point thrusts, and wide sweeping cuts are used. The three principal parries are the "head ” (or “ high prime”) with horizontally held blade; -the “tierce” on the right, parrying cuts at the left side of the head and body; and the “ quarte, ” on the opposite side.
The modern style of fencing with the lightfsabre was perfected in Italy during the last quarter of the 19th century, the most important pioneer in its development having been G. Radaelli, a Milanese master, who 'became chief 'instructor of the sabre in the Royal' Italian Military Fencingullcademy, in 1874, when it was transferred to Milan from Parma. Radaelli’s system was described by F. Masiello, an army officer whose works remain the chief authority on the light sabre. An old-time rivalry between the Neapolitan and the northern 'Italian fencing methods came to a crisis when M. Parise, an expert of the southern school, secured first placefor foil-fencing in a tournament instituted by the military authorities, the result being the transfer of the Military Fencing Academy- to Rorneunder the title of Scuola M agistrale di Roma. There was, however, less difference between the two schools in sabre'than in foil play, and the Radaelli system for the former was so generally esteemed that a master of that method was established at the Roman Academy.
The light fencing-sabre is made up of two principal parts, the blade and the handle. The blade, from 3312 to 34 in. long and slightly and gradually curved from hilt to point (which is truncated), has the tongue, or tang, which runs through the handle; the heel, or thick uppermost part of the blade fitting on to the guard; the edge, running from heel to point; the back-edge or false-edge (sometimes not allowed), running from the point along the back for about 8 in.; and the back, running from point to heel (unless there is a back-edge). 2The»blade is fluted on both sides from the heel where the back-edge begins! The handle consists of the guard, of thin metal, extending from the pummel to the heel of the "blade, 'to protect the hand;fthe grip (of wood, fish-skin, or leather, often backed with metal), shaped to tit the hand, through which the tongue of the =blade passes; and the pummel, or knob, a button which' finishes offthe handle and holds the tongue in place.
The recognition of the light fencing-sabre as a practice weapon only, related to the heavier-military sword as the foil is to the duelling»sword, at once. makes apparent the difference between the play of the two cut- and thrust-weapons. As a light cut with the military sabre will be of little advantage in battle, however prettily delivered, it is evident that irrordertto produce a shock of impact sufficient-to put an adversary out of action, a wide sweeping movement with the sword (moulinet; Ital. molinelli) is necessary. With-the 'fencing-sabre a hit is a~ hit if properly delivered with the edge or point, however light it may be; ' For hits of this kind less force is necessary, and wide moulinets are not only useless but dangerous, sincetin 'making them the point must .for a moment be directed away from the opponent, and momentary openings are:thus left of which the opponent may take advantage by attacks on the preparation. For this reason the cuts of the Radaelli school are delivered with moulinets of very narrow radius, made a.sfmuch-as possible by a movement of the elbow only, keeping the point directed menacingly towards the opponent.” Again, whereas in battle a' wound on any part of the person may be effective and the school of the heavy sabre has to reckon with this-fact, in fencing with=the light- sabre- no hit lower than the hips counts, although hits upon any part 'of the person above the hips are good-; in' England dufts on the outside of the thigh are allowed. This' somewhat narrows the scope of the fencing-sabre, just as the scope of the foil is narrower than that of the duelling sword.
The military sword is, on account of its weight; usually held firmly in the hand with the thumb overlapping the fingers; but in holding the light sabre the thumb 1st placed on the flat of the grip, giving a perfect command over the movements of the blade, called by the Italians pasteggio. Both attacks and parries are executed 'as narrowly as possible, avoiding the wide movements common in heavy- sabre-play, and the moulinets (which are ellipses described by the point as it is drawn back for a cut) are made, not 'by swinging the sword round the head, but by drawing back the hand held in front of the body, and with the point directed forward;-l The thrusts with the light sabre are made with the thumb to the left; whereas in the French school it is turned down, so that the blade curves upward. The modern school allows no such parries as the“- St George, ” in executing which the blade is held at right angles to the body, but teaches that the point should always be directed towards the adversary asmuch as possible. The attacks are/ either “ simple, ” “ complex ” or “ secondary, ” and bear a general resemblance to those in foil-fencing (q.1v.); simple attacks being- such as are not 'preceded by other movements, as* feirits; complex attacks those preceded by feints, advances, ' or some other preliminary manoeuvre; and secondary attacks those carried out while the adversary is himself attacking or preparing to attack. The parries also correspond in nomenclature, and generally in nature, to those used in foiliplay, but no circular'or counter-parries are taught, though 'sometimes empioyeedy-Terms
used in Sabre-Fencifig.—"' Absence of theblade ”: aiguard so wide as apparently to 'leave the- body uncovered, so as to entice the adversary to attack. .“ Appuntata ” -(Fr. remiss): a supplementary cut or thrust after the failure of an; attack, when the adversary replies slowly or with a feint. " Assault ” (Ital. assalto), a regular bout. “ Attacks on the blade " (see below under “ beat, ” “ disarmament, " “ graze ” and “ press ”). “ Beat " '(Ital; battuta): a hard dry strokeon the adversary's blade, -in order to drive it aside and pushhome an attack; a “ re-beat ” isimade by beating lightly on one side, then dropping the point quickly 'under the adversary's blade and beating violently on the other side. Cavazione (see below under- 'f disengage -”). “ Completion "' (see 'belowvlunder riposte). “ Controtempo ': to parry an attack in such, a manner that the adversary is hit at the same time. “ Deceive the blade ": when the adversary attempts an “attack on the blade ” to avoid contact by a narrow circular movement of the point and hand; this i's gener4 ally followed-by a straight thrust or cut, as the force fof his 'blow will carry his blade .wide and leave opening. “ Development " (attacks on the): attacks made while the adversary is making a complex attack, 'i.e. one consisting of at least two movements (felnt and real attack). Deviamento (see below under” press ”). ~' Disarmament " (Ital. sfofzo): striking the adversary's weapon from his hand by means of a sweeping stroke along hisblade from the point downwards.. “ Disengage" (ltal. Cavazione): being on guard (engaged) in one line, to draw one's point under the adversary's sword and lunge on the other side: to avoid a cut by retiring the right foot behind the left; a time-cut -at the adversary's 'arm is usually made at the same time. “ Graze " (ltal. filo): to run one's bladed along that of the adversary and push home the attack suddenly. " Invitation guard ": a guard in any line with the blade intentionally so wide that the adversary lunges into the apparent opening, ony to meet prepared counter. Incontro (Ital. 'for 'double-hit): both fencers attacking, at the same instant. “Lines” (of engagement): the four quarters into which the trunk is divided, attacks and parries opposite them being called after them. These are, with the hand held in “supination” (thumb on top of sabre-grip): upper right, “sixte”; upper left hand, “quarte”; 'lower right “octave” (not used in sabre); lower left “half-circle,” (not used in sabre). When the hand is held in “pronation” (thumb down) the lines are: upper right, “tierce”; upper left, “prime”; lower' right, “ seconde "; lower left, “low prime " (“seconde” generally used). Quinte and septime are also lines of the Italian school. . “Lunge”: the advance of the bod by stepping forward with the right foot in order to deliver a cut or thrust. “ (apposition T': pressing the hand and blade in attack towards the side the adversary's blade is on; the object being to occupy his blade and cover one’s person from a “riposte.” “Press”: forcing the, adversary's blade aside by a Sudden push in order-to create an opening foran attack, either directly or on the same side after he has recovered his blade and partied too wide on his supposed threatened side. “Preparation” (attacks on the): mostly made by “deceiving” when the adversary attempts a beat, graze or press., “Re-beat” (see " beat ”); "' Remise " (see “appuntata”)., “ Riposte'?: a quick cut or thrust made after partying an attack, without lunging. When the riposte in its turn is parried and replied to with another riposte, the French call this second riposte the tae-au-tac. Sforzo (see “disarmament”). Scandaglio: studying an opponent's style at the beginning of a bout. “ Stop-thrust ”»; a direct thrust made as the adversary beginsa complex attack, i.e. one of= more than one movement. Thestopthrust must get home pal bly before the adversary's attack or the attack* alone is countecliatherule of scoring beingcthat he who is attacked must take the party. “ Time-cutt": a quick slash at the adversary's arm as he begins a. complex attack. ' Toccato/: ltal. for “ hit!'?, Touché!: French for “hit!”
Manchette-Fencing (Fr. manchette, a cuff) is a variety of sabre-play popular in Germany, in which the iencers stand at such it
