SYNOPSIS OF SABRE FENCING

Translated by Sebastian Seager 2020, last updated 2021/08/12

 Sabre
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General notions
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Every fencing system is generally based on the same blows and parries. What
differentiates the various systems from each other is the method with which these blows and
parries are performed.
Among the various methods in use, that which is put forward here differs from the others
in that all the blows are performed through movement of the forearm, making the elbow the
pivot point instead of the wrist. In this way, the sabre stays firm and balanced in the hand,
the blows are directed with exact direction of the edge with force and speed, noting to assist
the movement with the shoulder, and one will have the benefit of being able to move the
sabre from one position to another in the shortest time possible, in order to be quick in the
parries and blows. It then becomes easier to disengage one’s sabre from the opponent’s, as
it covers a greater space; easier to find the path for different blows from the same position; in
the parrying movements, easier to choose the most convenient position for both the parry
and the riposte—in a word, this method is rich in parries and blows. Note, however, that by
saying that the main pivot point is the elbow, assisted of course by the corresponding
movement of the shoulder, it does not exclude all movements of the wrist in sabre fencing,
as they can in some cases be useful in recovering our blows and freeing the sabre. Even in
such cases, however, the movements of the wrist are secondary; the main action is left to
the movement of the forearm. These are the main foundations which inform this method of
fencing; the study of which cannot fail to give an immense benefit for the physical
development of the body. Even more, it educates the mind to an elevated state, rouses
intelligence, and is thus useful to everyone in general, and to those who aspire towards a
military career especially.
 PART I
Notions and division of the sabre
The sabre serves to strike with the point and the edge, and is considered to be divided
into three main parts: grip, guard, and blade. In the grip there is the backstrap, the spine,
and the button of the tang. In the guard there are the branches, and it is the guard which
serves to protect the hand and forearm. Regarding its strength and graduation, the blade is
divided into five parts, each of which is about a fifth of its length. These five parts—starting at
the point—are ordinarily called double weak, weak, middle, strong, and double strong. The
blade also consists of the spine, the false edge, the edge, and the fullers. The sabre also
has two centres. The centre of gravity and the centre of percussion. The first is the point at
which the full weight of the sabre is considered to be concentrated, upon which the sabre
can be supported and stay in equilibrium. The centre of percussion is the point on the blade
which produces the greatest effect of any other in a blow with the edge.

Method of gripping the sabre

The sabre is gripped in the whole hand, with the thumb extended along the grip, and is
always enclosed with the other four fingers. The end of the backstrap, which protrudes
somewhat from the soft part of the hand (the metacarpus), serves as a point of support when
striking. In the progression of the lessons, the sabre may be gripped in a diagonal
position—that is, with the hand placed in such a position on grip that greatest amount of
force is communicated to the sabre by the little, ring, and middle fingers, and that the thumb
and index fingers glide along the grip depending on the movements, be they blows or
parries.

Position of Attention — before beginning the lesson — or 1st Position

Heels together and feet perpendicular to each other. The body is upright and profiled. The
sabre is gripped in the above manner, arm extended, edge of the sabre to the outside, point
roughly twenty centimetres from the ground and along the line of the right foot.

Present the Sabre — abbreviated Present-Sabre

From Attention, in a lively manner bring the sabre into a vertical position with the point up,
arm extended and edge to the outside. Then turn the edge to the left, without rotating the
grip in the hand. Then lower the sabre, bring the guard in front of the chin with the elbow
against the flank.
 Salute (to be done before beginning the lesson)
From the position of present-sabre, raise the sabre in a lively manner and bring the hand to
the height of the right temple, about a palm in front of it. Then run the thumb along the left
face of the grip, and keeping the edge of the sabre turned to the left, raise the elbow well
and incline the point backwards. Then lower the sabre strongly, bringing the guard close to
the right thigh (still keeping the edge to the left) and holding the point 10 centimetres from
the ground. When the salute is instead performed from the position of attention,
present-sabre is done first and then the salute. In later lessons this (which takes the name of
simple salute) is performed in the following manner: from the position of Attention come on
guard and do two appels, and passing again into the position of Return—that is, returning to
present-sabre—finish the salute in the manner explained previously. The salute is also
performed by taking a step forward or back at the same time, or a step laterally to the right or
left and also with a turn1 to the right or left. For the execution of the salute with the step
forward or back, to the right or left, the movement of bringing the sabre into the position of
present-sabre is done at the same time as when the leg moves to start the step. The
movement of lowering the sabre is performed at the same time as the leg is moved to
complete the step. For the execution of the salute with the turn, present-sabre is done first
and then the turn at the same time as the lowering of the sabre.

The Guard
The guard means the position which is the most appropriate and advantageous, both for
striking and parrying, in which the body is well-balanced, through which one can move the
body easily together with the movements of the sabre, marching forward and back with the
greatest promptness and ease.

Position of guard in third

To come into this position, four movements are performed. On one, being in the position
of present-sabre, bring the left hand to the lower back with a closed fist. On two, the sabre is
brought forward in the direction of the right shoulder, holding the arm semi-extended with the
grip at the height of the same shoulder, the point in the direction of the opponent’s head,
edge turned to the right. On three, keeping the feet firm, bend the knees until both knee caps
are directly above the toes of the feet, and thus the weight of the body will be shared
between the two legs. On four bring the foot forward by about two feet, beating it on the
ground with liveliness. In this position, the left knee should be directly above the toes of the
left foot, and the right knee directly above the arch of the right foot. One will then come on
guard in three, two, and a single movement, progressively eliminating the pauses and
combining the four movements into one.

1
TN: ‘movimento di fianco’
 The Position of Return, or, Returning to Present-Sabre
Retake the position of present-sabre, reuniting the right foot to the left and raising the
sabre back into the indicated position (see fig. 5).2

Appels, or beats of the foot

To perform one or two appels, beat the right foot on the ground once or twice, making
sure to raise it well so as to balance on the left leg.

Marches
The march means the movement (step) which is done to gain ground forward or back.
The step forward is performed by bringing the right foot forward and moving the left so as to
always keep the same position and distance between the two feet, keeping the body
well-balanced and never disturbing the exact position of the guard. The same is done for the
step back, but by first bringing the left foot back instead of the right, and also doing an appel
after finishing the step. For each of these two steps one must advance or retreat by about
two feet. The advance is called entering measure, and the retreat breaking measure.
Measure refers to the correct distance which must be maintained by the competitor so that
when he strikes, he is neither too close nor too far from the opponent.

The double step back

This consists of two movements: to perform the first, bring the right foot two feet behind
the left, avoiding it in its movement; and to perform the second, similarly bring the left foot
two feet behind the right, then beat the right foot on the ground to find the guard position, i.e.
making one or two appels. With these movements, one will break measure by around four
feet.

The jump back

The jump back is nothing more than the double step back done with a leap and joining the
two movements into one, breaking measure by about six feet. In all these forms of marching,
one should endeavour to lose one’s composure as little as possible.

The parries
The parry is the movement which the fencer does with the sabre to defend the part of the
body which the opponent aims to strike. Ordinarily the parry is accompanied by a
withdrawing movement of the torso.
There are nine simple parries and they are called 1st, 2nd, 3rd, 4th, 5th, 6th, 7th, low 3rd,
and low 4th.

2
TN: The original text mistakenly refers to fig. 11.
 Parry of 1st
Hand at the height of the head and about a palm in front of the left cheek, forearm
horizontal. Edge to the left, point down.

Parry of 2nd
Elbow at the height of the right shoulder, arm bent, hand at the height of the right breast
and about 25 cm away from it. Edge to the outside, point opposite the right knee.

Parry of 3rd
Arm bent, elbow at the height of the breast, hand opposite the right shoulder, edge to the
outside, point directed at the opponent’s head.

Parry of 4th
Arm bent, like in the previous parry. Edge to the left, hand opposite the left shoulder, nails
turned up, point directed at the opponent’s head.

Parry of 5th
Nails forward, metacarpus at the height of the right temple and about 20 cm away from it.
Edge up, point above and to the left of the head, about a palm higher than the hand.

Parry of 5th
Nails to the rear, hand to the left with the metacarpus at the height of the temple and
about 20 cm away from it. Edge up, point to the right and about a palm in front of the grip.

Parry of 7th
Hand at the height of the head and about a palm away from the right temple, edge to the
right, point down with the blade almost parallel to the flank.

Parry of low 4th

Right foot about 50 centimetres behind the left with the heel raised from ground, both
knees bent, the weight of the body on the left leg. The sabre placed almost across the body
in front. Hand opposite the right hip, about a palm in front. Point at the height of the head,
slightly inclined to the left, edge down.
 Parry of low 3rd
Right foot behind the left, etc. (as in low 4th). The grip of the sabre is in the direction of
the left hip, about a palm in front of it. The point to the outside, edge down, elbow supported
by the flank, sabre almost across the body (N. B. In later lessons the last two parries will be
done without the withdrawal of the right leg).

Marching parries
For the execution of these parries, one must keep to the following rule: In the step
forward, the chosen parry is performed at the moment in which the right foot is about to
touch the ground; in the step back, and in the double step back and jump back, when the
right foot is about to touch the ground. Note, however, that the movement of the sabre must
always somewhat precede the movement of the body, and that when two parries are done in
the tempo of the step, one must do the first parry when moving the foot which begins the
step, and the second parry in the tempo in which the foot is placed on the ground at the end
of the step or jump.

The Feint-Thrust, or half-lunge

To perform the feint-thrust, advance the right foot about 15 centimetres and bend the right
knee somewhat. Extend the left knee well and bring the body forward, carrying all the weight
of the body onto the right leg. At the same time, extend the right arm so that the sabre is
horizontal with the edge to the right, forming a straight line with the arm and shoulder. From
this position it is easier to study the various molinelli.

Molinelli
The molinello is the movement of rotation which is made with the sabre while striking a
blow. There are six molinelli:
Two to the head, two rising, and two to the face, depending on whether the rotation of the
sabre is high to low, low to high, or horizontal. The purpose of the molinello is to loosen the
arm, make the body flexible, keep the sabre firmly in the hand and well-balanced to direct
the blows with the edge of the blade with speed and precision.
Note — The exercise molinelli are always begun from the position of feint-thrust; those
with a lunge are from the guard position.
The molinello to the head from the left is performed first in three movements. By turning
the hand from left to right with the nails to the outside and the edge turned up we will have
the first movement.
To make the second movement, lower the point perpendicularly and bring the hand to the
height of the head, about a palm in front of it, keeping the elbow raised in a way that eyes
look forward between the forearm and the sabre with the edge turned to the left, and at the
same time bring the weight of the body evenly onto both legs, as in the guard position.
Finally, the third movement is made by bringing the sabre and body back, bending the left
knee even more and extending the right completely. The molinello will be completed by
making the sabre describe a circular arc from low to high and then from high to low,
accompanying the forward movement of the sabre with movement of the body, and having
the former precede the latter. With the movement completed, the right arm ends up extended
such that the hand is at the height of the chin, the sabre almost horizontal with the point four
fingers higher than the hand and the edge down, the left leg extended, and the weight of the
body on the right leg.
Note — Having acquired sufficient ability in performing this molinello in three movements,
move on to doing it in two and in a single movement, and this will also be done for the rest of
the molinelli. The sole purpose of performing the molinelli in multiple movements is to
facilitate their practice, and make it easier to understand the path which the sabre must
follow, the direction which must be given to the blade, and the precise movement and path
which the hand and forearm must follow in each of them.
In the group of elementary exercises of the various molinelli, one learns at the same time
the various movements which must be made with the sabre in the progressive execution of
the numerous blows and parries. So, when practising all the blows, sforzi, compound
parries, etc. further on, one will gradually acquire that speed of natural succession in the true
action3—that is, in the bout, where energy, intelligence, cunning, and practical ability all
come into play.
The molinello to the head from the right is performed when the edge of the sabre is first
turned to the left — first movement.
Then let the point fall perpendicularly to the ground, raising the hand somewhat, bringing
it slightly above the head, about four fingers away from the right temple. The sabre is as
close to the body as possible, with the edge turned to the right, eyes looking between the
forearm and sabre. As in the molinello from the left, the weight of the body is also brought
back onto both legs, as in the guard position — second movement.
Note — In order to better perform the movement of turning the edge, lowering the point,
and raising the elbow, it will be useful to assist the movement of the sabre by bending the
lower back.
Finally, bring the sabre and body back (as in the molinello to the head from the left) by
bending the left knee and extending the right. Then complete the molinello by making the
sabre describe a circular arc, as already stated, grazing the body, and accompanying the
advancing of the sabre with movement of the body. In a word, like in the position described
in the molinello from the left — third movement.
The molinello to the face from the left is also performed first in three movements.
With a turn of the hand, rotating the nails up and edge to the left (keeping the sabre firm
in the hand), we will have the first movement.
For the second movement, raise the sabre through movement of the forearm to bring it to
the height of the head, about a palm away from the left temple, keeping the arm bent and the
sabre vertical with the edge turned to the left, the weight of the body shared between the
legs, as was said for the above molinello.
Lastly, raise the hand vertically above the head and let the point of the sabre drop back
somewhat, bringing it into a horizontal position at the height of the shoulder, then describe
with it a horizontal semicircle, extending the right arm well. At the same time, transport the
weight of the body back onto the right leg such that when the movement is complete, the

3
TN: ‘quella velocità propria dell’avvicendarsi naturale nell’azione vera’
right arm is extended, edge to the outside and obliquely up, point a little higher than the
hand, and the hand a little higher than the shoulder. Thus one will have the third movement.
The molinello to the face from the right (starting in feint-thrust with the edge to the left) is
performed by turning the nails down, edge to the right, with which one will have the first
movement.
Then by raising the point through movement of the forearm (as in the molinello to the left),
bring the hand about a palm away from the right temple, nails turned forward, the sabre
almost vertical, edge to the right, and the weight of the body on both legs, and thus we will
have the second movement.
Finally, by raising the extended arm4 vertically, let the point of the sabre fall back
somewhat and lower it horizontally at the height of the shoulder, then making it describe a
horizontal semicircle, extending the right arm well and bring the weight of the body back onto
the right leg such that at the end of the movement, the arm is extended, the edge to the left
and obliquely up, point a little higher than the hand, and the point a little higher than the
shoulder. Thus one will have the third movement.
It will be noted that in this molinello, it is necessary to bend the lower back well in the act
of lowering the sabre and carrying it forward, so as to make the execution of the movement
easier.
The rising molinello from the left is performed with the same rules as the molinello to the
face, first in three movements, then in two, and in a single movement, and it only differs for
the reason that instead of making the sabre describe a horizontal semicircle at the height of
the shoulder, after the first and second movement, it is made to travel from high to low and
then from low to high, grazing the flanks. Having completed the movement, the edge of the
sabre should be turned obliquely up, the hand at the height of the chin, and the point in the
direction of the opponent’s flank.
The rising molinello from the right is performed with the same rules as the molinello to the
face from the right, and as was said for the molinello from the left, note that for this molinello,
more than in any other, the lower back must be bent after the first and second movement in
the act of completing the third so as to reduce the difficulty of execution and to achieve the
greatest possible accuracy in the direction of the edge (which should be turned obliquely up,
hand at the height of the chin, nails to the rear, point in the direction of the flank), as well as
in its reach and velocity.
Note — In all the aforementioned molinelli, one must never forget to raise, tighten, and
bring back the hand in order to achieve the utmost force and speed, because the speed and
direction of the blow are connected to the intensity of the force and the firmness of the sabre
in the hand.
The exercise molinello is a movement done with wide rotation, with the aim of making the
blows given with a regular molinello easier. Later on the radius of the arc will be restricted,
with which one will then achieve the greatest speed.

Blows by disengagement or Coupés

The coupé is a blow to the head (or face) which, instead of being made by molinello, is
made like a hammer blow through the strength of the forearm, following the shortest path of

4
TN: This is most likely an error, perhaps an accidental printing of ‘disteso’ (extended) instead of
‘destro’ (right).
a semicircle. In some cases, it may be necessary to completely disengage the sabre if it is
engaged by the opponent’s sabre. In order for the coupés to be successful, they must be
fast and the sabre must be tight in the hand. The coupé is a blow which is struck from
specific engagement or parry positions, and, if performed with great speed and precision, is
very difficult to parry, especially when struck to the face.

Molinelli alternating with parries

Repeating the same molinello many times, or alternating between the various molinelli,
combining them with different parries and different marches, constitutes the exercise
distinguished by the name of alternating molinelli. Done with the correct progression, this
exercise benefits agility and ease in handling the sabre, teaching to move it through
movement of the forearm, with the relative assistance of movement of the body, and keeping
the sabre firm and balanced in the hand. Additionally, through this one learns the method
and timing for turning the edge of the sabre when more molinelli must be done from the
same side.
Exercises of this type are many and varied, and when they are done properly and
precisely, they always give the best results for starting the lesson with the lunge.

The Lunge
The lunge is the movement which is performed from the guard position, extending the left
knee and advancing the right foot as far as the individual’s proportions allow, in order to be
able to carry the blow which one strikes as far forward as possible. In this position the weight
of the body should be on the right leg and the knee somewhat bent forward. In the lunge, as
a rule the distance between the right and left heel should be around four feet. The longer the
lunge is, the more advantageous it is, but it should never be exaggerated to the point of
putting oneself off-balance, in order to be able to easily parry the riposte in time. The
preparatory or engagement position, for the execution of the blow with a lunge, differs from
the other two guard or parry positions only in the fact that in the first, the arm must be
extended and the point of the sabre a little higher than the hand, in order to more easily be
able to perform the desired blow.

The Thrust
The thrust must be struck at the chest in a way that the point of the sabre makes a
straight line with the hand and right shoulder, with the edge to the right, the body bent
forward in the lunge position. However, make sure to bring the point about four fingers below
the line of attack before advancing the foot, because the point tends to rise not only due to
the lunge, but also due to the increased pressure of the thumb when extending the arm.

The various blows with a Lunge

When the molinello is performed with the lunge, this is then called a blow, and depending
on its direction, it assumes the proper name of to the face, to the head, or rising, and inside
or outside, etc.
 For various blows see the six aforementioned molinelli, the various coupés, and the
thrust. The other blows to the arm, the face, and the chest are always related to the
above-mentioned molinelli. The traversone (which passes through the blow to the head from
the left and ends with the inside rising blow) and the blows to the face by molinello to the
head also pass through the molinelli to the head, and the blows to the arm through the
molinello the head and face.
Note that in order for the lunge to be advantageous, it must be done at the moment the
sabre is about to finish the blow, and therefore the sabre must always precede the
movement of the foot. Both in the lesson and in the bout, the name of inside and outside is
relative to the opponent’s body.

The blow with parry and riposte

Any regular movement made with the sabre aiming to strike the opponent is called a
blow. Every time a blow follows a parry, it is a riposte.

Feints
The feint is a movement which is made with the sabre as if one wishes to perform a given
blow, without bringing the foot forward, and as soon as the opponent tries to parry this
movement, one instead strikes another target. The feint is therefore done to deceive and
oblige the opponent to cover one target in order to then touch him where he is most
exposed. But in order for the feint to achieve its purpose, it must be done such that it is
believed to be the beginning of a real blow, and therefore it must be done naturally and
precisely, accompanying it with the eyes and movement of the body. The better the feint is,
the more easily it will provoke a parry. In some cases it can happen that the feints do not
produce the desired effect, either because they do not parry in the presumed manner, or due
to the lack of speed or precision with which they were carried out or from the one who was
parrying. In the 1st case, one must change the previously established play; in the 2nd case,
one must improve in order to deceive the opponent; in the 3rd case, one must precede the
feint with a real blow, then transform the latter into the former. For this reason, it will be a
very important study to accustom the eye to noticing the movements of the sabre and the
opponent, and by mastering one’s own intention and sabre, one will become accustomed to
stopping or continuing the action depending on the effect of the feint and the speed of the
parry.
Feints can also be doubled, which is when two blows are feigned. All of them must be
done, as was said, very naturally and energetically. The feint is one of the movements upon
which the play of the bout is based, which is nothing more than a collection of actions. An
action, in a generic sense, is any movement which the fencer makes either with the sabre,
the body, or the sabre and body together, both when making a parry and when striking.
Therefore there are active attacking5 actions, parrying actions, calling or invitation actions,
and finally those which are called probing actions, because they serve to explore the
opponent’s intentions through testing attacks, etc.

5
TN: Or active engagement actions
 By convention, the action is said to be in first intention when a simple blow is performed,
second intention when it consists of one feint and a blow, third intention when two feints and
a blow are done.
This is said to be by convention, and here is the reason why. Before carrying out any
blow, the fencer must have already thought of the consequences and calculated the effects
which can be produced by that blow. So, when he strikes, it is always on a previous study,
on a single intention which he carries out and on the intention of achieving a fixed goal. The
predetermined action can, however, undergo as many modifications as there are
actions—that is, alternating the various tempi, counter-times, arrests, parries, and jumps
back which happen in the development of a bout. These elements contribute to modifying
that intention (as it is also called) and nothing more.

Compound Parries
Compound parries differ from simple parries only through the path which they take in
order to reach the position which they have in the simple parries. There are two kinds of
compound parries: yielding and counter. Whenever the parry is performed by passing the
sabre under the arm, either to the right or left of the opponent’s body in order to parry at the
moment in which he draws back the sabre to strike, it is a yielding compound parry.
Whenever the parry is done with an opposing rotation in order to move counter to the
opposing sabre, it is a counter compound parry.
Simple parries are always preferable, but the compound parries are done when parrying
with simple parries would not allow certain predetermined ripostes, and in order to still be
able to move into any position which one deems more convenient and opportune.
Example — A strikes at B’s head. If B ripostes immediately to the inside face after
parrying, and instead of parrying simple 4th, A wishes to parry 1st in order to in turn riposte
to the head, he will need to use yielding or counter parry.
In general, if a yielding parry can be performed from a given position, a counter parry can
also be done. There are some exceptional cases. The yielding parry is preferable when one
is outside of measure, the counter parry when one is in close measure. To perform these
parries, the sabre must be firm in the hand in order to disengage it from the opponent’s
sabre and to not get caught on the opponent’s body. There are six yielding parries and five
counter parries. The simple parries of 1st, 2nd, 3rd, 4th, 5th, and 6th can be both yielding
and counter parries, and parry of 7th can only be yielding.

Sforzi
The sforzo is a blow which aims to deviate the opponent’s blow or remove the sabre from
their hand by beating the opponent’s sabre with maximum force in a given position or in
given movements.
The sforzi are divided into simple sforzi and compound (or change) sforzi. Simple sforzi
are those in which the position of the sabre does not change in their execution. Change
sforzi are those in which the position is changed. Simple sforzi can be performed from the
engagement positions of 3rd, 4th, and 2nd, and from the parries of 3rd, 4th, low 3rd, and low
4th. Change sforzi can be performed from the three aforementioned engagement positions
and from all the parries. These latter sforzi take their name from the position through which
the sabre passes on the completion of the sforzo, and they are called change sforzi in:

6th from the position of 5th (similar movement to the coupé)

5th from the position of 6th (similar movement to the coupé)
4th from the position of 1st or 3rd (similar to the coupé in 3rd and the molinello to the head
from 1st)
th th
3 from the position of 4 (identical to the coupé)
Low 4th from the position of 1st (identical to the molinello to the head, both with nails down
and nails up, the latter being called reverse)
rd nd
Low 3 from the position of 2 (identical to the molinello to the head)

The sforzo from the engagement or parrying position of 2nd has its own name of sforzo of
half-circle (the movement is similar to the rising molinello from the right).
Both simple and change sforzi can be disarmament or deviation sforzi. Disarmament
sforzi are those in which the sabre strikes on the side of the blade opposite to the opening of
the opponent’s hand, and deviation sforzi are those which strike on the other side.
Sometimes the disarmament sforzo can become a deviation sforzo, and a deviation
sforzo a deviation sforzo, depending on the amount of force imparted on the sabre.
The sforzo of half-circle is the easiest one to carry out, especially when the opponent has
the sabre in high 2nd or in the position of feint-thrust. Sforzi can be further classified into
those performed with the edge and those performed with the spine of the blade.
Simple sforzi are generally done with the edge, and change sforzi with the spine.
To perform a sforzo, it is necessary that it is accompanied by movement of the body and
forearm, making sure to seize the right moment, so that the desired effect can be achieved.
It is also necessary to have the sabre firm in the hand and accompany it with the eyes, so
that the two sabres have to meet at the double strong when striking; doing otherwise would
cause the sforzo to be unsuccessful, and could in fact bring harm rather than benefit. Due to
the measure in a bout, an exception may be made solely for the sforzo of half-circle, which is
that instead of the two sabres meeting at the double strong, the sforzo will be done by
beating the middle of one’s sabre against the centre-weak of the opponent’s sabre, noting to
always precede the sforzo with a glide in order to gain the grades,6 and making sure to be
very cautious when performing it for the explained reasons. All the sforzi consist of two
movements: the raising and the blow. The sureness of the sabre in the hand, the elasticity of
the arm, and the precision of the eye are all necessary requirements, without which it is
impossible for a sforzo to succeed. With the exception of the sforzo of half-circle and various
other simple sforzi done with the edge, the sforzi are only done as exercises in the lesson,
while the first ones are also performed in the bout.

The blow to the arm, or Manchett

The blow to the forearm, which strikes the competitor in the guard or parrying position, is
called the manchett.
This can be performed both above and below the forearm, and to the inside and outside,
depending on which side the competitor is more exposed. The attack manchett is ordinarily

6
TN: ‘lo striscio pel guadagno di graduazione’
performed against a fencer who holds their guard with the forearm exposed. In general,
then, the Manchett may be performed whenever the opportunity presents itself, noting the
rules given for the other blows. Its distinctiveness lies in the fact that it can be performed
even when outside the measure for other blows. Guard of 3rd is the guard which is most
exposed to this blow, whilst guard of high 2nd (the guard for the bout) is one of the most
secure.

The remise blow

When a blow has been performed against the opponent and he delays his riposte or stays
firm, thereby making it possible to repeat another blow without recovering to guard, a remise
will be performed. This is generally done with a simple thrust when the opponent removes
his sabre, and is done as a change or disengagement blow (with a semicircle from high to
low or vice versa, around the opponent’s arm, and ending like the simple thrust) on the
opponent’s parry. To perform this blow well, it is necessary to be at a suitable distance so as
to not be forced to bend the arm, and it will be necessary to withdraw the body slightly to
perform it better. This blow is very important in the bout, and it will be easier to perform the
greater one’s superiority over the opponent, fully utilising the maximum energy, and taking
into account the feeling of the blade and the correct distance. There is also the action of
redoubling on the march (especially in the bout), which consists of repeating an action at the
end of an active attack whenever the opponent breaks measure instead of parrying. Any
blow performed in this manner, either with or without a feint, also takes the name of
redoubled action or remise.

Part II
Tempo
The tempo is the blow which is performed at the moment in which the opponent performs
any action. It is only admissible on the opponent’s lack of speed or precision, being regular
only when he strikes with feints, or when one easily knows the opponent. The blow in tempo
is generally difficult to perform, because if it is performed a moment too soon or too late, the
precise moment in which it can be performed is lost. This is all that is needed for the blow to
fail, with the danger of also being touched.

Counter-time
It is that movement which, made with full resolution both with the sabre and the body,
serves to disrupt the opponent’s action, but without carrying out a real blow.

The Arrest
The arrest is merely a counter-time ending with a real blow (and more appropriately, with
a thrust); therefore the tempo, counter-time, and arrest are in the same family, but applied in
different ways.
 Disengagements in tempo against the sforzo
When the fencer notices that his opponent is performing a sforzo and disengages his
sabre so that the blow fails and then performs any blow with the same movement, it is then
said that he has made a disengagement in tempo.
The disengagement in tempo is difficult to perform, because one must first guess the
opponent’s intention and then pay close attention in order to know the precise moment to
disengage the sabre.
This should be done when the opponent’s sabre is about to touch one’s own, so as to
avoid the possibility of the opponent seeing the anticipated disengagement and stopping his
sforzo, thereby defeating the purpose of the disengagement. When this movement is done in
tempo, it is very beneficial due to the opponent becoming unbalanced due to his sforzo
being performed in vain, having not found the anticipated resistance on the sabre, and it will
be difficult for him to parry the blow which follows, and will then be touched.

The Guard for the Bout

The guard used for the Bout is that of somewhat high 2nd, in which the hand must be at
the height of the opponent’s flank,7 and the blade across the body such that the point
extends about a palm past the left flank, with the edge turned obliquely to the right.
This guard makes it easy to move to all the parries with small movements of the forearm,
especially those of 1st, 2nd, and 5th, which are the most rich in ripostes. This guard is all the
more advantageous because these three parries are the only ones which should be used in
the bout when possible. Furthermore, the forearm is protected, the parry is quick, and the
feint thrust is easy, being very advantageous, as this feint is the one which has a greater
impression [on the opponent]. Note, however, that in this guard position it will be necessary
to move the sabre forward and back and from high to low with rotational movement of the
forearm, without turning the edge. These movements of the sabre must always be
accompanied by a small movement of the body, which will help both in order to not tire from
always standing in this position, and also to keep the opponent uncertain as to what action
one wishes to attack with.

The Engagement8
In a generic sense, engagement means the act with which a fencer initiates any action. It
is called an active engagement, and can be physical9 or flying. The active flying engagement
is done with any action without contact between the two sabres; the active physical
engagement is instead that which is preceded by contact between the sabres. Then there is
the passive engagement, and this is also distinguished into flying and physical. When the

7
TN: As can be seen in the illustrations, it is the point which should be at the height of the opponent’s
flank, not the hand.
8
TN: Similar to Del Frate, the author of this text uses the term attacco to refer to both an attack in a
general sense, and the traditional idea of an engagement of the blades. It is often not clear which
specific meaning is intended, and in some cases both ‘engagement’ and ‘attack’ are equally valid
translations, as attacco to this author does not necessarily indicate a blade action.
9
TN: The author uses both attacco d’appoggio and attacco materiale to refer to the engagements with
blade contact. To reduce confusion, both terms have been translated as ‘physical engagement’.
fencer applies pressure on the opponent’s sabre with his own, covering one part of the body
in order to maliciously offer to the competitor the opportunity to strike somewhere else, then
it is said that he has done a passive physical engagement. Conversely, it is called a flying
passive engagement when the fencer seeks to make his opponent decide to attack through
a combined movement of the sabre and body, without making blade contact, in order to
prepare a riposte. As well as making the opponent decide to strike, the passive
engagements are also used with the goal of striking the opponent in his indecision.

Marching Actions
With the guard of 2nd used for the bout, as it is the most advantageous, there are two
engagements which can be done from this guard with blade contact when marching.
With the opponent in guard of 2nd, neither too high nor too low, one must engage below,
i.e. towards the left flank, gliding along the edge and sliding the point in so as to use the
strong and double strong of one’s own sabre to gain the double weak and weak towards the
middle of the opponent’s sabre. When the opponent instead holds his guard of 2nd too high,
so as to even seem to be in the position of engagement in 3rd, then one must gain the
grades of the sabre by putting one’s own sabre on the opponent’s, keeping the point
somewhat high and beginning by gliding the middle of the blade down until the strong
touches the opponent’s weak, after which one develops those actions which are considered
most convenient and appropriate. By engaging in this manner, one also has the benefit of
being assured from surprise cuts and arrest thrusts, particularly when facing a fencer who
habitually always strikes instead of parrying. There is also the excellent benefit of having a
greater impression on the opponent by forcing him to move into the positions we want.
The flying engagement with feints, done marching, is also allowed, but between skilled
fencers who, knowing each, who have such biases between them such that one is
considered valid for the other.10 They attack with great energy, but they use equally great
caution. In the first attack the step is done with the glide; in the last movement it is performed
together with a feint.

Note

Considerations on fencing — Fencing can be considered under two different points of

view: the theoretical-practical and the speculative.
For the first, one learns to perform all the actions which constitute the game of fencing
with precision.
For the second, one learns to study the opponent’s character; to follow his movements; to
guess his intentions; to perform one’s own actions with calculated measure and according to
one’s own physical and moral disposition; to operate in such a way that thought is followed
immediately by decision and execution. Furthermore, through it one learns to unite courage
and resoluteness, prudence and circumspection, as it is the arm’s strength which
complements intellect. Since it can be scientifically established that in this art, more than in
any other, the mind is in continuous exercise, from another point of view this then becomes
useful for the development of one’s intelligence.

10
TN: ‘da stimarsi l’uno valevole per l’altro’
 Sharing this opinion was the Genevan philosopher J. J. Rousseau when he wrote in his
work Emile that ‘It is a pitiful error to imagine that exercise of the body is harmful to the
operations of the mind, as if these two actions should not work in concert, and that one
should not always direct the other’ (book 2).

Introduction to the Bout — In the bout, it is very important to take into consideration the
active role which both intellectual and physical action have on one’s success. And if
instinctive movements, i.e. those made without previously determined consent of will, can
never be eliminated, one must nevertheless try to take advantage of them in order to better
achieve the aim. It is for this reason that it is necessary to make use of all these elements in
order to appreciate and understand the requirements which every action should have in
order to produce a specific impression on the opponent, and in order to be able to then know
the instinctive movements which the opponent must do as an immediate effect of said
impression.
To better achieve this aim, it will be necessary to always use the same energy in the
attack by accompanying the movements of the sabre with movement of the body and eyes;
always taking into account the opponent’s instinctive movements at the climax of the action
in order to take advantage of them depending on the circumstances. It will then be
necessary to know the time and place to moderate one’s instinct and desire to touch,
remembering that only with a calm spirit can instincts be mastered, and only through this can
the fencer become the master of all his strength and power.

The Bout
The complex of actions performed by two fencers aiming to exchange regular sabre
blows under the observance of defined rules is known in fencing language as the bout.

Notes on the Bout

Firstly, it will be necessary to place oneself on guard out of measure, so as to avoid being
attacked by sudden blows. When bouting a fencer one does not know, the first study will
then be to test him with energetic movements in order to know how easily he rushes to the
parry, how easily he believes feints, whether he is hesitant or decisive in the attack, and
which blows he is fond of. It will be necessary to always keep the point of the sabre in line
with the opponent’s chest or even his eyes, so as to produce a strong impression on him and
stop him if he advances.
Make him then decide to strike if he is hesitant by attacking often with first intention
thrusts and blows to the arm, endeavouring to always be master of the opponent’s sabre by
keeping strong contact with it before beginning an action. It will then be necessary to always
riposte immediately after parrying. Furthermore, not only will it be good to concern oneself
with one’s own action when attacking, but at the same time also predict and prevent the
opponent’s actions, leaving him as little time as possible time to plan his own action, and if
one was not ready to attack, one must try to prevent the opponent from being able to carry
out his preconceived play through feints and counter-times, still remembering that the
impressions which we feel opposite our opponent, he also feels opposite us, and that the
one who attacks first always has a great advantage over the other. In the bout, one must
then keep a somewhat serious composure, and at the same time vying to outdo the
opponent in kindness by declaring the blows by saying toccato11. It will also be necessary to
avoid double touches, since the blow for blow, which happens to those who strike instead of
parrying, gives a bad impression, is ugly to see, and always gives the impression of a lack of
skill in fencing. In the bout, regular blows are only considered those which strike from the
head to the belt.
Both before and after the bout, it is a rule that the fencers change a salute and salute the
spectators. This salute (which is called the compound salute) is, like the simple salute,
performed from present-sabre, then from this position make a movement with the forearm
and hand from high to low and from the rear to the front (similar to the coupé to the head, but
smaller), stopping the sabre first to the right with the arm extended, nails up, edge to the
right. Then returning to present-sabre (always coming back up in the prescribed manner)
and repeating the same movement with the same rules, stopping the sabre with the arm
extended to the left, nails of the hand facing down, edge obliquely up. It is then repeated by
also extending the arm forward, nails down, edge level with the right shoulder. Finally, the
aforementioned salutes are followed by two molinelli to the head, one from the left and the
other from the right, after which one returns to guard, repeating the appels, and finishing the
salute by coming into the final position of the simple salute, after which the bout begins.
Having then completed the bout, the aforementioned salute is repeated, except that on
finishing it,12 i.e. being in the final position of the simple salute, bring the sabre into the left
hand, grabbing it below the guard in the double strong, and then reunite the left foot with the
right, instead of the right to the left, in order to be able to then (as a rule) step forward to
extend one’s hand to the opponent at the end of the bout.

11
TN: literally ‘touched’.
12
TN: ‘se non chè giunti a compierlo’
 Note13

The modifications recently introduced in the fencing system included in the treatise
adopted as the text for the army and approved by the Ministers of the Navy and Public
Education are based specifically on the teaching of the sword (foil).
The sabre fencing is therefore only the continuation of the same artistic principles
announced in the sword text, namely: tempo, speed, and measure.
The difference between the sabre method now adopted and that of this booklet is in the
method of performing the blows, which are done with the pivot point in the articulation of the
wrist instead of the elbow.
The modifications introduced in the form of the sabres can be seen from the new sabre
models; and the theories, pictures, and prints of the swords and sabres for the
aforementioned new method are fully explained and highlighted in other sword and sabre
synopses.

13
TN: This handwritten text was written on the two blank pages at the end of the book, and was
probably written by the owner after Masaniello Parise’s treatise was published in 1884.