Girard’s Vademecum€¦ · Girard’s Vademecum A digest of Girard’s smallsword method divided...

Girard’s Vademecum A digest of Girard’s smallsword method divided into technical, tactical and thematic content

To be distributed and used freely, as long as credit is given and not for profit making purposes.

Not to be reproduced in any form without express permission, which can be requested using the email address below

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Contents remain copyright 2018 Philip T. Crawley

This version is correct as of 24/01/2018 yet remains subject to constant change

mailto:[email protected]

Developmental pathway- regular classes- track “a” through each section to give core competency, “b” to develop and then “c”

Depth pathway- seminars, individual lessons- track “a” to “b” to “c” for depth knowledge

Mixed ability group pathway- use different variations of common theme to meet differing skills and abilities at once

Levels based on ability not on time- many sessions may be spent on each section until they are grasped, other themes

may be grasped easily but require regular practice or be used as simple warmups as a path to acquiring/attaining the

more advanced material

Summaries are divided into-

Technical- how to do stuff (skills that require learning, developing and practicing until they are innate)

Tactical- when to do stuff (which is how Girard structures his text after covering the basic principles)

Thematic- grouping stuff together (this was used to identify techniques and form the syllabus topics and contents)

1. Footwork 2. Attacks 3. Parries 4. Ripostes 5. Preparations

a. Stepping & Lunges

a. Attacks- direct

a. Direct parries

a. Direct ripostes- in order

a. Glide, Beat, Disengage, Cutover, Feint 1-2-

in order, out of order

b. Passes, Gather &

appel

b. Attacks- on the

Pass & Half Thrusts

b. Indirect parries

Circular parries

b. Indirect- in order

b. Glide, Beat &

Feints (high/low)

c. Traversing

c. Attacks- Cut under,

Absence & Reprise

c. False edge parries

c. Direct & Indirect- out of order

c. Cutover & Feints (inside/outside)

6. Strong over Weak 7. Flanconnade 8. Taking Time 9. Commanding 10. Vs Cuts

a. Rapport drill

a. As an attack-

direct & compound

a. Stophits

a. Disarms a. Guard & Head

cuts

b. Leading to attack

b. As a Riposte

b. Taking time vs preparation

b. Disarms

b. Wrist & Stomach cuts

c. Eyes shut

c. Defences against the Flanconnade

c. Taking time vs preparation II

c. Sword seizures & defence vs rear hug

c. Leg cuts

NB: Everything here is in Girard, not everything in Girard is here!

The sword point must be presented straight, such that it aims

toward the enemy's right breast, and such that the ridge of

the blade looks to the ground.

That the end of the pommel is oriented between the right

nipple and the armpit, and lies directly above the right foot.

That the handle is gripped near the pommel with the little

finger & the second finger, & that the middle of the thumb is

laid flat on the grip, near to the body of the hilt; of which is

supported by the inside of the knuckle of the index finger,

which will give greater ease in disengaging and thrusting.

Left knee must be more to

the outside than the

inside, with the left shank

well bent.

Left foot is flat & firm

upon the ground,

presenting the inside of

the foot to the right heel.

The right hip must be

well receded toward

the left side, without

tilting the upper body

to the front or pushing

the bottom out.

The right knee is

flexible & have a little

bend in it.

The point of the right

foot must be in a

straight line regarding

the enemy, and its heel

will lie towards the

instep of the left foot,

which must be at right

angles to the right foot

& separated from one

another by a distance

of about two paces.

The right arm & the wrist

flexible & turned to demi-

quarte, in such a way that

the ridge of the blade is

toward the ground, as

stated, & that the

fingertips and nails of the

three last fingers point

towards the sky, as the

greater part of the

thumbnail and the tip of

the index finger.

The left arm must be

raised and bent into a

semi-circle, the elbow

to the outside with the

hand raised to the

height of the left eye,

the thumb turned to

the ground, and the

palm of the hand to

the outside.

Hold the head more

to the rear rather

than to the front &

turned towards the

right shoulder, to

face the enemy.

Both shoulders should be well

profiled sideways & the body

weight carried entirely on the

left side.

Observations

Use short lunges

Use good, short, dry parries

Oppose with the left hand

Maintain a good guard posture

Parry everything

Maintain strong over weak on

the blade

Come on guard out of measure

Take time from them by

interrupting their large,

incomplete or slow attacks

1. Footwork

a

Step forward Step backward Lunge Half-thrust

b

Pass forward Pass backward Gather

Appel

c

Traverse Left Traverse Right Reverse lunge

2. Attacks

a Direct Attack On guard, await invitation, Appel, thrust direct if no response Tierce (3)

Quarte (4) Seconde (2) Low Quarte (L4)

b Pass Against thrust in 4 Pass L foot forward into attack

Half Thrusts Against attack in 4 Parry 4, raise hand and lower point with an appel

Parries During the parry disengage, thrust outside, 3 or 4, redouble 2, retreat

Engage with the point only, out of measure Enter measure under cover of appel while extending Parries Disengage and thrust to exposed area, redouble to

another exposed area while advancing, retreat

Engaged in 4, beat

Parries Disengage to outside and thrust 3 on the pass

Against attack of 3

Parry and appel Parries During parry disengage, thrust 4-inside or coupé

Engage in 3, feint to head Parries Thrust 2 on the pass

c Cut-under using Low-Quarte On guard in 3, disengage to high 4 with appel extending toward R breast Parry 4

Drop point, thrust 4 to R flank. Return to 3

Use of absence of blade Blades not touching Adversary retreats Appel, pass in with L foot

Parries Thrust at any exposed part

Reprise Thrust Engage in 3, appel along blade in 3 Parries 3 Disengage, thrust 4 but relax as if returning to

guard, withdrawing foot with only toe on ground As they advance turn to 3 and thrust 3

On guard in 4, extend with appel toward R breast Parry 4. Drop point, thrust 4 to R flank. Return to 3

Be out of measure Hand high, point at stomach Appel with R foot, hand in 4, advance with half steps and shrugs of the shoulders while on

guard.

Engage in 4, appel along blade in 4 Parries 4 Disengage, thrust 3 but relax as if returning to guard withdrawing foot with only one toe on the

ground As they advance turn to 4 and thrust 4

On guard in 3, extend in high 4.

Parry 4 and return to 3 Drop point, thrust 4 to R flank. Return to 3 Interrupt disengage from 3 to 4 with a drop point, thrust 4 to R flank. Return to 3

When in measure as he parries appel then thrust

to exposed part, redouble and retreat

Engage in 3, appel along blade in 3

Parries 3 Disengage, thrust 4 but relax as if returning to guard, withdrawing foot with only toe on ground As they advance turn to 3 and thrust 3

Engage in 4, appel along blade in 4 Parries 4 Disengage, thrust 3 but relax as if returning to guard withdrawing foot with only one toe on the

ground As they advance turn to 4 and thrust 4

3. Parries

a As 2a but parry- Tierce Quarte Circle Tierce

Circle Quarte

b Attack L4 or 2- parry Quarte Attack 2 or L4- parry C-Tierce

Attack 4, L4 or 2- parry C-Quarte

Counter-Disengagement of Quarte to Tierce Counter-Disengagement of Tierce to Quarte

c Attack 3, 4, 2, L4 & F- parry Prime Attack 3 & 4-over-arm- parry Quinte

To counter the counter-disengagement

4. Ripostes

a Parry Tierce- Riposte 3

Parry Quarte- Riposte 4 Parry Low Tierce- Riposte 2 Parry Low Quarte- Riposte L4

Circular parries-

Circular Tierce vs single disengage Circular Quarte vs single disengage

b Parry Tierce- Riposte 2 or 5 Parry Quarte- Riposte 4 or L4 Parry Seconde- Riposte 2 or3 Parry C-Tierce- Riposte 3 or 2

Parry C-Quarte- Riposte L4 or 4

Circular parries- Circular Tierce vs double disengage Circular Quarte vs double disengage Parade of Quarte, hand turned with the nails upward, withdrawing the arm

c As 4b but out of order

5. Preparations

a From both Quarte & Tierce guards- Glide Beat Disengage & Counter-disengage

Cutover Feint 1,2

b Glide

Engage in 3 outside sword, slide along blade, disengage and thrust 3(in line of 4), return to guard in 3 Engage inside sword, slide along blade, disengage,

thrust 4 over the sword, redouble 2 Engage in 3 outside sword, slide along blade, disengage and thrust 3(in line of 4), return to guard in

3 Engage inside sword, slide along blade, disengage, thrust 4 over the sword, redouble 2

Beat

Engage in 4, beat, thrust 4 Engage in 3, beat, thrust 3

Engage in 3, disengage to 4, beat, thrust 4, retreat Engage in 4, disengage to 3, beat, 3,

redouble 2, retreat Engage in 3, disengage and beat, thrust 4 Parries and ripostes

Raise hand, lower point for circular parry, oppose with L hand, thrust 4

Engage in 4, disengage, thrust 3 (or 2 with pressure on blade) Parry and riposte 3 Parry 1 (high), L hand opposing, riposte 1

Engage in 3, disengage and beat Closes line with a pressure Disengage and thrust

Engage in 4, disengage Closes line with a pressure Disengage, thrust 4 Engage in 4, beat, thrust 4

Engage in 3, beat, thrust 3 Engage in 3, disengage to 4, beat, thrust 4, retreat

Engage in 4, disengage to 3, beat, 3, redouble 2, retreat Engage in 3, disengage and beat, thrust 4

Parries and ripostes Raise hand, lower point for circular parry, oppose with L hand, thrust 4

Feints-

Low/high High/low Engage in 3, appel while turning to 2 Parries

During parry return hand to thrust 4, redouble 2 Engage in 3, feint under wrist with appel, raise point & push-in along blade

Parries Thrust 2-under-arm (head under arm) Engage in 4. Feint 3 to head along blade with appel

Parries Turn hand down to 2 Parries Turn hand up to thrust 3 or 4, redouble with

2 Engage in 3, feint under wrist with appel, raise point & push-in along blade Parries

Thrust 2-under-arm (head under arm) Engage in 4. Feint 3 to head along blade with appel Parries

Turn hand down to 2 Parries Turn hand up to thrust 3 or 4, redouble with 2

Engage in 3, appel while turning to 2 Parries During parry return hand to thrust 4, redouble 2

Engage in 4, disengage, thrust 3 (or 2

with pressure on blade) Parry and riposte 3 Parry 1 (high), L hand opposing, riposte 1

Engage in 3, disengage and beat Closes line with a pressure Disengage and thrust Closes line with a pressure

Disengage, thrust 4 Engage in 4, disengage On guard in 4

Disengage to RIGHT ANGLES across blade and beat upwards while advancing, thrusting 2

Out of measure, step in, disengage 3 to 4 and appel Parry 4

Pass in, beat at RIGHT ANGLES upwards, thrust 2 low while bending low over R knee

c Cutover

Attack 4-inside Parries using the point only During parry withdraws arm, cuts over, thrusts 3, withdraws to guard

Engage in 3. Appel or half-thrust Parries with point only

During parry withdraws arm, cuts over, thrusts 4, redouble 3 Engage 4-inside, appel

Parries During parry cutover, feint thrust 3, Parries During parry disengage and thrust 4, redouble 3,

retreat Engage 4, appel Parries

During parry cutover 4-3, feint 3 Parries During parry thrust 2 in low line

Feints- inside/outside

On guard in 4, appel, feint 3 Parry 3 Thrust 4 inside sword

On guard in 4, step in, lean back, feint 3 Parry 3 Thrust 4 inside sword

On guard in 4, thrust 4 Parry 4 “Flying feint” 3 (i.e. hand and foot

together) On guard in 4, step-in, disengaging to 3 while extending toward eye and appel.

Parries high 3 Raise wrist, drop point, thrust 2 to lowline (bending low, head under arm), return on guard 3

On guard in 3, appel as if thrusting straight 3

Engage in 4, appel

Parries During parry cutover Parries During parry cutover, thrust 4

Parries 3 Thrust 2 under sword, thrust 4 over

sword, on guard On guard in 3, appel, feint 4 Parry 4 Thrust 4 inside sword

Engage in 3, appel Parries Cutover

Parries Cutover, thrust 3 or 4, retreat Attack 4-inside Parries using the point only

During parry withdraws arm, cuts over, thrusts 3, withdraws to guard

On guard in 3, step in, lean back, feint 4 Parry 4 Thrust 3 inside sword

On guard in 3, thrust 3 Parry 3 “Flying feint” 4 (i.e. hand and foot together)

Engage in 3. Appel or half-thrust Parries with point only During parry withdraws arm, cuts over, thrusts 4, redouble 3

Engage in 3. Feint 4 with appel, feint 3. Parries 3 Thrust 4-inside

Engage 4-inside, appel Parries During parry cutover, feint thrust 3,

Parries During parry disengage and thrust 4, redouble 3, retreat

Engage in 4. Feint 3 with appel, feint 4 Parries 4 Thrust 3- outside or 4-over-sword &

redouble 2

Engage 4, appel

Parries During parry cutover 4-3, feint 3 Parries During parry thrust 2 in low line

Engage in 3. Feint 4 with appel, feint 3.

Parries 3 Thrust 4-inside

Engage in 4, appel Parries During parry cutover

Parries During parry cutover, thrust 4

Engage in 4. Feint 3 with appel, feint 4 Parries 4 Thrust 3- outside or 4-over-sword &

redouble 2

Engage in 3, appel

Parries Cutover Parries Cutover, thrust 3 or 4, retreat

6. Strong over Weak

a Match- strong (i.e. opposing) A initiates with lateral and circular engagements B matches these actions, always following A’s lead Swap lead

Change on call Mirror- weak (i.e. yielding) A initiates as “match”, B does the opposite (counters where A is lateral and v.v.) Swap lead

Change on call Pace A initiates as “match” but varies tempo (½, ¾, full speed), B matches

Swap lead Change on call Lead A initiates as per “match”, B matches, mirrors or paces to gain initiative

Swap lead Change on call- who is leading??

b As 6a, attacking as per 2 when opening is perceived- lead has eyes open!

c As 6b. using preparations from 5 and/or attacks from 2 when opening is perceived- lead has eyes shut!

7 Flanconade

a a. As an attack

On guard in 4 Adversary advances Raise hand in 4 & bind to flanconade, using L hand. Return to guard

On guard in 3. Disengage to 4, arm high, gain weak and bind down in adversary’s flank using L hand opposition. Return to guard F incorporated into 2a

b As a Riposte Adversary thrusts 4

Parry 4 on weak, raise wrist, bind to flaconnade using L hand F incorporated into 2b

c Defences vs Flanconnade

Tierce vs 7a & 7b Prime vs 7a & 7b Quarte vs 7a & 7b Circle Tierce vs 7a & 7b

8 Taking Time

a Volte vs attack Against thrust in 3 with pressure Quit blade, lower point, thrust 4- inside, turning the body in a demi-volte, L hand opposing. Retreat to 3, beat blade and return to guard Against disengage to 4

Raise hand to eye-level, volte fully. Retreat to guard using a circular parry to strike blade Against thrust or pass in 3 Disengage to 4, raising hand, lowering point, volte fully, Return to guard striking blade

Reverse lunge

b Attack into 4a- deliberate openings

c Attack into 4a- nondeliberate openings

9 Commanding

a Disarms Against attack in Quarte Upon an over-committed attack in 4 Circular parry, turn hand to 3, strike blade

b Disarms against attack in Tierce Against over-committed thrust in 3 Parry prime, hand at head height, strike upwards onto weak of blade

c Seizures in Tierce Pass in 3, use L hand to grab hilt with sword at right-angle, pass R foot forward Against an over-committed attack in 3 Parry and beat at RIGHTANGLES from underneath, L hand to hilt, leaning back so he cannot seize your sword

If your hand is seized instead of the hilt then use the L hand to grab the middle of your own sword and present point Counter to the counter above- lean back and place point on line having passed it behind your back

Seizure in Quarte Against over-committed attack in 4 Parry and beat at RIGHT ANGLES above with hand in 3, place L hand on hilt and gather feet together

Having passed into 4, use L hand to grab hilt and place sword at right-angle to the weak of theirs, passing forward with R foot Pass in 2, turn hand to 3 and grab hilt

If grabbed from behind by both arms, place sword between legs, point behind, lean forwad and stab them in stomach

10 vs cuts

a Low guard & use of coat/cane Highline cuts- vs head

b Midline cuts- vs wrist & Stomach

c Low line cuts- vs leg

Girard’s smallsword techniques against those who fence in measure Action Method Concept Direct thrust 4 On guard in 4

Appel, thrust direct if no response Attack into an open line

Direct thrust 3 On guard in 3 Appel, thrust direct if no response

Feint 3 to thrust 4 Create an opening line and attack into it- R to L

1 On guard in 4, appel, feint 3 Parry 3

Thrust 4 inside sword

2 On guard in 4, step in, lean back, feint 3 Parry 3

Thrust 4 inside sword

3 On guard in 4, thrust 4 Parry 4

“Flying feint” 3 (i.e. hand and foot together)

Feint 4 to thrust 3 Create an opening line and attack into it- L to R 1 On guard in 3, appel, feint 4

Parry 4 Thrust 4 inside sword

2 On guard in 3, step in, lean back, feint 4 Parry 4 Thrust 3 inside sword

3 On guard in 3, thrust 3 Parry 3 “Flying feint” 4 (i.e. hand and foot together)

Low Quarte Create an opening line and attack into it- Inside to Outside 1 On guard in 3, disengage to high 4 with appel extending toward R breast

Parry 4


2 On guard in 4, extend with appel toward R breast Parry 4.


3 On guard in 3, extend in high 4.

Parry 4 and return to 3 Drop point, thrust 4 to R flank. Return to 3

4 Interrupt disengage from 3 to 4 with a drop point, thrust 4 to R flank. Return to 3

Feint to head to thrust

seconde Create an opening line and attack into it- High to low

1 On guard in 4, step-in, disengaging to 3 while extending toward eye and appel.

Parries high 3 Raise wrist, drop point, thrust 2 to lowline (bending low, head under arm), return on guard 3

2 On guard in 3, appel as if thrusting straight 3

Parries 3 Thrust 2 under sword, thrust 4 over sword, on guard

3 On guard in 4

Disengage to RIGHT ANGLES across blade and beat upwards while advancing, thrusting 2

4 Out of measure, step in, disengage 3 to 4 and appel

Parry 4 Pass in, beat at RIGHT ANGLES upwards, thrust 2 low while bending low over R knee

Flanconnade

1 On guard in 3. Disengage to 4, arm high, gain weak and bind down in adversary’s flank using L hand opposition. Return to guard

Capture weak in 4. Bind to flank opposing with L hand

2 On guard in 4 Adversary advances Raise hand in 4 & bind to flanconade, using L hand. Return to guard

3 Adversary thrusts 4 Parry 4 on weak, raise wrist, bind to flaconnade using L hand

Girard’s smallsword techniques against those who rush-in Action Method Concept

Double feint quarte to thrust 4

Engage in 3. Feint 4 with appel, feint 3. Parries 3

Thrust 4-inside

Triple-action attack to impede their advance R-L-R

Double feint tierce to thrust 3

Engage in 4. Feint 3 with appel, feint 4 Parries 4

Thrust 3- outside or 4-over-sword & redouble 2

L-R-L

Double feint low to thrust 2

Engage in 3, feint under wrist with appel, raise point & push-in along blade

Parries Thrust 2-under-arm (head under arm)

R- Low-High-Low

Double feint to head to

thrust 3-outside or 4-over-sword

Engage in 4. Feint 3 to head along blade with appel

Parries Turn hand down to 2 Parries Turn hand up to thrust 3 or 4, redouble with 2

L-High-Low-High(+Low)

Double feint low to thrust with absence of blade at an opening

Blades not touching Adversary retreats Appel, pass in with L foot


Take opportunity to counter into their attack by closing measure faster and gaining initiative

Action Method Concept

Simple cutover 4 to attack

3 Attack 4-inside

Parries using the point only During parry withdraws arm, cuts over, thrusts 3, withdraws to guard

Take advantage of weak parries by cutting over the point

L-R

Simple cutover from 3 to attack 4


R-L

Cutover in 3 actions- 4-3



Take advantage of weak parries by cutting over the point then disengaging back again L-R-L (+R)


Engage 4, appel Parries During parry cutover 4-3, feint 3 Parries

During parry thrust 2 in low line

L-R-Low

Cutover twice- 4-3, 3-4

Engage in 4, appel Parries

During parry cutover

Doubled cutover to conceal line of attack L-R-L

Parries

During parry cutover, thrust 4 (NB: Not approved of!)



Cutover Parries Cutover, thrust 3 or 4, retreat

R-L-R (NB: Not approved of!)


Simple beat in 4 Engage in 4, beat, thrust 4 Create opening by dominating strong over weak L Simple beat 3 Engage in 3, beat, thrust 3 R Double beat from 3 to 4 Engage in 3, disengage to 4, beat, thrust 4, retreat Conceal line of attack by disengaging first

R-L Double beat from 4 to 3 Engage in 4, disengage to 3, beat, 3, redouble 2, retreat L-R-Low Beat from 4-3 with circular parry

Engage in 3, disengage and beat, thrust 4 Parries and ripostes Raise hand, lower point for circular parry, oppose with L hand, thrust 4

R- L-(High)-L

Beat from 4-3 with 1 Engage in 4, disengage, thrust 3 (or 2 with pressure on blade)

Parry and riposte 3 Parry 1 (high), L hand opposing, riposte 1

L- R (or Low)-High

Beat 3-4 upon a pressure Engage in 3, disengage and beat

Closes line with a pressure Disengage and thrust

Response to an over-reaction to a beat

R-L

Beat 4-3 upon a pressure Engage in 4, disengage

Closes line with a pressure Disengage, thrust 4

L-R

Glide outside to thrust 4 Engage in 3 outside sword, slide along blade, disengage and thrust 3(in

line of 4), return to guard in 3 Slide along blade, disengage deep and attack to open line without opposition

R Glide inside to thrust 3 Engage inside sword, slide along blade, disengage, thrust 4 over the

sword, redouble 2 L

Feint low to thrust 4 or 3 Engage in 3, appel while turning to 2 Parries During parry return hand to thrust 4, redouble 2

Aim low to attack high R- Low-L (+low)

Reprise thrust inside Engage in 3, appel along blade in 3 Parries 3 Disengage, thrust 4 but relax as if returning to guard, withdrawing foot

with only toe on ground As they advance turn to 3 and thrust 3

Fake retreat to draw the rush and counter-attack R-L-R

Reprise thrust outside Engage in 4, appel along blade in 4

Parries 4 Disengage, thrust 3 but relax as if returning to guard withdrawing foot with only one toe on the ground As they advance turn to 4 and thrust 4

L-R-L

Girard’s smallsword techniques against those who retreat Action Method Concept

Half thrust Against attack in 4 Parry 4, raise hand and lower point with an appel

Parries During the parry disengage, thrust outside, 3 or 4, redouble 2, retreat

Parry and feint riposte, riposte, redouble L- Low-L/R-Low

Against attack of 3

Parry and appel Parries During parry disengage, thrust 4-inside or coupé

R- L- R/Low

Engage with the point only, out of measure Enter measure under cover of appel while extending Parries Disengage and thrust to exposed area, redouble to another exposed area while advancing,

retreat

Attack with absence of blade

Be out of measure Hand high, point at stomach

Appel with R foot, hand in 4, advance with half steps and shrugs of the shoulders while on guard. When in measure as he parries appel then thrust to exposed part, redouble and retreat

Cautious but determine advance, distracting attention with feints of the body to attack exposed area without

engagement

Passes Against thrust in 4 Pass L foot forward into attack

Gain measure by passing into an attack L

Engaged in 4, beat

Parries Disengage to outside and thrust 3 on the pass

R

Engage in 3, feint to head

Parries Thrust 2 on the pass

Seizing the sword Having passed into 4, use L hand to grab hilt and place sword at right-angle to the weak of

theirs, passing forward with R foot Grab hilt in 4, point low

Pass in 3, use L hand to grab hilt with sword at right-angle, pass R foot forward Grab hilt in 3, point high Pass in 2, turn hand to 3 and grab hilt Grab hilt in 3, point high Voltes Against thrust in 3 with pressure

Quit blade, lower point, thrust 4- inside, turning the body in a demi-volte, L hand opposing.

Retreat to 3, beat blade and return to guard

Voidance against attack in 3

Against disengage to 4 Raise hand to eye-level, volte fully. Retreat to guard using a circular parry to strike blade

Voidance against 4

Against thrust or pass in 3 Disengage to 4, raising hand, lowering point, volte fully, Return to guard striking blade

Voidance against 3

Disarms Upon an over-committed attack in 4 Circular parry, turn hand to 3, strike blade

Against over-committed thrust in 3 Parry prime, hand at head height, strike upwards onto weak of blade

Against over-committed attack in 4

Parry and beat at RIGHT ANGLES above with hand in 3, place L hand on hilt and gather feet together

Against an over-committed attack in 3

Parry and beat at RIGHTANGLES from underneath, L hand to hilt, leaning back so he cannot seize your sword

If your hand is seized instead of the hilt then use the L hand to grab the middle of your own

sword and present point

Counter to the counter above- lean back and place point on line having passed it behind your back

If grabbed from behind by both arms, place sword between legs, point behind, lean forward and stab them in stomach

Girard’s smallsword techniques against those who rush-in Action Method Concept

Double feint quarte to thrust 4

Engage in 3. Feint 4 with appel, feint 3. Parries 3

Thrust 4-inside

Triple-action attack to impede their advance R-L-R

Double feint tierce to thrust 3

Engage in 4. Feint 3 with appel, feint 4 Parries 4

Thrust 3- outside or 4-over-sword & redouble 2

L-R-L

Double feint low to thrust 2

Engage in 3, feint under wrist with appel, raise point & push-in along blade

Parries Thrust 2-under-arm (head under arm)

R- Low-High-Low

Double feint to head to

thrust 3-outside or 4-over-sword

Engage in 4. Feint 3 to head along blade with appel

Parries Turn hand down to 2 Parries Turn hand up to thrust 3 or 4, redouble with 2

L-High-Low-High(+Low)

Double feint low to thrust with absence of blade at an opening

Blades not touching Adversary retreats Appel, pass in with L foot


Take opportunity to counter into their attack by closing measure faster and gaining initiative


Simple cutover 4 to attack

3 Attack 4-inside

Parries using the point only During parry withdraws arm, cuts over, thrusts 3, withdraws to guard

Take advantage of weak parries by cutting over the point

L-R

Simple cutover from 3 to attack 4


R-L




Take advantage of weak parries by cutting over the point then disengaging back again L-R-L (+R)


Engage 4, appel Parries During parry cutover 4-3, feint 3 Parries

During parry thrust 2 in low line

L-R-Low



During parry cutover

Doubled cutover to conceal line of attack L-R-L

Parries

During parry cutover, thrust 4 (NB: Not approved of!)



Cutover Parries Cutover, thrust 3 or 4, retreat

R-L-R (NB: Not approved of!)

Action Method Concept Simple beat in 4 Engage in 4, beat, thrust 4 Create opening by dominating strong over weak

L Simple beat 3 Engage in 3, beat, thrust 3 R Double beat from 3 to 4 Engage in 3, disengage to 4, beat, thrust 4, retreat Conceal line of attack by disengaging first

R-L Double beat from 4 to 3 Engage in 4, disengage to 3, beat, 3, redouble 2, retreat L-R-Low Beat from 4-3 with circular parry

Engage in 3, disengage and beat, thrust 4 Parries and ripostes

Raise hand, lower point for circular parry, oppose with L hand, thrust 4

R- L-(High)-L

Beat from 4-3 with 1 Engage in 4, disengage, thrust 3 (or 2 with pressure on blade)

Parry and riposte 3 Parry 1 (high), L hand opposing, riposte 1

L- R (or Low)-High

Beat 3-4 upon a pressure Engage in 3, disengage and beat Closes line with a pressure Disengage and thrust

Response to an over-reaction to a beat R-L

Beat 4-3 upon a pressure Engage in 4, disengage Closes line with a pressure Disengage, thrust 4

L-R

Glide outside to thrust 4 Engage in 3 outside sword, slide along blade, disengage and thrust 3(in line of 4), return to guard in 3

Slide along blade, disengage deep and attack to open line without opposition R

Glide inside to thrust 3 Engage inside sword, slide along blade, disengage, thrust 4 over the sword,

redouble 2 L

Feint low to thrust 4 or 3 Engage in 3, appel while turning to 2 Parries

During parry return hand to thrust 4, redouble 2

Aim low to attack high R- Low-L (+low)

Reprise thrust inside Engage in 3, appel along blade in 3 Parries 3

Disengage, thrust 4 but relax as if returning to guard, withdrawing foot with only toe on ground As they advance turn to 3 and thrust 3

Fake retreat to draw the rush and counter-attack R-L-R

Reprise thrust outside Engage in 4, appel along blade in 4 Parries 4 Disengage, thrust 3 but relax as if returning to guard withdrawing foot with only one toe on the ground

As they advance turn to 4 and thrust 4

L-R-L

Not Girard but core concepts of the French school of fencing- can be seen as where to apply one’s “energy” as the situation requires

Aplomb- grounding and thus balance; not only physical balance but also symmetry of posture leading to Adroit Adresse- skill; ability to do the basics and combine them into sophisticated actions Apropos- wherewithal; knowing when and where to apply Adresse to maximum effect at an innate level Adroit- dexterity; being aesthetically pleasing by doing nothing (Aplomb) and being graceful when doing something (Adresse), as dictated by Apropos Avoir Main- fencing using only the sensitivity and actions of the hand to determine the intent of one's adversary and define one's own actions

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General Advice Nothing will serve you better in a serious affair than good short & dry parries, firm ripostes, with opposition of the left hand according to the explained principles in a well-formed guard, the right hip well recede, body low, shoulders as profiled as possible, steady on your feet & sword in front; in this posture one is ready to parry and thrust on all occasions, without quitting the enemy’s blade, always opposing with the left hand in front of the body, as described, & without lowering the wrist one can advance upon the enemy, whether he thrusts or not, while firmly thrusting strong over weak along the blade, tierce, quarte, over and under the sword, good dry beats of the sword, half-thrusts, good small & short feints as required, this is the way to conquer & to guarantee oneself in combat.

Generally, one must go toward every action of the enemy without neglecting any, so as to not be taken by surprise; that’s to say, always oppose with your

sword, whether you are thrusting at him or he thrusts at you, & have the sword well in front of you. It is good also to know that all actions of the sword can be done while advancing on the enemy, as well as firm footed, and even by breaking measure, either with or without appels of the right foot, while observing the principles contained in this book.

As of the opposition of the unarmed hand used on many actions of the weapon explained in this book, & even at the Flanconnade, there are people who purport it exposes the left shoulder; consequently that this opposition of the left hand is perilous and risky to those who use it; I strongly support that it is very useful for protecting oneself, in the case that an enemy comes to turn his hand from quarte to tierce, & from tierce to quarte upon one same attack; that’s to say angling in or across the line.

Always follow & oppose the sword to all the movements an enemy makes, so as to not be taken by surprise & to make use of favourable times.

Since low guards & parries with the left hand are nothing but annoying, you must remain out of measure, & do not attack them with anything other than appels with the foot, half-thrusts & small & short feints, in order to make them use their left hand; & in the same time as they thrust, parry while advancing & opposing with the hand, then let the sword go around the left arm, thrust thoroughly at the chest; then redouble, keeping an opposing hand & retreat with sword in front of you. Voltes, passes, double-feints & actions that "take time", are too dangerous for use in a serious affair; this is why you should focus on good parades & good ripostes, & other attacks contained in this book. There are people who have never learned to fence, & who thrust rapidly with a bent arm, while always advancing without any use of measure, which is very dangerous, if one does not know how to protect oneself: & here is the method to counter them; I recede my right hip extremely, body well to the rear & close entirely my tierce line, having the right hand at shoulder height, & turned to demi-quarte, presenting the point to the front; & when the enemy comes to

thrust with a shortened arm, one must parry firmly diagonally across the body from shoulder height towards the buttons of his britches, with the strong of the sword, held rigid from point to hilt, withdrawing the arm to yourself, opposing with the left hand while advancing in the same time as the parade, a large step upon the enemy, the said hand opposing as on [the appropriate page] & thrust firmly in quarte direct to the body, or disarm in quarte. See [the appropriate page]. One must in all cases, parry in this way these games while advancing upon them, left hand opposing, expected he will not be able to clear away his sword. Since the greater part of young men who learn to fence, bring with them a seething ardour, without paying attention to the good principles imparted to them by their masters, they want to strike their adversary without providing for the danger of being exposed to being struck in same time; it would consequently take entire volumes to demonstrate to them how much prudence is necessary, in order to proceed in fencing with perfection; it is from these which, though abridged, I give the following advice;

• Firstly, do not put yourself in guard while within measure, so as to not be taken by surprise.

• Do not praise highly your ability; because another’s ability may surpass yours.

• Do not create useless times, for fear of being surprised by the enemy.

• One must feign dreading an energetic opponent, to force him into giving you the occasion to surprise him.

• When in guard, all your movements must oppose those of your enemy.

• Ability consists of hiding one’s own intent & uncovering those of your enemy in order to benefit from them.

• If you have affair against a timid fellow, attack him vigorously, that’s the way to put him into disarray.

• Ensure you stay firm footed, advancing & retreating accordingly.

• In a serious affair, the parry is an excellent choice, but the able man fights more with his head than with his hand.

• To acquire experience under Arms, you must have dedication & practice

• The perfection of Arms consists of five necessary qualities, which are inseparable; viz; knowledge, speed & precision in perfect coordination between eye & hand.

• And if you have some good fortune and gain perfection in fencing, being wise, to never use a sword, as already stated, except in the service of the king, to protect the religion, & to defend your life.

• When one does beats on the sword, Glides upon the blade, or some other sort of attack, when the enemy retreats, and you are no longer in measure, such that to attempt any sort of attack would be useless, you must stamp twice with your right foot &, on the second stamp, follow up

with the left foot, then the right foot, thus having regained measure with him, thrust at the exposed area, hand first, in accordance with principles; & you can also cut under the line of the arm, either with a quarte coupé or seconde, depending upon circumstance, having put the sword well in front of you, & the body to the rear, so to not be taken by surprise while advancing. And finally, that your aim and your wrist pre-empts always the body.

Guard For which there are twelve essential points to consider protecting your life. Viz;

• The sword point must be presented straight, such that it aims toward the enemy's right breast, and such that the ridge of the blade looks to the ground.

• That the end of the pommel is oriented between the right nipple and the armpit and lies directly above the right foot.

• That the handle is gripped near the pommel with the little finger & the second finger, & that the middle of the thumb is laid flat on the grip, near to the body of the hilt; of which is supported by the inside of the knuckle of the index finger, which will give greater ease in disengaging and thrusting.

• The right arm & the wrist flexible & turned to demi-quarte, in such a way that the ridge of the blade is toward the ground, as stated, & that the fingertips and nails of the three last fingers point towards the sky, as the greater part of the thumbnail and the tip of the index finger.

• The left arm must be raised and bent into a semi-circle, the elbow to the outside with the hand raised to the height of the left eye, the thumb turned to the ground, and the palm of the hand to the outside.

• Hold the head more to the rear rather than to the front & turned towards the right shoulder, in order to face the enemy.

• Both shoulders should be well profiled sideways & the body carried entirely on the left side.

• The right hip must be well receded toward the left side, without tilting the upper body to the front or pushing the bottom out.

• The right knee be flexible & have a little bend in it.

• The point of the right foot must be in a straight line in regard to the enemy, and its heel will lie towards the instep of the left foot, which must be at right angles to the right foot & separated from one another by a distance of about two paces.

• The left knee must be more to the outside than the inside, with the left shank well bent.

• Finally, the left foot is flat & firm upon the ground, presenting the inside of the foot to the right heel.

Footwork There are Four Different Methods to Gain Measure and Advance upon the Enemy

• Firstly, when on guard out of measure from the enemy, sword in front, body firm and to the rear, I raise my right foot and slide it forward one half-pace without moving the left foot, which stays in place, firm & flat on the ground. This method is used for a quick thrust along the blade, when the enemy advances, the hand must move first & make sure that the thrust is well supported.

• II Being on guard with sword to the front & out of measure, I raise my right foot so that it just grazes over the ground, & advance it in a straight line for a distance of one pace, following with the left foot by the same amount, the body firm & to the rear, the right hip receded & the shoulders profiled in readiness to parry and thrust.

• III Being on guard and far from the enemy, I pass the left foot in front of the right foot the length of one pace, arms extended, sword in front; make sure that the wrist is at mouth-height & is turned to quarte, nails upward, the point lower, body firm; & pass in the same time the right foot in front of the left foot, a distance of two good paces in a straight line, in line with enemy; then having joined the sword in the normal guard, attack vigorously.

• IV Being on guard out of measure, I advance by sliding the left foot a distance of about one pace, without moving the right foot which remains firm, always with the body well to the rear, & the sword in front, such that the enemy cannot see that you are gaining measure on him; & in the same time as he makes a move to advance or retreat thrust him vigorously along his blade with a well sustained thrust.

There are Four Different Methods for Breaking Measure and Retreating from the Enemy

• The First When on guard and obliged to break measure, I withdraw my body to the rear, the right hand last, sword in front, & slide the right foot so that it closes with the left foot, but without moving the latter, always remaining firm, the hip receded & the knees bent, so that if the enemy goes to thrust you will be ready to parry by throwing the left foot back, or push a thrust if he makes a movement to retreat, having that measure by more than a pace upon him, without him knowing, which is a mean to surprise him.

• The Second When the enemy barges forward & is too close to thrust him, I keep the right foot firm, & slide the left foot briskly backwards by a good foot’s distance, and thrust him along the blade with a well-supported attack.

• The Third If the enemy advances impetuously, I withdraw the left foot by one pace, & follow it by dragging my right foot, the hand last, sword in front, body firm & carried on the left side with the right hip receded, & the shoulders profiled.

• Fourth After having thrust at the enemy, if he pursues you, after having parried I withdraw the hand last; that’s to say, the body goes first to the rear passing the right foot behind the left, the arms & legs outstretched, sword to the front, wrist high & lowering the point, as stated, the nails upward, with the shoulders profiled; then having passed the left foot behind the right in the same posture, return to the normal guard.

A method to turn your enemy about, in order to gain the advantage of ground. Here is what to do: I immediately retreat, passing the right foot behind the left, then the left behind the right, the sword in front, then take a large step with the same left foot to the side of the right foot, thus turning the body to the left, always with a steady hand presenting the point at the enemy, & stopping from time to time to parry when he thrusts, in readiness to riposte upon such occasions; continue in this fashion until you turn him about & you have gained the ground & avoided the sun.

Attacks In Fencing there are Two Principal Attacks, which are quarte & tierce; from these are quarte coupé, seconde and the Flanconnade, such that one can consider these the five attacks for fencing with the smallsword. Viz;

• High quarte inside the sword, thrust with the nails upward

• High Tierce outside the sword, thrust with the nails downward

• Quarte Coupé under the sword, thrust with the nails upward

• Seconde under the sword & the line of the arm, thrust with the nails downward

• Flanconnade inside the sword, behind the wrist, to the flank; thrust with the nails upward, & to parry this attack turn the hand to tierce, the wrist high & the nails underneath

The Flanconnade Attack can be pushed by Three Methods-

• First Thrust of Flanconnade

The enemy being on guard with his wrist out in front of his body, & the sword engaged outside the sword, I disengage to quarte, raising the hand high with the nails on top, the arm outstretched, gaining the weak of his sword, sliding on it, & passing the point over and behind his wrist; and at the same time I thrust a Flanconnade to his right flank, arm and shank taut, the wrist high turned to quarte and bent downward, the body supported with the left hand opposing his sword, for fear of being hit in same time; in case the enemy would turn his hand to tierce. Having made the thrust, return to guard, or redouble the same attack.

• Second Flanconnade Thrust

The sword engaged in quarte & the enemy advancing his wrist well in front of his body, I raise my hand turned in quarte & thrust thoroughly a flaconnade

strong over weak beyond his wrist, opposing with the left hand, as stated, & redouble this attack without quitting his sword, then return to guard with the sword in front of you.

• Third Flanconnade Thrust

The enemy thrusting in quarte inside the sword, if he lowers the wrist or moves it outside his body, I parry with the strong edge, on the weak of his blade and

at the same time slide on it, raising the wrist as the point is passed, and thrust a Flanconnade thoroughly, as stated, opposing with the left hand, then returning on guard.

Glide

• Glide of the Blade outside the Sword to thrust Quarte inside the sword, nails underneath

Enter into measure with the enemy & engage his sword slightly in tierce outside the sword, body entirely carried on the left side; as his blade touches yours, quit it by sliding along it & lower the point until it is under the elbow, disengage while thrusting subtly & firmly inside the sword, hand first & the nails turned underneath, although making the thrust in the quarte line, then return to guard while at the same time raising the point to return the sword to tierce outside the sword.

• Similar Glide of the Blade inside the Sword to Thrust Tierce

Entering into measure with the sword engaged very slightly inside the sword, body well to the rear; & when the enemy goes to touch it, I subtly slide along his blade, disengaging the point underneath his hilt, & thrust quarte over the sword firmly, hand leading according to principle, nails turned upward, then redouble in seconde.

Parries There are six parades, other than the oppositions of the left hand, & the counter-disengagements of tierce & quarte. Viz;

• Parade of Quarte, hand turned with the nails upward, withdrawing the arm Firstly, Parade of High Quarte

With this parade one parries- while lowering the wrist- quarte coupé & seconde raising the wrist- Flanconnade, and cutover the point

Riposte direct with quarte inside the sword or quarte coupé under the line of his arm

• Parade of Tierce, hand turned with the nails downward, withdrawing the arm

With this parade one parries- quarte over the sword, Flanconnade & cuts over the point

Riposte with a straight tierce or seconde under the line of his arm, hand going first, in the same time as the enemy withdraws, then retreat yourself, with your sword in front of you

• Circle Parry, hand high, nails upward, arm outstretched, point low The hand turned to quarte, nails upward, wrist high & the point low.

With this parade one parries- high quarte, quarte coupé, seconde & the Flanconnade

Riposte him with a straight quarte inside the sword; always opposing his blade with your left hand &, without quitting, redouble using a well-supported hand, then return to the ordinary guard

• Circle parry, hand high, nails downward, arm outstretched, point low. Hand in tierce, nails downward, wrist high & the sword point low.

With this parade one parries all attacks below the sword; that’s to say: seconde, quarte coupé, & Flanconnade.

Riposte direct under the sword, wrist bent & turned to tierce; then go around the arm & redouble with a thrust of quarte over the sword, then retreat according to the principles.

• Parade of Prime, hand very high, nails upward, arm raised, point low. The hand high and turned so the nails are underneath. Parry with false edge.

One parries with this parade all five attacks; viz, high quarte, quarte coupé, tierce, seconde & Flanconnade, the left hand opposing the enemy’s sword, parrying firmly while advancing.

Riposte briskly always with the left hand to the front opposing, the elbow raised, the palm of the hand to the outside, fingers hanging down & under the bend of the right arm, in order to catch with hand or sword all attacks which are thrust at you.

• Parade of Quinte, nails upward, hand raised, & point low. The hand turned to quarte, the nails upward. Parry with false edge

With this parade one parries Tierce, Quarte over the sword & Seconde.

One should not oppose with the hand with the parade of Quinte & it is done in two ways.

First Parade of Quinte If the enemy goes to thrust in tierce or quarte over the sword, I oppose this with a stiff wrist, as it is in this guard without turning to tierce, and strike the weak of his sword with the false edge. The attack parried, riposte direct with quarte over the sword or seconde, and then return to guard, the sword in front.

Second Parade of Quinte If the enemy thrusts seconde under the sword, I raise the hand in quarte & lower the point while opposing firmly with that same strong of the opposite edge, & pushing the attack outside the sword, then raise the sword to engage in tierce.

• Oppositions, the inside of the left hand to the outside, fingers hanging down

To oppose with the hand, one must be in a well-formed guard, as stated, steady on the feet, the left shank bent & the body carried on it well to the rear, with the right hip receded. If the enemy pushes quarte inside the sword, or you thrust at him with the same attack, I oppose his sword with my hand, raising the left elbow, advancing the hand under the bend of the right arm, the tips of the fingers & the thumb hanging low, presenting the inside of the hand to the outside; and in this posture I parry the sword with this opposing hand, & riposte direct inside his sword while closing measure, the [armed] hand well supported & turned to quarte, the nails upward, then redouble & return to guard, sword in front.

• Counter-Disengagement of Quarte to Tierce

To counter-disengage from quarte to tierce, you must be in a well-formed guard, as stated. The enemy being engaged outside the sword; when he disengages his sword point to thrust quarte inside the sword: to counter-disengage I raise the wrist a little, being in guard, lowering the point & pass it underneath his

sword, raising again in the same time the point before his blade, & lowering the wrist turned to tierce, striking the weak with a brisk blow with the strong

edge, withdrawing the arm a little; so that the thrust is parried in tierce outside the sword, even though the enemy thrust quarte inside the sword.

And to do the counter of counter-disengagement, you must follow the sword while turning again around the arm while thrusting thoroughly in quarte.

• Counter-Disengagement of Tierce to Quarte.

To counter-disengage you must be well on guard; the enemy being engaged with his sword in quarte, when he disengages to thrust tierce, I raise my wrist a little & lower the point passing it underneath his sword, then subtly raise the point before the thrust in tierce, lowering the wrist turned to quarte, striking with the strong edge on the weak of the enemy’s blade, withdrawing the arm a little; so that the thrust is parried in quarte inside the sword, even though the thrust was outside the aforesaid weapon.

To counter the counter-disengagement is to follow the sword going around the arm again to thrust tierce.

Beat

• Simple Sword Beat to thrust quarte Direct inside the sword, with strong over weak of the blade.

The sword engaged in quarte, body back, right hip receded & the right arm flexible, which I withdraw slightly & strike firmly with the strong edge of the sword upon the weak of the enemy; & his wrist softened, I thrust straight quart inside the sword, sliding the strong over the weak, hand raised, that the pommel is in line with the left eye, the attack very steady and well-aimed, then return to guard in accordance with the principles.

• Simple Sword Beat to thrust Tierce outside the sword, with strong over weak

The sword engaged in tierce as was done in quarte, withdrawing the arm & strike firmly with a short & dry beat on the weak of the enemy’s blade, & thrust straight tierce thoroughly without disengaging, nails underneath, then retreat.

• Double Sword Beat while sliding on the blade from Tierce to Quarte, with strong over weak

The sword engaged in tierce outside the sword, I disengage to quarte inside the sword, while striking with a firm & short beat upon the weak of the enemy’s blade, with the strong edge, having the body back over the left side, & in the same time that his wrist softens, I thrust at him thoroughly with strong over weak, with an attack of quarte inside the sword, the hand steady according to principle.

• Double Sword Beat while sliding on the blade from quarte to tierce, with strong over weak

The sword engaged in quarte inside the sword, I disengage to tierce while withdrawing the arm a little, & beating firmly on the weak of the enemy’s blade with the strong edge of my sword; his wrist softened, I thrust straight outside the sword, hand leading, steady attack, redouble seconde under the line of the arm, then return to guard.

• Another Sword Beat from Tierce to Quarte with Circular Parry and Riposte

The sword engaged in tierce, I disengage striking the weak of the enemy’s blade with the strong edge of the blade to the inside of the sword; his wrist softened, I thrust straight quarte, strong over weak, if he goes for a parry & riposte, in the same time I lower the point and raise the hand to mouth-height, nails upward & do a circular parry, opposing with the left hand in accordance with the principles stated, then riposte with a straight quarte inside the sword, hand leading.

• Similar Sword Beat from Quarte to Tierce Parade in Prime

The sword engaged in quarte inside the sword, I disengage striking the weak of the enemy’s blade, with the strong edge of the sword outside the sword, & in the same time as his wrist softens, I thrust tierce without disengaging, and if he goes to parry & riposte in tierce, or seconde pressuring the blade, I parry prime with my hand at temple-height & the point low in accordance with the principle as stated, while opposing with the left hand, then riposte direct.

• Another Sword Beat Tierce to Quarte

When the enemy resists by pressuring the blade inside the sword, disengage the sword & thrust thoroughly outside the said sword, or under the line of the arm. Having a flexible arm & the body well back, carried on the left side, with the left (right) hip receded; the sword engaged in tierce, I disengage inside the sword while striking firmly the enemy’s sword on its weak, and as he goes to parry by pressuring the blade, I subtly quit his blade & disengage while thoroughly thrusting outside the sword, with a well-made and aimed attack.

• Similar Sword Beat from Quarte to Tierce to thrust with a disengagement

The sword engaged in quarte inside the sword, I disengage to the outside while striking the enemy’s sword firmly upon his weak, with the strong edge, & as he will go to parry by pressuring, quit the sword & disengage to thrust quarte inside the sword, hand leading, then return to guard, sword in front. To do these sword beats properly & have some facility to disengage on the second time, the body must be held to the back.

Cutover

• Simple Cut over the point Quarte to Tierce

As the enemy goes to parry with the point upon an attack of quarte inside the sword, in the same time, I withdraw the arm a little, & raise the blade straight up so that it passes over the point to the outside of the sword, then subtly raise the wrist, while lowering the point, & thrust thoroughly in tierce, nails downward, with a well-supported wrist according to the principles stated, then break measure in guard, sword in front of you.

• Simple Cut over the Point from Tierce to Quarte

The cut over the point is ordinarily used against thrusts that are parried only with the point. The sword being engaged in tierce outside the sword, I make an appel along the blade, or a half-thrust without disengaging; & as the enemy goes to parry

with the point upon the tierce, in that same time I withdraw the arm a little, raising the blade, point straight, & pass it over the point to inside the sword, raising the wrist & drop the point, thrust thoroughly in quarte, nails upward, arm outstretched, then redouble the attack reprising tierce inside the sword without disengaging; followed by a retreat.

• Cut over the Point in Three Time from Tierce to Quarte

The sword engaged in tierce, I make an appel firm footed, hand turned as is found in guard, stamping with the right foot; the enemy parrying upon the appel, as he lowers the point, I withdraw the arm a little & raise the sword blade, passing it over the enemy’s point inside the sword, raising the hand, feinting as if thrusting quarte; & when he goes to parry inside the sword, in the same time I make a subtle disengagement under his hilt & thrust thoroughly in tierce outside the said sword, the hand leading & well steadied according to the principles, redouble the attack & return to guard with the sword in front.

• Another Cut over the Point in three times, from tierce to quarte coupé under the sword

The sword engaged outside the weapon, this cut over the point is done in the same way as the last one; but instead of disengaging to thrust tierce outside the

sword I make a thrust of quarte coupé under the line of the arm.

• Cut over the Point, Quarte to Tierce in three times

The sword engaged in quarte inside the sword, I make an appel of the foot along the enemy’s blade, stamping the right foot, hand high & the point low, as if trying for a straight thrust; when he goes to parry while lowering his point, I withdraw my arm, body back, raise the sword blade while passing it over the enemy’s point to the outside the sword, & raise the hand, feinting a thrust; & when he goes again to parry, in the same time disengage the point under his hilt, & quickly thrust quarte inside the sword, hand first & steady, arm outstretched, then redouble the attack with a reprise of tierce, followed by a retreat, sword in front.

• Another Cut over the Point in three times, from Quarte to Tierce, to thrust Seconde under the Sword

The sword engaged inside the sword, I appel & cut over the blade over the enemy’s point, from quarte to tierce, in the same manner as the last cut over the point, but instead of re-disengaging in quarte, thrust seconde under the sword.

• Cut two times over the point From Quarte to Tierce and Tierce to Quarte, starting with an appel of the foot

The sword engaged in quarte, I appel, & cut over the blade over the enemy’s point outside the sword, as he goes to make a parade with the point low, cut over a second time thrusting quarte inside the sword, the hand leading in accordance with principle, & return to guard. This attack is done without my approval.

• Cut two times over the point From Tierce to Quarte and Quarte to tierce, making first an appel

The sword engaged in tierce, I appel & cut over upon the enemy’s reaction, sword over the point inside the sword; as he parries with the point low, I cut over & thrust tierce outside the sword or quarte over the sword, hand leading, & return to guard sword in front. This attack is equally done without my approval.

Cut under

• The thrust of Quarte Coupé under the Sword

Done by four methods

• The First Thrust of Quarte Coupé

The sword engaged in tierce, I disengage to high quarte inside the sword, raising the hand while stamping the right foot, so as to achieve the thrust to the right breast, & when the enemy touches the sword & raises his hand to make a parry, in the same time I quit the blade, lower the point & pass subtly underneath the line of his arm, thrusting the quarte coupé into his right flank, the hand steady with the nails above, the head along the arm, the left shank taut, the right foot outside the enemy’s line of attack, the shoulders profiled & the body leaned in a straight line over the right knee. Having made the thrust, bring up the point & return the sword to tierce, before withdrawing the body.

• Second Thrust of Quarte Coupé

The sword engaged in quarte inside the sword, I make an appel of the right foot while stepping, or with a firm foot, raising the hand without disengaging nor quitting the blade, & when the enemy makes to parry, & he pressures the sword a little, I thrust at him with the quarte coupé under the line of the arm, as

stated, & return the sword to tierce with a steady wrist.

• Third Thrust of Quarte Coupé, under the Sword

I make this thrust after having pushed high quarte inside the sword; the enemy having parried, with an advanced wrist in front of his body, when he returns in guard, I quit his blade & thrust him subtly with the quarte coupé under the line of his arm, the wrist steady, as it should be.

• And the Fourth

The enemy disengaging from tierce to quarte, I do as above and thrust quarte coupé, in the same manner under the line of the arm.

Stop hits

As passes and voltes are done in such different ways, it would be difficult to demonstrate all the actions, causing me to make a fair number of repetitions, & plates on the positions which would not be useful, as they would not show any significant differences; this is why I think it was sufficient to demonstrate the passes inside, outside & underneath the sword, as of the voltes upon a disengagement of quarte & tierce, & to warn that passes and voltes in general, are done on the raised foot against those who lead with their body to the front, upon those who make large disengagements, those who pressure the blade, those who make large beats on the blade, body forward, while subtly quitting their blade in order to pass or volte: & finally passes and seizures of the sword should be done against those who volte poorly, & voltes should be done against those who pass poorly.

• Demi-volte Upon a Pressured Tierce outside the Sword

The enemy goes to thrust tierce outside the sword, pressuring the sword, I subtly quit his blade, lowering the point and around the arm, & thrust straight quarte inside the sword, the wrist supported and at the same time turning the body to the left, carrying the left foot next to and behind the right foot, & the latter turned a little, though staying in the same place, having the left hand opposed in front of the body according to the principles stated, then retreat to guard, return the hand to tierce, nails downward, & strike a firm blow with the strong edge of the sword over the weak of the enemy’s blade, then return to guard out of measure, sword in front.

• Volte made, And the Complete Attack of Quarte Inside the Sword, when the Enemy disengages from Tierce to Quarte

The sword engaged outside the sword, the enemy disengages to quarte inside the sword while presenting his body, I raise my hand to eye-level, nails turned upward, & in the same time subtly volte fully, thrusting thoroughly upon his right breast, having entirely passed the left foot behind the right, facing left & presenting your back to the enemy, body firm & head turned to the right shoulder in order to be able to see. The quarte attack achieved & supported inside, retreat to guard with a circular parry, with a large whipping motion on the weak of the enemy’s blade, with the strong edge of the sword, the hand raised & returning the nails underneath, point low, then replacing the sword in front.

• Volte upon a Thrust in Tierce, and upon the Passes of Tierce Outside the Sword & Seconde Under the Sword

In that time that the enemy pressures the sword towards the inside, & either he makes a thrust in tierce, or he makes a pass to the outside the sword or

underneath, I disengage in the same time to quarte inside the sword, raising the right hand, while lowering the point & passing underneath the hilt of his sword, subtly launching the left foot behind the right foot, the body turned fully, presenting the back to the enemy, right arm extended & the attack supported upon the right breast inside the sword, head turned upon the right shoulder in order to see, & then return to guard, striking the weak of the

enemy’s blade with a with a firm and dry beat, hand high & returned to tierce.

Time hits An explanation of fencing and a method for taking time.

• When your sword is pressured, disengage the point subtly, & thrust thoroughly, the wrist high & steady.

• If one does large disengagements at you, thrust direct in the same time as he disengages to take him on a raised foot; if it is quarte, oppose with the left hand according to the principles shown before while thrusting. With regard to the thrust of tierce to the outside of the sword, opposition with the hand is useless, unless you have parried in prime.

• If the enemy is firm footed or advances on you, when you will be in measure, sword engaged inside or outside the sword, thrust direct with strong

over weak along the length of the blade, without disengaging, hand leading, & done in the time that he raises his foot while advancing, which is known as an attack along the blade.

• When in measure, if the enemy makes appels with his foot, or he makes half-thrusts without disengaging, one must finish; that’s to say, thrust him directly in the chest, hand leading and steady without disengaging, which is another attack along the blade.

• If you are in measure with him & he disengages, thrust direct, hand going first, well opposed & steady, to protect you against a hit in the same time.

• If feints are done to you inside or outside the sword, in that same time that he has disengaged to complete the feint, thrust direct, the wrist steady, upon his raised foot, taking his blade strong over weak, & when with an attack of quarte inside the sword, oppose with the left hand.

• If the enemy disengages from tierce to quarte, thrust quarte coupé as stated.

• If the enemy keeps your sword engaged by pressuring inside of the sword, wrist raised with intent to thrust in the same time, you must quit the blade & subtly thrust with a quarte coupé under the line of the arm, placing the right foot outside of the line of the enemy, then raise the point of the sword & engage the blade in tierce outside the sword, before returning to guard or making a retreat.

• If he makes a feint over the sword or a feint at the head, in that same time subtly lower your sword point, going around his arm, & thrust seconde under sword, plunging down, hand first & steady above your head, nails turned downward.

• The enemy thrusting a Flanconnade while disengaging or riposting after a thrust of quarte; in the same time, you must subtly turn the hand to tierce, nails underneath, without disengaging, & held high while thrusting firmly inside the sword.

Commanding

• Seizing the Sword after a Pass of Quarte

After having passed in quarte, as stated, wrist high, nails turned upward & the sword well-opposed against that of the enemy, I briskly launch the left hand to his hilt, holding firm, arm extended, hand turned, nails upward, while at the same time opposing the strong edge of the blade, at right-angles over the weak of his blade, hand turned with the nails underneath, passing the right foot in front of the left, thus being able to resist to all his efforts.

• Seizure of the Sword, after a Pass of Tierce Outside the Sword

After having passed tierce, I subtly throw at the same time the left hand on the enemy’s hilt, arm outstretched, blade well opposed against his, then having secured his sword, always presenting the point towards his body, I pass the right foot in front of the left, in order to have greater strength & to resist all efforts that the enemy can make.

• Sword Seizure after a Pass of Seconde

After having passed in seconde, as stated, & returned the sword to tierce, before raising the body, I launch the left hand briskly on the enemy’s hilt, arm extended, the blade opposing the other, and pass back the right foot & present the point at his body.

• Method for Making a Sword fall from a Hand in Quarte

As the enemy totally gives himself thrusting quarte inside the sword, I do a circle parry, hand turned in quarte & raised to mouth-height with the point low, body to the rear; and in the time of the parry, I subtly turn the hand to tierce without lowering it, striking with a firm beat the weak of his blade with the strong edge of the sword, keeping the hand in tierce, in such a way that he will open his fingers & his sword will fall from his hand.

• Another Method for Making a Sword fall in Tierce

The enemy thrusting in tierce thoroughly outside the sword, I parry in Prime, hand raised to temple-height, point low; & in the time of the parry, I subtly raise the sword point, & beat with strong edge under the weak of the enemy’s blade, a large, dry & short, whipping blow; such that he will open his fingers & the sword falls.

• Disarm upon an Attack of Quarte Inside

As the enemy totally gives himself thrusting quarte inside the sword, I parry his sword with the strong edge at right-angles with a dry beat, pressing on top of his blade downwards, hand turned to Tierce, nails downward, advancing the right foot at the same time, without following with the left foot, throwing briskly the left hand upon his hilt, holding fast, arm extended, holding it to the outside of the sword, presenting the point of the sword towards his body, underneath his wrist, directly under the line of his arm; & in case of resistance on the part of the enemy, I advance the left foot next to the right to add force, or withdraw the right next to the left, depending upon the occasion, in such a way that his only option is to defend himself by surrendering his sword, otherwise he runs the risk of losing his life

• Disarm upon a Thrust in Tierce outside the Sword

As the enemy totally commits himself thrusting tierce outside the sword, I parry with a dry beat while crossing his blade from underneath at right-angles, lifting it up, & in the same time pass briskly the left foot behind his right foot, while quickly throwing the left hand upon his hilt, arm outstretched, twisting entirely his wrist behind, nails upward, still holding the said sword hilt firmly, the point low, presenting my point at him towards his stomach, right arm

withdrawn, for fear that he can seize your blade, in this way his sword will be found under your left arm so that he cannot offend you, & he cannot escape without letting go his sword.

• Against those who Seize the Hand instead of the Sword Hilt

The enemy attempting to seize the sword from you, you having committed yourself upon him, & instead of seizing your hilt, he seizes the arm or right hand, you must, in this case, in that same time throw briskly the left hand on the middle of your blade, letting it go instantly with the right hand, which he holds steadily, presenting the point of the sword towards his body with the said left hand raised and the arm withdrawn to the rear, & being steady on the legs.

• Counter to the Counter-disarm of Tierce outside the Sword

When you go to disarm in tierce outside the sword, as explained, & you seize the enemy’s sword according to principle, & if he wants to throw himself at the same time at yours, keep holding the hilt fast with the left hand, arm outstretched, & without changing position nor withdrawing your left foot behind his right foot, you must only subtly withdraw the right arm to the rear, lowering the sword point & passing it behind you and then bring it back up, in such a way that the top of the right hand rests on the kidneys, nails outside, the sword point to be found on the enemy’s flank, who is forced to let go of his sword or risk losing his life. In all of this you must be steady on your feet.

• To overcome those who Grab you from Behind, having a Sword in Hand

When someone comes wanting to seize both your arms from behind, when you are in an affair sword in hand against an enemy, the latter can easily take your life in such a moment, if you ignore the method to overcome it promptly; to do this, I drop the sword blade and pass the point between both legs, lifting it behind to the rear, bringing back the right foot towards the left, & briskly leaning forward; he who has seized you from behind, will find the sword thru his stomach, & will not forget to let you go, following this the sword must be diligently raised back in front, in order to face the enemy.

Feints

• Feint of Tierce to Thrust Quarte

This feint can be done by three methods

The First Sword engaged in Quarte inside the sword, I make an appel of the foot without moving my body forward, & the hand being on guard; if the enemy does not go to parry, I thrust straight in quarte without disengaging, strong over weak, the wrist raised: if he goes to parry, I make a feint of Tierce outside the sword, hand at shoulder height, & the point next to his hilt, with an appel as if achieving this attack; & when he seeks to parry

Tierce by finding my blade, I subtly push a thrust of quarte inside the sword, the nails turned upward as indicated, then return to guard with the sword in front of you. SECOND FEINT OF TIERCE TO THRUST QUARTE This feint is done as if performing a firm footed step with or without an appel, by just raising the right foot so it grazes the ground, & advance it one pace, after which the left foot is followed, the body leaning back & supported on the left leg, the head upright; the feint done in this manner, when he goes to parry, thrust him in Quarte as stated, the hand moving first, & retire to guard, the sword in front without lowering the wrist. THIRD FEINT OF TIERCE TO THRUST QUARTE This feint is done again with an appel of the foot, the sword engaged in quarte, & in measure, without turning the hand into tierce during the feint; that’s to say, it is done with the hand as it is found in the guard, & that is should be pushed subtly at the same time as the right foot, to thrust in quarte; this is named a “flying feint” because the hand & the foot leave together. Having made the attack, return to guard, with a firm hand.

• Feint of Quarte to thrust Tierce outside the Sword

This feint can be done by three methods, with and without appels

The first feint of quarte to thrust tierce

the sword being engaged in Tierce & in measure, I make a firm footed appel along the blade & if the enemy does not go to parry, thrust straight tierce strong over weak; & if he seeks my blade in Tierce, I make a feint of quarte, the point next to his hilt with an appel of the foot, body & head to the rear, supported by the left leg, having the wrist raised to shoulder height & the nails turned upward; & in the same time as he opens up to go for a

parade of quarte, I subtly thrust in tierce outside the sword, the hand moving first as indicated, then return to guard with the sword in front.

SECOND FEINT OF QUARTE TO THRUST TIERCE

This feint is done as a firm footed step, raise the right foot so that it grazes over the ground & advance it by one pace, and follow it with the left foot, now being in measure, I make a feint of quarte as the above mentioned technique, & thrust tierce outside the sword, the hand moving first, then return to guard with the sword in front & retreat.

THIRD FEINT OF QUARTE TO THRUST TIERCE

I also make this feint with the hand as it is found in guard, & thrust tierce outside the sword, or with the hand turned in quarte, provided that the foot and the hand leave together in this feint; this is known as a “flying feint”. Having made the attack, return to guard.

• Feint to the Head to thrust Seconde under the Arm

The four methods of doing this-

• First Feint to the Head

The sword engaged in quarte, I disengage with a firm footed step to the outside of the sword & slide along the length of the blade, the point straight to

the enemy’s eye, raising the hand as it is in Tierce, the arm outstretched as the right foot stamps the ground, as if to complete a straight thrust of tierce; & when he raises his hand to parry, I raise my wrist & let the point of the sword go around his arm, & thrust subtly in Seconde under the

sword, plunging in, the body lowered in a straight line above the right knee & the head under the arm; then return to guard raising the point to tierce outside the sword.

• Second Feint to the Head

The sword engaged in tierce outside the sword, I raise my hand and stamp with the right foot without disengaging or quitting the blade, as if to make a straight thrust in tierce; & when the enemy goes to parry & raises his hand, I lower my point in the same fashion as stated, & thrust Seconde under the line of the arm, then redouble quarte over the sword, & withdraw to guard with the sword in front of you without lowering the wrist.

• Third Feint to the Head

The sword engaged in quarte, I disengage & cross at right angles under the enemy's blade, striking a firm beat on its weak with the strong edge, knocking upward his blade while advancing upon him; & in the same time as it raises up, I briskly make a thrust in Seconde under the sword, as explained.

• Fourth Feint to the Head

Being out of measure, I advance on the enemy with my sword well in front, disengaging from tierce to quarte, making an appel with the foot when inside the sword; and when he goes to parry Quarte, I pass in the same time my sword crossing at right angles underneath his blade, & strike it abruptly while advancing firmly with the strong of my edge under his weak; & when it rises up, thrust in Seconde thoroughly under the line of his arm, wrist high, head under the arm & the body lowered over the right knee.

• Double Feint Quarte to thrust Quarte

This thrust is done firm footed, advancing & retreating, with or without appels, as is generally the case with all fencing attacks, as has been said before.

• Double Feint Quarte

Sword engaged in tierce, I feint quarte while stamping the right foot, hand at shoulder-height, with the nails turned upward & the point near the enemy’s hilt, body back, then feint tierce outside the sword; & when he returns to parry, thrust subtly in quarte inside the sword, the hand leading, to be ready for a parry in case of a riposte, & to riposte as you see fit.

• Double Feint Tierce to thrust Tierce outside the Sword

Sword engaged in quarte, body back, I feint tierce, stamping with the right foot, nails turned downward, point near the enemy’s hilt outside his sword; then feint quarte, wrist high, point beside his hilt, as stated; & when he returns to parry quarte inside the sword, thrust him in tierce outside the said sword, hand leading, or quarte over the sword & redouble with seconde under the line of the arm, then return to guard, sword in front.

• Double Feint Low to thrust Seconde under the Sword

Sword engaged in tierce, I make a slight feint under the enemy’s hilt, with a steady wrist, while making an appel, then raise the point along the blade, aiming to the right eye pushing no further than the crook of the arm; & when he raises his arm to parry, thrust him in seconde under the line of the arm, the hand raised as stated in the first part concerning the thrust in seconde, with the head along the arm.

• Double Feint to the Head to thrust Tierce outside the Sword or Quarte under* the Sword

Sword engaged in quarte, I feint to the head along the blade, the point as far as the crook of the right arm, aiming to the eye, raising the wrist & stamping the foot, as if going for a thrust in tierce and when going for the parry, lower the point under the enemy’s hilt, wrist steady & turned to seconde, nails downward; & when he seeks again your sword to parry, raise the point & thrust quickly, the hand leading in quarte over the sword, or a well-supported tierce according to principle; one can redouble in seconde then return to guard, sword in front, or retreat with the wrist high.

*A probable printing error, resulting from confusing the French “dessus” with “dessous”, and should in fact read “quarte over the sword”

• Double Feint Low with absence of blade, to thrust at an opening

This feint is ordinarily more often made when advancing than when firm footed, & with the blades not touching; the body must be well back, carried over the left leg, the right hip receded, wrist high & the point lower; in this posture as the enemy goes to break measure, I appel with my right foot to confuse him, and advance on him carrying in the left foot, the hand steady, holding the point under his hilt; & in the same time that he disorderly seeks your blade to parry, I subtly thrust at him to the exposed area, the hand leading and turned to quarte, nails upward, arm extended, then redouble the attack reprising in tierce inside the sword without disengaging, then retreat with the sword in front of you.

• Feint Low to Thrust Quarte over the sword or in Tierce

The sword engaged in tierce outside the sword & in measure with the enemy, I appel with my right foot, while raising my hand turned into seconde, nails underneath, & lowering the point by the side of his hilt & even a little below his wrist, as if thrusting seconde, or to disengage in quarte, & when he makes a movement to seek your sword & parry upon the feint, in the same time I subtly turn the hand, nails above, while raising the point, & thrust thoroughly with

quarte over the sword, & then redouble in seconde under the line of the arm, then return to guard, sword in front.

Miscellaneous Attacks

• Reprised Thrust Attack Inside the Sword after having thrust quarte without disengaging

The sword engaged in tierce outside the sword, body back, I make an appel with the right foot along the blade without disengaging, hands turned with the nails underneath; & when the enemy goes to parry upon the appel of tierce, I subtly disengage the sword, & thrust quarte inside the sword, arm extended & the wrist steady and turned with the nails upward, then relax for an instant, as if you are about to return to guard, withdrawing the point of the right foot, about one pace, without putting the heel on the ground, & in the same time as he wishes to raise his foot to advance upon you, whether he has parried quarte or not, I instantly & briskly turn the hand to tierce, nails underneath, & thrust thoroughly inside the sword without disengaging, the attack well aimed & the

hand well supported.

• Reprised Thrust Attack Outside the Sword without disengaging, after having thrust Tierce

The sword engaged in quarte inside the sword, body back, I make an appel with the right foot along the blade without disengaging; & when the enemy goes to parry upon the appel, I disengage the sword & thrust tierce outside the sword, the hand steady & turned the nails downward, then relax the wrist for an instant, as if you are about to return to guard, withdrawing the point of the right foot, about one pace, without putting the heel on the ground, & in the same time that he wishes to advance & that he raises his foot, whether he has parried tierce or not, I briskly turn the hand, nails upward, & without disengaging

thoroughly thrust in quarte over the sword, & return to guard, sword in front.

• Half-thrust of Quarte inside the Sword to thrust Tierce, or quarte over the sword.

Having parried a thrust of quarte inside the sword, instead of riposting quarte-direct without disengaging, I raise my hand & lower my point, while stomping the right foot, as if aiming to finish the attack inside; & when the enemy goes to the parade to strike the sword, in the same time I subtly disengage & thrust firmly to the outside, either in tierce or quarte over the sword, the hand leading according to principle, then redouble in seconde under the line of the arm, then retreat, sword in front.

• Half Thrust of Tierce to thrust Quarte inside the Sword

A tierce thrust parried to the outside, instead of riposting direct without disengaging, I appel by stomping with the right foot, as if aiming to finish the thrust outside; & in the same time as the enemy goes to parry, I disengage with speed & thrust steadily in quarte inside the sword, or quarte coupé, then return to guard.

• Half-thrust of Quarte and Half-thrust of Tierce

To succeed in half-thrusts, one must be out of measure, & only have the point of the sword engaged, body to the rear, carried over the left side, with the right hip receded; in this posture I advance the right foot, making an appel & follow up with the left foot, without the enemy seeing it, while raising the hand, as if going for a direct thrust; in the same time that he seeks the sword to go for a parade, I subtly disengage, & thrust strong over weak at the exposed area, hand leading, the attack well-formed & aimed, arms extended & the shoulders profiled, then redouble again at the exposed area, following up with the left foot if he recoils, then retreat, sword in front.

• Attacking with Absence of Blade to Thrust at the Exposed Areas

In general to thrust with absence of blade, one must be out of measure with the sword in front, body to the rear, & the wrist at shoulder height, point aiming under the hilt, directed at the enemy’s stomach without being engaged, I make appels with the right foot, hand turned to quarte, nails upward, while advancing one half-pace with each one, the left foot following the right skimming the ground, doing this as and as he retreats, shuddering my shoulders at

him in order to upset him, & always in guard, to avoid him taking time; then having gained measure on him, when he seeks the sword in order to make parries upon the appel, I thrust firmly at the exposed area, the hand leading and attacks made according to principle, then redouble & retreat.

• Pass of Quarte, Inside the Sword

The enemy thrusting quarte, exposing & advancing his body to the inside line, while raising his foot at the same time, I depart with speed, right hand leading, highly raised & thrust quarte direct, nails turned upward, subtly passing the left foot in front of the right, about the length of two large paces, right arm extended, with the left foot firm to the ground & the shank bent, in such a way that the knee is over the strong of the foot, the right shank outstretched, & the heel raised ready to pass this foot in front the left foot, having the left hand oppose using the principles as stated.

Foreign Guards

• The guard with the point high and the wrist low.

Those who put themselves in this guard, ordinarily have a low wrist, hold their sword directly alongside their thigh, point forward, presenting much of their left shoulder & exposing their body, neglecting to parry with the sword but instead using their left hand, by lowering & throwing the attacks made to them to the side while they riposte at the same time as the attack is parried, opposing with their left hand.

To Counter this Guard this is the method Being well on guard & entering into measure, I make a high feint, hand turned to quarte, body well to the rear & the

right hip receded; the enemy going to parry with the left hand by lowering it to throw the attack at his side, in the same time I lower my point, subtly disengage it down and over his left arm, & firmly thrust direct in tierce inside the sword, while turning the nails underneath, the attack well supported upon his chest above the left arm, while opposing the left hand upon his blade according to principle as described, for fear of being struck in same time, then redouble without disengaging, the left hand always opposing. See the posture for countering this guard B.

• The guard where the sword is held in both hands at waist height & the point high.

They have their left knee straight & the right knee bent; they hold their sword in both hands to the front over their right knee, at the height of the waist of their britches, with the point high; & in this posture they parry firmly in tierce and quarte, & when they want to riposte, they let go of the sword with their left hand in order to thrust with their right hand, as one would ordinarily fence. See figure A.

Here is the Method to counter the above Guard Entering into measure, I feint at the head with the sword point, or a half-thrust; & as the enemy goes to parry, I subtly disengage to quarte, wrist at shoulder height, body to the rear over the left side, as if achieving a thrust in quarte to the chest, at which he will not fail to make a parry with both hands, & even beat the sword, then quit the sword with the left hand in order to riposte with a direct quarte inside the sword using the right hand, one must do a brisk parry & quit his blade to thrust at him with a quarte coupé under the line of his arm according to principle, & redouble in tierce thoroughly, following up with the left foot, then in seconde, then withdraw. See figures A & B.

• The guard with a dagger, the right arm held straight, the left wrist at waist height, parrying attacks as needed with the dagger, a cane or a hand.

In this guard, the tierce line is erased, body centered on both legs both shanks bent, hand turned to quarte, arm outstretched holding the sword out straight, point to the front & a little lower than the wrist, left hand lowered at waist height, holding the dagger with the point leaned toward the crook of the right arm or the butt of the cane held by the middle; & in this posture, they parry only with the left hand, with the dagger or the cane, lifting up the thrust that they

receive, while throwing it at their side above the left shoulder, & riposte with their sword in the same time that the attack is parried. Figure A.

To counter the guard of sword and dagger, while entering into measure upon the enemy, I make a feint or half-thrust in high quarte, body to the rear upon the left side; & when he goes to parry in order to throw the attack over the shoulder, with the left hand, dagger or cane, & riposte, I disengage the sword point in the same time, going around the arm underneath, & thrust firmly in the middle of the chest inside the sword, hand leading & turned to quarte well supported under his left arm, for which has failed to parry, while opposing with the left hand as described while thrusting, then redouble the attack again.

• The Italian guard, with both shanks bent, body directly over both legs & the arm withdrawn, presenting the point at the stomach.

They have the right wrist raised to shoulder-height, & the sword turned to demi-quarte with the arm bent, presenting their point towards the stomach, both knees bent & the body upright between both legs. Their movements are quick & they willingly thrust using & taking time, they even parry with the left hand; such that this sort of game is very annoying.

Counter to the Italian Guard. I attack this guard out of measure, with appels of the foot & half thrusts from afar, while closing the left foot behind the right foot, body to the rear & entirely carried on the left side, in order to be ready to parry, advance or retreat as required; & when the enemy goes to thrust using time, I firmly parry with a dry & short parade, & riposte with strong over weak along the blade, hand leaving first, opposing with the left hand while advancing at the same time that I parry, having raised the wrist & extended the arm, then redouble the attack again, both to the inside and the outside of the sword, finally making a retreat with sword in front.

• The German guard, with the hand turned to prime & raised above the head, presenting the point at knee-height & parrying with the left hand.

Germans put themselves in guard, hand turned with nails underneath & well raised, presenting the point towards the enemy’s groin; they have the right knee

bent, & several have the left shank outstretched, advancing the left hand in front of the body, for which they parry & riposte at the same time.

Counter to the German Guard I initially copy this guard from out of measure & engage the sword with the point outside the sword, nails turned underneath, making small appels with the foot, closing imperceptibly with the left foot, to get into measure without the enemy noticing; & when he makes a movement to come and touch the sword outside the weapon, I disengage swiftly over his blade, & thrust firmly inside the sword, strong over weak, wrist turned to quarte & sustained while opposing with the left hand, then redouble the attack again in prime without disengaging, always with the hand opposing, & retreat while whipping the blade.

• The guard with the wrist high & turned to demi-quarte with the tierce line completely erased.

• The guard with the wrist at the same height as the point, with the hip receded, & a flexible arm.

• The guard with the wrist high, & the point lower, such that it is pointed at the abdomen

• The guard with the wrist high and the point quite low, near the ground, the hip receded & the arm outstretched.

• The guard having a receded hip, the arm held out in front of the body, holding the sword blade across horizontally & supporting the point with the left hand.

• The guard with the wrist low down by the thigh, holding the sword straight, the point to the fore, parrying only with the left hand, pushing aside and following with a thrust.

To discover the method to counter an enemy to whom we have affair you must, whenever possible, keep them out of measure, & attack only with small half-thrusts, holding the sword well out in front of you, to make them act first, then be ready to parry & riposte as appropriate.

If you have to defend yourself against eccentric guards, which are unfamiliar to you, first copy them, & nevertheless always return to using the attacking

method of half-thrusts out of measure, with the sword to the front, body to the back.

As for high-guards, apply yourself to attacking with thrusts from below, & always oppose and follow the movements that the enemy makes without neglecting any, so that you are not caught by surprise.

As for guards with the wrist low and the point high, apply yourself to thrusting along the length of the blade strong over weak, feints of tierce and quarte, & short & brisk sword beats followed by a cut-over with the point.

As for low guards with the sword held beside the right thigh, & parrying with the left hand; devote yourself to making half thrusts, towards the chest, to make him move his hand; & when he goes to parry, thrust above or below the left arm, going around the arm with the point, thus following the left hand & using yours to oppose the enemy’s sword

Spanish Guard

• The Spanish guard, with both legs straight, the sword straight out in front, presenting the point at the head & parrying by withdrawing the right leg next to the left, in order to void the body, thrusting at the same time to the eyes, or descending cuts to the head.

The Spanish put themselves in a guard entirely upright upon their feet, never stepping out of place, they have very long swords, presenting the point at the enemy’s head, wrist high, avoiding attacks done to them by shifting the body to the rear & slipping away the right foot which they subtly place beside the left foot, in the same time thrusting straight at the eyes, outstretching the right arm. Some also parry with the left hand, & strike with a cut to the head while giving themselves entirely; & they could be hit by a thrust in second if thrust vigorously according to the principals described. See A.

To Counter this Guard, You must be out of measure, & in the guard as described before, attacking only with half-thrusts & appels of the foot while gaining measure.

• Parade for the Spanish Attack- thrust to the eyes

I attack, as said, with half-thrusts and appels of the right foot; & when he withdraws the right foot & body to the rear, extending his arm in order to make his thrust at the eyes, in the same time I make a dry & short beat upon the weak of his blade, with the strong edge while sliding over it, & thrust subtly with a quarte direct inside the sword, strong over weak, wrist high & nails turned upward, advancing upon him & opposing with the left hand throwing it briskly upon the enemy’s hilt, redoubling the attack again in prime without disengaging, & still sustained inside the sword holding his hilt or the left hand opposing his blade, which he cannot use easily due to its extreme length. See the figures of the parry and riposte.

• Parry of the Cut struck at the Head

I attack the Spaniard in the same way as was described for the attack to the eyes, with appels and half-thrusts; when he withdraws his body to make his cutting attack to the head, in the same time I raise my wrist up high, lowering my head & oppose with the strong edge of my blade, held stiffly from tip to hilt, at right angles under his blade, & thrust firmly in seconde under the sword, nails turned downward, plunging, the point lower than the wrist, then advance upon him, redoubling with a prime attack, the strong of the sword always opposing his blade, finally withdraw with sword in front in order to return to the common guard. One can also go to seize the sword, as well as using passes of tierce and seconde.

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Spadroon

• Common Guard of Better Spadroon Users

They hold their bodies to the rear, the right hip extremely receded, both heels together; that is to say, only separated by a half-pace from each other, with the shanks bent, the arm held straight out & raised to shoulder height, hand tuned to tierce with the nails underneath, holding the sword straight out in front of them, presenting the point at the enemy’s breast; & when they have an affair to a smallsword user, they attack readily to the wrist, leg, head and stomach, but principally to the wrist and leg. See A.

• Guard for a smallsword user to counter the Spadroon user

The smallsword user, having affair against a spadroon user, must have his body to the rear & be out of measure, sword not engaged, right arm drawn back, hand turned to tierce & the point low beside the tip of the right foot, which must nevertheless not touch the foot nor the ground, shoulders profiled, right hip well receded, both shanks bent & both heels only separated by one pace, this to be ready to make the necessary movements. See figures A & B.

Smallsword users in this guard can again hold a cane in his left hand, the arm hanging down by the left hip, the butt of the said cane to the front in order to parry the spadroon user’s attacks as required with the cane, & riposte firmly with the sword in the same time as the parry, direct to the body or the face, nevertheless following the principals explained hereinafter.

• The Spadroon User’s Wrist Cut countered by the smallsword user

The smallsword user is on guard as stated, when the spadroon user goes to attack him, must break measure turning around him as he advances, closing the left foot to the right so that he will not notice it, making appels with the right foot, & shuddering the shoulders, shanks bent to make him attack, without nonetheless advancing the arm or right leg in front but by a little, for fear of being surprised; & the spadroon user throwing a wrist cut, one must in the same time subtly withdraw the arm & right leg, lowering the hand to his side to evade the attack, then instantly re-pass the leg & arm briskly together, & thrust quickly an attack of quarte over the sword, the wrist leaving firmly at first, & raised as high as possible turning the nails upward, the point to the body or in the face, & redouble in seconde or prime, passing the point under the line of the arm, nails turned underneath, lowering the head, plunging in, the hand always strongly raised, then retreat & return to the common guard & out of measure.

• Leg-cut, or “Jarnac”, Countered by a Smallsword User

An attack to the leg is avoided in the same way as an attack to the wrist, evading one & the other, as stated, to the side of the left leg, sword beside you, & riposte in the same way, wrist raised, & steady on your feet.

• Observations on Countering the Spadroon with a Smallsword

The smallsword user must be furnished with a good blade, & when he has an affair against a spadroon user, it must occur in as narrow a space as possible; if he is obliged to fight in a spacious place, he must watch out to only attack with half thrusts, while turning about him, as stated. If the spadroon user doubles or triples his attacks while advancing, the smallsword user must withdraw, threatening him with small feints, & riposte thoroughly, straight, along the spadroon’s blade upon all occasions. If the spadroon user thrusts with the point, cuts to the face or cuts to the stomach, the smallsword will parry in prime all of the said attacks according to principle, as stated before, & will riposte thoroughly in prime.

• Head Cut Countered by a Smallsword

The smallsword user on guard, the spadroon user delivering a cut at the head, I oppose in the same time with the strong edge of my sword, held firmly from point to hilt which is at right angles under the blade, wrist high, nails underneath turned towards him, with the point a little lower than the wrist; & the attack parried, thrust briskly in second or prime, advancing upon him while plunging, head low, then redouble without disengaging nor changing position,

advancing the right foot & trailing the left foot, then retreat in order to return to the common guard, the sword not engaged & out of measure. See more of this attack. See the figures.

This attack is also parried while withdrawing the head, evading as shown before.

• Stomach cut, Face cut and Thrust with the Point, Countered, Parried and Riposted by a Smallsword user.

The smallsword user is on guard opposing the spadroon & in measure, when the spadroon user goes to launch a stomach cut, face cut, or thrust, in the same time I oppose with the strong edge of my sword, firmly held from point to hilt, wrist over the forehead & turned to prime, nails downward with the point low, arm extended, so that the blade is covering everything in front of the body & the face, & such that it completely opposes the spadroon, even having tilted one’s head upon the right shoulder in order to see the enemy. Having parried the attack, instantly riposte firmly and briskly along the length of his blade, right hand leading remaining turned, & without disengaging, redouble the attack of prime supported to the inside of the sword, while advancing upon him, making the left foot follow up with the right, then return to guard, as described before & out of measure.

Here are Several Spadroon Games & different Guards, which are not useless to teach countering with the smallsword.

• Some spadroon users will put themselves on guard with the hand turned to tierce, with the point low, the right arm extended at shoulder height, & upright over their legs.

• Others hold their spadroons with the point high, wrist at hip height & body withdrawn to the rear.

• Others hold themselves with their body completely exposed, holding their spadroon straight out at shoulder height, point to the fore, upright over their legs & having the tierce line erased.

• And others hold themselves in guard, the right arm withdrawn, hand at the height of the left flank, spadroon point outside the left shoulder, right hip receded, left shank straight, right knee bent, & both heels separated from each other by a distance of two paces.

The game of the above-mentioned guards of the spadroon user, is to wield in a circle the spadroon with their arm, while advancing or withdrawing, making large movements in order to have greater force when striking simple or double attacks, as they see fit, either from low to high, high to low, or side to side.

• Smallsword User’s Guard to Counter the mentioned Spadroon Game

The smallsword user must have the right arm hanging beside their thigh, holding the sword out straight, point to the front, nails on top, shanks bent, body to the rear carried over the left side, heels separated from each other not more than the length of one pace, & be out of measure; from this posture I let the spadroon user attack, as described before, & when he swings from low to high, the attack avoided, thrust firmly in quarte coupé under the sword, in seconde or prime; if he swings high to low, briskly thrust in high quarte, direct to the body or the face, after the spadroon attack is avoided, & if he attacks side to side, parry as [for stomach & face cuts] & riposte in that same Prime.

The smallsword user in this guard and that of [the aforementioned guard for a smallsword user to counter the Spadroon user aforementioned] can also, as described, parry spadroon attacks with a cane held in the left hand, & firmly riposte at him, direct to the body or the head at the same time as the parry, or

use the avoidance method, depending upon the occasion. There is no spadroon user that this method of combat will not overcome.

• Ruse for a Smallsword User to Counter a Spadroon User in the Field

The smallsword user having an affair against a spadroon user in the field, I soak a handkerchief in water and fold it in half several times, then put it with a glove in the crown of my hat; & having put it on my head I withdraw my left hand from the sleeve of my coat, right arm staying in the other sleeve, & wrap it up with the whole of the coat, with the skirt which stay hanging, to protect the stomach and knees; then the smallsword user goes to guard, body low, with

the hand high & turned to prime, nails underneath, point low, & steady on the feet.

In this guard, I attack the spadroon user with half-thrusts & appels of the foot, while turning around him, & in the same time he launches an attack, thrust firmly in prime, hand high, sword opposing his blade, while gaining measure, & redouble several sustained attacks without disengaging, then return to guard

in the same posture.

Flail

• Ruse of the Smallsword against Flails, Threshalls and Two-ended Staffs; which are very dangerous weapons if one does not know how to defend against them

Threshalls are made up from five or six rods, each about a foot in length, attached end-to-end with small iron links, and on the very end is a steel ball weighing roughly a half-pound; that a single man can batter ten others with a threshall: since trying to advance, one receives & must parry what seems like multiple stones being thrown at him.

• Method to Counter Flails and Threshalls

Supposing one is in the countryside and have the misfortune of meeting such weapons, you must get beyond their reach and remove your coat, on the pretext that it impedes you, then take it by the middle of the back with the left hand, always retreating sword in hand, & in the time that the threshall or staff is making its rapid circles, being at a certain measure, launch with all your strength the coat over the weapon, which will halt the moulinet, & instantly throw yourself upon the enemy so you can disarm him, presenting the point of your sword at his body.

These weapons can be countered also, when out of measure, with a whip in hand, attacking the said weapon with the whip, in the same time as the moulinet, & the same thing can be done with a heavy object attached to a fine rope which is tossed in the movement of said weapon.

Pitchforks and Fire-spikes countered by the Smallsword If an honest man is forced into an affair against these sorts of weapons he must take up the common guard, explained [at the beginning of this book] and following, erasing well his tierce line, & when one comes upon him to thrust with a shortened arm, I make in the same time a parry diagonally across the body with the strong edge of the sword, striking firmly from point to hilt, withdrawing the arm a little, hand turned to quarte, nails on top, throwing the pike attack to the side and downwards, & briskly sliding at once the left foot behind and across the right foot the length of one pace, evading the body while turning to the left at the same time as the parade, in order to have greater force while parrying the attack, which once parried, throw subtly the left hand upon the said weapon, arm outstretched to move it away from you, advancing upon the enemy, presenting the sword point at him, always holding firm the said weapon in the left hand far from the body; & if absolutely necessary, thrust in quarte thoroughly.

The mentioned attacks with pikes, halberds & fire-spikes, can also be parried with a parade of prime, as explained [on the appropriate pages], with the point low, while evading the body, as just said before, & sliding at the same time the left foot behind and across the right foot the length of one pace, opposing with the left hand according to the previous principles [on the appropriate pages] & the attack parried subtly launch the said left hand upon the weapon, arm

outstretched, then pass again the left foot next to the right foot, while presenting the point at the enemy’s body, or thrust him along the length of the said weapon direct in prime.

Girard’s Vademecum€¦ · Girard’s Vademecum A digest of Girard’s smallsword method divided...

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