Detailed

Treatise on the Art of Fencing

on the Cut
Dismounted and on Horseback
to the Demands of the Cavalry
with Copperplates
by
Karl Timlich

Translated from the German

by
Maximilian Schmitz
 Translator’s Note
As Olive Bray so eloquently stated in the introduction to her translation of the Poetic
Edda, “A translation is only a compromise at best, and effected with a sense of resting in defeat.
It has therefore always some need of apology, especially to those who are already acquainted
with the original…”. The translation of the following work, Gründliche Abhandlung der
Fechtkunst by Karl Timlich thus proved no different. Although the text was originally composed
in grammatically modern German, and as such could be translated with greater facility than
medieval writings such as Nibelungenlied or the poetic works of Walther von der Vogelweide, a
number of challenges still presented themselves during the translation process.
German writing often consists of long, run-on sentences, which can take up the space of
several lines or more. Ideas that in English would be expressed in an entire paragraph could
likewise be communicated in a single sentence in German. Additionally, German word order is
somewhat different than that of English, particularity concerning verb placement and the order of
dependent clauses. Furthermore, the original German text makes frequent use of idiomatic
expressions, obsolete spellings, and obscure, specialized vocabulary. Owing to these factors, the
resulting English text would hardly be comprehensible to the reader if translated literally. To
remedy this, rendering this work into the English language required certain provisions.
This translation, therefore, was not intended to be one of word-for-word, but rather sense-
for-sense. The chief objective was to present the text in a way that it would read well.
Expressions of motion, which in German are sometimes conveyed differently than in English,
were changed to their English equivalents, as were idiomatic expressions. In some sections,the
syntax had to be greatly adapted in order to make sense in English, so in those parts certain
liberties were taken to better convey the meaning. This is especially the case in the titles of
individual sections, in which the most had to be changed to ensure that the text would read as
naturally as possible. Additionally, for the names of the cuts, motions, and parades, I have kept
the original German terminology. This choice is a stylistic one, in an effort to present the German
school of fencing as a distinct tradition
It is my sincerest hope as a translator that my aims in rendering the text into English have
been met, and that by reading this work the reader gains some knowledge and understanding
from it. Much time and effort has gone into translating this work, and now at last I bring this
storied piece of the Germanic fencing tradition to the attention of the English speaking world.
 A Short Biography of Karl Timlich
Compared to more recognizable authors of fencing treatises of the late 18th and early
19th Centuries, fairly little biographical information about Karl Timlich is known. Nevertheless,
there is still enough available from several sources, mainly directories of German authors, to at
least piece together a rough outline of his life. Karl Timlich, sometimes rendered as Carl Timlich,
Karl Temlich, or Erdmann Carl Timlich, was born in Asch (Aš), a town in the very western
corner of modern-day Czechia, then part of the Austrian Empire. The exact date of his birth
differs depending on the source. Some say 1744; another, an encyclopedia of poets compiled by
one Karl Goedecke, gives the more precise date of 10th October 1748. Goedecke goes on to say
that Timlich was the son of a judicial clerk named Karl Friedrich Timlich. He grew up in Asch,
and was educated in the neighboring towns of Reichenbach and Hof. In 1765 he graduated from
the Gymnasium in Hof and began his studies at the University of Leipzig in October of the same
year. He later studied at the Universities of Wittenberg, Halle, and Jena during the 1770s.
Sources attest Timlich as working as a fencing master at several different institutions
throughout his career. In the foreword of his 1781 treatise on smallsword fencing, he himself
recounts having been a fencing master during his time studying law at the University of Jena. On
the title page of this same treatise he also mentions being the current fencing master to the
Imperial and Royal Engineers, as well as teaching at the Savoyische Ritterakademie, a
prestigious school in Vienna for the sons of noble families. A certain 19th Century archivist by
the name of Pirckmayer writes that during this same period Timlich also taught at the
Theresianum, another such Vienna school. Additionally, Pirckmayer places him in Salzburg from
August 1787 to October 1790, this time employed in the same capacity at the Collegium
Virgilianum.
The title page of Gründliche Abhandlung der Fechtkunst auf den Hieb, published in
1796, states that Timlich is the fencing master to the Imperial and Royal Lifeguards and the
Royal Hungarian Noble Lifeguards. This is also the case in his last known work on the subject of
fencing, a smallsword manual entitled Abhandlung der Fechtkunst auf den Stos, published in
1807. These Lifeguards were elite troops, two of the most prestigious and senior cavalry units in
the Austrian military and the horse guards to the Kaiser himself. In any case, Timlich must have
been a fencing master of considerable renown to be trusted with instructing such an elite body of
soldiers in the Art of Fencing.
Compared to other contemporaneous fencing manuals, the sabre fencing of Timlich
resembles that of Le Marchant or Roworth. The cutting diagram in Gründliche Abhandlung der
Fechtkunst is almost exactly the same as that employed by the British sources, although the cuts
are differently numbered. Indeed, it is said that Le Marchant got the idea for his system of
numbered cuts from the Austrian cavalry. The manner of executing the cuts and parades in
Timlich’s system is also the same as his British contemporaries, as is the way of advancing and
retiring on foot when facing a single opponent.
What makes Timlich unique, however, is his system of fighting multiple opponents,
which employs a series of cuts delivered in succession, in combination with passing footwork.
Passing footwork is comparatively rare in the European sabre fencing of the 17th-19th Centuries.
While executing a series of swinging cuts, or moulinets is advocated in other treatises as a means
of dealing with multiple adversaries, it is more usual for it to to be combined with the more
common footwork, in which the right foot is always positioned forward. In Timlich’s system, the
combination of moulinets with passing footwork bears at least a superficial resemblance to the
Polish and Hungarian traditions, in which similar movements and tactics are utilized.
Timlich also mentions cuts using the false edge of the sword, something not often written
about in British sources with the exception of Burton and Hutton. Although Timlich only briefly
covers this, false edge cuts are more systematically described by another Austrian fencing
manual, an anonymous work dating to 1900. The use of false edge cuts could well be another
sign of possible Polish or Hungarian influence, as in those traditions the false edge is in far more
common use.
Timlich was not only a fencing master, but also an artist, novelist, and poet. His own
illustrations appear in his fencing treatises, and as an engraver he is known to have produced a
rather inaccurate map of the Battle of Aspern, which today is nevertheless extremely rare and
sought after by collectors. Among Timlich’s novels and poems are Die Österreichische
Robinson, a Robinson Crusoe inspired adventure story; Roland, ein Gedicht nach Ariost, an epic
poem in the style of the Renaissance poet Ludovico Ariosto; and Fiekchen, a briefroman, or a
novel in which the story is told by means of fictional letters between the characters.
Very much like his birth, sources differ on the exact date of Timlich’s death. According to
Goedecke, Timlich died on 15th February, 1825 in Vienna at the age of 76. Other sources place
him as living until sometime in the late 1820s, but in any case he is presumed to have died before
1830. The location of his grave is unknown.
[Here end the translator’s commentaries]
 Introduction
The benefits of the Art of Fencing are very much exalted over the contemptuousness of
those ignorant of it, and deserve as such some commendation and praise; especially among the
cavalry.
Some invariably object that opposing cavalry forces unfamiliar with this art have been
regularly pitted against one another, with many casualties inflicted and the meeting decided
anyhow.
Quite right. - In this case, advantage and disadvantage are equal on both sides, and there
is no doubt that an unskilled man can overcome an unskilled adversary as one fencer against
another; - but in this respect only greater strength or extraordinary courage can secure the upper
hand. However, among the skilled none of this matters, and every single man is to be regarded as
a tactical body, who will always stay true to himself by the most exact knowledge of his
strengths and weaknesses, and every effect - of the certainty and tempo of his movements, the
presence of the resources known to him, and the correctness of his actions. - - He will regard it as
a duty to be victorious over his enemy without becoming arrogant and losing all caution; and if
things ever go wrong for him he will not be broken down. He will not attribute the enemy’s
advantage to skill, courage, or strength, but to his own mistakes that he could have avoided had
he taken action differently; and thus will be frustrated with himself. No influence of luck will
exist within him either; and if he attributes something to the enemy he will merely look for it in
his own error or haste. The adversary, through heightened advantage, will never become more
terrible to him, and will awaken the strong resolution to rectify this fault at the first opportunity
and correct the mistake.
When time and circumstance do not permit one to consider fencing lessons, the fencer
will at least distinguish himself before the unpracticed in that he hits with precision and
consistency, and with unfathomable speed towards every point. His cut will always be more
piercing as well. Furthermore, he will never hit flat, and the reach of his arm will greatly surpass
that of every unpracticed man, even if the adversary is equal in physical strength.
The primary weapon of the cavalry is not the pistol, and certainly not the carbine, both of
which are used partly as emergency weapons, and partly as a means to fire warning shots. As
soon as the horseman is dismounted and manouvres on foot, he is no longer a rider, but an
infantryman. If he sits on horseback, then the sword is his main armament.
Since we always push the infantry to use their firelocks at nearly the level of an art, the
cavalry stand in the same relation, that we make them masters of their chief weapon: the blade.
The ability to fire quickly and continuously is of utmost importance; just as cutting swiftly and
with precision, and if a few thousand powerful and well-executed cuts are delivered in a corps of
cavalry at the same time, it can surely contribute something to victory.
The usefulness of the Art of Fencing requires no further evidence; there is only the
question of whether we can introduce it to an entire army, and how.
This can happen very easily through a systematic process. First, we train a body of skilled
men, to whom not only the art, but also its principles must be taught, so that they in turn can
instill such things in others. We then distribute these people among brigades or regiments.
These select people, drawn either from the military or civilian life, must then commence
their teachings.
 In the beginning one teaches the learner advancing and retiring on foot, and an exact
knowledge of all movements, guards, parades, and individual cuts, until he is in the position to
partake in some easy lessons with cuts, parades, and returns; and then more difficult ones.
If he is quite adept on foot, we progress to fencing on horseback, which one can practice
instead of leisure riding.
Initially, one man attacks the other standing in place, and only with a pre-determined cut.
- With increasing skill we then attempt two cuts, against which the man parrying must hold
himself strongly. - If these men are finally confident in their horsemanship, and more practiced in
the tempo of their cutting, we let them perform composed exercises mounted, whereby one can
always achieve further progress. In the beginning one must not attempt these lessons with
another unskilled man; but instead must abide by the the master until he is brought to
competence.
Through this exercise, not only does the rider acquire the movements required in cutting;
at the same time the horse itself is trained to hold the counterweight when leaning to the side or
to shift itself around. It also grows accustomed to the clashing of blades, and becomes less shy.
For the objective of training a corps in this art to succeed, it must not be treated in the
mind as an exercise that the officer or non-commissioned officer directs. This would be
machinelike work, and of little to no benefit. Instead, the soldier must always be introduced to
counter-fencing.
The infantryman abides by his tempo, to which he is always deliberately bound by
command. Among the cavalry it is quite different; since they are not such an idle body of troops.
They are occasionally scattered, or intentionally divide themselves during smaller engagements.
In these circumstances, no man can be expected to cut on command; in order to deliver the cut
and know the corresponding parade, every man must instead be his own commander.
Thus, some reflection, caution, and presence of the mind are required. Since these
qualities must be attained by intellectual faculties, a clear disposition is needed as well. If one
sought to introduce the soldiers to this art in a harsh manner, it would be very unsuccessful. The
art must solely remain free will; and this can best be awoken through praise, some modest
encouragement, and the fostering of ambition.
The fencing master should on that account be a humble man, and use the utmost patience
during his instruction, praising no man too hastily, nor asserting the other as clumsy and denying
all chance to him; as in the first case it would bring about an unreasonable sense of superiority,
and in the second a complete exasperation and exhaustion of the will. Rather, he should set his
judgment upon swivels, and endeavor to hold the middle ground between both.
Since one cannot direct the Art of Fencing to a sure degree, it is very natural that one man
must become stronger than the other; furthermore, that one secures an advantage over the other
in a given lesson. Moreover, not everyone is naturally inclined to partake in physical exercises;
therefore instructing the entire body of a corps all at once shall never succeed. If one could make
three parts of the corps mediocre, and the fourth perfectly skilled, he would have gained enough
as would be required; and the skilled part of the corps, on account of their more practiced hands,
would be able to preserve a greater number of themselves during critical engagements.
Practice in the Art of Fencing is not conducted with the pallasch itself, but with a sort of
training weapon that has the proper blade, which is blunted, and it must be equipped with a hand-
guard, so that one does not injure himself. In the absence of these we use an implement
fashioned from wood. In order not to pamper the hand, this still must posses the correct weight.
 It will not be inappropriate to speak a little about left-handed fencing as well, not to
mention that many are naturally left-handed. It is not as challenging as one thinks, to at the very
least teach someone who is right handed the basic cuts and a few good parades with the left hand
in short order. The benefit of this is by no means insubstantial, and makes itself useful in some
scenarios; mainly when pursued.
It is known that during a pursuit, a skilled enemy horseman never charges upon a
mounted adversary from the right side, which he avoids because of the terz cut and the return
shot from the pistol; rather he will always attack from the left.
Avoiding this situation is not always possible; and in an arranged body of troops, the men
on the left side, if attacked from the flank, can only put up limited resistance with the right hand;
and if attacked from the rear, on account of the men next to them, they cannot cut at all. This is
especially important if one is pursued by multiple opponents, and pressed to the right against a
wall, ledge, or the length of a ditch or river.
Thus, when the enemy is still somewhat far away, let the false edge of the sabre or
pallasch rest upon the right shoulder, so that the enemy cannot anticipate your actions. In this
stable position, remove the sword-knot and transfer the weapon, without it appearing like
changing cuts, to the left hand, and the reins to the right. From this point the reins must be held
so that the palm presses the nails downwards, and both reins are grasped with the middle three
fingers. In this manner one will be in a good position to meet the enemy during his assault;
especially because he has concealed the movement of the sword with its positioning upon the
right arm; and since the enemy expected only a short quart, he can likely be dispatched, or will
abandon his further pursuit upon noticing the opposition against him.
Lastly, the advantage of fencing shall prove its worth against adversaries armed with
lances or javelins. More frequently, people abide by the rule of using the pistol against such
opponents; only there are circumstances that render this method fruitless. The pistol misfires, or
one has already fired and missed; or the enemy is too close to draw the pistol; or one has an
enemy armed with a lance to the left of him, and a sabre-armed opponent to his right - In these
scenarios the sword offers better protection, and never fails so long as sense and fortitude are
present.
Furthermore, I hope that one will not see it as ignorance when I refer to a few motions
and cuts by names other than what are commonly established in this art; where, for example, I
make a halbprim a halbsekond, and call the cut terz what one otherwise understands as a
halbterz. In this I had no other intentions than for it to become more comprehensible to the
cavalry soldier and the common man, to be of help to his understanding in the practice of the
lessons.
The lessons follow here in as systematic and sequential an order as possible. I do not
deny that some are superfluous to a cavalryman. In the face of the enemy, he does not have time
to think of feints and the like, but I will take it upon myself to speak a few words about them
anyway.
Since this work is written not only for the common man, but for the practitioners of the
this art as well, I was not allowed to forget about the more sophisticated techniques; on the other
hand there is nothing more useful to a cavalryman than a simple, sound, strong cut, and a secure
parade. To master these, one must nevertheless ignore the more complicated lessons during
practice as to make the art more accessible to himself, and to not always tire himself with endless
monotony. Furthermore, when he is in the position to execute the complex and artful techniques
skillfully, then the simpler ones will be much easier for him by default. If I wish to measure
ability in fencing according to grades, and of which, for example, eight were required; one must,
in order to reach such levels with certainty, take it upon himself to practice cutting up to twelve.
The cavalryman must always fully consider whether he is by himself or in formation, or
otherwise surrounded by more of his comrades. In the latter case he must always cut as narrowly
around himself as possible; if he is alone, he thus has nobody to spare, and the farther he reaches
around him, the more he will make room for himself; though his primary concern should always
be that he does not injure the head and hindquarters of his horse.
In order to uphold the purity of the Art of Fencing, I have taken it upon myself in this
work to deal only with the cut, and omitted the thrust completely. However, one is accustomed to
mixing cut with thrust, and such must be explicitly shown where it is useful during the individual
training of a cavalryman; but it is not always of great effect in all cases or at every distance,
especially if one is too close to the enemy, and does not have time to draw back.
Concerning the holding of the pallasch, one directs himself according to the structure of
the hilt. Since the pallasches currently employed by the Imperial and Royal Cavalry are stout
with respect to the hilts and the quality of the blades, such weapons must be held in the same
way as how I prescribe for holding the sabre, with a tight, fully closed hand.
Moreover, the horseman must endeavor to accustom his horse so that it makes way
during the cut; and also to position his saddle so that his weight is evenly distributed when
seated, squeezing with the knees, or standing upon the stirrups; but if he squeezes too hard with
the knees, the stronger he squeezes, the more the strength of his upper body and arms diminishes.
The remark about the handling of the reigns during parades and cuts must not be
incorrectly understood. It must never be so forceful that the horse deviates from its path as a
result, but one must nevertheless observe that he does not deviate from the center with the hand,
and ride too closely upon the enemy. It is always good when one prevents the horse from turning
its head towards the intended direction of the parade or cut. Generally, this point deserves a more
precise examination, and will let itself develop during further practice.
The Author

8
 Part One

Chapter I

1.
Classification of Fencing
Fencing is divided into the offensive and defensive; and furthermore into that on foot and
on horseback. The lessons themselves consist of movements, and parades or cuts.
2.
Movements
The posture that one undertakes to make a cut or parade, and that which always must
precede it, is called the movement. For example, if one makes a feint, and then cuts; then the
feint, or false attack before the cut is the movement.
3.
If one wants to practice the art of fencing on horseback, it is necessary to have first
acquired a proficiency in fencing on foot.
4.
Parts of the Pallasch
The pallasch, or sabre is divided into four parts when we count only the blade and not the
hilt, namely: 1. The full strong, which makes up the quarter that on the basket, 2. The half strong,
or the second quarter, 3. The half weak, or the third, and 4. The full weak, or last quarter, which
includes the point.
5.
Posture and Holding of the Pallasch
The grip is always taken according the structure of the of the hilt; since the sabre has no
basket, it must be held firmly. The difference between the sabre and the pallasch is this: that one
cannot cut in a completely straight line with the sabre as one can with the pallasch, and that the
cut reaches far shorter as well.
6.
On a well-made pallasch it is crucial that the blade has its proper substance; neither too
soft nor too hard. In the case of former the blade does not endure much without bending, and the
latter have a tendency to break in half. Inferior blades are those that have an unequal hardness,
the worst of which are harder in the strong than in the weak. One can perform the test with a file.
7.
Additionally, the blade should neither have any forward-heaviness nor be too heavy in the
grip. The former, or forward-heavy blades, are very uncomfortable in delivering multiple cuts at
speed; tire the arm, and make it easier to entangle oneself. The latter are good for parrying, and
even better the lighter they are in front: only, since the cavalryman should be active, he will he be
swifter with those blades but scarcely wound the enemy most of the time; furthermore they
almost cannot be used for circular cuts (45.) at all. It is of consideration that one cannot
determine the exact center of gravity by balancing the blade on the fingers; rather, it must depend
on the type of blade and the purpose for which the longer or the shorter blade is employed.
Therefore, one should not distribute the weapons indiscriminately, but give every man the
weapon that would be most suitable for his arm.
 If every sword is comfortable to an individual man, it is a sign that he is either a very
skilled fencer, or knows nothing.
A blade should not bend too much, it must have proper stiffness. Blades that wobble,
especially the long ones, have the defect that they tend to fall flat during the cut; even more so if
they are very broad and double-edged.
In all actuality, the blades with which even an unskilled man seldom delivers an
ineffective cut are the narrow ones, with a strongly tapered back.
8.
Since a good cut mainly depends upon one knowing how to command the true and false
of the blade properly; it would be beneficial if a slight protrusion, or quillion be added to the
inner part of the guard, which would encourage an equal, steady grip of the sword in the hand, as
Tab. I. Fig. 1 shows.
9.
This protrusion would additionally serve the purpose that one could place the thumb upon
it. Thus the sword handles much easier, as when one puts the thumb through a thumb-ring.
10.
If one places the thumb around the middle part of the closed hand, this grip is of little
use; all cuts occurring with this grip reach at least two inches shorter than they could have
otherwise. A difference that needs to be considered in cutting, or defending oneself against
multiple opponents
11.
An enemy’s cuts, especially against cuirassiers, are usually directed at the face, arm, or
hand. Therefore, it would not be useless if the hilt were equipped with a proper basket, which
would protect the outer side of the hand; and one could let it be tarnished black, instead of
wearing it down by polishing with brick dust or sand to remove rust.
12.
The Sword-Knot
The sword-knot serves the purpose of keeping the pallasch hanging from the wrist if it
falls from the hand; and so that one does have to sheath the sword when drawing the pistol. In
fencing itself it has no uses, as it is behind the hand.
13.
Since one carves a path through multiple opponents the easiest with circular cuts (§45.),
during which the pallasch is not firmly held, but moves about about in the hand; a small loop is
attached behind the guard of the sword, through which one places the middle finger. This
maintains the proper momentum of the weapon, and allows it to never fall out of the hand.
Additionally, one never has to worry about a cramp in the fingers arising from holding a firm grip
for a long time, bringing all work with the pallasch to an abrupt end.
Since these implements hinder one’s ability to draw the pistol quickly, they are far more
useful in fencing on foot, or especially during pitched engagements.
 Chapter II
The Motions, or Movements of the Hand

14.
The movements and turns of the hand that one must make to effect a cut are called
motions. There are eight of them: Prim, Halbsekond, Sekond, Halbterz, Terz, Halbquart, Quart,
and Halbprim.
15.
It will not be useful to clarify these movements very much; since they generate
themselves automatically as soon as one, following good posture, directs the blade according to
the figure shown in Tab. II. from one point to another, so that the edge and the back do not
deviate from the described line through it, whereby the cut would otherwise land flat.
16.
The figure Tab. II. forms a star, where all the chief cuts are directed onto a fixed point 9.
The first from 1 to 9 - Quart
The second from 2 to 9 - Sekond
The third from 3 to 9 - Prim
The fourth from 4 to 9 - Terz
The fifth from 5 to 9 - Halbsekond
The sixth from 6 to 9 - Halbquart
The seventh from 7 to 9 - Halbprim
The eighth from 8 to 9 - Halbterz
17.
Therefore, the entire Art of Fencing on the cut consists of perpendicular, horizontal, and diagonal
lines; whole and half circles, and right or acute angles; whose exact knowledge is greatly exalted
by every fencer.
18.
Draw Cuts, Circular Cuts, and Chopping Cuts
When one makes these cuts in the arranged order in the lesson upon a fixed point, they
can either be semi-circular, or until on the middle point; if one practices them for himself alone;
or circular, going wholly through: in the former case, always draw back again in the given
direction or motion, and cut through with the false edge on the line through which you have cut
forwards with the true edge; in the second case one ceases at the completed line, and when the
blade goes back again, the joint circles around also. The first are called chopping cuts, the latter
are called circular cuts or draw cuts: although between the draw and circular cuts there is only a
small difference, which one can distinguish during the instruction through practice.
19.
Posture on Foot
The posture, or the correct position for fencing is made as follows: one places the left
foot pointing outward, the right pointing directly forward against the enemy, heel against heel, so
that both feet form a right angle; (although the left can stand somewhat more outward according
to comfort) so that one could trace a line towards the enemy through both heels, the feet coming
to stand only upon the same; which is especially important for cavalrymen due to the spurs, as
one must occasionally change or pass with the feet. Both feet must be at least two and a half
paces apart from one another; the left knee strongly bent, and the right foot held firm.
 20.
The entire weight of the body must rest upon the left leg, which is held perpendicular to
the ground, the knee bent as much as possible, and the foot turned to the side; so that the right
shoulder points forward. In the right hand the pallasch is held in halbterz with the elbows turned
somewhat outward and the arm bent; the left hand, however, which in this case has no use for
anything, is either laid upon the back, or holds the scabbard of the sword. The shoulders must
never be drawn back too high, and the body is held freely and naturally. As in Tab. I.
21.
One ordinarily positions himself with the middle point of his blade on the middle of the
enemy’s, which we call engaging.
22.
The Measure
The distance in which both fencers stand apart from each other is called the measure.
If one goes nearer or further back away than the usual distance, we call this breaking the
measure forward or backward.
23.
Advancing and Retiring
To advance, one sets the right foot forward stretched out, and then steps with the left leg
bent as much as usual.
In retiring the left foot is lifted first, the left leg bent but the right drawn back straight;
although in certain lessons we change with the feet, or pass, during advancing and retiring. See §.
73.
24.
The Lunge, or Extension
The extension of the arm and body, with which we bring the cut upon the enemy, is called
the lunge; and is performed like so:
The upper body must be laid forward during the cut (only with the right side); but the
lower body retracted. At the same time the left knee is stretched out, the right bent, without
stepping forward with the right foot; except in some cases where one cannot reach the enemy
otherwise. This step, however, must occur a split second before the effected cut.
25.
Remark 1
Remember to never lean with the body towards the inside line during the lunge, as one
can very easily lose balance; one must on the contrary lean somewhat towards the outside or
backwards, excluding the halbsekond, and especially the prim cut, where leaning toward the
inside is essential.
26.
Remark 2
When one bends the right leg, the knee must never come to rest further forward than
directly above the heel. More exaggerated bending would make the recovery more difficult.
27.
The Recovery
When we position ourselves back into the previous posture after an effected cut; it is
called the recovery.
Draw back quickly with the upper body while lifting the right foot at the same time (if
you had gone forward in the lunge), just high enough so that you do not scrape the ground with
it, and place it in into the position held before the lunge, which is also established once more
with the arm at the moment in which the left leg is bent again.
28.
To swiftly recover, it is a distinct advantage that you pick yourself up with the heel first
rather than with the toes first; letting the toes and the balls of the feet lie somewhat longer.
29.
The Openings
Those uncovered places into which one can bring a cut are called openings; of which are
there four: inside, outside, high, and low.
30.
The openings are of two sorts, either those that one must give by a movement, cut, or
parade; or those that one gives with the intention of luring the enemy to a cut, the former we call
true openings, the latter false.

The Cuts
31.
Prim
As soon as we draw the sword out, we already assume this motion, where the edge is
turned upward, and the back of the sword, along with the thumb, are turned downward. See Tab.
III.
If you want to deliver this cut well, you must bend forward to the inside, or left; during
the cut the arm is bowed slightly, so that the elbow points directly upward. Since one must
greatly shorten the arm by this bending, the prim is not often employed as a draw cut, rather
more frequently and with much better use as a circular cut.
This cut is delivered especially to wound the enemy in the hand or the arm; and on
horseback one uses it against the left side alone. This is chiefly advantageous during arrangement
in ranks; so that one does not miss a cut so easily and wound the man next to him.
This cut, upward from below, is the only dexterous one that a right-handed cavalryman
can use against a bayonet directed against the breast of his horse.
32.
Sekond
If one cuts in a horizontal direction from the left towards the right side, so that the back
of the hand comes to point upward, but the nails and thumb downward, we call it a sekond. See
Tab. IV.
33.
Terz
If one cuts downward in a vertical direction from above, so that the back of the hand
comes to point toward the right, but the nails to the left; we call it a terz. See Tab. V
34.
Quart
If one cuts from the right towards the left side in a horizontal direction, so that the back
of the hand comes to point downward, but the nails and the thumb upward, one has thus cut
quart. See Tab. VI.
These four cuts form the straight cross; the other four, halbsekond, halbquart, halbterz,
and halbprim, which make the diagonal cross, are effected in an oblique direction according to
the figure shown in Tab. III, as Tab. VII. and VIII.
 Chapter III
Feints

35.
Feints are suggestions or false attacks, that one poses as if wishing to cut into a certain
opening, and the enemy moves to cover with a parade; but instead we bring our cut elsewhere.
Feints are divided
into 1) equal, 2) unequal, and 3) circular feints; and further into either simple or double feints.
36.
Equal Feints
If both motions of a feint (including the cut) are delivered symmetrically, or equal,
according the star shown in Tab. II, we call it an equal feint.
37.
For example, if one lies in the guard of halbterz, he presents an opening to the inside. We
in turn disengage, as if wanting to cut halbquart; disengage again, and cut halbterz. Furthermore:
When one lies on guard inside, disengage, as if seeking to hit halbterz; disengage back
again, and hit halbquart.
38.
Unequal Feints
If one feints with prim, for example, then feints halbquart or quart, and then cuts
halbterz; these are unequal feints.
39.
Circular Feints
When one disengages from the outside guard and positions himself as if wishing to cut
quart, then, disengages back again, and cuts sekond; it is called a circular feint; because both the
movements, according to the star Tab. II. from 1 to 9, and 2 to 9, form an exact circle.
40.
Double, or Dual Feints
There is no other difference between the preceding, which were simple, except that in this
case we position ourselves to cut at two openings, and actually cut into the third. For example,
disengage, as if cutting halbquart; - disengage again, as if in halbterz; - then disengage once
more and hit halbquart.

Chapter IV
Drawing, Chopping, and Circular Cuts

41.
The ways of cutting are of three sorts, and are delivered by either more or less force of
the hand and arm, and firmer or lighter posture. The most usual are the:
42.
Draw Cuts
During these the shell is held with all strength, and the entire arm is stretched out. We
seek in that process to drive completely through into the striking point 9 arranged in Tab. II, in
one and the same draw; so is the wrist not allowed to be directed with any less slack; that it does
not bend itself back at the striking point’s contact and thereby forming a right angle: in which
case all power would be lost.
This cut is always accompanied by a pull or a push, which must last until after the
complete passage of the striking point.
Additionally it follows, that from the time when we hit the aforementioned striking point
9, we draw or slice in the direction desired, which happens by a very slight bending of the elbow
or shoulder joint. These final increase the power of the draw, and during their use the following
rules are to be observed:
43.
First: Since this cut is very taxing due to the sheer amount of strain on the arm, and one can
easily miss the cut because of this; one must never deliver it when surrounded by multiple
opponents and needing to make make multiple cuts one after the other; rather only when one can
certainly hit the enemy, and has enough time and distance to be able to recover.
Second: We can never use it in an initial false movement, or feint; it must rather be used only on
the last cut, both here and when delivering multiple cuts in succession, or doubling, in which it
can be delivered with greatest celerity; during the repetition of this cut a long time is required for
both of them.
44.
Chopping Cuts
These are distinguished from the former in that upon reaching point 9 in Tab. II., we do
not seek an increase of power by way of the forceful bending of the wrist or elbow; rather the cut
is executed only with the momentum we have given the blade in the preceding movement.
Furthermore, these cuts only travel in a semicircular pattern, and the force must fully cease upon
reaching the striking point 9; thereby one is in place to repeat more cuts, or double.
45.
Circular Cuts
It is to note that we do not hold the sword too firmly during cutting, letting it move about
in the hand by aid of the wrist; during the course of which the blade must remain in the
straightest direction. These cuts (with the exception of necessary horizontal cuts according to
circumstance) are always delivered completely through, and are especially useful when one has
to carve himself a path through multiple opponents.

Chapter V
Simple and Doubled Cuts

46.
Simple Cuts
If one describes a circle with the blade only once during the cut, this is called a simple
cut.
47.
Doubled Cuts
If one describes the imaginary circle upon the same path twice in succession; this is
called a doubled cut.
48.
 Every one of the designated cuts in Tab. II can be doubled, and this an be brought to
practice in the following manner: If you aim to duplicate a quart cut, advance the blade forward
in quart, and cut through until the point of the blade makes a straight line with the shoulder; then
turn the edge so that the blade is opposite to the motion of the circle, going back around until
brought back to the right side, the sword gripped in the same way as the first position again;- and
then cutting quart.
As soon as the blade travels backward, the elbow must be held high and retracted;
however, it must be lowered once the blade travels forward again, and set back into position (that
is: turned inward) an instant before the cut.
This cut forms a circle going over the head; and must be delivered as narrowly as
possible, as well as travel in the same direction; therefore bend the arm as much as you can. This
bending brings about the advantage of not striking the hat, and since the circle goes around and
the arm subsequently straightens again, it also generates more force.
49.
The doubled cut in sekond is the opposite of the one previously mentioned. The turning
of the edge happens at exactly the same point as in (§. 48.).
50.
During both cuts, the shoulder joint is the center of the movement, and it must be kept
relaxed; the elbow, however, moving around as freely as possible in the circle.
51.
From here the evidence presents itself that such a sweeping cut must be stronger than a
narrower one; as the periphery of the circular motion is always greater the further away it is from
the middle, or resting point.
52.
The doubled cuts in terz or prim are made as follows. They comprise a fixed wheel, and
must be effected so that the blade always travels along the exact circle.
This principle also applies to the remaining cuts that make up the diagonal cross; as
halbterz, halbquart, etc.

Chapter VI
Doubling

53.
If one delivers two cuts one after the other without encountering a parade between them;
it is called doubling.
54.
Remark
It is to note never to double the cuts if you have only cut halfway through and the enemy
has parried; since one would lose an entire tempo by the disengage, and the force, which always
stays the same during a circular motion, is hindered by the angle, or resting point that one makes
during the raising of the blade. In a few circumstances, however, such as during cutting into an
entire line of cavalry, this way of doubling is indeed justified. Otherwise, one must always
change with the cuts, as:
 Cut quart, disengage and double sekond, - cut sekond; disengage and double quart - cut
prim; disengage and double terz, - cut terz, and double prim - or: cut quart, disengage and double
halbterz, and so on.
55.
Entangling
If one completely misses his target during a strongly delivered cut, and due to the miss
the momentum of the blade throws it so off course that it cannot quickly be brought to bear
again, we call it entangling.
Since this entangling is an error, and is very dangerous, one must seek to avoid it.
 Part Two

Chapter I
General Rules of Parrying

56.
Parrying means directing the cuts of the enemy away from oneself.
57.
We parry with all motions, and chiefly with those that make up the diagonal cross. The
best fundamental rule of parrying is this, that against the cut we always receive the edge of the
blade as much in the strong (§4) as possible; and endeavor to keep our own weak free. According
to this rule will one will quickly know which motions to use.
58.
It is also to note that one must never make the parade too hastily, rather when the enemy
is already committed to the strike.

Chapter II
Parades with High Point

59.
Parade with Halbquart
When fencing on foot, if the enemy cuts inside, or quart at you; such a cut can be parried
with halbquart very easily, because the left shoulder is drawn back in line with the arm
60.
Remark
Since on horseback one must shorten the reigns too greatly through this turning towards
the left side, and the directing of the horse does not allow for this; one must use the prim in this
situation, in order to bring out the parade further over the arm and to maintain a straight heading,
as doing the former is very difficult while mounted; as Tab. X shows.
61.
Parade with Halbterz
If the enemy cuts halbterz or sekond outside, parry with halbterz Tab. XI.
When mounted we can employ this parade against an enemy approaching from the right
front side as well, since he will ordinarily cut terz or halbterz; likewise the reigns are covered on
this side; this parade with a raised point is only useable on the right side, and not on the left.
 Chapter III
Parades with Low Point

62.
Parade with Quart
On foot, if the enemy cuts at the inside knee or thigh; displace with quart: which is
however much more like a halbquart if it had already gone completely through, in which the arm
is stretched, but the point lowered.
63.
Remark
On horseback, this lesson is not needed, as the horse’s head stands in the way of such a
parade, and it would present too large of an opening to the upper body of the rider; instead we
use the prim parade; (§. 31.) with which one can cover all openings better and more swiftly, as
well as displace according to circumstance. (§. 64.)
64.
Parade with Prim
The positioning of the hand during this parade is like when one intends to cut prim
according to §. 31.; during which the point stands somewhat lower than the hand, as Tab. XII.
Among all parades this one is the most essential and useful, and likewise a universal
parade against all cuts with the exception of the halbsekond if one wanted to return from above;
which one must displace with a somewhat lowered point and an oblique halbterz or halbquart
parade, depending on whether the cut is delivered from the front or from the side.

Chapter IV
Slipping

65.
Although we do not really parry with a slip; it is part of the section on parades, as the
opponent’s cut is thwarted by it.
66.
Since the enemy’s cut is often directed at the hand and arm in order to disable them; we
thus draw back the same if the measure (§. 22.) allows it, so that the adversary entangles himself;
(§. 55.) in the course of which one can return into the given opening.

Chapter V
Returns

67.
If one has parried the enemy’s cut in whichever way, and hits back into the opening
presented so that one cut follows the other, we call this the return.
68.
If the enemy cuts inside with quart or halbquart; parry with halbquart and return sekond
or halbterz.
 If the enemy cuts sekond or halbterz; parry with halbterz and return halbquart or quart.
If he cuts terz straight down at the head; parry with halbterz from below with the point
somewhat to the left, and return terz: as Tab. IX. shows.
69.
Remark
On horseback, if the enemy cuts at the left arm or rein with quart; do not parry with
halbquart, but with prim, and return with halbquart or quart Tab. XII. The cut halbterz is not
comfortable to return from this parade.
It is even more effective if directly after the parade with prim, one executes a counter
thrust in this exact motion, and then delivers a cut. One must be wary of cutting to the left side,
instead seeking to cover himself with the thrust until he has the enemy on the right side again.
70.
These returns must be effected with the greatest speed; for which the cuts that happen
after the parades with high point are the most useful, and can be directed at the face the easiest.
71.
Since the point must be brought upward again after the prim parade; the return cannot
follow as quickly in turn; it is, however, more forceful due to the momentum of the circular
motion. (§. 51.)

Chapter VI
Attacking and Advancing on Foot while Passing

72.
The proper attacks against a single opponent usually happen with a posture of either
halbterz or prim, with the point directed the same, so we either strike into the first ideal opening,
or parry the cut of the adversary, and return according to the given rules, whereby one sets the
right foot forward, with the left foot behind.
73.
If you wish to carve yourself a path through multiple opponents, and be swifter
throughout, conduct yourself thusly:
Since you must go on the offensive in this instance, direct the blade into the position of
prim, and advance until just upon the enemy. Immediately begin to work with doubled cuts in
quart or sekond, or halbquart and halbterz. Which one you begin with is of equal value.
However, if you take the sekond first, for example, in which you make the doubled cut, the left
foot is set forth ahead the right; through which you maintain the position to deliver far reaching
cuts behind yourself, keeping the rear unobstructed. As soon as you endeavor to change and use
the quart, advance the right foot ahead of the left again, and keep going in the same manner until
you have reached your goal. We call this passing.
However, do not completely bind yourself to this rule of alternating between sekond and
quart, add attritional cuts as opportunity presents if required.
By these lessons one is always in the position, with practiced arm, to protect himself
against three, four, or even more unpracticed enemies, and to hold them off from all sides.

Remark
One advances in two ways:
 If you only need to cut in front, the body is never turned during the changing of the feet;
instead it is always held in the same manner when advancing the left foot, so that the right
shoulder stays forward and in line with the left, although the cuts in halbterz are thereby greatly
shortened in their reach. If you have to cut forward and backward, then turn the body at every
change of the feet, so that you make an equal front all over, and keep the adversaries at bay.
 Part Three

Use of the Art of Fencing on Horseback

Chapter I
Sitting on Horseback, and Directing the Reins and Sword

74.
Since during an engagement on horseback one is constrained, with respect to advancing
on the cut and the retirade, into a narrow range of motion with the lower body by the alternate
bending and straightening of the knee; we must utilize all possible advantages in order to negate
such a handicap to an extent.
75.
In order for one to be in the position to correctly posture himself while cutting, the
stirrups must be so tightened that they can lift the man high in the saddle with good support: for
better effect he must not primarily hold himself in the stirrups with the toes, but with the the balls
of the feet.
76.
Since the enemy tends to cut at the reins, they must be held as closely as possible.
To better concentrate all defensible openings, must one endeavor to bring himself down
by bending the head and contracting the body, in order to be able to lay himself all the better
behind the blade ; - and to only hold the sword at such a distance where it can come to the aid of
the attacked parts in the quickest and most efficient manner.
77.
Lastly it is advantageous to remember that when you cut or parade toward one side or the
other; you must always direct the horse’s head to the opposite side, as to better maintain balance.

Chapter II

78.
The Eight Chief Cuts
The first four cuts of the figure depicted in Tab. II. are in the straight cross: prim, sekond,
terz, and quart; the remaining are in the diagonal cross: halbprim, halbsekond, halbterz, and
halbquart.
79.
Remark
All of these cuts are employable on horseback with the exception of the halbprim, which
one can completely omit, since it has little force. However, if one has a double-edged blade, this
cut is delivered with the false edge, where it is of very good use.
80.
The Application of these Cuts
 If one wishes to successfully apply the aforementioned cuts, he must be precisely familiar
with their effect, and know to always set them up so that the adversary’s force itself contributes,
by which the cuts will penetrate more strongly.
81.
For example, if the enemy comes toward me from the right, and rides past me, it would
not be very effective if I sought to oppose him with halbterz or sekond; as he would ride away
from the force of the cut, by which I would be aiding him through my own device; I must rather
cut against him with halbquart or quart. These cuts, although delivered with only moderate
force, will always be very effective due to his movement, and far more difficult to dodge.
82.
Likewise, when the enemy approaches forward from the left, one must not cut quart, but
use one of these three cuts: halbsekond, sekond, or halbterz.
83.
Remark
Nevertheless, one must not bind himself to these two rules so strictly in order to apply
them. The action of the enemy often requires another on our end. However, if the enemy blindly
rides past without attacking us; then these would be the securest and strongest cuts to knock him
from the horse in short order.
84.
When one pursues a fleeing enemy, and he rides to the left, either a halbterz or sekond is
the best to use; with quart or halbquart only in case he has covered himself against this cut in
advance with a prim parade.
If the enemy rides to the left, and I must follow him from the right; this rule is to be
omitted due to the danger of his return cut in terz. Hence one uses either a sekond, or (if it were
not possible on account of the man next to him) the halbterz: if one were already versed in
cutting, he will thus be in the position to switch over into the parade of prim upon the enemy’s
successful return cut, to which one would have quart as a return for the second time.
If, however, you intended to cut quart or halbquart, the rule is to watch the enemy’s arm,
and not not to cut until you see that he is not meaning to cut terz, or until he has already cut;
otherwise both of the cuts would come simultaneously, and could hit at the same time.
85.
If the enemy approaches us from the right front, and you notice by insight that he
prepares himself for a cut in terz or sekond (which one can easily perceive); you must then, when
he has closed to the distance of four or five paces, counter the horse quickly, parade halbterz, and
let him cut; then return halbquart. If you should fail with the return, turn just behind him by a
right turn of the horse, and pursue him: you then gain the right side, and will hit him with a
sekond or halbterz cut; against which he will not be able to quickly parade or turn around, since
his horse is in motion. This lesson is not only excellent, but quite useful as well.
86.
Parade of Terz
The usual cut of a cavalryman during the charge is terz, from 4 to 9 in a vertical line
according to Tab. II. If an enemy who approaches from straight ahead intends to deliver it, one
parries with a bent halbterz similar to a prim so that the hand is raised over the head and just to
the right of the being directly above the right eye; - the point directed to the left side and raised; -
and the blade facing upward, whereupon one can likewise return terz or halbterz, or halbquart or
a thrust according to circumstance, as Tab. IX. shows.
 87.
If the enemy approaches forward from the left side, one can thus follow the rule of what
has already been mentioned in §. 85 by holding still; except one must oppose him with the prim
parade. If you intend to pursue him, such occurs with a left turn, and try to bring a return cut with
either quart, halbquart, or terz upon him, or to at least wound his horse. Tab. XII.
88.
If one is closely followed by an adversary, one should endeavor to injure the horse on the
nose or the head through return cuts; by which it is commonly frightened, and bolts with its rider.
Furthermore, if one wants to make a front against a pursuing enemy, this should, when
possible, occur through a right turn, in order to present to him the protected side.

Chapter III
Gaining the Left Side

89.
The chief objective of an individual flanqueur must always be to endeavor to descend
upon his enemy from the left side; for reasons previously explained in §. 84.
90.
An adversary pursued in short distance often attempts to throw himself in a short arc to
the right according to Tab. XIII, in order to be able to oppose his pursuer on the right side; as the
figure shows, where A. represents the pursued, and a. the pursuer.
In the event that the one traveling from A. to B. turns to the right, the pursuer performs
the prescribed action, and turns to b. in a somewhat larger arc, or more so in sections until upon
c. If the pursued is not willing to halt, he will thus have no other path remaining than C to D
when he sees the pursuer; through which the pursuer will not only lie upon the left side once
again, but far closer to him as well.
Thus, one could call this lesson “turning the enemy”.
91.
Negotiating a Narrow Street
If one must negotiate a narrow street, or trees, and is in preparation to effect a cut to the
rear due to a pursuing enemy, one will not be able to ensure his safety as much through cutting as
through good cover.
In this case one holds the pallasch rearwards over the head, so that the same does not
quite rest upon it; the hand straight above the point between the eyes; the elbow turned inward
toward the chest; the guard of the pallasch turned upward, as with the edge; the point, however,
comes to stand lowered over the back, so that it resembles a rearward parade with prim (§. 64.);
in this position, one will thus be able to defend both sides rearwards by a small motion. Tab. XIV.

Chapter IV
Cutting a Path through Multiple Opponents

92.
If you see multiple opponents before you who have not closed, through which you intend
to channel yourself a path; it is thus assumed that you will be attacked by them from the sides
and the rear as soon as you draw near them. It is important in this case to employ a technique in
which you hold them off from all sides at equal distance. One performs it like so:
As soon as you approach to a few paces away, raise the hand and blade into a high prim
directed straight ahead, as the figure Tab. XV. shows, and press onward upon the adversaries
until you can hit a few of them to the right or left with the cuts. At this moment, begin to attack
in a circular motion with alternating doubled cuts (§. 47.) in sekond and quart, through which
you make space for yourself the easiest.

Chapter V
Actions Against an Infantryman Armed with the Bayonet

93.
When a single infantryman with a charged bayonet lies ahead, one must thus primarily
endeavor to direct the bayonet out of the way.
94.
If one charges upon such an opponent in full swing, and intends to strike downward with
a rear-facing cut, this technique would often fail. The speed of the charge will always be faster
than the rearward cut, which one would not be able to deliver until he would be engaged very
close to the bayonet, since it must be made with the half strong (§. 4.); and if one should miss the
cut and entangle himself (§. 55.), he would all the more certainly run into the bayonet, unable to
defend himself.
Thus, it would only be somewhat usable in the event that one were fighting in front of
such an adversary on the spot. To reach this objective more safely we employ two techniques:
one while advancing, and the other standing still.
95.
Advancing
As soon as you approach the infantryman straight on, lean forward and extend in high
prim (§. 31), and parry by means of a circle from the right or left side, and then seek to trample
the opponent; or, since the bayonet is already behind you, aim to strike back without delay.
96.
Standing Still
When both stand still one can use this method; and since the length from the shoulder
joint to the point of the pallasch reaches out farther than the musket from the point of the
bayonet to where it rests in the left hand; seek to present a longer distance against him through a
left turn of the horse, and bring a cut at the arm upon him.
97.
Remark
Since one will meet strong resistance when parrying a bayonet when it is directed high at
the cavalryman and the man wielding the bayonet lies in proper posture, it thus requires a strong
arm and a swift, violent attack on the cavalryman’s part. Therefore, one must not parry the rifle
itself, but the middle of the bayonet, executing this in halbterz or halbquart with the whole
strong of the blade, near the guard; with the point raised as much as possible.
 Part Four

Chapter I
Techniques Against the Lance

98.
Since, on account of its length, the lance also has more weaknesses than the musket with
fixed bayonet, it is thus easier to bring to the side when one acts wisely; all the more so since it is
solely directed at the rider, and during parrying the whole strong of the blade can be better
utilized.
99.
Should a man armed with the lance charge upon us from straight ahead, extend the sword
hand forward in halbterz somewhat higher, and parry with a half circle with the whole strong of
the blade from right to left, so that you have parried with prim (§. 31.) and the lance comes to lie
to the left and passes the point a according to Tab. XVI.; after which one will be able to strike at
the enemy with great speed with hilt of the pallasch.
100.
If you intend to parry the lance to the right, raise the blade high to the left, and parry
downward with a half circle towards the right side with the motion prim, as Tab. XVII. Fig. 2.
shows, but so that the parade is directed towards the rear: in both cases one must extend
somewhat with the upper body, in order to secure some distance away from the lance and to
decrease the size of the target through this positioning.
101.
When both parties are in full pursuit, always endeavor to parry a lance-armed enemy
approaching from the side in such a way that you always direct the lance behind you.
102.
If a lancer approaches us from behind, parry him by a circular parade in quart with the
point lowered somewhat, so that the lance comes toward the right; to which end you can stop the
horse and turn it slightly to the left, through which you are in the position to deliver a cut with
sekond or halbterz upon him; as in Tab. XVIII.
103.
When possible, especially against a lancer approaching from the rear, one should always
seek to turn around with the parade and present the front to him, if he has parried him with prim
according to Tab. XVII to the right, or to the left (which is just as likely).
104.
If you parry the lance in front with prim, as in §. 99. and Tab. XVI., but the lancer has
disengaged (§. 108.) in order to thrust at the right flank, parry toward the right side in the motion
of prim without raising the point; through which you can return quart or halbquart or pursue the
enemy by a right turn of the horse.
If you have parried to the right, this is conducted vice versa, where we turn the horse to
the left after the last parade.
105.
Should you need to hastily parade in halbquart with the point raised on account of a
sudden attack from a lance, and the enemy disengages under, or cavates (§. 108) endeavor to
meet him on the opposed side with halbterz; and thus vice versa, mixing in a circular or prim
parade as soon as you are able to collect yourself.

Chapter II
Parrying a Javelin

106.
A thrown javelin is to be parried by a swift parade, which must only occur in the prim (§.
31.), similar to a cut from the left to the right side, which we call a ligirung. This parade looks
exactly like the execution of the prim parade in Tab. XVII. The parade of the reverse ligirung, or
in terz to quart from the right to left, is made with somewhat greater difficulty, and resembles the
parade according to Tab. XVIII., or the one with the circle.

Chapter III
For Lancers

107.
Since combat for the Lancer is similar to that with the smallsword, it is therefore useful to
discuss a few lessons that are useful for such troops.
108.
Disengaging
If you go around the hilt of the pallasch in a half circle to the opposite side from below
with the point; we call it a cavate; should you go to the other side from above, it is called
disengaging.
109.
When the lancer charges against someone, he must pay close attention to what sort of
parade the enemy prepares, which he will be able to perceive from the raising or positioning of
the arm.
110.
Should the enemy lie in a high position to the right, he will subsequently parry in a half
circle with prim to his left, according to §. 99. In this case one rides straight ahead until under his
blade (directed somewhat to the left) so that he does not change his decision and parry to the
right. As soon as he just begins to make the circle with the blade; disengage, or go with the point
of the lance over the pallasch and the arm, and thrust at the right flank. This lesson we call a half
feint (§. 35.) with a disengage. Tab. XVI.
111.
If one disengages once again, and makes two tempos; this is called a whole feint: if we go
over again so that we make three tempos; it is thus a double feint.
112.
If the enemy lies in a high left position, he is intending to parry right with a half circle in
prim (as §. 100.). Against this conduct yourself the same as has been shown in §. 110, except that
you begin with a disengage from the left side to the right.
113.
 When the enemy lies with the hand lowered and the point raised in halbterz, he intends to
parry to the left with halbquart. In this instance disengaging is not possible, we must rather go
through under the hand, or cavate (§. 108.), concerning the feints the rule is the same as has been
shown with disengaging (§. 110).
114.
In the case that the adversary goes around after the first cavate, or counter-cavates, one
goes around in the same arc again and thrusts: which we call a double cavate.
115.
Should the lance be parried, and the distance closed so that the point stands behind the
enemy and would be harmless to him; one must strike him behind the ears with the shaft and
endeavor to stun him, which will rely upon the lancer’s decisiveness and skill.
116.
The enemy also tends to strike at the lance. In this case one must know to evade his cut or
cavate, in which the lesson is better shown than described.

Addendum
117.
In order to secure an opening while cutting, one often tends to present a thrust, and then
to cut. If one had actually thrusted, a cut should always follow after the thrust; the reverse,
however, presenting a cut or making a feint and then thrusting, is useless and of absolutely no
effect.
A cut must always follow a presented thrust, but reversed, presenting a cut and then
thrusting, is for this reason not useable; as it is far easier to transition into a vigorous movement
from rest than it is to go back into rest from the same.
 Appendix
Attacking Against a Corps of Cavalry

118.
If we attack an opposing corps of cavalry, and have no advantage in the weight of the
horses, the assembled squadron can indeed deliver their cuts upon the approach; but the men on
the right and left flanks should not cut (if they do not thrust back at the flankers, which is a rare
occurrence), every man instead staying together with his unit, parrying, those on the left with a
high prim, those on the right in a high halbterz, according to Tab. XII. Fig. 2.; in order to cover
the flanks of the squadron.
Heavy cavalry attacking lighter horses would not have a reason to start cutting first (since
it is already assumed that these troops cannot withstand the weight), and the first squadron may
hold the pallasches in a high, forward facing, covered guard in halbterz, according to Tab. IX.
Fig. 2., until the enemy has delivered his cut, and should then cut or thrust immediately. The
second squadron, however, could close in with blades raised, and attack the formation.
Among a unit that expects a cavalry attack at once, it would be more advantageous to first
be in a defensive position at the sight of the first cuts, than to cut back at the same time, in which
we would indeed wound many, but whether we have more wounded or preserved more than
inflicted upon the enemy would depend on chance.
119.
Should we attack an entire formation of lancers, we shall employ the aforementioned
method where we bring the lances to the side with a prim parade, and then thrust or cut.
120.
Parrying a Thrust on Horseback
When the enemy charges at you, and lies in a high position with his weapon in order to
deliver a thrust at the chest, parry him so that we go from the right to the left side with our blade
around that of the enemy from below, then drawing it to the right, subsequently delivering a terz
at the arm or a return cut in quart at the face. Should the enemy cavate after the parade and seek
to thrust low, go under at that very moment and stab him with a sekond directed somewhat to the
right.
121.
If, however, the enemy attacks in a low position, and wants to thrust at the lower body,
one must parry with a hanging prim, during which the point must sink very low and the hand is
raised higher, where one impedes the enemy from disengaging under so that he instead must
disengage over, which will be much more difficult for him and unable be executed as swiftly.
One can also attack an enemy standing still in a fixed position with this parade.
122.
Advancing and Retiring on Foot, and Corresponding Cuts Therewith
In order to strengthen the arm and acquire an ample reach, there is no better way than to
deliver various cuts through the air in succession, and simultaneously training so that you know
which foot to set forward or draw back depending on the cut, by which the cut is lengthened or
made more powerful.
123.
For example, if a cut is delivered, the sort during which the right shoulder is ahead
reaches around the furthest, and the one where the right shoulder is behind reaches shorter. If the
left foot is forward, I am far more able to cut terz, especially to the side, and even better
rearward. Thus the left is bound to terz, or halbterz, and the right to quart, or halbquart.
124.
If you desire to advance, and have not initially cut in quart, place the left foot before the
right as far as you can, so as it first stood inward it now comes somewhat outward, pointed
toward the left side. The foot itself must always stay in its direction, like the right, except when
one would want to turn himself completely around during the advancing of the feet, or passing,
bringing the front about in the opposite direction, where the feet are again positioned as they
stood before the advance. In this time bring the sword against the left shoulder, so that you raise
the arm and subsequently cut terz. This cut must go completely through, so that afterwards the
blade rests over the shoulder from which you have cut, in order for you to always have a
complete circle for cutting. All following cuts must be made likewise.
Place the right foot forward and cut quart completely through, and it is always alternated
in this manner as long as you advance. In retiring one carries himself the same, but in both cases
one must never hit earlier than when the foot stands firm, as otherwise the cut does not have the
proper force, and the arm is easily exhausted, so that the whole body falls into a clumsy
staggering, which can be very dangerous.
125.
There are two ways of advancing, namely where we deliver all the cuts forward, and that
in which we cut in front and behind. During the former the right shoulder must always stay
directed forward during the advance of either foot, conversely, during the latter the the body is
turned according to the foot in front.
126.
Occasionally one is forced, especially when encircled by multiple opponents, to turn
forward or backward without advancing as well, and this happens accordingly in two ways.
If the forward distance is farther than in behind, that is, when you are pressed more
strongly from behind than from the front, turn completely around on the heel of the right foot, in
which you pass with the left at the same time, so that when it has reached the ground, you have
changed the direction of the whole posture, so that you are separated from the enemies standing
behind by a fair amount, about an entire foot-length; though it is not absolutely necessary that
this always must occur with the passing of the left foot. The left foot can also stay in place, and
the right foot advanced towards the left or right according to circumstance; so that you are not
harassed by the enemy’s cuts while turning. In the moment of use against the side that you wish
to abandon, it is good if you make a few more violent cuts reaching around. As stated, the
circumstances herein give the best rules, by which you must occasionally carve the required
space to where you intend to place the foot.
127.
The second way of changing the front is this: If you have as little space in the front as in
the rear, or the terrain upon which you stand is too narrow, make a half pass forward with the left
foot, then turn around with the knees bent, and step forward with the right foot so that we
maintain the required foot distance again, in which you likewise make a turn on the pivot or
middle point, without distancing yourself from or approaching the forward or rearward enemies.
In this case it is also good to give the front to be abandoned something else to do for security’s
sake, in order to be able to turn around more calmly.
 Exercises with Advancing and Retiring

Advancing. 1) Standing, halbquart. 2) Pass with the left foot, and halbterz. 3) Pass with the right,
and halbquart.
Retiring. 1) Backward pass with the right, and halbterz. 2) Backward pass with the left, and
halbquart. 3) Backward pass with the right foot, and halbterz.

Now do this with doubled cuts in halbterz and halbquart.

Pass with the right foot, and halbquart, halbterz, halbquart. 2) Pass with the left foot, halbterz,
halbquart, halbterz. 3) Pass of the right foot, halbquart, halbterz, halbquart.
Retiring. 1) Backward pass of the right foot, and halbterz, halbquart, halbterz. 2) B a c k w a r d
pass of the left foot, and halbquart, halbterz, halbquart. 3) Backward pass of the right foot, and
halbterz, halbquart, halbterz.

Advancing. 1) Forward pass of the right foot, and doubled halbquart, simple halbterz, double
halbquart. 2) Forward pass of the left foot and doubled halbterz, simple halbquart, doubled
halbterz. 3) Forward pass of the right foot and double halbquart, simple halbterz, double
halbquart.

Retiring. 1) Backward pass of the right foot and double halbterz. simple halbquart, double
halbterz. 2) Backward pass of the left foot, and double halbquart, simple halbterz, double
halbquart. 3) Backward pass of the right foot, and double halbterz, simple halbquart, double
halbterz.

Advancing. 1) Pass of the right foot, and simple halbquart, double halbterz, simple halbquart. 2)
Pass of the left foot, and simple halbterz, double halbquart, simple halbterz. 3) Pass of the right
foot, and simple halbquart, double halbterz, simple halbquart.

Retiring. 1) Backward pass of the right foot, and simple halbterz, double halbquart, simple
halbterz. 2) Backward pass of the left foot and simple halbquart, double halbterz, simple
halbquart. 3) Backward pass of the right foot, and simple halbterz, double halbquart, simple
halbterz.

Advancing. 1) Pass of the right foot, and double quart, double terz, double quart. 2) Pass of the
left foot, and double terz, double quart, double terz. 3) Pass of the right foot, and double quart,
double terz, double quart.

Retiring. 1) Backward pass of the right foot, and double terz, double quart, double terz. 2) Pass
of the left foot, and double quart, double terz, double quart. 3) Backward pass of the right foot,
and double terz, double quart, double terz.

Advancing. 1) Pass of the right foot, and double quart, double terz, simple quart. 2) Pass of the
left foot, and double terz, double quart, simple terz. 3) Pass of the right foot, and double quart,
double terz, simple quart.
Retiring. 1) Backward of the right foot, and double terz, double quart, simple terz. 2) Backward
pass of the left foot, and double quart, double terz, simple quart. 3) Backward pass of the right
foot, and double terz, double quart, simple terz.

Advancing. 1) Pass of the right foot, and simple quart, simple terz, double quart. 2) Pass of the
left foot, and simple terz, simple quart, double terz. 3) Pass of the right foot, and simple quart,
simple terz, double quart.

Retiring. 1) Backward pass of the right foot, and simple terz, simple quart, double terz. 2) Pass
of the left foot, and simple quart, simple terz, double quart. 3) Backward pass of the right foot,
and simple terz, simple quart, double terz.

Advancing. 1) Pass of the left foot, and prim. 2) Pass of the right foot, and whole terz straight
down from above. 3) Pass of the left foot, and halbterz. 4) Pass of the right foot, and halbquart.

Retiring. 1) Backward pass of the right foot, and prim. 2) Backward pass of the left foot, and
whole (straight) terz. 3) Backward pass of the right foot, and halbterz. 4) Backward pass of the
left foot, and halbquart.
These lessons can likewise be performed with doubled cuts.

Cuts delivered forward and backward

Advancing. 1) Standing, simple quart. 2) Pass of the left foot, in which the body is turned
around, and double terz, 3) Pass of the right foot forward, and simple quart. 4) Pass of the left
foot rearwards, and double quart. 5) Pass of the right foot rearwards, and simple terz. 6) Pass of
the left foot forwards, and double terz. 7) Pass of the right foot forward, and simple quart. 8)
Pass of the left foot rearwards, and double quart.

In this fashion one can continue as long as desired. You can also can increase the
simple or doubled cuts according to discretion; for example, instead of the simple terz, you can
cut terz, quart, and terz: instead of the doubled quart, you can cut double quart, terz, and double
quart; it is only to note that the amount of the cuts which come upon one foot must be different,
as otherwise disorder would develop among the feet, and you would not be able to change,
having to always repeat the same cuts instead.