance the right about three 
 steps and a half in front of the left heel, just shaving the 
 ground, and keeping the left leg stretched out. When the foot 
 touches the ground, bend the right leg, so that the knee is 
 exactly above the instep. The bust remains upright, the loins 
 arched, the left hand separated from the thigh. 
 
 Having made his lunge, the attacker recovers himself with 
 one movement, resuming the first position, but bringing the 
 right hand to a slight distance from the chin, and holding the 
 sword nearly upright. This last movement of hand and sword 
 must be done simultaneously by both fencers, who then exe- 
 cute the first of the salutes to the public. This is done by 
 saluting to the left, with the hand in pronation, a little ad- 
 vanced, and at the level of the left breast, the sword almost 
 horizontal, and half-way to the left. Then bring the hand 
 back near to the face again, as above, and, with the hand in 
 supination, reverse the process just described. 
 
 [In pubhc assaults, the salutes should be addressed directly 
 to the President and Vice-President, if there is one. On no 
 account must both fencers make them in the same direction. 
 The President, without rising from his seat, acknowledges each 
 salute with a motion of his foil ; the Vice-President, sitting 
 opposite to him, answers with an inclination of the head.] 
 
 Now the adversaries fall on guard as above described 
 (without, however, raising the hand), making an engagement 
 in quarte. 
 
 The attacker disengages, with the nails up, in the line of 
 sixte-tierce^ without touching his adversary, and taking care 
 that the movement of the arm precedes that of the legs. The 
 adversary parries tierce or sixte lightly and then drops his point 
 

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PRACTICAL INSTRUCTIONS loi 
 
 with the nails down as if threatening a riposte in the low line. 
 The attacker on this parry throws his point upwards and back- 
 wards past his own left ear with a quick movement of the 
 thumb and forefinger. The nails are downwards, the middle, 
 ring, and little finger leave the hilt and remain open. The 
 arm is extended, the hand on the level of the head and held to 
 the right, so that the attacker looks at his adversary between 
 the arm and the blade. He keeps this position for a moment 
 or two and then falls back on guard, taking the engagement of 
 tierce or sixte, which the adversary also takes with opposition. 
 The attacker disengages, the adversary parries quarte, and as 
 before drops his point as if threatening a riposte in the low line, 
 but this time with the nails up. The attacker on the parry 
 repeats the movement just described, throwing the point past 
 his right instead of his left ear and with the nails upwards. As 
 before he remains thus a moment or two and falls back on 
 guard. The parry er engages again in quarte. 
 
 The attacker repeats these disengagements in sixte-tierce 
 and quarte to the number of four or six. The number must 
 be even, so that the last disengagement is in quarte. In the 
 last engagement the attacker may ornament his style by a 
 slight pause on the lunge, contrasting it with the swift recovery 
 after the others. The adversary parries exactly as before. 
 
 He must take his time from the attacker, so as not to make 
 him wait either on the engagement or on the parry. 
 
 The attacker now makes the motion of one-two, beginning 
 in quarte, without lunge or extension, placing the hand in tierce 
 on the second movement, and after this he recovers to the 
 First Position, while the parryer remains on guard, with his 
 hand in position for parrying tierce. As the attacker recovers, 
 the parryer, in his turn, takes distance and recovers in one 
 movement, as the attacker has done before. Then the two 
 fall on guard, and now the parts are interchanged, the former 
 
I02 FENCING 
 
 parryer becoming the attacker after taking distance, and vice 
 versa. 
 
 After this both come on guard with a step of the left foot 
 backwards, the hand in tierce, make three beats on the floor 
 with the right foot, the first slowly, the other two quickly, and 
 then recover forwards and salute to left and right. 
 
 When the final one-two has been executed, the adversaries 
 recover at the same moment, and almost immediately fall back 
 on guard, moving the left foot two steps behind the right, and 
 taking care that the movement of the arms precedes that of 
 the legs. Immediately on this they recover forwards, bringing 
 the left foot up to the right, and repeat a second time the two 
 salutes already described. Then they come quickly on guard, 
 joining blades in quarte. Once more they recover forwards, 
 and salute each other, with the hand brought close to the chin, 
 the nails turned to the face, the sword perpendicular. Then 
 the palm of the hand is turned to the ground, and the sword 
 lowered to the right at the full extent of the arm. 
 
 It must be again noted that the Academic d 'Amies dis- 
 countenances the old-fashioned afpels with the foot, allowing, 
 however, ' a slight beat with the right foot to mark la finale 
 des mises en garde et des developpemenis.^ 
 
 When two left-handed fencers go through the Salute to- 
 gether, they have only to read right for left throughout the 
 directions. A left-handed man engaged in the Salute with a 
 right-handed man must — 
 
 1. Lay his mask on his right. 
 
 2. Take the right-handed man's engage in tierce for the 
 first coming on guard. 
 
 3. Take distance with the nails down. 
 
 4. The final one-two is done in sixte-tierce^ and to this end 
 the left-handed man, after taking distance, gives the engagement 
 of quarte to his adversary, who parries quarte on the one-two. ' 
 
PRACTICAL INSTRUCTIONS 103 
 
 5. The Salutes take place together, first in quarte, then in 
 tierce. The left-handed man must so place himself that the 
 President is on his right. 
 
 THE ASSAULT. 
 
 The assault is the practical application of the knowledge 
 acquired in lessons, and may be called a mock duel. It demands 
 unremitting attention, and the rapid conception and execution 
 of ideas. The fencer must watch himself carefully lest he 
 falls into bad habits, and must never relax in his observance of 
 the first principles. 
 
 The assault is far more attractive than the lesson, but must 
 not be indulged in without the master's full approval, and the 
 master himself must be the learner's first adversary. As for 
 the master's part in it, he will of course hold his rapidity both 
 of movement and of design in check, so as to put himself on 
 something like a level with the novice, whom he will avoid 
 discouraging by hitting him too frequently. He will indeed 
 give the pupil encouragement by allowing himself to be hit. 
 
 Taking to the assault or loose play too early is an irre- 
 parable mistake, and one of which the pupil will be conscious 
 throughout his career as a fencer. After the dignity of loose 
 play has been reached, it is indispensable to go on taking 
 lessons. However watchful over himself he may be, even 
 the cleverest pupil cannot without lessons avoid acquiring bad 
 tricks. The professor ought to see just where the pupil's 
 judgment has failed him, and to give him hints of what line 
 to take against this or that adversary, according to each one's 
 style. The professor who knows his art will in this way add 
 to the lesson's interest and the pupil's progress. 
 
 The assault is a perpetual improvisation. The thing to 
 avoid is the adoption of a set style, the making of a certain 
 
I04 FENCING 
 
 number of attacks or parries, always the same, upon all 
 comers. What succeeds with one will fail with another, and 
 one's own movements should depend upon one's adversary's. 
 
 The crossing of blades is the signal for beginning the 
 encounter. It is indispensable, by way of precaution against 
 surprise, to come on guard out of distance, and not to join 
 blades till one is completely ready. It sometimes happens that 
 the fencers place themselves too near each other, when one 
 rushing on the other profits by the other's confusion to make 
 a hit. It is therefore a great mistake to come on guard within 
 distance. 
 
 It is wise to advance gradually within distance. The 
 adversary may be on the w^atch to attack on the advance ; 
 therefore it is well to have a parry ready in one's head, so to 
 speak, for such an attack. Nor is it a bad plan to advance 
 with the intention of drawing the adversary's attack and meeting 
 it with parry and riposte. The touching of blades is one of 
 the principles which should be most rigidly adhered to; it is 
 indeed the fencer's guide. The right moment for action can 
 only be indicated by what is called feeling the steel ; if the 
 blades do not touch, double attacks — that is, attacks made 
 simultaneously by each fencer — are often the result. 
 
 In dealing with a fencer who will not join blades, it is well 
 to keep out of distance and as much on the defensive as 
 possible : not to lunge except on his advance : to threaten him 
 often : thus he will probably be induced to join blades. If he 
 refuses, feint attacks to draw his parry and riposte, to be met 
 with a parry and counter-riposte ; or to make him thrust and 
 be met with a parry and riposte ; or, again, if one is not quick 
 enough to hit him with a straight thrust, feint one to draw a 
 parry and deceive it. The point must not be kept immovable 
 in front of him : it would serve as a kind of finger-post for his 
 attacks. 
 
PRACTICAL INSTRUCTIONS 105 
 
 In dealing with a heavy-handed adversary who presses on 
 his opponent's blade to get a point of leverage, it is better to 
 join blades very lightly, or not at all. Heaviness of hand must 
 be met by the lightest finger-play. Avoid engagements, beats, 
 and so on, so as not to leave a point of leverage. 
 
 If in attack or riposte the adversary seeks to force his 
 attack straight in, in spite of the parry, then it is good to parry 
 with the hand a little closer to the body than usual, so as to 
 get the fort of the blade m.ore on the adversary's faible. 
 
 A tall man should avoid attacking with an advance (step 
 and lunge) ; he should, on the contrary, avail himself of his 
 reach to keep his adversary at a distance, and attack him on his 
 advance or preparation. 
 
 Fencers often come on guard carelessly; they neglect to sink 
 down enough on their legs, thinking to avoid fatigue ; when 
 they mean to attack they double themselves up, as it were, to 
 get more spring and quickness. During such a preparation to 
 attack a simple attack is almost certain to be successful. 
 
 A short man must always advance to get within distance. 
 Therefore his hand and blade should be always busy ; he 
 should make frequent changes of engagement, feign sometimes 
 to give an opening, and manoeuvre to make the adversary 
 attack. He should be strong in the parry and riposte, and 
 never relax when once hotly engaged. 
 
 Fencers of about the same height should be chary each 
 one of his attacks ; their success depends in such case on a 
 fine sense of time and occasion. 
 
 As all attacks can be parried in more than one way, the 
 best way in the particular circumstances must be chosen. 
 
 A slight retreat on the parry helps both the parry and the 
 riposte ; and it is a thing to do specially with an adversary 
 whose style one does not know. 
 
 Circular parries like counter-quarte, and semicircular 
 
io6 FENCING 
 
 parries like septime, are more difficult to deceive than simple 
 parries like quarte and tierce. 
 
 It is not possible to judge an adversary's method accurately 
 until one has fenced several times with him. His movements 
 and style must be carefully watched to discover what are his 
 favourite attacks and parries, and what ripostes he has most 
 difficulty in meeting. Then one will employ, as much as 
 possible, the parries that lead to these ripostes. 
 
 Feints and false attacks should be disregarded as much as 
 possible ; to take them seriously is to play the adversary's game. 
 
 Some fencers follow up their attacks by a redouble or a 
 remise without caring to parry the riposte, which they some- 
 times avoid by stooping. This comes of a bad grounding ; as 
 their position on guard is bad they overtopple themselves, 
 and resort to redoublements to keep their balance. 
 
 To meet such adversaries it is well, if there is room, to 
 take a long step back, and so to leave them battling with 
 empty air, and if they want to resume the offensive, to employ 
 a stop-thrust. 
 
 Some fencers draw back the arm before a riposte ; this 
 again comes of having a bad position. At the moment when 
 they draw back the arm it is well to make a remise, and to fall 
 back quickly on guard, so as to avoid being hit, even though 
 the hit comes late by the adversary's thrust with the hand low. 
 
 For fencers who attack with a rush the stop-thrust is the 
 thing. But if, on this advance, they continually parry to stop 
 the stop-thrust, then one must wait for the end of their 
 attack, and parry without any retreat, and if need be with an 
 advance. Fencers of this kind hope to force the adversary to 
 retire : if he does not, they probably retire in a confusion 
 which should be turned to account. If, however, they do not 
 retire, then the adversary should himself step well back and 
 attack on the next threat of advance. 
 
PRACTICAL INS 1 RUCTIONS 107 
 
 Other fencers continually extend, taking no heed of double 
 attacks, and hoping to succeed by sheer audacity and by 
 twists and turns of the body ; and they will even start disputes 
 to bewilder the adversary. Tricks of this kind are the merest 
 abuse of fencing, show a conscious weakness, and lead to 
 nothing but contempt for those who practise them. 
 
 With people of this kind feign attacks, catch their blade on 
 the extension, cross the blade firmly with a twist (croise) and 
 lunge. They w^ill soon try another method. 
 
 Time-thrusts are ticklish things. They must be tried only 
 when the fencer has surprised an elaborate attack designed by 
 the adversary ; a wrongly-judged time-thrust leads to a double 
 lunge, which is discreditable ; a rightly-judged one shows ex- 
 cellent discretion and execution. 
 
 Note, too, that one mistaken time kills several well-judged 
 ones ; for it proves that the successes have been due to 
 chance. 
 
 When a fencer keeps on retreating without apparent cause, 
 suspect that he is laying a trap. 
 
 In dealing with an unknown adversary, attack as little, as 
 simply, and as little with a step forward as possible. 
 
 Come back at once on guard even after a hit. 
 
 No assault should last longer than a quarter of an hour. 
 
 Over-fatigue makes one slip into tricks. 
 
 Do not ask if a hit has told ; trust to the adversary's fair 
 play. 
 
 When you have succeeded in a plan of attack do not boast 
 of it. 
 
 Any sign of impatience, even with one's self, is distracting 
 and unpleasing. 
 
 With a tricky adversary do not complain ; turn his tricks to 
 'good account if possible ; if he goes too far, find a decent excuse 
 for ending the assault. 
 
loS FENCING 
 
 As the practice of the science of arms depends as much on 
 moral as on physical qualities, it is impossible to devise a 
 nomenclature to cover all methods. Let the principles be 
 taken as a base. When the learner has arrived at the stage of 
 fencing assaults, let him fence with anybody who asks him. 
 But if he is lucky enough to be under a master who knows 
 the real principles, let him go on taking lessons from him and 
 from him alone. It is the only safe and sure method for 
 attaining success. 
 
 LEFT HANDED FENCERS. 
 
 With a left-handed fencer the lines are naturally reversed, 
 and so must be the engagements and parries. 
 
 Two left-handed fencers are of course on the same footing 
 as two right-handed fencers, but with a right-handed opposed 
 to a left-handed fencer, when the first is engaged in quarte, the 
 second is engaged in tierce and vice versa. 
 
 If right-handed fencers met left-handed fencers as often as 
 the latter do the former, they would be on equal terms ; but, as 
 this is not so, the right-handed fencer is generally at a disadvan- 
 tage with a left-handed antagonist. 
 
 As a rule, avoid giving a left-handed man a chance of 
 parrying quarte. This parry generally comes easy to him and 
 his position favours its effect. He often follows a parry of quarte 
 or counter-quarte by a riposte in the low line, and the natural 
 parry against this riposte is seconde ; but the surest and quickest 
 is tierce on the lunge, with the hand low and the point high. 
 The slightest hesitation in his riposte gives an excellent chance 
 for a redouble with a cut-over and with opposition to the left. 
 
 The left-handed man cannot easily riposte on the parry of 
 tierce because his riposte meets the right-handed man's parry 
 of quarte : his favourite ripostes are the cut-over and the 
 
PRACTICAL INSTRUCTIONS 109 
 
 disengagement in tierce : therefore it is well to remise and force 
 him to a straight riposte. 
 
 If the left-handed man seeks to avoid ripostes on the low 
 line by lowering his elbow and hand so as to hide his body 
 instead of parrying, then riposte high, near the shoulder. 
 
 Timed ripostes and reprises are very useful against left- 
 handed men. 
 
 Time-thrusts between left- and right-handed men should be 
 avoided. An excessive opposition is needed to prevent a col- 
 lision of hilts, and this gives a wide opening on every line save 
 that of the opposition. 
 
no FENCING 
 
 CHAPTER VII. 
 
 SINGLESTICK. 
 
 Singlestick, probably practised far more widely throughout 
 England than fencing, is apt to strike casual observers as a very 
 simple matter — a mere question of hard and rude blows and 
 parries, which it sometimes is, but not always is. More than 
 this, it has happened to one of us to be assured by a certainly 
 not uninteUigent person, who imagined himself to be in the 
 habit of playing at singlestick, that as for treatises on the art 
 of singlestick there was no need for them or indeed any room 
 for them, as no such art existed. This was going too far. 
 Singlestick, as has been said in the Introduction, is a bastard 
 game, but it does give scope for very considerable skill, so 
 much so that in the brief space left at our disposal it is impos- 
 sible to do justice to it, or to the much more grand and severe 
 work of sabre play. 
 
 In Mr. Egerton Castle's ^ Schools and Masters of Fence,' 
 often previously referred to, we find it laid down that 'the 
 singlestick or cudgel was, and is, the foil of the back sword.' 
 The author tells us also that in England in the sixteenth 
 century the * waster ' {seu potius ' wafter ' ?) — a dummy sword 
 with a blade rendered harmless by being rounded or trans- 
 versely set — was the foil of the back sword ; and that in the 
 early seventeenth century the name ' waster ' was applied to 
 cudgels inserted in sword guards. Here evidently was the 
 early form of that substitute for an offensive and defensive 
 
SINGLESTICK iii 
 
 edged weapon which has found its latest development in the 
 singlestick of the present day, which may be said to corre- 
 spond in a very rough and haphazard fashion to the modern 
 sabre just as the ' waster,' or in later times the form of single- 
 stick described in the second chapter of ' Tom Brown's School- 
 days,' corresponded to the back sword. The stick used at the 
 * veast ' in the White Horse Vale w^as ' a good stout ash stick 
 with a large basket handle, heavier and somewhat shorter than 
 a common singlestick.' It may be worth passing notice that 
 as at the Weast,' so in the eighteenth century there was no idea 
 for protection of head or body in practice bouts with sticks. 
 Captain Godfrey, author of the ' Useful Science of Defence,' 
 describes how ' I have purchased my knowledge in the Back 
 Sword with many a broken Head and Bruise in every part of 
 me.' Nor is the captain's ' exquisite reason ' for taking up the 
 back sword undeserving of attention. ' I have followed,' he 
 WTOte, * chiefly the Practice of the Back Sword, because Conceit 
 cannot so readily be cured with the File in the Small as with 
 the stick in that. For the argumentum bastijiandi is very strong 
 and convincing ; and though a Man may dispute the full Hit 
 of a File, yet if he is knocked down with a Stick, he will hardly 
 get up again and say it just brushed him,'' From which words 
 of wisdom we may learn that fencers chary of acknowledging 
 hits w^ere not a greater rarity in 1747 than they are nowadays. 
 
 The back sword play referred to by Godfrey resembled 
 modern sabre and singlestick play, and not that specialised 
 form of back-swording which is chronicled in * Tom Brown's 
 Schooldays,' and which is curiously like the German students' 
 schlager fight. 
 
 The best and most authoritative book on sabre and 
 singlestick, published up to the date of the present writing,^ 
 
 1 Since these words were in print an addition of import to sabre literature 
 has been made by the publication of Captain Hutton's Cold Steel (Clowes). 
 
112 FENCING 
 
 is 'Lessons in Sabre, Singlestick, etc.,' by J. M. Waite, 
 Professor of Fencing, late 2nd Life Guards (London : Weldon 
 & Co.). The late Mr. Waite, who learnt fencing from no less 
 a master than the elder Prevost, was unsurpassable with the 
 sabre, and his work is largely devoted to what, when he intro- 
 duced it, w^as a novelty and an important one, in the ordinary 
 run of sabre play. To quote his own words : 'I made it,' he 
 wrote, ' part of my work as a teacher and sabre player to im- 
 prove sabre play by adapting to it many movements used in 
 fencing, which have hitherto been entirely overlooked by sabre 
 players, and also, by copying the fencer, to make the attacks, 
 etc., in a closer, and consequently quicker and more effective, 
 manner than they had before been made.' Mr. Waite's manual, 
 published some eight or nine years ago, was, as he went on to 
 point out, intended chiefly to inculcate advantages up to then 
 too much neglected by sabre players— advantages to be gained 
 by taking a lesson from the enemy — the enemy in this case 
 being the French duelling sword against the sabre, or, to inter- 
 change the terms according to Mr. Waite's inference, the foil 
 (Captain Godfrey's ' File ') against the singlestick. 
 
 There is, however, a curious fallacy which must now be 
 pointed out. It has been thought not unnaturally that the 
 singlestick may be considered the foil of the sabre, just as the 
 foil may be considered the small sword of practice, and it 
 is very commonly beheved that work with the stick enables 
 a man to use the sabre ; but unfortunately the analogy is 
 far, very far, from perfect, for, though the fencer who lias 
 never handled the practice epee may at first find some diffi- 
 culty when he exchanges the foil for it, this will be nothing 
 like the difficulty experienced by the singlestick player who 
 first uses a practice sabre, by which, of course, we mean a 
 steel sabre resembling the real weapon, not the light wooden 
 substitute. If he is opposed to a good continental tireur de 
 
SINGLESTICK 113 
 
 sabre he will find, however skilful he may be with the stick, 
 that he is a mere child in the hands of his antagonist, and will 
 see only too clearly that, were the combat a real instead of a 
 mimic one, the other would carve him about as he pleased ; 
 and will even discover, possibly not a little to his annoyance, 
 that his hard work with the stick has in one important respect 
 unfitted him for using the sword. In singlestick play there 
 can be no distinction between blows with the flat and the edge 
 of the blade. In the severer contest it is a mightily different 
 thing. Nothing more excites the derisive condemnation of a 
 real French swordsman than blows with the flat of the blade by 
 a combatant too clumsy to give the edge. Je n'aime du sabre 
 que le tranchant^ sang Frenchmen many years ago when the 
 ignominious punishment of slapping with the flat of the sabre 
 was introduced for a brief space into the French army. In 
 real combat such a blow w^ould probably be the most dan- 
 gerous to the man who dealt it that could be delivered, giving 
 the chance of a death-dealing riposte in reply to a stroke which 
 could do no real harm. Further, in considering the stick and 
 the sword, the much greater weight of the latter must be taken 
 into account. In the large movements of sabre play, neces- 
 sarily far larger than those of fencing, this may, if there is any 
 carelessness, throw a man out of line, or even make him lose 
 his balance ; and anything like wild play, such as is common 
 enough with the hazel-twig, becomes hazardous in the extreme. 
 The singlestick player will therefore discover when he takes 
 the blunted sw^ord in hand that he has much to learn, and that 
 the careful training he has gone through and the work he has 
 done must be supplemented by a good deal more ; and unfor- 
 tunately he may also discover that it is by no means easy to 
 get the practical knowledge he requires. Waite has had no 
 successor. Even in France sabre play is not so much prac- 
 tised or cared for as it used to be, and there is but very little 
 
 I 
 
114 FENCING 
 
 inducement to attain professional skill. In all probability good 
 assaults between men who had really mastered the sword would 
 not be understood. There would not be the heavy and re- 
 sounding thumps which the public consider their due ; so the 
 best combatants would be thought tame. This is to be 
 regretted. Sabre play does not admit of the same exquisite 
 skill as fencing, but it is a noble and manly form of contest, 
 closely resembling the real battle. 
 
 We may conclude with a hint to fencers who may oppose 
 epee to sabre, or foil to stick. And this hint is very brief. 
 Take, if you know it well, the guard recommended by Captain 
 Hutton, draw, whenever you think you can parry and riposte, 
 your adversary's dropping cut on the forearm ; and -never forget 
 that, to extend Captain Godfrey's dictum, it is more easy to make 
 sure of a cut than it is of a thrust in the heat of an encounter. 
 In other words, beware of failing to credit your adversary with 
 this advantage over and above his individual skill. 
 
 \For Bibliography^ see Appejtdix at end of book, ^ 
 
BOXING- AND SPARRING 
 
 BY 
 
 E. B. MICHELL 
 
 t 2 
 
Fij^ure I. — On guard 
 
BOXING AND SPARRING 
 
 CHAPTER I. 
 
 THE TIISTORY OF P.OXING. 
 
 It may be an unpleasant surprise to some of the great admirers 
 of Boxing, to bear tbat tbe antiquity of tbe art is incapable of 
 being proved, or even seriously maintained. Although fingers 
 were made before fists, and nature has given to all of us our 
 hands and arms before they would have the strength or skill to 
 use a sword or a dagger, still it must be admitted that very few 
 people resort naturally or instinctively to the use of the fist as a 
 means of attack or self-defence. Test the matter as you will, 
 by any of the established theories for ascertaining the age of a 
 human institution or practice, and you inevitably arrive at the 
 same conclusion. Children, in their earliest struggles with one 
 another, before any wicked intruder into the nursery has given 
 them a hint as to ways and means, seldom or never resort to 
 the doubled fists for disabling their infant foe. Scratching, 
 biting and pinching are the most obvious and common methods 
 of attack ; and the victim almost invariably retaliates either 
 with the same tactics, or by adopting some uncouth form of 
 wrestling, or by kicking with the feet or knees. 
 
 No doubt a good reason for these impulses is to be found 
 in the examples first set to the infant corabatant. These come 
 
ii8 BOXING AND SPARRING 
 
 in nine cases out of ten from the brute creation. Cats and dogs 
 present to the children in every well-regulated household their 
 earliest patterns of unholy strife ; and it is at a far later period 
 in their lives, if ever, that their eyes are scandalised by the sight 
 of two human beings exchanging fisticuffs. Long before this 
 the stable or the stall, or even the home paddock or the neigh- 
 bouring village green or lane, has familiarised them with the 
 spectacle of some four-footed animal making use of its heels or 
 hoofs for what the strategists call offensive purposes. The 
 deer park, again, or the sheep fold, affords a ready example of 
 tactics which may be generaHsed under the head of butting. 
 But it needs little discrimination on the part of the puerile 
 spectator to observe that the occiput of the ram or sheep, as 
 well as of the stag, is better armed for purposes of hostile aggres- 
 sion than that of the human race ; and thus the boy or girl who 
 rushes at an adversary with the head is usually, in every sense 
 of the word, more thick-skulled than the generality of his or her 
 playmates. 
 
 Even if the hand is used for warlike purposes, it is in 
 ninety-nine cases out of every hundred first used with the 
 fingers open. In this form it presents to the uninitiated a much 
 better prospect of damaging the foe. In the first place, it is 
 a broader and bigger weapon. Applied to the side of the 
 opponent's face, or even to his ribs or shoulder or elsewhere, 
 it covers a larger extent of the hostile territory, and causes a 
 more stinging and louder-sounding blow. Secondly, it reaches 
 further, just as a long sword reaches further than a small one, 
 and has a chance of coming home when the doubled fist would 
 be short of the mark. Thirdly, the hand is more quickly ready 
 for use in that way than in the other, and requires less prepara- 
 tion. Children do not habitually sit, stand and play with their 
 fingers tightly closed ; and even the bad boys whose temper is 
 exhibited by clenched fists clench them only by reason of what 
 
THE HISTORY OF BOXING 119 
 
 the doctors call an Mnvoluntary contraction of the nerves,' or, 
 in other words, because they feel a desire to grip the throat of 
 the enemy, and inasmuch as neither that nor anything else is 
 handy for the occasion, make the best of the business by 
 gripping the empty air. 
 
 These, perhaps, are refinements. But the fact, howevei 
 explained, remains indisputable, that at the earliest time when 
 we can observe the unarmed warfare of our fellow creatures 
 they resort to almost any form of attack rather than the pugilistic. 
 Even ' pummelling ' an adversary, which is not an uncommon 
 practice, is almost always reserved for occasions w^hen he is 
 down, and when, according to true pugilistic principles, he is 
 exempt from such punishment. And note also, that your 
 scientific infant in such-like emergencies will prefer to pum- 
 melling the elephantine tactics of kneeling or treading on the 
 fallen foe. 
 
 It is pretty certain that in the eternal order of things the 
 mature human being, when he had to fight without any armour 
 at all, adopted similar plans for purposes of aggression or 
 revenge. The adult man very soon finds out that both 'slapping' 
 and scratching are unsatisfactory modes of attack, where the 
 Opponent has any strength and determination to resist. Accord- 
 ingly, in all times and countries these tactics have been aban- 
 doned to the use of the female sex, whose battles are usually 
 interrupted by the interference of some stronger power before 
 they can develop into a settled combat. It is impossible to 
 go back even in imagination to the time when men lived 
 actually unarmed upon the face of the earth. But if such a 
 time ever existed, it will be confessed by those who care to 
 argue the matter out that they would assuredly not decide their 
 differences according to the rules of the P.R., and probably 
 would not even strike a single blow with the closed fist. As far 
 as the first records of ancient nations are yet known, they 
 
I20 BOXING AND SPARRING 
 
 support entirely this view of the case. Wresthng is constantly 
 mentioned at a far earlier period than the sister art. And when 
 ' smiting ' is referred to as causing the death of the smitten, it 
 is either expressly stated or may most easily be inferred that 
 some deadly weapon was used. The most that can be said by 
 the advocates of boxing as a primaeval practice is, that it was 
 employed in combination with wrestling in a species of contest 
 far -more closely resembling the ^ rough and tumble ' of Yankee 
 renown than the scientific battles of the English Prize Ring. 
 
 The fact is, that before the ' rough and tumble ' can be 
 superseded by bona fide boxing, three or four things must have 
 occurred which are not likely to occur quickly of their own 
 accord. It must have become recognised somehow or other 
 that one ought not to hit a man when he is ^ down ; ' and there must 
 be present at the fight some third party or parties who are willing 
 and able to enforce that artificial rule. Moreover, one at least 
 of the combatants must have learnt one of the most difficult 
 parts of the pugilistic art — how, by stopping the rushes of an 
 adversary, or getting out of the way, to prevent his attempts to 
 ' close,' or catch hold. Lastly, one of them at least must also have 
 found out how to use his fists with so much effect as to be able 
 to finish off his man by mere hitting, without resorting to the 
 process of strangulation or suffocation. How difficult it is to 
 acquire such a proficiency may be con^^'ectured from the fact of 
 the ccestiis having been invented and used in the manner to be 
 explained below. 
 
 Here, by the way, it maybe remembered that prize-fighting 
 is not, as many people are now inclined to say offhand, an 
 example of boxing pure and simple, in the proper sense of the 
 word. In the historic battles of Mendoza, Bendigo, and Saycrs 
 wrestling played an important and sometimes a decisive part 
 in the encounter. The published records of those and hundreds 
 of other prize fights speak very graphically and forcibly of the 
 
THE HISTORY OF BOXING 121 
 
 trenchant blows which occasioned most applause. First blood, 
 or, as the more poetic chroniclers have it, the * first appearance 
 of the claret,' is always noted as an important point in the 
 struggle ; and the first and successive knock-down blows excite 
 the eager interest of the historian and most of his readers. 
 Much less attention is paid by the latter, and often by the 
 former, to such comparatively dull details as the result of a 
 tussle for the fall. ' After a short struggle both men went 
 down, the Slasher being uppermost.' There is not much in 
 this laconic summary to attract particular notice, when com- 
 pared with the sesquipedalian terms in which it is explained how 
 the same Slasher ' visited the kissing trap,' and ^ disturbed the 
 olfactory organ,' or ' elicited the ruby from the proboscis,' of his 
 redoubtable opponent. And yet, if the truth were known, the 
 unlucky owner of the features to which these attentions were 
 paid may have attributed his defeat, and quite rightly too, much 
 less to the knocks inflicted upon his long-suffering visage than 
 to the unlucky fall in which his collar-bone was half dislocated, 
 and after which his interior arrangements felt as if they had 
 been forcibly jumbled up together. Sometimes the veracious 
 chronicler gives a broader hint. * They then closed : and after 
 a short tussle the Infant threw his man, falling heavily upon 
 him.' This is more suggestive ; but it is nevertheless far from 
 truly representing to the imagination of the unlearned reader 
 the position of the man in question, who finds some two 
 hundredweight of exceedingly robust infant precipitated upon 
 him as he lies flat on the ground, while the point of an elbow 
 of which the infant Hercules might have been proud is 
 forced with the whole impetus of that falling mass into the pit 
 of his stomach. 
 
 In the ancient and flourishing time of the Prize Ring wrest- 
 ling and fighting were much more evenly matched in their 
 effect on the result than most people supposed ; and though 
 
122 BOXING AND SPARRING 
 
 a man who was decidedly superior in die use of his fists would 
 usually come off the wanner, when the boxing was at all equal a 
 more expert wrestler w^as almost sure to carry the day. Regarded 
 from a strictly scientific point of view, this intrusion of the one 
 art into the domain of the other was to be regretted. It pre- 
 vented anybody from saying with any certainty who was at any 
 time the best boxer in England. No one can say positively 
 that in the days of Tom Cribb or Jem Ward there w^as not 
 some village hero blushing unseen in the consciousness that 
 he could beat the champion in fair fisticuffs though he had 
 not the gift of keeping his legs when an inferior boxer rushed 
 in and seized him round the body. To wan ^ the belt,' a man 
 must combine in himself the virtues not of Castor and Pollux 
 but of Pollux and Milo ; and, although the combination is per- 
 haps common, it is by no means invariable. At the present 
 day many of the best boxers are hopelessly and confessedly 
 incompetent in the wrestling arena. 
 
 Emerging from prehistoric speculations and philosophic 
 digressions, however pertinent to the matter in hand, into the 
 light of civihsed literature, we find the earliest dawn of Euro- 
 pean society reflecting the figure of the boxing man in almost 
 his modern aspect. Amidst the clash of arms in the plain 
 before Troy a place is cleared for the veritable prize fight. 
 Amongst the mighty warriors whose names come down to us 
 on the grand Homeric roll-call is ' Polydeuces, good with his 
 fists,' mentioned in the same honourable phrase and in the 
 same sonorous cadence as ' Menelaus, good at the war cry ! ' 
 Polydeuces, better known as Pollux, was not indeed amongst 
 the assailants of Troy, but he must have perished only a short 
 time before, for he w^as the brother, and apparently the twin 
 brother, of Helen, who w^as still in the prime of life even when 
 Troy was sacked. His name is inseparably connected, in the 
 traditions both of Greece and Rome, with the art and practice 
 
Figure II.— Stop with the left 
 
THE HISTORY OF BOXING 123 
 
 of boxing, and he was the * patron saint,' together with his twin 
 brother Castor, of all the public games. The appearance of 
 these brothers at the Battle of Lake Regillus is immortalised for 
 the benefit of English readers by Macaulay, and was recorded 
 at Rome by the building of their temple in the Forum. In 
 the mythologic and legendary history of the old world boxing 
 finds a large and honourable place. Apollo, besides his skill 
 with the bow, was certainly a good god with his fists ; and 
 several of the sons of Zeus by mortal mothers were excellent 
 bruisers. Neptune, god of the sea, was the father of one 
 Amycus, king of the Bebrycians, and progenitor of a race of 
 fighting men. This worthy was accustomed, as it seems, to 
 challenge strangers who visited his dominions to put the gloves 
 on with him ; and no one appears to have escaped death at 
 his hands until Pollux, landing with the Argonauts, took up the 
 customary challenge and paid off the tyrant in his own coin. 
 The tale suggests an anecdote of much more recent date, which 
 is perhaps more true and certainly more capable of being 
 proved than that of the Asiatic monarch. Not very far from 
 London is a small estate sloping to the banks of a famous river. 
 The fields are verdant, and invite the passing stranger to land 
 and repose his weary limbs. The house of the owner is at some 
 distance, screened by a belt of tall shrubs and trees. For 
 picnic parties hastily improvised it is a spo to be desired of 
 the eye ; and the servitors of the ^ riparian owner ' see their 
 way occasionally to turning an honest half-crown or shilling by 
 according to such parties a sort of French leave to pitch their 
 camp for an hour. But when the jealous Naboth comes home 
 early from his daily labours he is, or at least was, in the habit 
 of falling mercilessly upon the intruders. Nor is it enough for 
 him to warn them off and repudiate the invitations of his 
 servants. He invites the gentlemen of the party, if not in the 
 style of Amycus, at least in a sufficiently provoking manner, to 
 
124 BOXING AND SPARRING 
 
 'have it out with him ' then and there, and, being a stout fellow 
 with a very fair knowledge of the noble art, was doubtless accus- 
 tomed to drive out the intruders in high-handed style, with 
 great honour and gratification to himself. One day, however, 
 the party of Argonauts who had landed, after paying black-mail 
 (or white-mail) to John Thomas, happened to include one of 
 the best amateur boxers of the day, and this individual, 
 although of a particularly peaceable disposition, was by dint of 
 repeated objurgations levelled at the retreating camp, at last 
 aggravated into turning round and facing the lord of the 
 domain. A set-to was proposed and immediately accepted, 
 and after two very brisk rounds the village Amycus was led off 
 bleeding and discomfited by his butler and gardener to receive 
 the commiserations and, what was still more to the purpose, 
 the sponge and cold water tendered by his sorrowing relatives. 
 
 In the western parts of the world Sicily was for a time the 
 headquarters of the noble art of self-defence, and Eryx, one of 
 her kings, lorded it over the island in somewhat the same way 
 as Amycus over the Bebrycians. His gloves, still stained with 
 blood and brains^ were shown in the next generation to a de- 
 generate race which was appalled at their size and formidable 
 aspect. But Eryx met his match at last in Hercules, whose 
 wanderings led him to the island, when he of course engaged 
 in a set-to with the king, and of course came off the victor. 
 
 It was the custom all over the world to celebrate the 
 funerals of defunct kings and great men by displays of athletic 
 sports. And this fashion survives in full force still in South- 
 eastern Asia. At the cremation of the last second King of 
 Siam as well as those of the chief Princes and Ministers — ■ 
 which are observed with extraordinary pomp and splendour — 
 a field was reserved and surrounded by lines of troops for the 
 exhibition of quarter-staff matches and especially of boxing 
 matches. So at Thebes, when the sons of King CEdipus had 
 
THE HISTORY OF BOXING 125 
 
 perished in single combat, there were grand games over the 
 tomb of the elder one. Strangers were admitted freely ; and 
 one of them, Euryalus, who hailed from Argos, beat all the 
 native professors and carried off the prize. This man, moreover, 
 was the nephew of one of the very warriors who had been 
 most active in organising the late attack upon the city ; so that, 
 if it had been in any degree a close competition, it seems likely 
 that he would have been refused admittance on the list of 
 entries. 
 
 But the first really authentic account of boxing which has 
 come down to us is so good, that it is needless to speculate any 
 further as to the style or the exploits of the earlier heroes and 
 demigods. If it had no other title to quotation, there would be 
 ample excuse in the fact that it was produced by the masterly 
 hand of Homer. In the catalogue of sports held at the funeral 
 of Patroclus, boxing comes second on the list, immediately 
 after the horse race, and just before the wrestling competition. 
 A number of valuable details may be collected from the short 
 but spirited narrative in the IHad ; and they present a curiously 
 close analogy between the custom of those times and the rules 
 of English pugilism. The belt — the emblem of modern cham- 
 pionship in the P.R. — is an indispensable part of the costume, 
 and is buckled on to the hero who eventually lost the day by 
 no less a person than Diomede. Probably the rule against 
 hitting below the belt was already estabhshed, for we read of no 
 foul blows either in this or the Virgilian account. And 
 there is no other reason easily to be found for the putting on 
 of this cincture unless it were to mark the spot below which 
 it was considered unfair to hit. Nothing more seems to have 
 been worn by the men but the ccestus (as to which presently), 
 and this was also fitted on by Diomede to the hands and arms 
 of his principal. There was no preliminary shaking of hands, 
 of course, and no ^ tossing ' for corners, but each combatant 
 
126 BOXING AND SPARRING 
 
 advanced at once into the middle of the ring. Nor were there 
 any ropes and stakes, but the ring would be roughly closed in 
 by the front row of spectators, which was certainly seated on the 
 ground. That important official the referee was also wanting, 
 but it is clear that the rules of fair play were enforced by the 
 general voice of the assembled multitude, which had the right 
 of refusing the prize to a victor if he had offended against the 
 knpwn rules of the contest. 
 
 Having advanced in the ring, the combatants stood facing 
 one another, and at the same time (in strictly orthodox phrase) 
 * put up their hands.' But it seems that there was very little 
 preliminary * sparring for an opening.' Possibly the absence 
 of such tactics may have been exceptional ; but at any rate the 
 putting up of the hands was immediately followed by an advance 
 on both sides to close quarters. The hands became ^ mixed up 
 together,' and at once there began a crashing of the jaw-bones 
 which caused a shudder amongst the more tender-hearted. 
 This interchange of half-arm blows, which could only have 
 occurred in in-fighting, lasted apparently for a long time, until 
 the perspiration poured from every limb of each fighting man. 
 There must, however, have been some cessations and some 
 retreats to a safer distance. For just afterwards it is clear that 
 Euryalus, the second comer, the friend of Diomede, was ' out 
 of distance,' peering about for a chance of making a well-judged 
 attack. It was while he was engaged in this operation that 
 Epeiis made a rush at him and caught him full on the cheek. 
 This Mead off' was a knock-down blow, and it decided the 
 combat. The limbs of Euryalus were relaxed, and he fell all of 
 a heap. * As when by the ripple caused by a sharp north- 
 easter a fish is cast up on the beach, so the blow stretched him 
 helpless on the ground.' The victor thereupon magnanimously 
 extended his hand and raised his fallen foe, who was led off by 
 his comrades through the crowd with clots of blood rushing 
 
Figure III. — Stop for right-hand lead-off 
 
THE HISTORY OF BOXING 127 
 
 from his mouth, and his head wobbHng from side to side, and 
 his feet dragging behind him. 
 
 Several other details peep out which show that the philosophy 
 of the fighting school was pretty much the same then as now. 
 When the Greeks are invited by Achilles, the master of the 
 games, to come up to the scratch, the probable winner is spoken 
 of in advance, not as the man who can hit the hardest, or guard 
 the best, but who can ' endure the longest.' The contest itself 
 is announced as aXe-ycir?/, * causing distress ; ' and it is clear that 
 the distress referred to is the same as that mentioned in *Fistiana ' 
 and the ^Records of the Ring,' i.e., that it is not the mere pain 
 caused by the hard knocks received, but that exhaustion which 
 is the real cause, nine times out of ten, of losing a fight. This 
 is shown by the fact that the very same word is used as an 
 epithet for the wrestling in which no blows at all are given. 
 Then, it was not supposed that a second man w^ould volunteer 
 to enter the lists unless a very handsome prize was given to the 
 loser as well as the winner. While to the latter an unbroken 
 mule was offered, the former was allowed the prospect of 
 winning a double cup as a solatium. And many a Greek soldier 
 encamped in the plain of Troy beyond the sea would surely 
 prefer the more portable and less troublesome of the two articles 
 of property. It is noticeable, moreover, that Achilles never 
 contemplates even the chance of more than one pair coming 
 forward. Two men only are summoned ; and they are to be 
 the two best in the host. From this it is plain enough that, 
 whether by frequent displays or common repute, it was well 
 known which amongst each division of the army, Athenians, 
 Argives, Cretans, &c., was the champion boxer. The first who 
 stood up does not appear to have had much of a ' record.' He 
 * was a good man and tall,' and was * well skilled in boxing ; ' 
 but by his own confession he was only a poor fighter in the 
 actual battle-field, and excused his default in this respect by 
 
I2'8 BOXING AND SPARRING 
 
 explaining that no one could be learned in every art at the same 
 tune. He was, moreover, a cousin by the half-blood of Achilles 
 himself. His challenge to all comers was boastful enough, and 
 in the style affected by the challengers of all ancient times. He 
 promised with a strong asseveration that he would ' break the 
 body, and smash the bones,' of anyone who came to dispute 
 the prize with him. The second comer is furnished with better 
 credentials. He was the same Euryalus already mentioned as 
 having gone from Argos to Thebes and vanquished all the 
 Cadmeian pugilists. 
 
 Almost at the same time, or at least only a few days after 
 these funeral sports were held on the plain before Troy, a 
 similar display was taking place within the walls in honour of 
 Hector. The account of this comes, not from Homer but from 
 Virgil, who in speaking of it refers to the fact that Paris was 
 -the best boxer in all Troy. He resembled in this therefore, as 
 w^ell as in his beauty of figure, that other great archer Apollo. 
 The only man who ever set-to with him, even in practice, was 
 a certain Dares, who at the Hectorian games came out the 
 winner, Paris probably not condescending to compete. His 
 principal competitor was the giant champion Butex, a descend- 
 ant of that same Amycus who had fought against Pollux. 
 
 From this stage of pugilistic history it is a short step to the 
 Virgilian record, written evidently by a man who thoroughly 
 understood what he was writing about. It is too good to be 
 lost, and is in every respect more worthy of being included in 
 this place than the fantastic prose of the chroniclers of the 
 English Prize Ring. The first man to enter the Hsts, which 
 were on this occasion open to all, was the selfsame Dares who 
 had beaten all comers in Troy, and might therefore pretty safely 
 claim to be the best man in the diminished Trojan force 
 encamped in Sicily. His speech, made after waiting a time in 
 vain for a challenger, may thus be modernised : ^ Beg pardon, 
 
THE HISTORY OF BOXING 129 
 
 m' Lord, but if no one haven't the pluck to put 'em on with me, 
 what's the use o' me standing 'ere ? I can't stop here for ever, 
 ye know. Hand over that there prize.' Upon this there was 
 some applause amongst the Asiatics ; but an unexpected 
 challenger soon appeared. This was a very old man, who had 
 been the favourite pupil or, to use a truly orthodox term, a 
 novice of King Eryx, the Bendigo of Sicily, and had inherited 
 his gloves. His mode of challenging was eminently character- 
 istic. He threw both these gloves into the ring. But the size 
 and appearance of them appalled the Trojans, and caused a 
 determined objection on the part of their champion, who at 
 once backed out of the whole business. This matter was 
 compromised, on the magnanimous proposal of the Sicilian 
 ^ veteran, by the production of two equal pairs of gloves, which 
 were fastened on to both men's arms by y^neas himself ; and 
 the fight at length commenced. The Sicilian threw off his two 
 outer garments (remember he was an old man), ' exposing to 
 view the huge joints of his limbs, his mighty bones and muscles, 
 and stood up in all his gigantic size in the middle of the ring. 
 Then each man on the alert raises himself on tip-toe (fault), 
 and puts his arms up high (fault again) to guard the head. 
 Their heads held high are drawn back, and their hands are 
 confused together (another mistake) as they spar for an open- 
 ing. The one is quicker in getting about on his legs, and con- 
 fident in his youth ; the other, better built-up and with stronger 
 limbs, but retarded by the trembling and tottering of his knees, 
 and shaken in his giant form by a distressing shortness of 
 breath. Many blows are delivered on both sides without effect 
 (short hits), many come home with a hollow sounding effect on 
 the ribs and chest (compare the Thnes account of the Sayers- 
 Heenan fight, in which a blow from Sayers on the ribs is 
 compared in sound to the breaking in of a box), and round 
 the ears and temples the fists are ever busy, while the jows of 
 
 K 
 
I30 BOXING AND SPARRING 
 
 each absolutely clatter with the well-planted blows. Entellus 
 stands quite still (this passage is inimitable), accommodating ac- 
 curately the motions of his body to the warnings of his watchful 
 eyes, and eludes with well-judged action the long shots of the 
 adversary. The other man, like one who besieges a fort on an 
 eminence, tries first one and then another mode of approach, 
 and spies about everywhere for an opening, and presses on in 
 vain with every species of ' lead-off.' It is only when the big 
 man assumes the offensive that he comes to any harm. 
 Entellus showed that he was coming on with his right (the 
 ancients always led off with this hand) by raising it on high. 
 The other saw the blow coming from above, and with a quick 
 side step got away. Either the Sicilian made a grievous blunder, 
 or, which is more likely, the straight hit from the shoulder — the 
 pride of the British pugilist — was unknown in antiquity, and the 
 force of the blow was allowed to depend merely on the weight 
 of the loaded glove slung round at arm's length towards the foe. 
 However this may have been, Entellus was certainly at fault 
 in one of the elementary principles of the art. His feet were 
 *all wrong,' and his attitude so bad that in missing his man he 
 toppled over bodily, and fell very heavily, amidst tremendous 
 shouting on the part of the adverse faction. Every one jumped 
 up — long battles wxre evidently most unusual— and the fallen 
 m^n's second at once ran in to pick him up. Surprise was 
 manifested at the fact that the pugilist was neither damaged nor 
 * dismayed'! He goes to w^ork with a will thenceforth, and 
 drives the smaller man ^all over the ring,' raining his blows 
 both with right and left like hail on the discomfited champion. 
 Then there is a summary interference on the part of the master 
 of the sports, who charitably attributes the mishap of his fellow- 
 countryman to the influence of some god or goddess. The 
 veteran, baulked of his full revenge — for he meant to finish off 
 his man in complete style — fells with a blow between the horns 
 
FiAiire IV. — Retreat in good order 
 
THE HISTORY OF BOXING 131 
 
 the ox which was to be his prize, and offers it up as a sacrifice 
 to Eryx, thus sacrificing as he says ^ a better hfe ' in lieu of that 
 of his intended victim. Why Dares did not * go down ' to save 
 himself from punishment, it does not appear. Entellus, in true 
 sporting style, * having won the belt, retires.' 
 
 It remains, before dismissing the boxing of the old world, 
 to mention what was its chief characteristic, the use of the 
 'caestus,' or glove. In its first origin there can be little doubt 
 that this apparatus was used as a protection to the arm or hand. 
 In the practice of round-arm and downward hitting, which is 
 natural to unskilled pugilists, there is much danger of bruising 
 or breaking the bone of the forearm. Even amongst the most 
 expert performers, where one of them is much overmatched in 
 height and weight, it is often dif^cult to avoid this result, as was 
 amply proved in the greatest prize fight of modern times,^ when 
 Tom Sayers 'giving away ' about five inches in height and a pro- 
 portionate amount of weight, had the bone of his guard arm 
 broken very early in the encounter. With a view to avoiding 
 this to some extent, it was the practice to bind the knuckles 
 and forearm round with strips of leather, which would not only 
 serve as a partial protection to the guarding arm, but also 
 deaden the blow of the striking arm and fist. Even to this 
 day the very same practice prevails in Siam, where strips of 
 linen are similarly bound round the hands and arms of the 
 fighting men as high as the elbow. In the Homeric account, 
 there is no mention of any covering for the hand except 
 the * bands of well-cut leather from a wild bull's hide.' It 
 was at a much later time that the caestus began to be armed 
 with metal in order to increase instead of diminishing the force 
 of the blow ; and the passages where Virgil has introduced the 
 loaded glove are anachronisms, necessary to suit the ideas of 
 his unlearned readers. Even in the latest times gloves were 
 used, especially in practice, for deadening the blow. They 
 
 K 2 
 
132 ' BOXING AND SPARRING 
 
 were padded on the inside of the hand, and must have been 
 dangerous enough, as a hard blow with the clenched fist when 
 anything is held within it is almost sure to break the bones of 
 the knuckles or at least dislocate a joint. But in the ferocious 
 sports of the Roman amphitheatre such things would be quite 
 out of place. The impatient and blood-thirsty audience would 
 have been bored to death even with a modern prize fight of the 
 fiercest kind. The back of the leather caestus was accordingly 
 loaded and faced with lead and iron, and sometimes rings of 
 metal were passed round the knuckles and hands. There were 
 various descriptions of caestus called by various learned Greek 
 names— for the Romans admittedly took their rules from the 
 great Greek games — and specimens of these are to be found 
 in several ancient monuments. There is also an admirable 
 statue in the Louvre of a pugilist on guard. From this it 
 would seem that the classical boxers stood and moved in the 
 attitude of swordsmen, using the right arm very much as if it 
 had been a sword or club, and the left very much as if it had 
 been a shield. It is said that in the schools the ears, which were 
 the chief sufferers in the common practice of round-arm hitting, 
 were protected by small caps or covers. The accepted opinion 
 was that boxing was originated by Theseus in Attica and that 
 there was an ancient Italian school of the art in Etruria. 
 
 From boxing in the classical age we must come down 
 almost at one leap to the Hanoverian. There is of course no 
 doubt that in the interval the use of the fists was common in 
 many countries in almost all parts of the world. While the 
 practice of the Savate, in which the feet as well as the hands 
 are used, was growing up in France, an exactly similar style of 
 boxing was being separately developed in the remote countries 
 between India and China. Once recognise the idea of personal 
 contest for purposes of sport as opposed to purposes of actual 
 destruction, and the fist becomes a material weapon more really 
 
THE HISTORY OF BOXING 133 
 
 suitable for deciding a doubtful claim than any other. Once 
 admit that men had better settle their differences by temporarily 
 disabling one another than by killing outright, and you find 
 contests with the unarmed or protected hand recognised as the 
 fairest and readiest tests of rival merit. The mistake is to sup- 
 pose that boxing was ever anything more than an artificial 
 business, regulated by fixed rules, and saved by the interference 
 of referees or umpires from degenerating into a mere 'rough 
 and tumble.' That England during the middle ages was a 
 favourite home of the art in pretty much its present form no 
 one will be bold enough to doubt, although the allusions to it 
 in ' Ivanhoe ' where no less a personage than Richard Coeur de 
 Lion is claimed as a professor of it, must be regarded as 
 fanciful. Every characteristic of the Anglo-Saxon race was 
 such as to make the exercise congenial to their tastes and 
 habits ; and in the old-fashioned fairs held at market towns 
 and village greens it is impossible to doubt that, besides the 
 wrestlers and quarterstaff players, there was commonly a 
 good show of local pugilistic champions. But it is only after 
 the age of lance and cudgel had died out with the Plantagenets, 
 after the era of bows and arquebuses had been driven out 
 with the Yorkists and Lancastrians, when the long sword of the 
 Tudors had been supplanted by short swords of the Spanish 
 and French schools, and when the latter had gone out with the 
 last descendants of the Stuart Kings ; that prize fights, and 
 consequently the elaborate study of pugilism, found their 
 established home in the island. In quite the earliest part of 
 George I.'s reign a French traveller, in his memoirs of travel in 
 England, thus alludes to the universal popularity amongst all 
 classes of English of fighting with the fist : — 
 
 Anything that looks like fighting is delicious to an Englishman. 
 If two little boys quarrel in the street, the passengers stop, make a 
 ring round them in a moment, that they may come to fisticuffs. 
 
IJ4 \BOXING AND SPARRING 
 
 Each pulls off his neck-cloth and waistcoat, and gives them to hold 
 to some of the standers-by. During the fight the ring of by- 
 standers encourage the combatants with great delight of heart, 
 and never part them while they fight according to the rules ; and 
 these by-standers are not only other boys, porters and rabble, but 
 all sorts of men of fashion. The fathers and mothers of the boys 
 let them fight on as well as the rest, and hearten him that gives 
 ground or has the worst. These combats are less frequent among 
 grown men than children, but they are not rare. If a coachman 
 has a dispute about his fare with a gentleman that has hired him, 
 the coachman consents with all his heart ; the gentleman pulls off 
 his sword and lays it in some shop, with his cane, gloves and 
 cravat, and boxes in the same manner as I have described above. 
 I once saw the late Duke of Grafton at fisticuffs in the open street 
 with such a fellow, whom he lambed most horribly. In France we 
 punish such rascals with our cane, and sometimes with the flat of 
 our sword, but in England this is never practised ; they neither 
 use sword or stick against a man that is unarmed. 
 
Figure V. — Ducking to the right 
 
I3S 
 
 CHAPTER 11. 
 
 THE OLD SCHOOL. 
 
 The father of actual professional prize fighting, the established 
 patriarch of the ring, is Figg, whose portrait we have on the 
 canvas of Hogarth, and whose name stands first on the roll 
 of recognised champions. His date is 17 19 ; and he appears 
 to have reigned eleven years, when his name is succeeded 
 by the rather enigmatical mention of ' Pipes and Greeting.' 
 How many pitched battles these heroes fought against one 
 another is a question that could only be decided by diving into 
 the mustiest records of pugiHstic literature ; but it seems that 
 Gretting (for that was his real name) won alternately for some 
 time, and was rather undecidedly getting the worst of it with 
 Pipes, who was the smaller man, when both were very easily 
 vanquished by the redoubtable Jack Broughton. From the 
 end of their four years' tenure of of^ce in 1734, the list of 
 sole champions continues unbroken and complete right down 
 to the date of the famous international battle at Farnborough 
 in i860; and an enthusiast may even trace down the title with 
 a few gaps and uncertainties to the present day. A running 
 commentary on the most prominent names in the roll may be 
 fo'md in polite literature without much difificulty, as for more 
 than a century the champion of the day was better known 
 in fame to the rank and file of Englishmen than the Prime 
 Minister, or the Archbishop of Canterbury. Most of them are 
 immortalised in very tolerable woodcuts, which display in 
 
1.36 BOXING AND SPARRING 
 
 somewhat exaggerated but doubtless truthful detail their special 
 points of excellence and their distinguishing personal character- 
 istics. Their portraits, as well as those of their chief antagonists, 
 rnay be seen hanging on the walls of the most famous rooms 
 where the noble art is still taught ; and in many a country 
 inn, once owned by a sporting landlord, the traveller may come 
 unawares upon a smoke-dried copy of some notable pitched 
 battle in which a pair of flat-nosed heroes with monstrously 
 developed muscles are seen fronting one another in orthodox 
 attitude with more or less dilapidated visages. The rest of 
 these worthies' performances, and all that they did with their 
 fists, are they not mentioned in the Book of the Chronicles of 
 *Boxiana' the oracle of the Ring? 
 
 From these authentic records it appears that in about a 
 century and a half, beginning from 1700, some four thousand 
 Englishmen engaged in pugilistic battles, which were reported 
 in print, and that at least seven thousand fights took place, 
 giving an average of over three fights to each man, whether 
 winning or losing. Very few of these were ' international ' 
 encounters, as until quite recent times prize-fighting was con- 
 fined almost entirely to England ; but on one occasion, in 1754,' 
 a French pugilist challenged the champion of the day, and a 
 scene followed which is sufficiently ludicrous to deserve a pass- 
 ing mention. At the first onset the foreigner, who was named 
 Pettit, rushed at his antagonist, and, getting him on to the ropes 
 or rails, very nearly throttled him before he had had time to 
 strike a blow. Slack, the English champion, was black in the 
 face when he escaped from this predicament, and continued 
 the round, which was a long one. During its progress the 
 Frenchman, as the reporter says, frequently 'carted his man 
 off the stage' — for in those days the ring consisted usually 
 of a boarded platform — and in other rounds he adopted the 
 manoeuvre of seizing the Britisher by the hams and throwing 
 
THE OLD SCHOOL 137 
 
 him ' easily.' After eighteen minutes' fighting the odds were a 
 guinea to a shilKng against the champion, who seemed to be 
 quite flabbergasted by the strange tactics of his opponent. 
 After this, however, Mr. Slack devised the plan of keeping 
 quite close to the Gaul, and so avoiding his rushes ; and in so 
 short a time as seven minutes more the battle ended in favour 
 of the islander. After receiving a severe hit in the ribs, 
 Monsieur Pettit suddenly bolted off the stage, being, in the 
 reporter's opinion, 'full strong,' and able to go on. Thus 
 finished one of the most exciting and diverting spectacles ever 
 offered to the on-lookers, being, as the chronicler observes, 
 * perfectly ridiculous at times, and equally dreadful by turns,' 
 by reason of the severe punishment inflicted on the English 
 champion in the early rounds. It appears that the Duke of 
 Cumberland, who had laid heavy odds on the foreigner, was a 
 large loser by the unexpected result of this fight ; but, finding 
 Slack to be a better man than he had supposed, afterwards 
 backed him heavily in his match with Stevens, and lost again, 
 thus undergoing the penalty which stockbrokers picturesquely 
 describe as being * hit in both eyes.' A propos of the wagering 
 which went on in the last century amongst the patrons of the 
 Ring, it may be mentioned that Johnson, in his match with 
 Perrins in 1789, was believed to have been backed by a Mr.' 
 Bullock for no less than 20,000/. Perrins was a giant who 
 fought at seventeen stone, and he was tremendously mauled 
 by Johnson, a far smaller man. 
 
 These records of the Ring provide also a complete answer 
 to those sentimentalists who descant upon the danger to life in- 
 volved in prize fighting. It appears from all the evidence that 
 deaths from boxing are infinitesimally rare, and out of all pro- 
 portion fewer than fatal accidents caused by boating, steeple- 
 chasing, and some other bodily exercises. The duration of 
 the battles varied greatly, several of them lasting over four, 
 
138 BOXING AND SPARRING 
 
 hours, while others were fairly won and lost in less than twenty 
 minutes. Nothing is more notable than the way in which some 
 men, after appearing to be on their last legs, managed by 
 superior condition to stave off the evil moment, and actually 
 turn a losing battle into a win. Chance and luck have played 
 but a small part in determining the merit of competitors for 
 fistic fame, which is gained by the possession of nerve, skill, 
 strength, and, above all, that pluck which is usually the special 
 boast of free nations. The average duration of a ' round ' was very 
 short, but, in a famous match between Sayers and Perry, the 
 second round lasted nearly half an hour ; and the ten of which 
 the battle consisted averaged over ten minutes each. 
 
 The first of those who reduced boxing to an accurate science 
 and popularised it to Londoners was Jack Broughton, who was 
 champion from 1740 to 1750, and who built and opened an 
 amphitheatre for public displays of the art behind Oxford Road, 
 near Tottenham Court Road, in the second year of his reign. 
 The next was Mendoza — household word in the schools of 
 arms— who reigned in 1791, and opened the Lyceum in the 
 Strand, where he long enjoyed the patronage of the most 
 aristocratic admirers and pupils. His immediate successors, Jack- 
 son, Jem Belcher, and Pearce (the Game Chicken), were as well 
 known in their generation as Wellington or Pitt ; and a sort of 
 apotheosis belongs, in the minds of modern pugilists, to Gully, 
 who achieved champion honours in 1808, and was some years 
 after elected a Member of Parliament ! The features of 
 Belcher presented a rather striking resemblance to the first 
 Napoleon ; and no doubt some of his rustic admirers considered 
 him the greater man of the two. This was the Silver Age 
 of the Prize Ring ; and a long succession of redoubtable heroes 
 lived and fought, covering their manly w^aists with heavy sub- 
 scription belts, and their names with popular honours, while 
 they handsomely lined their pockets with the fees of rich 
 
THE OLD SCHOOL 139 
 
 pupils, and lived on tlie fat of the land in crowded public-houses 
 where the muses joined company every evening with the professors 
 and admirers of the * noble art/ Lord Byron was not only 
 amongst the admirers, but also a proficient in the art, as will 
 appear from the following quotations from his diary : — • 
 
 Nov. 24, 1 8 13. — Just returned from dinner, with Jackson (the 
 Emperor of Pugilism), and another of the select, at Crib's, the 
 champion's. I drank more than I like, and have brought away 
 some three bottles of very fair claret — for I have no headache. We 
 had Tom up after dinner — very facetious though somewhat prolix. 
 Tom is an old friend of mine ; I have seen some of his best 
 battles in my nonage. He is now a publican, and, I fear, a 
 sinner, &c. 
 
 March 17, 1814. — I have been sparring with Jackson for exercise 
 this morning, and mean to continue and renew my acquaintance 
 with the muffles. My chest and arms and wind are in very good 
 plight, and I am not in flesh. I used to be a hard hitter, and my 
 arms are very long for my height (5 ft. 8J in.). At any rate exercise 
 is good, and this is the severest of all : fencing and broadsword 
 never fatigued me half so much. 
 
 The lessons were continued for some time afterwards ; and 
 Byron continued throughout his life to have a great regard for 
 Jackson, who, indeed, from all other accounts, appears to have 
 been a decided credit to his profession. Tom Cribb, Tom Spring, 
 Jem Ward and Deaf Burke belong successively to this heroic age, 
 and carry the title down to the time of Bendigo, whose pupils still 
 live and breathe, and remember the far-famed accomphshments 
 of their master. The admiration professed by George IV. and 
 his brother for the Prize Ring is as well known as any of their 
 characteristics ; and the presence of those august spectators at 
 several of the big battles on Molesey Hurst did a vast deal 
 towards spreading throughout fashionable circles as well as 
 amongst the common people a liking for honest fighting with 
 the fists, instead of the sword or pistol business associated with 
 the continental nations, then so heartily detested in England. 
 
I40 BOXING AND SPARRING 
 
 The great victories of Bendigo were gained over Deaf Burke 
 and Ben Caunt ; and he retired unbeaten in 1845, before the 
 exalted morality of the Victorian era had decreed irrevocably 
 that prizefighting was a degrading and unlawful pastime. Then 
 there was a grand battle between Paddock and Perry (the Tipton 
 Slasher) in 1850, and the latter, who reigned — with a short 
 interval, when he was beaten by Harry Broome — till 1857 
 brings us down to the time of Sayers and to the generation of 
 fighting men who are still alive. 
 
 Tom Sayers was one of the smallest men who ever got to 
 the top of the tree in prize fighting ; and the physiologists were 
 for a long time puzzled to account for his extraordinary powers. 
 A learned discussion on the subject seems to have ended in 
 showing that his great strength lay in the lower part of the 
 shoulders ; and the broad muscles of this part of his body had 
 been unusually developed by the practice of heaving bricks, 
 into lighters, where they were caught by other workmen and 
 stowed away for water carriage. Anyone who likes to test this 
 theory may do so by standing at the side of a pile of bricks, 
 taking them as quickly as he can from the pile, and ' chucking ' 
 them a good distance to his left over the left knee. It will be 
 seen that the attitude of the feet exactly resembles that recom- 
 mended to boxers, while the action of the left hand and arm is 
 almost equally similar to the delivery of a correct blow from 
 the shoulder. The hands, both while picking the bricks off 
 the heap and heaving them, remain level with the head or 
 shoulders ; and thus a man who spends hours at this sort of 
 work becomes habituated to the posture required while in the 
 ring. The few contemporaries of Sayers who had sufficient 
 knowledge to criticise his style, tell us that in force of hitting 
 whether with the left or right he had no equal whatever. The 
 blows came as from a catapult, and struck the mark with 
 a sound like cricket-balls hitting a wall. Their effect was 
 
Figure VI. — The side step 
 
THE OLD SCHOOL 141 
 
 immensely enhanced by the wonderful judgment with which the 
 striker ' timed ' them, catching his man as he came forward or 
 as he shifted his ground, and before he had a chance of draw- 
 ing back to lessen the shock. On the other hand, that same 
 skill in ' timing his man ' enabled the champion, when it was 
 impossible to escape a blow, to take it in the most modified 
 form. Like Entellus, in the Virgilian prize fight, he guarded 
 much more with his cool quick eye and with the movement of 
 his body, than by shielding himself with the arms, and appeared 
 to vanish miraculously just when the enemy, after long man- 
 oeuvring, had worked his way in and seemed sure of a telling 
 hit. The perfect balance in which his weight was sustained on 
 both legs enabled him to attack and retreat with such speed 
 and ease as to disconcert a heavier athlete ; and when, over- 
 matched in reach and strength, he found the other coming to 
 close quarters, he would * take the blow ' to all appearance un- 
 flinchingly, though by relaxing the right knee at the same time 
 he took away all resistance, and drawing back his head fell 
 almost with the lightness of a feather under the stroke. In 
 reading the account of his historic match with Heenan — and 
 the account is well worth a perusal — one should remember par- 
 ticularly this little detail. The knock-down blows which so de- 
 lighted the American party, and seemed so terribly damaging 
 to English prospects, were, in the opinion of those who knew 
 the native champion best, a matter of small importance. Very 
 different would have been their feehngs, if in the earlier rounds 
 the Benicia Boy had succeeded in fighting his man into a 
 corner, closing wath him, throwing him and falling upon him. 
 So also the blows of the watchful Britisher did not represent in 
 the matter of skill a mere faculty of seeing the openings and get- 
 ting home with best effect. They are noticeable, in the eyes of 
 the connoisseur, not for what they did, but for what they did 
 not, that is, for not exposing the striker to a rush, and a close 
 
142 BOXING AND SPARRING 
 
 for a fall. As it often happens in a long encounter, the really 
 telling blows were amongst those that made least show and 
 excited least applause. And the escape of Tom Sayers from 
 absolute undeniable defeat was due very largely to this fact, 
 that the hands of his gigantic opponent were so swelled with 
 hitting that they were more like boxing gloves than fists. As 
 to the real merit of the battle, which was decided by the 
 referee to have been a draw, there are still differences of opinion. 
 The impartial historian finds it almost as difBcult to believe 
 that a man with a broken arm could have stood up much 
 longer, as that one who was very nearly blind and whose hands 
 were Hke puff balls could soon have finished him off. Allowing 
 for the fact of the broken arm, and supposing that the accident 
 which caused it — for accident it may fairly be called — had not 
 occurred, it must be pretty evident to all reasonable critics that 
 the Englishman was a long way the better man of the two. 
 
 By the by, the puffed condition of Heenan's hands was 
 commonly attributed by the professionals who ought to know 
 best about it to his refusal to undergo one of the usual preli- 
 minaries to a fight in the Rin^. This is the pickling of the 
 hands in a strong solution of astringents, the effect of which is 
 to harden and roughen the skin. The lotion, which is also 
 often applied in a modified form to the face also, gives to the 
 skin a dark and curious look, which Heenan, who was said to 
 be rather a ' fine gentleman ' in his business, appeared to dislike. 
 Prize fighting is, of course, one of those things in which the 
 ornamental should be subordinated entirely to the useful ; and 
 the American champion no doubt saw abundant cause to regret 
 Jiis squeamishness if that was the real cause of his useless hands. 
 
 From the moment of this great fight in i860 the fortunes 
 of the P. R. very rapidly declined. If Mr. Thomas Sayers had 
 emulated the example of Mr. John Gully and become a 
 Member of Parliament, and if the big people who assisted at 
 
THE OLD SCHOOL 143 
 
 the Farnborough battle had stood up manfully in defence of 
 the Ring, something perhaps might have been done to arrest 
 its decay. But the end of the English champion was prema- 
 ture and unpropitious. A disorderly crowd created some 
 scandal even at the semi-public funeral which was given to his 
 remains. And as for his great antagonist Heenan, it seems 
 only too well ascertained that in a subsequent fight in which he 
 was engaged in England he was ' doctored/ or in other words 
 poisoned, and that so effectually that he never recovered the 
 injury and died a few years afterwards. Meanwhile for about 
 seven years more the old established institution fitfully survived 
 amidst quarrels and inconclusive battles, and a series of trouble- 
 some interruptions caused by the increased vigilance and deter- 
 mined hostility of the police. Pugilism, like everything else 
 which is tabooed and placed under a social ban, became 
 rapidly demoralised. The parties which attended prize fights 
 included some of the most dangerous ruffians in the world, 
 and no man of respectability dared to appear except under the 
 protection of some well-known member of the confraternity. 
 Sam Hurst (the Staleybridge Infant) and another giant named 
 Paddock were the first to contest the title vacated by Tom 
 Sayers. But neither of them possessed much science, and the 
 best of the two was defeated with much ease by Jem Mace, a com- 
 paratively light weight, whose style has by some been considered 
 better even than Sayers, and has presented to our generation a 
 type which has seldom been equalled and perhaps never excelled 
 in any age. The heavy weights Baldwin and Wormald made 
 several matches, but with little result, some of them falling 
 through, and others, though commenced, ending unsatisfactorily 
 in a draw. Their last meeting was in the United States in 
 1868 ; and since that the claims of championship honours which 
 have been put in have generally stipulated for a fight in that 
 more free-and-easy country. Jem Mace, probably the only 
 
144 BOXING AND SPARRING 
 
 Englishman who would have found a backer against Sayers, 
 retained his title of champion, with some interruptions, from 
 1861 till 1872, and indeed a great deal later; and for more 
 than twenty years was far and away the finest performer to 
 be found in the world. The frequent displays which, in com" 
 pany with his old antagonist Joe Goss, he gave in both hemi- 
 spheres, familiarised a very late generation with the old traditions 
 and glories of the ring ; and there still exist professional boxers, 
 few and far between, who have not been demoralised and spoilt 
 in style by the vitiating effects of the spurious sport termed 
 'glove fighting.' 
 
 Here it should be remarked that the only true and correct 
 style of modern boxing is that in which the bare fists are used. 
 All the rest are mere imitations — mere travesties of the original. 
 To excel in them one has to abandon some of the elementary 
 rules of the orthodox art. To judge them, one must be con- 
 stantly thinking not of what is done by the men as they are, but 
 what would be the effect of their blows and parries if the gloves 
 were off. This at least is the fairest way of deciding as to the 
 merits of a pair of competitors. If, adopting a different system, 
 points are given to a man for every blow which comes home to 
 the head or body of the adversary, it becomes necessary to count 
 those flips with the end of the fingers which in a real fight go 
 for nothing at all. On the other hand, if the value of a blow is 
 estimated by the simple effect it produces through the gloves^ 
 then a false conclusion is formed, because in sparring or glove 
 fighting a dull heavy thwack is the most telling stroke, whereas 
 in real fighting it is the quick, sharp knocks that do the damage, 
 cutting open a cheek or lip, and ornamenting the ribs with 
 aching bruises, whereas the slow slogging blows, even if they 
 get home, are apt to shatter the striker's knuckles or dislocate 
 the muscles of his forearm rather than to do adequate damage 
 to a well-trained opponent. 
 
Figure VII. — Slipping 
 
THE OLD SCHOOL 145 
 
 Glove fights were adopted, when the Ring proper came to a 
 bad end, as the nearest possible approach to the old-fashioned 
 prize fights. Some very good rules were drawn up for them by 
 the Marquess of Queensberry, who also instituted the amateur 
 contest hereinafter to be described. They differed in several 
 important respects from those of the P.R., and chiefly in regu- 
 lating the length of the rounds by time instead of by the 
 capabiHty of both men to keep on their legs. The admixture 
 of wrestling and * hugging' with true boxing was also prohibited ; 
 the time between each round (of three minutes) was extended 
 to one minute ; and the time allowed for a fallen man to get up, 
 which he must do by his own exertions, was cut down to ten 
 seconds. Most of the other rules were similar to those of the 
 P.R., and the stakes were of course to be awarded to the man 
 who held out the longest. For the reasons already mentioned 
 and several others, the glove fight is a poor substitute for the 
 real thing which it attempts to reproduce ; and although there 
 have been some important combats conducted under the new 
 rules with gloves on, it is needless to say more about this artificial 
 and clumsy foim of sport. Quite in recent times, moreover, the 
 necessity for resorting to such a device for deciding a pugilistic 
 affair has been somewhat diminished, as means have been de* 
 vised for ' bringing off' real fights in spite of the police ; and for 
 three or four years past a tolerable number of them have been 
 fairly fought out in different parts of England. 
 
 This is not the place to introduce an essay on the merits or 
 demerits of the P.R. We must proceed to less controversial 
 matters. But those who have any interest in the argument one 
 way or another may profitably refer to the ' Saturday Review ' 
 (volume 1885), where an apologist for this ancient sport of the 
 British race did not hesitate to stand up seriously for it against 
 its hosts of modern detractors. One thing at least seems cer- 
 tain, that the squabbles of the common people have, since the 
 
 L 
 
146 BOXING AND SPARRING 
 
 fall of the Ring, been settled more commonly in a brutal and 
 cowardly way than when the ideal of Gully or Bendigo w^as 
 before the eyes of the quarrelsome man. It w^as a more honest 
 sort of street row — that which the Frenchman Missot described 
 as above, or which is referred to in the Ode of Beranger, with 
 its amysing plate to bear it company. 
 
 (J^a, mesdames, qu'en pensez-vous ? 
 Cest k vous de juger les coups. 
 Quoi ! ce spectacle vous atterre ? 
 Le sangjaillit . . . battez des mains. 
 Dieux ! que les Anglais sont hurnains 1 
 Non, chez nous, point, 
 Point de ces coups de poing 
 Qui font tant d'honneur k I'Angleterre. 
 
 Modern boxing, or more properly speaking 'sparring,' which 
 means only the use of the gloves, has been saved from falling 
 into the same disrepute as partly pugilism, by the innate love of 
 the healthy-minded Britisher for it and partly by the efforts of 
 a few amateur clubs. The first of these to take it up on a 
 large scale was the old Amateur Athletic Club, founded by John 
 Chambers and others in 1866. During the second year of its 
 existence, this club organised annual amateur championship 
 competitions for handsome challenge cups presented by Lord 
 Queensberry. Special rules were draw^n up, and the matches 
 took place in a twenty-four foot roped ring on grass, presenting 
 a clos^ imitation of the well-known scenes in which Sayers, 
 Mace, and King had taken part. These competitions were 
 kept up ever since, with, on the whole, surprising success ; and 
 there is now in existence a small body of ex-champions, each of 
 whom. can boast of having beaten all comers in a veritable 
 ^ ring.' Indeed, the hst became at one time a sort of double 
 one, for in 188 1 a novel institution sprang up, which, discard- 
 ing some of the old rules, set up more elaborate ones of its 
 
THE OLD SCHOOL 147 
 
 own, and awarded annually a rival title of champion to its own 
 heroes. For five years these clubs continued to give separate 
 sets of prizes, the same man occasionally winning in both com- 
 petitions ; but they have now become merged into one, and 
 amateur championships are awarded without dispute for no less 
 than five different weights, ranging from 11 st. 41b., which is the 
 boundary between heavy and * middle weight,' down to feather 
 weight (9 stone), and ' bantam ' weight (8 stone). Other gym- 
 nastic and athletic clubs have also done a good deal to 
 encourage boxing both good and bad ; and there are now 
 probably more amateurs than professionals who dabble in this 
 form of art. 
 
 L2 
 
148 
 
 CHAPTER III. 
 
 THE ART OF BOXING. 
 
 It will have sufficiently appeared from what has already been 
 said that the 'Art of Self-Defence ' is eminently artificial— that 
 is to say, that its rules, far from being such as one would devise 
 off-hand, are the result of prolonged experience and practice. 
 Accordingly, the very best way for one to become a bad boxer is 
 to follow the light of nature and learn without a master. The 
 untutored combats of boys are absurd parodies ; and in many 
 a remote place the clubs, where so-called boxing takes place, 
 produce local champions who are disfigured by almost every 
 fault that can make them ridiculous. A bad style is in this 
 matter, as in most others, very difficult to get rid of ; and it is 
 very rare to find a boxer of any pretensions who has not learnt 
 early in a good school. Something may be done by the study 
 of books ; and within quite the last few years, a new chance 
 has been afforded by the publication of a useful hand-book 
 by ' Professor ' Donnelly. To the attentive study of this treatise 
 every beginner may be confidently recommended, especially if 
 there is no chance of attending the ' lectures ' of a really com- 
 petent mentor. 
 
 It may seem paradoxical, and provoke a smile, to say that 
 the first necessity for using the fists properly is to understand 
 the use of the feet. Before the beginner is allowed to touch 
 the gloves, or even to make a hit or a guard, he should be taught 
 
Figure IX.— Left arm guard 
 
THE ART OF BOXING 149 
 
 to stand and move about in the most correct way. By the 
 mere position of the feet a connoisseur will tell almost at a 
 glance whether a novice has learnt in a good school and profited 
 by his lessons. The left foot should be flat on the ground, 
 pointing always straight towards the face of the adversary. The 
 right foot should be directly behind it, with a space of from 
 fourteen to twenty inches between heel and toe according to the 
 height of the individual ; and the right heel will be raised an 
 inch from the ground, both knees being slightly bent, as by this 
 means the joints are much more ready for sudden movement, 
 and the little that is lost in height is well made up for by what 
 is gained in agility. The right foot must not be at right angles 
 to the left, nor yet in a hne with it, but placed obliquely at about 
 an angle of forty-five. And the weight of the body must be 
 distributed between the two feet ; so that it can be thrown in a 
 moment upon one or the other. In the advance the left foot is 
 always lifted first, and put forward a few inches if the design is 
 merely to approach nearer to a retreating adversary, the heel 
 coming to the ground a little before the rest of the foot, and 
 without any stamp or noise. The right foot must immediately 
 follow, and be set down as gently, occupying a similar position 
 at exactly the same distance behind the other as before. But 
 in leading off, the left foot will be advanced quickly, though 
 gently, with a long bold stride, as the right foot is in a lunge in 
 fencing. A six-foot man will easily step far enough forward to 
 leave thirty inches between his two feet, and even much shorter 
 men will cover this distance without spoiling their chance of 
 recovery. AVhen in this position the left knee is strongly bent, 
 so that it is exactly above the tip of the toes. The right leg is 
 almost straight and the heel raised very considerably, so that it 
 is at least four or five inches off the ground. The recovery is 
 effected by a vigorous spring from the left leg backwards. In 
 ordinary retreating, the right foot must always be lifted first. 
 
150 BOXING AND SPARRING 
 
 and withdrawn a few inches, the left following it quickly, so that 
 the original attitude may be resumed. In retreating after a 
 Mead-off ' a different manoeuvre is usually adopted. After the 
 first spring back has been made from the left leg, and as the 
 weight of the body comes back on to the right, the right knee 
 is bent ; and a second spring is made from both legs together, 
 carrying the whole body backwards. Alighting from this jump, 
 the left foot is found occupying a position in the same place 
 where the right had been, or perhaps a little behind it, whilst 
 the right comes down at its normal distance behind. In alight- 
 ing, the" front of the left foot touches the ground first, and is 
 quickly followed by the heel, after which the right foot comes 
 down with the heel slightly raised as before. If it is intended to 
 make a double step backwards, which is very often necessary, 
 the left foot as it touches the ground is pressed sharply down- 
 wards, giving a fresh impulse to the rear, and as the weight 
 comes back on to the right foot the double spring with both 
 legs is repeated. Thus in two springs a space of about seven 
 feet is covered ; and as the advance step, properly made, is 
 much less rapid, the fugitive ought by that time to be very well 
 out of reach. Probably the most important thing in all boxing 
 is to become perfect in this lesson. Lift the wrong foot first, 
 or come down on the wrong foot, or in a false attitude, and it is 
 almost all over with the transgressor. His legs get crossed, and 
 the right trips up the left. His body is overbalanced, and his 
 further retreat is frustrated. An active opponent follows him 
 up with powerful strides, and, catching him tripping or tottering, 
 delivers a heavy blow which * spills ' him like a top-heavy jar of 
 water. A careful mentor will devote several lessons to the mere 
 perfecting of his pupil in this art of advancing and retreating 
 before he allows him even to put on a glove. 
 
 The body, in the meanwhile, should be kept upright, and the 
 very most made of a man's height. The left shoulder is thrown 
 
THE ART OF BOXING 151 
 
 forward, and the upper arm lowered, so that it forms a complete 
 shield for all the ribs on that side ; the elbow being close to the 
 lowest rib bone. From the elbow to the knuckles the left fore- 
 arm is held forward in a direct line towards the chest of the 
 adversary. In this position the mere projection of the forearm 
 in a forward direction operates to thrust the fist out directly in 
 the way of the opponent's attack, and it is very difficult for him 
 to come on without meeting that obstacle directly with his face 
 or body. An idea of the effect may be gathered from a glance at 
 Figs. II. and III. The right forearm will occupy a rather similar 
 position, but more in front of the body, for the side ribs on this 
 side being drawn back right away from any attack, need little 
 or no defence. The right shoulder and elbow are kept well 
 down, and the forearm is bent across the lower part of the 
 chest, so that the closed fist is about an inch below the point of 
 the left breast. In this position the two bones of the forearm 
 effectually guard that vulnerable place the pit of the stomach 
 above the belt, known to fighting men as ' the mark.' Both 
 arms should be kept continually in motion, the left fist being 
 advanced and withdrawn a few inches by an easy movement, 
 and the right arm being worked upwards and outwards while 
 the knuckles are turned slightly, so that as the forearm is raised 
 the lower muscles come more and more forward in front of the 
 bones. The object of this movement is not only to prevent 
 stiffness in the arm-joints and muscles, but to prevent an 
 adversary perceiving when a hit or guard is intended to be 
 made. With a similar object, the body will not be kept stock- 
 still in a stiff attitude ; but the weight will be shifted a little 
 from time to time on to one or other leg, and the ground 
 shifted occasionally by imperceptibly moving the feet forwards 
 or backwards, retaining always, as far as possible, the orthodox 
 distance between them. By this means, it becomes excessively 
 difficult for an adversary to ^ judge his distance ' in making or 
 
152 BOXING AND SPARRING 
 
 avoiding an attack. The head is bent a httle to the left, but 
 not so much as to fully face the enemy. It will point a foot or 
 two to his left, and by the manoeuvre of 'eyes left,' the visual 
 organs are brought to bear on his face. If a blow is to be taken, 
 it is better to take it on the left side of the face than full in 
 front. The correct position of two men ' on guard ' is shown 
 in Fig. I. 
 
 Several days should again be devoted to the study of attitude 
 before an attempt is made at guarding or hitting or real sparring. 
 
 Almost all beginners, and not a few of those who consider 
 themselves quite adepts, will be surprised to hear that there are 
 no less than five different methods of defence. They shall be 
 mentioned in their order of merit, and before going on to the 
 methods of attack ; for in all ages and countries connoisseurs 
 have admitted that boxing is primarily the art of ' self-defence/ 
 and only secondarily that of injuring the antagonist. 
 
 (i.) The stop by 'countering/ — A man who is taller than 
 his opponent or who has a longer reach, ought, if he is well 
 skilled, never to allow that unfortunate to get within striking 
 distance. To illustrate this take two dolls with flexible arms. 
 Extend the left arm of the bigger one and put it in a boxing 
 attitude opposite the other. Do what you will with the arms 
 of the latter, you w^ill never touch the face of the former ; for 
 before the blow can get home the face or chest of the smaller 
 doll will come in contact with the opposing left fist of the bigger. 
 Of course, in order for this style of defence to be effectual, the 
 longer-armed man must make the very most of his reach, and he 
 must be sure that his blow does not miss its aim. The various 
 devices for eluding that aim, and preventing a long reach from 
 telling, constitute the A B C of the small man's art. But, sup- 
 posing an exactly equal degree of skill and pluck, the long man 
 should always win by reason of his blows coming home when 
 those of the other fall short. The stop by countering is mani- 
 
Figure X. — L-eft-hatstd lead-off 
 
THE ART OF BOXING 153 
 
 fcstly the best of all defences, for it needs less trouble. There 
 is no shifting of ground, no raising of the right arm, no violent 
 exertion of the body. Only the left arm is just thrown forward 
 and the adversary is disconcerted, receiving very likely a nasty 
 knock at the same time. When this energetic system of defence 
 is adopted the visage of the man who leads off, whether at the 
 head, or at the body, as in Figs. II. and III., comes violently 
 into contact with the outstretched fist of the intended victim. 
 Of course this ' stop ' may, and often should, be combined 
 v/ith a * guard ' by the right arm. 
 
 (2.) The retreat in good order. — This is a much safer, though 
 less telling manoeuvre. It is effected, if the lead-off is short 
 and the distance is accurately judged, by throwing the balance 
 of the body back on the right leg, and if necessary shifting 
 ground more or less to the rear, in manner already mentioned 
 (Fig. IV.). 
 
 (3.) Ducking. — A dangerous but highly effective device, only 
 to be used in emergency or against a man inferior in skill. The 
 head is suddenly inclined well to the right or the left, and at 
 the same time, if necessary, the body may be bent in the same 
 direction, and lowered by bending one or both knees. A very 
 expert professor engaged with a comparative novice will turn 
 the latter into great ridicule by actually nodding his head for- 
 w^ard and allowing the slow blow aimed at him to pass harm- 
 lessly over. Ducking, in combination with the several kinds 
 of ' cross-counters,' may be used with tremendous effect when 
 a safe opportunity offers ; but when attempted with a clever 
 man it exposes the defendant to the damaging hit known as an 
 * upper cut.' 
 
 Fig. V. shows a combination of the device of ' duck- 
 ing ' with a less orthodox but tremendously telling form of 
 attack. The head having been bent well to the right, so that 
 the left-hand lead-off passes well over it, a forward movement 
 
154 BOXING AND SPARRING 
 
 is made, whereby the whole body of the ducking man is pro- 
 jected forwards to that of the assailant. As the latter comes 
 on with the attacking impulse, his left ribs are exposed to the 
 impact of the advancing shoulder, which may be made more 
 pointed by drawing back the left arm. A small man engaged 
 in a street row, and attacked by a big fellow who knows some- 
 thing of the art and who leads off with the left, may employ 
 these tactics with great effect ; and if he happens to have a 
 bony shoulder, without much covering of flesh, the coup is not 
 unlikely to break in the ribs of the adversary. 
 
 (4.) The side step. — This is either unknown to the unlearned, 
 or practised by them in a bungling inartistic fashion. To effect 
 it properly, throw the whole weight suddenly on to the ball of the 
 left foot. Raise the right foot bodily and step out with it well 
 to the right, alighting on the ball of the right foot. The left 
 foot following after is put down quietly in front of the right, 
 and the man is in proper attitude again but standing a yard or 
 so to the opponent's left. If there is any danger of receiving a 
 blow from the left during the operation, duck the head and 
 lower the body so that the blow passes overhead, or if aimed at 
 the body hits the point of the left shoulder. When well done, 
 this stratagem leaves the other man pointing at nothing and 
 often hitting or advancing against the empty air (see Fig. VI.). 
 A side step to the left may be effected somewhat similarly ; but 
 it should never be resorted to except in extreme emergencies, 
 to avoid being forced by a heavier man into a corner or on to 
 the ropes. Another mode of shifting ground, more properly 
 called * slipping,' is shown in Fig. VII. Here the left foot is raised 
 and set down again at a point to the left of the adversary, the 
 right following it and coming down in position behind it. The 
 weak part of this movement is that it exposes the left side to a 
 very damaging blow. The proper style of breaking ground or 
 shifting, or slipping, is by movements to the right, avoiding the 
 
Figure XI.— Lead-off at the body 
 
THE ART OF BOXING 157 
 
 bruises it a good deal. That result may also be deliberately 
 intensified in guarding a round hit. With this object ' feint ' 
 your man with the left, and, instead of delivering a full blow, 
 turn up the elbow sharply, leaning the head and body forward. 
 The fleshy part of your assailant's arm will come full on the 
 sharp corner of the elbow, and he will have had a lesson not 
 easily forgotten. In like manner a cross-counter aimed by 
 him at the body, if it looks like getting home, may be stopped 
 by sticking out the left elbow, holding the fist low, and the 
 pain inflicted on the foe will be very severe. With a man who 
 stands left foot foremost and leads off with the right, the same 
 tactics may be employed with great effect, or the left arm may 
 be passed upwards, as the right is in guarding a left-hand lead- 
 off. In * in-fighting ' or boxing at close quarters, both arms 
 may be raised, as occasion occurs, and the elbows seasonably 
 presented between the intervals of hitting. And the head may 
 be guarded also by the left shoulder, and by putting down the 
 face, so that the blows come on the forehead or crown, jarring 
 the assailant's hands and arms, and causing him almost, if not 
 quite, as much damage as the man he hits. 
 
 When a beginner has become pretty clever at resisting or 
 eluding an attack he may at length be allowed to start proceed- 
 ings as the aggressor. And for a long time he should only be 
 allowed to use the left. The lead-off is the essential point to 
 which he must devote his whole attention. Every day for ten 
 minutes at a time, and as much oftener as he can, he should 
 stand opposite a wall, or better still, opposite a big sack full 
 of bran hung up in the middle of a room. Beginning at a 
 moderate distance he wall hit out at this, with an old glove on 
 his hand, adopting the position proper for advance, and retreat- 
 ing after each blow, now with a single spring, and sometimes with 
 a double step. As he begins to ascertain the real length of his 
 reach, and of his stride, he will increase the distance from which 
 
158 BOXING AND SPARRING 
 
 he leads off ; and by degrees he will develop his resources so 
 much that he finds he can strike from a distance far exceeding 
 his early attempts. The reach of a lead-off measured from the 
 foot of the wall struck to the right heel of the striker, will be 
 about equal to his own height ; but there are few men who, without 
 skilled teaching, could hit an adversary at that distance, and 
 much fewer who could do so and recover themselves easily. 
 In extending the left arm as the foot comes out, the knuckles 
 and elbows will be kept down, and the arm at the moment of 
 contact will be extended to its fullest length, perfectly straight. 
 The left foot is advanced till about a yard separates it from the 
 right, and is put flat on the ground, whereas the right heel is 
 raised some inches. The right leg is then nearly straight, but 
 the left knee is bent till it is just over the tip of the toes (see 
 Fig. X.). And here it is necessary to wait a moment, and estimate 
 the full value of a good left-handed hit, well-timed, and well 
 delivered. With this view place a man in the position indicated. 
 It will be seen that his whole body from the right foot to the 
 left fist forms a long low arch, or rather the half of an arch in 
 which there is no weak point. Take a heavy weight, a sack or 
 a human body, and precipitate it or lean it against the front end 
 of this semi-arch. It will be found to have absolutely no effect 
 in destroying its strength of resistance. Nay, the very force with 
 which you press against it makes its resistance more formidable. 
 And the arch itself, consisting as it does of a bow-shaped 
 curve, may be made stronger and stronger against any attack by 
 lowering the central and strongest part, consisting of the human 
 body, so as to straighten out the curve, and drive the upper end 
 (the fist) further forward. The aspect of a face driven forward 
 against the end of this curve would be a good deal altered 
 when it retreated from the ill-judged impact. In a really good 
 lead-off, properly timed, and happily executed, the force of the 
 blow is the accumulated product of many different agencies, all 
 
Figure XII. — Double lead-off with the right 
 
THE ART OF BOXING 159 
 
 directed with the most telling effect against the unlucky 
 recipient. The primary impulse comes, of course, from the 
 right foot, pressing the ground. It is transmitted with accumu- 
 lating force along the calf and thigh of the right leg, augmented 
 by the natural weight of the whole body thrown forward, and 
 carried on by the arm, which, extended in a rigid line from the 
 big muscles of the back and shoulder-blade to the knuckles 
 resembles a long bar of bone. Bring this formidable bar into 
 contact with a fixed mass of inert material, such as a huge sack 
 standing on its end, or a big box, or wall of thin wood, and you 
 will soon see what a sharp and damaging impression is produced. 
 But to use this hit to perfection extreme skill and judgment 
 are required. The most usual mistake is made by delivering 
 the blow when the arm is not yet straight, and when it loses its 
 chief virtue, as a weak point is then interposed between the 
 ground and the face of the man hit. Another very common 
 error is to draw back the fist before letting it go out. Not only 
 is this entirely useless, but it involves a waste of time, and 
 gives a watchful opponent notice of what is about to happen. 
 Finally, the fist, instead of going directly forward as it should 
 towards the object aimed at, is often raised aloft and then 
 brought down, hammer-like, only to be stopped by the inter- 
 posed guard, or, if it is not so stopped, to fall dow^nwards and 
 leave the left side of the striker open to an ugly and dangerous 
 attack. 
 
 To lead off at the body a similar action is made, the aim 
 only being somewhat lower, and the body and head correspond- 
 ingly kept down (see Fig. XL). With a taller man, or one who 
 holds his head too far back or his right-hand guard too high, 
 this form of attack is the best ; and it is also exceedingly useful 
 when, by a pretended lead-off at the head, the adversary has 
 been inveigled into putting up his guard too far. The recovery 
 from both these hits is as difficult as the hits themselves. The 
 
i6o BOXING AND SPARRING 
 
 greatest care must be taken, in practising at a dummy, not to 
 lean upon the blow and take an impulse backwards from the 
 object struck. It is obvious that if a tendency to do this were 
 encouraged the novice who missed his mark would be wholly 
 unable to get back, and might even topple over altogether, like 
 Entellus in the Virgilian epic. The impulse in recovering 
 must come entirely from the left knee and leg ; and as the 
 body is brought back, the left arm must be kept partly ex- 
 tended and ready for use as a shield against a rush and a right- 
 hand blow. The practice required for learning how to lead off 
 even passably is to be measured by months rather than days ; 
 and it can be brought to such perfection by years of constant 
 exercise that a professor will actually tell a novice, ' Now I am 
 going to hit you with the left,' and will do so in spite of his best 
 efforts to retreat, or dodge, or guard. 
 
 The double step forward in leading off is used with a man 
 who is shy and active but unskilled in the use of his legs. The 
 first step may be a feint at the head or body, and the second 
 a real hit. The distance covered by a good man — Mace, for 
 example^s almost incredible, and seems to take the assailant 
 more than half-way across the ring. For the defence take a 
 spring back to clear the first hit, and use the right-hand guard 
 or left-hand counter for the second. 
 
 Leading off with the right is dangerous and difficult. It is 
 generally preceded either by a hit or a feint with the left. A 
 little practice will enable you to get out the right almost as far 
 as the left; But the blow is altogether different, and depends 
 for its value on different principles. Although in a lead-off 
 the arm will be straight and the hit come from the shoulder, its 
 force is derived partly from the twist of the body by which the 
 shoulder is brought round to the front. It is a sort of com- 
 promise between a half-arm blow and a blow with the straight arm, 
 and it requires far more muscular action and less mere utilisa- 
 
Figure XIII. — Right-hand lead-off at the body 
 
THE ART OF BOXING i6r 
 
 tion of balance and weight than the other. Tn delivering it 
 the palm of the hand is downwards, the head kept well to the 
 left and the knee bent very much forward. As the right arm 
 comes forward, it is likely to meet with the left fist of the 
 adversary coming out with a counter ; and the idea is that it 
 will force this fist back and penetrate in spite of it to his face, 
 There is, however, much fear of its failing to do this ; and as 
 it does so fail the leader-off has to take the counter in full face, 
 meeting it with the weight of his body as his right shoulder 
 comes forward. Moreover, if the adversary should take it into 
 his head to lead off at the same time with his right, he is almost 
 sure to get home and give at least as much as he takes (see Fig. 
 XII.). So dangerous a manoeuvre, of which the effect may be so 
 damaging, should not be attempted until the beginner has 
 ceased to be a beginner. The other right-hand lead off is even 
 more risky. It is the same blow aimed about eighteen inches 
 lower, at the body. And the reason why it is more hazardous is 
 that in this case there is no reasonable likeHhood of encoun- 
 tering the other man's left hand. On the contrary, a free scope 
 is left for this hand to come home with unchecked force against 
 he advancing face of the leader-off. Far better, therefore, to 
 reserve both these hits for use as cross-counters, that is to 
 say, for the riposte delivered when the other man's left hand 
 has already come out in a lead-off on his side. If instead of 
 countering it is proposed to stop the lead-off with an arm guard, 
 nothing is more easy. All that need be done is to keep the 
 left arm well back close to the ribs, as shown in Fig. XIII. 
 
 In in-fighting the hits are all ' half-arm ; ' but they need not 
 therefore be ' round.' The body should be thrown well forward, 
 and the face kept down. As each arm is used in hitting, the 
 shoulder belonging to it should be thrown forward w^th a twist 
 of the body, and every endeavour should be made to keep 
 the forearms inside those of the opponent ; so that the blows 
 
 M 
 
1 62 BOXING AND SPARRING 
 
 which come home may be ^ upper cuts/ and his must neces- 
 sarily be only round-arm hits. The knees may be much more 
 bent than in out-fighting, as height is of less advantage, and 
 every effort should be made to drive the enemy backwards, so 
 that his blows lack force and his body is more exposed to 
 heavy half-arm hits with the right. In prize competitions in- 
 fighting does not count for much ; but it is otherwise in a bond 
 fide set-to or a street row ; and even in glove contests the man 
 who keeps his eyes open and delivers a good ^ rib polisher ' 
 when there is a fair chance, derives some benefit from it in the 
 shortness of breath and stiffness of the whole body which result 
 to the adversary. * Slogging ' and hard hitting with the mere 
 object of doing damage with the gloved hand earn no credit in 
 the eyes of a good judge ; but it is impossible to prevent the 
 effect of a hard hit upon the subsequent proceedings from 
 having its influence on the verdict. 
 
 It remains now to mention the combinations of attack and 
 defence which are so essentially necessary to every boxer. 
 They are of course very numerous, almost every one of the 
 four principal hits above described being combined with 
 several of the many methods of stopping or avoiding a blow. 
 But it may be left to the ingenuity of the learner and to the 
 care of his instructor to discover the less important of these 
 manoeuvres. Two sets of combinations require particular com- 
 ment — that in which the arm guard is accompanied with a hit, 
 and that in which the hit is used with a duck of the head. In 
 the left-hand lead-off the beginner should at first protect his 
 face, while delivering the blow, by putting up his right-hand 
 guard. By this means he will avoid the left-hand counter at 
 the head, which would otherwise assuredly come home. After 
 he is pretty well aufait at this, and can appreciate the merits 
 of that line of defence, his teacher must show him its demerits 
 when too freely used. With this object, as the right hand goes 
 
Figure XIV. — Right-hand cross-counte' 
 
THE ART OF BOXING 163 
 
 up and the hit is delivered the professor will gently counter his 
 man on the body. The latter thus learns that in leading off he 
 exposes two vital parts, the head and the 'mark.' And for 
 some time he will find it quite impossible to guard both. By 
 degrees only he will acquire that quickness of eye and nerve 
 that enables him to guess whether the opponent means to 
 counter high or to counter low. If the latter, he has only to 
 keep the right arm in its normal place. If the former, he must 
 put up his guard. Or, if he feels sure that the counter is com- 
 ing at the head, he may dodge the blow by ducking to the 
 right. In exactly similar style he will, standing on the, defence, 
 acquire a facility of guarding with the right,, and at the same 
 time, or immediately afterwards, before the assailant has got 
 back, delivering the left as a counter. Remember always this 
 difference between a Mead off' and a * counter' : in a lead off 
 the left foot must be advanced ; in a counter it need not ; 
 but advantage may be taken of the step-in of the enemy to, bring 
 him within distance. In common parlance,^ it is usual to. speak 
 of the men countering one another ; but this is really a mis- 
 nomer. When both men step in it is a double lead-off in 
 which each gets home. If both men only attempted to counter 
 they would be out of distance, unless indeed they were such 
 novices as to be both standing on guard within hitting distance. 
 Another device deserves some mention, on account of its tell- 
 ing effect, although it involves an unorthodox guard, and can 
 only be employed against an unskilled man, who stands with 
 his left foot crooked or hits in a weak or hammerlike fashion. 
 Suppose a blow to be coming at your head, of which you are 
 fully aware. Raise the left arm from its proper position in 
 exactly the same way as if it were the right coming up to the 
 guard, but as soon as the muscle of the forearm comes in con- 
 tact with the bone of the opponent's arm give it a turn outwards 
 and press forwards, leaning heavily against it. The whole upper 
 
 M 2 
 
1 64 BOXING AND SPARRING 
 
 part of your adversary's body will thus be ' screwed round ; ' 
 his right hand will be utterly powerless for all purposes of 
 attack, as well as the left against which you continue to press ; 
 and his left ribs will be presented fairly to you— an inviting 
 mark upon which you may deliver with perfect safety and 
 tremendous effect the full force of your right-hand blow. 
 Untaught men stand naturally with their left foot turned 
 inwards, quite out of the proper line. They little think, as 
 they spar wnth a professor who with good-natured smile lets 
 them knock him about a bit, that with one back-handed turn 
 of his wrist as they come blundering on he could send them 
 spinning, and, as their broadside comes opposite him, could 
 lay them flat on the ground with a broken rib as easily as they 
 could crumple up a band-box. 
 
 Ap7'opos of which there is a little true story told of the 
 famous Nat Langham, whose boxing rooms in Castle Street were 
 for so many years the head-quarters of the best professional 
 boxers of the West End. It was at a race meeting, where 
 the crowd was densely packed and locomotion was difficult. A 
 gigantic member of one of the great London Rowing Clubs who 
 prided himself upon his strength and a ' good practical know- 
 ledge ' of the fistic art, was working his way through the crowed 
 without much sparing the feelings of the lesser mortals. To 
 him, as he elbowed his way along, enters a little sallow-faced 
 middle-aged man, with a rather dogged though good-humoured 
 face. ' Don't you make too free with your elbows this way, 
 young man,' was the remark of the pigmy to the giant. 'You 
 might feel sorry for it' Goliath was dumb-foundered : the by- 
 standers chuckled in a very aggravating manner. Did the little 
 fellow really mean to insult him ? Did the httle laughing circle 
 around him really want to see an example made of their friend? 
 Evidently that was the idea. Every feature in every face 
 seemed to say as plainly as spoken words : ' Go for him. Don't 
 
THE ART OF BOXING 165 
 
 put up with his chaff.' And he went accordingly, putting up his 
 hands in the most correct style, and leading off with a left hand 
 that had felled many a redoubtable athlete. The next thing 
 that he remembers is picking himself up with some difficulty 
 from the ground, with a severe twitching and aching pain all 
 round the left side of the body. His immediate impulse was to 
 rush on again to the attack, for he was not one to show the 
 white feather. But the oldest, palest and seediest-looking of the 
 little knot of loafers laid his hand very gently on the big man's 
 arm. ^ Are you mad ? ' he asked, with ineffable scorn. * Why, 
 that's Nat Langham ! ' The amateur had just enough sense left 
 to turn on his heel, and walk off with the best grace he could. 
 Nat thought no more of the trifling episode than if he had 
 brushed a fly off his weather-beaten face. 
 
 The other counters are most properly called cross-counters. 
 They are four in number, and are considered, as far as actual 
 fighting is concerned, the most damaging of all blows. Com- 
 monest and most dreaded of all is the right-handed cross-counter 
 at the head, which is thus delivered : — Watch for your man's 
 lead-off with the left, and as it comes out duck to the left, throw- 
 ing the weight of your body on to the left knee. At the same 
 time pass your right arm forward, outside his left, and bring it 
 home with all your strength on to the left side of his face or 
 head. The result of this manoeuvre is that the lead-off arm 
 passes over the right shoulder of the intended victim, entirely 
 missing his head ; and the head of the leader-off, coming for- 
 w^ard with his blow, is projected in an utterly defenceless con- 
 dition on to the countering fist (Fig. XIV.). So severe is the 
 shock that the brain is shaken, and the neck almost dislocated, 
 while the hand and arm of the striker are apt to be badly 
 jarred, even through the glove. If the mouth of the leader-off 
 is at all open and the blow comes home on the lower side of 
 the face, a dislocation of the jaw, more or less severe, is almost 
 
i66 BOXING AND SPARRING 
 
 sure to follow, and for some days afterwards it will be matter of 
 pain and grief to the sufferer even to eat his food. The answer 
 to this cross-counter is to deliver the right at the face of the 
 counterer ; and to guard against this turning of the tables it is 
 well, while cross-countering, to keep the left arm ready to parry 
 the return blow. 
 
 Instead of thus countering on the head the blow may be 
 aimed at the ribs ; and in the case of a tall, bulky man this will 
 often be still more effective. In such case not only the head 
 should be ducked, but the body lowered by bending both knees, 
 allowing the lead-off to pass clean overhead (Fig. XV.). This 
 cross -counter is more dangerous than the other, exposing the 
 man who attempts it to an upper cut from the opponent's right 
 hand : but remember always, that that opponent is usually far 
 too much disabled by the cross-counter he has received to 
 think about any riposte. Of all the men who have been killed 
 with a blow from the fist (and there was one such case at 
 Christ Cliurch, Oxford, within the memory of man), by far the 
 majority have owed their misfortune to right-handed cross- 
 counters coming home on an untrained body, containing per- 
 haps a disordered liver or a diseased heart. The other two 
 cross-counters are less dangerous both to giver and taker. The 
 head is ducked to the right, so that the lead-off passes harm- 
 lessly over the left shoulder, and the left fist is brought round 
 on to the face, as in Fig. XVI., or the body, as in Fig. XI. In 
 the latter case, if the ' mark ' happens to be hit, the blow is 
 often decisive of a round ; it * takes the wind ' out of the 
 recipient so effectually that for a few seconds he cannot breathe 
 at all. 
 
 Only a few more particular points seem to call for notice in 
 a description of this elaborate art, which must be learnt by long 
 practice, after the elements of style have been fully mastered. 
 And first of ' feinting ' and * drawing. ' An experienced professor can 
 
n^ure XV.— Cross-co-dnter bodt-blow 
 
THE ART OF BOXING f6; 
 
 always ' make a fool ' of his pupil by these devices. A beginner 
 should resort to them only very sparingly. Nothing is more 
 absurd and unwise than to be always dodging about, fidgeting 
 with the feet and fussing with the arms, in the hope of perplexing 
 the enemy. Such tactics tire the performer, and, unless he is 
 very careful, expose him to be ' caught on the hop ' as he is 
 shifting ground or changing his attitude. In ' free play ' with 
 his teacher he must, it is true, feint him and draw him, or he will 
 never get a blow in. But while doing so he must be extra 
 watchful, and ever prepared for a speedy retreat or a quick- 
 parry. In a set-to with another beginner he should rely much 
 more upon the quickness of his lead-off, the accuracy of his 
 counters, and the speed of his step-in and recovery. The best 
 feint is a pretended lead-off at the head, combined with a real 
 hit at the body. To * draw ' a man some part of the head or body 
 is wilfully left open, or a mistake is made on purpose, in the hope 
 that the enemy, expecting it to be made again, may venture on a 
 rash attack, when, instead of finding the error repeated, he is 
 parried or dodged, and at the same time cross-countered. Retreat- 
 ing precipitately whenever an adversary appears to be about to 
 deliver a blow is a very favourite draw : and then, when the 
 man has been encouraged to make rushes or over-step himself, 
 a firm stand is made and he is effectively stopped with a heavy 
 counter. 
 
 The very essence of the accomplished boxer is to be found 
 in his power of judging distance and of ' timing ' his man. It 
 will be a very long time before the novice knows with any sort 
 of certainty when he is within hitting distance or not. And it 
 will be still longer before he can see exactly when he is likely to 
 catch a man coming on or to waste his effort on a retreating 
 foe. Allusion has already been made to the extraordinary 
 powers of judging and timing possessed by Tom Sayers. But it is 
 impossible to explain the innumerable signs and small indications 
 
i68 BOXING AND SPARRING 
 
 whereby a professor foresees the intended movements of his 
 pupils or rivals. The value of ' timing ' may be roughly summed 
 up by saying that one blow planted as the recipient comes on 
 is worth half-a-dozen inflicted while he is standing quite still, and 
 a dozen when he is in full retreat. 
 
 For the benefit of those who have short memories and small 
 opportunities for taking lessons, a few warnings and maxims 
 may perhaps be added, notwithstanding the trite adage as to * a 
 little knowledge.' On the negative side may be placed the 
 following : — 
 
 Never open the hands, or the mouth. 
 
 Never shut the eyes. 
 
 Never cross the legs, or get them close together. 
 
 Never lose your temper or your courage. 
 
 Never enter or leave the ring in a set-to with a stranger 
 without shaking hands with him. 
 
 Never, if you can avoid it, work round to your left. 
 
 Never, if you can help it, let your opponent stand between 
 you and a strong light. 
 
 Never let your right foot be in front of the left. 
 
 Never turn your back or run away. 
 
 Do not rush after a man who is retreating in good order. 
 
 Amongst affirmative precepts the following are worth 
 remembering : — 
 
 Hit with the big knuckles of the hand, and not with the 
 thumb or small knuckles. 
 
 Having led-off, whether you hit or miss, get away again out 
 of distance. 
 
 If you are the shorter man, do not * stand still to be shot 
 at,' but do most of the leading-off. Unless you can show that 
 you are distinctly the quicker and cleverer man, length of reach 
 will tell, and you will pay the penalty of your inches. 
 
 If you are much the hghter man, do not make your lead-oif 
 
Figure XVI. — Left-hand cross-counter 
 
THE ART OF BOXING 169 
 
 heavy, but ' draw ' your man, and at every opportunity counter 
 him with your whole strength and weight. 
 
 Having got home a hit, do not at once attempt to repeat it, 
 for you may very hkely be countered next time. 
 
 If you are getting the best of a round be very careful, and 
 keep out of distance. Let well alone, and ^spar for time.' 
 You need not do better, and you may do worje. 
 
 Always retain your *form,' even if the other man displays 
 gross faults of style and attitude. By imitating his style you 
 abandon one of your chief advantages. 
 
 A word should be said here as to the duties and powers of 
 judges and referees. There is this unquestionable defect in 
 boxing with gloves, as compared either with pugilism or with 
 racing and games of most kinds, that it depends upon the 
 judgment of the bystanders, or some of them, to decide which 
 is the better man. Something has already been said about 
 the leading principles which should guide a judge in giving his 
 verdict. For the rest, he must be trusted to know more about 
 the matter than those who attend at matches which they know 
 he is to determine. And the judges chosen should invariably 
 be men who have either actually fought in the ring or won the 
 best prizes of their day. Amateurs are more often chosen than 
 professionals ; and rightly so, for they are less likely to be pre- 
 judiced or influenced by any party feeling. But their task is 
 difficult and unenviable in the extreme ; and there are generally 
 not wanting a set of ignorant but bumptious critics who pretend 
 to be the best arbiters, and discharge volleys of abuse at the 
 persons who may have been chosen as most competent for the 
 office. The leading clubs have been very fortunate in, for the 
 most part, finding judges who utterly despised these attempts to 
 bully them, and continued to award the title of champion to 
 men who exhibited most science, excluding the badly taught 
 men who relied upon brute force to gain them the victory. It is 
 
I70 BOXING AND SPARRING 
 
 much to be hoped that such men will always be found to con- 
 tinue the best traditions of amateur boxing ; for if once this 
 latter is allowed to degenerate into glove-fighting, in accordance 
 with the wish of a certain clique, there will no longer be a 
 chance of getting respectable persons to compete or even to 
 look on. Hitherto the record of amateur champions reads 
 well enough ; and it is encouraging in a marked degree to the 
 aspirant to fistic honours in the future. For on the roll appear 
 men of all sizes, shapes, and builds. The tall, the short, the 
 stout, the thin, the light and the heavy, have all had their fair 
 share of victories in all these competitions. The heavy-weight 
 championship has been won by a ten-stone man, and the light- 
 weight championship by one nearly six feet high. As a rule, 
 the giants have not done well ; and in the whole list of winners 
 to this day there are not above two or three at the most who 
 can be described as really big men. Neither special strength, 
 nor peculiar activity, nor any natural aptitude for boxing seems 
 to be indispensable. One amateur who had begun to learn 
 very late in life, and whose style by no means betokened par- 
 ticular aptitude for the science, began by carrying off the 
 middle-weight championship, went on with taking the heavy- 
 weight, and, some time afterwards completed the work by 
 winning the light-weight ; the victory in each case being over 
 formidable competitors. The extended existence of these and 
 other amateur competitions, and of the assaults of arms and 
 other displays given by the gymnastic and athletic clubs, 
 has kept alive amongst professionals the study and practice of 
 an art which would otherwise have almost died out. The 
 name of Ned Donnelly has been already mentioned as an accom- 
 plished teacher, and it is only fair to mention some of the 
 other professors, such as Abe Daltrey, Bat Mullins, Mr. Blake, 
 Trooper Otterway, and Mr. A. J. White (now retired). At the 
 elder University there was for a long time an excellent school 
 
THE ART OF BOXING 171 
 
 conducted by Blake, who had been preceded there in olden 
 times by the renowned Tom Evans, a light-weight of Birming- 
 ham. Numerous local clubs exist, but it cannot be said that 
 as yet the style there inculcated is first-rate, or the representa- 
 tives very likely to tarnish the laurels of the London boxers. 
 
 E. B. M. 
 
WRESTLING 
 
 BY 
 
 W. ARMSTRONG 
 
The Hank 
 
WRESTLING. 
 
 INTRODUCTION. 
 
 One is confronted, at the very outset of an inquiry into the art 
 of wrestling, with some difficulty as to an exact definition of the 
 term. Several of the best modern writers on the subject, though 
 such writers are few indeed, describe it as ' the art of forcing 
 the antagonist to the ground.' But inasmuch as the antagonist 
 has already one or two feet on the ground, it becomes at once 
 necessary to go on and explain how much of him besides his feet 
 must come to the ground before he is considered to be * down.' 
 Is it sufficient for a hand or an arm to touch the floor ? Or 
 must a knee also touch it ? Or is even this not enough ? One 
 is landed at once amongst a host of different rules and autho- 
 rities, some of which say that both the shoulders must come 
 flat down before the bout is allowed to be won, while others 
 recognise much easier modes of finishing the struggle. Then, 
 again, there is, or at least was, a whole school of wrestlers which 
 maintains that it is not even enough for a man to be stretched at full 
 length on his back. Even when he is in this rather hopeless 
 position he may, if he can, throw off his opponent, and continue 
 the struggle until one of the pair is forced to cry * Hold enough.' 
 Accordingly, a proper treatise on wrestling cannot be confined 
 to one or two systems of attack and defence, but must at any 
 
176 WRESTLING 
 
 rate explain, if it does not accurately describe, the manoeuvres 
 employed in various countries and places. Even in England it 
 will be seen that there are four or more well-estabHshed schools 
 of wrestling, each of which recognises rules and tactics pro- 
 hibited by the others. 
 
 The golden age of this exercise, as well as of the sister art of 
 boxing, belongs to the ancient world, and to the Greeks. In 
 those days the competitors thought it well worth their while to 
 train for ten months before entering the lists ; and the victor 
 not only became a hero amongst his fellow athletes and the 
 common people, but was feted by the governments and munici- 
 palities of his native state, upon which he was supposed to have 
 conferred a very real honour and glory. He returned in a sort of 
 triumphal procession to his own city ; privileges and immunities 
 were decreed to him ; and in some states his statue was 
 allowed to be placed in the most important temples. Especial 
 favour was shown in the great national games to this species of 
 competition, which was introduced in them earlier than boxing, 
 and was believed to show off the strength, activity, and grace 
 of the competitor to more advantage than any other. The 
 statues which have come down to us from the classical age, 
 are familiar to almost everyone who has ever visited a museum 
 of sculpture, and they give a fair idea of the opportunities 
 offered by such a contest for the display of the muscles. None 
 of the victors in this department of athletics was, or is, so 
 famous as Milo of Croton, who six times carried off the prize for 
 wrestling both at the Olympic and the Isthmian games. A curious 
 story is related of the manner in which he encouraged the 
 growth of the muscles most necessary for a wrestler. Taking 
 a young calf, he began by carrying it a certain distance every 
 day, and as the animal by almost imperceptible degrees grew 
 heavier with its advancing age, the burden became by slow 
 and easy stages more and more grievous ; but the athlete was 
 
INTRODUCTION . 177 
 
 nevertheless able to continue his task until the calf had grown 
 into a heifer and the heifer into a full-sized cow. 
 
 Some of the earliest records of the Jewish and other 
 nations speak of wrestling as a common practice long before 
 the historic period properly so called. Gods and angels, demi- 
 gods and heroes, prided themselves on excelling in it. In such 
 times it would be combined naturally with boxing, and regu- 
 lated by no rules at all. The grand fight between Hercules and 
 the river god Acheloiis was (Oh, great shade of Sophocles, for- 
 give !) a ' rough-and-tumble.' The combination was revived 
 in the Pancratium, and continued in the great gymnastic dis- 
 plays in Greece and Italy ; but that was long afterwards, when 
 the laws of each had been reduced to an elaborate code. A 
 complete and no doubt very trustworthy picture of the contest, 
 as practised in early Greece, is presented in the matchless words 
 of Homer, who devotes thirty-nine of his rolling hexameters to 
 the match between Ajax and Ulysses. The prizes for the first 
 and second men were here less equal than in the boxing, for the 
 winner was to have a cooking utensil estimated to be worth as 
 much as twelve oxen, whereas the lady who was to be pre- 
 sented to the loser was only valued at the price of four oxen. 
 Then Ajax, the representative of bodily size and brute force, 
 came forward, and immediately after him Ulysses, the type cf 
 artfulness and trickery. Both of them put on belts expressly for 
 the occasion ; but it does not appear th* they made use of 
 these for obtaining a hold. Nor was there any difficulty in 
 catching hold of one another. The arms were passed right 
 round the body, and the legs and bodies w^ere inclined slantingly 
 Mike the rafters of a well-built roof.' It was not at all un- 
 lawful to take a grip of the skin ; and as the struggle went on 
 the pressure of the hard fingers raised big blood-coloured wheals 
 on the ribs and shoulders of both the heroes. No progress, 
 however, was made towards ending the round, for the son of 
 
 N 
 
178 WRESTLING 
 
 Laertes was just strong enough to withstand the forcible efforts 
 of the big man, and not quite able to overthrow him by main 
 strength or upset him by any stratagem. So long did the well 
 matched struggle continue that the spectators were beginning to 
 be bored, when Ajax made a new suggestion, ' Either do you 
 lift me up bodily, or I will lift you ! ' And at the same time he 
 made an attempt to hoist his adversary into the air. Now was 
 the time for the other to display his craft. As he was borne 
 from the earth he threw his weight forwards, and then, striking 
 with his heel on the back part of the other man's knee, overthrew 
 him and fell upon him. In modern phraseology he * hammed ' 
 his adversary before the latter had time to swing him over or 
 trip him up. 
 
 The second bout between these redoubtable antagonists was 
 evidently a victory for Ajax, though the account is not so clear. 
 When Ulysses, giving the hug, attempted to lift up the giant, he 
 could only just succeed in raising him a little off the ground. 
 And in doing so, by a great exertion of the back and knees, 
 one of his knees gave way and bent forward, letting down both 
 men together. Then as they got up and prepared to renew the 
 conflict, the master of the sports interposed. * Do not compete 
 anymore or wear yourselves out with your sufferings. Both 
 have shown themselves worthy of victory, and each shall have an 
 equal prize.' They appear to have been nothing loath to accept 
 the offer ; and both, wiping off the dust with which they were 
 covered, put on their shirts, and walked off to make room for 
 other contests. 
 
 In the Roman amphitheatre two sorts of wrestling were par- 
 ticularly distinguished, the upright and the recumbent. The 
 latter had only been allowed in Greece in the pancratium 
 where boxing and wrestling were combined ; but it appeals 
 clearly from the Homeric passage that in the early times, even 
 in Greece, a man who was once ' down ' was not allowed to be 
 
INTRODUCTION 179 
 
 further attacked. And it is unnecessary to say more about this 
 rough sport of strugghng on the ground, than that it was ended 
 either by the death of the loser, who was occasionally strangled 
 outright, or by his lifting up a finger in token of defeat. As for 
 the upright wrestling, it seems that either no garments at all were 
 worn, as in the great games of Greece,, or only a sort of girdle. 
 The hold was obtained either by the pressure of the arms or by 
 seizing the skin with the fingers, and apparently each system had 
 its own admirers and its own period. The application of oil to 
 the bodies could hardly have been for any other purpose than 
 to avoid the chance of being pinched in this painful way ; but 
 in after times the anointing with oil was followed by a sprinkling 
 with sand, which neutralised to a large extent the effects of the 
 oil, and made the hold with the fingers still more painfiil to the 
 skin than if nothing at all had been applied to it. In com- 
 mencing a bout the athletes devoted their first attention to 
 obtaining a favourable hold ; and their style must therefore 
 have resembled our English 'loose' wrestling rather than the 
 Cumberland and Westmoreland type. A victor had in early 
 times to win ^ the best of three falls,' as in our country ; but 
 in later times it seems that he must win the best of five. 
 
 In England it is very remarkable how entirely different a 
 system was developed in different parts of the island. A suf- 
 ficient reason may perhaps be found in the fact that for hundreds 
 of years locomotion was so difficult that the local champions 
 seldom travelled out of their own neighbourhood. Four widely 
 separate schools of wrestling have been known from time im- 
 memorial ; and each had its own persistent votaries, who main- 
 tained the superiority of their rules with as much zeal as the 
 players of different football games. Of these the Devonshire 
 and Cornwall styles are often reckoned in one category ; but 
 very improperly so, as it will be seen that they differ in a most 
 important particular. Then comes the Cumberland and West- 
 
 ^f 2 
 
iSo WRESTLING 
 
 moreland method, which achieved a wider renown, partly 
 because the North-country men addicted themselves with more 
 enthusiasm to its practice, but also because a good sprinkling 
 of the northerners established in London started in the metro- 
 polis a society for the encouragement of their favourite sport, 
 and held an annual prize meeting on Good Friday. 
 
 Thirdly there is the mode of wrestling called * loose,' and 
 also designated sometimes by local names, which may probably 
 be regarded as the commonest of all the English styles. It is also 
 nearest to that which was practised in the prize ring, and was 
 thus more familiar to the rank and file of sporting men than any 
 other during all the last century. There are a good many allusions 
 in the literature of England to this common form of the art, which 
 has the great advantage of being fettered by few rules and yet 
 free from any reproach of brutality. From the most ancient 
 representations of English wrestling that we possess it seems that 
 in Saxon times the hold was got with the open hand grasping 
 either the body or the tunic of the adversary, or else a sort of 
 scarf, apparently put on for the occasion. A cock was evi- 
 dently in those times a common prize for the victor ; but 
 before the time of Chaucer it had become the regular practice 
 to offer a ram for this sort of competition, as may be seen from 
 the character of the miller in his Canterbury Tales and from the 
 description of Sir Thopas, of whom the poet says that 
 
 Of wrastling there was none his pare, 
 Where any ram shulde stonde. 
 
 On special occasions the prizes were more dignified and more 
 valuable, as at a grand gathering of * all the west countrey ' 
 described in * A Mery Geste of Robyn Hode.' 
 
 A full fayre game there was set up 
 
 A white bull, up ypryght : 
 A great courser with saddle and brydle 
 
 With gold burnished full bright : 
 
INTRODUCTION i8i 
 
 A payre of gloves, a red gold ringe, 
 
 A pipe of wine, good faye : 
 What man beareth him best, ywis, 
 
 The prise shall bear away, 
 
 meaning probably that either one or two prizes w^ere offered for 
 divers competitions limited to men of certain weights or heights, 
 or coming from different counties of England. 
 
 In London there were certainly in the time of the Planta- 
 genets annual wrestling competitions on different feast days, and 
 notably on St. James' Day and St. Bartholomew's. In 1222 the 
 Londoners wxre challenged by the Westminster men ; and the 
 match took place in St. Giles' Fields, a ram being, as usual, the 
 prize of the victor. The London men won easily ; and a return 
 match was proposed and held at Westminster on the Lannnas 
 Day following. But before it could be concluded the bailiff of 
 Westminster with other persons interrupted the proceedings, 
 and a pitched battle ensued, some of the Londoners being 
 badly wounded in making their escape to the city. In a some- 
 what later period Clerkenwell was the usual trysting place for the 
 London wrestlers, and the time was x\ugust about the feast of 
 St. Bartholomew and following days. A picturesque account 
 of the proceedings is given in Hentzner's ' Itinerary ' : ' When 
 the Mayor goes out of the precincts of the city, a sceptre (pro- 
 bably the mace), a sword and a cap are borne before him, and 
 he is followed by the principal aldermen in scarlet gowns, with 
 golden chains, himself and they on horseback. Upon their 
 arrival at a place appointed for that purpose, where a tent is 
 pitched for their reception, the mob begin to WTCStle before 
 them, two at a time.' The growth of archery and other war- 
 like pastimes drove wrestling somewhat out of vogue, at least 
 in London ; and in the fifteenth century Stow complains 
 that the three days in August formerly consecrated to the con- 
 tests at Clerkenwxll had dwindled down tQ a single afternoon, 
 
1 82 WRESTLING 
 
 and the assemblage was less select. He seems to regret the 
 absence on such occasions of * the officers of the city, namely 
 the sheriff, sergeant, and yeomen, the porters of the King's 
 weigh-house (now no such men), and others of the city,' who 
 formerly attended and Svere challengers of all men in the 
 suburbs to wrestle for games appointed.' At one of the matches 
 at Clerkenwell as late as in 1453 another tumult was excited 
 against the Lord Mayor, who seems on this occasion at least 
 to have been present, as in the old times. In France the 
 practice of wrestling was apparently kept up with a good deal 
 of zest from the earliest times. Shakspeare has given us a 
 tolerably graphic account of the continental style, which was 
 perhaps rougher than ours. The Duke's wrestler, in ' As You 
 Like It,' may have been an exceptionally skilful performer, as 
 well as a man of gigantic weight and strength ; but he talks of 
 laming or disabling any average performer as if the infliction 
 of such injuries were a matter of common occurrence. And 
 in the contest which ensues the tables are turned upon him so 
 effectually, that Orlando, who resembled his prototypes Apollo 
 and Theseus rather than Hercules, at the first throw damaged 
 him so severely as to endanger his life. In relation to the 
 Shakspearean account of this contest, a story is told of a public 
 performance in which a champion wrestler had already killed 
 the two sons of an old man, when their youngest brother, despite 
 all the entreaties of the father, entered the lists and in a similar 
 way avenged the death of his brethren. The account of 
 this shews that in all early matches in Western Europe the 
 antagonists took off their shoes and entered the ring with 
 stockings on. The bout between Henry VIII. and Francis I. 
 at their famous meeting in France is described so differently 
 by different writers as to suggest the suspicion that it is only a 
 myth. 
 
 In comparatively modern times roguery and rowdyism, which 
 
INTRODUCTION iRj 
 
 have been fatal to so many good English sports, and which from 
 the accounts already referred to seem to have always attended the 
 wrestKng ring, drove the exercise itself out of fashion ; and it 
 was relegated, as far as the metropolis and the larger towns were 
 concerned, to bear-gardens and low taverns. It still held its 
 ground, nevertheless, with some honour at the wakes and fairs in 
 country places, especially in the northern and western counties. 
 In an old ^ Spectator ' is an allusion to a parish where every 
 year a wrestling-ring was formed and a beaver hat was offered 
 by the squire * as a recompense to him who gives the most falls.* 
 The company was allured not only by the prospect of seeing the 
 .sport but by the less classical attraction of a hogshead of ale^ 
 broached for their delectation during the ceremony. In most 
 of the western and midland counties a man was not accounted 
 down until one of his shoulders and the heel of the leg on the 
 other side had touched the ground. Carew declares that in 
 Cornwall about three hundred years ago, * Silver prizes for this 
 and other activities were wont to be carried about by certain cir- 
 cumferanci, or set up at brideales ; but time or their abuse hath 
 now (1602) worn them out of use.' Nevertheless there are 
 plenty of people now living who can remember the platforms at 
 rural fairs where local champions wrestled for a fall, though 
 silver prizes were not much given except in the form of coins of 
 the realm. At a fair in France only a few years ago one of the 
 professional athletes, wrestling with an amateur who ' fancied 
 himself,' was unlucky enough, or perhaps ill-tempered enough, 
 to give the intruder a fatal fall. 
 
 A considerable revival of the art has taken place during 
 the present century, the improved means of communication 
 between town and town and county and county having made 
 it easier for the local champions to try their skill against one 
 another. Some of the first real championship matches took 
 place in Cornwall, where the pride of the leading wrestlers 
 
i84 WRESTLING 
 
 was unable to brook the taunts of rivals in the neighbouring 
 county. The antagonism between Devonshire and Cornwall 
 is perhaps stronger than between any two adjoining divisions 
 of England ; and as each enjoyed a special reputation for 
 proficiency in wrestling a grand match had long been in con- 
 templation. There was, however, much difficulty in arranging 
 its details, by reason of the very different rules allowed on each 
 side of the border. The Devonians had at some time or other 
 grafted on to the antique practice of competing in thick stock- 
 ings a habit of wearing shoes ; and by the abuse of this latitude 
 of rules (for it cannot be otherwise regarded than as an abuse) 
 the shoes had been allowed to develop into hideous weapons 
 armed with a thick sharp-edged sole. The Cornish men, who 
 had never permitted such eccentricities, although they allowed 
 the use of the foot in * striking,' stood out for a long time for 
 the exclusion of thick soles and the use only of soft slippers. 
 Eventually, in order that the match might not fall through, the 
 Cornish champion yielded the point, and the meeting took 
 place under rules prescribed by the other party. A graphic 
 though rather inartistic account of the meeting was printed at 
 the time. It describes both men as fine specimens of their 
 class, and well prepared for the struggle. The Cornish man 
 had, however, not so far mastered the kicking tactics as to be 
 able to escape severe punishment. His pluck in enduring the 
 frightful blows aimed at his shins excited the admiration of 
 all the impartial critics ; but no one can read without some 
 disgust the description of the sufferings which he had to endure 
 before he could get to close quarters and engage in the art of 
 wrestling, properly so called. When he succeeded in this his 
 superiority seems to have been apparent, and the damage done 
 to his understandings did not so incapacitate him as to prevent 
 him from discomfiting his adversary. 
 
 It will be gathered from what has been said that the West- 
 
INTRODUCTION 185 
 
 country style is to a large extent made up of ' out-fighting/ The 
 men stand, like Ulysses and Ajax, wide apart, forming with 
 their two bodies a sort of right angle 'like the beams of a well- 
 shaped roof.' But while in this position they not only struggle 
 to overbalance their opponent and twist or swing him over, but 
 freely use their legs in the attack. The Cornish man strikes 
 with his heel or instep, using it somewhat as the French athletes 
 in the savate, endeavouring to cut away the other man's legs 
 from under him and thus render him an easier victim ; while 
 the Devonian not only does this, but aims vicious blows with 
 his toes at the shinbone of the enemy, in the hope of inducing 
 him through pain or faintnessto yield the day. Another notable 
 peculiarity of the West-country style is that the hold is altogether 
 artificial. Each man wears a short strong jacket made of un- 
 tearable material, and of this his adversary gets a hold as best 
 he can, endeavouring usually to seize with one hand the back 
 of the jacket behind the shoulder and with the other the sleeve 
 or arm of it. School-boys in these two counties used to find 
 the ordinary cloth school jacket well fitted for purposes of 
 wrestling ; the tailors of Exeter and Plymouth had little chance 
 of using ' shoddy ' for their juvenile customers without being 
 speedily discovered. The Cumberland and Westmoreland 
 style is so fully treated later on that details need not be given 
 here. 
 
 ' Loose wrestling,' sometimes called the * Catch as catch 
 Can ' style, requires no elaborate placing of the men in position, 
 and no special formality in catching hold. Kicking and even 
 striking with the foot, though no shoes are worn, are usually 
 prohibited ; and it is not allowed to catch hold of the hair or 
 the clothes, or to take a grip of the skin or flesh, or to tAvist the 
 arms or fingers. In many places a man is not considered down 
 until both shoulders are forced on to the ground ; but a more 
 simple rule has been introduced in other clubs and places, of 
 
1 86 - WRESTLING 
 
 ending the round when any part of the body except the feet, 
 knees, or hands touches the ground. Modern spectators do not 
 much care about the recumbent style of wresthng, in which a 
 man who is really down and underneath struggles, with very 
 small chances of success, but with laborious and tedious efforts 
 to keep at least one shoulder off the ground. 
 
 Before the hold is taken the men stand facing one another 
 in a peculiar and rather laughable attitude. The legs are 
 straddled apart, and the knees very much bent. The whole body 
 is also bowed forward from the hip joints ; and the arms hang 
 downwards just in front of the knees, the open hands feeling 
 about, as it were, in the air, in readiness to be put out when 
 a chance offers of getting a good grip. The heads mean- 
 while are held up, and the opponents eye one another keenly, 
 making slow and almost imperceptible advances and retreats in 
 a cautious, and to the bystanders a rather ludicrous, fashion. 
 Now and then a hand is extended towards the back of the 
 adversary's neck, or towards one of his wrists as they hang in front 
 of him. Then, again, it is withdrawn with the same wary groping 
 action. At length a hold is taken, one arm of each man usually 
 resting on the nape of the other's neck, while the other grasps 
 his wrist. The hold may be got and lost or abandoned many 
 times in one round ; and there is little or no restriction as to how 
 it may be taken, whether round the neck or over or under the 
 shoulders, or on any part of the arms or legs. 
 
 The variation of falls, and of manoeuvres leading up to them, 
 are even more endless than in the Cumberland and Westmore- 
 land style. And the falls are often more severe. Thus the 
 * cross-buttock,' when applied in this encounter with skill and 
 force, causes the losing man to turn a complete somersault in 
 the air, descending flat on his back. The 'cross-buttock' may 
 also be employed when the hold is round the body and not 
 round the neck ; and the discomfiture of the man so thrown is 
 
INTRODUCTION 187 
 
 increased by the action of the other hand grasping his wrist. 
 In this form of wresthng it is possible to obtain that most fatal of 
 all holds, the ' head in chancery.' Occasionally a man is thrown 
 without being grasped either round the body or round the neck. 
 His arm is seized with both hands, one at the wrist and one near 
 the shoulder, this arm is then drawn over the other man's shoulder, 
 and the victim is hoisted off the ground. For tripping up the 
 enemy many of the devices used by North-country wrestlers are 
 available in the manner already described ; and a man who is 
 an adept at this latter style will of course endeavour to rush m 
 and get as close a hold as he can of his man. This species of 
 encounter, admitting as it does of much more variety than the 
 other, and displaying the tactics of each man more clearly 
 because they stand further apart, is much the more amusing 
 and intelligible to spectators, who are often immensely diverted 
 by the quaint antics of the men in manoeuvring for a hold. 
 
 In the German style of wrestling the question is not so much 
 what you can do as what you may do. Almost all the refine- 
 ments of the art are lost, as it is not allowed to trip up the 
 adversary or entrap him by any ingenious movement of the feet 
 or legs. Neither ' hamming ' nor ' back-heeling ' nor * chips ' of 
 the sort so much admired in other countries are, consequently, 
 permissible ; and even the ' buttock ' and ' cross-buttock ' are 
 barred by the rule that you must not turn round so as to 
 present the back towards him. Strength and endurance are the 
 main qualifications for victory, and the science that is acquired 
 is chiefly connected with obtaining or preventing a good hold. 
 The main object is to obtain ' full hold ' by getting both arms 
 round the opponent's body below the arm-pits, instead of only 
 ' half-hold ' when one arm is below and the other over the 
 shoulder. The hands are not obliged to remain locked, as in 
 the Cumberland style, but may be shifted about so as to 
 improve the hold, but it is altogether forbidden to catch hold 
 
1 88 WRESTLING 
 
 of the legs or touch below the waist. As a fall is not counted 
 until both shoulders touch the ground, a long struggle is apt to 
 follow on the ground after one man is down. 
 
 A form of wrestling sometimes seen in Switzerland and called 
 * swinging ' requires a special costume, consisting of a strong 
 belt and stout drawers and shirt. The drawers are turned up 
 above the knees, so that their lower edge forms a roll something 
 like a broad gaiter, and the shirt is similarly rolled up above 
 the elbows. A hold may be taken either of the belt or the 
 rolled shirt or trousers, and these are used as a means of swing- 
 ing or twisting the man round. 
 
 The Japanese have long been particularly fond of wrestling, 
 which is displayed on public occasions and in the booths and 
 shows attended by the common people. Here, as in most 
 places, it is the stout thick-set men rather than the tall and 
 slender who have the most success. But in Japan the profes- 
 sional wrestlers encourage to the utmost any predisposition 
 which they may have for stoutness ; and their most celebrated 
 performers are usually what we should call enormously fat men. 
 It seems that in the classic age a similar idea prevailed to some 
 extent, and athletes who were in training for the * heavy ' con- 
 tests of boxing and wrestling were fed upon liberal allowances 
 of pork, cheese, and other fattening aliments. 
 
 The neglect into which wrestling has fallen in most parts of 
 tengland, especially amongst amateurs, is not to be accounted 
 for by any good reason. The chief enemies of the art are 
 often those who should be most in its favour, i.e. the school- 
 masters and the instructors at gymnasiums. Both these have an 
 exaggerated dread of broken bones amongst their charges, and 
 do their best to prohibit or discredit a sport which they think 
 hiay cause any unpleasantness between them and the parents or 
 guardians of their pupils. As a matter of fact, if a proper padded 
 or sanded place were provided for wrestling there would be ex- 
 
INTRODUCTION 189 
 
 ceedingly little danger of such casualties ; and the spirit of anta- 
 gonism which is ever strong amongst schoolboys and gymnasts 
 might be given free play in an encounter which is less provoking 
 to the temper than most others. The medical men of the 
 ancient world, who had the best opportunities of judging, pro- 
 nounced the exercise especially beneficial to boys, and it is 
 certainly calculated to remove as quickly as anything that stiff- 
 ness of joints and awkwardness of body which is so common 
 amongst youths in these days. Besides this, nothing is perhaps 
 better as a test of endurance than a wxll matched bout in the' 
 wrestling arena. It is a pity that the Universities and great- 
 schools and athletic clubs do not make efforts, by the offer of 
 prizes, to revive a sport which has been honourably regarded in 
 all former ages, and in which the English are probably still 
 quite capable of excelling. 
 
 E. B. M. 
 
190 WRESTLING 
 
 CHAPTER I. 
 
 CUMBERLAND AND WESTMORELAND. 
 
 Why some sports and pastimes become universally popular 
 within a very short time of their introduction, while others, 
 which seem to possess all the elements of popularity, never 
 extend beyond certain districts, it is impossible to explain. 
 Wherever a dozen Englishmen are collected together wickets 
 are sure to be pitched, and there are few parts of the globe in 
 which ' How 's that, umpire ? ' has not been heard. A quarter 
 of a century ago amateur running was almost unknown, yet at 
 the present day the country bristles with athletic clubs, many 
 of which contain men whose performances would, a few years 
 since, have been accepted as remarkable. Again, there are 
 games and sports which become thoroughly localised. Wrest- 
 ling, which has been the recreation in Cumberland and West- 
 moreland for centuries, has seldom found favour in any of the 
 Southern counties, with the exception of Cornwall and Devon- 
 shire. Such a healthy relic of the good old times deserves the 
 heartiest recognition, and being always reckoned a kind of twin 
 sister of the 'noble art,' it has a strong claim on all advocates 
 of bodily exercises, in which strength and skill are the principal 
 requirements. 
 
 In the last century the winner of a belt in Cumberland and 
 Westmoreland wore it during the day it had been won, and on 
 the Sunday following attended his village church begirt with it. 
 On the succeeding one he visited some neighbouring place of 
 
CUMBERLAND AND WESTMORELAND 191 
 
 worship in the same manner, and claimed precedence amongst 
 other young fellows, which was always granted. From this 
 practice of attending church it is easy to find a reason why the 
 parson of that period took so great an interest in the sport. 
 One incumbent was wont to boast that he was never thrown in 
 a ring and only once out of it. The Rev. Abraham Brown, of 
 Egremont, too, who was the first of whom we have any authentic 
 records of excellency as a 'buttocker,' was the admitted 
 champion of his district, and the Rev. Osborne Littledale, for 
 many years curate of Buttermere, on one occasion attended the 
 Crab Tree sports at Egremont in company with his clerk, the 
 parson taking the first prize for wrestling and the clerk that 
 for running. There is little wonder, then, that the sport of 
 wrestling flourished when it was supported by the clergy as well 
 as by so many among the ' classes ' and the ' masses ' in the 
 two northern counties. 
 
 Down to the present day even, when two champions of the 
 North make a match, thousands attend. Those who happened 
 to be present will never forget the excitement created by the 
 match at Ulverstone between Atkinson, the Sleagill giant, and 
 Jackson, of Kennieside, and later at Kendal when Tom Long- 
 iliire vanquished Hawksworth of Shap. A wrestler is still a hero 
 in the North ; and Dick Wright, of Longtown, a village adjacent 
 to the Knight of Netherby's domain, was as great a favourite in 
 the district as Sir James himself. Had the Northern counties 
 been polled, Dick Wright in his heyday would have come out 
 at the head as the most popular man therein. 
 
 James Hogg, the justly celebrated Ettrick shepherd (who 
 was in the habit of ' grassing ' his foes on the Braes of Yarrow 
 in top boots, a fashion that has not been followed by our 
 modern champions, notwithstanding the example of some 
 ancient heroes and Mr. William Litt) has occasionally intro- 
 duced wrestling in his tales ; and the description of the bouts 
 
1^92 WRESTLING 
 
 between Polmood and Carmichael is one of the best illustrations, 
 of a North-country wrestling competition to be found. No 
 apology need be made for giving an extract : — 
 
 Sixteen then stripped themselves to try their skill in wrestling, 
 and it having been enacted as a law that he who won in any one 
 contest was obliged to begin the next, Polmood was of course one 
 of the number. They all engaged at once by two and two, and 
 eight of them having been consequently overthrown, the other 
 eight next, engaged by two and two, and four of these being cast, 
 two couples only remained. 
 
 Some of the nobles engaged were so expert at the exercise, 
 and opposed to others so equal in strength and agility, that the 
 contests were exceedingly equal and amusing. Some of them 
 could not be cast until completely out of breath. It had always 
 been observed, however, that Polmood and Carmichael threw their 
 opponents with so much ease, that it appeared doubtful whether 
 these opponents were serious in their exertions, or only making a 
 show wrestle ; but when it turned out that they two stood the last, 
 all were convinced that they were superior to the rest, either in 
 strength or skill. This was the last prize on the field, and on the 
 last throw for that prize the victory of the day depended, which 
 each of the two champions was alike vehemently bent to reave 
 from the other. They eyed each with looks askance, and with 
 visible tokens of jealousy, rested for a minute or two, wiped their 
 brows, and then closed. Carmichael was extremely hard to please 
 of his hold, and caused his antagonist to lose his grip three or four 
 times and change his position. Polmood was, however, highly 
 complaisant, although it appeared to every one beside that Car- 
 michael meant to take him at a disadvantage. At length they fell 
 quiet, set their joints steadily, and began to move in a circular 
 direction, watching each other's motions with great care. Carmichael 
 ventured the first trip, and struck Polmood on the left heel with 
 considerable dexterity. It never moved him, but in returning it he 
 forced in Carmichael's back with such a squeeze that the bystanders 
 affirmed they heard his ribs crash, whipped him lightly up in his 
 arms, and threw him upon the ground with great violence, but 
 seemingly with as much ease as if he had been a boy. The ladies 
 screamed, and even the rest of the nobles doubted if the knight 
 
CUMBERLAND AND WESTMORELAND 193 
 
 would rise again. He, however, jumped lightly up, and pretended 
 to smile, but the words he uttered were scarcely articulate ; his 
 feelings at that moment may be better conceived than expressed. 
 A squire who waited the King's commands then proclaimed 
 Norman Hunter, of Polmood, the victor of the day, and conse- 
 quently entitled, in all sporting parties, to take his place next to 
 the King, until by other competitors deprived of that prerogative. 
 
 This account is doubtless the creation of the Shepherd's 
 teeming brain, yet Hogg was evidently conscious that the 
 practice of wrestling was not uncommon among the Scottish 
 nobility at that period. In those days the great landed pro- 
 prietors spent much of their time on their own estates. Directly 
 that ceased to be the case, degeneracy and effeminacy crept in. 
 Those exercises in which it had been the pride of their 
 ancestors to excel were abandoned, and afterwards few above 
 the rank of yeoman chose to exhibit in a ring either for their 
 own pleasure or that of others. 
 
 For the better information of readers who are not conversant 
 with * the practice or theory of Cumberland and Westmore- 
 land wrestling,' it may be well to devote a few words in ex- 
 planation of the terms usually applied to the methods of 
 assailing an opponent so as to bring about his downfall, gene 
 rally termed * throwing,' but by some hardy and unrefined 
 practisers of the exercise pithily called ' felling ' him. 
 
 Within the last dozen years Cumberland and Westmoreland 
 wrestling, as a science, has made such rapid strides that many 
 of the old ' chips ' are now obsolete. Being so well known and 
 easily stopped, few good wrestlers use them in the ring. The 
 old champions were no doubt mighty wrestlers, but a race of 
 professors has recently sprung up which considers itself, and 
 perhaps with reason, far superior to the heroes of any former 
 period. In the ring at Carlisle some particularly clever moves 
 have recently been witnessed, undreamt of a quarter of a century 
 
 o 
 
194 WRESTLING 
 
 ago, when Jameson and Wright held the pride of place. Few 
 of the past generation of wrestlers can be compared to the 
 present champions, Steadman and Lowden, who are each close 
 on 20 St. weight. The former is believed by some to be the 
 most powerful wrestler ever known, and Lowden, who is scarcely 
 inferior to his brother giant, possesses the most magnificent figure 
 that has graced a wrestling arena within living memory. When 
 Jameson and Wright wrestled the Frenchmen at the Agricultural 
 Hall in 1870, they acquitted themselves with credit, though 
 these wrestling matches with the, Frenchmen w^ere not very satis- 
 factory performances. Frequenters of wrestling rings will have 
 observed that there is not so much buttocking now as formerly. 
 The old head hold, by which William Blair, of Solport Mill, 
 Cumberland, was in the habit of throwing his men over his 
 head, is almost useless as a *chip,' an^i regarded as an error by 
 the talent. It is necessary to warn the uninitiated against these 
 fancy buttocks and to record that they mostly come into 
 play when a ' Hggin doon ' journey is contemplated. When- 
 ever much * gurnin' and haudin' ' are observable in a contest, 
 the spectator may be pretty certain he is witnessing a fair *go.' 
 Jim Scott, of Carlisle, frequently buttocked his men high in the 
 air, but then Scott was the most ' commercial ' performer of his 
 time, and had little trouble with his men in consequence. A 
 good wrestler who can throw an adversary, who is an expert, 
 over his head, is very rarely found. Scott, however, was con- 
 tinually doing this, although Ben Cooper, of Carlisle, and James 
 Pattison, of Weardale, men of his own build and weight, could 
 throw him in a genuine contest. Pattison was not a showy 
 wTCStler, but he was a grand ' dagger to the grun,/ wanted a 
 lot of 'skifting,'and frequently grassed Dick Wright, the Border 
 champion, when the pair met. William Rickerby, again, one 
 of the best men of his time, disliked showy wrestling, was 
 always satisfied w^hen he threw his opponent, and considered 
 
Catch hold sttls 
 
CUMBERLAND AND WESTMORELAND 195 
 
 the back-heel the safest and best chip. * Laal ' Tommy 
 Kennedy, the most accomplished wrestler of the present day, 
 holds the same views. No one ever saw Steadman or Lowden 
 perform any of these fancy moves : the two champions have 
 always been safe and steady goers, never throwing a chance 
 away, and at the time of writing both still continue to pursue 
 the same careful tactics. Dick Wright was perhaps the most 
 attractive wrestler of modern times ; and the agility he some- 
 times displayed was marvellous. He frequently threw a somer- 
 sault over his fallen foe, but then Wright was a very unsafe 
 wrestler, and often went down before men considerably his 
 inferiors. 
 
 The Cumberland and Westmoreland style of wrestling is 
 now known throughout the length and breadth of the land; yet 
 a brief summary of the rules and regulations laid down for the 
 guidance of competitors may not be out of place here. On 
 taking hold, the wrestlers stand up, chest to chest, each placing 
 his chin on his opponent's right shoulder, and grasping him 
 round the body, each having his left arm above the right of his 
 antagonist. When both men have got hold and are fairly on 
 their guard, the play begins ; and with the exception of kicking 
 they are allowed to use every legitimate means to throw each 
 other; but if either 'breaks his hold' — that is, leaves loose — 
 he is accounted the loser, and if either man touches the ground 
 with one knee only or any part of his body, though he may still re- 
 tain his hold, he is not allowed to recover himself, but is counted 
 as beaten. If the men fall side by side, or otherwise, so that the 
 umpires cannot decide which was first on the ground, it is what is 
 technically called a Mog fall,' and has to be wrestled over again ; 
 but if the umpires can see who is first down or falls under, that 
 man is the loser. Two umpires and a referee decide all Cum- 
 berland and Westmoreland competitions — a practice that might 
 be imitated with advantage by all wrestling communities. 
 
 o 2 
 
196 WRESTLING 
 
 The ^ Druid/ who was himself a native of CarHsle, devotes 
 a chapter of his ' Saddle and Sirloin ' to a description of the 
 skill, strength, and prowess of the wrestling champions whose 
 names are held in high honour among the people of Cumberland 
 and Westmoreland, and gives us a definition of the principal 
 * chips ' in vogue with the Jacksons, Armstrongs, Longmires, 
 Wrights, Jamesons, and other proficients in the wrestling arenas 
 of Carlisle, Penrith, Kendal, and many other little towns in the 
 two Lake counties. The ^ Druid,' however, who was not a 
 practical wrestler, is brief in his definitions, while Mr. William 
 Litt's treatise on the same subject, written sixty-five years 
 ago, is diftuse in the extreme. The late Ben Cooper's attempt 
 to elucidate the mysteries of the art has simply added more 
 intricacies and complications. Let us endeavour to strike the 
 happy medium and explain the ins and outs of the science 
 in the briefest possible manner. 
 
197 
 
 CHAPTER II. 
 
 * CHIPS.' 
 
 THE BACK-HEEL. 
 
 The back-heel is the most natural of all wrestling chips, as it 
 comes readiest to the hand, or, more properly speaking, the 
 foot of the youthful aspirant, who has merely to place his left 
 foot behind his opponent's right heel and bend him over it. 
 It is both an offensive and defensive move. One way to elude 
 it is to slacken the hold and turn round for the cross-buttock ; 
 another very effective mode of turning the tables upon an op- 
 ponent is to keep his back-heel in, and by falling apparently 
 backwards, you make a hank of it, as your right foot will then 
 be twisted, or rather crooked round his left leg, which should 
 be as near the ground as possible. Consequently, if a very 
 tight hold is kept the leverage will bring your man underneath. 
 The hipe can also be used when an opponent plies the back- 
 heel. Directly your adversary comes with the back heel, lean 
 to the left with your head low down, and throw your right leg 
 as high up as you possibly can, in order that he may be unable 
 to reach the ground with either foot. This makes a particu- 
 larly clean fall, especially as your adversary usually thinks he 
 is safe with the back-heel properly fixed — it is an unexpected 
 one in his case. As a general rule the back-heel should never 
 be taken out when once inserted ; such a mistaken move is in 
 most cases fatal, as the wrestler then mends his hold and you 
 are at his mercy. Any one who has seen much wrestling when 
 
198 WRESTLING 
 
 genuine struggles have been insisted upon must have observed 
 that the back-heel is about the safest chip in the whole cata- 
 logue, and more frequently used than any other. When the 
 left back-heel has failed to floor an opponent, an expert at 
 the game has sometimes been known to back-heel his man 
 w^ith both legs, but such cases are rare. Hamming is an 
 old-fashioned kind of back-heel, now completely out of date ; 
 any modern wrestler who endeavoured to throw his man by 
 catching him behind his knee with his heel would very quickly 
 find himself on his back. For hamming or back-heeling to 
 be effective the stroke must be plied as near the ground as 
 possible, and resolutely persevered in. 
 
 THE HANK. 
 
 This is a barbarous and unscientific chip, its principal re- 
 quirement being weight and strength on the part of the wrestler 
 who merely turns his left or right side to his antagonist, clicks 
 his leg in the inside below the calf, and by pulling his man back- 
 wards is enabled, on account of the leverage thus obtained, to 
 fall on him with unpleasant solidity. This is one of the most 
 dangerous and most uncomfortable throws imaginable ; the 
 men often come to the ground glued together with a most un- 
 pleasant thud. If the man w^ho is uppermost is sometimes 
 thoroughly shaken, how, it may be asked, does the poor fellow 
 underneath fare ? The hank has settled many a North-country 
 ' fratch,' and should any of our present boxers be induced to 
 practise the move, it would be a powerful weapon in his hands. 
 Whenever an opponent plies the hank, lean forward and en- 
 deavour to get a better hold. If the wrestler allows himself to 
 be pulled backward he is almost certain to lose the fall. The 
 chip was used by James Elliot, of Cumrew, near Carlisle, in 
 1835, but the old school would not take to it, and said it was 
 'aboot nowt,' in fact a beaten man's chip. 
 
BUTTOCE' 
 
CHIPS' 199 
 
 THE BUTTOCK. 
 
 This requires great strength and rapidity of execution. It 
 is accomplished by slackening the hold, turning quickly round, 
 getting your back under your opponent's stomach and throwing 
 him bodily over your head. The manoeuvre is more suitable 
 to the North-country style of wrestling than any other, as the 
 fact of the hands being clasped secures the assailant's grip and 
 prevents his being pushed on to his face, as in loose holds. It 
 is a chip, however, always fraught with peril, as the slack hold of 
 the buttocker, if he misses his aim, enables his opponent to 
 gain a firmer grip, which he is certain to make the best use of 
 in the commanding position in which he finds himself. Few 
 good wrestlers attempt to buttock one another, and the move 
 can only be successful with a mediocre performer. 
 
 THE CROSS-BUTTOCK, 
 
 though not such a showy chip as the buttock, is a very useful 
 one, and frequently comes into play when the wrestler has got 
 into difficulties by allowing his opponent to get behind him 
 during the struggle. Should the stroke fail, there is no help 
 for the unfortunate cross-buttocker. Down he goes, as a rule, 
 as his opponent has obtained the same kind of grasping hold 
 which the man who misses the buttock affords his opponent. 
 Buttocking and cross-buttocking differ in this wise : in the 
 former the wrestler adopts a loose hold, in order to get his 
 body underneath his opponent, so as to throw him over his 
 back without tripping him. A much tighter hold is required 
 for the purpose of cross-buttocking your man, and it is not 
 necessary to get so far underneath him, but the effort must 
 be seconded by the arms and upper part of the body, as other- 
 wise the act of throwing the leg across both those of your anta- 
 
2QO WRESTLING 
 
 gonist would end in disaster. In short, the modes of assault 
 and defence in buttocking and cross-buttocking are so diversi- 
 fied that a volume might be filled in illustrating this part of the 
 subject only. The act of buttocking, slipping from the side or 
 breast, and, in flict, of ever) thing that constitutes the science 
 of wrestling, depends much upon the different situations which 
 may occur in a contest. Generally speaking, quickness in 
 assault and promptitude in judiciously availing himself of any 
 circumstance that arises in a struggle may be called the dis- 
 tinguishing characteristics of a good and scientific wrestler. 
 
 THE OUTSIDE STROKE. 
 
 The safest method of playing this stroke is to half lift your 
 antagonist and strike him along his right leg and foot with your 
 left, taking care to twist him round the while. Another way is 
 to cause your man to walk round, and as he is lifting his re- 
 ceding foot, to strike it very smartly, which, if properly executed, 
 will land him on his knee. The left outside stroke is the best, 
 because if you fail you are still able to keep a good hold, but 
 a miss with the right outside stroke is fraught with danger. 
 Jonathan AVhitehead, of Workington, used the right foot with 
 daring shrewdness, and Walter Palmer, of Bewcastle, in 
 Cumberland, was generally successful with it, but as a promi- 
 nent chip it is now thoroughly extinct. An old-ilishioned 
 method, also entirely abolished, Avas for the assailant to thrust 
 his knee outside of his opponent's, and the foot inside the 
 ankle or small of the leg, thus placing a kind of lock upon the 
 knee and leg. Sixty years ago this was a very common prac- 
 tice, when strength alone often set science at defiance. To 
 attempt such a move in the present day with even a moderate 
 wrestler would simply insure the downfall of the assailant. 
 George Steadman, the Cumbrian champion, throws most of liis 
 
,^^^_ 
 
 :v-4g«^t 
 
 IVttDM JjOOK on CUECTK, COB3PW^X£. ASIfD DSTOM 
 
'CHIPS' 20 1 
 
 men with the left outside stroke, in conjunction with a particu- 
 larly vigorous twist, which latter is frequently enough for the 
 majority of his opponents. 
 
 THE INSIDE CLICK. 
 
 requires to be dexterously performed. To click an opponent's 
 left leg with your right on the inside, or his right with your left, 
 seems easy on paper, but is very difficult in practice. If 
 properly carried out, however, by an expert wTestler it is a 
 clincher and gives the adversary scarcely any chance whatever, 
 as he usually falls on the back of his head. Thomas Roper, of 
 Lamonby (the famous leaper who beat the Scotch champion 
 Dees at Edinburgh in 1849), was the first to introduce this chip, 
 and since his day it has been brought to greater perfection by 
 John Graham, of Carlisle, John Robinson, of Cockermouth, 
 and Tom Kennedy, of Egremont. 
 
 THE CROSS CLICK. 
 
 This is a near relation to the inside one, with this difference, 
 that you click your antagonist's right leg with your right and 
 his left with your left. How^ever, it is not nearly so effective as 
 the other. 
 
 THE OUTSIDE CLICK. 
 
 Generally speaking, this click is a saving measure resorted 
 to in order to keep the wTcstler on his legs w^hen in danger of 
 being thrown or lifted, and frequently it results in the downfall 
 of his opponent. For instance, should a man feel himself in 
 jeopardy of being lifted, swung, or hiped, the best thing he can 
 do is to click his foe on the same principle as the back-heel 
 and as near the ground as possible. This click, by the way, is 
 
202 WRESTLING 
 
 a kind of back-heel, but as it is considered a defensive move, 
 it claims a distinct appellation. 
 
 To a light-weight the outside click is invaluable, and more 
 heavy men have been compelled to bite the dust through its 
 agency than by any other means. 
 
 THE CHEST STROKE 
 
 is the far-famed chip of the renowned Dick Wright, of Long- 
 town, who used it with greater dexterity than any other wrestler 
 of his day. It can only be described as a peculiar and effec- 
 tive jerk off the breast, which no one previously, save Mossop, 
 of Egremont, was ever known to practise. None but those 
 whose chest and shoulders are well developed can succeed in 
 the manoeuvre, and the WTestler must be possessed of superior 
 strength and weight, or the experiment is certain to have an 
 unfortunate result. Mossop threw Tom Longmire twice out of 
 three times with it, Dick Chapman, of Patterdale, twice ; and 
 William Jackson, of Kennieside, one of the best wrestlers 
 Cumberland ever produced, was once thrown by Mossop by the 
 same manoeuvre. Many years subsequently Dick Wright 
 floored Jameson in the same way, and they all said afterwards 
 they did not know how to meet it. 
 
 THE HIPE 
 
 is one of the choicest chips that belong to the science of 
 wrestling, and makes one of the easiest and by far the most 
 graceful fall, especially when successfully performed. The 
 right leg hipe is the best, because your right arm is under your 
 opponent's left, whereas by using the left leg hipe — your left 
 arm being above his right — you cannot lift him so high from 
 the ground. If you hipe with the left leg and miss, and do 
 not throw your man, you are liable to get into a slack hold. 
 
Th3 Hipb 
 
' chips: 203 
 
 while he will improve his grip and then you are in his power. 
 In using the right leg hipe make your man go quickly round to 
 the left, and lift him, at the same time hoist up his left leg with 
 your right, so high that both feet must be off the turf; conse- 
 quently, if he cannot reach the ground with his right foot he 
 must naturally fall on his back. Although the left leg hipe 
 has its disadvantages it has one strong point : Should your 
 antagonist fail to go down while you are trying to bring him 
 over with the hipe you have him in a grand position for the 
 buttock, as he will probably land on his left foot ; all you have 
 to do is to cross his left foot with your left as rapidly as pos- 
 sible to insure a victory ; otherwise your defeat is inevitable, as 
 your opponent will merely * gather ' his hold and you are help- 
 less. Hipeing was very little known till the beginning of the 
 present century, and then only in certain parts of the country. 
 AVhen it was introduced to the champions of the Border 
 counties, a little over half a century ago, it completely revolu- 
 tionised the science of wrestling. Among all the hipers of a 
 past generation of wrestlers William Jackson, of Kennieside, 
 and Tom Pooley, of Longlands, were pre-eminent. The former 
 swung his man round with the rapidity of lightning and seldom 
 fell with his opponent when doing so, although it rarely happens 
 that any wrestler, no matter how expert he may be, can throw 
 his man without falling on him. Jackson and Pooley were 
 both very tall men, and to this circumstance their prowess in 
 hiping must, in a material degree, be attributed. As a rule it 
 is accounted the utmost folly for a short man to try to hipe an 
 opponent much taller than himself. William Rickerby, one of 
 the best wrestlers that ever lived, found this out to his cost when 
 he attempted to hipe Ralph Pooley in their match at Liverpool 
 in 1872. Pooley with his long reach stepped over Rickerby's 
 leg and back-heeled him three times in succession. 
 
204 WRESTLING 
 
 THE SWINGING IIIPE. 
 
 Swing your opponent first and hipe him while he is off the 
 ground. 
 
 THE HITCH OVER 
 
 is a very unsafe chip, but it makes a clean fall when it comes 
 off. Turn your left side to your adversary, and your left leg 
 round his right on the inside, holding it up as high as you can, 
 and while your man is standing on his left leg quit his right 
 with your left and cross his left after the manner of the cross- 
 buttock, and a good fall will be the result. 
 
 THE HOLD. 
 
 Finally, the circumstance of taking hold, while it is the most 
 frequent cause of dissension among wrestlers, is at the same 
 time the most difficult for an impartial spectator or umpire to 
 form a correct and decisive judgment upon. The biassed and 
 interested spectator and the w^ell-wishers of either party are 
 often determined not to be convinced that the fault originates 
 with their favourite. This being the case, those who give the 
 prize ought always promptly to enforce the judgment of the 
 umpire whom they have chosen. The rule for deciding the 
 hold, notwithstanding the difficulty of the subject, is, we hope, 
 sufficiently intelligible to any man who is competent to fill the 
 arduous position of umpire. 
 
 In taking hold you stand chest to chest, and, as you place 
 your right arm under your opponent's left, it is evident the 
 further you get your shoulder underneath, the more power you 
 must possess. At the same time do not forget to keep your 
 left arm well down in order to prevent the right shoulder of 
 your antagonist from getting too far through. A great deal 
 depends on the hold you begin with, for if vou have a good 
 
The Hold 
 
' chips: 205 
 
 grip you may safely make play at once with a man of your own 
 weight, but if you have a bad hold it is better to wait and try 
 to improve it in the struggle ; and always keep this in mind : 
 never quit your hold till you are on the ground, as many 
 a fall is snatched out of the fire when the wrestler is within 
 an ace of the turf. There are many other chips created by 
 the emergency of a struggle which the scientific wrestler can 
 adopt more easily than they can be described on paper. These 
 remarks are not intended to instruct the skilful wrestler, who 
 knows by practice more than precept can teach him; they 
 may, however, be useful to those not conversant with the art, 
 to whom an elaborate disquisition on the subject would be a 
 puzzle rather than a guide. 
 
2o6 WRESTLING 
 
 CI-IAPTER III. 
 
 RING REMINISCENCES. 
 
 Those who have never competed in a wrestling ring will pro- 
 bably be unable to understand the feelings of two friends when 
 they happen to be pitted together in the magic circle, especi- 
 ally if the friends should meet in the first round before the 
 chill is off their nerves. Anyone who imagines either man can 
 do his best under the circumstances had better try the experi- 
 ment, and he will be immediately undeceived. With a stranger 
 the case is quite altered. There is far less hesitation in lugging 
 him about and getting the very best obtainable hold ; indeed, 
 many a contest is lost by a careless and indifferent grip to 
 begin with, and through being too ' cock-sure.' 
 
 That it requires a certain amount of pluck to wrestle suc- 
 cessfully in a public ring surrounded by thousands of spectators 
 is an obvious fact, and ' dyke-back 'uns ' who could * fell owt 
 at heame,' have, on most occasions, been eager to 'patronise 
 the " purchase " system ' when confronted by an antagonist in 
 the arena. Frequently a first-class * ahint a dyker'has been 
 known to fall before the clutch of a third-class man in a com- 
 petition when fair felling was the order of the day. If the 
 stomach, as a certain clever writer has asserted, is the ' seat of 
 funk,' it is somewhat astonishing that Cumberland and West- 
 moreland wrestlers, who are amongst the foremost trenchermen 
 in the known world, should suffer from this fearful malady. 
 
RING REMINISCENCES 207 
 
 Without doubt wrestling is the most popular athletic 
 exercise in the classic Borderland, and the great annual meet- 
 ings at Carlisle and Grasmere are productive of the most 
 unparalleled excitement in the Northern counties. Among all 
 the numerous gatherings of a similar kind during the season 
 those two rings are looked upon as the spots where immortality 
 is achieved, and where the best men in the country assem- 
 ble once a year animated with the burning and overwhelming 
 desire of stamping their names on an undying page of 
 history. The man who has not a hobby of some kind must 
 be a poor creature indeed, and as the old farmer remarked 
 when his better half was ^heckling' him for attending a 
 ' main ' in company with Professor Wilson, ' Howt, lass, haud 
 the gob. Ivvery yen hes his hobby, and cock-feichtin's mine.' 
 The grand old Professor was passionately fond of this same 
 cock-fighting, but then he was equally enthusiastic in regard to 
 wrestling, boxing, and other athletic sports, and in the December 
 number of ' Blackwood ' (18^3) thus delivers himself on the 
 subject of wrestling : — • 
 
 It is impossible to conceive the intense interest taken by the 
 whole northern population in this most rural and muscular amuse- 
 ment. For weeks before the Carlisle great annual contest nothing 
 else is talked of on road, field, flood, foot, or horseback ; we fear it 
 is thought of even in church, which we regret and condemn ; and 
 in every little comfortable 'public' within thirty miles diameter 
 the home-brewed quivers in the glasses on the oaken tables to 
 knuckles smiting the board in corroboration of a Graham, a Cass, 
 a Laughlen, ' Solid yaik,' a Wilson, or a Weightman [names well 
 known in the wrestling world at that period]. A political friend of 
 ours, a staunch fellow, in passing through the Lakes last autumn 
 heard of nothing but the contest for the county, which he under- 
 stood would lie between Lord Lowther (the sitting member) and 
 Lord Brougham. But to his sore perplexity he heard the names of 
 new candidates, to him hitherto unknown, and on meeting us at the 
 
2d8 wrestling 
 
 best of inns, the White Lion, Bowness, he told us, with a down- 
 cast and serious countenance, that Lord Lowther would be ousted, 
 for that the struggle, as far as he could learn, would ultimately be 
 between Thomas Ford, of Egremont, and William Richardson, of 
 Caldbeck (two celebrated wrestlers), men of no landed property 
 and probably Radicals. It is not easy, even for the most poetical 
 and picturesque imagination, to create for itself a more beautiful 
 sight than the ring at Carlisle. Fifteen thousand people perhaps are 
 there, all gazing anxiously on the candidates for the county. Down 
 goes Cass, Weightman is the standing member, and the agitation 
 of a thousand passions, a suppressed shudder and an undergrowl 
 move the mighty multitude like an earthquake — no savage anger, 
 no boiling rage of ruined blacklegs, no learing of mercenary swells, 
 but the visible and audible movements of calm, strong, temperate 
 English hearts, free from all fear and ferocity, and swayed for a few 
 moments of sublime pathos by the power of nature working in 
 victory or defeat. 
 
 Professor Wilson gave it as his opinion that the greatest 
 number of powerful men he ever saw was in the wresthng ring 
 at CarHsle and in the General Assembly of the Church of 
 Scotland a.d. 1823. Some years prior to the above date Wilson, 
 who was promoting the sport at Ambleside, wrote a very 
 amusing account of the wrestling held there. The genial 
 professor goes on to say : — 
 
 On Thursday I went to Ambleside with Williams and George 
 Fleming to see the wrestling. It was very good, a man from 
 Cumberland with a white hat and brown shirt threatened to fling 
 everybody and ' foight ' them afterwards. The ' foighting ' I put 
 a stop to. He stood till the last, but was thrown by a school- 
 master of the name of Robinson, cousin of the imp who used to 
 be at Ellary, who won the belt with a handsome inscription, ^ From 
 Professor Wilson.' We had then a number of single matches, the 
 best of three throws, and Collinson of Bowness threw Robinson 
 easily, he himself having been previously thrown by the Cumbrian 
 for the belt. One Dunkey, who had also been thrown for the belt, 
 then threw Collinson, and a tailor called Holmes threw Cumber- 
 
RING REMINISCENCES 2og 
 
 land ; a little fellow about the size of Blair [the Professor's son] 
 threw a man of six feet high and fell upon him with all his weight. 
 Holmes the tailor then threw Rowland Long. The wrestling on 
 the whole gave the family great delight. 
 
 Ritson, a Cumberland worthy, who had been a famous 
 wrestler in his youth, tells how he once wrestled with * Kit 
 North ' and threw him twice out of three falls, but he owned 
 the Professor was a Werra bad 'un to lick.' Wilson beat him at 
 jumping ; he could jump twelve yards in three jumps with a great 
 stone in each hand; Ritson could only manage eleven and three- 
 quarters. * T' furst time 'at Professor Wilson cam' to Wastd'le 
 Heid,' said Ritson, 'he hed a tent set up in a field, an' he gat 
 it weel stock't wi' bread an' beef an' cheese an' rum an' ale, an' sic 
 loike. Then he giddert up my granfadder, an' Thomas Tyson, 
 an' Isaac Fletcher, an' Jwosep Stable, an' add Robert Grieve 
 an' some mair. Then thur was rustlin' for buckskin breeks, 
 gurnin' for bacco thro' a horse-collar, and nowt wad sarra but 
 t' Professor wad rustle t' champion at t' conclusion o' t' spw^orts ; 
 there was a gay deed amang them you may be shure. It was 
 a' life an' mirth amang us as long as Professor Wilson was at 
 Wastd'le Heid.' 
 
 The late Mr. Richard Margetson, who was many years 
 Chairman and Secretary of the Cumberland and Westmoreland 
 Wrestling Society in London, had the pleasure of shaking 
 hands with 'Christopher North' after one of his successes at 
 Windermere, the Professor declaring Margetson to be the best 
 wrestler in England. Mr. Margetson had the distinguished 
 honour of winning thirty belts in Westmoreland before attaining 
 his majority. 
 
 Charles Dickens, too, found a subject when he visited the 
 Ferry sports at Windermere over a quarter of a century ago, and 
 saw ' Bonnie ' Longmireand ' Bonnie' Robson meet to contest 
 the final falls, when the latter w^as compelled to knock under. 
 
 p 
 
2!o WRESTLING 
 
 The great humourist tells us that * the champion here, who 
 was so good as to show us how to " take hold '' the other day 
 in his garden, has left his mark indelibly in our back, besides 
 having compressed our ribs so that we cannot breathe right 
 yet/ 
 
 In the pages of ' Household Words ' Dickens described 
 the wrestling arena at Windermere and its beautiful surround- 
 
 There is not, we believe, a more charming spot in all England 
 than that afforded from the Ferry ring at Windermere. As we sit on 
 its rude wooden stand, and look straight out to northward, six miles 
 of the blue lake lie immediately beneath us, gemmed with innumer- 
 able wooded islets, and sprinkled with countless sails — afar the 
 grandeur of the mountain world, and near the beauty of the lake. 
 What more would we of nature ? As for man — in this small ring before 
 us, the foreground of the picture — there will be seen as splendid 
 specimens of strength and form as Britain boasts of; the vigour of 
 sinew, the shifts of suppleness, can be no further exercised than we 
 shall see them used to-day. The men shake hands before com- 
 mencing in token of amity, nor indeed in the thick of the struggle, 
 while the face of one is over the shoulder of the other, and every 
 muscle is exerted to the uttermost, do these fine fellows exhibit any 
 trace of savageness or personal animosity. It is very possible that 
 amongst these men the bubble reputation may be held in less 
 repute than a ten-pound note, and that various little arrangements 
 may be made beforehand to the advantages of their privy purses 
 and to the prejudice of honest and fair felling, but their case is 
 quite exceptional. Certainly two men coming from the same place 
 will generally refuse to wrestle at all, and he who is considered the 
 better man '• stands ' fresh and ready for more alien opponents. 
 
 Such a recommendation, coming from the pen of one of the 
 keenest observers of human nature the w^orld has known, must 
 convince the most obdurate unbeliever in Cumberland and 
 W^estmoreland wrestling that the sport is of a manly and noble 
 character. Dickens proceeds to say that 
 
RING REMINISCENCES 2\i 
 
 Good wrestlers rarely hurt one another. This quiet-looking 
 giant by our side [Tom Longmire], who has been champion often 
 and often and will be so again to-day, although he is nearly forty 
 — and more than twelve years past the wrestler's prime — has never 
 in his twenty years' experience once been hurt. He won his first 
 man's belt when a lad of sixteen years old, and in his house across 
 the lake yonder, a clean neat little inn set in a wilderness of flowers, 
 has no less than one hundred and seventy-four of these wrestling 
 zones. Of all colours they are, and of all descriptions, from the broad 
 plain, Manchester-looking belt, won at that matter-of-fact and un- 
 ornamental town, to the splendid award of Newcastle embossed 
 with the silver towers. It has come to the last round, and our 
 giant friend has got but one foe to deal with, a true son of Anak, as 
 tall if not so big as himself. He has got his work cut out for him, 
 say the old hands, but success has made him somewhat overbold. 
 How quietly he suffers those mighty arms to be placed around him, 
 and those strong fingers to feel like one in the dark for a certain 
 hold. Now they have gripped at an advantage and the foe is only 
 waiting for him to have hold likewise ! He has holt ! he has holt ! 
 see how they grapple and strain. ' Bonny Robson, Bonny Long- 
 mire,' so interested this time in the individuals as to call them by 
 their names instead of by the localities from which they come. 
 
 Three to two on Langmire, two to one : five to Langmire's 
 
 down, Robson's felled him, and indeed it was so, very quiet but 
 very grim our giant looked. ' Itis the best of three for the last round' 
 quoth he, as he took up earth in his hands to prevent them slipping, 
 reminding us of the preparatory horn practice which the bull in- 
 dulges himself in on the turf before he charges. This time it is 
 two to one on Robson, who is indeed a very good man, but is felled 
 nevertheless, and the third time he is likewise felled. So our giant 
 friend has won his one hundred and seventy-fifth girdle after all. 
 
 Among a certain class of persons a foolish notion exists 
 that wrestling is so injurious to the frame that it destroys the 
 constitution, and brings on so many aches and pains that a 
 wTestler when advancing in years must necessarily be a cripple. 
 On the contrary, there is no more healthful and invigorating 
 exercise. It is just forty-four years since Longmire wrestled 
 
 P 2 
 
212 WRESTLING 
 
 second to the celebrated William Jackson of Kennieside, in the 
 ring at Carlisle, and a more vigorous man for his age it would 
 be difficult to find in the three kingdoms. Tom, like a true 
 sportsman, still rehshes the * crack of the whip,' and may be 
 seen once at least every summer in the ring at Grasmere sports, 
 where he has acted as umpire for many years. Another 
 celebrated champion, Dick Chapman of Patterdale, who took 
 the first prize at Carlisle in 1838, fifty years since, is still hale 
 and hearty. Since Chapman's retirement he also has fre- 
 quently performed the duties of an umpire in the ring, and 
 those who frequented the Bride Kirk coursing meetings some 
 years ago, the ^ Druid ' informs us, will remember his directing 
 the beaters of the 380-acre ' Tarnites,' as head gamekeeper to 
 Major Green Thompson, and always sweet on Beckford and 
 Sunbeam. 
 
 Many years ago, when James Scott of Carlisle (the prince 
 of light weights, * Bonny Jim,' as he was called), Ben Cooper 
 and Harry Ivison of Carlisle, Thomas Davidson of Castleside, 
 Jonathan Whitehead of Workington, and others were in their 
 prime, they were invited to the ancient stronghold of the 
 Howards, for the purpose of giving an illustration of Cumber- 
 land and Westmoreland wrestling to the assembled guests, who 
 were highly delighted at the display. The Howards have 
 always been patrons of the wrestling arena. As far back as 
 1809 the then Duke of Norfolk frequently offered prizes at 
 Greystoke Castle for wrestling. Those trophies usually con- 
 sisted of buckskin breeches, and fair felling was always insisted 
 upon by the noble promoter of sport. Wrestling at that period 
 was becoming very popular in the Northern counties, and we read 
 that in October 181 1 twenty guineas were given to be wrestled 
 for on the Swifts at Carlisle during the race-meeting, and that 
 among the spectators were the Marquis of Queensberry, the 
 Earl of Lonsdale, Lord Lowther, Sir James Graham (of 
 
RING REMINISCENCES 213 
 
 Netherby), Sir James Graham (of Kirkstone), together with a 
 great concourse of other gentlemen. 
 
 Let us now take a leap into the ring at Carlisle, a.d. 1809, 
 when the first recorded wrestling gathering took place in that 
 now celebrated spot. The first prize, a purse with ^ five gold 
 guineas ' in it, was contended for at Carlisle Races, in September 
 1809, and was won by Thomas Nicholson of Threlkeld. 'Two 
 purses of gold ' were given the next year, and for three years in 
 succession Nicholson was the champion. The buttock and the 
 cross-buttock were the favourite chips, and it is said * many of 
 the men were struck from the ground upwards of five feet.' 
 In 1 81 1 Nicholson was induced to fight a seaman of the name 
 of Ridley {alias the ' Glutton ') and a severe half-hour's battle 
 took place, in which Tom acquitted himself to the sati.sfaction 
 of his numerous admirers. He was the fresher man when the 
 combatants separated, and the hard falls Ridley received during 
 the contest were rapidly placing him at the mercy of the 
 accomplished wrestler. Nicholson was within a hair's breadth 
 of 6 feet and weighed about 12 stone 8 lbs. He was not only 
 the finest wrestler of his day, but he claims some extra atten- 
 tion on the score that he was in height, appearance, shape, 
 make, and even so far as tone as voice, the exact counterpart 
 of Jem Belcher, w^hose portraits again bore a curious resem- 
 blance to * the great Napoleon.' 
 
 William Richardson of Coldbeck, who, it is said, had w^on 
 240 belts, was another famous wrestler who figured at that 
 period, and whose cognomen of ' Belted Will ' was probably 
 better earned than that of old Howard of Castle Dacre him- 
 self. From this time up to the year 1821 several champions of 
 somewhat unequal ability figured in the arena, the best of the 
 collection being James Scott of Canonbie, in Dumfriesshire, 
 Robert Rowntree of Newcastle, and William Cass of Lowes- 
 
214 WRESTLING 
 
 water. Ci?ss was a burly, thick-set man, 6 feet i inch, and 17 
 stone weight, but John Weightman of Hayton, who came to 
 the front in 1822, overtopped him by an inch in height and 
 weighed a stone more. Weightman was a splendid-looking 
 athlete and won his falls by immense power and length of arm, 
 but the celebrated ' Belted Will ' grassed him in first-rate style 
 when the pair met sixty odd years ago. ' Geordie ' Irving of 
 Bolton Gate, who was 5 feet 10 inches and 14 stone, seemed 
 quite a ' bairn ' in the arms of such a Lifeguardsman as Weight- 
 man, but ' Geordie ' was a hero of dauntless pluck and feared 
 no man. His science was magnificent. He liked a tight 
 hold of his man, and as a right leg striker and cross-buttocker 
 with the left leg he was unsurpassed. 
 
 Irving threw the giant McLauchlin, who w^as 6 feet 5 inches 
 and 20 ston^ weight, in 1828, amid the wildest excitement. 
 Richard Chapman of Patterdale, who won the belt at Carlisle 
 four years in succession, was only ' nineteen come Martinmas ' 
 when he first appeared on the Swifts in 1833 and carried off 
 the honours of the day. On that occasion Chapman floored 
 * Geordie ' Irving of Bolton Gate, and the old champion 
 clapped the lad on the back and said to him, * Man, thee sel' 
 lad. Nivver a man threw me in Carlisle ring but he won.' 
 William Jackson of Kennieside followed close on the heels of 
 Chapman and won at Carlisle in 1841-44. Jackson was not 
 long in the ring, but his record is almost unsurpassed. He 
 was undoubtedly the champion of his day, although he was 
 thrown in the latter part of his career (1851) by Robert Atkin- 
 son, the Sleagill giant, in their great match for 300/. at Ulver- 
 stone. Jackson stood 6 feet i inch and weighed 14 stone. 
 He possessed a magnificent figure, was a grand 'takker hod,' 
 and gave the umpires no trouble. Tom Longmire, who 
 followed him as champion, had no chance with Jackson, and 
 was thrown by him in a match with great ease ; yet Long- 
 
RING REMINISCENCES 215 
 
 mire was a splendid wrestler and held the championship 
 many years. William Jameson of Penrith and Dick Wright 
 of Longtown may be said to have succeeded Longmire ; 
 but although Weight was a particularly scientific wrestler, 
 he was really never in it with Jameson, who, on account of his 
 superior weight and height, could worry the lesser man at all 
 points. Noble Ewbank of Bampton, a member of a famous 
 wrestling family, was always Wright's superior, and would have 
 run Jameson very close had he persevered. Ewbank, however, 
 lacked perseverance and fell out of the ranks almost in the 
 zenith of his fame. He was one oi the finest built men of his 
 time, and divided the honours with Dick Wright as the two 
 best-looking wrestlers of their day. Dick, with his black crisp 
 hair curling over his forehead, his face glowing with the hues of 
 health, and his brawny arms folded over his muscular chest, was 
 the very type of a hero of the arena. Ewbank and Wright are, how- 
 ever, completely thrown in the shade by the present champions, 
 Steadman and Lowden, who have thoroughly eclipsed them. 
 
 Among light-Vv^eights of the old school the palm must 
 be given to John Palmer of Bewcastle, who won the heavy and 
 light prizes at Carlisle \n the same year (185 1) — a feat un- 
 paralleled in wrestling history. Like Lord Byron, Palmer had 
 a ^ gib ' foot, but he used to say it was ' terrible good at the 
 click.' Another clever wrestler was George Donaldson of 
 Patterdale, who once threw the celebrated William Jackson. 
 Like Harry Ivison of Carlisle, he was a ' verra slippery takker 
 hod,' and gave the umpires a heap of trouble, unlike Jonathan 
 Whitehead, Donaldson's rival, who always stepped up to his 
 man and took hold on the instant. As a hipper, buttocker, 
 and right leg Strieker, Jonathan was supreme. Jim Scott — 
 ' Bonny Jim,' who was in his time the 'prince of light-weights ' 
 (or, more properly speaking, middle weights), was one of the 
 most finished buttockers of modern times— he has already been 
 
2i6 WRESTLING 
 
 mentioned, but must not be omitted here. At Whitehaven he 
 won the ii stone prize nine years in succession, and stood 
 second to Jameson in the Carlisle ring in 1864-65. Without 
 doubt Scott was a grand wrestler, but he was much inferior to 
 ]lalph Pooley of Longlands, who defeated the accomplished 
 William Rickerby in a match at Liverpool in 1872. Rickerby 
 was one of the best men that ever stripped, and fully up to 
 Scott's standard, yet Pooley threw him three times in succession. 
 Ben Cooper of Carlisle, who was Pooley 's build all over, ' a lang 
 lean rickle o' banes,' would have been a good match for the 
 Longlands champion, but Ben belonged to an earlier genera- 
 tion. As regards science and a thorough knowledge of the art 
 of wrestling, Tom Kennedy of Egremont has no superior ; but 
 he wants that which he can never have, namely an inch more 
 arm-reach and two inches more length to his legs in order to 
 enable him to take rank with Pooley as a champion middle- 
 weight wrestler. 
 
 In this brief summary it is impossible to mention one tithe 
 of the celebrated light-weight wrestlers who have figured with 
 credit in the wresthng arena ; but such names as the following 
 will recur to every lover of the exercise, viz. Walter Palmer, 
 Jonathan Whitehead, Jim Scott, Ben Cooper, James Patteson, 
 Joseph Allison, William Lawson, John Tiffin, George Sanderson, 
 William Rickerby, Harry Ivison, John Graham of Carlisle, Ralph 
 Pooley, John Wannop (now a heavy-weight), Tom Kennedy, 
 Albert Canadus, John Simpson, John Robinson, &c., &c. By 
 the way, the five last named are at the time of writing holding 
 their own against all comers. 
 
 Having mentioned the most prominent country champions 
 of the present century, the metropolitan exponents of the art 
 of wrestling now claim attention. It is much to be de- 
 plored that there are now fewer resident wrestlers in London 
 than at any former period within the memory of the oldest 
 
RING REMINISCENCES 217 
 
 * native ' of the North ; yet no further back than 1865, when the 
 rules relating to athletic clubs were not so stringent as they are 
 now, there were wrestlers in London fit to cope with any 
 rivals. A quarter of a century ago, when the Wrestling 
 Society stood almost alone, and before the amateur and pro- 
 fessional definition existed, the old regulations were sufficient ; 
 but in the present day, when the society is only one among a 
 host of clubs all bidding for public favour, some attempt should 
 surely be made to keep abreast with the times. The exclusion 
 of wrestling from the programmes of athletic clubs has for years 
 been gradually sounding the death-knell of this sport as a 
 popular exercise among London men. Yet if a few of our 
 leading athletes would take up the subject, or the Oxford and 
 Cambridge Athletic Club would import a skilled Cumberland 
 wrestler into their midst, wrestling might become as popular in 
 the South as it is in the present day in the Northern counties. 
 
 The origin of the Cumberland and Westmoreland Wrestling 
 Society in London and the exact date of its establishment are 
 somewhat uncertain. It is, however, generally believed to 
 have existed a little over a century, the earliest mention of its 
 annual gatherings being that the natives of Cumberland and 
 Westmoreland were in the habit of meeting on Kennington 
 Common on Good Friday to celebrate their favourite sports of 
 leaping and wrestling. The prizes competed for in those days 
 were insignificant in value and few in number, a belt being 
 awarded to the champion of the wrestling arena, and a pair of 
 ])uckskin gloves to the best leaper, in imitation of the prizes at 
 that time given for competition in many parts of Cumberland 
 and Westmoreland. 
 
 In the year 1824 we find the first record of a code of rules 
 and a staff of officers appointed to carry out the sports and 
 conduct the business of the society. Since 1824 the annual 
 meetings have been held at the following places, viz. — Kenning- 
 
2i8 WRESTLING 
 
 ton Common, Chelsea, St. John's Wood, Hornsey Wood House, 
 Chalk Farm, Highbury Barn, Copenhagen House, Hackney 
 Wick, the Welsh Harp, Agricultural Hall, and during the last 
 fourteen years at Lillie Bridge, West Brompton. From the 
 first the wrestling was very popular and well patronised, 
 especially by the northern residents in the metropolis, two 
 hundred competitors frequently entering the ring at that early 
 period. 
 
 The first noticeable incident in connection with the sports 
 took place in 1827, when the first prize was won by Mr. William 
 Graham, a gentleman who subsequently became a partner m 
 Nicholson's gin distillery, and who was for a number of years 
 closely identified with the turf. As a racing man few owners 
 had more success than Mr. Graham, as, with the exception of 
 the Derby, nearly all the coveted prizes fell to his share. 
 On looking over the list of wrestlers who have played an im- 
 portant and honourable part in the London ring, we may 
 mention Richard Margetson, also Jos Wills, known as * Major' 
 Wills, for a long time vice-chairman of the Wrestling Society, 
 the chair, as previously mentioned, being occupied by Mar- 
 getson ; the two were great rivals about the years 1838- 
 39. Another good man was Jemmy Haig of Scuggerhouses, 
 who was not particular whether he fought or wrestled. 
 Jemmy used to fell his men with the swinging hipe, and 
 floored the Major, who stood considerably over six feet, 
 with proportionate girth, by that identical chip in 1839. In 
 1840 George Brunskill, a Lifeguardsman, who was a very good 
 man, also went down before Jemmy's irresistible hipe. We 
 find the same Brunskill winning the first prize in 1856, which 
 either says a good deal for him or else very little for those 
 who opposed him. To add lustre to the character of the 
 sport it should be mentioned that the late George Moore, 
 merchant, millionaire, and philanthropist, won a fall or two at 
 
RING REMINISCENCES 219 
 
 the London gathering during his first year in the metropolis, 
 and one *Jack Foster' in the year 1856 distinguished himself 
 by grassing a Lifeguardsman nearly double his own size. At 
 that time, and for a number of years previously, the wrestlers 
 had drifted into a mischievous habit of using assumed names. 
 'Jack Foster,' it has been ascertained, was none other than 
 Mr. George Tinniswood, a gentleman well known both in 
 London and Cumberland. The name of George Moore can- 
 not be found among the wrestling records of the period, but it 
 is only reasonable to assume that when the future merchant 
 prince 'peeled off' in the ring, his modesty prompted him to 
 assume a disguise. There was a John Dixon of King's 
 Meaburn who figured prominently about the years 1849 till 
 1852, but when he met William Donald of Dearham in a 
 match at Highbury Barn in 1850 he was easily defeated by the 
 countryman. Another John Dixon won the London prize in 
 1861. 
 
 By this time the late George Sanderson had made his 
 appearance among the metropolitan wrestlers. Sanderson 
 won his first prize at Carlisle in 1858; and ten years later, when 
 he confronted the invincible John Tiffin of Dearham at the 
 Agricultural Hall, he lifted the ' little demon ' off his legs and 
 hiped him twice in succession. Tiffin wanted the Agricultural 
 Hall Cup badly to take home with him to Cumberland, but 
 Sanderson told him there was only one way of getting it and 
 that was by proving his superiority. ' Thou'll hev to fell me if 
 thou gets t' cup,' quoth Sanderson. ' Whae weighed in for 
 thee?' then asks Tiffin. 'Whae dista think but mesel', lad?' 
 replies Sanderson. After Tiffin had lost the first fall, ' Jock ' 
 Ward of Wigton exclaimed, 'Hes that thing gittin' a fa' ? ' re- 
 ferring to Sanderson. 'Aye, lad,' retorted Jim Scott, 'that thing, 
 as thou ca's him, could get a fa' oot o' thee or the best man at 
 9.V stone that ever stripped !' About the year 1864 the stal- 
 
220 WRESTLING 
 
 wart Richard Coulthard appeared on the scene and wrestled 
 well for a time. Then came to the front a better wrestler 
 perhaps than either Sanderson or Coulthard in the person of 
 the popular John Graham of Carlisle. Graham was an excep- 
 tionally good performer, and his feat of winning the 1 1 stone 
 and 9^ stone prizes in 1866 has never been surpassed in the 
 London ring. From 1861 up to the present time, with the 
 exception of 1874-5-6, the country champions have taken 
 part in the Easter sports, and have, as a matter of course, 
 secured the greater portion of the prizes on each occasion ; 
 indeed in recent years but for the country wrestlers the London 
 professors of the art would make but a poor show. Since John 
 Graham's time John Wannop has been the most distinguished 
 performer, and is certainly well worthy of being ranked 
 amongst the best wrestlers resident in the metropolis during 
 the last quarter of a century, such as George Sanderson, John 
 Graham, Isaac Stamper, John Simpson, Thomas Atkinson, 
 Richard Coulthard, John Irving, &c., &c. 
 
CHAPTER IV. 
 
 STYLES AND SYSTEMS. 
 
 Half a century ago a fierce rivalry existed between the two 
 counties of Devon and Cornwall, and ever since that period 
 meetings have frequently occurred between picked men, notably 
 about the time when Abraham Cann was the pride of the 
 Devonshire folks, and kicking with heavy boots was the 
 favourite mode of grassing an opponent. Fortunately, the 
 practice of the rival counties has since been assimilated, and 
 we have no involved challenges now like that from Cann, of 
 whom the Cornishman sang that he 
 
 Was not the man 
 To wrestle with Polkinhorne. 
 
 There is none of the ' toe ' business now which at one 
 period made the Cornwall and Devon wrestling meetings such 
 brutal exhibitions. During Abraham Cann's time, however, 
 the ' boot ' was the chief weapon of warfare, and when he met the 
 Cornish champion Polkinhorne there is said to have been a big 
 wrangle about the ' shoeing ' of the champions, Polkinhorne in 
 the end waiving the point and allowing his opponent full liberty. 
 Another authority states that it was Cann who offered ad- 
 vantageous terms to his adversary in the following words : 
 ' Polkinhorne, I will take off my stockings and play bare-legged 
 with you, and you may have two of the hardest and heaviest 
 shoes that can be made of leather in the county of Cornwall, 
 
222 WRESTLING 
 
 and you shall be allowed to stuff yourself as high as the armpits 
 to any extent not exceeding the size of a Cornish peck of wool, 
 and I will further engage not to kick you if you don't kick me.' 
 We are also told that in the actual contest, two falls out of 
 three, Polkinhorne (who weighed 3 st. 4 lbs. more than his oppo- 
 nent) cased his shins with leather, and relied on the hug as 
 opposed to the kick, while the Devonshire man was furnished 
 with kicking shoes of a most appalling pattern. The match 
 took place at Morris Town near Plymouth in 1826 in the 
 presence of a large gathering — it is said that close on 10,000 
 people paid for admission to the ring, and quite that number 
 looked on from the hills outside — and resulted in a draw owing 
 to the complicated nature of the West-country definition of a 
 fall. Polkinhorne's shins had been fearfully mangled, while the 
 hide of Cann was red and raw from the dreadful hug of the 
 Cornishman. The two champions did not meet again in the 
 ring, though Cann issued a challenge. But apart from all this 
 it is the purest imaginable nonsense to consider Cann — who 
 was only a light-weight and double jointed — a Champion. 
 He was undoubtedly floated into notoriety by certain absurd 
 rules framed in such a way that one man might show himself a 
 superior wrestler all through a contest, and yet be prevented 
 from winning, while his opponent, although repeatedly thrown 
 until almost shaken to a jelly, by artfully landing on his 
 stomach when unable to keep his foothold on the ground, 
 might eventually save the money of his supporters and make 
 a draw of a contest in which he had been clearly overmatched. 
 No amount of argument can bolster up a set of regulations 
 under which a man may be thrown no end of times by a better 
 wrestler than himself, and yet, because he does not fall on 
 the requisite number of 'points,' may resume the struggle, 
 weary the spectators, and finally, by means of a quibble, leave 
 the result undecided, and all because he has the gift of falHng 
 
STYLES AND SYSTEMS 223 
 
 upon his paunch instead of on his back. It would be well if 
 the promoters of wrestling throughout the kingdom would 
 compare the English systems in a fair and impartial spirit, in 
 order that one standard method might be decided upon in 
 which the experts from all wrestling districts could meet and 
 compete on equal terms. This would abolish all that cavilling 
 nonsense as to which system is the best, who are the best men 
 in each, and who is the champion of the lot, and of England. 
 Tom Sayers's title of Champion of England stood out in noble 
 contrast to the miserable striving after such distinctions as 
 champion of Devon, Cornwall, Lancashire, or Cumberland and 
 Westmoreland. 
 
 On beginning operations in the ring the Cornwall and 
 Devon men — who, by the way, wxar strong linen jackets — 
 assume a stooping position and are supposed to catch hold 
 above the waist, but they feint and dodge about in a wearisome 
 manner sometimes for hours before any climax is arrived at. 
 Kicking is now forbidden and the men compete in their 
 stocking feet. In order to be fairly thrown two shoulders and 
 one hip must be on the ground or two hips and one shoulder, 
 it matters not which, and a man must be thrown flat on his 
 back before any other portion of his body touches the earth 
 ere a decision can be given against him. Hauling and mauling 
 on the ground, as in Lancashire and French wrestling, are use- 
 less expedients ; and a competitor who pitches on his nether 
 extremity is allowed to rear himself up on his legs, and renew 
 the struggle as if he had never been down at all. Directly a 
 competitor feels himself in danger of being thrown he gets to 
 grass on the flat of his paunch if possible, in order that he shall 
 not be thrown on his back. 
 
 Judging this style of wrestling is by no means easy, as a 
 slippery player may be thrown flatly enough for all practical 
 purposes, yet by an adroit movement may raise either a hip 
 
224 • WRESTLING 
 
 or shoulder and so create the impression that he has not really 
 been put down, and a clever player when hardly bringing his 
 man down on all the required points might, and frequently 
 does, give him a slight jerk. This move is usually practised 
 when a man is over or under thrown ; of course if the fall is 
 under, i.e. not thrown enough, the jerk would be forward, and 
 if overthrown then the jerk would be backward. An expert 
 can easily discern this, but outsiders often clamour loudly over 
 these falls, and a w^ak judge is liable to be influenced. With 
 regard to collaring, a man must not take the two collars of 
 his opponent's jacket in one hand, nor can he do so at any 
 time during the play. Some men have a trick of slipping their 
 hand under the jacket up behind their opponent's back, 
 bringing the hand over his shoulder and then grasping hold of 
 the opposite jacket collar, the tightened jacket enabling the 
 wrestler to hold on like grim death. In Devonshire this is 
 disallowed, but in Cornwall it is up to the present sometimes 
 permitted. No competitor is allowed to take hold of his 
 opponent's drawers, belt, or handkerchief, but he may grasp 
 the bottom corners of his jacket. Three minutes are allowed 
 between each bout, and usually fifteen minutes between each 
 * back/ or fair fall. 
 
 The great amount of unsatisfactory judging, and the haggling 
 and * fratching ' inseparable from West-country wrestling 
 meetings in London, have been the means of wiping out nearly 
 all traces of Cornwall and Devon wrestlers, as a body, from the 
 metropolis, a circumstance much to be regretted, as a little 
 more unity among the patrons of the sport, a revision of their 
 rules, especially relative to their definition of a fall, and a com- 
 plete revolution of the wrestHng * uniform ' of the competitors, 
 would have insured the popularity of the exercise. As an 
 illustration of the absurdity of the old tossilised regulations in 
 question, one case will suffice. At a wrestling gathering in 
 
The Heave, Cornwall and Devon 
 
STYLES AND SYSTEMS 225 
 
 London some years ago, John Graham, the celebrated Cumber- 
 land wrestler, threw an opponent no fewer than sixteen times, 
 but on each occasion the verdict was ' no fall' Now, under 
 Northern laws, or any other laws which merely state that one 
 man shall be fairly and squarely thrown, Graham's opponent 
 would have been defeated at the very first trial, whereas 
 the men ultimately * tossed up' and the Cumbrian lost, his 
 opponent securing the verdict. Yet, in spite of all these fatal 
 objections to their rules, Cornish and Devonshire wrestlers 
 maintain that their system is the best of all known methods 
 throughout the world. Surely the majority of athletes, and 
 especially those interested in this ancient sport, will agree 
 that a moment of resolute and scientific exertion on the * first 
 down to lose ' principle is worth a week's barn-door fowl 
 sparring in canvas jackets, and dog-fighting on the ground, and 
 must create more enthusiasm and excitement than any amount 
 of such wearisome and unscientific toil. 
 
 In the limited space at command it will be impossible to 
 enter into the details of attack and defence peculiar to this 
 fashion of wrestHng. At the same time it may be well to 
 correct an erroneous impression that exists in many minds 
 to the effect that the Devon and Cornwall styles of wrestling 
 are two different systems ; indeed, the difference between the 
 two is really now so slight that the better and more comprehen- 
 sive term to apply to both would be, ' West-country wrestling.' 
 True, there is a decided variation in the mode of play practised 
 by wrestlers hailing from the respective counties, but this 
 scarcely affects the practical result. The Devon style was 
 formerly principally characterised by kicking and tripping, 
 while the Cornishmen were, and are still, noted for hugging and 
 heaving. These distinguishing features, however, are not now 
 confined to the two counties in any separate degree, as the 
 Devon players are fairly well up in the Cornish peculiarities. 
 
 Q 
 
226 WRESTLING 
 
 Again, Cornishmen have not been at all averse to a bout at 
 kicking, while at the same time their tripping accomplishments 
 have always been quite equal to anything their rivals have dis- 
 played in that line. Probably the chief difference in the two 
 styles— now that kicking has, except on rare occasions, been 
 discontinued in De/onshire — is to be traced to the vexed 
 question of, What constitutes a ' fair back fall ' ? The ' fair 
 back fall ' argument has always been the bone of contention 
 between the twQ counties, and between both wrestlers and 
 judges, and is still ooie of the most serious drawbacks this ancient 
 pastime has to contend against. Undoubtedly, the numerous 
 unsatisfactory decisions given from timeto time in consequence 
 of the multitude of loopl>oles. always gaping wide open for a 
 wrangle in West-country wrestling conditions have been the 
 principal cause of the. decline and fall of the sport in the metro- 
 polis. It is well known, too, that in local matches decided in 
 Cornwall the atrictness which, is th,e rule in Devonshire is 
 not observed. In the first-named county, a wrestler might 
 be pitched on his side or shoulder and, if kept moving, be 
 rolled over oa his back, and thus have a fall decided against 
 him ; whereas in Devonshire matches, a man to be thrown a 
 fair back fall must be pitched flatly oia his back, as previously 
 stated. Iia a ' three-point ' match two shoulders and one hip 
 or two hips and one shoulder must touch the ground at one 
 time. In ' four-point ' matches both shoulders and hips must 
 reach the ground simultaneously, and this before hand, arm, 
 knee, or any portion of eithei: thrown or thrower reaches the 
 earth. 
 
 Not much fault can be found with the Cornwall and Devon 
 style of going to work, but the frantic and hair-splitting efforts 
 of some of the promoters of wrestling in both counties to 
 draw a line of demarcation betwixt the two systems, which for 
 all practical purposes are one, are simply incomprehensible ; 
 
STYLES AND SYS7EMS 227 
 
 and why the three and four points definition of a tall cannot 
 be aboHshed in favour of * first down to lose,' has for years 
 puzzled all wellwishers and admirers of the sport who are un- 
 connected with the counties. Judging this style of wrestling as 
 it now exists is one of the most difficult and unsatisfactory tasks 
 anyone can possibly face, as a tricky performer after being 
 thrown has only to move a hip or shoulder in an expert manner 
 in order to secure another trial ; and frequently an inferior 
 wrestler can carry on this game till darkness sets in, or until 
 the time for adjournment arrives, in order to make a draw of a 
 contest in which he stood no earthly chance had the conditions 
 been reasonable. A firm referee can often prevent this kind of 
 manoeuvre, but a timid one is more frequently influenced and 
 alarmed by outside clamour, and as a rule refuses to interfere 
 just at the point when decisive measures are most imperative. 
 
 Perhaps a retrospective glance a,t some of the heroes of 
 the past may be interesting to many readers. Undoubtedly 
 the greatest West-country contest of the century was that which 
 took place between Cann and Polkinhorne (already referred to). 
 Abraham Cann is next heard of at the Golden Eagle, a 
 tavern in the Mile End Road, where he met and defeated 
 Gaffney, a gigantic Irishman, in the best of five back falls, Cann 
 staking 60/. to his opponent's 50/. Subsequently, at the same 
 place, in an open competition, Cann took first prize, and his 
 brother James gained second honours. Among those who 
 competed were Chappell, Copp Thorne, Finney, Parish, 
 Jordan (the Devonshire giant), Middleton, Clargoe, Pyle, and 
 Saunders. 
 
 Again, at Leeds, in 1828, there was a large gathering of 
 wrestlers, including Abraham Cann, James Stone (' the little 
 elephant'), Wrexford, Bolt, and Jordan. Cann and 'the little 
 elephant ' took first and second honours respectively. In June 
 1828 one Oliver, a Cornishman, defeated James Cann for a 
 
 Q2 
 
228 WRESTLING 
 
 purse of 20/. at the Eagle Tavern, City Road ; and in the same 
 month George Saunders, a Cornishman, met the huge Irish- 
 man Gaffney at the WeUington Grounds, Chelsea, the best of 
 five back falls (without boots), when the latter won. Shortly 
 afterwards the parties met at Tom Cribb's, but failed to ratify a 
 further match. Another wrestling meeting was held at the 
 Wellington Grounds in June of the same year. The company 
 numbered upwards of 1,000, one hundred of whom were 
 noblemen and gentlemen of high position, including Earls Grey 
 and Talbot ; Lords Falmouth, Clanwilliam, Elliott, and Walls- 
 court; Hon. Mr. Fortescue; Sir John Shelley, Bart.; Sir Charles 
 Lemon, Bart. ; Sir J. Bamfyld, &c. &c. Twenty-eight wrestlers 
 entered the ring — thirteen Devon men, the same number from 
 Cornwall, one Cumberland man, and one Irishman. The last 
 named was placed with the Cornishmen; the Cumbrian (Henry 
 Mossop, who wrestled at the Cumberland and Westmoreland 
 Sports in 1830-32, held at the Eyre Arms, St. John's Wood) 
 being told off on the side of the Devonians. The double 
 play resulted as follows ; — Standing, Devon : J. Cann, Thorne, 
 Batstone, Steers, Kerslake, Pyle, Copp, Avery, Perry, and 
 Mossop. Standing, Cornwall : Oliver, Trewick, Johnson, and 
 Cocks. The men were then matched in the following order 
 for triple play : — Oliver threw James Cann, Thorne threw John- 
 son, Cocks threw Batstone, Trewick threw Kerslake, Steers 
 threw Perry, Pyle threw Avery, and Copp threw Mossop. For 
 the final seven men were left in, viz. Devon— Steers, Copp, 
 Pyle, and Thorne ; Cornwall — Oliver, Cocks, and Trewick, 
 Pyle odd man. Oliver threw Thorne easily, Trewick threw Copp, 
 and Steer threw Cocks ; Trewick threw Pyle, and Oliver threw 
 Steers. Trewick then resigned in favour of Ohver, who took 
 the first prize, 1 2/. 
 
 Poor Abraham Cann in his latter days fell into difficulties ; 
 but after the fight between Sayers and Heenan in i860 a suf- 
 
STYLES AND SYSTEMS 229 
 
 ficient amount was collected to secure him an annuity of 20/. 
 a year. This he did not live long to enjoy, as he died from 
 the effects of an accident shortly afterwards. The famous old 
 wrestler was buried at Colebrook, where an unpretending stone 
 marks his last resting-place. 
 
 After Cann's time there was a lack of wrestlers in both 
 counties for several years. Chappell was for a brief period 
 considered the Devon champion, but ultimately he gave way to 
 Tom Cooper, who for years carried all before him in his own 
 county. W. Pollard, a Cornishman of herculean build, and pos- 
 sessing some science, then appeared on the scene ; but he could 
 not withstand the fearful kicking Cooper administered to him. 
 Cooper attended all the big meetings held at Plymouth, and was 
 looked upon as the undoubted champion, until Sam Rundle, a 
 light-weight, lowered his colours some twenty-one years ago — 
 the same Sam Rundle who recently wrestled with Carkeck the 
 iVmerican. In his prime Rundle was one of the best wrestlers 
 Cornwall ever produced, but his struggle (considering his age 
 and weight) with the young giant Carkeck must have been a 
 veritable farce. The American is a splendid wrestler, and sub- 
 sequently threw the Cornishman Jack Smith at the Royal 
 Aquarium, Westminster, with absurd ease. 
 
 Among Devonians who have distinguished themselves in 
 the wrestHng arena may be mentioned S. Oliver, J. Slade, J. 
 Burley, George Bickle, H. Ash, D. Tapper, T. Belworthy, H. 
 Belworthy, Chudley, Marshall, &c. A little later came another 
 fine batch of men, which included R. Baker, J. Milton, T. Baker, 
 F. Hutchings, W. James, R. Pike, C. Leyman, Drew, S. 
 Battishill, H. Holman, W. Ford, George Stone, G. Bickle, Hill, 
 Chamberlain, Greenslade, S. Howard, (S:c. 
 
 Cornwall numbers among its champions Joe Menlar, 
 W. Pucky, M. Grose, A. Ellis, J. Wakeham, T. Stone, H. Stone, 
 T. Bragg, Lucking, Williams, Pearse, Marks, Phil, Hancock, 
 
250 WRESTLING 
 
 the Kittos (one of whom faced George Lowden, the Cumbrian 
 champion, at LilHe Bridge a few years ago, but was easily 
 thrown by the giant), A. James, Foster, Major Ham, Bassett, 
 P. Carlyon, E. Wilhams, J. Carkeck, W. Hendra, J. H. Tressada, 
 Jack Smith, W. Tressada, &c. A great many names have of 
 course been omitted. The principal Cornish and Devon chips 
 are the Cross-buttock, the Fore-lock, the Back-lock, the Back- 
 heave, the Belly-heave, the Heaving-toe, the Flying Mare, and 
 the Back-heel. The Hipe and Double Nelson are unknown 
 among West-country wTCStlers. Formerly, when kicking was 
 fashionable in Devonshire, it was considered a sign of cowardice 
 for a wrestler to take his shoes off, the soles of which some- 
 times contained a steel plate artfully inserted between the plies 
 of leather. When this was the case the boots of the competitors 
 have been known to run over with blood. 
 
 With regard to Lancashire wTCstling there can be no ques- 
 tion that it is the most barbarous of the English systems, 
 and more nearly approaches the French dog-fighting and 
 tumbling than any other — a fair stand-up fight with the naked 
 fists is the merest skim-milk, in fact a perfect drawing-room 
 entertainment, in comparison. Open competitions such as 
 take place in Cumberland and "Westmoreland and in Corn- 
 wall and Devon are almost unknown in Lancashire, contests 
 there being mostly confined to matches under the 'gaffer' 
 system. A. local writer delivers himself to the following effect : 
 ' A Lancashire wrestling-match is an ugly sight : the fierce 
 animal passions of the men w^hich mark the struggles of 
 maddened bulls, or wild beasts, the savage yelling of their 
 partisans, the wrangling, and finally the clog business which 
 settles all disputes and knotty points, are simply appalling.' 
 La all matches the wrestlers compete in stockings or barefooted, 
 a pair of bathing- drawers usually completing their attire. The 
 men are allowed to catch hold practically just as they please, 
 
Half Nelson, Lancashire 
 
STYLES AND SYSTEMS 231 
 
 but the rules state they must not scratch, throttle, pull each 
 other's ears, or commit any unfair act. Rubbing the body or 
 limbs with grease, resin, or any pernicious drug is also for- 
 bidden. In the thick of the fray, should the wrestlers get en- 
 tangled with the boundary of the ring, they must draw off and 
 renew the contest with the same hold as they left off with. 
 Should any match not be concluded on the day appointed, 
 both men must meet, weigh, and begin wrestling at the same 
 time and place day by day (Sunday excepted) until finished ; 
 the decision of the referee in any match to be final, and the 
 stakes to be given up accordingly. Should the referee not be 
 chosen in the articles, and the wrestlers or backers be unable 
 to agree about appointing one in fifteen minutes from the time 
 of entering the ring, the manager or his deputy shall make 
 selection. The men are allowed fifteen minutes between each 
 fall. If a wrestler gain a fall and neglect or refuse to continue 
 the contest, his opponent shall claim the stakes ; or in the 
 event of a wrestler gaining a throw he can claim the stakes 
 in the absence of any arrangement to conclude the match. 
 Any dispute arising, not provided for in the articles, to be 
 settled by the referee, whose decision is final ; and as he is 
 supposed to be a competent person, he is invested with full 
 power to act in any emergency. On the other hand, should 
 that functionary act on the testimony of others when he has 
 missed seeing a fall, a circumstance not unusual, the parties 
 interested can, and must, depose him, and select another, 
 especially when the fall is a disputed one. In an open 
 competition the management can disqualify a referee for in- 
 competence or inattention, but when a fall is not disputed 
 the referee can continue to act. In the event of a new referee 
 being selected during the progress of a match the wrestlers 
 must begin afresh as if no fall had been contested. The 
 position of referee, however, is always a much easier one. and 
 
232 WRESTLING 
 
 more satisfactory to all parties concerned, when he is assisted 
 by two umpires. Wrestling men are impulsive beings, and 
 while a competition is proceeding the judges have anything 
 but a rosy time of it. Generally speaking, when a close fall 
 takes place, the tw^o competitors crowd round the umpires and 
 clamour for a verdict. This course of action is the greatest 
 imaginable folly, as it prevents the necessary consideration and 
 consultation, and often hurries the decision ; whereas if the 
 judges were afforded the opportunity of exchanging opinions 
 in private, the order to * wrestle over again ' would be of more 
 frequent occurrence, as that is generally a better decision 
 when a contest has resulted in w^hat, to all intents and 
 purposes, should be recorded a ' dog fall.' Throtthng is a 
 mighty factor in Lancashire wrestling ; although forbidden 
 in the rules it is often resorted to with impunity. As the two 
 shoulders must be held on the ground for the space of several 
 seconds in order to constitute a fall in this style of wrestling, 
 the practice of throttling, when the Lancastrian blood is up, is 
 difficult to prevent. At the same time the rules laid down for 
 the guidance of the competitors distinctly state that * it is 
 unfair to try to injure an opponent in any tender part of the 
 body, or to throtde him.' Again, a man on his hands and 
 knees must not be choked by being pulled upwards by his 
 opponent, but either party may break fingers, or arms either, 
 so long as the referee is satisfied that such a circumstance has 
 arisen solely in the struggle for the mastery, and not through 
 any desire to act unfairly. The referee has power to disqualify 
 any competitor who may act unfairly in regard to throttling, 
 maiming, &c. Generally speaking, a man on his hands and 
 knees will get on his feet before his neck is dislocated from 
 behind ; but a wrestler cannot be prevented from putting his 
 arm round his opponent's neck, which is quite distinct from 
 throttling. 
 
STYLES AND SYSTEMS 233 
 
 Probably the most dangerous move in Lancashire and 
 Cornwall and Devon wrestling, in fact in the catch-hold system 
 all round, is w^hat is called the ' Double Nelson/ It is very 
 difficult to play, however, and seldom comes into operation. 
 To get behind an opponent, place both arms under his, and 
 clasp your hands round the back of his neck and thus bend 
 his head forward till his breastbone almost gives way because 
 his neck refuses to be dislocated, is the most dangerous and 
 brutal of all the many methods that belong to the science of 
 wrestling. It is almost impossible to bring the ' Double Nel- 
 son ' into operation with a stout bull-necked man, because his 
 bulk prevents the hands from meeting behind his head. The 
 same difficulty, however, is not experienced when a man of 
 slender build has to be performed upon. Then it becomes 
 the most formidable manoeuvre a wrestler can employ, and, 
 owing to the frightful consequences that are likely to ensue, 
 it ought without doubt to be barred on all occasions. To 
 convey some notion of what a Lancashire wrestling-match 
 is like, probably a better illustration cannot be supplied than 
 the following graphic description of a contest that took place 
 in New York a few years ago between Acton and Bibby for 
 1,000 dols. The articles stipulated that the contestants could 
 take any hold they pleased ; two shoulders on the ground to 
 constitute a fall, and ten minutes allowed for rest between 
 each fall. 
 
 From the first the ^ little demon/ as Acton was called, went in 
 to win and handled his heavier opponent like a rubber ball. Such a 
 bewildering gyration of heads, legs, and arms was never seen out of 
 Donnybrook Fair. Acton belied the adage of Sir Boyle Roach, that 
 no man can be in two places at one time unless he's a bird. He 
 was part and parcel of Bibby's anatomy. Their legs were interlaced, 
 their arms were locked, and their heads bobbed together ; but, con- 
 trary to popular expectation, Bibby was the under dog in the 
 struggle all through. Except for a brief period now and then, Bibby 
 
234 . WRESTLIXG 
 
 insisted upon kccpingon all-fours, excepting when he was standing on 
 his head or sprawling flat on the carpet. Bibby tried the role of the 
 bull in the china-shop, and made an effort to demolish the little 
 Lancashire man ; but, like a tiash, the latter made a double back- 
 action spring and passed Bibby's bumped form and the platform. 
 Bibby next assumed the attitude of a quadruped, and after that was 
 hardly allowed to stand erect like a man. * That first kick was his 
 last.' There was no kick in Bibby. Acton literally mopped the floor 
 with him. Three successive times was Bibby placed upon his head, 
 and it was only by the exercise of his wonderful acrobatic powers that 
 he saved himself from a fall. The audience were fearlully excited. 
 The men had assumed the elasticity of eels, and the sinuosity of their 
 movements was surprising even to \ cteian wrestlers. Acton was a 
 veritable old man of the sea, and ^ clagged ' to Bibby like wax, 
 making him bite the dust first, last, and all the time ; and after forty 
 minutes of almost ceaseless toil Bibby was planted squarely on his 
 back. After this Bibby was floored in six minutes and properly sat 
 upon, and Acton declared the victor. 
 
 Fortunate it is for the human race in sjeneral that Lancashire 
 wrestlers are mostly small men, Acton and Bibby, the two 
 fiercest exponents of this uncivilised fashion of wrestling, being 
 only 5 ft. 5 in. in height and lo^ stone weight and 5 ft. 4 in. 
 and LI stone weight respectively. Snape, the Lancashire black- 
 smith, who was to the fore in 1872, and could at that time 
 have thrown the whole human race at catch-holds, was a striking 
 contrast to Acton and Bibby, as he stood 6 feet and weighed 
 close on 20 stone. This same Snape wrestled a match with 
 Sam Hurst, the Staleybridge Infant, who was thrown with absurd 
 ease by the herculean blacksmith. Before this took place 
 Snape had been defeated at Bolton by Dick Wright, the Border 
 champion, in the Cumberland and Westmoreland style. Quite 
 recently a match took place in Her ^Lijesty's Opera House, 
 ^lelbourne, between Tom Cannon, a I^ncashire man, and one 
 Miller. A brief reference to the struggle will ser^e as another 
 illustration of the ferocity of these contests. Before the first fall 
 
STYLES AND SYSTEMS 235 
 
 was recorded in Cannon's favour hardly six minutes had elapsed, 
 and it was then discovered that one of Miller's ribs had been 
 dragged from its position, and the cartilage torn away. With 
 dogged Lancashire instincts Miller obstinately refused to give 
 in, and actually WTCstled for six minutes longer, being then 
 tlirown a second time. 
 
 Among all the different styles of wrestling, the French 
 system for downright absurdity bears off the palm — as the 
 following rules will amply testify : — 
 
 1. The wrestlers are only allowed to take hold from the 
 head, and not lower than the waist. 
 
 2. Taking hold of legs and tripping are strictly forbidden. 
 
 3. The wrestling is with open hands, and the wrestlers are 
 not allowed to scratch, strike, or to clasp hands. Clasping hands 
 means that the wrestlers shall not clasp one of their hands 
 within the other, nor interlace their fingers, but they are 
 allowed to grasp their own wrist to tighten their hold round 
 their opponent's body or otherwise. 
 
 4. The wrestlers must have their hair cut short, also their 
 finger-nails, and they must wrestle either barefooted or with 
 socks. 
 
 5. If one of the vrrestlers fall on his knee, shoulder, or 
 side, they have to start again. 
 
 6. If the wrestlers roll over each other, the one whose 
 shoulders shall touch the carpet is deemed conquered. 
 
 7. To be conquered, it is necessary that both shoulders of 
 the fallen shall touch the ground at the same time, so as to be 
 fairly seen by the public. 
 
 When Jameson and Wright competed against Le Bceuf and 
 Dubois, the French champions, in the Agricultural Hall in 
 1870, the English wTCStlers were entirely ignorant of the 
 French mode of wrestling until a few days before the actual 
 contest. On the other hand, the Frenchmen had been tutored 
 
-y 
 
 WRESTLING 
 
 in the Cumberland style for several weeks beforehand by two 
 expert Cumberland wrestlers. 
 
 It will be remembered that the Englishmen were victorious 
 in their own style, and the Frenchmen in theirs, and that the 
 latter won the toss for choice of style for the odd fall, and con- 
 sequently the match. Luck undoubtedly played the best 
 chip in the contest, for had the Border champions won the toss 
 their opponents would not have had a leg to stand on. As an 
 exposition of the system of wrestling peculiar to the two countries 
 the competition may be said to have fulfilled the most sanguine 
 expectations, but as a test of the merits of the men it was a 
 downright failure. The provisions of the French code of rules 
 are directly antagonistic to the very elements of a struggle, 
 while the English rules allow unlimited action so long as the 
 hold remains unbroken. Take away the chips for knocking 
 your man down and the clicks for keeping yourself up, there is 
 nothing left but weight and strength to battle with. Wright 
 and Jameson were cramped at all points, being utterly ignorant 
 of those ground manoeuvres which seemed to be the backbone 
 of their opponents' system. With our notions of fair play, 
 a struggle on the ground has certainly a savage look about 
 it. The Cornish style with its jacket-grasping and its * three 
 points down' is child's-play in comparison with the French 
 fashion of going to work ; indeed it is only approached in 
 savage brutahty by the system of wrestling which finds favour 
 in Lancashire. 
 
 In concluding this chapter on Wrestling it may be well to 
 recapitulate what constitutes a fall in some of the styles of 
 wrestling. First man down, any point, is the loser in the 
 Cumberland and Westmoreland style ; two shoulders on the 
 ground in the French or Groeco -Roman style ; any point down 
 in the Catch-hold style ; two shoulders down in Lancashire 
 style ; two hips and one shoulder, or two shoulders and one 
 
STYLES AND SYSTEMS 237 
 
 hip, excepting when the arrangement is for ^ four points/ in the 
 Cornwall and Devon style. 
 
 A great many of the other so-called systems are governed 
 by such ridiculous rules that they are best left alone. When the 
 * catch-hold first down to lose ' style becomes universal, if ever it 
 does, wrestlers will then have an opportunity of competing on 
 their merits, inasmuch as each would have the advantage of 
 adopting what was best in his own style, as well as what he 
 could acquire from others. In this way the real purposes of the 
 exercise, whether for pastime or defence, would be best pro- 
 moted, as the victory would consist in throwing your opponent 
 only, instead of rolling him on the ground in the French mode, 
 or struggling for ^ three points ' like the men of Cornwall and 
 Devon. 
 
') 
 
APPENDIX 
 
 BY 
 
 E. CASTLE 
 
BIBLIOTHECA ARTIS DIMICATORLE, 
 
 A COMPLETE and critical bibliography is not only the most 
 efficient help that can be afforded to the pursuit of original 
 inquiry on any particular subject, but, as all know who have 
 had to hunt for small details and cross-references among old 
 books and MSS., often proves of value to investigators of 
 other and not even necessarily cognate matter. On this plea 
 it can be urged that everyone who has had occasion to write 
 on out-of-the-way studies does useful work in leaving a record, 
 not only of his own surmises or conclusions, which may or 
 may not be worth having, but of all the utilisable materials he 
 has discovered. 
 
 The panegyric of ' bibliography,' however, is not needed in 
 these times. It has become a recognised and useful bypath 
 in the field of literary pursuits ; and so, although devoted to a 
 very restricted subject, the present small contribution to book- 
 lore may prove of interest to many, besides devotees of the 
 ^ noble art.' 
 
 Soon after the pubhcation of 'Schools and Masters of 
 Fence ' — from which work the bulk of bibliographical notes 
 on writings anterior to the present century are taken in this 
 volume — the w:riter was urged to complete the bibliography up 
 to date, and to publish it in a separate form ; since then it was 
 thought that such a work might form; an interesting appendix to 
 
 R 
 
242 APPENDIX 
 
 the ' fencing ' volume in the Badminton Library. The com- 
 pilation purports to give a concise bibliographical account of 
 all works relating to fencing, whether by masters, * dilettanti ' 
 or simple collectors of books, from that undiscoverable treatise 
 of Francisco Roman, reported to have been printed at Seville 
 in 1474, down to the latest publications of May 1889. 
 
 As it is logically impossible so to restrict the meaning of 
 the w^ord fenci7ig as to apply it only to the more handy 
 w^eapons, rapier, small-sword, or sabre, especially when keep- 
 ing historical considerations in view, it is here accepted in its 
 broadest etymological sense— namely, the art of fighting with 
 weapons retained in hand. This meaning is equally as applicable 
 to the German Fechtkunst^ the Italian Scherma, the French 
 Escrime^ and the Spanish Destreza as to the English Art of 
 Fence (or defence). 
 
 Such a catholic view, unfortunately, entails an obligation 
 to include a great number of manuals of mere military exercises. 
 Tiresome and prolific as much of this literature is — that devoted 
 to bayonet practice for instance — it could not well be left out 
 of account w^hen we had to admit the more ancient and 
 curious treatises on the cognate art of wielding halbert, pike, 
 flail, or two-hand sword, together with the rare works on that 
 scientific * tossing ' of banners w^hich, in the seventeenth 
 century especially, was considered as akin to fencing proper. 
 
 The cataloguing rules here employed are those of the 
 Library Association of the United Kingdom, with the excep- 
 tion, however, that the alphabetical order is replaced by a 
 strictly chronological arrangement, not only of the authors 
 themselves, but of their different works and editions. There 
 are many reasons for this departure from the more usual plan of 
 collecting all the works of an author under one heading, which 
 will, no doubt, be appreciated should this ^Bibliography' 
 be used for reference. The chief interest of old works on 
 
BIBLIOTHECA ARTIS DIMICATORIAl 243 
 
 fencing lies in their value to the antiquarian much more than to 
 the strictly * practical ' fencer. It was, therefore, thought more 
 advantageous to allow every work to be found by reference to 
 the marginal dates, so that anyone wishing for information con- 
 cerning a particular period in any country might find out at a 
 glance whatever fencing literature was available for his purpose. 
 This is obviously simpler than hunting alphabetically through 
 a mass of names all probably unfamiliar. 
 
 A large number of the older treatises are profusely and 
 splendidly illustrated, and the costumes, arms, details of orna- 
 mentation, architectural designs, even landscapes, can be of 
 use to artists, while the armorial plates which often accompany 
 the old-fashioned elaborate dedications are of interest to the 
 heraldic and genealogical student; even the copious * padding,' 
 sometimes gravely philosophic, or merely of poetic, anecdotic, 
 and contemporary interest, which so often swells the volumes 
 of ancient masters of the sword, may on occasions prove of 
 value. 
 
 The important task of verification has been gone through 
 w^henever possible— a very necessary precaution, considering 
 the want of accuracy, or even of tolerable care, shown by writers 
 on this topic, ancients especially, in their spelling of names 
 and their statements as to date and size. 
 
 It may be of interest to mention here the few authors who 
 have attempted an investigation of what had been written before 
 them on the art of fence. In the sixteenth century the great 
 Carranza, the * father of the science of arms' in Spain, in the 
 seventeenth the Marcelli of Rome and the Sicilian Morsicato 
 Pallavicini, left more or less copious lists of fencing books, which 
 remain to this day our only authority for the dates and existence 
 of the works of Francisco Roman, Pedro de la Torre, Jayme 
 Pona of Perpignan, and Pietro Moncio, none of which seem yet 
 to have been discovered. Many of the more important authors 
 
 R 2 
 
244 APPENDIX 
 
 in their national or personal vindications afford of course use- 
 ful cross-references, but in the eighteenth century our only 
 copious and reliable authority is that ' ornament of the Uni- 
 versities of Goettingen and Helmstadt,' Friedrich A. Kahn. 
 
 Among the more modern masters, the first apparently to 
 l^.ave felt an historical, not merely controversial, interest in his 
 art is Jean Posselier, fencing-master to the ' Mousquetaires Gris ' 
 of the Garde Royale, and better known under the assumed 
 name of Gomard. He collected data, often imperfect, on 
 some fifty works, and used those that he could read — namely, 
 the French and some Italian — as materials for very superficial 
 and one-sided history of the fencing art. 
 
 Gomard's short sketch, notwithstanding its want of accuracy, 
 was freely drawn, upon, two years later by Marchionni (the 
 reputed inventor of \\\^^giuoco misto^ now much practised in 
 Italy), who, after pruning the French work of some obnoxious 
 y chauvinistic' theories, completed the analysis of certain national 
 authors, and used it as the bibliographical introduction to his 
 ' Trattato di Scherma.' 
 
 The ' Dictionnaire Raisonne d'Escrime ' of J. A. Erabry, and 
 Terwangue's ^Reflexions Techniques et Historiques' on the 
 same, offering as they do little to satisfy the expectations raised 
 by their * elastic ' titles, need only be adverted to here pour 
 mctjioire. All these first attempts at critical bibliography were 
 followed, with much better success, in 1882 by the well-known 
 work of M. Vigeant, w^hilom professor in the select fencing-rooms 
 of the Cercle de TUnion Artistiqueand of the Hotel du Figaro. 
 This celebrated teacher possesses the most complete collection 
 known of books on swordsmanship, and on what the Italians 
 call Scienza cavalleresca^ generally. Moreover, as he considers 
 no clothing that the most cunning and artistic Parisian book- 
 binder can devise too magnificent for the books he loves with 
 the complicated love of a master, a bibliomaniac and a writer, 
 
BIBLIOTHECA ARTIS DIMICATORI^ 245 
 
 it must be owned that his collection is quite unique of its kind. 
 In 1882 M. VigeantpubHshed his first work, * La BibHographie 
 de I'Escrime Ancienne et Moderne,' and undoubtedly succeeded 
 in attaching to that neat little volume much of the keen interest 
 book-collectors feel for their treasures. Unfortunately, this 
 attractive production, valuable as it is, owing to the notes of 
 such an expert swordsman, is not only very incomplete, but 
 also full of errors concerning foreign books. Suffice it to say 
 that M. Vigeant only mentions some two hundred works, 
 many of them, indeed, merely from hearsay, so to speak, 
 under very free translations of their titles into French ; 
 whereas there were upward of six hundred works published 
 before 1882. 
 
 What had been done by M. Vigeant for the French portion 
 of the Bibliography of Fencing (the part which alone is nearly 
 complete in his work) was attempted soon after for the Italian by 
 Signor Masaniello Parise, but with less elaborateness, in the 
 preface to his 'Trattato Teorico-Pratico di Scherma.' This, 
 however, is rather a carelessly drawn catalogue, which gives no 
 detail as to size, printer's name, or engravings, and 'is On the 
 whole unworthy of the solid and otherwise excellent treatise it 
 introduces. 
 
 Fencing-masters are, as a rule, too entirely practical to care 
 much for book -lore ; the few names hitherto mentioned may 
 be said to include all those who have taken more than a super- 
 ficial notice of the Hterature of their ait. 
 
 Among amateurs, on the other hand, and bibliophiles, the 
 subject has attracted more attention, but only those to whom 
 this work is directly indebted for materials can be noticed 
 here. Some little-known works were discovered in the copious 
 lists of 'Books on Swordplay' given by Mr. W. F.- Foster \\\ 
 ' Notes and Queries,' Series iv. vol. v., and not a few in Almi- 
 rante's ' Bibhografia Militar,'in Mariano d'Ayala's- ' Bibhografia 
 
246 APPENDIX 
 
 Italiana Militare,' and in the article ' Fechtkunst ' of Meyer's 
 Cyclopaedia. 
 
 Of more recent authorities, the best thanks are due to Dr. 
 K. Wassmannsdorff of Heidelberg, the author of erudite essays 
 contributed to German periodicals on ancient guilds of swords- 
 men and masters, more especially the ' Marxbriider,' as well as 
 several pamphlets on subjects connected with swordsmanship. 
 Dr. Wassmannsdorff is also the fortunate owner of a most 
 valuable collection of ancient books relating to every kind of 
 sport ; — to Lieut.-Colonel Max Jahns, of the Grand General Staff, 
 in Berlin, who in the course of his researches on the universal 
 history of the art of war has come across numerous old German 
 MSS. relating to fencing and fencers ; to the Cavaliere Fambri 
 of Venice, one of the best authorities on the sword in Italy ; 
 to Don Manuel Zarco del Valle, librarian of the King's Palace 
 in Madrid ; and, lastly, to Dr. Thomas Windsor, of Manchester, 
 a learned and enthusiastic book-collector, who rarely allows a 
 catalogue, in whatever language it be, to escape his critical 
 notice. 
 
 At an early stage of the author's attempt to complete and 
 bring up to date the bibliography which prefaced ' Schools and 
 Masters of Fence,' the want was strongly felt of a competent 
 assistant to collect and classify works from all countries. This 
 help he had the good fortune to find in Mr. Carl Thimm, son 
 of the author of the well-known ' Bibliographia Shakespeariana,' 
 and himself a devoted student of bibliography and book-lore. 
 
 Notwithstanding all this valuable help, it can hardly be 
 assumed that the present volume is exhaustive ; all that can 
 be said is that it contains the matter of all existing biblio- 
 graphical accounts on the subject of fencing, and a very 
 great deal more, discovered either by mere good luck or by 
 curious searches in public and private libraries and in old book- 
 stalls and catalogues. 
 
BIBLIOTHECA ARTIS DIMICATORIJE 247 
 
 As, however, interesting but forgotten works often come to 
 light in the most unlikely quarters — a curious find of this sort 
 was lately made by the writer in the library of the Inner Temple 
 — should any reader of the * Bibliotheca Artis Dimicatorioe ' ; 
 
 happen to know of any treatise or disquisition on the ^ Noble j 
 
 Science ' unnoticed therein, he would confer a favour by send- 
 ing an account of the same to the compiler. | 
 
 E, C. 1 
 
 41C Hill Street, Berkeley Square, W. 
 October 1889. 
 
48 APPENDIX 
 
 BIBLIOTPIECA ARTIS DIMICATORI^, 
 
 DUTCH. 
 
 1607 Gheyn (J. de). — Wapenhandelinghe van Roers Musquetten ende 
 Spiessen. 117 plates. Folio. Amsterdam. 
 
 1650 Ihibauld. — Ars digladiatoria. Folio. Amsterdam. 
 
 167 1 Bkuchius (Johannes-Georgiu^) [Scherm- ofte Vecht-Meester der . 
 wyd-vermaerde Academie]. — Grondige Beschryvinge van d Edele ende Rid- 
 derlycke Scherm- ofte Wapen-Konste, &c. Oblong 4to. Leyden. 
 
 [Portrait of the author by Van Somer, and 143 copperplates,] 
 
 1674 Fetter. — Worstelkunst m. prachte Radier von Romeyadi Hodghe. 
 4to. Amst. 
 
 1866 Rkgoor (M.) — De Schermkunst voor het volksonderwijs geschikt 
 gemaakt. 8vo. 's Gravenhage. 
 
 1887 Hesse (G. ) [Schermmeester in de G. Vg. Lycurgus-Achilles en 
 Olympia, &c., &c.]— Hanrlboek ten gebruike bij het schermonderwijs op den 
 degtn en de sabel, ten dienste van liefhebbers, mtesttrs en onderwijzers. 
 Ojgedrc gen aan den weledelen zeergeleerden Heer Dr. Johan Georg Mezger. 
 8vo. Apeldoorn : Laurens Hansnia. [42 figures in the text.] 
 
 ENGLISH AND AMERICAN. 
 
 1489 The fayt of armes and chyvalrye, whiche translaycyon was fynysshed 
 the viij day of juyll the said yere (1489) was emprynted the xiiij day of juyll the 
 next folowing. In fob goth. 
 
 [This work was translated and printed by Caxton from the French of 
 Christine de Pisan.] 
 
 1594 Grassi (Giacomodi). — Giacomo di Grassi, his true Arte of Defence, 
 plainlie teaching by infallable demonstrations, apt Figures, and perfect Rules the 
 manner and forme how a man, without other Teacher or master may safelie 
 handle all sortes of weapons as well offensive as defensive. With a treatise of 
 Disceit or Falsinge : and with a waie or meane by private Industrie to obtaine 
 Strength, Judgment, and Activitie. First written in Italian by the foresaid 
 Author, and Englished by J. G[eronimo?] gentleman. 4to. London. 
 
 1595 Saviolo (Vincentio).— His practise, in two bookes ; the first intreat- 
 ing of the use of the Rapier and Dagger, the second of honour and honourable 
 quarrels. 4to. London. Printed by John Wolfe. 
 
 [6 woodcuts in the text. Dedicated to the Earl of Essex.] 
 [This work is generally believed, and with good reason, to be alluded 
 to by Shakespeare in • As you like it.' It is very illustrative of allusions 
 both in Shakespeare and Ben Jonson. Some copies contain eleven leaves 
 less than the above, marked with a kind of flower. The first leaf of 
 sheet I was cancelled, and tw elve additional leaves inserted in its place, 
 forming the complete book as in this copy. Ihe second leaf of sheet } 
 
BIBLIOTHECA ARTIS DIMICATORI^ 249 
 
 is erroneously marked H 2. In some copies, both the cancelled leaf and 
 
 the additional sheet occur, but the former is certainly out of place, being 
 
 repeated. There are, therefore, three different kinds of copies, all virtually 
 
 perfect. Between Gg and Hh are also two leaves, the first marked ^|, 
 
 forming a chapter ' of the Duello or Combat.' Quaritch Catalogue of 
 
 Books. Supplement 1875-77, p. 138.] 
 
 1599 Silver (George). — Paradoxe of Defence, wherein is proved the true 
 
 ground of fight to be in the short ancient weapons, and that the Short Sword 
 
 hath the advantage of the long sword or long rapier, and the weaknesse and 
 
 imperfection of the rapier fight displayed. Together with an admonition to the 
 
 noble, ancient, victorious, valiant, and most brave nation of Englishmen, to 
 
 beware of false teachers of defence, and how they forsake their own naturall 
 
 tights ; with a brief commendation of the noble science or exercising of arms. 
 
 Svo. London. [Woodcuts in the text.] 
 
 1608 GHb:YN (J. de).— [English translation of his work from the Dutch.] 
 P'olio. Amsterdam. See ' Dutch,' 1607. 
 
 161 r Mars His Feild or The Exercise of Armes, wherein in lively figures is 
 shewn the Right use and perfect manner of Handling the Buckler, Sword, and 
 Pike. With the wordes of Command and Brefe instructions correspondent to 
 every Posture. i2mo. London. 
 
 [16 copperplates with explanatory legends. No text.] 
 1617 SWETNAM (Joseph). — The Schoole of the Noble and Worthy Science 
 of Defence. Being the first of any Englishmans invention, which professed 
 the sayd Science ; So plainly described that any man may quickly come to the 
 true knowledge of their weapons with small paines and little practise. Then 
 reade it advisedly, and use the benefit thereof when occasion shall serve, so shalt 
 thou be a good Common-wealth man, live happy to thy selfe and comfortable 
 to thy friend. Also many other good and profitable Precepts for the managing 
 of Quarrels and ordering thy selfe in many other matters. 4to. London: 
 Printed by Nicholas Okes. 
 
 [Dedicated to Charles, Prince of Wales. 7 woodcuts.] 
 
 1639 Turn PR (Sir James). — Pallas armata : the gentleman's armorie, 
 wherein the right and genuine use of the rapier and the sword is displaied. 
 i2mo. London. 
 
 1640 (?) Hales. — The Private School of defence. 
 
 [This work is mentioned in Walton's • The compleat Angler,' 1st 
 edition, 1653, p. 3.] 
 1683 Turner 'ySir James). — Pallas armata . . . A 2nd edit. 
 1687 H[ope] (W[illiam]). — Scots Fencing Master, or Compleat small- 
 swordman, in which is fully Described the whole Guards, Parades, and 
 Lessons belonging to the Small-Sword, &c. By W. H. 8vo. Edinburgh: John 
 Reid. [12 copperplates, out of the text.] 
 
 1691 H[ope] (W[illiam]). — The Sword-Man's Vade-Mecum, or a preserva- 
 tive against the surprize of a sudden attaque with Sharps. Being a Reduction 
 of the most essential, necessary, and practical part of Fencing, into a few 
 special Rules. With their Reasons: which all Sword-Men should have in their 
 memories when they are to Engadge ; but more especially if it be with Sharps. 
 With some other Remarques and Observations, not unfit to be known. By 
 W. H. i2mo. Edinburgh : John Reid. 
 
 1692 Hope (Sir W., Kt. ) — The fencing-master's advice to his scholar: 
 or,' a few directions for the more regular assaulting in schools. Published by 
 way of dialogue for the benefit of all who shall be so far advanced in the art, as 
 to be fit for assaulting. Small 8vo. Edinburgh : John Reid. 
 
 i6q2 Hope (Sir W. , Kt.) — The compleat Fencing-Master: in which is 
 fully Described the whole Guards, Parades, and Lessons, belonging to the 
 Small-Sword, as also the best Rules for Playing against either Artists or others, 
 
2 so APPENDIX 
 
 with Blunts or Sharps. Together with Directions how to behave in a single 
 Combat on Horse-back : illustrated with figures Engraven on Copper-plates, 
 representing the most necessary Postures. 2nd edition. 8vo. London : 
 Printed for Dorman Newman, at the King's Arms in the Poultrey. 
 
 [12 copperplates, out of the text. This work, with a different 
 
 title, is in every other respect a reproduction of the ' Scots Fencing 
 
 Master.'] 
 
 1694 Hope (Sir W., Kt.) — Sword-man's Vade Mecum. 2nd edition. 
 i2mo. London : Printed by J. Tailor. 
 
 [The title of the second edition only shows a little difference in the 
 spelling.] 
 
 1702 and 1705 Blackwell (Henry). — The English Fencing Master, or the 
 Compleat Tutor of the Small-Sword. Wherein the truest Method, after a Mathe- 
 matical Rule, is plainly laid down. Shewing also how necessary it is for all 
 Gentlemen to learn this Noble Art. In a Dialogue between master and 
 scholar. Adorn'd with several curious postures. 4to. London. 
 
 [5 woodcuts, in the text. 24 copperplates, out of the text, folded. 
 Dedicated toC. Tryon, Esq., of Bullick, Northants.] 
 
 1707 Hope (Sir William, of Balcomie, Bart.) [Late Deputy-Governour of 
 the Castle of Edinburgh]. — A New, Short, and Easy Method of Fencing : or 
 the Art of the Broad and Small Sword, Rectified and Compendiz'd, wherein 
 the Practice of these two weapons is reduced to so few and general Rules, that 
 any Person of indifferent Capacity and ordinary Agility of Body, may, in a very 
 short time, attain to, not only a sufficient knowledge of the Theory of this art, 
 but also to a considerable Adroitness in Practice, either for the Defence of his 
 life, upon a just occasion, or preservation of his Reputation and Honour in any 
 Accidental Scuffle, or Trifling Quarrel. 4to. Edinburgh: James Watson. 
 
 [One large folded sheet, containing 16 figures engraved on copper.] 
 
 171 1 Wylde (Zach.) — The English Master of Defence or the Gentleman's 
 Al-a-mode Accomplishment. Containing the True Art of Single-Rapier or 
 Small Sword, withal the curious Parres and many more than the vulgar Terms 
 of Art plainly exprest ; with the names of every particular Pass and the true 
 performance thereof; withal the exquisite Ways of Disarming and Enclosing, 
 and all the Guards at Broad-Sword and Quarter-Staff, perfectly demonstrated; 
 shewing how the Blows, Strokes, Chops, Thro's, Flirts, Slips, and Darts are 
 perform' d ; with the true Method of Travesing. 8vo. York: Printed by John 
 White, for the Author. 
 
 1714 Hope (Sir William, of Balcomie, Bart.) — New Method of Fencing, 
 or the True and Solid Art of Fighting with the Back-Sword, Sheering-Sword, 
 Small-Sword, and Sword and Pistol ; freed from the Errors of the Schools. 
 2nd Edition. 4to. Edinburgh : Printed by James Watson. 
 
 1724 Hope (Sir William, Bart.) — A Vindication of the True Art of Self- 
 Defence, with a proposal, to the Honourable Members of Parliament, for erect- 
 ing a Court of Honour in Great Britain. Recommended to all Gentlemen, but 
 particularly to the Soldiery. To which is added a Short but very useful 
 memorial for Sword Men. 8vo. Edinburgh: William Brown and Company. 
 
 [The same plate as that which appears in the work published by Sir 
 W. Hope in 1707, and a frontispiece, representing the badge Gladiatorum 
 Scoticorum.^ 
 
 1725 Hope (Sir William, Bart.) — Observations on the Gladiators' Stage- 
 Fighting. Svo. London. 
 
 1728 McBane (Donald). — The expert sword-Man's companion : or the 
 True Art of self-defence, with an account of the Author's life and his transac- 
 tions during the wars with France. To which is annexed the art of gunnerie. 
 i2mo. Glasgow. Printed by James Duncan. 
 
 [Portrait of McBane, and 22 plates, out of the text.] 
 
BIBLIOTHECA ARTIS DIMICATORI^ 251 
 
 1729 Hope (Sir William, Bart.) — A Vindication of the True Art of Self- 
 Defence, &c. 2nd edition. 8vo. Printed by W. Meadowes in London. 
 
 [Same plate and frontispiece. Dedicated to the Right Honourable 
 Robert Walpole.] 
 
 1729 Valdin. — The Art of Fencing, as practised by Monsieur Valdin. 
 8vo. London : Printed by J. Parker. 
 
 [' Most humbly dedicated to his Grace the duke of Montagu.'] 
 
 1730 B[lackwell] (H[enry]). — The Gentleman's Tutor for the Small 
 Sword ; or the Compleat English Fencing Master. Containing the truest and 
 plainest rules for learning that noble Art ; shewing how necessary it is ior all 
 gentlemen to understand the same, in thirteen various lessons between Master 
 and Scholar. Adorn'd with several curious posLures. Small 4to. London. 
 
 [6 woodcuts.] 
 
 1734 L'Abbat. — The Art of Fencing, or the Use of the Small Sword. 
 Translated from the French of the late celebrated Monsieur L'Abbat (Labat), 
 Master of that Art at the Academy of Toulouse, by Andrew Mahon, Professor 
 of the small-sword. i2mo. Dublin : Printed by James Hoey. 
 
 [12 copperplates, out of the text.] 
 
 1735 L'Abbat. — The Art of Fencing, Sac. Translated frrm the French 
 by Andrew Mahon. 2nd edition. i2mo. London : Richard Wellington. 
 
 1738 Miller (J.) [Captain]. — A treatise on fencing in the shape of an 
 album of fifteen copperplates, engraved by Scotin, with one column of text. 
 Folio. 
 
 1746 Page (T. ) — The use of the Broad Sword. In which is shown the 
 true method of fighting with that weapon, as it is now in use among the High- 
 landers ; deduc'd from the use of the scymitar, with every throw, cut, guard, 
 and disarm. 8vo, 48 pp. Norwich : M. Chase. 
 
 1747 Godfrey (John) [Captain]. — A Treatise upon the useful Science of 
 Defence connecting the Small and Back Sword, and shewing the i\ffinity 
 between them. Likewise endeavouring to weed the Art of those superfluous, 
 unmeaning Practices which over-run it, and choke the true Princip:es, by re- 
 ducing it to a narrow Compass, and supporting it with Mathematical Proofs. 
 Also an Examination into the Performances of the most noted masters of the 
 Back-Sword, who have fought upon the Siage, pointuig out their Faults, and 
 allowing their Abilities. 4to. London : Printed for the Author by T. 
 Gardner. 
 
 '^7S'^ 0) An album of copperplates representing various attitudes in fen- 
 cing. Oblong 4to. Date about 1750. 
 
 1763 Angelo. — L'Ecole des Armes, avec I'explication g^ndrale des prin- 
 cipales attitudes et positions concernant I'Escrime. Oblong folio. Londres : 
 R. & J. Dodsley. 
 
 [Dediee a Leurs Altesses Royales les Piinces Guillaume-Henry et 
 Henry-Frederic. Forty-seven copperplates, out of the text.] 
 
 1765 Angelo. — L'Ecole des Armes, (&c. Oblong folio. London: S. 
 Hooker. 
 
 [A second edition of M. Angelo's work containing same plates, but 
 with two columns of text, in French and Enghsh.] 
 
 1767 Fergusson (Hary). —A dictionary explaining the terms, guards, and 
 positions, used in the art of the small sword. 8vo. [No place, no printer's 
 name.] [' Hary' is thus on the title, and at page ii.] 
 
 1771-2 LoNNERGAN (A.) — The Fencer's Guide, being a Series of every 
 branch required to compose a Complete System of Defence, Whereby the Ad- 
 mirers of Fencing are gradually led from the First Rudiments of that Art, 
 through the most complicated Subtilties yet formed by imagination, or apphed 
 
2 52 APPENDIX 
 
 to practice, until the Lesson, herein many ways varied, also lead them insen- 
 sibly on to the due Methods of Loose Play, which are here laid down, with ev- ry 
 Precaution necessary for that Practice. In four parts. Pjrt i and 2 contains 
 such a general explanation of the SmaU Sword as admits of n.U( h gi eater 
 Variety and Novelty than are to be found in any other work of this kind. Part 
 
 3 shews, in the Use of the Broad Sword, such an universal knowledge of that 
 Weapon, as may be very applicable to the use of any othei that a man can law- 
 fully carry in his hand. Part iv is a compound of the Three former, (xplaining 
 and leaching the Cut and Thrust, or Spadroon Play, and that in a more subtile 
 and accurate manner than ever appeared in Print. And to these are added 
 Particular Lessons for ihe Gentlemen of the Horse, Dragoons, and Light Horse, 
 or Hussars, with some necessary Precautions and an Index, explaining every 
 term of that Ai t throughout the book. The whole being carefully collected 
 frotii long Experience and Speculation, is calculated as a Vade-mecum for gentle- 
 men of ihe Army, Navy, Universities, (S:c. 8vo. London. 
 
 1771-2 Olivier. — Fencing Familiarized, or a new treatise on the Art of 
 Sword P.ay. Illustrated by Elegant Engravings, representing all the different 
 Attitudes in which the Principles and Grace of the Art depend; painted from 
 life and executed in a most elegant and masterly manner. 8vo. London. 
 
 [Facing the above liile is its exact translation into French. The text 
 is in both languages. Frontispiece and eight folded plates, engraved by 
 Ovenden. Olivier was educated at the Royal Academy of Paris, and 
 Professor of Fencing in St. Dunstan's Court, Fleet Street.] 
 
 1780-r McArthur (J.)[of the Royal Navy]. — The Army and Navy Gentle- 
 man's Companion : or a new and complete treatise on the th ory and practice 
 of Fencing, displaying the intricacies of smallsword play, and reducing the Art 
 to ihe most easy and familiar principles by regular progressive Lessons. Illus- 
 trated by mathematical figures and adorned with elegant engravings after paint- 
 ings from life, executed in the most masterly manner, representing every material 
 attitude of the Art. Large 4to. London : James Lavers. 
 
 [Frontispiece engraved by J. Newton from a drawing by Jas. Sowerby, 
 and 8 plates drawn by the Author and engraved byj. Newton.] 
 1780 Olivier.— Fencing Familiarized, &c. 2nd ed tion. 8vo. London: 
 J. Bell. 
 
 [Dedicated to the Earl of Harrington. Same frontispiece as in first 
 edition, but the plates are different, being drawn by J. Roberts, and en- 
 graved by D. Jinkins, Goldar, W. Blake, and C. Grignon.] 
 
 1784 McArthur (J.) — The Army and Navy Gentleman's Companion, &c. 
 2nd edition. Plates. 410. London : J. Murray. 
 [Dedicated to John, Duke of Argyll.] 
 1787 Angelo (Domenico). — The School of Fencing, with a general expla- 
 nation of the principal attitudes and positions peculiar to the Art. Translated 
 by Rowlandson. Oblong 4to. London. 
 
 [This work was translated into French and reproduced, together with 
 the plates, under the head ' Escrime,' by Diderot and D'Alembert in their 
 * Encyclopedic.'] 
 
 1787 Under W^OOD (James) [of the Custom House]. — The Art of Fencing, 
 or the use of the sna.l sword. Corrected, revised, and enlarged. 8vo. Dublin : 
 Printed bv T. Byrne. 
 
 [Dedicated to His Grace, Charles, Duke of Rutland.] 
 
 1790 Anti-Pugilism, or the science of defence exemplified in short and easy 
 lessons, for the practice of the Broad Swoid and ^ingle btick. Whereby 
 gentlemen may become proficients in ihe use of these weapons, without the 
 help of a Master, and be enabled to chastise the insolence and temerity, so fre- 
 quently met with, from those fashionable gent emen, the Johnsonians, Big 
 Bennians, and Mendozians of the present Day ; a work perhaps, bef.er calcu- 
 
BIBLIOTHECA ARTIS DIMICATORI^ 253 
 
 lated to ext'rpate this reigning and brutal foil}'' than a whole volume of sermons. 
 By a Highland officer. Illustrated with copperplates. 8vo. London : Printed 
 for J, Aitkin. [4 copperplates, drawn by Cruickshank.] 
 
 1796 Rules and Regulations for the Sword Exercise of Cavalry. Royal 
 8vo. London. [29 folding plates.] 
 
 1797 Leach (Richard) [Serjeant in the Norfolk Rangers]. — The words 
 of command and a brief explanation, embellished with engravings, representing 
 the various cuts and attitudes of the new sword exercise. 8vo. Newcastle. 
 
 1798 RowoRTH (C. ) I of the Royal Westminster Volunteers]. — The Art of 
 defence on foot with the broad sword and sabre, uniting Scotch and Austrian 
 methods, into one regular system. To which are added remarks on the spa- 
 droon. 2nd edition. 8vo. London : Egerton. [Plates.] 
 
 1798 Pepper (W.) [of the Notts Yeomanry Cavalry]. — Treatise on the new 
 broad sword exercise, with 14 divisions of movements as performed at New- 
 market. i2mo. [5 plates.] 
 
 1798-9 Rovvr.ANDSON (T.) — Hungarian and Highland broad sword. 
 Twenty-four plates, designed and etched by T. Rowlandson, under the direc- 
 tion of Messrs. H. Angelo and Son, Fencing Masters to the Light Horse 
 Volunteers of London nnd Westminster. Dedicated to Colonel Herries. 
 Oblong fo io. London : Printed by C. Roworth. 
 
 1799 Angelo (Domenico). — The school of fencing, &c. Translated by 
 Rowlandson. 2nd eiition. 8vo. Londim. 
 
 1799 Sword Exercise for Cavalry. 8vo. London. [6 engravings.] 
 
 1800 Sinclair (Capt. of the 42nd Regt.) — Cudgel-playing modernised, 
 and improved ; or the science of defence exemplified in a few short and easy 
 les-ons for the practice of the broad swo:d or single stick on foot. 8vo. 
 London : J. Bailey. [Coloured frontispiece and folding plate.] 
 
 1802 Hewes (Robert) [of Boston, U.S.] — Rules and regulations for ihe 
 sword exercise of the Cavalry. To which is added the review exercise. The 
 2nd American from the London Edition. Revised and corrected by Robert 
 Hewes, teacher of the sword exercise for cavalry. 8vo. Philadelphia : ^L 
 Carey. [28 pUtes.J 
 
 1804 The art of defence on foot with the broad-sword and sabre. Adapted 
 also for the Spadroon, or cut-and-thrast sword. Improved and augmented 
 with the ten lessons of Mr. John Taylor late Broadsword Ma ter to the Light 
 Horse Volunteers of London and Westminster. Illustrated with plates by 
 R. K. Porter, Esqr. 8vo. London. 
 
 [This is a reproduction of Roworth's book (see 1798) with a number 
 of alterations and additions, and fresh drawings.] 
 
 1805 Gordon (Anthony). — A treatise on the science of defence for the 
 sword, bayonet, and pike in close action. 4to. London. [19 plates.] 
 
 1805 Mathevvson (T.) [Lieutenant and Riding Master in the late Rox- 
 brough Fencible Cavalry]. — iFencing familiarised, or a new treatise on the art 
 of the Scotch broad sword, shewing the superiority of that weapon when op- 
 posed to an enemy Mrmed with a spear, pike, or gun and bayonet. 8vo. Sdlford : 
 Printed by W. Cowdray, junr. [31. illustrations.] 
 
 1809 Roland (J.) — The amateur of fencing. 8vo. London: T. Eger- 
 ton. 
 
 1812 Craig (Robert H.)— Rules and regulations for the sword exercise of 
 the cavalry. 8vo. BaltimDre. [26 plates.] 
 
 1817 Angelo. — A treatise on the utility and advantages of fencing, giving 
 the opinions of the most eminent Authors and Medical Practitioners on the im- 
 portant advantages der.ved from a knowledge of the Art as a means of self 
 defence, and a promoter of health, illustrated by forty- seven engravings. To 
 which is added a dissertation on the use of the broad sword (with six descrip- 
 
254 APPENDIX 
 
 live plates). Memoirs of the late Mr. Angelo and a biographical sketch of 
 Chevalier bt. George, with his portrait. Folio. London : Published by Mr. 
 Angelo, Bolton Row, and at tiis fencing academy, Old Bond Street. 
 
 [Containing the same plates as the ' Ecole des Armes ' of the author's 
 father, a portraic of St. George, engraved by W. Ward from a picture of 
 Bronn, and six plates engraved and designed by Rowlandson, under the 
 care of Angelo himself, in 1798-9.] 
 
 1819 Martellt (C.) — An improved system of fercing, wherein the use of 
 the small sword is rendered perfectly plain and familiar : being a clear descrip- 
 tion and explanation of the various thrusts used, with the safest and best 
 methods of parrying, as practised in the present age. To which is added a 
 treatise on the art of attack and defence. Svo. London : J. Bailey. 
 [One folding plate with 12 figures. J 
 1822 A Self-Instructor of the new system of Cavalry and In'"antry Sword 
 Exercise : comprehending directions for preparatory motions, assaults, guards, 
 attack and defence, and divisions, as performed on foot, also as performed 
 when mounted, w'th instructions for the old sword exercise and its attack and 
 defence : together with directions and some useful remarks on the Lance 
 Exercise. Svo. Manchester : Bancks & Co. 
 
 [One large folding plate, coloured, showing target and numerous 
 figures.] 
 
 1822 Rolando (Le sieur Guzman). — The modern Art of Fencing, care- 
 fully revised and augmented with a technical glossary by J. T. Forsyth. 
 i8mo. London : S. Leigh. [22 coloured plates.] 
 
 1823 D'EoN (Frederick). — System of fencing as arranged and systemati- 
 cally taught by Frederick D'Eon, fencing-master. In thirty-one sections, for 
 the first quarter's tuition. i2mo. Boston. 
 
 1823 Roland (George). — A treatise on the theory and practice of the art 
 of fencing. 8vo. Edinburgh. [12 plates.] 
 
 1824 Roland (George). — A treatise on the theory and practice of the art 
 of fencing. Royal 8vo. London. [12 plates.] 
 
 1827 Roland (George) [Fencing-master of the Royal Academy, the 
 Scottish Naval and Mihtary Academy, &c., &c.] — An introductory course of 
 fencing by George Roland. Svo. Edinburgh. 
 [5 lithographed plates.] 
 
 1830 St. Angelo (a pupil of — sic). — The Art of fencing, wherein the rules 
 and instructions with all the new thrusts and guards which have lately been in- 
 troduced into the Fencing Schools are in this work, that every one should be 
 competent to meet his antagonist. For of late years our neighbours on the con- 
 tinent have been our superiors in that of all others, the most useful, necessary, 
 and gentlemanly Science. Sm. Svo. London : T. Hughes. 
 
 [One foldmg plate.] 
 
 1831 Art of Fencing. Corrected and revised by the author of the ' Broad- 
 sword exercise.' Svo. London : T. Hughes. 
 
 1831 Easy and Familiar Rules for attaining the art of attack and defence 
 on foot with the broadsword, to which are added instructions for using of the 
 single stick. Svo. London : T. Hughes. 
 
 [One folding p'ate with 12 figures, being the same as those given in 
 the pamphlet by ' a pupil of St. Angelo.' 
 
 1835 Angelo (Henry) [Superintendent of Sword Exercise to the Army]. — 
 Instructions for the sword exercise, selected from His Majesty's rules and regu- 
 lations, and expressly adapted for the yeomanry. Svo. London : Clowes & 
 Sons. 
 
 1837 Roland (George). — An introductory course of Fencing. With 5 
 plates. Svo. London : Simpkin, Marshall. 
 
BIBLIOTHECA ART IS DIMICATORI^ 255 
 
 1840 Walker (D.) — Defensive Exercises, containing Fencing, the Broad- 
 sword, &c. i2mo. London : H. Bohn. [Figures in the text.] 
 
 1842 The Infantry Sword Exercise. Revised edition. 8vo. London : 
 W. Clowes & Sons. (23rd April.) 
 
 1842 Walker (D.). — Defensive exercise, containing wrestling, boxing, 
 fencing, the broadsword, &c. New edition. i2mo. London : H. G. Bohn. 
 [With 100 woodcut illustrations.] 
 184.5 Wright (T.) and Halliwell (J. O.)— Rehquias aniiquas. 8vo. 
 London. 
 
 [Vol. L , pp. 308, contains a poem ' On fencing with the two-handed 
 sword,' from MSS. Harleian 3542, of the 15th century, in the Brit sh 
 Museum. ] 
 1846 Roland (Geo.) — Introductory C'ourse of Fencing. 8vo. London: 
 Simpkin. 
 
 1846 Wilkinson (Henry) [M. R.A.S., Gunmaker]. — Observations on 
 swords, addressed to civilians. 3rd edition. i2mo. London. 
 
 1850 (?) Gribble. — Treatise on Fencing, Horsemanship, &c. 8vo- 
 London : Whittaker. 
 
 1850 Wayn (Henry C.) [Brevet Major, U. S. Army].— The Swo^d Exercise 
 arranged for military instruction. Published by authority of the War Depart- 
 ment. 8vo. Washington: Printed by Gideon & Co. [23 plates.] 
 
 [In two parts with separate title-pages, i. Fencing with the small 
 sword, arranged for instruction in squads or classes. Washington, 1840, 
 pp. 62, II plates. 2. Exercises for the broadsword, sabre, cut and thrust, 
 and stick. Washington, 1849, pp. 43, 12 plates.] 
 
 1852 LOCKWOOD (Henry H.) and Seager (E.) — Exercises in small 
 arms and field artillery ; arranged for the naval service under an order of the 
 Bureau of Ordnance and Hydrography of the Navy department. [104 plates.] 
 Large 8vo. Philadelphia : Printed by P. K. and P. G. Collins. 
 
 [Part iv. , pp. 151-168, small and broad sword exercises.] 
 
 1853 Burton (R. F.) — A system of Bayonet Exercise. 8vo. London. 
 
 1854 Roland (Geo.) — Introduction to Fencing and Gymnastics. Royal 
 8vo. London : Simpkin. 
 
 1858 Instructions for the Sword, Carbine, Pistol and Lance exercise, &c., 
 6cc. 8vo. London : J. Parker & Sons. 
 
 1859 Berriman (W. M.) — Mihtiaman's Manual and sword play. i2mo. 
 New York. 
 
 1859 Meickle (R.) — The Fencer's manual, a practical treatise on the 
 small sword, &c. 8vo. Melbourne. [With illustrations.] 
 
 i860 Chapman (George). — Method of attack and defence in the Art of 
 Fencing. Folio. London : Clowes & Sons. 
 
 1861 Berrimam (M. W.) — Mihtiaman's Manual and sword-play without 
 a master. 2nd edition. i2mo. New York : D. van Nostrand. 
 [12 plates.] 
 
 1861 Chapman (George). — Foil practice ; with a review of the art of 
 fencing, according to the theories of La Boessiere, Hamon, Gomard, and 
 Grisier. 8vo. London : Clowes & Sons. [4 lith. plates.] 
 
 1 86 1 Stephens (Thomas). — A new system of broad and small sword 
 exercise, comprising the broad sword exercise for cavalry and artillery, and the 
 small sword cut and thrust practice for infantry and navy. 2nd edition. 
 8vo. Milwaukee : Jermain & Brightman. [62 illustrations.] 
 
 1862 Griffiths (T.) — Modern Fencer, with the most recent means of 
 attack and defence. i2mo. London : Warne. 
 
2 56 APPEXDIX 
 
 1862 The Infantry Sword Exercise. Revised edition. i2mo. London. 
 
 1862 HuTTON (A.) [Lieut, her Majesty's Cam°ron Highlanders]. — Swords- 
 manship. W'ritt n for the members of the Cameron Poncing Club. 8vo. 
 Suiila : printed at the Simla Advertiser Press. 
 
 1862 McClellan (George B.) — Manual of bayonet exercise: prepared 
 for the use of the army of the United States. 8vo. Philadelphia. 
 
 1863 Berriman (W. M.) — Militiaman's Manual and sword play. 3rd 
 edition. i2mo. New York. 
 
 1863 GymnasMc Exercises, system of fencing, and exercises for the regu- 
 lation clubs. Demy i2mo. London : Horse Guards. 
 
 1864 Berriman (\V. M.) — Militiaman's Manual and sword play. 4th 
 edition. i2mo. New York ; Van Nostrand. 
 
 1834 Chapman (George). — Notes and obser\'ations on the art o*" fencing. 
 A sequel to ' Foil Practice.' Part i, No. i. 8vo. London: Clowes (S: Sons. 
 
 1867 HUTTON (Alfred) [Lieut. King's Drngoon Guards]. — Swordsmanship 
 and Bayonet-fencing. 8vo. London : W. Clowes «& Sons. 
 
 1868 Griffiths (T.) — The Modern Fencer ; with the most recent means 
 of attack and defence. i2mo. London : Warne. 
 
 1871 Instructions for the Sword, Carbine, Pistol, and Lance Exercise. 
 For the use of cavalry. i6mo. London : War Office. 
 
 1873 Corbes'ER (A. F.) — Theory of fencing ; with the sm'all sword ex- 
 ercise. 8vo. Washington. 
 
 1875 Burton (R. F.) — A new system of Sword Exercise for Infantry. 
 Post 8vo. London : Clowes. 
 
 1880 Waite (J. M.) [Professor of Fencing, late 2nd Life Guards]. — 
 Lesions in Sabre, Singlestick, Sabre and Bayonet and Sword Feats; or how 
 to use a cut and thrust sword. 8vo. London : Weldon & Co. 
 [With 34 illustrations.] 
 
 1882 Castellote (R.) — Handbook of Fencing. i8mo. London: 
 Ward & Lock. 
 
 1882 HuTTON (Alfred) [late Captiin, King's Dragoon Guards^.— The 
 Cavalry Swordsman. Bayonet fencing and sword practice. 8vo. London : 
 W. Clowes & Sons. 
 
 1883 McCarthy (T. A.)— Quarter-Staff. A practical manual. 2mo. 
 London : Sonnenschein & Co. [With 23 figures.] 
 
 1884 Castle (Egerton) [M.A., F.S. A.]. —Schools and Masters of Fen-e 
 from the middle ages to the i8th century. Illustrated with reproductions of old 
 engravings and carbon plates of ancient swords. 4to. London : Bell & Son. 
 
 [141 woodcuts in the text. Engraved frontispiece and 6 carbon plates.] 
 
 1884 Elliott (Major W. J.) [late of H.AI. War Department].— The Art 
 of Attack and Defence in use c.t the present time. Fencing: Sword against Sword 
 or Bavonet, Single tick. Bayonet against Svord or Bayonet; Boxing. 8vo. 
 London : Dean & Son. [With figures.] 
 
 1885 Infantry S-vori and Carbine, Sword-Bayonet Exercise. 32mo. 
 Chatham : Gale & Polden. 
 
 1885 A New Book of Sports. Reprinted from the ' Saturday Review.' 8vo. 
 London : R. Ben' ley & Son. 
 
 [Backsword and Schlager, pp. 137. Rapier and Dagger, pp. 146.] 
 1 8 36 Shakespearian Swordsmanship. 
 
 [An arti':le in the ' Illustrated Sporting and Dramatic News,' No. 
 646, April 24, ir86, pp. 1666-1668.J 
 
BIBLIOTHECA ARTIS DIMICATORIA^ 257 
 
 1886 Boxers and Fencers. 
 
 [Article in ' New York Herald,' December 3. 
 
 1887 ECKFORD (Henry). — Fencing and the New York Fencers. 
 
 [The ' Century Illustrated Monthly Magazine,' voL xxxiii. No. 3 
 [January], pp. 414-421.] 
 
 1888 Barkoll (Dr.) — Some observations on Fencing. ' Illustrated Naval 
 and Military Magazine,' Nov. and Dec. 4to. London. 
 
 [With photolithographs.] 
 1888 Dodge (Theodore C.) [Colonel U.S.A.]— Fencing. (Two numbers 
 in ' Harper's Young People,' April 14 and April 21.) 
 [Numerous cuts in the text.] 
 
 1888 HuTTON (Alfred) [late Capt King's Dragoon Guardsl - Cold Steel : 
 a practical Treatise on the sabre, based on the old English backsword play of 
 the e'ghteenth century, combined with the method of the modem Italian school. 
 Also on various other weapons of the present day, including the short sword- 
 bayonet and the constable's truncheon. Illustrated with numerous figures, and 
 also with reproductions of engravings from masters of bygone years. 8vo. 
 London : W. Clowes & Sons. 
 
 [Portrait of the author and numerous engravings.] 
 
 1889 Barroll (Dr.)— The Sabre. ' Illustrated Naval and Military Maga- 
 zine,' F^eb. April. May. London. [With photolithographs.] 
 
 Benard. — Eleven plates on Fencing, containing 48 Positions. 4to. [«.i/.] 
 Waite (J. M.) — Sword and Bayonet Exercise. [«.</.] 
 
 Manuscripts. 
 
 * On fencing with two-handed Sword.' 
 
 [A poem from MS. Harleian 3542, of the 15th century, British 
 Museum. 
 The names of yo*" Pushes as they are to be learned gradually. [MS. 
 British Museum, Additional, No. 5540. Folios 122-123.] 
 [Date, middle of the 17th century.] 
 
 FRENCH. 
 
 1533 (^) La noble science des joueurs d'esp^e. 4to. Paris. 
 
 1535 La noble science des joueurs desp^e. [Ici commence un tres bean 
 livret, contenant la chevaleureuse science des joueurs d'esp^, pour apprendre 
 a jouer de 1 esp^e a deux mains et aultres semblables espies, avec aussi les 
 braquemars et aultres courts cousteaux lesquels Ion use a une main. . . .] 
 
 At the end : Imprimc^ en la ville Dan vers par moy, Guillaume Wosterman, 
 demourant a la licorne d'or. 4to. Antwerp. 1535(1538?). 
 
 [Black letter. 14 whole page and 12 half page woodcuts.] 
 
 1573 Sainct-Didier (Henry de) [Gentilhomme Proven9al]. — Traict6 
 contenant les secrets du premier livre sur I'esp^e seule, mere de toutes armes, 
 qui sont esp6e, dague, cappe, targue, bouclier, rondelle, I'esp^e a deux mains et 
 les deux esp(^es, avec ses pourtraictures, ayant les armes au poing pour se 
 deffendre et offencer a un mesme temps des coups qu'on pent tirer, tant en 
 assaillant qu'en deffendant, fort utile et profitable pour adextrer la noblesse et 
 suposts de Mars : redig^ par art, ordre et pratique. Dedi6 a la Maiest^ du 
 Roy tres chrestien Charles neufiesme. A Paris, imprim^ par Jean Mettayer et 
 Matthurin ChalJ^^nge. Avec privilege du Roy. 4 to. Paris. 
 
 [Portrait of the author, of the King, and 64 woodcuts in the text.] 
 
 1588 POLYCARPE (de St.) — .Sonnets contre les escrimeurs et duellistcs. 
 Petit in-4to. Paris : Jamet Mattayer. 
 
 S 
 
258 
 
 APPENDIX 
 
 1596 Arfeau (Thoinot).— OrcMsographie, m^tode et t^orie en forme de 
 discours et tablalure pour apprendre k dancer, battre le tambour, jouer du fifre 
 et arigot ; tirer des armes et escrimer, avec autres honnestes exercices fort con- 
 venatles a la jeunesse. . . . Jean Tabourot. Lengres par Jehan dez Preyz. 
 4to. Lengres. [Woodcuts.] 
 
 1609 Cavalcabo (H.) et Patenostrier. — Traits, ou instruction pour 
 tirer des armes, de I'excellent scrimeur Hyeronime Cavalcabo, Bolognois, avec 
 un discours pour tirer de I'esp^e seule fait par le deffunt Patenostrier, de Rome. 
 Traduit d'ltalien en fran9ois par le seigneur de Villamont, chevalier de I'ordre 
 de Hierusalem et gentilhomme de la chambre du Roy. Chez Claude le Villain. 
 i2mo. Rouen. 
 
 i6ro Deseordes. — Discours de la th^orie, de la pratique et I'excellence 
 des armes. 4to. Nancy chez Andre. 
 
 1610 Sauaron (Jean) [Maistre, sieur de Villars, Conseiller du Roy, Pre- 
 sident & Lieutenant General en la Seneschaussee d'Auvergne, & siege Presidial 
 a Clairmont]. — Traicte De I'Espee Fran9oise. Au Roy Tres-Crestien. Paris : 
 Adrian Perier. 
 
 1615 Wallhausen (Jean-Jacques de). — L'art militaire pour I'infanterie, 
 auquel e;t monstre le maniement du mousquet et de la pique, &c., descrit en 
 langage allemand et t,raduit en fran9ois. Small 8vo. Franckfort. 
 [Numerous copperplates.] 
 
 3613 Breen(A. van). — Le maniement d'armesde Nassau avecq Rondelles, 
 Piques, Esp^e^ et Targes ; representez par Figures. Folio. La Haye. 
 
 1619 Giganti (Nicolat) [Venetien]. — Escrime nouvelle ou theatre auquel 
 sont representees diverses manieres de parer et de frapper, d'esp6e seul et 
 d'esp^e et poignard ensemble, demontr^es par figures entaill^es en cuivre, 
 public en faveur de ceux qui se delectent en ce tres noble exercice des armes, 
 et traduit en langue franfois'e par Jacques de Zeter. Apud Ja. de Zeter. Ob- 
 long 4to. Francofurti. 
 
 [Portrait of the author and 42. copperplates out of the text.] 
 
 1628 Thibault (Girard) [d' Anversj. — Academic de I'esp^e, ou se demons- 
 trent par reigles mathematiques, sur le fondement d'un cercle myst^rieux, la 
 th^orie et pratique des vrais tt iusqu'a present incognus secrets du maniement 
 des armes, a pied et a cheval. Folio. Leyde. 
 
 [Frontispiece, portrait of Thibauld, 9 plates containing the coats-of- 
 arms of the nine kings and princes who subscribed to this work. 46 
 copperplates folio size.] 
 
 1653 Besnard (Charles) [Breton]. — Le maistre d'armes liberal, traittant 
 de la throne de l'art et exercice de I'esp^e seule, ou fleuret, et de tout ce qui 
 s'y peut faire et pratiquer de plus subtil, avec les principales figures et postures 
 en taille douce ; contenant en outre plusieurs moralitez sur ce sujet. Dedi6 k 
 Nosseigneurs des Estats de la province et duch6 de Bretagne. A Rennes, chez 
 Julien Herbert. 4to. Rennes. [4 copperplates, out of the text.] 
 
 1668 Thfbault (Girard). — Academic de I'esp^e. . . . 2nd edition. 
 Folio. Bruxelles. 
 
 1670 De la Touche [Maistre en fait d'armes k Paris, des pages de la 
 reine, et de ceux du due d Orleans]. — Les vrays principes de I'esp^e seule, 
 dediez au Roy. Obi. 4to. Paris : Franfois Muguet. 
 
 [Portrait of la Touche, 35 copperplates, out of the text.] 
 
 1672 Nord Willards (Comte de). — Essai sur l'art des armes, opuscule 
 d^die au mar^chal de Turenne. 8vo. Paris, chez Seneuse. 
 
 1676 Le Perche (Jean-Baptiste) [du Coudray].- L'exercice des armes ou 
 le maniement du fleuret. Pour ayder la m^moire de ceux qui sont amateurs 
 de cet art. Chez N. Bonnard. Oblong 4to. Paris. [35 copperplates.] 
 
 t686 Liancour (Wernesson de) — Le maistre d'armes ou l'exercice de 
 I'esp^eseulle dans sa perfection. D^di^^ Monseigneur le due de Boargogne 
 
BIBLTOTHECA ARTIS DIMICATORI^ 259 
 
 Les attitudes de ce livre ont est^ poshes par le sieur de Liancour et gravies par 
 A. Perelle. A Paris, chez I'auteur. Oblong 4to. Paris. 
 
 [Portrait of the author and 14 copperplates, out of the text.] 
 1690 Lab AT. — L'art de I'esp^e. i2mo. Toulouse. 
 
 [With copperplates.] 
 1692 Liancour (Wernesson de). — Le maistre d'armes. , . . 2nd 
 edition. Oblong 4to. A-nsterdam. 
 
 1696 Labat [Maitre en fait d'armes de la ville et academic de Toulou<^e]. 
 L'art en fait d'armes, ou de I'^p^e seule, avec les attitudes ; dedi^ a Mon- 
 seio^neur le comted'Armaignac, Grand ecuyer de France, &:c. 8vo. Toulouse : 
 J. Boude. [12 copperplates, out of the text.] 
 
 1701 Labat [Maitre d'armes a Toulouse]. — Questions sur l'art en fait 
 d'armes, ou de I'ep^e, dedi^a Monseigneur le due de Bourgogne. 4to. Tou- 
 louse : G. Robert. 
 
 1721 De Brye (J.) [Maistre en fait d'armes]. — L'art de tirer des armes, 
 reduit en abr^g^ methodique. D^di^ a Monseigneur le marechal due de Ville- 
 roy. 8vo. Paris : C. L. Thibourt. 
 
 [Frontispiece and medallion portrait of the Dauphin.] 
 
 1721 Beaupr^ (Jean Jamin de) [Maitre en fait d'armes de Son- Altesse S. 
 Electorale de Baviere, a la celebre University dingolstadt].- — M6tho.de tres 
 facile pour former la noblesse dans l'art de I'^p^e, faite pour I'utilit^ de tous les 
 amateurs de ce bel art. On trouvera en ce livre, ranges en ordre, tous les 
 mouvements g^n^ralement bien expliqu^s qui sont necessaires a biert apprendre 
 et a enseigner a faire des armes, en allemand et en fran9ais, avec 25 planches 
 qui repr^sentent toutes les principales actions, a la derniere perfection. Ce jeu 
 est choisi de I'ltalien, de 1' Allemand, de I'Espagnol et du Fran9ais, et composed 
 de maniere, par sa grande pratique, qu'on peut I'appeller le centre des armes. 
 Dedi6 a Son Altesse Electorale de Baviere. 4to. Ingolstadt. 
 [25 copperplates, out of the text.] 
 
 1731 De Brye (J.) — L'art de tirer des armes. . . . 2nd edition. 8vo. 
 Paris. 
 
 1732 Basnierres (Chevalier de). — D^ la beautt^ de I'escrime de I'^p^e, 
 dedi6 au marechal de Villars. Bvo. Paris, chez Thiboust. 
 
 1736-7 GiRARD (P. J. F. ) [Ancien officier de Marine]. — Nouveau trait(§ 
 de la perfection sur le fait des armes, dedi^ au Roi. Enseignmt la maniere 
 de combattre, de I'^p^e de pointe seule, toutes les gardes etrangeres, I'espadon, 
 les piques, hallebardes, &c. , lels qu'ils se pratiquent aujourd'hui dans l'art mili- 
 taire de France. Orn(^ de figures en taille douce. Obi. 4to. Paris. 
 
 [Frontispiece and 116 copperplates, out of the text, engraved by 
 Jacques de Favanne.] 
 
 1737 Martin [Maistre en fait d'armes. de I'acad^mie de Strasbourg]. — 
 Le Maistre d'armes, ou I'abr^g^ de I'exercice de I'epee. Ornc^ de figures en 
 taille douce. i2mo. Strasbourg. [t6 copperplates, out of text.] 
 
 1740 GiRARD (P. J. F.) — Nouveau Traits de la Perfection sur le fait des 
 Armes, &c. 4to. La Haye. 
 
 1742 Charpentie [de I'acad^mie de Lyon]. — Les vrays principes de 
 I'^p^e, dediez a Monseigneur le due de Villeroy. Bvo. Amsterdam. 
 
 1749 Bas (Fran9ois). — Nouvelles et utiles observations pour bien tirer des 
 armes. 8vo. Basle. 
 
 [Dedicated to the Colonels of the Basle troops and MM. J. Bourcard 
 and Abel de Wettstein.J 
 
 1750 Le Perche (Jean-Baptiste) [du Coudray]. — L'exercice des armes. 
 2nd edition. Oblong 4to. Paris. [With the additio"h of 5 plc^tes.] 
 
 ,-■,32 
 
26a APPENDIX 
 
 1752 Df5 Crevigny.-— Science des personnes de cour et d'^p^. 2nd 
 edition. Tonte vii. chapter x. ismo. Amsterdaoi. 
 
 [A chapter dedicated to the art oi fencing. 8 folded copperplates. ] 
 1754 GOKDiNE (Gerard) [Capiiaine, et maitre en fait d'armes].— Frincipes 
 et quintessence des armes. Dede a S. x\. Jean-Theodore, due des Deux- 
 Bavieres, cardinal de la sainte eglise romaine, evdque et p. ince de Liege, »lxc. 
 4to. Liege : S. Bourguignon. [20 copperplates, out of text> by Jacob.] 
 
 1763 ANGELO.^L'Ecole des Armes, a vec 1' explication g^ a (^rale des p*in- 
 ei pales attitudes et positions conceruant I'Escrime. Oblong foliow Londres ; 
 K & J. Dodsley. 
 
 [Dedi^ a Leurs Altesses Royales les Princes Guitlaume-Henry et 
 Henry- Frt^deric. Forty-seven copperplates, out oi the text.] 
 1763 M^moire pour le sieur Menessiez, Maitre en fait d'armes et maitre 
 des pages de M. le comte de Clermont. Contre la Communaut^ des Maitres 
 en fait d armes. 
 
 At the end : De I'imprimerie de C. F. Simon, imprimeurs de la Reine, et 
 de I'Archev^ch^, Rue des Mathuiins. 4to. Paris. 
 
 1765 Ajsgelo.— L'Ecole des Armes, &c. 2nd edition. Oblong folio. 
 Loodies. 
 
 [This edition contains the same plates as the first (vide 1763). but has 
 two columns of text in French and English. It was printed by S. Hooper 
 in London.] 
 
 1765 O Sl LHYAN (Daniel) [Maitre en fait d'armes des academies du Roi]. 
 L'esc.ime pratique ou principes de la science des armes. 8yo. Paris: Se- 
 bastien Jorry. 
 
 1766-7 Danet [Syndic-garde de la Compagnie des maitres d'armes de 
 Paris]. — L'art des armes, ou la maniere la plus certaine de se servir utilement 
 de r^p<^, soit pour attaquer, soit pour se defendre, simplifiee et d^montr^e 
 dans toute son ^tendue et sa perfection, suivant les meilleurs princif)es de 
 th(§orie et de pratique adoptt^s actuellement en France. Ouvrage n<^ssaire i^ 
 la jeune noblesse, aux militaires et a ceux qui se destinent au service du Roy, 
 aux personnes mdme qui, par la distinction de leur etat ou par leurs charges, 
 sont obligees de porter lep^ ; et a ceux qui veulent faire profession des armes. 
 Dedi^ a Son Altesse Monseigneur le prince de Conty. Tome premier. 8vo, 
 1766. Tome second, contenant la K^futation des ciitiques et la suite du uidme 
 traits 8yo. Paris. 1767. 
 
 [Frontispiece and 43 copperplates, out of the text.] 
 
 1766 * * * [La Boessiere^. — Observations sur le traits de l'art des armes, 
 pour servir de defense a la verity des principes enseignes par les Maitres d'armes 
 de Paris par M. * * * maitre d'armes des academies du Roi, au nom de sa 
 compagnie. 8yo. Paris. 
 
 1767 Angelo. — L'Ecole des Armes, &c. 3rd edition. Oblong folia 
 Londres. 
 
 1770 Battier. — La th^rie pratique de I'escrime, pour la pointe seu!e, 
 avec des remai que s pour lassaut. i2mo. Paiis. 
 
 1771-2 Olivier [Professor of Fencing in St. Dunstan's Court, Fleet Street, 
 London. Of the Royal Academy of Parish — L'art des armes simpliti^. Nou- 
 veau traits sur la maniere de se servir de I'ep^. S\o, Londres : Jean Bell. 
 [Frontispiece and 8 plates, out of text.] 
 
 1772 Batier [or Battier]. — La th^rie pratique de I'escrime pour la pointe 
 seule, avec des remarques instructives pour I'assaut et les moyens d'y pcuvenir 
 par gradation. Dedi6 a S. A. S. le due de Bourbon. 8vo. Paris. 
 
 [One engraving.] 
 
 1775 Navarre (C.) [Maitre d'armes de la premiere compagnie de la 
 maison du Roi]. — L'art de vaincre par I'^p^e, d^di^ a messieurs les Gardes-du- 
 
BIBLIOTHECA ARTIS DIMICATORI^ 261 
 
 Corps du Roi de la compagnie de Noailles. Avec approbation de la compagnie. 
 i8mo. Paris. 
 
 1775 Fr^ville (Chevalier de). — Maximes et instructions sur I'art de 
 tirer des armes. 8vo. Petersbourg. 
 
 1776 Fr^ville (Chevalier de). — Maximes et instructions sur I'art de tirer 
 des armes. . . . 2nd edition. 8vo. Leipsig. 
 
 1778 Demeuse (Nicolas) [Garde-du-Corps de S.A.S. le Prince Eveqne a 
 Liege et Maitre en fait d'armesj. — Nouveau traits de I'art des armes, dans 
 lequel on ^tablit les principes certains de cet art, et 011 Ton enseigne les moyens 
 les plus simples de les mettre en pratique. Ouvrage n^cessaire aux personnes 
 qui se destinent aux armes et utile a celles qui veulent se rappeler les principes 
 qu'on leur a enseign^s. i2mo. Liege : Desoer. 
 
 [4 copperplates, out of text.] 
 
 1782 Br^mond (Alexandre, F^icard). — Traits en raccourci sur I'art des 
 armes. 8vo. Turin. 
 
 1786 Demeuse (Nicolas).— Nouveau traits de I'art des armes. . . . 
 2nd edition. i2mo. Liege : Desoer. [Contains 14 plates.] 
 
 1787 Danet [Ecuyer, Syndic-Garde des ordres de la Compagnie des 
 Maitres en fa t d'armes des Academies du Roi en la ville et Fauxbourgs de Paris, 
 aujourd'hui directeur de I'Ecole Royale d'Armes]. — L'art des armes, ou I'on 
 donne I'application de la th^orie a la pratique de cet art avec les principes me- 
 thodiques adopt^s dans nos 6coles royales d'armes. 2nd edition. 2 vols. 8vo. 
 Paris. [45 copperplates, out of text.] 
 
 1787 (?) Angelo (D.). — Escrime [Diderot et D'Alembert's Encyclopedic]. 
 
 [This is a reproduction and translation of Angelo's work published in 
 
 London in 1787.] 
 
 1795 Planches de L'Encyclop^die M^thodique. Nouvelle ^dit'on enrichie 
 
 de remarques. Dedi^e a la serenissime Republique de Venise. Art Militaire. 
 
 Equitation, Escrime, &c. Foho. Padova. 
 
 1798 [An vi] Danet. — L'art des armes . . . 3rd edition. B^lin, rue 
 St. Jacques. 2 vols. 8vo. Paris, 
 
 1799 Fr^ville (Chevalier de). — Maximes et instructions sur l'art de tirer 
 des armes. 3rd edition. 8vo. Leipsig. 
 
 1800 Demeuse (Nicolas). — Nouveau trait(5 de l'art des armes . . . 
 3rd edition. Imprimerie de Blocquel. To the original text is added a Dic- 
 tionnaire de l'art des armes. i2mo. Lille and Paris. 
 
 [14 copperplates, different from the previous editions.] 
 
 1801 Bertrand [Maitre d'armes]. — L' escrime apphqu^e a l'art militaire. 
 8vo. Paris. 
 
 1804 Saint-Martiiv (J. de) [Maitre d'armes imperial de I'AcadcSmie 
 Theresienne]. — L'art de faire des armes r^duit a ses vrais principes. Con- 
 tenant tous les principes n^cessaires a cet art, qui y sont expliqu^s d'une 
 m.miere claire et intelligible. Cet ouvrage est compost pour la jeune nobles.se 
 et pour les personnes qui se destinent au metier de la guerre, ainsi que pour 
 tous ceux qui portent I'^p^e. On y a joint un traits de I'espadon, ou Ton 
 trouve les vrais principes de cet art, qui y sont exphques d'une fa9on ais^e, 
 et qui est rempli de d6couvertes vraiment nouvelles. D^di^ a S.A.R. Mon- 
 seigneur I'archiduc Charles. 4to. Vienna. [72 figures,] 
 
 1815 MoRE'^U. — Essai sur l'art de I'escrime, 8vo. Nantes. 1815. 
 
 1816 MuLLER (A.)— Th^orie sur I'escrime a cheval, pour se d^fendre 
 avec avantage contre toute espece d'armes blanches. 4to. Paris. 
 
 [51 plates.] 
 
 1817 Chatelain. — Traits d'escrime a pied et a cheval, contenant la 
 demonstration des positions, bottes, parades, feintes, ruses, et gen^rale- 
 
262 APPENDIX 
 
 raent tous les coups d'armcs connus dans les Academies. 8vo. Paris : 
 Maginel. [9 lithographed plates. J 
 
 18 J 8 La Boessiere (M.) — Traii^ de I'art des armes k I'usage des profes- 
 seurs et des amateurs. 4to. Paris. 
 
 1818 Chatelain. — Traits d'escrime, k pied et k cheval, contenant la 
 demonstration des positions, bottes, parades, feintes, ruses, &c. 2« Edition. 
 8vo. Avec planches. Paris. 
 
 1820 Lafaugere (Justin). — Traits de I'art de faire des armes. 8vo. 
 Lyon. [2 folding plates.] 
 
 182 1 L[homandie] (P. F. M.) — La Xiphonomie, ou I'art de I'escrime, 
 poeme didactique en quatre chants ; par P.-F.-M. L., Amateur, 61eve de feu 
 Texier de la Boessiere. 8vo. Angouleme : Imprimerie Broquisse. 
 
 1825 Lafaugere (Justin). — Traits de I'art de faire des armes. 8vo. 
 Paris : Bouchard. 
 
 1826 Theories ^trangeres sur le maniement du sabre. 
 
 1827 Hamon (P. G.) — Manuel de gymnastique suivi d'un Traits sur I'art 
 des armes. 8vo. Londres. [Lithographed plates.] 
 
 1828 Fougere. — L'art de ne jamais etre tu6 ni bless^ en Duel, sans avoir 
 pris aucune lefon d'armes, et lors raeme qu'on aurait affaire au premier Tireur 
 de I'univers. i2mo. Paris. [A copperplate.] 
 
 1828 MULLER (Al.) — Th^orie sur I'escrime a cheval, pour se d^fendre 
 avec avantage contre toute espece d'armes blanches. 2^-' Edition. Paris : Cor- 
 dier. [With an atlas of 54 plates.] 
 
 1830 (?) DoNON [Ex-Adjudant-Major des ci-devant lanciers polonais]. — 
 L'escrime moderne ou nouveau traits siniplifi^ de l'art des armes. 8vo. 
 [13 plates in outline.] 
 
 1830 Ghersi. — Trait(^ sur I'Art de faire des Armes. 8vo. Paris. 
 
 1832 PiNKTTE (Joseph). Ecole du tirailleur, ou maniement de la baion- 
 nette appUqu^ aux exercices et manoeuvres de I'infanterie. i8mo. Paris : 
 Dumaine. [32 figures.] 
 
 1836 De Bast (B.) — Manuel d'escrime. 8vo. Bruxelles : H. Dumont. 
 [7 folding plates in outhne, and a lithographed portrait of the author.] 
 
 1836 MuLLER (Al.)— Maniement de la baionnette appliqu^ k I'attaque et 
 a la defense de I'infanterie. 4to. Paris. [20 plates.] 
 
 1838 Lafaugere (L.J. ) — Nouveau manuel d'escrime. Nouvelle Mition. 
 i2mo. Paris. [Manuels-Ro;et.] 
 
 1840 (?) Dictionnaire des Arts Academiques : Equitation, escrime, danse, 
 natation : faisant partie de 1' Encyclopedic 4to. Paris. [16 plates.] 
 
 1840 L[HOMANDrE] (P. F, M.) — La Xiphonomie, ou l'art de I'escrime, 
 poeme didactique en quatre chants. 8vo. Angouleme : Lefrai^e. 
 
 [1840J Selmnitz [Capitaine de Tarm^e saxonne]. — De I'escrime k la 
 ba'ionnette, ou instruction pour I'emploi du fusil d'infanterie comme arme 
 d'atta que et de defense. Traduit de I'allemand par J.-B.-N. Merjay. i2mo. 
 Paris et Bruxelles. n.d, [4 plates comprising 12 figures.] 
 
 1841 Lafaugere (J.) — L'Esprit de I'escrime; poeme didactique. 8vo. 
 Paris : Garnier. [Portrait of the author.] 
 
 1842 Escrime a la baionnette (Extrait de I'instruction provis. sur I'exercice 
 et les manoeuvres des bataillons de chasseurs a pied). 32mo. Strasbourg : 
 Levrant. 
 
 1842 Roger (M.) — Principes d'escrime. i2mo. Paris. 
 
 1843 DoNON. — Manuel des armes ou guide des professeurs. Nouveau 
 traite simplifie. i2mo. Paris : Imprimerie de A. Appert. 
 
BIBLIOTHECA ARTIS DIMICATORI^ 263 
 
 1843 EscHER (J. Baptiste). — M^thode d'escrime. 8vo. Fribonr^. 
 
 1845 PosSELLiER (A. J. J.) [dit Gomard]. — La Th^orie de I'escrime, en- 
 seign^e par une m6ihode simple, bas^e sur I'observation de la nature ; pr(^c^d^e 
 d'une introduction dans laquelle sont r^sum^s tous les principaux ouvrages sur 
 rescrime qui ont paru jusqu'^ ce jour. 8vo. Paris : Dumaine. 
 
 [20 plates.] 
 
 1846 PiNETTE (Joseph). — Ecole du tirailleur, &c. 8« Edition. i8mo. 
 Paris : Dumaine. [32 figures. Vide ist edition, 1832.] 
 
 1847 Grisier (Augustin). — Les armes et le duel. 8vo. Paris : Garnier. 
 [Engraved portrait of the Chevalier de Saint-Georges, and 10 litho- 
 
 graphtd plates.] 
 
 1847 PiNETTE (Joseph). — Refutation de rescrime a la bai'onnette, de M. 
 Gomard. 8vo. Paris : Dumaine. 
 
 1847 PiNETTE (Joseph). — Th^orie de rescrime k la baibnnette. i8mo. 
 Paris : Dumaine. [16 figures.] 
 
 1847 PossELLiER (A. J. J.) [dit Gomard]. — L'Escrime k la bai'onnette, ou 
 Ecole du fantassin pour le maniement du fusil comme arme blanche. 8vo. 
 Paris. [36 plates.] 
 
 1849-50 Henry. — Sur I'art de I'escrime en Espagne au moyen age, 
 [Revue Arch6ologique, tome 6, p. 583. 8vo. Paris. 1849-50.] 
 
 1851 (?) Th^orie pratique sur I'art de la savate (appel^e chauss6n ou 
 adresse paribienne) et de la canne avec demonstration expliqu^e de la le9on . . . 
 par un amateur, ei6ve de Michel, dit Pisseux, Professeur. 8vo. Paris. 
 
 1855 ROBAGLIA (A. ) — Escrime-pointe. Nouvelle th^orie, d^di^e a Tarmee, 
 sur le maniement de Tep^e. i6mo. Metz : Verronnais. [8 plates.] 
 
 1856 Embry (J. A.) — Dictionnaire raisonn^ d'escrime, ou Prin ipes d^ 
 I'art des armes d'apres la m^thode enseign^e par les premiers professaurs de 
 France, pr^c^d^ de I'histoire de I'escrime et de I'analyse de Thistoire de France 
 dans ses rapports avec le duel. V^ et 2^ parties. In-8, avec 8 pi. Toulouse. 
 
 [L'ouvrage, compost d'environ 700 pages, sera divis^ en 4 parties, et 
 paraitra en 2 series: i^® s^rie, comprenant I'histoire de I'escrime; 
 I'analyse de I'histoire de France, dans ses rapports avec I'escrime et le 
 duel. Une nouvelle Edition de cette i^« s^rie a €\.€ annonc6e en 1859, 
 en vente a Paris chez M. Bohin de Corday, 18, quai de la M^giseerie. 
 La 2.^ s^rie, qui sera publi^e en deux parties, renfermera un Traits 
 th^orique sur I'art des armes et le Dictionnaire raisonn6 d'escrime.] 
 
 1856 Larribeau [Professeur d'escrime et de canne]. — Nouvelle th^orie 
 du jeu de la canne, orn^e de 60 figures, indiquant les poses et les coups. i2mo. 
 Paris [chez I'auteur, passage VerdeauJ. 
 
 [Portrait of the author and 4 plates.] 
 
 1857 Lemoine (A1.) — Traits d'^ducaion physique, comprenant la nata- 
 tion, I'escrime k la bai'onnette, la boxe franyaise, I'escrime k I'^p^e, la gymnas- 
 tique. Gr. in-8. Gand. [With an atlas of 56 plates.] 
 
 1859 D'AzEMAR. — Combats k la bai'onnette. Th^orie adoptee en 1859 par 
 I'arm^e d' Italic command^e par I'Empereur Napoleon IIL i6mo. Torino. 
 
 i860 Pri^vost (Pierre). — Th^orie pratique de I'escrime simplifi^e pour 
 I'enseignement mutuel. 8vo. Londres : Nissen et Parker. 
 
 i860 SiEVERBRUCK (J.) — Manuel pour I'^tude des regies de I'escrime au 
 fleuret et a I'espadon. 4to. Paris : Tanera. 
 
 1862 Bazancourt (le baron C^sar de).— Les Secrets de I'^p^e. 8vo. 
 Paris : Amyot. 
 
 1862 Blot (Jacques Antoine).—L'Eco]e de Tescrime ; petit manuel pra- 
 tique a I'usage de rarni^e. 32mo. Paris : Marpon. 
 
264 APPENDIX 
 
 1862 Coi^DELOis [Professeur d'escrinie]. — Le9ons d'armes. Du duel et de 
 I'assaut. Gr. 8vo. Paris : Tanera. [28 plates comprising 42 figures.] 
 
 1862 Lozfes (Bertrand). — Tii^orie de rescrime simultan^e. i8mo. Paris : 
 Dumaine. 
 
 1863 Grisier (Augustin). — Les armes et le duel. Preface anecdotique 
 par Alexandre Dumas. Notice sur Tauteur par Roger de Beauvoir. Epitre 
 en vers de M^ry. Lettres du comte d'H * * * et du comte d'l * * *. 3*^ 
 Edition, revue, corrig^e et augment^e. Gr. in-8. Paris : Dentu. 
 
 [Portrait of the author by Lassalle and drawings of E. de Beaumont.} 
 
 1864 Grisier (Augustin). — Les armes et le duel. 2^ Edition. 8vo. 
 Paris. 
 
 1864 MiLLOTTE. — Traits d'escrime, Pointe. iSmo. Paris : Dumaine. 
 
 1864 ROBAGLIA (A.) — Cours complet d'escrime. Theories sur le manie- 
 ment de I'^p^e ou I'Art de faire des armes, simplifi6 et d^montr6 suivant tous 
 les principes th^oriques et pratiques ; pr^c^d^ de quelques notices et de recueils 
 historiques. i2mo. Paris : Fontenay. 
 
 1865 Lafaugere (J.) — Nouveau manuel complet d'escrime, ou Traits 
 de I'art de faire des armes. Nouvelle Edition, entierement refondue et orn^^ de 
 vignettes intercaMcs dans le texte. i8mo. Paris : Roret. 
 
 [Woodcuts in the text. ] 
 
 1866 Instruction pour I'enseignement pr^paratoire de I'escrime k r^p6e. 
 i8mo. Pans : Dumame. [9 lithographed plates.] 
 
 1866 Notice biographique sur Jean-Louis et son Ecole. 8vo. Mont- 
 peiller: Richard. 
 
 [Attributed to General D , a pupil of Jean-Louis. Lithographed 
 
 portrait.] 
 
 1867 Statuts et reglemens faits par les maitres en fait d'armes de la ville 
 et fauxbourgs de Paris, 1644. Paris : Henri Daressy. 
 
 1869 Bonaparte (Prince Pierre-Napoleon). — Le maniement de I'^p^e r6- 
 duit k sa plus simple expression utile. 2e Edition. In i2mo. Paris : Impri- 
 merie Aubry. 
 
 1869 Campenon (le g^n^ral). — Le9ons d'armes. 4to. Lyon. 
 
 1872 K. (C. de) [le colonel]. — Annotations m^thodiques et succinctes de 
 I'escrime. 8vo. Paris : L^autey. 
 
 1872 Legouve (Ernest). — Un tournoi au XIX^ siecle. 4to. Lemerre. 
 
 1872 Trait6s du duel judiciaire, relations de pas d'armes et tournois ; par 
 Olivier de la Marche, Jean de Villiers, seigneur de 1' Isle-Adam, Hardouin de 
 La Jaille, &c. Pubh^s par Bernard Prost. 8vo. Pai is : L. Willem. 
 
 1873 CORDELOIS. — Lecons d'armes. Du duel et de I'assaut. Thdorie 
 complete sur I'art de I'escrime. 2^ Edition. 8vo. Paris : J. Dumaine. 
 
 [Portrait and 28 plates.] 
 
 1874 Terwangue. — Reflexions techniques et historiques sur I'escrime, 
 par un ancien amateur. 8vo. Lille : Meriaux. 
 
 1875 Blot (Jacques-Antoine). — L'6cole de I'escrime, &c. i2mo. Paris. 
 
 1875 GiLLET (Auguste). — L'escrime rendue facile et classique. Traits 
 th6orique et pratique k I'usage de I'enseignement et des amateurs d'apres les 
 legons de M. Lacrette. i8mo. Paris : Dumaine. [With figures.] 
 
 1875 Instruction pour I'enseignement pr^paratoire de I'escrime k Tep^e. 
 suivie du reglement provisoire pour Torganisation de I'enseignement graiuit et 
 obligatoire de I'escrime dans Tarm^e, :8 avril 1872, modifie par la circulaire 
 du 7 d^cembre 1872. i8mo. Paris : J. Dumaine. [With plates.] 
 
 1875 Manuel pour I'enseignement de la gymnastique et de I'escrime, public 
 
BIBLIOTHECA ARTIS DIMICATORI^ 265 
 
 par ordrede M. le Ministre de la marine et des colonies. i8mo. Paris : J. 
 Damaine. [With numerous figures.] 
 
 1875 Saint-Albin (A. de). — Les salles d'armes de Paris. Roy. Bvo* 
 Paris : Glady freres. [With copperplates.] 
 
 1876 Legouv^ (E.)— Deux ^p^es bris^es (Bertrand et Robert). 8vo. 
 Paris : Ollendorff. 
 
 1877 RoBAGLiA (A.) — De I'escrime d'apr^s les regies et les principes de 
 nos n)eilleurs profes^eurs : La Boessiere, Gomard, Lhomandie, Jean-Louis, 
 Lafaugere et Grisier, pr^c^d^e d'une notice historique sur le fleuret et les salles 
 d'escrime. 8vo. Paris: F. Vernay. [16 plates. ] 
 
 1878 Manuel d'escrime approuv^ par le ministre de la guerre. 32mo. 
 Paris : Dumaine. [40 figures.] 
 
 1879 Manuel de gymnastique (gymnastique d'assouplissement et gymnas- 
 tique apphqu^e, natation, boxe fran9aise, baton et canne) ; approuv6 par M. 
 le Ministre de la guerre, le 26 juillet 1877. i8mo. Paris : J. Dumaine. 
 
 [With numerous figures.] 
 
 1881 Manuel d'escrime, approuv6 par M. le Ministre de la guerre, le 18 
 mai 1877. i8mo. Paris: J. Dumaine. [With figures.] 
 
 1882 Andre (Emile). — Couhsses et salles d'armes. 8vo. Paris. 
 
 1882 R. (P. de). — Dialogue de salle sur I'art de I'escrime. 8vo. Geneve. 
 
 1882 Vaux (Baron de). — Les hohimes d'^p^e. 8vo. Paris. 
 [42 portraits and copperplates.] 
 
 1882 ViGEANT (F.) — La bibliographic de I'escrime ancienne et moderne. 
 8vo. Palis : Motteroz. [Witn 5 woodcuts.] 
 
 1883 M]fiRiGNAC (Emile). — Histoire de I'escrime dans tons les temps et 
 dans tous les pays. Tome I, Antiquity. Gr. 8vo. Paris : Rouquette. 
 
 [With engravings.] 
 
 1883 ViGEANT [maitre d'armes]. — Un maitre d'armes sous la Restaura- 
 tion. Small 8vo. Paris. 
 
 [With etched frontispiece (portrait of Jean-Louis) and vignettes.] 
 
 1884 Brunet (Romuald). — Traits d'escrime pointe, et cont e-pointe- 
 i2mo. Paris : Rouveyre. 
 
 [5 drawings by E. Chaperon, and 27 plates.] 
 1884 Lafaugere (L. J.) — Nouveau manuel complet d'escrime. Nou- 
 velle Edition, entierement refondue. i8mo. Paris : Roret. 
 [With figures in the text.] 
 1884 La Marche (Claude).— Traits de I'^p^e. 8vo. Paris : Marpon et 
 Flammarion. [Illustrated.] 
 
 884 Leroy (Charles). — Guide du duelliste ind^licat. 8vo. Paris : Fresse. 
 
 1884 RoBAGLiA [Le Capitaine]. — L'escrime et le duel. i2mo. Paris: 
 Dejey. 
 
 1884 Vaux (Baron de). — Les duels c^lebres. Preface par A. S;:holl. 
 Grand 8vo, illustre. Paris : Rouveyre. 
 
 1884 ViGEANT [maitre d'armes]. — Duels de maitres d'armes. Small 4to. 
 Paris. 
 
 [With frontispiece (portrait of Bertrand) and a few vignettes.] 
 
 1885 Bettenfeld (Michel).— L' art de I'escrime, i2ino. Paris : Char- 
 pentier. 
 
 1885 Corthey (A.)— Le fleuret et I'^p^e. Etude sur I'escrime contem- 
 poraine. 8vo. Paris : Giraud. 
 
 1885 D^RUE (le capitaine). — Nouvelle m^thode d'escrime k cheval. 
 i2mo. Paris : Lahure. [Illus:rated.] 
 
266 APPENDIX 
 
 1885 Lagrange (F.) — L'escrime et ses effets sur la colonne vert^brale. 
 [J. Soc. de rn^d. et pharm. de la Haute- Vienne. Limoges. 8vo. 
 ix. pp. 133-139-] 
 1885 Le duel et rescrime. (Paris Illustrd, No. 31 [i juin 1885].) 
 
 1885 Tavernier (Adolphe). — L'art du duel. Preface par Aur^lien Scholl, 
 Nouvelle Edition. i2mo, lUustr^. Paris : Marpon et Flammarion. 
 
 1886 MfiRiGNAC (E.) — Histoire de l'escrime dans tous les temps et dans 
 tons les pays. Tome II. Gr. in 8. Paris : Rouquette. 
 
 [Illustrated.] 
 1886 Provost (C.) — Th^orie pratique de l'escrime. Avec la biographie 
 de Provost pere, par A. Tavernier. Gr. in-8. Paris : De Brunhoff. 
 [With plates.] 
 
 1886 Tavernier (A.) — Amateurs et salles d'armes de Paris. i2mo. 
 Paris : Marpon et Flammarion. [Illustrated ] 
 
 1887 Jacob (Jules). — Le jeu de I'^p^e. Leyons de Jules Jacob r^dig^es 
 par Emile Andr^, suivies du duel au sabre et du duel au pistolet et de conseils 
 aux t^moins. Prefaces de MM. P. de Cassagnac, A. Ranc et A. de la Forge. 
 8vo. Paris : Paul Ollendorff. 
 
 1887 Robert (Georges) [professeur d'escrime au Lyc^e Henri IV et au 
 college Sainte-Barbe]. — La science des amies, I'assaut et les assauts publics, 
 le duel et la lefon de duel. Avec une notice sur Robert aine par M. Ernest 
 Legouv^ de 1' Acad^mie fran9aise, et une lettre deM. H6brard de Villeneuve, pre- 
 sident de la Societ6 d' encouragement de I'escrirae. 4to. Paris : Gamier. 
 
 [Portrait of Robert the Elder, vignettes, 57 figures, and 8 folding 
 analytical tables.] 
 
 1887 Saint-Albin (Albert de). — A travers les salles d'armes, avec une 
 preface de Vigeant. 8vo. Paris. 
 
 [12 engravings in photogravure by Louis Regamey, and one vignette 
 in the text.] 
 
 1888 Blot (J. A.) — L'ecole de l'escrime. Petit manuel pratique al'usage 
 de I'arm^e, suivi du code du duel. 32mo. Paris : Marpon et Flammarion. 
 
 1888 Castle (Egerton) [membre du London Fencing Club]. — L'escrime 
 et les escrimeurs, depuis le moyen age jusqu'au i8me siecle. Traduit de 
 I'anglais par Albert Fierlants. 4to. Paris : Ollendorff. 
 
 [Frontispiece, 160 illustrations, 6 carbon plates.] 
 
 1888 Desmedt (Eugene). — La science de l'escrime. Avec une preface 
 de Max Waller, un Dictionnaire de I'^pee et un Guide des escrimeurs. 8vo. 
 Bruxelles. [15 phototypes.] 
 
 1888 Daressy (Henri) [membre honoraire de 1' Academic d'armes]. — 
 Archives des maitres d'armes de Paris. 8vo. Paris : Quantin. 
 
 [Illustrated.] 
 
 1888 Le salut des armes. (Issued under the authority of the Academic 
 d'armes, attributed to Vigeant.) 8vo. Paris: Paul Schmidt. 
 
 1889 Vigeant [maitre d'armes k Paris]. — L'almanach de l'escrime. 
 Dessins de Fred. Regamey. 8vo. Paris : Quantin. 
 
 [Numerous photogravures.] 
 1889 (periodical) L'Escrime fran9aise. Redacteur en chef, Emile Andre. 
 (Bi-monthly review devoted to the interests of French swordsmanship, 60 cen- 
 times.) 4to. Paris, 12 Rue de la Grange : Bateliere. 
 
 (?) Mauroy (Victor). — Memento de I'escrimeur. (D^di^ aux profes- 
 seurs bretons.) 
 
 Manuscript. 
 
 Sloanian. No. 1198, foho 40, 23 lines, in the British Museum. 
 [About the end of the 17th century.] 
 
BIBLIOTHECA ARTIS DIMICATORIM 267 
 
 GERMAN. 
 
 1799 BuRGMAiER (Hans). — Weiss Kunig. Suite de 237 planches gravc^es 
 sur bois d'apres les dessins et sous la conduite de Hans Burgmaier, Folio. 
 Vienne. [Plates No. 37, 38, 39, and 56 interest the fencer. J 
 
 1516 Paurnfeindt (Andrae) [Freyfechter zu Wien in Oesterreich].^ 
 Ergrundung ritterlicher Kunst der Fechterey. Vien. 
 
 The following four works, which show hut slight differences (in title and 
 arrajigement especially ), were printed between 1530 and 1558. 
 
 1531 (?) Der altenn Fechter anfengliche Kunst. Mit sampt verborgenen 
 heymlicheytten, Kampffens, Ringens, Werftens, &c. Figiirlich fiirgemalet. 
 Bisher nie an tag kommen. Zu Frankfurt am Meyn : Chr. Egen. 46 pages. 
 [Woodcut on title-page. At the end : Zu Franckfurt am Meyn, bei 
 Christian Egenolph.] 
 
 — Der aiten Fechter griindliche Kunst. Mit sampt verborgenen heym- 
 lichten, Kampffens, Ringens, Werffens, &c. Figiirlich fiirgemalet. Bisher nie 
 ail tag komen. 48 pages. [Woodcut on title-page.] 
 
 — Fechtbuch Die Ritterliche, manliche Kunst und handarbeyt Fechtens 
 und Kempffens. Aus warem ursprunglichen grund der Alten, mit sampt heym- 
 lichen Geschwindigkeyten, in leibs nbten sich des Feinds trosthch gemalt. Zu 
 Franckfort am Meyn, bei Chr. Egenolff. 46 pages. [Woodcut on title-page.] 
 
 1558 Fechtbuch. Die RitterJiche, Mannliche Kunst und handarbeyt 
 Fechtens und Kempffens, &c. 
 
 [At the end : Zu Franckfurt am Meyn, bei Chri. Egen. Erben. 
 mdlviil] 
 
 1570 Meyer (Joachim) [Freyfechter zu Strasburg]. — Griindliche Beschrei- 
 bung der Freyen, Riiterlichen und Adelichen Kunst der Fechtens in alierley 
 gebreuchlichen Wehren, mit vil schonen und niitzhchen Figuren gezieret und 
 furgestellet. Oblong 4to. Strasburg. 
 
 [Getruckt zu Strasburg bey Thiebolt Berger am Weynmarkt zum 
 Treubel. Numerous woodcuts.] 
 1579 Gunterrodt (A.) — De veris principiis artis dimicatoriae. 4to, 
 Wittemberg. 
 
 1610 Meyer (Joachim) [Freyfechter zu Strasburg]. — Griindliche Beschrei- 
 bung der Freyen, &c. , &c. 2nd edition. Oblong 4to, Augspurg. 
 
 [Getruckt zu Augspurg bey Michael Mauger, in verlegung Eliae 
 Willers. 73 woodcuts.] 
 
 1611 BONONIEN (C. von). — Neu Kiinstlich Fechtbuch. Leipzig. 
 
 1611 HuNDT (Mich.) — Ein new Kiinsthch Fechtbuch im Rappier zum 
 Fechten und Balgen, u.s.w. 4to. Leipsig. 
 
 1612 SuTORiUM (Jacob) [Freyfechter von Baden]. — New Kunstliches 
 Fechtbuch, das ist aussfiihrhche Deschription der Freyen Adehchenund Ritter- 
 lichen Kunst dess Fechtens in den gebreuch lichsten Wehren, als Schwerdt, 
 Diisacken, Rappier, &c. , &c. 4to. Franckfurt: Wilhelm Hoffmans. 
 
 [Gedruckt zu Franckfurt am Mayn durch Johann Bringern. Woodcuts.] 
 1612 Cavalcabo (Hieronimo). — Neues Kunstliches Fechtbuch des 
 Weitberiimten und viel erfahrnen Ttalienischen Fechtmeister Hieronimo Caval- 
 cabo, von Bononien Stievorn, aus dem geschrieben welchem Exemplar durch 
 Monsieur de Villamont, Ritter des Ordens zu Jerusalem, &c. , &c. , in fran- 
 zosische Sprache transferirt. Nun aber alien Loblichen Fechtkunst Liebhabern 
 zu gefallen aus gemelter franzosischer Sprach verdenselt durch Conrad von 
 Einsidell. Oblong 4to. Jena. 
 
 [Six copperplates, out of the text.] 
 
268 APPENDIX 
 
 1617 Walliiausen ^J. F. von). — KunstHche Picquen Handlung. Darin- 
 nen SchrifTtlich und mit Figuren dieser adelichen Exercisiren angewiesen und 
 gelernt vvird. Folio. Hanover. 
 
 1619 Garzonius. — Allgemeiner Schauplatz. Franckfurt. 
 
 1619 KOPPEN ( Joach. ) — Coiirs v. d. Fechtkunst. Small folio. Magde- 
 burg. 
 
 1619 Fabrts (S.) — Der Kunstreichen und weitberiimeten Fechtmeisters 
 S. Fabris Italianische Fechtkunst. Folio. Leyden. 
 
 [Printed by Isaack Elzevier, and dedicated by the same to Gustavus 
 Adolphus. The copperplates of the first edition are replaced by wood- 
 cuts {192).] 
 
 1619 KoppEN (Joach.) — Newer diskurs von der rittermassigen und weit- 
 beriihmten Kunst des Fechtens, u.s.w. Small folio. Magdeburg. 
 
 1620 ScHUFFER (Hans Wilhelm) [von Dietz, Fechtmeister in Marpurg]. — 
 Grundtliche und eigentliche Beschreibung der freyen Adelichen und Ritterlichen 
 Fecht-Kunst im einfachen Rappir und im Rappir und Dolch, nach Italiani- 
 scher Manir und Art, in zwey underschiedene Biicher ferfast, und mit 670 
 schoenen und nothwendigen Kupfferstucken gezieret und for Augen gestellt. 
 Oblong 4to. Marpurg : Johan Saurn. 
 
 1622 GiGANTi's Theatre (see Italian, 1606 ; French, 1619). Obi. 4to. 
 
 [An ed.tion appeared as a French and German translation in Franck- 
 furth.] 
 
 1630 Heussler (Sebastian) [Kriegsmann und Freyfechter von Niirn- 
 berg]. — Neu Kunstlich Fechtbuch zum dritten mal auffgelegt und mit vielen 
 schoenen Stucken verbessert. Als des Sig. Salvator Fabris de Padua und Sig. 
 Rud. Capo di Ferro, wie auch anderer Italienischen und Franzosischen Fechter. 
 Obi. 4to. Niirnberg : Simon Halbmayerr. 
 
 1637 Salgen. — Kriegsiibung u.s-w. den frischanfahenden Fechtern und 
 Soldaten fiir erst nutzlich und nothig zu wissen. 
 
 1657 Pascha[ll] (J. G. ) — Kurze Unterrichtung belangend die Pique, die 
 Fahne, den Jagerstock. Das Voltesiren, das Ringen, das Fechten auf den 
 Stoss und Hieb, und endlich das Trincieren verferrtigts. 8vo. Wittenberg. 
 
 1659 Pasche (J. G.) — Kurtze doch Griindliche Unterrichtung der Pique, 
 den Trillens in der Pique, der Fahne des Jagerstocks, Trincierens, Fechtens 
 auf den Stoss und auf den Hieb, &c. Mit Kpf. Osnabruck. 
 
 1659 Pascha[ll] (J. G.)— Kurze doch Griindliche Unterrichtung den 
 Pique, den Trillens in der Pique, die Fahne, den Jagerstock, Trincieren, 
 Fechtens auf den Stoss und auf den Hieb, &c. 8vo. Osnabruck. 
 
 1660 Meyer (Joachim) [Freyfechter zu Strasburg]. — Griindliche Beschrei- 
 bung der Freyen, (&c. , &c. 3rd edition. Oblong 410. Augsburg. 
 
 [Numerous woodcuts.] 
 
 1661 Paschen (Johann Georg). — Kurze, jedoch deutliche, Beschreibung 
 handelnd vom Fechten auf den Stoss und Hieb. Folio. Halle in Sachsen. 
 
 1664 L'Ange (J. D.) [Fechtmeister]. — Deutliche und Griindliche Erklii- 
 rung der Adelichen und Ritterlich'^n freyen Fechtkunst. Oblong 8vo. Heidel- 
 berg. [Portrait of Daniel L'Ange, by Metzger, and 61 copperplates.] 
 
 1664 Paschen (Johann Georg). — Kurze, jedoch deutliche Beschreibung 
 handelnd vom Fechten auf den Stoss und Hieb. 2te Aufl. Folio. Halle in 
 Sachsen. 
 
 1664 Triegler (Jo. Ge.). — NeuesKiinstliches Fechtbuch. 4to. Leipsig. 
 
 1665 Heussler (Sebastian). — Kiinstliches Abprobirtes und Niitzliches 
 
BIBLIOTHECA ART IS DIMICATORI^ 269 
 
 Fecht-Buch von Einfachen und doppelten Degen Fechten, damit ein ieder 
 seinen Leib defendirn kan. Oblong 410. Nlirnberg. 
 [124 copperplates.] 
 1667 Paschen (J. G.) — Vollstandige Fecht-, Ring- und Voltigier-Kunst. 
 Small folio. Leipsig. 
 
 1673 Paschen (J. G.) — Vollstandige Fecht-, Ring- und Voltigier-Kunst. 
 Small folio. Leipsig. 
 
 1677 Fabris (Salvatore). — Scienza e pratica d' arme di Salvatore Fabris, 
 Capo deir ordine dei sette cuori. Das ist : Herrn Salvatore Fabris, Obersten 
 des Ritter-Ordens der Sieben Hertzen, Italianische Fechtkunst. Von Johann 
 Joachim Hynitzchen, Exercitien Meister. 410. Leipsig. 
 
 [German translation parallel with the Italian text. The plates are the 
 same as in the original edition, with the addition of one representing the 
 monument erected to Fabris's memory in Padua, his native town, and of 
 a portrait of a certain Heinrich, who seems to have patronised this repro- 
 duction of the great master's work.] 
 1679 Verolinus (Theodor). — Der Kunstliche Fechter, oder Beschreibung 
 des Fechtens im Rappier, Diisacken, und Schwerdt. 4to. Wurzburg. 
 
 1683 Paschen (Joh. Georg). — Der adelichen gemiithen wohlerfahrne 
 Exercitien-Meister, d.i. Vollstandige Fecht-, Ring- und Voltigier-Kunst. Small 
 folio. Franckfurt und Leipsig. 
 
 1706 Uffenbach. — Fechten in England. Wien (?) : Lenz. 
 
 1713 Fabris (Salvator). — [A second edition of the Italian and German re- 
 production.] 4to. Leipzig. 
 
 1713 Schmidt (Johann Andreas) [des H. Rom. Reichs Freyen Stadt 
 Niirnberg, bestellter Fecht- und Exercitien-Me ster]. — Leib-beschirmende und 
 Feinden Trotz bietende Fecht-Kunst, oder leichte und getreue Anweisung auf 
 Stoss und Hieb zierlich und richer zu fechten. Nebst einem curieusen Unter- 
 richt vom Voltigiren und Ringen. Obi. 8vo. Niirnberg : Weigel. 
 
 [Portrait of the author in his own fencing school, 84 copperplates, in 
 and out of the text.] 
 
 1715 Doyle (Alexander). — Neue Alamodische Ritterliche Fecht- und 
 Schirm-Kunst. Das ist Wahre und nach neuester Franzosischer Manier einge- 
 richtete Unterweisung wie man sich in Fechten und Schirmen perftctioniren und 
 verhalten soUe. Denen respectiven Herren Liebhaberen zu besserer Erleuterung 
 mit 60 hierzu deutlichen Figuren herausgegeben von Alexander Doyle, aus 
 Irrland geburtig. (i) Ihrer Churfurstl. Gnaden zu Maintz verordneten Hof- 
 Fechtmeistern. Obi. 4to. Niirnberg. 
 
 17 1 5 Fecht-Boden (der geoffnete) auf welchen durch kurtz gefasste Regeln 
 gute Anleit. z. rechten Fundament der Fecht-Kunst gegeben wird. Mit 8 
 Kupfertaf. 8vo. Hamburg. 
 
 1716-17 Heussler (Seb.) — Neues Kunsthches Fechtbuch, darinnen 54 
 Stuck in einfachen Rappier, <&c. 'z Theile. Niirnberg. 
 
 1729 Doyle (Alexander). — Neue Alamodische Ritterliche Fecht- und 
 Schirm-Kunst. 2te Aufl. Obi. 4to. Niirnberg. 
 
 1739 Kahn (Anthon Friedrich) [Fechtmeister auf der Georgius Augus- 
 tus Universitat zu Goettingen]. — Anfangsgriinde der Fechtkunst nebst einer 
 Vorrede von dem Nutzem der Fechtkunst und den Fortziigen dieser Anweisung. 
 4to. Goettingen. 
 
 [Portrait of Kahn and 25 copperplates, out of the text, engraved by 
 F. Fritsch.] 
 
 1749 Schmidt (Johann Andreas) [Fecht- und Exercitien-Meister.] — 
 Griindlich lehrende Fecht-Schule. 8vo. Niirnberg. 
 
 1750 Schmidt (Johann Andreas). — Fecht-Kunst. 8vo. Niirnberg. 1750. 
 
270 APPENDIX 
 
 1760 Chrtstfels (P. E.)— Jiidische Fechtschule. 8vo. Onoldst imd 
 Schwabach : Enderes. 
 
 1763 Schmidt (Joh. Andre). — Lehrende Fechtschule. 8vo. Nurnberg : 
 Stein. [Copperplates.] 
 
 1761 Kahn (A. F.) — Anfangsgriinde der Fechtkunst, &c., &c. Nene 
 Aufl. Mit e. Anh. iiber d. Kunst, auf d. Hieb zu fechten. 410. Helmstadt : 
 Weygand. [25 copperplates.] 
 
 1764 Weischner (S. ) [Hauptmann]. — Uebungen auf den fiirstlichen 
 Sachsischen Hof und Fechtboden zu Weimar. Verb, und verm. Aufl. 8vo. 
 Weimar : Hoffman. 
 
 1765 Weischner (S.) [Hauptmann]. — Uebungen auf den fiirstlichen Hof 
 und Fechtboden zu Weimar. 2te Aufl. Svo. Weimar : Hoffman. 
 
 1766 Weischner (C. F.) — Ritterliche Geschicklichkeit im Fechten 
 durch ungezwungene Stellungen. 4to. Weimar : Hoffmann. 
 
 [30 copperplates.] 
 1771 Ranis (Heinrich Christoph). — Konigl. Commissarriiund Fechtmeis- 
 ter. Anweisung zur Fechtkunst fiir Lehrer und Lernende. Svo. Berhn : Myhus. 
 
 [Copperplates.] 
 
 1776 Temlich. — Anfangsgriinde der Fecht-Kunst. Svo. Halle. 
 
 1777 Vester (E. F. W.) — Einleitung zur adelichen Fechtkunst. Svo. 
 Bresiau : Korn. 
 
 1780 Schmidt (Joh. Andr.) — Fechtkunst, oder Anweisung in Stoss und 
 Hieb, wie auch zum Ringen und Voltigiren, i2mo. Niirnberg : Schneider 
 u. W. 
 
 1780 Schmidt. — Fechtkunst auf Stoss und Hieb. 8vo. Leipzig. 
 
 1780 Will's Historisch-diplomatisches Magazin fiir das Vaterland. 
 
 [Bd. n. iiber die ' Fechtschulen zu Niirnberg,' also Seite 264, iiber die 
 ' Marxbriider. '] 
 1783 Haspelmacher (Jh. Geo, Hnr.). — Systematische Abhandlung von 
 den schadlichen Folgen einer nicht auf sicheren Regeln gegriindeten Fecht- 
 kunst, nebst einer Anweisung wie man solche vermeiden kann. Or. Svo. 
 Helmstadt : Fleckeisen. 
 
 1786 Rcux (Heinrich). — Versuch liber das Contrafechten auf der rechten 
 und linken Handnach Kreuzler'schen Grundsatzen. 4to. Jena: Croker. 
 
 1792 Behr (Fr. L.) — Fliichtige Bemerkungen iiber die verschiedene 
 Art zu fechten einiger Universitaten, von einem fleissigen Beobachter. Svo. 
 Halle : Dost. 
 
 1795 ViETH (G. U. A.) — Versuch einer Encyklopadie der Leibe^siibungen. 
 2 Theile. Svo. Berlin. 
 
 [A short article on fencing in vol. ii., p. 496.] 
 
 1796 TiMLiCH (K.) — Griindliche Abhandlung der Fechtkunst auf den 
 Hieb zu Fuss und zu Pferde. Wien. 
 
 1797 Schmidt. — Lehrschule der Fechtkunst. ite Theil, oder Lehrbuch 
 fiir die Cavalerie zum vortheilhaften Gebrauche des Sabels. 4to. Berlin : 
 Maurer. [8 copperplates.] 
 
 1798 Rcux (J. Ad. K.) — Griindliche und vollstandige Anweisung in der 
 deutschen Fechtkunst auf Stoss und Hieb aus ihren innersten Geheimnissen 
 wissenschafilich erlautert, u.s.w. 4to. Jena : Wolfg. Stahl. 
 
 [Copperplates.] 
 
 1799 HoYER (G. v.) — Geschichte der Kriegskunst (Fechten). 2 Bd. 
 Gottingen. 
 
 1799 Roux (J. A. K.) — Grundrisz d. Fechtkunst, als gymnast. Uebung. 
 2te Autl. Jena. 
 
BIBLIOTHECA ARTIS DIMICATORI^ 271 
 
 1799 Roux (J. Ad. K.) — Grundrissder Fechtkunst als gymnastisclier Uc- 
 bung betrachtet. Gr. 8vo. Jena. 
 
 1802 Die Fechtkunst aufUniversitaten. Bvo. Kothen : Aue. 
 
 [Copperplates.] 
 
 1802 Venturini (G.) — Die Fechtkunst auf Stosz und Hieb, in systemat. 
 Uebersicht fiir Offiziere, und zum Gebrauch in Kriegsschulen. 8vo. Braun- 
 schweig. [Copperplates.] 
 
 1803 Roux (J. Ad. K.) — Theoretisch-practische Anweisung zum Hieb- 
 fechten, e. Leiifaden f. d. miindl. Unterricht. Gr. 8vo. Fiirth. 
 
 1804 Roux (J. A. C.) — Das Fechten auf Stoss und Hieb. 
 
 [Article in Gutmuth (E. C. F.), ' Gymnastik fiir die Jugend.* 2teAun. 
 8vo. Schnepfenthal. J 
 1807 Roux (J. W. ) — Anleitung zur Fechtkunst nach mathemat.-physikal. 
 Grund atzen. 4t(). Jena : Hennings. [lo copperplates.] 
 
 1807 TiMLiCH (Karl). — Die Fechtkunst auf den Stosz. i2mo. Wien : 
 Tendler. [Copperplates.] 
 
 1809 Venturini (G.) — Die Fechtkunst auf Stosz und Hieb, &c., «S:c. 
 2te Aufl. 8vo. Hannover: Hahn. 
 
 1816 Jahn (F. L.) und EiSELpN (E.) — Die deutsche Turnkunst. Gr. 8vo. 
 B rlin : Reimer. 
 
 [Contains a list of ' altere Fechtbiicher.' 2 copperplates.] 
 
 1817 Roux (J. A. K.) — Die deutsche Fechtkunst, enthalthe theorct.- 
 prakt. Anweisg. z. Stoszfechten, &c. Gr. 8vo. Jena. 
 
 1817 Roux (J. Ad. K.) — Grundriss dcr Fechtkunst als gymnastischer 
 Uebung betrachtet. Gr. 8va Jena u. Leipzig : Barth. 
 
 1817 Schmidt (Jh. Fr.) — Griindl. Anweisung zur deutschen Fechtkunst 
 auf Stosz und Hieb. 4to. Dresden : Arnold. 
 
 1818 EiSELEN (E. W. B.) — Das deutsche Hiebfechten der Berliner Turn- 
 schule. 8vo. Berlin : Diimmler. 
 
 1819 Theorie der Fechtkunst, eine analytische Darstellung sammtlicher 
 Stellungen, Stosse Paraden, u.s.w. Nach dem Trait6 d'escnme par Chatelain, 
 nebst einer Anleitung liber das Hiebfechten. 4to. Leipzig. 
 
 1820 LiJPSCHER (Ant.) und Gommel (Fr.)— Theorie der Fechtkunst. 
 Eine analytische Abhandlung sammtl. Stellungen, Stosze, Paraden, Finten 
 u.s.w. , iiberhaupt aller Bewegungen im Angriffe u.d. Vertheidung. Nach der 
 Traill d'escrime par le Chevalier Chatelain frei bearbeitet. Nebst einer Anleit. 
 liber das Hiebfechten. 8vo. Wien : Tendler. 
 
 [With 2 tables and 20 plates.] 
 
 1820 POLLNITZ (G. L. von).— Das Hiebfechten zu Fusz und Pferde. 
 Gr. 8vo. Halbersladt : Brliggemann. 
 
 1822 DiJVAL (Jeanet).— Theoret. Anweisung zur Fecht- und Voltigirkunst. 
 Qu. 4to. Munchen : Fleischmann. 
 
 [i plate and 60 figs., lithographed.] 
 
 1822 PoNiTZ (Karl Eduard). — Die Fechtkunst auf den Stoss ; nach den 
 Grund atzen des Herrn von :belmnitz. 8vo. Dresden : Arnold. 
 
 1823 Bajonet-Fechtlehre fiir die Grossherzoghche badensche Infanterie. 
 8vo. Mannheim. 
 
 1824 Werner (J. A. L.) — Versuch einer theoretischen Anweisung zur 
 Fechtkunst im Hiebe. Qu. 410. Leipzig : Lehnhold. 
 
 [20 copperplates.] 
 
 1825 PoLLNiTZ (G. L. von).— Das Hiebfechten zu Fuss und Pferde. Neue 
 Aufl. Gr. 8vo. Halberstadt : Bruggemann. 
 
 1825 Selmnitz (Ed. von) [Ritter].— Die Bajonettfechtkunst, oder Lehre 
 
272 APPENDIX 
 
 des Verhaltens mit d. Infanterie-Gewehre als Angriffs- und Vertheidigungswaffe. 
 ler Theil. Gr. 8vo. Dresden. 
 
 [lo folio copperplates and one vignette.] 
 
 1826 Bajonett-Fecht-Schule in 21 Darstell. mit Erlaut. 4to. Hermann- 
 stadt : Thierry. [The text is Hthographed.] 
 
 1826 EiSELEN {E. W. B.) — Abrisz des deutschen Stoszfechtens, nach 
 Kreuszlers Grundsatzen dargestellt. 8vo. Berhn : Diimmler. 
 
 1826 WiELAND (Jh.) — Anleit. zum Gebrauch des Bajonets oder kurzer 
 Unterricht des Wesenthchsten dieser Fechtkunst. 8vo. Basel : Schweighauser. 
 
 1828 PONITZ (Karl Eduard). — Die Fechtkunst auf den Stoss nach den 
 Grundsatzen des Herrn von Selmnitz. Neue wohl. Ausg. 8vo. Dresden : 
 Arnold. 
 
 1829 Die Anwendung des Bajonets gegen Infanterie und Kavallerie in d. 
 konigl.-Danischen Armee (aus d. Danischen iibertragen von den Kapitan v. 
 Jensen). i2mo. Braunschweig : Vieweg. 
 
 1829 FouGERE (J.) [Fechtmeister]. — Die Kunst, aus jedem Zweikampfe 
 lebend und unverwundet zuriickzukehren, selbst wenn man niemals Unterricht 
 im Fechten gehabt, und es auch mit dem groszten Schlager oder Schiitzen der 
 Welt zu thun hatte. In loVorlesungen. Aus dem Franzosischen. 8vo. Leip- 
 zig : Rein. 
 
 1829 GOTTLING (Prof.) — Ueberdie thiiring. Fechterfamilien Kreussler. 
 [Vide ' Thiiringer Volksfrcund,' 1829, Nr. 43, Seite 345.] 
 
 1831 Selmnitz (Ed. von) [Ritter]. — Die Bajonettfechtkunst. (Vorrede zur 
 2teAufl.) 8vo. Leipzig. 
 
 1832 Selmnitz (Ed. von) [Ritter]. — Die Bajonettfechtkunst. 2te Aufl. 
 Berlin : Mittler. [10 copperplates.] 
 
 1833 Werner (J. A. L.). — Die ganze Gymnastik (Fechten auf Stoss, 
 p. 257 ; auf Hieb, p. 236). Gr. 8vo. Meissen : Goedsche. 
 
 1834 Riemann (Heinr.) — Vollstand. Anweisung zum Stoszfechten, nach 
 Kreussler' s Grundsatzen. 8vo. Leipzig : Engelmann. 
 
 1834 Segers (J.)— Anleitung zum Hiebfechten mit Korbrappier, Sabel 
 und Pallasch, zum Selbstunterricht auf deutschen Universitaten und mit beson- 
 derer Riicksicht auf das Militar herausg. 8vo. Bonn : Habicht. 
 
 [38 figures.] 
 
 1835 Praktischer Unterricht in der Bajonetfechtkunst, der schweizerischen 
 Infanterie gewidmet. 8vo. Bern. [52 figures.] 
 
 1836 Bajonetir-Reglement fiir die Groszherz. Hessische Infanterie. Lex. 
 8vo. Darmstadt : Leske. [55 lithographs] 
 
 1836 Segers (J.) — Anleitung zum Stoszfechten, nach eigenen Grundsat- 
 zen und Erfahrungen herausg. Gr. 8vo. Bonn : Habxcht. 
 
 [16 figures.] 
 
 1837 NovALi (K. von). — Germanisches Turnbuch, oder die Reit-, Jagd- 
 und Fechtkunst, nach den neuesten Grundsatzen dargestellt. Ein Hand- und 
 Hausbuch fiir Ritterguts-Besitzer, Offiziere, Forstbeamte, Akademiker, &c. 
 Gr. 8vo. Augsburg : Jenisch u. Stage. 
 
 1837 Segers (J.) — Anleitung zum Hiebfechten mit Korbrappier, Sabel 
 und Pdllasch, zum Selbstunterricht auf deutschen Universitaten und mit 
 be ond. Riicksicht auf das Militar herausg. 2te verm. Aufl. 8vo. Bonn : 
 Habicht. [38 figures.] 
 
 1838 Christmann (F. C.) und Pfeffinger (Dr. G.) — Theoretic ch-prak- 
 tische Anleitung des Hau-Stossfechtens und des Schwadronhauens, nach eincr 
 ganz neuen Methode, nebst einem Anhange : * Verhalten des Degen- oder Sabel- 
 fiihrenden gegen der Eajonnetisten,' &c., &c. 8vo. Offenbach a. M. 
 
BIBLIOTHECA ARTIS DIMICATORL^ 273 
 
 1838 Thalhofer (Karl) und Isnardi (Mich.) — Theoret.-prakt. An- 
 leitung zur Fechtkunst a la Contrepointe. Nebst e. Anleitung zur Vertheidigung 
 mit d. Sabel Oder Degen den Bajonnetisten von Tallhofer. Mit i Heftfiguren. 
 Gr. 8vo. Wien : Heubner. [59 lithographed plates.] 
 
 1839 Chappon (Louis). — Theoretisch-praktische Anleitung zur Fecht- 
 kunst. Qu. 4to. Pesth. [80 lithographed plates.] 
 
 1839 NovALi (K. von). — Germanisches Turnbuch, oder die Reit-, Jagd- 
 und Fechtkunst, &c. 2te Aufl. 8vo. Augsburg : Jenisch u. Stage. 
 
 1840 Rhein (A. von). — Das Bajonetfechten. 8vo. Wesel : Bagel. 
 [8 lithographed plates.] 
 
 1840 ROHNE (K.) — Griindlicher Unterricht im Hiebfechten, zum Selbstun- 
 terricht und zur Fortiibung. Gr. 8vo. Quedlinburg : Basse. 
 [10 plates.] 
 
 1840 Roux (W.) — Anweisung zum Hiebfechten mit graden und krummen 
 Klingen. Nebst einer Emleitung vom Prof. Dr. K. H. Scheidler. Qu. gr. 8vo. 
 Jena: Mauke. [36 plates.] 
 
 1840 Seidler (E. F.) [Stallmeister]. — Anleitung zum Fechten mit dem 
 Sabel und dem Kiirassierdegen, zuvorderst dem Unterrichte in Kavallerie- 
 Abtheilungen angeeignet, nebst Bemerkungen fur den ernstlichen Kampf zu 
 Fuss u. zu Pferde. 8vo. Berlin, [i copperplate.] 
 
 1840 Scheidler (K. H.) — Ueber die Geschichte der Fechtkunst, so wie 
 iiber den wahren Werth und die Vorziige des Hiebfechtens (s. W. Roux, 1840). 
 
 1841 KOTHE (Fried.) — Das Ganze der Fechtkunst, oder ausfiihrliche 
 Lehrbuch die Fechtkunst in ihren verschiedenen Zvveigen griindlich zu erlernen. 
 (Bd. I. das Stossfechten, m. Fig.) 8vo. Nordhausen. 
 
 1841 MiJLLER (Frz.) — Fecht-Unterricht mit dem Feuer-Gewehre, eigent- 
 lich Bajonetfechten. Kl. 8vo. Prag : Haase Sohne. 
 [6 lithographs.] 
 
 1841 Roux (J. A. K.) — Ueber das Verhaltniss der deutschen Fechtkunst 
 zum Ehrenduell sowohl im Allgemeinen, als audi fiir Universitaten insbeson- 
 dere, mit Beriicksichtigung der Mittel die Duelle zuverhiiten, &c. Auf beson- 
 deres Verlangen des nun mehr verstorb. Verfassers z. Druck befordert u. 
 vollendet von W. Roux. 8vo. Erfurt : Hennings u. Hopf. 
 
 1841 Vorschriften iiber den Bajonet-Fechtunterricht f. d. Grossh. badenschen 
 Truppen. Carlsruhe. [6 plates.] 
 
 1842 Instruction iiber das Bajonetfechten fiir das K. Preuss. 31 Inf. 
 Regt. 8vo. Erfurt. 
 
 1843 Anleitung zum Floretfechten fiir die R. Sachs. Infanterie. 8vo. 
 Dresden u. Leipzig : Arnold. 
 
 1843 Scheidler (Dr. K. H.) — Nochmalige Erorterung der P>age : Hieb 
 oder Stoss ? Eine hodegetische Vorlesung. 8vo. Jena : Frommann. 
 
 1843 Seidler (E. F.) [Stallmeister]. — Anleitung zum Fechten mit dem 
 Sabel u. dem Kiirassierdegen, &c., <S:c. 2te verm. Aufl. Gr. 8vo. Berlin : 
 Mittler. [i copperplate.] 
 
 1843 Vorschriften fiir den Unterricht im Bayonnet-Fechten der Konigl. 
 bayer. Infanterie. 32mo. Amberg. 
 
 1844 Ball ASS A (C. K. K.) [Major].— Fechtmethode. Eine rationelle, 
 vereinfachte und schnell faszliche Fechtiibung des Sabels gegen den Sabel, 
 und dieses gegen das Bajonet und die Picke. zum Hauen, Stechenund Pariren. 
 Eigens fiir die Cavallerie, nach denaus der Feld-u. Friedens-Praxis geschopften 
 Grundsatzen in 25 Tabellen, nebst einem kleinen Anhang * Ueber das Kunst- 
 fechten.' Qu. gr. 4to. Pest. [19 figures. ] 
 
 1844 Rhein (A. von).— Das Bajonetfechten. 2te Aufl. Wesel: BageL 
 [10 plates, giving 35 figures.] 
 
 T 
 
274 APPENDIX 
 
 1844 (?) Schneider (H.)— Fechtkunst. 
 
 [Vide Ersch u. Gruber's Encyklopadie, ite Sec, Bd. 42, S. 204 u. ff.] 
 
 1845 Franckenberg-Ludwigsdokff (M. von). — Das Bajonetfechten. 
 Nach den Grundsatzen der neueren Zeit umgeandert. 8vo. Miinster : Wunder- 
 mann. [6 copperplates.] 
 
 1845 Franckenberg-Ludwigsijorff (M. von). — Das Fleurettiren oder 
 Stoszfechten, als Voriibung f. d. Hiebfechten und Bajonettiren. 8vo. Miin- 
 ster : Wundermann. [3 plates of figures.] 
 
 1845 Vorschriften fiir den Unterricht im Fechten u. Voltigiren der konigl, 
 bayer. Kavalerie. i6mo. Straubing : Schorner. 
 
 1847 JAHN(F. L.) — Deutsche Turnkunst. Gr. 8vo. Berlin : G. Reimer. 
 
 [Seite 281 — ' Ordnung der Fechtschulen.'] 
 1849 BoTTCHER (A. M.) — Die reine, deutsche Stoszfechtschule nach E. W. 
 B. Eiselen ausfiihrlich bearbeitet. Gr. 8vo. Gorlitz : Heinze & Co. 
 [25 figures.] 
 1849 Roux (F. A. W. L.) — Anweisung zum Hiebfechten mit graden und 
 krummen Klingen. 2te Aufl. Qu. 8vo. Jena : Mauke. [36 figures.] 
 
 [Einleitende Bemerk. iiber die Geschichte der Fechtkunst, namenthch 
 auf unsern deutsch< n Universitaten, Seite 22.] 
 1849 Roux (F. A. W. L.)— Die Kreussler'sche Stossfechtschule, zum Ge- 
 brauch f. Academieen 11. Militarschulen, nach mathemat. Grundsatzen. Imp. 
 4to. Jena : Mauke. 
 
 [Portrait of the author and 120 figures drawn from nature, litho- 
 graphed. ] 
 
 1849 SuTOR (T.) — New kiinsiliches Fechtbuch, das ist : Ausfiihrliche 
 Deschription der Freyen Adelichen und Ritterlichen Kunst des Fechtens in 
 den gebrauchlichsten Wehren, als Schwerdt, Dusacken, Rappier, &c., &c. 
 Neu herausgegeben wort- und bildgetreu nach dem Original. 410. Stuttgart ; 
 J. Scheible. [89 woodcuts.] 
 
 1850 Erste Anleitung des Soldaten in der eigentlichen zerstreuten Fechtart. 
 Auszug aus d. Werke des Obersten Gi afen v. Waldersee, ' Die Methode zur 
 Kriegsgemassen-Ausbildung der Infanterie f. das zerstreute Gefecht.' 8vo, 
 Maiuz : V. v. Zabern. 
 
 1850 Reihenfolge der Kommandsworter f. das Bayonnet-Fcchten der 
 konigl. bayer. Infanterie. Gr. i6mo. Munchen : Kaiser. 
 
 1850 Werner (J. A. L.)— Militar-Gymnastik, &c. Gr. 8vo. Leipzig: 
 Arnold. 
 
 1851 Fehn (A.) — Die Fechtkunst mit Stosz- und Hiebwaffen. Gr. 8vo. 
 Hannover: Riimpler. [34 figures.] 
 
 1851 Heinze (A. C.) — Katechismus der Baionetfechtkunst. 8vo. Leip- 
 zig : Weber. '^ 
 
 1851 Ott (Jos.) [Unterlieut.] — Das System der Fechtkunst a la contre- 
 pointe f. den Stosz und Hieb. Zum Unterricht in Fechtschulen sowie zur 
 Sclbstbildg. nebst den Verhaltgn. im Zweikampfr, General-assaut, Duell od. 
 Wettkampf, m. Rechts-Links-Kunst- und Naturfechten, u. e. Arb. 'Geschichte 
 d. Duells.' 3 Biicher. Gr. 8vo. Olmiitz : Holzel. 
 
 [i Buch des Stoss^echten, 192 S. mit 47 lith. Taf. in qu. 4to.] 
 
 1851 PiNETTE (J.) — Katechismus der Bayonnttfechtkunst. 8vo. Leip- 
 zig. [16 figures. [ 
 
 1851 TOLLIN (F.) [Fechtmeister]. — Neue illustrirte Fechtschule. Nach 
 der neuen und naturgemciszen Methode des Prof. Heinr. Ling darge^tellt u. m. 
 zahlreichen, nach der Natur gez. lUustr (in Holzschn. ) versehen. 8vo. Grimma : 
 Verlags Conipt. 
 
 1852 B** (Dr.) — Anleitung das Contraschlagen in kurzer Zeit griindiich 
 
BIBLIOTHECA ARTIS DIMICATORI^ 275 
 
 zu erlernen, nebst einem Anhange iiber die steile Auslage und das Siibel- 
 schlagen. 8vo. Bonn : Henry A. Cohen. [With figures.] 
 
 1852 Das Bajonettfechten. Leicht faszlicheDarsiellung, dasselbein kurzcr 
 Zeit grtindlich zu erlernen, nebst kurzer Auseinandersetzg. , wie solches ohne 
 hohe Kosten in der Schweiz einzufiihren. Svo. Chur : Hitz. 1852. [6 figures.] 
 
 1853 RoTHSTEiN (H.)— Das Bajonetfechten nach dem System P. H. 
 Ling's reglementarisch dargestellt. 8vo. Berlin : Schroeder. 
 
 [2 lithographs, comprising 32 figures.] 
 
 1853 RoTHSTEiN (H.)— Anleitung zum Bajonetfechten. ite u. 2te un- 
 verand. Abdr. 8vo. Berlin : Schroeder. 
 
 [One lithograph containing 11 figures.] 
 
 1854 Leitfaden fiir den Unterricht im Stockfechten zum Gebrauche der 
 K. K. Militar-Bildungs-Anstalten, 8vo. Wien. 
 
 1854 Vorschriften zum Gewehrfechten. 8vo. Schwerin. 
 
 1855 BoTTCHER (A. M.) — Die reine, deutsche Stossfechtschule nach 
 Eiselen. 2te Aufl. 8vo. Gorlitz : Heyn. 
 
 1855 Fehn (A.) — Fechtschule, mit Originalzeichnungen von Ferdinand 
 Liebsch. 2te Aufl. 8vo. Hannover : C. Meyer. 
 
 1856 Fehn (A.) — Die Fechlkunst mit Stoss- und Hiebwaffen. 2te Aufl. 
 Svo, Hannover : C. Meyer. [34 figures.] 
 
 1856 Ott (Jos.)— Das System der Fechtkunst a la contrepointe f. den 
 Stosz und Hieb. 2te Aufl. Olmtitz : Holzel. 
 
 1857 DiERKES (A.) — Leitfaden fiir den Unterricht im Siibelfechten. 8vo. 
 Prag ; Hess. 
 
 1857 ROTHSTEIN (H.) — Anleitung zur Bajonetfechten. 8vo. Berlin: 
 Schroeder. [3 figures.] 
 
 1857 Roux. — Deutsches Paukbuch. 4to,. Jena : Mauke. 1857. 
 
 [6 photolithogtaphed. figures..] 
 
 1858 GORNE (von), SCHERFF (voji), und Mertens. — Die Gymnastik und 
 die Fechtkunst in der Armee. 8vo. terlin : Mittler. 
 
 1859 Hermann (A.) — Grundziige einer Anleitung zum Sabelfechten. 
 i6mo. Pest : Geibel. 
 
 1859 Meyer (Oscar). — Das Fechten des Cavalleristen mit dem blanken 
 Waffen (dem Sabel und Pallasch), zu Fuss und zu Pferde. Mit Zeichnungen. 
 8vo. Trier. [6 plates.] 
 
 i860 D'AzEMAR (Baron) [Obst.] — Theorie der Kampfe mit dem Bajonett, 
 angenommen im J. 1859 von der italien. Armee unter Napoleon HI. aus (des 
 verf.) System d.-r neueren Kriegfiihrg. In's Deutsche Ubertragen von Lieut. 
 Rich. Stein. Gr. 8vo. Breslau : Kern. 
 
 i860 Ballasa (C.) [Major]. — Die militarische Fechtkunst vor dem 
 Feinde. Eine Darstellg. derim Kriege vorkommenden Fechtarten d. Bajonets 
 gegen das Bajonet, d. Sabels gegen den Sabel, u. der Lanze gegen die Lanze, m. 
 Beseitigg. aller beim Kunstfechten vorkonmienden, vor dem Feinde abernicht 
 fliglich anwendbaren Stiche, Hiebe u. Paraden zum Gebrauche f. Infanterie u. 
 Kavallerie, m. 26 (lith.) Abbildgn. nebst e.Anh. iiber das Kunstfechten m. dem 
 Sabel. Qu. gr. 4to. Pest : Geibel. 
 
 [One lithograph containing 16 figures.] 
 
 i860 ROTHSTEIN (H.) — Das Bajonetfechten nach dem Systeme Ling's. 
 2te Aufl. 8vo. Berlin : Schroeder. 
 
 1861 Anleitung zur Betrieb der Gymnastik und der Fechtkunst in der 
 Armee. Svo. Berlin : v. Decker. 
 
 1861 Die zerstreute Fechtart der K. K. Cavallerie. Dargestellt nach i\^\\ 
 allerhochsten Bestimmgn. v. e. K. K. Oflicier. i6mo. Wien : Pichler's Wwe. 
 und Sohn. 
 
 T 2 
 
276 APPENDIX 
 
 iSSi Franckenberg-Ludwigsdorff (Hauntm. von). — Betrachtungen 
 liber das Bajonettfechten und den bisherigen Bjtrieb desselben in der Armee. 
 Ein Vortrag gehalten zur Anregg. der Besprechung ira Officier-Corps. 8vo. 
 Berlin : Mittler u. Sohn. 
 
 1861 He K MANN (A.) — Schliissel zur Kunst des Rapier- und Sabelfechtens 
 4 la contrepointe. i6mo. Linz : Banner. 
 
 1861 Strantz (Gust.) [Prem. Lieut.] — Leitfaden zum Stoszfechlen, 
 Schlagen und Turnen fur die konigl. Militar-Reitschule zu Schvvedt. Gr. Bvo. 
 Berlin : Springer. 
 
 1862 Albanesi (Carl). — Theorie der Fechtkunst, nebst e. Anleit. zum 
 Hiebfechten und zum prakt. Unterrichte. Gr. 8vo. Wien : Pichler's Wwe. 
 u. Sohn. [3 folio plates photographed, containing 12 sketches.] 
 
 1862 Stocken (Hauptm.) — Uebungs-Tabellen fiir den systematischen 
 Betrieb der Gymnastik und des Bajonnetfechtens bei der Infanterie. ite u. 2te 
 ^ufl. Berlin : Schroeder. 
 
 1863 Griindliche Bajonnet-Fechtschule zur Ausbildung der Lehrer und 
 Vorfechter in der Armee. Gr. 8vo. Cassel : Feyschmidt. 
 
 [With figures.] 
 
 1863 RoTHSTEiN (H.) -Das Stoss- und Hiebfechten mit Degen und 
 Sabel. 8vo. Berlin : Schroeder. [40 figures.] 
 
 1864 Bergauer (Josef) [Lieut ite Klasse des k. k. 38 Linien Infanterie 
 Regt.] — Methodischer Leitfaden fiir das Sabelfechter. i2mo. 
 
 [Selbstverlag des Verfassers. i plate.] 
 1864 Metz (A. E. von). — Fechtbuch fiir die Prim-Auslage. 8vo. Wien: 
 Braumiiller. 
 
 1864 E. V. S. — Die Grundsatze der zerstreuten Fechtart in ihrer prakti- 
 schen Anwendung naher beleuchtet. i6mo. Wien : Seidel u. Sohn. 
 [3 hthographed plates.] 
 1864 Stocken (Hauptm.) — Uebungs-Tabellen fiir den systematischen 
 Betrieb der Gymnastik und des Bajonnettfechtens bei der Infanterie. 3te Aufi. 
 Berlin : Schroeder. 
 
 1864 Wassmannsdorff (Karl). — Anleitung zum Gewehrfechten auf den 
 deutschen Turnvereinen. 8vo. Leipzig: Keil. [6 figures.] 
 
 1865 Abanderungen zur Instruktion fiir den Betrieb der Gymnastik und 
 des Bajonetfechtens bei der Infanterie vom 19 Octobr. i860. Gr. 8vo. Berlin : 
 v. Decker. [14 woodcuts in the text.] 
 
 1865 Happel (J.)— Das Freifechten. 8vo. Leipzig : Weber. 
 
 1865 Lenz (G. F. ) — Zusammenstellung von Schriften iiber LeibesUbungen. 
 3te AuH. 8vo. Berhn : Lenz. 
 
 1865 LiJBECK (W.) — Lehr- und Handbuch der deutschen Fechtkunst. 
 8vo. Frankfurt a. d. Oder : Harnecker. 
 [3 lithographs and 7 tables.] 
 
 1855 RiJCKER (Prem. Lieut.) — Vergleichung der Bajonnettfechtens der 
 preuszischen und franzosischen Armee. i6mo. Luxemburg: Heintze. 
 [9 lithographed plates.] 
 
 1865 Unterrichts-Plan fiir den Betrieb des gymnastichen Unterrichts auf 
 den koniglichen Kriegsschulen, unter zu Grundlegg. der allerhochst genehmig- 
 ten Abandergn. und Zusatze zur Instruction fiir den Betrieb der Gymnastik und 
 des Bajonettfechtens bei der Infanterie vom 19 Octb. i860. Gr. 8vo. Berlin : 
 V. Decker. 
 
 1866 Qi'EHL (Fr. W.)— Anweisung zum Fechten auf Stosz und Hieb, mit 
 einer Anleitung zum Unterricht gt oszerer Abtheilungen im Fechten ins besondere 
 in Turnvereinen. i6mo. Erlangen : Besold. [26 plates.] 
 
 1886 Quehl(F. W.) — Anweisung zum Bayonetfechten. 8vo. Berlin. 
 
BIBLIOTHECA ARTIS DIMICATORI^ 277 
 
 1867 Roux. — Deutsches Paukbuch. 2te Aufl. Fol. Jena: Mauke. 
 1867 Stocken (Hauptm.) — Lectionsgang fiir den Unterricht im Stosz- 
 und Hiebfechten als AnhaU fiir den Lehrer. 8vo. Berlin : Schroeder. 
 
 1867 Stocken (Hauptm.)— Uebungs-Tabellen fiir den systematischen 
 Betrieb der Gymnastik und des Bajonnetsfechtens bei der Infanterie. Nebst 
 einem kurzen Lectionsgange fiir den Unterricht im Stosz und Hiebfechten. 
 4te Aufl. 8vo. Berhn : Schroeder. 
 
 1868-9 Die geschlossene und zerstreute Fechtart [das Exerciren und Plan- 
 kehi] der Infanterie. 1-3 Abth. 8vo. Stuttgart : Lindemann. 
 
 1868 MoNTAG (J. B.) — Neue praktische Fechtschule auf Hieb und 
 Stoss, sowie auch Stoss gegen Hieb und Hieb gegen Stoss. 8vo. Erfurt : 
 Bartholomaus. [30 figures.] 
 
 1869 HoRNSTEiN (L.) — DieFechtkunstauf den Hieb. EineSkizze. Quer- 
 foho. Miinchen : J. A. Fins-terhn. [38 figures.] 
 
 1870 S. (v.) — Hiilfsbuch zum Betriebe der Gymnastik u. d. Bajonetfech- 
 tens fiir Offiziere und Unteroffiziere der preuszisch-norddeutschen Infanterie. 
 2te u. 3te Aufl. 32mo. Nordhausen : Eick. 
 
 1870 Wassmannsdorff (Karl). — Sechs Fechtschulen (d. i. Schau- und 
 Preisfechten) der Marxbriider und Federfechter aus den Jahren 1573 bis 1614 ; 
 Niirnberger Fechtschulreime V. [. 1579 und Rosener'sGedicht : Ehrentitelund 
 Lobspruch der Fechtkunst v. J. 1589. Eine Vorarbeit zur einer Gescliichte 
 der Marxbriider und Federfechter. 8vo. Heidelberg : Karl Groos. 
 
 1872 Praktische Anleitung zum Unterricht im Stossfechten. 8vo. Berlin: 
 Schroeder. [With woodcuts.] 
 
 1872 ROTHSTEIN (H.)— Das Bajonetfechten nach dem System P. H. 
 Line's reglem. dargest. 2te Aufl. 8vo. Berlin : Schroeder. 
 
 1873 Sebetic (Raimund). — Theoretisch-praktische Anleitung zum Unter- 
 richte im Sabelfechten. Zum Gebrauche fiir Truppenschulen sowie zur Selbst- 
 bildung leichtfasslich und vollstandig nach der k. k. osterreich. Armee einge- 
 fiihrten Fecht-Methode bearb. Gr. 8vo. Wien : Gerold's Sohn. 
 
 [2 lithographed plates comprising*i4 figures.] 
 
 1874 Hiilfs- und Handbuch f. Offiziere u. Unteroffiziere d. preuss. Infan- 
 terie z. Gebrauch bei Ausbildg. d. Mannschaft in d. Gymnastik u. im Bajonet- 
 fechten. 5te Aufl. i6mo. Potsdam : Doring. 
 
 1874 Praktische Anleitung zum Unterricht im Stossfechten. 2te Aufl. 
 Kl. 8vo. Berlin : Schroeder. [Figures in the text.] 
 
 1874 S. (von). — Hiilfsbuch zum Betriebe d. Gymnastik u. d. Bajonett- 
 fechtens f. Officiereund Unterofhciere d. preuss.- norddeut. Infanterie. yte Aufl. 
 32mo. Nordhausen : Eich. 
 
 1875 Chalaupka (Lieut. Frz.)— Leitfaden zum Unterricht im Sabel- 
 fechten. Fiir Truppenschulen der k. k. Armee. 8vo. Teschen : Prochaska. 
 
 [i lithographed plate.] 
 
 1876 Vorschriften iiber das Bajonettfechten der Infanterie. Gr. 8vo. 
 Berlin : Mittler u. Sohn. 
 
 1877 Happel (J.)— Das Gerathfechten. Das Stock-, Stab-, Sabel- und 
 Schwertfechten. 8vo. Antwerpen. [51 figures in the text.] 
 
 1877-8 Hiilfs- und Handbuch fiir Offiziere und Unteroffiziere d. preuss. In- 
 fanterie zum Gebrauch bei Ausbildg. d. Mannschaft im Turnen u. Ba onelts 
 fechten. Nach den allerhochsten Vo'schriften vom 6 April 1876 in tabellar. 
 Form bearb. v. e. preusz. Offizier. 8te Aufl. i6mo. Potsdam : Doring. 
 
 1877 S. (von). — Hiilfsbuch zum Betriebe d. Turnensu. d. Bajonettrechtens 
 f. Offiziere und Unteroffiziere d. deut. Infanterie. 8te Aufl. Nordhausen: 
 Eick u. H. 
 
278 APPENDIX 
 
 1878 Bluth (Prem. Lieut.) — Praktische Anieitungf zum Unterricht ini 
 Kiebiecliten. Nach der bei der konigl. Central-Tunianstalt eingefuhrten 
 Lehrmethode bearbeitet. Bvo. Berlin : Schroeder. 
 [18 woodcuts in the text.] 
 
 1878 Effenberger (x\nt.)— Leitfaden zur praktischer Erlernung d. Rap- 
 pier- und Sabelfechtens. 8vo. Pola : Schmidt. 
 
 1878 Fehn (Aug.) [Univ. Fechtlehrer]. — Die Schule d. Manschettfechs 
 tens. 8vo. Heidelberg : Koester. [With drawings. ] 
 
 1878 Hiirsbuch zum Betriebe d. Turnens u. d. Bajonettfechtens der 
 Infanterie. Zusammengestellt nach den neuesten Vorschriften zum prakt. 
 Gebrauch und zum Anhalt v. B. i6mo. Torgau : Jacob. 
 
 1878 Lancke (Jul.) [Prem. Lieut.]— Praktische Anleitung zur Ausbil- 
 dung und Vorsteilung der II. Bajonetfechtklasse. Nach den Vorschriften uber 
 das Bajonetfechten der Infanerie aus dem J. 1876 und eigenen Erfahrgn. 
 zusammengestellt. Bvo. Mainz : V. von Zabern. 
 
 1879 Praktische Anleitung zun Unterricht im Stossfechten. Nach der 
 bei der konigl. Ceitral-Turnanstalt eingefuhrten Lehrmethode. 3teverb. Aufi. 
 Bvo. Berlin : Schroeder. [Figures in the text.] 
 
 1879 Weiland (B.) — Anleitung zum Betriebe d. Stosz- und Hiebfechtens 
 Fur Militarschulen und Turnanstalten, wie auch zum Selbstunterricht f. Lieb- 
 haberderP^echtkunstzusammengestellt u. bearb. 24mo. Wiesbaden: Limbarth. 
 
 1880 BolgA"^ (Frz. von) [Oberlieut.J — Die Regeln d. Duells. Bvo. Buda- 
 pest. 
 
 i83i B. (von). — Anleitu'ig fiir Officiere und Unterofficiere beim Ertheilen 
 d. Unterrichts im Turnen und Bajonettiren. i6mo. Hannover : Helwing. 
 
 1881 Bericht iiber den Fechtbetrieb von Ende 1877 bis Anfang 1881 im 
 markischen Turngau im Vill. Kreise (Rheinlandund Westfalen) der deutschen. 
 1 urnerschaft. Hierbei ein Anhang, Die Hiebfechtlehre. Kl. Bvo. Iserlohn 
 
 iBBi EiSELEN (E. W. B.)— Das Sabelfechten. Manuscript, ausgezeich- 
 net V. dessen Schliler G. im J. 1B25. Bvo. Berhn : Lenz. 
 
 1881 Hergsell (Gustav). — Die Fechtkunst. Bvo. Wien : Hartleben. 
 
 [22 plates.] 
 1881 SebetiC (Raimimd) [Oberheut. J — Duell-Regeln. 3te unverand. 
 AuH. i2mo. Debreczin : Csathy. 
 
 1881 Lenz (G. F.) — Zasammenstellung von Schriften iiber Leibesiibungen 
 [Turnen, Heilgymnastik, Ringeo, Spiele, Turnlieder, Schwimmen, Eislauf, 
 Fechten und Turniere.] Herausgegeben von G. F. Lenz, unter Mitwirkg. 
 von E. Angerstein, N. J. Cup^rus, G. Eckler, &c. 4te stark verm. Aufl. Gr. 
 Bvo. Berlin : Lenz. 
 
 1882 Anleitung zum Gewehrfechten. Bvo. Dresden: Meinhold u. Sohn. 
 
 18B2 EiSELEN (G. W. B.)— Das deutsche Hiebfechten der Berliner Turn- 
 schulen. Neu bearb. und mit Abbildgn. versehen von Turnlehr. A. W. Bott- 
 cher und Dr. K. Wassmannsdorff. Bvo. Lahr : Schauenburg. 
 
 1882 Feldmann (Jos.) [Major]. — Leitfaden zum Unterrichte im Rappier-, 
 Sabel-, Bajonet-undStockfechien. Gr. Bvo. Wiener-Neustadt : Lentner. 
 
 1882 Lion (J. C.) —Das Stossfechten, zur Lehreund Uebungin Wort und 
 Bild dargestellt. Gr. Zso. Hof : Grau u. Co. 
 
 [26 woodcuts in the text.] 
 
 1882 MONTAG ( f. B. )— Neue praktische Fechtschule auf Hieb und Stoss, 
 &c. (!i:c. 2te verb, schr verm. Aufl. Bvo. Leipzig : Gracklauer. 
 
 [Plates. J 
 
BIBLIOTHECA ART IS DIMICATORIAL 279 
 
 1882 R. (Hauptmann von). — Anleituno: zum Kontrabajonettfechten im 
 Anschusz an den Ent Aurf der provisorischen Vorschriften fiir das Bajonettfech- 
 ten der Infanterie. i2mo. Berlin : Liebel. 
 
 1882 Vorschriften fiir das Bajonettfechten der Infanterie. Gr. 8vo. Berlin : 
 Mittler u. Sohn. 
 
 1883 Bluth (Hauptm.) — Praktische Anleitung zum Unterricht im Hieb- 
 fechten. Nach der bei konigl, Militar-Turnanstalt eingefiihrten Lehrmethode 
 b-arb. 2te verb. Aufl. 8vo. Berlin: Mittler u. Sohn. 
 
 [18 woodcuts in the text.] 
 1883 Metz (Alex, Edler von) [Gen. Major]. — Fechtbuch fiir die Prim- 
 Auslage. Hrsg. im J. 1863, nach genauer Durchsicht neu aufgelegt im J. 
 1883. 8vo. Wien : Seidel u. Sohn. 
 
 1883 S. (von). — Hiilfsbuch zum Betriebe d. Turnens und d. Bajoneltfech- 
 tens f. Offiziere u. Unteroffiziere der deutschen Infanterie. iite nach den 
 neuesten Vorschriften vollstandigungeand. Auh. 32mo. Nordhausen : Eigen- 
 dorf. 
 
 1884 B. (von). [Univ. Fechtmeister]. — Die Feclukunst mit dem krum- 
 men Sabel. Praktische Anleitung zum Militarfechten (Hieb und Strijh) 
 und zum deutschen kommentmaszigen Studentenfechten. Gr. 8vo. Straszbur ^ 
 i. E. : R. Schultz & Comp. [22 plates from photographs.] 
 
 1884 BolgXr (Frz. von) [Oberlieut.]— Die Regeln d. Duells. 2te verm. 
 Aufl. 8vo. Wien : Seidel u. Sohn. 
 
 1884 Hiilfsbuch fiir den Infanterie-Unteroffizier zum Gebrauch bei Aus- 
 bildung der Mannschaft im Turnen und Bajonettfechten. Zusammengestellt 
 nach den bis 9 Nov. 1882 ergangenen Bestimmgn. ite u. 2te Aufl. 24mo. 
 Potsdam : Doring. 
 
 1884 S. (v )n). — Hiilfsbuch zum Betriebe d. Turnens und d. Bajonettfech- 
 tens f. Offiiiere und Unteroffiziere der deutschen Infanterie. i2te Aufl. 321110. 
 Nordhausen ; Eigendorf. 
 
 1884 Vorschriften fiir das Hiebfechten. Gr. 8vo. Berlin : Ivlittler u. Sohn. 
 
 1884 Vorschriften fiir das Stossfechten. Gr. 8vo. Berlin : Mittler u. Sohn. 
 
 1885 Anleitung fiir Officiere und Unterofficiere beim Ertheilen d. Unter- 
 richts im Turnen und Bajonettiren. 2te nach den allerhochsten und neuesten 
 Vorschriften bearb. Aufl. von v. B. i6mo. Hannover : Helwing. 
 
 1885 Fehn (W, ) — Anleitung fiir Officiere und Unterofficiere beim Ertheilen 
 d. Unterrichts im Turnen und Bajonettiren. 2te nach den allerhochsten und 
 neuesten Vorschriften bearb. Aufl. i6mo. Hannover : Helwing. 
 
 1885 Fehn (W.)[Univ. Fechtmeister]. — Das kommentmaszige Fechten 
 mit dem deutschen Haurappier Rechts und Links. Gr. 8vo. Straszburg i. E. : 
 Schultz & Comp. [24 plates from photographs.] 
 
 1885 Fehn (W.) — Entwurf einer Instruction fiir deutsche Hiebfechtschulcn. 
 8vo. Straszburg i. E. : Schultz & Comp. [With photographic plates.] 
 
 1885 Hergsell (Gustav). — Unterricht im Sabelfechten. Gr. 8vo. Wien : 
 Hartleben. 
 
 1885 Roux (Ludwig Caesar) [Univ. Fechtmeister].— Die Hiebfechtkunst. 
 Eine Anleitung zum Lehren und Erlernen des Hiebfechtens aus der verhangenen 
 und steilen Auslage mit Beriicksichtigung des akad. Comments. Gr. 8vo. 
 Jena : Pohle. [100 tinted hthographic figures.] 
 
 1885 ScHULZE (Friedrich). — Die Fechtkunst mit dem Haurapier unter 
 besonderer Beriicksichtigung des Linksfechtens, mit Uebungsbeispielen. Gr. 
 8vo. Heidelberg : Bangel u. Schmitt. [5 photographs.] 
 
 1885 WiELAND (B. ) — Praktisches Handbuch der Fechtkunst fiir Truppan- 
 
28a APPENDIX . 
 
 schulen, Militarbildungsanstalten, Turnschulen und Fechtvereine, sowie 
 Freunde und Liebhaber der Fechtkunst. Gr. 8vo. Wiesbaden : R. Bechtold 
 & Comp. 
 
 1885 RiELECH (F. ) — Lose Worte iiber die Bestimmungsmensuren der deut- 
 schen Couleurstudenten. 8vo. Breslau : V. Zimmer. 
 
 1886 Feldmann (Jos.) [Major]. — Leitfaden zum Unterrichte im Stock-, 
 Rapier-, Sabel- u. Bajonettfechten. 2te Aufl. Lex. 8vo. Wien : Seidel und 
 Sohn. 
 
 1887 Hergsell (Gustav) [Hauptmann u. Landesfechtmeister]. — Tal- 
 hofer's Fechtbuch aus d. Jahre 1467. Large 410. Prag : Calve. 
 
 [268 photographic plates.] 
 1887 Talhoffer. — Fechtbuch aus dem Jahre 1467, gerichtliche und 
 andere Zweykampfe darstellend. Herausgegeben von G. Hergsell. 4to. 
 Prag. [With 268 plates.] 
 
 1887 Wassmannsdorff (Dr. Karl). — Aufschliisse iiber Fechthandschrif- 
 ten und gedruckte Fechtbiicher des 16 und 17 Jahrhunderts in einer Bespre- 
 chung von G. Hergsell : Talhoffers Fechtbuch aus dem Jahre 1467. 8vo. 
 Berlin : Gaertner. 
 
 [Reprinted from the ' Monatsschrift fiir das Turnwesen.'] 
 
 Manuscripts. 
 
 Mair (Conrad).— Ein Fechtbuch. MSS. Kgl. Bibl. Dresden. 
 Paulsen (Hector Mair) [Burger zu Augsburg]. — MSS. in the Konigl. 
 Bibl. Dresden. 
 
 [Contains numerous well-drawn coloured illustrations of Fencing.] 
 Kreussler. — Fechtschule. MSS. Kgl. Bibl. Dresden. 
 
 GREEK (Modern). 
 
 1872 Pyrgos (N. )— Hoplomachetik^ Xiphaskfa kai Spathaskfa hypo N. 
 Pyrgu, Didaskalu en tei stratiotikei scholei. En Ath^nais : Typographeion 
 S. K. Blastu, hodos Hermu. arit;h. 178. 8vo. 
 
 1876 Pyrgos (N.) — Encheiridion praktikes spathaskias. Meros proton. 
 Askesis kata xiphon hypo N. Pyrgu, Didaskalu t^s hoplomachetikes en tei 
 scholei ton euelpidon kai tu ekpaideutiku lochu. Athenesi (timatai drachmes). 
 Typois Andreu Koromeda. 8vo. 
 
 ITALIAN. 
 
 1509 MoNCTO (Pietro).— Opere di scherma. 
 
 1532 LucA (Guido Antonio di). — (?) .... 
 
 T531 Manciolino (Antonio) [Bolognese]. — Opera nova, dove sono tutti 
 li clocumenti e vantaggi che si ponno havere nel mestier de I'armi d'ogni sorte, 
 novemente correcta ei stampata. i6mo. Vinegia : Per N. d'Aristotile, detto 
 Zappino. [A few woodcuts, unconnected with the text.] 
 
 1536 Marozzo (Achille) [Bolognese. Maestro generale de 1' arte de 
 r armi.] — Opera nova. 4to. Mutinoe, in oedibus venerabilis D. Antonii Ber- 
 golse sacerdotis ac civis Mutin. XXIII. Idus Mail. [82 woodcuts.] 
 
BIBLIOTHECA ARTIS DIMICATORI^ 281 
 
 1550 Marozzo (Achille) [di Bologna].— Opera nova . . . S:c. 2nd 
 edition. 4to. Venetia : Stampata per Giovane Padouano, ad instantia de 
 Marchior Sessa. 
 
 15-3 Pagano (Marc' Antonio) [gentil'huonio napolitano]. — Le tre 
 giornate d' intorno alia disciplina dell' Arme, espezialmente della spada : al 
 duca di Sessa. 8vo. Napoli. 
 
 1553 Agrippa (Camillo) [Milanese]. — Trattato di Scientia d' arme, con 
 un dialogo di filosofia. 4to. Roma : Per Antonio Blado, stampadore apostolico. 
 [Portrait of the author, 55 copperplates in the text.] 
 
 1560 Modi di metter mano alia Spada. Obi. 24mo. Venice. 
 [42 plates of Fencing, the text also engraved.] 
 
 1568 Marozzo (Achille) [Bolognese]. — Arte dell' Armi. Ricorretto, et 
 ornato di nuove figure in rame. 4to. Venetia : Appresso Antonio Pinargenti. 
 [Copperplates m the text.] 
 1568 (?) Marozzo (Achille). — Opera Nova . . . &c. 3rd edition. 4to. 
 
 1568 Aggripa (Camillo). — Trattato di Scienza d" arme et un dialogo in 
 detta materia. 4to. Venetia : Appresso A. Pinargenti. 
 
 [Portrait of the author and 49 copperplates in the text.] 
 
 1569 Mora (Domenico) [gentilhuomo grisone]. — II soldato, nel quale si 
 tratta di tutto quello che ad un soldato convien saper. 8vo. Venezia : Griffio. 
 
 1570 Grassi (Giacomo di) [da Modena. Some copies bear ' da Corregio ']. 
 Ragione di adoprar sicuramente 1' arme si da offesa come da dife-a ; con un 
 trattato dell' inganno et con un modo di esercitarsi da se stesso per acquistare 
 forza, giudicio et prestezza. 4to. Vtnetia : Appresso Giorgio de' Cavalli. 
 
 [Some copies bear the indication ' appresso Giordano Ziletti.' Portrait 
 of Grassi and copperplates in the text.] 
 
 1572 Agocchie (M. Giovanni dall') [Bolognese]. — Del Arte di scrimia 
 libri tre. Ne' quali brevemente si tratta dello Schermire, della Giostra, del- 
 r ordinar battaghe. Opera necessaria a Capitani, Soldati et a qual si voglia 
 Gentil'huomo. 4to. Venetia : Appresso G. Tamborino. 
 
 1575 ViGGiANi (Angelo) [Bolognese]. — Lo Schermo. Nel quale, per 
 via di dialogo si discorre intorno all' eccelenza dell' Armi et delle lettere, et 
 intorno all' offesa et difesa. Et insegna uno Schermo di Spada sola sicuro e 
 singolare con una tavola copiosissima. 4to. Venetia : Appresso Giorgio 
 Angelieri. [9 copperplates in the text.] 
 
 1584 Fallopia (Alfonso) [Lucchese. Alfiere nella fortezza di BergamoJ. 
 Nuovo et breve modo di schermire. 4to. Bergamo : Appresso Comin 
 Ventura. 
 
 1587 Ghisliero (Federico) [da Alessandria]. — Regole di molti cava- 
 gliereschi esercitii. 4to. Parma. 
 
 1588 ViZANi (Angelo) [Bolognese].— Lo Schermo . . . &c. (see Vig- 
 giani, 1575). 2nd edition. All' illustrissimo signore, il sig. conte Pirro Mal- 
 vezzi. 4to. Bologna : Gio. Rossi. 
 
 [The text is slightly altered from the ist edition, and a portrait of the 
 author added to the plates.] " 
 
 160 r DoccroLiNl (Marco) [Florentino]. — Trattato in materia di scherma. 
 Nel quale si contiene il modo e regola d' adoperar la spada cosi sola come 
 accompagnata. 4to. Firenze : Nella stamperia di Michelangiolo Sermatelli. 
 
 1603 Cassani (Giovanni Alberto) [di Frasinello di Monserrato]. — 
 Essercitio Militare, il quale dispone 1' huomo a vera cognitione del Scrimire di 
 Spada et dell" ordinare 1' Essercito a battaglia . . . &c. , &c. 4to. Napoli. 
 
 1604 Agripa (Camillo). — Trattato di Scienza d' Arme . . . &c. Third 
 edition. 4to. Venetia. 
 
282 APPENDIX 
 
 1606 Fabris (Salvator) [Capo del ordine dei sette cori]. — DeloSchermo, 
 overo scienzi d' arme. Fol. Copenhassen : Henrico Waltkirch. 
 
 [Frontispiece. Portraits of Christian IV. of Denmark and of the 
 author. 190 copperplates in the text.] 
 
 1606 GiGANTi (Nicoletto) [Vinitiano]. — Teatro. nel qual sono rappresen- 
 
 tate diverse maniere e modi di parare et di ferire di spada sola, e di spada e 
 
 pus^nale ; dove ogni studioso potra essercitarsi e farsi prattico nella proflessione 
 
 deir Armi. Obi. 4to. Venetia : Appresso Gio. Ant. et G. de Franceschi. 
 
 [Frontispiece with the Medici arms, portrait of the master, and 42 
 
 copperplates, out of the text.] 
 
 1608 GiGANTi (Nicoletto). — Teatro . . . &c. 2nd edition. Obi. 4to. 
 Venegia. 
 
 1609 Alessandrt (Torquato d'). — II cavalierecompito : dialogonel quale 
 si discorre a' ogni scienza e del modo d' imparare a schermir con spada bianca, 
 e d.fendersi senz' armi. 8vo. Viterbo. 
 
 1610 Capo Ferro (Ridolfo) [da Cagli. Maestro dell' eccelsa natione 
 alemanna nell' inclita citta di Siena]. — Gran simulacro dell' arte e dell'usodella 
 scherma. Dedicato al serenissimo Sig. don Federigo Feltrio della Rovere, 
 principe dello stato d' Urbino. Obi. 4to. Siena : Apresso Saluestro Marchetti 
 e Camillo Turi. 
 
 [Portraits of the Duke d' Urbino and of Capo Ferro. 13 copperplates 
 out of text.] 
 1610 Sereno (B. ) — Trattato dell' uso della lancia a cavallo, del combattere 
 a piede, alia sbarra et dell' imprese et inventioni cavaleresche. 4to. Napoli. 
 
 i6ro Alessandri (Torquato E. d'). — Precetti sulla Scherma. Svo. Roma. 
 
 1613 BoTCCio (G. ) [Edited by Antonio Quintino]. — Gioelo di sapienza, 
 nel quale si contengono mirabili secreti e necessarii avertimenti per difeiidersi 
 dagli huomini e da molti animali . . . &c. Nuovamente dato in luce da me 
 Antonio Quintino, ad mstanza d' ogni spirito gentile. i2mo. Slampata in 
 Milano et ristampata in Genova per Pandolfo Malatesta. 
 
 [Portrait of the author and 15 woodcuts in the text.] 
 
 1615 Marozzo (Achille). — Arte dell' Armi . . . &c. 5th edition. 4to. 
 Verona. 
 
 1618 Lombardelli (Orazio). — Giocello di saoienza, nel quale si conten- 
 gono gli avisi d' arme, con 1' inclinazione dei dodici segni celesti et il memorial 
 deir arte del puntar gli scritti. 8vo. Firenze, alle scale di Badia. 
 
 [8 woodcuts.] 
 
 1619 Gaiani (A. G. B.) — Discorso del tornear a piedi. 4to. Genova. 
 
 1619 Ga'ANI (Gio. Battista) [Alfiero]. — Arte di maneggiar la Spada a 
 piedi et a cavallo. Opera per le nuove osservationi gia des deraia. 4to. Loano : 
 Appresso Francesco Castello. 
 
 162 1 PiSTOFiLO (Bonaventura). Oplomachia, nella quale . . . &c. si 
 tratta per via di Teoria et di Practica del maneggio e dell' uso delle armi. 4to. 
 Sienna. 
 
 1624 Fabris (Salvator). — Della vera practica e scienza d' armi . . . &c. 
 Opera di Salvator Fabris. Folio. Padova : Per Pietro Paolo Tozzi. 
 
 1627 PiSTOFiLO (Bonaventura) [Ferrarese]. — 11 Torneo. ^to. Bologna: 
 Per il Ferrone. [Frontispiece and 114 copperplates, no text.] 
 
 1628 GiGANTi (Nicoletto). — Teatro . . . &c. 2nd edition. Obi. ^to. 
 Padua : Per Paolo Frambotto. 
 
 1628 Alfieri (Fiancesco Ferdinando) [Maestro d' arme dell' illustrissima 
 
BIBLIOTHECA ARTIS DIMICATORIAL 283 
 
 accademia Delia in Padova], — La Bandiera. Obi. 410. Padova : Presso S. 
 Sard!. [Numerous copperplates.] 
 
 1628 Vezzani (Antonio). — L' Esercizio accademico di Picca. 8vo. Parma. 
 [Portrait and copperplates.] 
 
 1640 Alfieri (Francesco) [Maestro d' arme dell' ill"^^ accademia Delia 
 in Padova]. — La Scherma. Dove con nuove Ragioni e con Figure, si mostra 
 la perfezione di quest' arte, e in che modo. secondo 1' arme e il sito, possa il 
 Cavaliere restar al suo nemico superiore. Obi. 40. Padova : Per Seb. Sardi. 
 
 [Portrait of author and 37 copperplates,] 
 
 1641 Ceres A (Terenziano) [Parmegiano, detto 1' Eremita]. — L' esercizio 
 della spada regulato con la perfetta idea della scherma. Opera utile e neces- 
 saria a chiunque desidera uscire vitiorioso dalli colpi della spada nemica. 4to. 
 Ancona : M. Salvioni. 
 
 1643 GuALDO (Galeazzo). — II maneggio delle armi. Svo (?). Bologna : 
 Per Tebaldini. 
 
 1644 (?) Alfieri (Antonio) . — Quesiti del cavaliero instrutto nell' arte d^llo 
 schermo, con le risposte del suo maestro. Svo. Padova. 
 
 1645 Alfieri (Francesco). — La Scherma . . . &c. 2nd edition. 4to. 
 Ancona. 
 
 1653 Alfieri (F.) [Maestro d' arme dell' ill'"^ academiaDehain Padova]. 
 Lo Spadone. Dove si mostra per via di figura il maneggio e 1' uso di esse. 
 4to, Padova: S. Sardi. [Numerous copperplates.] 
 
 1653 Alfieri (Francesco). — L' arte di ben maneggiare la spada. 410. 
 Padova. [Copperplates.] 
 
 1654 Jacobilli (Francesco) [da Foligno].— Compendio del giuoco mo- 
 derno di ben maneggiare la spada. 8vo. Padova. 
 
 1655 Alferi (Antonio) [da Aquila]. — Pentateuco politico, ovvero cinque 
 dsinganni : spada, tambnro, piffero, scudo, tromba : al duca di Guisa per 
 r invasione del regno di Napoli 1' anno 1654. 4to. Aquila. 
 
 [Published under the anagrammatic pseadonym, Arenif Atonoli.] 
 
 1660 Senesio (Alessandro) [gentil' huomo Boljgnese]. — II vero maneggio 
 della spada. Folio. Bologna: L'Herede di Benacci. 
 [14 copperplates, out of text] 
 1664 Quesiti del cavaliere instrutto nell' arte della scherma. Svo. Padova. 
 
 1668 Bresciani (Marin) [maestro d' armi Ferrarese]. — Li trastulli guerrieri. 
 8vo. Brescia. [With figures.] 
 
 1669 Mattei (Francesco Antonio). — Delia scherma napoletana, discorso 
 prlmo, dove, sotto il titolo dell' impossible possibile, si prova che la scherma 
 sia scienza e non arte si danno le vere norme di spada e pugnale ; discoro 
 secondo, dove si danno le vere norme di spada sola. 4to. Foggia : Novello de 
 Bonis. 
 
 1670 Pallavicini (Guseppe Morsicato) [Maestro di scherma Palermi- 
 tano]. — La Scherma illustrata, per la di cui teorica e prattica si puo arriva e 
 con facilta alia difesa ed offesa necessaria nel occasioni d' assalti nemici. 
 Opera utilissima alle persone che si dilet ano di questa professione, con le figure 
 della scienza prattica dichiarate coi 1 )ro discorsi. Folio. Palermo : Domenico 
 d' Anselmo. [Frontispiece and 31 copperplates.] 
 
 1671 Gessi (B.)— La spada di honore, libro I. (unico) delle osservazioni 
 cavaleresche. 4to. Bologna. 
 
 1672 Gessi (B.) — La spada di honore, libro I. (unico) delle osservazioni 
 cavaleres-he. Svo. Milano. 
 
 1673 Marzioli (Fr.) [Bresciano]. Precetti militari. Folio. Bologna. 
 
 [Numerous plates.] 
 
284 APPENDIX 
 
 1673 Pallavicini (Giuseppe Morsicato). — La seconda parte dellascherma-. 
 
 illustrata, ove si dimostra il vero maneggio della spada e pugnale et anco il 
 
 modo come si adoperala cappa, il brochiero e la rotelladi notte, le qiiali regole 
 
 non sono state intese da nessuno autore. Folio. Palermo : Domenico d' Anselmo. 
 
 [Frontispiece and 36 copperplates.] 
 
 1673 ViLLARDlTA (Giuseppe). — Trattato di scherma Siciliana, ove si 
 monstra di seconda intentione, con mia linea retta : difendersi di qual si voglia 
 operatione di resolutione, che operata per ferire a qualimque, o di punta, o 
 taglio, che accadesse in accidente di questionarsi. Con expressione di tutte Je 
 regole che nascono di seconda operatione. i2mo. Palermo : Carlo Adamo. 
 
 1678 ToRELLT (Carlo). — Lo splendore della nobilta napoletana, giuoco 
 d' arme esposto a somiglianza di quello intitolato : le chemin de I'honneur. 
 4to. Napoli. 
 
 1680 Monica (Francesco della). — La scherma napolitana, discorso due. 
 4to. Parma. 
 
 1682 GORio (Gio. Pietro) [Milanese]. — Arte di adoprar la spada per 
 sicuramente ferire e perfettamente diffendersi. Dedicata e consegrata al noma 
 e merito dell' illustriss'"^ Sig. Conte Pirro Visconti Borromeo Aresi. bvo. 
 Milano : Federico Francesco Maietta. [Portrait of the author.] 
 
 1683 Alfieri (Francesco). — Arte di ben maneggiare la Spada . . . 5:c. 
 2nd edition. Obi. 410. Padova. 
 
 1686 Marcelli (Francesco Antonio) [Maestro di scherma in Roma]. — 
 Regole della scherma insegnate da Lelio e Titta Marcelli, scritte da Francesco 
 Antonio Marcelli, figlio e nipote, e maestro di scherma in Roma. Opera non 
 meno utile che necessaria a chiunque desidera far profittoin questa professione. 
 Dedicata alia sacra real Maesta di Christina Alessandra regina di Suetia. 
 Parte prima : Regole della spada sola. Parte seconda : Regole della scherma. 
 Nella quale si spiegano le regole della spada e del pugnale insegnate da Titta 
 Marcelli ; con le regole di maneggiar la Spada col brochiere, targa, rotella, 
 cappa, lanterna ; col modo di giocar la spada contro la sciabola. In 2 parts. 
 4to. Roma. [Frontispiece. Copperplates in the text.] 
 
 1688 Vezzani (Antonio). — L' EsercizioAccademicodi Picca. 8vo. Parma. 
 
 1696 Mazo (Bondi di) [da Venetia]. — La spada maestra. Libro dove si 
 trattano i vantaggi della nobilissima professione della scherma, si del caminare, 
 girare e ritirarsi, come del ferire sicuramente e difendersi. Obi. 4to. Venetia : 
 Dominico Lovisa. [80 copperplates.] 
 
 171 1 Alessandro (Giuseppe d').— Pietra paragone de' Cavalieri di D. 
 Giuseppe d' Alessandro Duca di Pescolanciano, divisain cinque libri. 8vo (?). 
 NapoU. 
 
 1714 Calarone (Costantino) [detto 1' Anghiel : maestro di scherma Mes- 
 sine-e]. — Scienza prattica necessaria all' huomo overo modo per superare la 
 forza coir uso regolato della spada : parte prima. 4 to. Roma : Luca Antonio 
 Chracas. [Portraits, woodcuts in the text.J 
 
 1758 Marco (Ales^^andro di) [pro'"essore di scherma Napoletano]. — Ragio- 
 namenti accademici intorno all' arte della scherma. 8vo. Napoli. 
 
 1759 Marco (Alessandro di). — Discorsi instruttivi ne' quaH si tratta in 
 particolare intorno all' arte della scherma. 8vo. Napoli. 
 
 1761 Marco (Alessandro di) [professore di scherma napoletano, maestro 
 de' due coUegj Capece e Macedonio e d' altri cavalieri], — Ritiessioni fisiche e 
 geometriche circa la misura del tempo ed equilibrio di quello e della natural 
 disposizione ed agilt^ dei competitori in materia di scherma e regolamenti 
 essenziali per saggiamente munirsi da ogni inconsiderato periglio sul cimento 
 della spada nuda. i2mo. Napoli. 
 
BIBLIOTHECA ARTIS DIMICATORI^ 285 
 
 1775 Bremond (A. P]card). — Trattato sulla scherma, aggiunta la notizia 
 d -' professori nonche de' dilettanti che si distinguono in quest' arte medesima 
 nellri principali ciita d' Europa, trad, dalla franc, nella lingua toscana. 8vo. 
 Milano. [Portrait of Saint-Georges.] 
 
 1 78 1 Mangano (Guido Antonio del) [Pavese]. — Riflessioni filosofichc 
 sopra r arte della scherma. 8vo. Pavia. 
 
 1782 Bremond (Picard Alessandro). — Trat tato sulla scherma : traduzione 
 dalla francese nella lingua toscana. 8vo. Milano : Pirola. 
 
 1783 Gennaro (Nicola di) [dottore avvoccato]. — Componimento I. : 
 della scherma e de' Gladiatori. Componimento II. : di aggiunta al primo, 
 sulla lode della scherma e de' gladiatori, &c. 8vo (?). Venezia. 
 
 1798 MiCHELi (Michele). — Trattato in lode della nobile e cavalleresca 
 arte della scherma. Diretto ai nobili e cittadini Toscani. Svo. Firenze : 
 Nella stamperia granducale. 
 
 1800 Bertelli (Paolo). — Trattato di Scherma. Svo. Bologna. 
 
 1S03 RossAROLL (Scorza) [capitano de' zappatori] ; Grisetti (Pietro) 
 [capitano di artiglieria]. — La scienza della scherma. 4to. Milano. 
 
 [10 folding plates.] 
 
 181 1 RossAROLL (Scorza) e Grisetti (Pietro). — La scienza della scherma 
 , . . &Cc 2nd edition. 4to. Napoli. 
 
 1818 RossAROLL (Scorza). — Trattato della spadancia o sia della spada 
 larga. Svo. Napoli. 
 
 1818 RossAROLL (Scorza). — Sjherma della baionetta astata. Svo. Napoh. 
 
 1820 Florio (Blasco). — Di risposta ad alcune dimande di scherma, lettere 
 di Blasco Florio . . . &c. Svo. Catania. 
 
 1825 Florio (Blasco). — Discorso sull' utihta della scherma. 4to. Messina: 
 G. Fiumara. 
 
 1828 Florio (Blasco). — Discorso sull' utilita della scherma. 2nd edition. 
 4to. Catania. 
 
 1829 Weiss (Giuseppe). — Istruzione sulla scherma a cavallo. Napoli. 
 1S30 Weiss (Giuseppe). Scherma della baionetta. 4to. NapoH. 
 
 1835 Muller (Alessandro). — II maneggio della baionetta all' attacco ed 
 alia diies3, &c. . . . con 53 figure. Traduzione itahana dalla 2* francese del 
 1S35. Svo. Torino. 
 
 1837 Gambogi (conte Michele). — Trattato sulla scherma. Adorna di 
 figure incise da Giuseppe Rados. Obi. 4to. Milano : R. Fanfani. 
 [56 hthographed plates.] 
 
 1840 Maneggio della sciabola per uso della brigata lancieri, redatta da 
 una guardia di ufficiali della stessa arma. Napoli. 
 
 1842 Bertolini (Bartolomeo). — Trattato di sciabola, con 10 tavole. Svo. 
 Trieste 
 
 1S44 Florio (Blasco). — La scienza della scherma. Catania. 
 
 1846 Abbondati (Niccol6). — Istituzione di arte ginnastica per le truppe 
 di fanteria di S. M. Siciliana, compilata sulle teorie dc;' piu accurati scrittori 
 antichi e moderni. 2 vols. Svo. Napoli. 
 
 1S47 Marchionni (Alberto). — Trattato di scherma sopra il nuovo sistema 
 di giuoco misto di scuola italiana e francese. Svo. Firenze. 
 
 [5 Hthographed folding plates and woodcuts in the text.] 
 
 1850 Blengini (Cristoforo).— Teoria della scherma. 
 1S50 Giuliani (Bolognini Giuseppe). — Sul maneggio della sciabola. 
 Ferrara. 
 
286 APPENDIX 
 
 1851 Spinazzi (Fietro). — 11 bersagliere in campagna eel istruzione suUa 
 scherma della baionetta, corredato di tavole dimostrative. Geneva. 
 
 1852 SCALZi (Paolo de'). — La scherma esposta in lezioni. 8vo. Genova. 
 
 1853 SCALZI (Paolo de'). — La scuola della spada. 8vo. Genova. 
 [30 plates.] 
 
 1853 Caccia (Massimiliano). — Trattato di scherma ad uso del R. esercito. 
 Svo. Torino. [With plates.] 
 
 1856 Giuliani (Bolognini Giuseppe). — Teorie sulla sciabola per una 
 scuola di contropunta di genere misto. Ferrara. 
 
 1856 Florio (Blasco).— Osservazioni critico-apologetiche all' opera intito- 
 lata : ' 1st tuzione di arte ginnastica,' dirette aiprofessori di scherma in Napoli. 
 8vo. Catania. 
 
 1858 Florio (Blasco). — Blasco Florio ai professori di scherma. Catania. 
 
 1861 Cerri (Giuseppe). — Trattato teorico-pratico della scherma per 
 sciabola. Milano. 
 
 1862 Tameornini (Carlo). — Trattato di scherma alia sciabola. Genova. 
 
 1864 Blengini (Cesare Alberto). — Trattato teorico-pratico di spada e 
 sciabola, e varie paratedi quest' ultimo contro la baionetta e la lancia. Operetta 
 illustiata da 30 figure incise, con ritratto dell' autore. 8vo. Bologna. 
 
 1864 Istruzione per la scherma del bastone ad uso dei bersaglieri. Livorno. 
 
 1864 ViTi (Giovanni Battista) [avvocato]. — Breve trattato di scherma alia 
 sciabola. 8vo. Genova. 
 
 1868 ScALZi (Paolo de'). — La scuola della spada. Seconda edizione con 
 aggiunte. 8vo. Firenze. [With figures.] 
 
 1868 Mendiet pa-Maglioco (Salvatore) [Furiere : maestro di scherma 
 alia scuola normale di fanteria]. — Manuale della scherma di sciabola. i2mo. 
 Parma. [With plates.] 
 
 t868 Ferrero (Gio. Battista). — Traitato di scherma sul maneggio della 
 sciabola. Torino. 
 
 1868 Radaelli (Giuseppe). — Istruzione pel maneggio della sciabola, 
 pubblicata dal capitano S. del Frate. Firenze. 
 
 1868 Cerri (Giuseppe). — Trattato teorico-pratico della scherma di bas- 
 tone, col modo di difendersi contro varie altre armi sia di punta che di taglio. 
 Milano. 
 
 1870 Falciani (Alberto). — La scherma della sciabola o del bastone a due 
 mani, brevemente insegnata nella lingua del popolo. i2mo. Pisa. 
 
 1870 Strada (Enrico) [generale di cavalleria]. — Scherma e tiro. Napoli. 
 
 ■1870 Lambertini (Vittorio) [Maestro d' ?^rmi]. — Trattato di scherma 
 teorico-pratico illustrato della moderna scuola italiana di spada e sciabola. 8vo. 
 toiogna. [Frontispiece and 29 lithographed plates.] 
 
 1871 Enrichet'ii (Cesare) [Maestro-Ci^po e direttore di scherma alia 
 scuola centrale di Parma]. — Trattato elemeniare teorico-practico di scherma. 
 Svo. Parma. [6 lithographs.] 
 
 1874 Cesarano (Federico) [di Napoli]. — Trattato teorico-pratico di 
 scherma della sciabola, con appendiqe di tutti i regolamenti cavallereschi 
 riguardanti la scherma. Milano. 
 
 1875-6 Doux. — 11 maneggio della sciabola secon lo il metodo di scherma 
 Radaelli. Roma. 
 
 1876 Radaelli (Giuseppe). — Istruzione per la scherma di sciabola e di 
 spada del Prof. Giuseppe Radaelli, scritta d" ordine del Ministero della Guerra 
 dal C'anitano S. del Frate. 4to. Milano. [jo folded lithographs.] 
 
BIBLIOTHECA ARTIS DIMICATORI^ 287 
 
 T^'jd Gandolfi (Giovanni). — Metodo teorico-pratico per la scuola di 
 sciabola. fcvo. Torino : Borgarelii. 
 
 1877 Angelini (Achille). — Osservazioni sul maneggio della sciabola 
 secondo il metodo Radaelli. Firenze. 
 
 1878 Perez (G. ) — II sistema di spada Radaelli, giudicato dall' aite della 
 scherma. 4to. Verona : Tip. di Gaetano Franchini. 
 
 [7 folded lithographed plates.] 
 
 1878 Forte (capitano Luigi). — Sul metodo di scherma Radaelli, lettere 
 critica. Catania. 
 
 1880 Pagliuca (Giovanni). — Cenni di critica sul sistema di scherma 
 Radaelli. Torino. 
 
 1881 RosARi [con Cariolato e Belmonte]. — Torneo internazionale tenuto 
 in Milano. 8vo. Napoli : Ferrante. 
 
 1884 Parise (Masaniello). — Trattato teorico-pratico della scherma di 
 spada e sciabola. Preceduto da un cenno storico suUa scherma e sul duello. 
 8vo. Roma. [Numerous figures in the text.] 
 
 1885 Frate (Settimo del) [capitano]. — Istruzione per la scherma di punta 
 di Giuseppe Radaelli, professore di scherma e ginnastica, scritta d' ordine del 
 ministeio della guerra. 8vo. Milano. [10 liihoyraphed plates.] 
 
 1885 Rossi (Giordano). — Scherma di spada e sciabola. Manuale teorico- 
 pratico, con cenni storici sulle armi e suUa scherma, e principali regole del 
 due:io. 8vo. Milano. [54 figures in the text.] 
 
 1888 Gelli (Cavaliere Jacopo). — Resurrectio. Critica alle osservazioni sul 
 maneggio della sciabola secondo il metodo Radaelli del Generale Achille Ange- 
 lini. 8vo. Firenze : Tipografia Niccolai. 
 
 1888 Masiello (Ferdinando). — La scherma italiana di spada e di scia- 
 bola. 8vo. Firenze : G. Gioelli. 
 
 [Numtrrous plates and figures in the text.] 
 
 1888 (periodical) Cappa e spada. Giornale di scherma, ginnastica, &c. , 
 diretto da Luigi Sertini. (Monthly review, chiefly devoted to the interests of 
 Italian swordsmanship.) 4to. Firenze, Via Nazionale 14. 
 
 1889 Gelli (J.) [Cavaliere]. — La scherma collettiva quale mezzo di educa- 
 zione fisica. Con 32 tavole dimostrative. 8vo. Tipografia Niccolai. 
 
 [Figures in the text.] 
 
 Manuscripts. 
 
 1550 (?) Altoni (Francesco di Lorenzo). — Monomachia ovvero arte di 
 scherma, cui segue un trattato del Giuoco della spada sola. Firenze. 
 
 1590 P) Palladini (Camillo) [Bolognese]. — Discorso sopra 1' arte della 
 Scherma ; come 1' arte della scherma e necessaria a chi si diletta d' Arme. Obi. 
 4to. 
 
 [42 drawings in red chalk, imitated from the plates of Agrippa's work. 
 In M. Vigeant's collection, Paris.] 
 FlORE Furlan [de Civida]. 
 
 [Vellum MS. with pen and ink and gold sketches. See N. and Q. 
 Series V., vol. iv. p. 414.] 
 LoviNO (Giovanni Antonio) [Milanese]. — Opera into; no alia Practica e 
 Theoria del ben adoperare tutte le sorti di arme ; overo la Scienza dell' Arme. 
 4to. Vellum. [In the Bibliotheque Nationale, Paris.] 
 
 British Museum. Additional, No. 23223. A treatise on fencing in 
 Ital.an. 47 folios. [Date, end of 17th century.] 
 
288 APPENDIX 
 
 1678 (?) Texedo (Don Pedro) [de Taruel, Sicilia].— Escuela en la berda- 
 dera destreza de las armas. (Dedicated to Don Fern. Joach. Faxardo de 
 Requesens y Zuiliga. ) Sm. 4to. Palermo (?) 
 
 [Portrait of the author, and figures.] 
 
 LATIN. 
 
 1579 GuNTERRODT (Henri a). — Deveris principiisartis dimicatoriae tracta- 
 tus brevis. 4to. Witebergse. 
 
 1604 LiPSius (Justus). — Ivsti Lipsi Saturnalivm sermonum libri duo ; qui 
 de Gladiatoribus. Editio ultima et castigatissima. Cum asneis Figuris. Ant- 
 verpias, ex officina Plantiniana, apud Joannem Moretum. 4to. 
 
 Manuscript. 
 
 DiJRER (Albert).— Oplodidaskalia, sive armorum tractandorum meditatio. 
 
 [MS. in the Magdalenenbibliothek, Breslau. Quoted by Lenz in his 
 ' Zusammenstellung v. Schriften iiber Leibesiibungen.'] 
 
 PORTUGUESE. 
 
 1685 I.uis (Thomas). — Tratado das lipoes da Espada preta, e destreza 
 com que hao de usar os jugadores della. Folio, 29 pag. i lamina. Lisboa. 
 
 1744 Martins Firme (Manuel) — Espada firme o firme. Tractado para o 
 jogo de espada preta e branca. 8vo, fol. xxxvi-86. Evora. 
 
 1804 Carvalho (Rodriguez de). — Resurao breve do jogo de florete em 
 dialogo para qualquer curioso se applicar ao serio estudio desta brilhante arte. 
 Traduzido dos melhores auctores Franceses. 8vo. Lisboa. 
 
 1839 Mello Pacheco de Resende (Jos^ de). — Instruc9ao do jogo 
 d' espada a pe e a cavallo para ser posto em pratica na eschola militar, e nos 
 corpos de cavallaria e artilheria montada do exercito do Brasil. Rio de Janeiro : 
 Brasileira. 
 
 1842 Osorio y Gomez (don Pedro). — Tractado de esgrima a p^ e a cavallo, 
 em que se ensina por principios o manejo do florete ou o jogo da espada que 
 se usa hoje. Large Svo. Lisboa : Typ. Commercial. [24 plates.] 
 
 RUSSIAN. 
 
 1817 Valville. — Traits sur la contre-pointe. Obi. 410. St. Petersbourg: 
 Charles Kray. [24 copperplates. In French and in Russian.] 
 
 1843 Nachertarich Pravil Fechtovaljnavo iskoostva risoonkami v pyakti 
 tchnactyahkh. Sochinenich Pomoshtchnika glavnavo. Fekhtovaljnavo 
 Ootchitelyah Otdyailjnavo Gvardeickavo Korpoosa. 4to. Sanktpeterboorg : 
 Sokolova. 
 
 SPANISH. 
 
 T474 Pons [or Pona] Qayme) [Jaume or Jacobus]. A treatise on the art 
 of the sword. Perpiiian. 
 
 1474 (?) Torre (Pedro de la) [Petrus de Turri]. 
 
 [Mentioned by Narvaez, Pallavicini, and MarcelH, but without sufficient 
 data.] 
 
BIBLIOTHECA ARTIS DIMICATORI^ 289 
 
 T532 Roman (Francisco). — Tratado de Esgrima, con figuras. 410 (?). 
 Sevilla : Bartolome Perez. 
 
 1569 Carranza (Jeronimo de). — De la filosofia de las armas, de su destreza 
 y de la agresion y defension Christiana. 410. Luciferi Fano (vulgo San Lucar). 
 
 1582 Carranza (Jeronimo de). — Libro que trata de la filosofia de las 
 armas y de su destreza y de la agresion y defension Christiana. 4to. Lisbon 
 and San Lucar de B.irrameda. [Portrait of Carranza.] 
 
 1599-1600 Narvaez (D. Luis Pacheco de). — Libro de las grandezas de 
 a Espada, en que se declaran muchos secretos del que compuso el comendador 
 Geronimo de Carranza. En el cual cada uno ?-e podra licionar y deprender 
 a solas, sin tener necesidad de maestro que lo ensene. 4to (80 pliegos). Madrid : 
 J. Iniquez de Lequerica. 
 
 [Portrait of Don Luis, 2 figures and 155 diagram woodcuts in the 
 text.] 
 
 1600 Carranza (Jeronimo de). — De la filosofia de las armas . • • &c. 
 2nd edition. 4to. Madrid. 
 
 1608 Narvaez (D. Luis Pacheco de). — Cien conclusiones, o formas de 
 saber, de la verdadera destreza, fundada en ciencia, y diez y ocho contradic- 
 ciones a las de la comun. Folio. Madrid : Luis Sanchez. 
 
 1602 Narvaez (Don Luis Pacheco de). — Compendio de la filosofia y 
 destreza de las armas de Geronimo de Carran9a. 410. Madrid : Luis Sanchez. 
 
 [Woodcuts in the text.] 
 
 t6i6 Ayala (Don Atanasio de). — El bisoiio instruido en la disciplina 
 mihtar. 8v(^. Madrid. 
 
 1618 Narvaez (Don Luis Pacheco). — Carta al Duque de Cea diciendo sm 
 parecer acerca del libro de Geronimo de Carran9a. De Madrid en quatro dc 
 Mayo. 8vo. Madrid. 
 
 1623 PiZARRO (D. Juan Fernando). — Apologia de la destreza de las armas. 
 Defensa del libro de Carranza sobre ello. 8vo. TrujiUo. 
 
 1625 Narvaez (Don Luis Pacheco de) [Maestro del Rey].— Modo facil y 
 nuevo para examinarse los Maestros en la destreza de las armas yentender sus 
 cien conclusiones o formas de saber. 8vo. Madrid : Luis Sanchez. 
 
 1635 Narvaez (D. Luis Pacheco de). — Engano y desengano de los errores 
 que se han querido introducir en la destreza de las armas. 4to. Madrid. 
 
 1636 I'OBAR (Don Pedro Mexia de). — Engano y desengano de los errores 
 en la destieza de las armas. 4to. Madrid. 
 
 1639 Narvaez (Don Luis Pacheco de). — Advertencias para la ensenanza 
 de la destreza de las armas, asi a pie como a cavallo. 4to. Madrid. 
 
 1639 VifiDMA (Diaz de). — Epitome dela ensenanza de la filosofia y destreza 
 matematica de las armas. 8vo. Cadiz. 
 
 1640 Carmona (Luis Mendez de). — Compendio en defensa de la doctrina 
 y destreza de Carranza. 4to. Sevilla. 
 
 1642 Cala (Cristobal de). — Desengano de la Espada y Norte de diestros. 
 4to. Cadiz. 
 
 1658 Narvaez (D. Luis Pacheco de). — Modo facil para examinarse . . 
 &c. 2nd edition, to which is often added : Adicion a la filosofia de las armas. 
 Las diez y ocho contradicciones de la comun destreza, por el mismo autor. Ano 
 M.DC.LX. 8vo. Zarago9a : Pedro Lanaja. 
 
 1665 Mendoza (Don Miguel Perez de).— Defensa de la doctrina y destreza 
 de las armas. 4to. Madrid. 
 
 1667 Porres (D. Gomez Arrias de).— Resumen de la verdadera destreza 
 manejo de la Espada. 4to. Salamanca : Melchor Estevez. 
 
 U 
 
290 APPENDIX 
 
 iGjz Narvaez (D. Luis Pacheco de) [Maestro del Rey]. — Nueva ciencia 
 y filosofia de la destreza de las armas, su teorica y practica. 8vo. Madrid. 
 
 1672 Mendoza y Quixada (Don Miguel Perez de). — Principios de los 
 cinco sujetos principales de que se compone la filosofia y matematica de las 
 armas, practica y especulativa. 8vo. Pamplona. 
 
 1675 Mendoza y Quixada (Don Miguel Perez de) [Maestro de la des- 
 treza]. — Resumen de la verdadera destreza de las armas, en treinta y ocho 
 asserciones resumidas y advertidas con demonstraciones practicas, deducidas 
 de las obras principales que tiene. 4to. Madrid. 
 
 1675 Lara (D. Caspar Agostin de). — Cornucopia numerosa. Alfabeto 
 breve de principios de la verdadera destreza y filosofia de las armas colegidos 
 de las obi as de Luis Pacheco de Narvaez. 4to. Madrid. 
 
 1675 Ettenhard (Don Francisco Antonio) [Cavallero del Orden de 
 Calatrava]. — Compendio de los fundamentos de la verdadeia destreza y filosofia 
 de las armas. Dedicado a la Sacra y Real Magestad del Rey Nuestro Senor 
 Don Carlos Segundo, Monarca de E-pana y de las Indias. 4to. Madrid : 
 Antonio de Zafra. [16 copperplates.] 
 
 To the above is generally found a smaller work entitled : Siguese el papel 
 de Juan Caro, en que impugna la obra con Quince Oiepciones, y la respuesta 
 de el Autor a ellos. [i copperplate.] 
 
 1688 Aranda Y Morentin (Antonio Arrieta). — Resumen de la verdadera 
 destreza para saber los caminos verdaderos de la batalla. 8vo. Pamplona. 
 
 1695 Rada (Lorenz de). — Respuesta filosofica y matematica en la cual se 
 satisfece a los argumentos y proposiciones que a los profesores de la verdadera 
 destreza y filosofia de las armas se han propuesto por un papel expedido sin 
 nombre d'autor. 4to. Madrid : Diego Martinez, Abad. 
 
 1697 Ettenhard y Abarca (Don Francisco Antonio de).— Diestro Itali- 
 ano y Espanol. Explican sus doctrinas con evidencias mathematicas conforme 
 a los preceptos de la verdadera destreza y filosofia de las armas. 4to. Madrid : 
 Manuel Ruiz de Murga. [4 copperplates.] 
 
 1697 Sylva (D. Diego Rejon de). — Definiciones de la ciencia de las armas. 
 8vo. Orihuela. 
 
 1702 Cruzada Y Peralta (Manuel). — Las tretas de la vulgar y comun 
 esgrima de espada, y con armas dobles, que aprobo don Luis Pacheco de Nar- 
 vaez, y las oposiciones que dispu<6 en verdadera destreza de ella. 4to. Zara- 
 goza. 
 
 1705 Rada (Lorenz de). — Nobleza de la espada, cuyo resplendor se 
 expresa en tres libros, segun ciencia, arte y experiencia. Folio. Madr.d : Diego 
 Martinez, Abad. [16 copperplates.] 
 
 1712 La Paz (Santos de). — Uustracion de la destreza Indiana ; epistola 
 oficiosa al Maestro de campo Don F. Lorenz de Rada . . . &c. &c. soure 
 varios discursos publicados por el en la que intitul6 defensa de la verdadera 
 destreza de las armas. Sacola a luz el Capitan Diego Rodriguez de Guzman 
 . . . &c. 4to. Lima. 
 
 1724 AzNAR de Polanco (Juan Claudio). — Carta, de la destreza de las 
 armas, respuesta a un papel de titulo : destreza vulgar . . . &c. 4to. Madrid. 
 
 1731 NovELl (D. Nicolas Rodrigo). — Crisol especulativo de la destreza 
 de las armas. 8vo. Madrid. 
 
 1758 Perinat (D. Juan Nicolas) [Maestro de esgrima en la real academia 
 de Cavalleros Guardias Marinas]. — Arte de esgrimir florete y sable por los 
 principios mas seguros, faciles y intelligibles. Oblong 4to. Cadix. 
 [36 copperplates.] 
 
BIBLIOTHECA ARTIS DIMICATORIJ^ 291 
 
 1805 Brea (Don Manuel Antonio de). — Principios universales y reglas 
 generales de la verdadera destreza del espadin, segun la doctrina mixta de 
 francesa, italiana y espanola. Madrid : Imp. Real. 4to. [18 plates.] 
 
 1819 P. (J. V. M. de). — Manejo del sable. Coleccion de ciiarenta disenos 
 que repres^ntan las diversas posiciones de este exercicio a caballo. Once cuad, 
 [40 figures by Horace Vernet.] 
 
 1823 Thomase (Eudaldo). — Tratado de esgrima a pi^ y a caballo, en que 
 se ensefia por principios el manejo del florete, 6 el juego de la espada que se usa 
 en el dia, adornado con diez y seis laminas grabadas en cobre. 4to. Barce- 
 lona : N. Dorca. [16 plates.] 
 
 1826 Rolando (Guzman) [de la academia de armas]. — Nuevo arte de 
 esgrima. conforme a la practica de los mejores maestros de Europa. Aumentado 
 y corregido por J. S. B^orsyth, y traducido del ingles por un Militar Espanol. 
 i2mo. L6ndres : Ackermann. 
 
 1830 Esgrima de la bayoneta armada, trad, del italiano por un Oficial de 
 Milicias Provinciales. Madrid : Leon Amarita. 8vo. 
 
 1832 PoBLACiON Perez (Don Cayetano). — Esgrima, 6 sea la destreza^ 
 del florete. Valladolid. 4to. [7 plates.] 
 
 1832 Laborde y Navarro (Don Angel). — Ejercicio del sable. Habana. 
 4to. 
 
 1832 Martinez (Don Juan Jos^). — Ejercicio del sable, traducido del 
 ingl(^s. Habana. 4to. [i plate.] 
 
 1841 Laffargere (F.) [Lafaugere, J. (?)]. — Tratado completo de esgrima 
 compuesto por el celebre profesor maestro Mr. F. L. adoptado ultimamente 
 en Francia, y traducido al Espanol por el profesor D. Antonio Marin. 8vo. 
 Madrid : Alegria y Chastain. 
 
 1849 Manual del baratero 6 arte de manejar la navaja, el cuchillo y la 
 tijera de los gitanos. 8vo. iv. 54. Madrid. [Engravings in the text.] 
 
 185 1 Cortes (Don Balbino). — El palo y el sable, 6 teoria para el perfec- 
 cionamiento del manejo del sable por la esgrima del palo corto en 25 lecciones. 
 Obi. i2mo. Madrid (Publicidad). [37 lithographs.] 
 
 1854 CuCALA Y Bruno (D. Jos^) [Caballero Teniente Mayor del Reino y 
 examinador en la ciencia filos6fica y matematica de la destreza de las armas en 
 todos los dominios de Espaia]. — Tratado de esgrima. Comprende la esgrima 
 del florete, tres guardias de sable de infanteria . . . &c. &c. 4to. Madrid : 
 J. Pena. [24 plates.] 
 
 1855 Galvez de Zea (Don Francisco). — Esgrima de la bayoneta. 8vo. 
 Valencia. [16 figures.] 
 
 1858 Merelo y Casademunt (D. Jaime) [Profesor de esgrima en el 
 colegio de infanteria]. — Tratado de la verdadera esgrima del fusil 6 carabina 
 armados de bayoneta. 4to. Toledo : J. Lopez Fando. [2 plates.] 
 
 1859 Marin (Don Antonio). — Esgrima k la bayoneta, 6 manejo de dicha 
 armaaplicado d los ejercicios y maniobras de la infanteria aprobado por S. M. 
 y mandado observar por Real 6rden de 13 de setiembre de 1859. I'raducido 
 del francos de Th. Pinette. Cadiz. [3 plates.] 
 
 1862 Merelo y Casademunt (Don Jaime).— Tratado completo de la 
 esgrima del sable espanol. Toledo : Lopez Fando. 8vo. 
 
 1864 Heraud y Clavijo (D. A., di Soria). — Manual de esgrima, en el 
 que se trata de la esgrima de la espada, espada y daga, del sable y del florete, 
 i2mo. Paris. [A few figures in the text.] 
 
 1865 Merelo y Casademunt (Don Jaime). — Elementos de esgrima para 
 instruir al soldado de infanteria en la verdadera destreza del fusil ^ carabina 
 armados de bayoneta. Toledo : Fando. 8vo. [i plate.] 
 
 U 2 
 
292 APPENDIX 
 
 1877 Gerona y Ensena (D. Federico) [Oficial de caballeria].— Esgrima 
 del sable. 8vo. Madrid. [19 plates.] 
 
 1878 Merelo Y Casademunt (D. Jos^) [Profesor de esgrima]. — Manual 
 de esgrima, recapitulacion de las tretas mas principales que conslituyen la ver- 
 dadera esgrima del sable espaiiol y del florete. Oblong 8vo. Madrid : R. 
 Labajos. 
 
 188 r DuENAS (D. Gregorio) [Profesor de esgrima de la academia de 
 infanterfa]. — Ensayo de un tratado de esgrima de florete. 8vo. Toledo. 
 
 1882 Leave (D. Pedro de la). — Grabados y temas de armas blancas 
 seguido de algunas consideraciones sobre el mismo asunto por Martinez (D. . 
 Guillermo). 4to. Madrid : Gregorio Hernan. 
 
 1885 Leguina (Don Enrique de). — La espada. Apuntes para su historia 
 en Espana. 8vo. Seville : E. Rasco. 
 
 MiLLA (Francisco). — Uso de la espada en todas las naciones. 
 
 (?) SosA (Don Manuel). — Nueva ciencia de la destreza de las armas. 
 
 Labra (Rafael M.) — Las armas en Madrid . . . observaciones sobre la 
 esgrima. [See ' La Ilustracion Gallega y Asturiana,' torn. ii. p. 81.] 
 
 Manuscripts. 
 
 Rodriguez del Canto (D. Diego). — El discipuloinstruidoydiestro apro- 
 vechado en la ciencia philosophica y mathematica de la destreza de las armas. 
 [17th century.] 
 
 Ejercicios de las armas. [i6th century. In Bibliot. del Escoiial (iv. a. 23)]. 
 
 Garcia (F. Francisco). — Verdadera intelligencia de la destreza de las 
 annas del comendador Geronymo Sanchez Carranza de Barreda. 
 [17th century.] 
 
 Carranza (Jeronimo Sanchez de). — Los cinco hbros sobre la ley de la 
 Injuria, de palabra 6 de obra, en que se incluyen las verdaderas resoluciones de 
 la honra, ylos medios con que se satisfacen las afrentas. 'j.to. Sevilla. p. 300, 
 
 1616 Carranza (G. S. de). — Discurso de armas y letras, sobre las pa'abras 
 del proemio de la instituta del Emperador Justiniano . . . &c. 4to, p. 28. 
 Sevilla. 
 
 SiLVA (Gonzalvo de) [Capitan]. — Compendio de la verdadera destreza de 
 las armas. 4to. (In Villaumbrosana bibliotheca.) 
 
 1750-60 (?) A. C. O. [' Un afficionado']. — Libro de armas y doctrina para 
 el resguardo de los afficionados de clicha ciencia con contras y explicaciones da 
 toda la arte que se encierra en la espada, hecho por un afficionado. 
 
 [No date or place, bound 8vo form, with engraved title-pages and 
 12 copperplates by A. Sant Croos. In the possession of Captain A. 
 Hutton.] 
 
 1837 Oliver (don Antonio). — Historia de la esgrima y de los desafios. 
 MS. 4to. [In the library of D. Joaquin Maria Bover.] 
 
 SWEDISH 
 
 1693 PoR ATH (Diederich). — Palaestra Suecana, eller den adelige Fachtare- 
 Konster «&:c. &c. Folio. Stockholm. [24 copperplates in the text.] 
 
 1843 Mentzer (T. a. v.). — Svenska Kavalleriets faktning, enligt Gene- 
 ralen m. m. Grefve G. Lowenhj elm's method. 8vo. Stockholm. 
 
 1843 Stjernsvard (G. M.) — Handbok uti Gymnastik och Bajonett 
 Faktning. 2 pi. 24mo. Stockholm. 
 
 1857 Stromborg(N.) — Gymnastik-lara, efter P. H. Ling och G. Branting 
 I* Haftet, Faktlara. 8vo. Stockholm : Ostlund & Berlinij:ska. 
 
BIBLIOTHECA ARTIS DIMICATORI^E 293 
 
 1876 Balck (V.) — Tabeller i sabelfaktning. Tvar 8vo. Stockholm: 
 Loostrom & Komp. 
 
 1876 Nybl^.us (G.) — Allman gymnastik, faktlara. 3 figuren. 8vo. 
 Stockholm : Norstedt & Soner. 
 
 1882 Instruktioni faktning och gymnastik for svenskakavaleriet. [Utdrag 
 ur Handbok lor Kavaleriet.] 8vo. Stockholm : Norstedt & Soner. 
 
 1882 ToRNGREN (L. M.) — Reglemente i bajonett- och sabelfaktning for 
 kongl. flottan. Enligt n§.digt uppdrag utarbetadt. 21 pi. i2mo. Stockholm : 
 Norstedt & Soner. 
 
 1882 ToRNGREN (L. M.). — Tillaggsblad for reglemente i bajonett och 
 sabelfaktning. [Omslagstitel : Supplement for Atlas till gymnastik reglemente 
 for kongl. flottan.] 6 pi. Folio. Stockholm : Norstedt & Soner. 
 
INDEX 
 
 AINIA 
 Amateur Athletic Club, 
 its encouragement of glove- 
 fighting, 146 
 « A Mery Geste of Robyn Hodc,' 
 
 quoted, on wrestling, 180 
 Angelo, quoted, ii, 20, 23, 24 
 Appel, the, 41, 102 
 Assault, the, in fencing, 103 
 Attacks, simple, in fencing:— 
 the straight thrust, 48 ; the 
 disengage, 48; to disengage 
 in the upper lines, 48 ; to 
 disengage from high to low, 
 49 ; coupe or cut-over, 49 ; 
 to make the coupe, 49 ; tlie 
 counter -disengage, 49 ; to 
 counter-disengage on a change 
 from quarte to tierce, 49 ; 
 simple parries as against, 50 ; 
 on the sword : — attack hy 
 pressure, 52 ; the beat, 52 ; 
 the scrape, 52 ; the twist, 53 ; 
 twist and lunge, 53 ; to avcid 
 and to parry, 54 ; to parry the 
 flanconnade, 54 ; - false at- 
 tacks, 88 ; attacks on prepara- 
 tions, 89; renewed attack, 90 
 Attitude in fencing, 2 
 Authorities on fencing, see Ap- 
 pendix 
 
 BOX 
 
 Bazancourt, Baron de, quoted, 
 
 , 3» 29, 31-33, 38 
 Beat, the, in fencing, 52 
 Belt, the, in boxing, 125 
 Beranger's verse, on boxing in 
 
 England, 146 
 Bertrand, his skill, energy, and 
 
 vanity, 25-27 
 Betting on boxing, 137 
 Bibliotheca Artis Dimicatori.-e, 
 
 248 
 Boxers ; see under Pugilists 
 Boxing, history of, 117; pri- 
 maeval practice, 120; neces- 
 sary preliminaries to its es- 
 tablishment, 120 ; wrestling 
 in conjunction with, 120-122; 
 classical and other illustra- 
 tions, 123-132 ; first authen- 
 tic account of a merry mill, 
 125 ; a Virgilian maul, 128- 
 130 ; use of the caestus or 
 glove, 131 ; in the mid lie 
 ages, 133 ; Missot's account 
 of its popularity in the time 
 of George I., 133 ; the old 
 school, 135; number of pugi- 
 listic battles, 136; Slack and 
 Pettit's encounter, I36;hea_vy 
 betting in the last century, 
 
296 
 
 INDEX 
 
 BOX 
 
 137 ; rarity of deaths in 
 prizefights, 137 ; duration of 
 battles, 137 ; the silver age 
 of the prize ring, 138 ; Lord 
 Byron's proficiency, 139 ; 
 George IV.'s admiration of 
 the prize ring, 139 ; Tom 
 Sayers, his courage, skill, and 
 method, 140 ; decadence of 
 pugilism, 143 ; the only true 
 and correct style, 144 ; glove 
 fights under the Queensberry 
 rules, 145 ; Beranger's verse, 
 146 ; influence of amateur 
 clubs, 146, 147 ; instructions 
 in the art : — use of the feet, 
 148 ; pose of the body and 
 position of the arms, 150; 
 methods of defence : — the 
 stop by countering, 152 ; the 
 retreat in good order, 153 ; 
 ducking, 153 ; side step, 154 ; 
 slipping, 154; guard with 
 the arm, 155 ; methods of 
 attack : — the lead-off with the 
 left, 157-160; leading off 
 with the right, 160 ; in-fight- 
 ing, 157, 161 ; combinations of 
 attack and defence, 162 ; 
 difference between a lead-off 
 and a counter, 163 ; a device 
 with a telling effect, 163 ; the 
 giant amateur and Nat Lang- 
 ham, 164 ; cross-counters, 
 165, 166 ; feinting and draw- 
 ing, 166 ; judging distance 
 and timing, 167 ; warnings 
 and maxims for those with 
 short memories and small 
 opportunities, 168 ; important 
 duties of judges and referees, 
 169 ; amateur competitions, 
 270 
 
 EXT 
 
 Byron, Lord, quoted, on boxing, 
 139 
 
 C^STUS, the, 120, 125, 131 
 
 Carew, quoted, on wrestling, 183 
 
 Castle, Egerton, quoted, 4, 21, 
 28, no 
 
 Chaucer, quoted, on wrestling,, 
 180 
 
 * Chips,' 197 
 
 Clerkenwell, as a trysting place 
 for London wrestlers, 181 
 
 •Cold Steel' (Captain Hut- 
 ton's), III 7iote 
 
 Cornish wrestling, 184, 185, 
 221, 225, 230 
 
 Counter -disengage, the, in 
 fencing, 49 
 
 Coup d'arret, 28, 91 
 
 Coup de temps, 28 
 
 Coupe, or cut-over, 49 
 
 Cumberland and Westmoreland 
 wrestling, 190-208 
 
 Cumberland, Duke of, his in- 
 terest in prize-fighting, 137 
 
 Di^VELOPPEMENT, the, in fenc- 
 ing, 39 
 
 Devonshire wrestling, 184, 185, 
 221, 225, 230 
 
 Dickens, Charles, quoted, on 
 wrestling, 209 
 
 Disengage, the, in fencing, 48 
 
 Doigte, or finger-play, 51 
 
 Donnelly, Professor, his book 
 on boxing, 148 
 
 * Druid,' quoted, on wrestling, 
 196 
 
 Ducking, in boxing, 153 
 
 Engagement, the, in fencing, 
 43 ; change of, and double, 47 
 Extension, the, in fencing, 40 
 
INDEX 
 
 297 
 
 FEI 
 
 Feints, 54 
 
 Fencers, celebrated : — 
 
 Agrippa, Camillo, 9, 10, 16, 22 
 
 Angelo, II, 20, 23, 24 
 
 Bagger, Austen, 18 
 
 Bazancourt, Baron de, 3, 29, 
 
 31, 32, 33, 38 
 Bertrand, 25-27, 31, 33, 45 
 Besnard of Rennes, 12 
 Capo Ferro, Ridolfo, 1 1 
 Castle, Egerton, 4, 21, 28, no 
 Chiefe, 18 
 Cordelois, 28 
 Danet, 14 
 
 De' Grassi, Giacomo, 9 
 De la Torre, Pedro, 8, 243 
 De la Touche, 13 
 De Liancourt, 13 
 Docciolini, ii 
 Ducoudray, 12 
 Fabris of Bologna, 1 1 
 Giganti, Nicoletto, li 
 Grisier, 28 
 Labat, 13 
 Legouve, 26, 30 
 Manciolino, Antonio, 9 
 Marozzo, Achille, 9, 31 
 Meyer, 10 
 
 Moncio, Pietro, 8, 243 
 Pacheco de Narvaez, Luis, iG 
 Pona de Majorca, Jayme, 8 
 Possellier (Gomard), 28, 244 
 Prevost, Pierre, 26, 28 
 Pvocko, 17 
 
 Rocko, Jeronymo, 18 
 Roman, Francisco, 8, 243 
 St. Didier, 12 
 Saviolo, Vincentio, II, 18 
 Silver, George, 11, 17, iS 
 Silver, Toby, 18 
 Viggiani, 10 
 Waite, J. M., 112 
 
 {^See also Appendix.) 
 
 FEN 
 Fencing, development of, i ; 
 perfection of the attitude, 2 ; 
 effect of the introduction of 
 firearms, 4 ; pre-eminence of 
 Italian and Spanish swords- 
 men, 6 ; the rapier, 6 ; defects 
 of the early ItaHan method, 7 ; 
 literature, 8 ; value of the 
 point, 9 ; Viggiani's 'punta 
 sopramano,' 10; the lunge, 1 1 ; 
 rise of the French school, 12 ; 
 the 'riposte de pied ferme,' 13; 
 use of the left hand, 13 ; the 
 German and Spanish schools, 
 15, 16 ; introduction into Eng- 
 land, 17 ; treatment of Ita- 
 lian swordsmen in England, 
 19 ; on a platform, 20 ; masks, 
 23 ; pedantry, 24 ; advent of 
 Bertrand, 25 ; the coup de 
 temps and cotip (V arrets 28 ; 
 practical instructions in : — 
 explanation of technical 
 terms, 35, 36 ; how to hold 
 the foil or sword, 36 ; the 
 positions, 37, 38 ; guard, 39 ; 
 lunge or extension, 40 ; the 
 lines, 43 ; engagement, 43 ; 
 simple parries, 44 ; change of 
 engagement and double en- 
 gagement, 47 ; simple attacks, 
 48 ; simple parries as against 
 simple attacks, 50 ; finger- 
 play or doigte, 51 ; attacks 
 on the sword, 52 ; feints, 54 ; 
 counter-parries, 56 ; reversed 
 counter-parries (contre-op- 
 poses), 58 ; how to nullify 
 or avoid simple parries, 59 ; 
 and to meet these attacks, 
 61 ; how to nullify or avoid 
 counter-parries, 62 ; and to 
 meet these attacks, 62 ; how 
 
298 
 
 INDEX 
 
 FEN 
 to frustrate a change of en-, 
 gagement and avoid a simple 
 parry in the upper lines, 
 
 63 ; meeting these attacks, 
 
 64 ; various manners of nulli- 
 fying two simple parries, 
 65 ; meeting these attacks, 
 66; methods of nullifying a 
 counter and simple parry, 
 66 ; defences against these 
 attacks, 68 ; various ways of 
 nullifying reversed counter- 
 parries, 69 ; modes of meet- 
 ing these attacks, 69 ; methods 
 of avoiding a reversed counter 
 and simple parry, 70 ; meet- 
 ing these attacks, 71 ; the 
 riposte, 74 ; methods of meet- 
 ing forms of the riposte, 77 ; 
 ripostes with a change of line, 
 or with a feint or other pre- 
 vious movement, 79 ; ripostes 
 with a pause (ripostes a temps 
 perdu), 85 ; the counter- 
 riposte, 86 ; quitting blades, 
 ^^ ; false attack, 88 ; attacks 
 on preparations, 89 ; renewed 
 attack, 90; the stop-thrust 
 (coup d'arret), 91 ; time- 
 thrusts, 91 ; time-parries, 93 ; 
 the remise, 95 ; redoubling, 
 97 ; the salute, 98 ; the 
 assault, 103 ; left-handed 
 fencers, 108 ; see also under 
 Attacks, Parries, Ripostes 
 
 Finger play, 51 
 Flanconnade, the, 53, 54, 78 
 Foil, the, how to hold, 36 
 French wrestling, 235 
 Froisse, the, 52 
 
 Glove-fighting, 144 
 
 LUN 
 
 Godfrey, Captain, quoted, III, 
 
 114 
 
 Grecian wrestling, 176 
 Guard, the, in fencing, 37, 39, 
 40 
 
 Hamming, 198 
 
 Heenan, his fight with Sayers, 
 141-143, 155 
 
 Hentzner's Itinerary, quoted, on 
 wrestling, 181 
 
 Hogg, James, quoted, on wrest- 
 ling, 192 
 
 Hope, Sir William, quoted, 20 
 
 Hutton, Captain, quoted, 114 
 
 Judges of boxing, 169 
 
 Lancashire wrestling, 230- 
 
 234 
 
 * L'Ecole des Armes,' story con- 
 
 cerning, 20 ; see Appendix 
 
 * Legons d'Armes,' Cordelois', 
 
 28 ; see Appendix 
 Left-handed fencers, 108 
 Legouve, M., quoted, 26, 30 
 
 * Les Secrets de I'Epee,' Bazan- 
 
 court's, 29 ; j"^^ Appendix 
 
 * Lessons in Sabre, Singlestick, 
 
 &c.' (Waite's), 112 
 Liement d'octave, 53 
 Lines, the, in fencing, 43 
 Litt, William, his treatise on 
 
 wrestling, 196 
 London, the, Cumberland and 
 Westmoreland Wrestling So- 
 ciety, 217 
 
 * Lo Schermo,' 10 
 
 Lunge, the, in fencing, 37, 40, 
 53 
 
INDEX 
 
 299 
 
 MAS: 
 
 Masks, 23, 24 
 Milo of Croton, 176 
 Missot, quoted, 133 
 
 Opposition, in fencing, 36 
 
 * Paradoxe of Defence,' the, 
 
 Parries :— eight simple, 44 ; the 
 four which may be abandoned, 
 45 ; manner in which the four 
 essential are made : — from 
 engagement in quarte, tierce, 
 and seconde, 46 ; in septime, 
 47 ; simple, as against simple 
 attacks, 50 ; counter, 56 ; 
 engaged in quarte to parry 
 counter quarte, 57 ;from tierce 
 to parry counter tierce, 57 ; 
 from, seconde to parry counter- 
 seconde, 57 ; from septime 
 to parry counter septime, 57 ; 
 reversed counter, 58 ; how 
 to nullify or avoid simple : — 
 engaged in quarte to nullify 
 parry in quarte, 59 ; from en- 
 gagement in quarte, 59 ; from 
 engagement in tierce, 60 ; 
 from engagement in seconde, 
 60 ; from engagement in sep- 
 time, 60 ; for meeting attacks 
 described : — with engagement 
 in quarte, 61 ; engaged in 
 tierce, 61 ; how to nullify or 
 avoid counter-parries : — en- 
 gaged in quarte to avoid 
 counter-quarte, 62 ; engaged 
 in tierce to avoid counter- 
 tierce, 62 ; how to meet these 
 attacks : — engaged in quarte, 
 62 ; engaged in tierce, 62 ; 
 
 PAR 
 
 how to frustrate a change of 
 engagement, and avoid a 
 simple parry in the upper 
 lines : — engaged in quarte, 
 63 ; engaged in tierce, 63 ; 
 how to meet these attacks : — • 
 engaged in quarte, 64 ; 
 engaged in tierce, 64 ; — 
 to frustrate a double engage 
 and avoid a simple parry, 64 ; 
 to frustrate a change from one 
 high line to the other, and 
 nullify a counter-parry, 64 ; 
 various manners of nullifying 
 two simple parries : — engaged 
 in quarte, to avoid tierce and 
 quarte, 65 ; from engagement 
 in seconde to nullify septime 
 and seconde, 65 ; to avoid 
 septime and seconde from 
 septime, 65 ; how to meet 
 these attacks : — from engage- 
 ment in quarte to meet oae- 
 two-three, 66 ; from engage- 
 ment in tierce, 66 ; from 
 seconde and septime, 66 ; 
 methods of nullifying a counter 
 and simple parry : — engaged 
 in quarte, 66 ; engaged in 
 tierce, 67 ; defence against 
 these attacks : — engaged in 
 quarte, 68 ; engaged in tierce, 
 68 ; ways of nullifying re- 
 versed counter-parries : — en- 
 gaged in quarte, 69 ; engaged 
 in tierce, 69 ; methods of 
 meeting these attacks : — en- 
 gaged in quarte, 69 ; engaged 
 in tierce^ 70 ; methods of 
 avoiding a reversed counter 
 and simple parry : — engaged 
 in quarte, 70 ; — engaged in 
 tierce, 71 ; — how to meet 
 
^00 
 
 INDEX 
 
 these attacks : — engaged in 
 quarte, 7 1 ; engaged in tierce, 
 72 ; time-parries, 93 
 Positions, the, in fencing : first, 
 
 37 ; second, 37 ; third, 38 
 Preparations in fencing, attacks 
 
 on, 89 
 Pronation, in fencing, 35 
 Pugilists and wrestlers : — 
 Acton, 233, 234 
 Atkinson, Robert (Sleagill 
 
 giant), 191, 214 
 Atkinson, Thomas, 220 
 Avery, 228 
 Baldwin, 143 
 Batstone, 228 
 Belcher, Jem, 138, 213 
 Bendigo, 139, 140 
 Bibby, 233, 234 
 Blair, William, of Solport 
 
 Mill, 194 
 Blake, Mr., 170 
 Bolt, 227 
 
 Broome, Harry, 140 
 Broughton, Jack, 135, 138 
 Brown, Rev. Abraham, of 
 
 Egremont, 191 
 Brunskill, George, 218 
 Burke, Deaf, 139, 140 
 Canadus, Albert, 216 
 Cann, Abraham, 221, 222, 
 
 227 
 Cann, James, 227, 228 
 Cannon, Tom, 235 
 Carkeck, 229 
 Carmichael, 192 
 Cass, William, ot Loweswater, 
 
 213, 214 
 Camit, Ben, 140 
 Chapman, Dick, of Patterdale, 
 
 202, 212, 214 
 Chappell, 227, 229 
 Clargoe, 227 
 
 PUG 
 
 Pugilists and wrestlers : — 
 
 Cocks, 228 
 
 Cooper, Ben, of Carlisle, 194, 
 212, 216 
 
 Cooper, Tom, 229 
 
 Copp, 227, 228 
 
 Coulthard, Richard, 220 
 
 Cribb, Tom, 139 
 
 Daltrey, Abe, 170 
 
 Davidson, Thomas, of Castle- 
 side, 212 
 
 Dees, 201 
 
 Dixon, John, of King's Mea- 
 burn, 219 
 
 Donald, W'illiam, 219 
 
 Donaldson, George, of Patter- 
 dale, 215 
 
 Donnelly, Ned, 155, 170 
 
 Dubois, 235 
 
 Elliot, James, of Cumrew, 198 
 
 Evans, Tom, 171 
 
 Ewbank, of Bampton, 215 
 
 Figg, 135 
 
 Finney, 227 
 
 Ford, Thomas, of Egren^ont, 
 
 208 
 Foster, Jack (Mr. George 
 
 Tinniswood), 219 
 Gaffney, 227, 228 
 Goss, Joe, 144 
 Graham, John, of Carlisle, 
 
 201, 220, 225 
 Graham, Mr William, 2l8 
 Gretting, 135 
 Gully, 138 
 Haig, Jemmy, 218 
 Hawksworth, of Shap, 1 91 
 Heenan, 141-143, 155 
 Hurst, Sam (Staleybridge 
 
 Infant), 143, 234 
 Irving, Geordie, of Bolton 
 
 Gate, 214 
 Irving, John, 220 
 
INDEX 
 
 301 
 
 PUG 
 
 Pugilists and wrestlers : — 
 
 Ivison, Harry, of Carlisle, 
 
 212, 215 
 Jackson, 138, 139 
 Jackson, William, of Kennie- 
 
 side, 191, 202, 203, 212, 
 
 214 
 Jameson, William, of Penrith, 
 
 194, 215, 235 
 Johnson, 137, 228 
 Jordan, 227 
 
 Kennedy, Tom, of Egremont, 
 
 195, 201, 216 
 Kerslake, 228 
 Kitto, 230 
 Langham, Nat, 164 
 Le Boeuf, 235 
 
 Littledale, Rev. Osborne, of 
 
 Buttermere, 191 
 Longmire, Tom, 191, 202, 
 
 209, 211, 214, 215 
 Lowden, George, 194, 195, 
 
 215, 230 
 Mace, Jem, 143 
 McLauchlin, 214 
 Margetson, Mr. Richard, 209, 
 
 218 
 Mendoza, 138 
 Miller, 235 
 
 Moore, Mr. George, 218, 219 
 Mossop, Henry, 202, 228 
 MuUins, Bat, 170 
 Nicholson, Thomas, of Threl- 
 
 keld, 213 
 Oliver, 227, 229 
 Otterway, Trooper, 170 
 Paddock, 140, 143 
 Palmer, John, of Bewcastle, 
 
 215 
 Palmer, Walter, of Bewcastle, 
 
 200 
 Parish, 227 
 Pattison, James, of Weardale, 
 
 194 
 
 PUG 
 
 Pugilists and wrestlers : — 
 Pearce (the Game Chicken), 
 
 138 
 
 Perrins, 137 
 
 Perry, 228 
 
 Perry (Tipton Slasher), 13S, 
 
 140 
 Pettit, 136 , 
 Pipes, 135 
 
 Polkinhorne, 221, 222 
 Pollard, W., 229 
 Polmood, 192 
 Pooley, Ralph, 203, 216 
 Pooley, Tom, of Longlands, 
 
 203 
 Pyle, 227, 228 
 Richardson, William, of Cald- 
 
 beck, 208, 213 
 Rickerby, William, 194, 203, 
 
 216 
 Ridley (the Glutton), 213 
 Ritson, 209 
 
 Robinson, John, of Cocker- 
 mouth, 201, 216 
 Robson, 209 
 Roper, Thomas, of Lamonby, 
 
 201 
 Rowntree, Robert, 213 
 Rundle, Sam, 229 
 Sanderson, George, 219, 220 
 Saunders, George, 227, 228 
 Sayers, Tom, 138, 140-144, 
 
 155, 167 
 Scott, J., of Canonbie, 213 
 Scott, Jim, of Carlisle, 194, 
 
 212, 215, 216 
 Simpson, John, 216, 220 
 Slack, 136 
 Smith, Jack, 229 
 Snape, 234 
 Spring, Tom, 139 
 Stamper, Isaac, 220 
 Standing, 228 
 
303 
 
 INDEX 
 
 PUG 
 
 Pugilists and wrestlers : — 
 Steadman, George, 194, 195, 
 
 200, 215 
 Steers, 228 
 Stevens, 137 
 Stone, James, 227 
 Thorne, 227, 228 
 Tiffin, John, of Dearham, 219 
 Trewick, 228 
 Wannop, John, 216, 220 
 Ward, Jem, 139 
 Weightman, John, of Hayton, 
 
 214 
 Whitehead, Jonathan, of 
 
 Workington, 200, 212, 215 
 Wills (Major), 218 
 Wormald, 143 
 Wrexford, 227 
 Wright, Dick, of Longtown, 
 
 191, 194, 195, 202, 215, 
 
 234, 235 
 {^See also list of Devon and Cor- 
 nish wrestlers, pp. 229, 230) 
 
 QuARTE, meaning of the word, 
 
 35 
 Queensberry, Marquess of, his 
 
 rules for glove fights, 145 
 Quitting blades, Z'6 
 
 TWI 
 
 ripostes, ^"j ; ripostes with a 
 change of line, or with a feint 
 or other previous movement, 
 79 ; after a parry in quarte, 
 80 ; after a parry in tierce, 
 82 ; after a parry in seconde, 
 84 ; after a parry in septime, 
 84; ripostes with a pause 
 (ripostes a temps peidj), 85 ; 
 the counter-riposte, 86 
 
 Sabre, the, 112 
 
 Salute, the, in fencing, 98 
 
 * Saturday Review ' on boxing, 
 
 145 
 Savate, the, 132 
 
 * Schools and Masters of Fence, 
 
 from the Middle Ages to the 
 Eighteenth Century,' 4, IIO, 
 241 ; see Appendix 
 Scrape, the, 52 
 
 * Secrets de I'Epee,* 3 
 Siamese boxing, 131 
 Singlestick, no 
 Sparring, 146 
 Stop-thrust, the, 91 
 Stow, quoted, 181 
 Supination, in fencing, 35 
 Sword, the, how to hold, 36 
 
 Rapiers, 6 
 
 Redoubling, in fencing, 97 
 
 Remise, the, in fencing, 95 
 
 Reprise d'attaque, 90 
 
 Ripostes : — the direct riposte, 
 
 75 ; the Bertrand riposte (tac- 
 au-tac) from quarte, 75 ; the 
 same, after parrying tierce, 
 
 76 ; the same, from seconde, 
 
 77 ; the same, from septirrte, 
 77 ; —method of meeting these 
 
 Tac-au-tac, the, 75-78 
 
 * Theorie de I'Escrime,' 28 ; see 
 
 Appendix 
 Thrust, the straight, 48 
 Tierce, explanation ofthe term, 35 
 Time-parries, 93 
 Time-thrusts, 91 
 
 * Tom Brown's Schooldays,' III 
 Tromper une parade, 36 
 Twist, the, 53 
 
 Twist and lunge, 53 
 
INDEX 
 
 303 
 
 USE 
 
 * Useful Science of Defence ' 
 (Captain Godfrey's), ill 
 
 Waite, J. M., quoted, 112 
 
 Waster, the, no, in 
 
 Wilson, Professor, quoted, on 
 wrestling, 207, 208 ; his en- 
 counter with Ritson, 209 
 
 Works on fencing ; Dutch, 248 ; 
 English and American, 248 ; 
 French, 257 ; German, 267 ; 
 Greek, 280 ; Italian, 280 ; 
 Latin, 288 ; Portuguese, 288 ; 
 Russian, 288 ; Spanish, 288 ; 
 Swedish, 292 
 
 Wrestlers ; see under Pugilists 
 and wrestlers 
 
 Wrestling Society, the, 217 
 
 Wrestling, definition of ihe 
 term, 175 ; its golden age, 
 176 ; honours accorded to 
 the wrestler in ancient Greece, 
 176 ; Milo of Croton, 176 ; 
 Homer's account of the 
 match between Ajax and 
 Ulysses, 177 ; in the Roman 
 amphitheatre, 178; early 
 modes in England, 179 ; 
 prizes usually given, 180 ; 
 competitions in London in 
 the time of the Plantagenets, 
 181 ; matches at Clerkenwell, 
 181, 182; in France, 182, 
 183 ; the contest in ' As You 
 Like It,' 182 ; an anecdote 
 in connection therewith, 182 ; 
 its decadence, 183 ; at wakes 
 and fairs, 183 ; the revival of 
 the art, 183 ; West-country 
 methods, 184, 185 ; the loose, 
 or * catch as catch can,' mode, 
 185; attitude before the hold, 
 
 WRE 
 
 186; falls, 186; the cross- 
 buttock, 186 ; the German 
 fashion, 187 ; Swiss * swing- 
 ing,' 188 ; the art in Jnpan, 
 188; localisation of, in Eng- 
 land, 190; popularity in the 
 Northern counties, 190; the 
 Ettrick Shepherd's account of 
 the contest between Polmood 
 and Carmichael, 192 ; decline 
 of buttocking, 194 ; rules ob- 
 served in contests in the 
 Cumberland and Westmore- 
 land style, 195 ; chips : — the 
 back-heel, 197 ; the hank, 
 198; the buttock, 199; the 
 cross-buttock, 199 ; outside 
 stroke, 200 ; inside click, 201 ; 
 cross click, 201 ; outside 
 click, 201 ; chest stroke, 202 ; 
 the hipe, 202 ; the swinging 
 hipe, 204 ; the hitch over, 
 204 ; the hold, 204 ; Pro- 
 fessor Wilson's account of 
 contests at Carlisle and Amble- 
 side, 207, 208 ; and his en- 
 counter with Ritson, 209 ; 
 Charles Dickens's description 
 of a contest at Windermere, 
 210, 211 ; healthfulness of 
 the sport, 211 ; the first re- 
 corded gathering at Carlisle, 
 213 ; prominent country 
 wrestlers, 213-216; metro- 
 politan exponents of the art, 
 ? 1 7-220 ; establishment of 
 the Cumberland and West- 
 moreland Society in London, 
 217 ; its rules and places of 
 meeting, 218; near assimila- 
 tion of Devon and Cornwall 
 styles, 221; match between 
 Cann and Polkinhorne, 222 ; 
 
304 
 
 INDEX 
 
 WRE 
 
 Western Counties methods, 
 223 ; results of unsatisfactory- 
 judging, 224 ; chief differences 
 in the Devon and Cornish 
 systems, 225 ; what constitutes 
 a fair back fall, 226 ; the 
 heroes of the past, 227 ; lists of 
 renowned Western wrestlers, 
 229, 230 ; the principal Cor- 
 nish and Devon chips, 230 ; 
 
 WRE 
 
 a description of the Lanca- 
 shire method, 230-234 ; 
 throttling, 232 ; the Double 
 Nelson, 233 ; account of Acton 
 and Bibby's contest in New 
 York, 233 ; rules of the French 
 system, 235 ; various orders 
 of fall, 237 ; the * catch-hold 
 first down to lose ' style, 
 237 
 
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