# SECTION III. The Manchette or Fore-arm Play.
## 1. Preliminary.

The recruit is now sufficiently advanced to begin the system of Manchette, which, as it is the most valuable part of sword-drill, has been practised the least, and should be practised the most. A swordsman thoroughly trained in this section does not allow the opponent to deliver a cut. It is certain that the hand and wrist, short-arm and elbow, are capable of as many different attacks and defences as the whole body: these are the parts most prominent, most exposed, and consequently most readily made the point de mire. Yet this true and simple secret of the broadsword has been universally neglected, or rather not worked out: in England we content ourselves with the parades technically called retrogrades, that is, by withdrawing the limb from the assault, by shortening the arm and, sometimes, by retiring the right foot either near to, or up to, or behind the left heel: even this evasion which cannot expect to pass for a Guard, is not described nor figured in the official 'Infantry Sword Exercise.' [FN15] In France, and even in Italy where most subjects are exhaustively treated, Manchette is dismissed with a few careless words. The Manuel gives to the Coup de Manchette only these few lines: "Exécuter un enlevé (vertical Moulinet from above downwards) en arrière à droite, et arréter le sabre vis-à-vis le milieu du Corps, le tranchant en dessus, le poule légèrement à droite; diriger l'enlevé de manière à empécher en arrélant l'avant bras, l'exécution d'un coup d tête. Capitano Settimo del Frate (p. 50, Istruzione sul Maeggio e Scherma della Sciabola) in one of the latest works on swordsmanship contents himself with the following desultory observations:
"Manchett" (sic) "can attack the fore-arm either above or below, according as the opponent gives an opening.
"Manchett is generally used against an adversary whose guard is defective. By merely extending the arm with a turn of the wrist, this attack may readily succeed should the opponent neglect to provide against it.
"One of the most dangerous guards against Manchett is Tierce; the surest is High Seconde, which indeed is also the best parry adapted to this system of attack."
The first member of the last paragraph is sensible; the second is thoroughly fallacious. As has been stated, the right-handed man must always engage in Tierce, and as will presently appear, Tierce is the safest, indeed the only safe guard against Manchette cuts. Another Italian writer of our day describes and figures the "Position of the weaponed arm to escape the arm-cut" (Colpo di braccio), with the elbow-joint left clean open. The 'Infantry Sword Exercise' limits itself (p. 30) to these few lines: "If opposed to the Small Sword (sic, meaning straight sword or rapier) have recourse to Cuts Three (no. 13 of this system) and Four (No. 11), directing them at the arm, by which means there is every probability of the cuts taking effect, as it must always come with range of the edge, before the point can be sufficiently advanced to reach your body: if the above cuts are quickly given and continued, they will also be found advantageous in advancing against the Small Sword, as they constitute an attack and form a defence at the same moment: but should the opponent be the most skilful and quickest (sic) in his movements, then it is best to retire whilst giving them, cautiously preserving the proper distance, so that each cut may just reach the fore part of his arm." The French content themselves with single oppositions of Tierce and Carte. But why multiply instances of ignorance? -- they would fill many a useless page.
Finally I meditated upon the comparative humanity of "Manchette," of disabling the opponent by an arm cut, rather than laying open his flank or his head. During single rencontres in the field, especially at the end of Indian battles, it is so often necessary to put hors de combat some unfortunate, whose pluck or sense of honour induces him to prolong the hopeless attack.
These considerations led me to reflect seriously for a number of years upon the Jeu de Manchette, the Colp all' avambraccio, or fore-arm play, which has been so much neglected by master-swordsmen. At last an unlooked-for opportunity, a short study in the Salle d'armes of Herr Balthasar Reich of Trieste, enabled me to reduce it to a system, and present it to the public.
I should premise, however, that the following observations are intended for professional men. It is therefore necessary only to name and number the Direct Cuts, the Guards and the Feints, the Reverse Cuts, and the Time Cuts of Manchette, as in most cases the simplest mention will suffice. The proficient will at once perceive that I offer a mere outline of the system whose many details must be learned by long practice. It is enough to give first principles: the minutiae could not even be noticed without stretching description to a wearisome length.
There is no objection, I have said, to teaching squads of recruits all the simpler preparatory matter: the Three Positions; the Moulinet; the Engaging Guard, and the Guards or Parries. At a certain stage of progress, however, especially when beginning Manchette, the quick and intelligent soldier, who is likely to qualify himself as a master, must be instructed singly.

## 2. The Direct Cuts in Manchette.

The following are the direct attacks in Manchette, simple and compound; all are done from the "Engaging Guard," the Lunge being here inadmissible.
Carte de Manchette. -- Extend the sword-arm to the full length and deliver the cut, with a flip as it were, at the opponent's fore-arm, between the elbow and the wrist. This can be done with the back of the blade (Reverse cut) under circumstances presently to be described. No. I. is useful if the adversary unwisely engages you in Carte otherwise (from Tierce) it must be avoided, as he easily parries by withdrawing the arm and replies with a Tierce Cut. Carte de Manchette and Cut Tierce. This movement is No. I. followed by a close rotation of the point ("Tierce Moulinet"); if, however, the circle be too small, it will not clear the sword-guard. Double Carte de Manchette and Cut Carte. -- No. III. is to be done when the opponent, as he generally will after an attack of No. II., successively parries Carte and Tierce. It is simply the double of No. I., and thus the "Tierce Moulinet" cuts, of course, inside the arm. Double Carte de Manchette and Cut Tierce. Useful when the adversary parries Carte, Tierce, and Carte; it is the double of No. II. and thus cuts outside the arm. No. II. guards the arm and is therefore unexceptionable. Nos. II. and IV. Are dangerous, because, like No. I., when opposed to an agile hand, they may lay the wrist open to a Time Cut. The two first and all four against a slow unready swordsman may be varied by combinations with coupés, or passing the blade sharply over the adversary's point. For instance, if the adversary come too wildly to the Tierce parade of your double Carte and Tierce (No. III.) a coupé will reach his arm in Carte.
A golden rule which cannot be repeated too often is that all the Manchette-Cuts in Tierce (outside), either from above or from below, must be as nearly vertical as possible, whilst all the Cuts in Carte (inside) should be as horizontal as they can be made. The reason is simply that these positions cover the arm and render the attack less dangerous.

## 3. The Guards (Parries) and Feints in Manchette.

The Guards of the Target will be found sufficient for parrying all attacks in Manchette. The soldier, however, should especially practise the retrograde parades, that is withdrawing the right fore-arm with and without the right leg.
Feinting with the broadsword is necessarily more simple than with the foil, being generally confined to Coupés and Secondes. The neo-Italian school of sabre uses, I have said, the fencing movements, but it is at best a bastard style. If the opponent attempt to "degage," that is to pass his point under your blade from Tierce to Carte, or vice versâ, retire by withdrawing the right heel to the left, and cut at the arm which his movement has exposed.
The Coupé, the reverse of the degagement, passes the point over, not under, the opposing blade; this legitimate feint, used in every school, may be effected in four several ways.
One. From the usual engagement in Tierce pass the blade over the opposite point, just clearing it, and cut inside. The two movements raising and dropping the point should be as rapid as possible. One, Two, a double Coupé, with the cut in Tierce. One, Two, Three: as with the foil; against a nervous opponent the cut should be made at the face with a dart and a jerk (the Italian Slancio), against a slow player the cut may be carte de Manchette. One, Two, Three, Four; like the former, but cutting in Tierce: to be attempted only with the most unready of opponents. The two latter may be combined with a breast (inside) or shoulder (outside) "Moulinet" between the penultimate and the last (cut) movement; but these long feints are radically vicious, because they lay the swordsman open to Time Cuts. They are, however, useful, as will appear in making the Reverse Cuts. Perhaps the Seconde-feints are better than the Coupés.
One: the simple Seconde Cut. -- Make a little more opposition in Tierce, sweep the blade past and along the breast; (inside Moulinet, or the brisé à gauche) and, lowering the hand a little, cut upwards with a jerk and a flip. The nearer the swordsman's own body his blade circles the better, because the cut will be more in the vertical line: if it be much out of the perpendicular the opponent can "take a time" in Carte. The Moulinet serves also to embarrass the adversary and to add strength to the cut. This simple and most valuable movement must not be confounded with the old-fashioned Seconde cut at the leg: the latter is objected to, as I have said, by swordsmen; the parry is too easy, and the riposte far too dangerous. Feint Seconde. -- From Tierce make a short and sharp movement to Seconde with the knuckles turned upwards; the opponent will probably come to the Seconde-parry, thereby exposing the fore-arm. You then cut Tierce perpendicularly as usual, from above downwards (the enlevé), either without or with a breast "Moulinet." Feint Seconde, Feint Tierce and Cut Carte, with two short, sharp movements, and deliver the horizontal cut in Carte. Feint Seconde, Feint Tierce, and Cut Seconde, from downwards upwards, always with a breast "Moulinet." At times the two first feinting movements in Nos. III. and IV. May be done more emphatically: this of course makes the movement slower, but it is a variety which embarrasses an adversary accustomed only to short, quick action.

## 4. The Reverse or Back Cuts in Manchette.

As the Manchette system has been strangely neglected, so the Reverse or Back Cut may be pronounced unknown to the majority of the profession: the latter, instead of utilizing the "false edge" of the blade, still lose time and incur great danger by turning hand and wrist in using the true edge, especially when "Cut within the Sword." [FN16] More extraordinary still, although almost all the civilized world prefers what is technically called the "flat-backed and spear-pointed" sabre, yet no one seems to think of employing, or even of sharpening one of the most important parts of the weapon.
The Regulation blade with the false edge, that is to say, the blade sharpened from the point to the Centre of Percussion, about one-third of the length, was introduced into England about 1844, and the first specimens were made by the late Henry Wilkinson, acting with the late Henry Angelo, then Superintendent of Sword Exercise. [FN17] This back-edge of the blade should be ground to the sharpness of a razor. When practising the Reverse Cuts (Reverse or Rovescio), the handle is held loosely with the thumb and the first two fingers, and the wrist and fore-arm should bring the blade up with a jerk, the grip being at the same time sharply tightened. Practice will soon enable the swordsman to deliver a strong "drawing" cut, equal to the Thrust-cut of the so-called "Damascus" blades. This valuable movement has the immense merit of not uncovering the swordsman, and what makes the sabre so rude a weapon is that every movement of attack, in the old systems, lays the body open by raising hand and point when a blow is to be given. With the Reverse Cut no such dangerous process is necessary; the point is still directed at the opponent whilst the cut is being delivered. Finally, it is always unexpected by the opponent who has not practised it, and although it rarely begins an assault, except against the inexperienced, nor should it be done alone as a rule, it may either follow or conclude every attack, feint or "time."
The Half-Feint (Revers de dessous, Rovescio di sotto, or Revers von unten) is done thus. -- When in Tierce extend the arm as if intending to cut Tierce; the opponent makes an opposition of Tierce; drop the point, and cut sharply upwards with the false edge at his fingers, wrist, or fore-arm, drawing the blade towards you and keeping the point opposite the adversary's breast. This movement is one of the neatest known, and it is sure to succeed with one who does not expect it. The first part of the feint, or dropping the point, may lead to a cut with the true edge, but this movement, which is still practised in the schools, involves delay by turning the hand. Again, it may be combined with the inside (breast) or outside (shoulder) Moulinet. Feint Seconde and Cut Upwards. -- This movement may be varied by feinting Tierce and cutting upwards. One-two-three. -- This is not the succession of simple Coupés, the dangerous movement before described. No. 1 Coupé shifts the hand from Tierce to carte with the nails up; No. 2 turns the nails down, still remaining in Carte, and No. 3 delivers the Reverse Cut, of course in Carte, where it is least expected. When the point is passed well under and within the sword-arm it is very difficult to parry the horizontal Reverse Cut in Carte. The true edge may be used, but again it wastes time by turning the hand. The Pass, properly called "en passant." -- From Tierce make a feint-movement in Seconde, and, when the adversary attempts to parry it by lowering the point, turn the knuckles up (in old Tierce), sweep the blade over his sword-arm and as close as possible to your right leg from left to right with the arm well raised, and, returning from right to left with a similar sweep, but with the blade held higher, cut, in Carte, with the false edge and close to the point, inside his wrist. Unskilfully attempted, this feint is equally dangerous to both, but it will do yeoman's serve in the hands of a practised swordsman. The true edge may be used, but that involves a change of position and the delay of turning the hand with the knuckles downwards. Some make a double sweep, and after the second movement, cut outside or in Tierce -- the exposure is too great, unless confronted by an unusually phlegmatic temperment.

## 5. The Time Cuts in Manchette.

The Time Cut is the flower of the Manchette system, as the Manchette is of the broadsword; and it is, perhaps, the part least capable of being taught in books. When well mastered it never allows the opponent to raise his arm without imminent risk, and, even if it fail, the intention, once recognized, tends greatly to cramp and embarrass the adversary's play. The natural man cuts as if he were using a stick or a club, and the preliminary movement lays open the whole of his body; indeed, exposure, I have said, is the main danger of every attack with the sabre, however closely and skilfully conducted. A cut through the muscles of the fore-arm, either inside or outside, causes the sword instantly to be relaxed and dropped; the man in fact is hamstrung in the upper works.
Carte de Manchette. -- When the opponent from Tierce makes a Coupé or any attack in Carte, stop further movement by a Carte de Manchette, a horizontal Cut in Carte. The same may be done with the false edge, in which case the blade should be advanced as far as is possible; and this is to be preferred because it loses less time. Parade Retrograde and Cut Tierce. -- When the opponent from Tierce attempts a Manchette in Carte withdraw the arm (parade retrograde) and deliver the vertical Cut in Tierce downwards at his extended arm; both movements being combined in one. It is not necessary even with the tallest man to withdraw the right leg; the Cut will amply suffice. This Tierce Cut serves to defend from all attacks when the Guard does not cover the adversary; and it has lopped off many a careless arm. If slowly done it becomes a mere parade and riposte. The Reverse cut-upwards, Revers en montant, Rovescio montante, Ger. Revers montant. -- You feint in Seconde; the opponent comes to its parry and replies in Tierce; you withdraw the arm, leaving the heels as they were, and cut upwards with the false edge, tightening the grasp of thumb and forefingers as much as possible. This movement is especially useful; it is one of the best of Time Cuts, when the adversary indulges in long and complicated feints and false attacks. It may be done with the true edge, but the latter is less safe. The Time Pass; which is merely "The Pass" turned into a Time Cut. When the opponent attempts a "Manchette" or any movement in Seconde, and expects you to reply by a time Cut in Tierce with the true edge, turn the knuckles up (in old Tierce), sweep the blade over his sword-arm as close as possible to your right leg, from left to right, with the arm well raised, and returning from right to left, but with the blade held higher, cut in Carte with the false edge and close to the point inside his wrist. The true edge may be used, but, again, it wastes time. The double sweep possible as in "The Pass," but it causes too much exposure. This Time Pass may also be done with the hand held high in Prime or rather "demi-circle" with the nails turned up, the arm outstretched, and the point lowered. In this case the leg must be shifted till the fore heel touches the rear heel, so as to give additional height to the hand. This is not a Reverse or Back Cut as you use the true edge; it is in fact one of the old movements called "Cutting within the Sword." 6.
Résumé.
The following is a synoptical tape of Manchette or Fore-arm play, showing the Cuts, the Guards (Parries) for the Cuts, and the Ripostes or replies that should follow each Parade. The Instructor will remember that instead of Prime we use High Tierce or High Carte, and for Seconde Low Tierce or withdrawing the leg.
Cut. Parry. Riposte. 1. Carto de Manchette IV. (Carte) II. (Seconde). 2. Ditto and cut Tierce. IV. and III. (Tierce) III. 3. Double Carte de Manchette and cut Carte. IV., III., and IV. II. 4. Double Carte de Manchette and cut Tierce. Parade Retrograde by withdrawing arm. III. or IV.
1. Half-feint. II. or III. III. or IV. 2. Feint Seconde and cut upwards. II. Cut with false edge upwards. 3. Feint Tierce and cut upwards. III. and II. II. 4. One-two-three, and cut upwards. Parade Retrograde. III. or IV. 5. The Pass. II. and I. (Prime). III.
1. On all Cuts in Carte. Parry with time in IV. Carte de Manchette. IV. 2. On feints in Carte ending with Cuts in Tierce Parade Retrograde III. or IV. 3. On Cuts in Tierce Reverse Cut upwards. III. 4. On Reverse Cut upwards. II. and III. IV. 5. On Cuts in Seconde. The Time Pass. III
1. Single Coupé. III. or IV. II. 2. One-two. IV. and III. III. 3. One-two-three. II., III. and II. III. or IV. 4. One-two-three-four. Parade Retrograde. III
1. Simple Seconde. II. III. 2. Feint Seconde and cut Tierce. II. and III. III. or IV. 3. Feint Seconde, feint Tierce, and cut Carte. II., III., and II. III. or IV. 4. Feint Seconde, feint Tierce, and cut Seconde. Parade Retrograde. III. or IV.

## Conclusion

I will end this system of Manchette with the words of old Achille Marozzo, written some three centuries and a half ago: "I would that ye swear upon your sword-hilts never to use this knowledge against me, your master." But, in lieu of insisting that my readers never teach it without obtaining formal permission, I only hope that they will favour me by spreading it far and wide.

## Appendix

Above allusion has been made to an improved form of sabre handle; it was first attempted by the Capitano Settimo del Frate in the work before alluded to. The gallant officer's Plates show that in the Italian cavalry-sword the upper portion of the handle is at least horizontal, whereas in ours it droops backwards and downwards, giving the grip additional facility for slipping out of the swordsman's grasp. The author's remarks [FN18] being even more applicable to the English military sabre; I give them at full length.
"The equilibrium of the sabre, and the facility of firmly grasping the handle, are the two prime requisites for a good weapon.
"When properly balanced and easily held, the sword calls for less exertion of strength; and the quickness and true direction of the Cuts are greatly facilitated. In direct proportion to the economy of force, we find the swordsman enabled to continue his exertion.
"However well made and scientifically poised be the blade, it is subject to several variations of equilibrium according to the position in which it is held.
"The nearer the centre of gravity approaches the hilt, the lighter and the better balanced will be the weapon, and vice versâ. [FN19] Therefore:
"It should be our principal object to effect this improvement without changing the proper centre of percussion and the other requisites for offence and defence."
The following Plates fully explain the author's meaning.
I would further modify his Fig. 1, so as to give more fulcrum to the hand. The thumb-plate should be made weighty and the guard light, otherwise the blade will be over-balanced, that is heavier on one side than on the other. It need hardly be said that the grip before going into battle should be whipped round with thin whipcord, or better still, with web-cloth.