Girard- A Summary

Smallsword
after Girard

Salute & Guard

Footwork
Advance

• Demi-lunge
• Step
• Pass
• Gather step- forwards

Retreat

• Gather step- backwards
• Reverse lunge
• Step
• Pass

Circular

• Use L foot to move to the side to gain ground/avoid sunlight

Parades

• Quarte (4)

Parries: (wrist low) 4-coupe & 2, (wrist high) flanconnade & cut-over
Riposte: 4-inside, 4-coupe-under-arm

• Tierce (3)
  Parries: 4-over-sword, Flanconade-in-3
  Riposte: 3, 2-under-arm
• Circular- nails under (4)
  Parries: 4, 4-coupe, 2 & flanconnade
  Riposte: 4-inside
• Circular- nails down (3)
  Parries: 2, 4-coupe & flanconnade
  Riposte: 3- redouble-to-4
• Prime (1, using false edge)

Parries: 4, 4-coupe, 3, 2 & flanconnade

Riposte: 1

• Quinte (4 using false edge)
  (1)Parries: 3, 4-over-sword
  Riposte: 4-over-sword, 2

(2)Parries: 2
Riposte: 3

• Opposition with L hand

Preparatory Actions

• Disengage- 3-4, 4-3
• Counter-disengage

Attacks

• Quarte (4)
• Tierce (3)
• Quarte-coupe (4, point low)
• Seconde (2)
• Flanconnade

Observations

• Use short lunges
• Good, short, dry parries
• Oppose with the L 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 attacking fully to interrupt their large, incomplete or slow attacks

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)
Quarte Coupé		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 Drop point, thrust 4 to R flank. Return to 3
2	On guard in 4, extend with appel toward R breast Parry 4. Drop point, thrust 4 to R flank. Return to 3
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 low line (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		Capture weak in 4. Bind to flank opposing with L hand
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
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 flanconnade 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 Parries Thrust at any exposed part	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	Engage in 3. Appel or half-thrust Parries with point only During parry withdraws arm, cuts over, thrusts 4, redouble 3	R-L
Cutover in 3 actions- 4-3	Engage 4-inside, appel Parries During parry cutover, feint thrust 3, Parries During parry disengage and thrust 4, redouble 3, retreat	Take advantage of weak parries by cutting over the point then disengaging back again L-R-L (+R)
Cutover in 3 actions- 3-4	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 Parries During parry cutover, thrust 4	Doubled cutover to conceal line of attack L-R-L (NB: Not approved of!)
Cutover twice- 3-4, 4-3	Engage in 3, appel Parries 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

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 RIGHT ANGLES 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

Treatise on the Art of Arms by La Boëssière- Qualities Which a Master-at–Arms Must Have

Qualities Which a Master-at–Arms Must Have
A master must be gifted with great gentleness, give great clarity in his demonstration, and serve as a model of constancy to his pupils. He will use all means possible to win the confidence of his students while giving them agreeable lessons. A timid and fearful young man will not advance if the master does not encourage him. Be the teacher that avoids demonstrations given with impatience, self-importance and in bad mood so as to not lose his head at his pupils. If there is one among them who finds difficulty with an attack he must divert him to something simpler and thus follow up by bringing him back up gradually to perform that which he found too complicated the first time.

The master must sense the necessity to work slowly with his pupils; those that advance a young man too rapidly to get him fencing sooner do him no justice.

He must demonstrate with method and perform all his movements with great detail, especially holding his hand high in advance of his body as it is a difficult thing for pupils to accord perfection of the hand with the effect of the legs.

In arms, as in all other arts, exact practice and observation are the principles to be used; the horseman places his pupil alongside him and makes him feel the movement of the horse on the trot followed by a short, reined-in gallop; finally he lets the pupil replace him, as is done in arms when one finishes “at the wall”. The musician takes care when starting with a pupil to have him play notes slowly to obtain clear sounds, and when these are applied to airs, if there is a difficult passage to perform, he breaks it down so that the pupil can come to comprehension.

Dancers in the theatre work ceaselessly to acquire aplomb and freedom of movement and by this continual practice they acquire the grace and fluidity that distinguishes them. It is the same in arms, a master must continuously bring back his pupils to the first principles; he must strive to conquer in some ways their nature because he will find subjects with deformities; he will re-double his attention to them when placing them on guard as best as possible as a kindness; because it is essential that the pupil is always at his ease and with time and perseverance his limbs will become supple. I have seen several subjects startled, at the start of the assault, when seeing those who they saw when they began; but it is not only the constant care of the master who has given them the advantage.

The beginning in all arts is tedious and dull; the master must thus cheer up and encourage his pupils by varying lessons accordingly. He must separate himself from a taste for numerous repetitions of the same principle. It is also useful for a master to frequent artists of other genres; by this augmenting of his knowledge he will become convinced that the arts are founded upon the same principles, and there is, as I have dared expound, a degree of relationship between them all.

Treatise on the Art of Arms by La Boëssière- Naming of Attacks

Naming of Attacks
All the principles of art are found in nature and are the fruit of observation. It is the same in the art of arms. The attack which all men thrust naturally is that of prime (see plate II). Two individuals who have not received any principles will thrust a sword in a movement of anger; they thrust their weapon poking with a hand in tierce; one makes the attack, the other parries in the same position, which is prime, the first attack in the natural order. In the same position, on the opposite side, which by being open calls to the point, will be seconde or second (see plate III). In the same position, that is to say always with a low point and the hand in tierce, the play which is found underneath, and the same when thrusting, will be tierce or third (see plate IV) in which position the hand does not change, good that the point is high; the play inside will call the sword, and this thrust will be quarte-inside the-arm or fourth (see plate V) which parries a hand in quarte.

Here then are the good natural attacks; it is the art and observation which gives the others which are all derived from these first.

If one parries in quarte the nails are turned upwards, you will uncover the inside and the point is out of line with the body. Then thrust hand in tierce above the hand to parry while sweeping, this is called quinte or fifth ( see plate VI). This attack having no point in opposition must not be thrust in the case where the point of he who parries will be found in direct line with the body. As it is thrust while sweeping it always parries always with the nails in tierce to form a large angle which divides the tip of the body. We know this to be called quinte.

When the play is found on top it is called quarte-over-the-arm or sixte (see plate VII); it is parried with the hand in quarte, while opposing quarte to quarte, but without touching.

Suppose that one is engaged in quarte-inside and when one thrusts under the hand that is low-quarte (see plate VIII) which is parried with demi-circle. This blow is septime; to thrust quarte in the play of the opposing side to this parry of septime one thrusts octave (see plate IX), the eight attack, which is parried with a hand in quarte, the nails entirely turned to quarte thus to form the angle well.

These are the attacks with weapons in every position where the hand can thrust or parry; one knows not to add to these, rather to reduce them; when one thrusts a little high or a little too low these will always be the same.

These eight attacks are however the parries and the oppositions. Double parries cut two lines; demi-circle cuts three, even four. Double parries are made when uncertain and by habit one will come to judge and parry simple. in the assault the attacks will be very quick one will not have time to make the counter, however parry more slowly will make the point pas in front of your body, where it passes, after your quickness-of-eye, take the simple and it will always be one of the eight attacks detailed above or one of the eight parries.

It is rare that one cannot draw a parry against a thrust made with speed with a parry of the same name, or by opposition; it is thus a reason to not exclude one or other parry.

Masters must not teach the names of these attacks to their pupils until they are in a state ready to understand, that is to say at the end of some months in lessons.

Smallsword Measurements

These smallsword measurements were taken from the Reserves Collection of Glasgow Museum. Thanks to Susan Kirk and Ralph Moffat for their help.

Catalogue Number	Weight (g)	Overall length (mm)	Grip length (mm)	Blade length (mm)	Widest point (mm)	Point of balance (mm in front of hilt)	Notes
AANN 186.1	448	890	80	730	25.6	130	Poor condition
AANN 190	322	870	90	710	26.0	55	Triangular
AANN 187	188	610	70	480	18.0	50	Very small, ?child’s sword
E.1939.65.kf	362	990	85	810	22.7	90	Triangular
1911.29.cj	478	980	90	810	33.0	80	Triangular
E.1939.65.kr	366	990	85	820	27.8	70	Triangular
E.1939.65.ke	414	940	80	790	19.7	85	Flat
1911.29.fp	535	960	80	800	21.6	80	Flat
1911.29.6x	450	950	80	800	20.7	75	Diamond
1911.29.6s	354	910	85	760	20.2	135	? Repurposed blade
1911.29.6v	418	890	80	740	18.7	95	Flat
1911.29.6z	404	960	85	800	30.0	80	Triangular
E1939.65.kj	384	940	95	780	20.0	75	Flat
E.1939.65.kg	328	920	90	760	27.6	65	Triangular
1911.29.gf	252	1010	95	840	28.5	70	Triangular
1911.29.cv	388	930	75	780	18.7	100	Flat. Multiple fullers
AANN509	388	970	95	790	27.2	40	Poor condition
1911.29.6t	460	900	80	750	19.1	80	Flat
E.1939.65.ks	354	980	90	750	27.9	60	Triangular
1911.29.6q	406	950	85	780	26.3	85	Colichemarde
E.1939.65.ko	476	1070	85	890	13.4	90	Very slim blade
1911.29.dp	422	960	90	800	29.1	70	Colichemarde
1911.29.bp	426	950	90	790	21.7	105	Flat
E.1939.65.kp	396	980	80	820	20.0	50	Triangular
E.1939.65.ka	426	1010	85	840	27.8	65	Triangular
E.1940.45.ef	422	990	90	820	30.4	80	Triangular. Poor condition
E.1940.45.ee	515	890	90	720	27.8	65	Damaged

Treatise on the Art of Arms by La Boëssière- Choice of Foils

Choice of Foils
To begin with have a pupil choose a flat blade; those for the assault are too stiff for a beginner and give the hand a certain toughness which must be avoided.

The flat blade is that which is adopted by boarding schools and in general the fencing salles where many young men gather. The assault blade, which I shall call the “square blade” is dangerous; unused it resembles an iron triangle and precautions must be taken to put it into a usable state; otherwise it will result in accidents.

The blade must be less than 31 inches and not to be taken up unless the point is at least three-quarters complete; when it does not bend in the middle it is badly made. A good blade is strong at the heel and tapers until just before the tip where it becomes a fully-formed circle. Those which do not bend in the middle have too much metal in the weak; by default this makes them heavy and whippy; make no mistake when a blade is not well tapered the circle will be bad.

A grip of good length must be 4 9/16 inches long. Avoid the round ones as they turn in the hand and oblige you to clench which is fatiguing and obscures performance; choose one that is well squared; if the angles are strongly pronounced you will hold it easily without needing to clench and the fingers will have all of their game. Check also the weight from the front as well as back. Often cutlers make the grips too thin at the rear in which case one cannot place the ring or little finger well, and one must clench as a result and, I repeat, your performance will suffer. These details which appear finicky are nevertheless useful and it is these that will penetrate deeply when one prepares to acquire good equipment which gives grace and strength in arms.

Treatise on the Art of Arms by La Boëssière- The Usefulness of Masks

The Usefulness of Masks
It is a fact that M. la Boëssière made an unappreciated advance in the iron-mesh masks generally in use today. Before him masks with tinplate were used where one fenced the routine with a feint; but the hardness of the iron was very uncomfortable for the face, for this reason they were little used and fencers always ran the risk of being maimed; the number of accidents brought about made M. La Boëssière have the idea for proper masks: there are two sorts, those with a strap and those with a tongue. I prefer the latter because those with a strap are inconvenient as they turn or wobble and in the assault one courts the danger of receiving a blow to the face.

I also approve of the use of guards which are placed on top to protect the head. In spite of detractors I have adopted buff jackets because one cannot take too many precautions to avoid accidents. This jacket must be finished with buff up to waist height, around the buttons and up to four inches around the back. The buff extends also under the right arm by about six inches to protect the armpit. Thus equipped with mask, jacket and a large handkerchief round the neck one has little to fear from an adversary even if he plays a hard game and he is one of those fencers with a low hand and a withdrawn arm, against whom it is dangerous, but nevertheless it is necessary to combat to become strong.

Treatise on the Art of Arms by La Boëssière- Clothing and the Necessary Equipment for Fencing

Clothing and the Necessary Equipment for Fencing
Perhaps that which I wish to follow with will appear to be too detailed in their minutiae, however they have their usefulness. Nothing is to be neglected when seeking perfection in this genre of ours. Everyone knows without doubt the one piece of clothing I shall go on to describe and which is used in arms; but not everyone knows that there is a great choice to make in these sort of objects and it is these that I shall show.

The jacket must be of canvas and of a light colour for this use. It must be loose, principally in the sleeves, such has been tried and tested by this type of exercise; take care that buttons are on the left and the collar is up. The trousers must also be of canvas, loose in the thighs, and have a high waist to hold the waist firmly because it is from this part of the body that your vigour depends. They will also be well cut for the greatest freedom of movement in the assault. Take care to place a large handkerchief around your neck to avoid damage when an advancing adversary grazes this part with the blade of his foil.

Sandals must be chosen with care. The right toe must be open so that the heel of the foot is at ease. A hat which has been decorated, as it is so soft, tires fencers less and gives them the means to use their more vigorous methods; one does not have this advantage with shoes, the feet will prove this to be right, and fatigue will reduce strength, often they are tiring in the long-term. I recommend a sandal-maker puts porous leather on the outside thus to avoid slipping. Also pay attention to making the left sandal higher than the heeled [shoe] as, if it is lower, it will cause a bend of the ankle, there will be less reaction and this will cause a loss of speed.

A well-chosen glove must be reinforced with horsehair on top; it must be long and tight because it will always stretch a little which will result in it becoming too large, the folds of which will interfere with the grip of the foil. I require that it is long so that it will protect the wrist which, without this precaution, will be exposed to whipping strikes as the skin on the inside will be thin and supple, because one can feel the foil better and that the execution of thrusts is easier.

Treatise on the Art of Arms by La Boëssière- Overview of this Work

Overview of this Work
The division of this work was a necessary result of the method which I have established and the progress of the pupil formed by these successive lessons after a small amount of preliminary instruction upon their choice of arms, foils and the proper tools for study; in the first lesson I place them on guard, then I direct them to develop simple attacks and teach them the no less essential principles of the retreat. Come the fourth lesson I make them repeat the length of the blade which they will have learned previously and I demonstrate the steps and withdrawals.

After this I pass on an understanding of disengagements following these with simple parries, to which I add feints and double-feints with observations upon the weak and strong.

In the eighth lesson I expound the theory of engagements and make known the danger of false engagements.

The simple parries of demi-circle and octave form the subject of the ninth lesson, and the tenth is devoted to the demonstration of the counter-disengagement.

This preliminary instruction is finished off with that of the salute. Then I teach the pupil how to align attacks with parries, and direct him to fence at the wall with me. Here is born the first part of the study and the pupil arrives at a level while holding his interest.

In the fourteenth lesson I practice the double parries and diverse ripostes; I give an analysis of demi-circles and their application; from this I pass on to a demonstration of cut-overs over the point. Real beats, false beats and threats form a very detailed article, attending to their importance.

I teach in the twenty-second lesson the method for taking counters while retreating over the arm and inside the arm. I then follow with the art of avoiding changes of the sword. Time attacks and their divisions are explore din great detail and occupy many lessons. At the end of an article on the flanconade I attach diverse instructions that the pupil has received in previous lessons and from this I direct more complicated exercises until the thirtieth lesson.

Double-counters have their place, and thus the method for doubling all parries, and when the pupil has practiced them, I practice at the wall everything which he has learned. In the forty-third lesson I gather together a repetition of every parry while attaching every attack which is born from this; thus I habituate him by degrees to thrust derived from parries.

In the forty-fifth lesson the pupil has become ready for the assault and the most interesting exercises for him, as it is for the master.

The most important study of arms was that of the wall to touch, which I will treat with detail in my following lesson. One particular instruction on the choice of foil blade and the method for mounting them has become indispensable; for this I have made an article to impart before passing on to other aspects of teaching.

I intend the forty-fifth lesson to be a demonstration of diverse beats and as a result their relation to croisés, I treat them together until the fifty-first lesson where I teach the method for avoiding one or the other of them; naturally this leads me to speak of the art of fencing against those adversaries who change the blade as they retreat, and I make them the subject of the fifty-second lesson.

The method for stopping fencers who charge in while quitting the blade is an essential part of the art; I treat this in the fifty-fourth lesson, which I then follow with a dissertation on the proper length of foils for the assault. After I enter into the details of the assault and I give relative instructions on the various cases which may come about, or the different games which one will find in combat.

I will not be concerned until then to speak of left-handers in a tract on the art of arms. Then it will be a particular chapter, it is the subject of my fifty-sixth lesson; I flatter myself that the reader will find this of interest. I have cast an eye over the exercise of the espadon, due to its connection with arms, but without intending too much. Children and young ladies merit their own article and I think I must finish my course by outlining that which comes together to develop their graces.

Treatise on the Art of Arms by La Boëssière- The Usefulness of Arms for Health and Good Bearing of Young People

The Usefulness of Arms for Health and Good Bearing of Young People
Aside from considering the art of arms from a military point of view, where without doubt it is of great use, one can also consider it being a part of a good education and as a large influence on one’s health by giving nature the means to develop. At one time the education of a young man was not complete if he had not taken lessons in arms and riding, grace of movement depends upon these lessons. The Revolution brought about the interruption of these useful exercises and when order is re-established between all parties education must not be negligent in teaching these.

Upon the advice of the better sort of doctor the exercise of arms is health giving and can avoid young men of lengthy and cruel maladies; primarily, as it opens their chests and makes their natural weaknesses disappear; secondly it makes them more vigorous, more supple, more agile and more able to bear the fatigue of war, finally it gives them the grace and ease which has come to be the mark of a well-studied man; it is for this reason that at other times one practices at arms than those times when called up for military matters.

The young man who acquires success in this matter will be jealous in conserving his strength and not deliver his point to excess, which ruins his health and weaken his physical advantages. Parents sometimes fear sending their children to a fencing salle because they fear for their disputes; they should be reassured, there is much less danger in this sort of place than in any other type of meeting place. Young men must always exercise in the presence of a master as the presence of a chief must dissipate these malformed, unfounded fears. The master is interested in maintaining his reputation and if, by chance, he finds a turbulent youth among his students he will not tolerate for an instant to make a sacrifice for the tranquility of the greater number.

It is, I dare to say, the duty of parents to give to their sons this type of education if they wish to avoid the danger learned from their ignorance of arms. It is well proven that those who know the principles of this art risk much less. When two people who do not know how to fence have the bad fortune to have an affair both will suffer mutually; on the contrary if they have practiced they will avoid danger and be injured less severely; moreover one of the combatants will not be injured. This sole consideration must determine that the young must live with passion and study arms. Neighbouring peoples felt such utility of the relative establishment of this art that the heart of London has come to pay large fees to French masters of arms who hold public schools. Germany, Poland, Russia, Spain and Sardinia follow this example and it is for us to revive from among this noble emulation that I am determined to this day place the principles of M. La Boëssière, while adding that he had a long practice and experience of more than forty years of teaching. I repeat I write however more for the masters than the pupils; the former will find in this work their duties outlined, the latter the principles upon which they must never depart if they wish to progress or conserve the talent that they have acquired.

Treatise on the Art of Arms by La Boëssière- Eulogy on the Sword

Eulogy on the Sword
The sword is the oldest known weapon and was a constant symbol of honour among all warlike peoples. All the time that a man carried a sword he had respect and honour as whosoever dared to insult him ran the risk of being severely punished. It is this arm that founded empires, which maintained glory and by which the Greeks and Romans became illustrious, even modern nations,such as the French, have always enjoyed the advantage of its glorious use. Until the invention of gunpowder it was the power behind armies and the decider of combat. It is by this that the Persians and the Medes established their presence. The Greeks who followed owed their success to it and finally it was by it that the Romans came to conquer the entire world.

The sword was held in great veneration among those who are republicans, who considered it the most beautiful ornament of a warrior; young men waited impatiently for the age at which they could take up the robe of manhood; placed later among the legions they enjoyed the honourable right to use the sword in defence of their country.

The use of arms is useful for the health and good bearing of young folk. Among all peoples the sword is mark of a chief and of all symbols is again represents authority.

The ancient Gauls, our fore-fathers, had no less respect for this arm than the people who preceded them on the path to glory. In the brilliant times of chivalry an august and solemn ceremony took place at the reception of a knight; in this place of military baptism accolades were given to him along with a sword. The valiant Francois I wished to receive the hands of Bayard at the same place where he famously gave battle at Marignan, named “The Battle of Giants”.

Also when a prize was received by a knight he took for his motto “God, the King and his Lady”; he swears upon his sword to uphold this for to violate it would be to bring about infamy. It is for this reason that all warlike peoples made the art of arms an essential part of their education. In Greece, which did not have union with its neighbouring and rival small republics, every citizen was a soldier from birth. They applied a good hour to exercises which must be used in defence of the state, and the art of arms was in the front line at the gymnasium.

In Rome, where citizens alone were permitted the honour of carrying arms, the safety of the state resided in its military discipline, and this discipline was maintained by assiduous exercises which kept the young men healthy. Whereas a soldier learns to handle his sword with dexterity which he is given to abandon. This enthusiasm for valour only contributes a little to the grandeur of the republic.

The French at all times made it an honour to export all manner of exercises of the body to their neighbours and the education of a gentleman was incomplete if he had never learned to fence with arms; or rather if he neglected all other instruction at first. Everybody says that the brave Duguesclin never wanted to learn to read due to a prejudice which fortunately no longer exists; a gentleman, not knowing the art of arms, is looked down upon by all other sciences, as unworthy of being truly noble.

The art was protected in France, the king preserved the institution with regulations and statutes which honoured at the time the sovereign and artists. Louis XIV, with an article in one of these statutes, accorded six masters, after twenty years of practice, letters of nobility for them and their descendants; he also accorded them as arms two crossed swords on a field of azure, four fleur-de-lis, with a helmet mounted above. This recognised honourably the services which they had rendered to the state.

At the coronation of the king the Constable, who represents the army, carries a sword to uphold authority. It is thus of great importance, when our warriors renew the high feats of arms of our doughty ancients, that every man called to the defence of the state learns to use a sword. While acquiring the necessary skill for handling it the French further increase their natural agility; it prepares them and accustoms them to seeing a blade and not being afraid of it; by this method they gain intrepidness which renders them, with white arms, the terror of their enemies.

It seems very essential that parents themselves determine to give to their children, who will have the honour one day to uphold the glory of their country, instruction in the handling of arms by which this will be an indication of.

There are circumstances where, despite artillery and the bayonet, the sword has an absolute usefulness; for example when grenadiers are obliged to climb a cliff they can use nothing else but a sabre, which is nothing more than a sword with a cutting edge. It must be that they know to chop, thrust and parry correctly; one will be convinced that it is only by long use and with the principles of a reasoned method that they will acquire this advantage.

The greater part of old military men who I have known assure me that a soldier skilled in arms is more adroit in a melee and as a consequence will be more harmful to the enemy. The cavalier who is not rendered familiar with the use of his arm will make only large, poorly-aimed blows; these are the sort of convulsive movements which, transferred by the reins to the mouth of his horse, upset the animal and exposes his rider. Such a cavalier, far from being handy with his arm and who does not how to wield it, is nothing but an embarrassing and dangerous neighbour.