SWORD FEATS.
To cut a bar of lead in two at one stroke.
This feat is sometimes called the “Cœur de Lion,” deriving its name from the feat said to have been performed by Richard I. when he met Saladin the Saracen at the station of the Diamond of the Desert,videSir Walter Scott’s “Talisman.”
It is one which every sabre-player ought to practise more or less. It teaches how to apply force and edge, and to finish your cuts with quickness, by which they are more effective. It also shows the power of a sword-cut when properly delivered.
The great secret of this, and most of the sword feats, is a free delivery, true edge, and striking the object with the part of the blade called the centre of percussion with great velocity.
The sword generally used for this purpose issomething like a naval cutlass, but longer and heavier.
The best sized sword for a man of average strength is one weighing 3¼ lbs., with a blade 1¾ inches wide and 31 inches long. The size and weight, however, depend a great deal upon a man’s strength. A weak man would cut better with a smaller one, and a very powerful man would find a larger one more suitable. It greatly rests on the velocity you are able to give it.
The bar of lead, which you can cast yourself if you are provided with a melting pan and mould, should be about 12 inches long and triangular (equilateral) in shape with flat ends, so that you can stand it on one end.
It may be either suspended or stood on end on the top of a table or stool; I prefer the latter way, as it is not so steady when suspended.
A three-legged stool about 4 feet high, for a man of 5 feet 8 inches, with a level top 9 inches square, will be found as handy as anything for this purpose.
Place the bar of lead so that your sword will first strike the most acute angle (should the bar be not quite equilateral), then put yourself in the position of “guard,” with the toes of the right foot in a line with the lead, and at such a distance that when you deliver the cut you willstrike it with the centre of percussion of your sword.
Having taken your distance, throw your hand quickly back into the bend of the left arm or on to the left shoulder to get an impetus, and keeping both feet firm on the ground, deliver a horizontal cut from left to right as rapidly as possible, using the elbow and forearm freely, and throwing the weight of the body into the cut. Arm straight and point of the sword to your right front at the finish of the cut.
In cutting, the wrist should be well sunk, the upper knuckles turned up, and a firm grip of the sword maintained, particularly at the moment the sword strikes the lead.
The sword, with the edge leading, should not be turned in the slightest degree, but kept on a level line so that the cut will be perfectly horizontal.
When the lead is suspended, aim a little above, and when standing, a little below the middle.
It is dangerous for any one to stand on your right when you are practising this feat, as the pieces of lead sometimes fly to a considerable distance, and with great force.
A little tallow on your sword will show you what part of the blade you cut with, and will also slightly assist the cut.
The lead may be cut in several other ways, viz., from right to left, but as the hand turns in this cut, you must be careful to strike the bar before this occurs.
It may also be thrown up and cut while in the air, or it may be placed on a trestle about 3 feet high, and cut with a downward chop: the way in which Cœur de Lion is said to have cut the handle of a steel mace.
A good practice is also to place the lead at the distance your adversary would be from you were you having an assault, and make attacks upon it, or forming a guard, give the various returns in the manner you would on a real opponent.
In this practice the lead should be thin, say 3 inches in circumference, as the cuts must be made without drawing the hand back, you therefore do not get the same sweep and force as when cutting in the manner first described.
A bar of this size is quite thick enough for your first practice in lead cutting. When you can cut it well, and with ease and certainty, you may try one a little thicker.
You should not attempt to cut one that is too large and above your power; you will only jar your elbow and destroy your confidence.
When you can cut a bar measuring 1½ inches on each side, you may attempt to cut the carcase of asheep weighing 60 lbs. or a leg of mutton of 9 lbs., and when you can cut one measuring 2 inches on each side (6 inches in circumference), you may try your hand on a 90 lb. sheep or a 14 lb. leg of mutton.
In melting the lead, which should be pure and unadulterated with any other metal, see that your mould is dry, as the slightest damp will cause the hot lead to spurt into your face.
Before pouring it into the mould, clear the surface of the dross which you will constantly find on it.
PLATE XXXI.—CUTTING A SHEEP (AFTER DELIVERING THE CUT).
PLATE XXXI.—CUTTING A SHEEP (AFTER DELIVERING THE CUT).
PLATE XXXI.—CUTTING A SHEEP (AFTER DELIVERING THE CUT).
PLATE XXXI.To Cut a Sheep in Two at One Stroke.
Get the carcase of a sheep dressed in the ordinary way, as you see them hanging in a butcher’s shop before they are cut up into joints.
Suspend it on a gallows by the hind legs with the belly towards you, then standing with your right toes in a line with the spine of the sheep, and so near that the centre of percussion of your sword will reach the back bone, and aiming at the part where the butcher separates the neck from the loin, deliver your cut as at the lead.
Take care to throw the point of your sword to your right front as you finish the cut, or you will leave part of the flank uncut.
Hang a leg of mutton by the shank with the bone side to your left, so that your sword will strike it first, and aiming at the “pope’s eye,” deliver your cut as at the lead.
Be particularly careful to grasp your sword tightly, or the bone, which is exceedingly hard, may cause it to turn in your hand.
This is rather a risky feat, for the reason that you have so little space to cut at in order to make a good section.
If you cut too low you will find a second bone, which will probably prevent your sword passing through.
If you cut too near the shank, it will be a bad section.
Before cutting at the “pope’s eye,” you may cut a thin slice or two off the bottom.
See that the shank bone has not been broken. Butchers often break it. It would probably spoil your cut.
For this and the sheep use the lead-cutting sword, and take care that the gallows is firm.
PLATE XXXII.—CUTTING A BROOM HANDLE ON WINE GLASSES.
PLATE XXXII.—CUTTING A BROOM HANDLE ON WINE GLASSES.
PLATE XXXII.—CUTTING A BROOM HANDLE ON WINE GLASSES.
Take your lead-cutting stool and another of exactly the same height. Place a tumbler filled with water on the top of each, then lay an ordinary broom handle on the glasses, so that the ends will rest on the inside edges, each end projecting about half an inch over the water.
With your lead-cutter deliver a downward chop with great suddenness and quickness, striking as near the centre as possible.
This feat may also be done with a thinner wand on two wine glasses.
Or you may hang two loops of paper or strong thread on the edges of two sharp swords and suspend the wand on them.
To Cut a Silk Cushion in Two at One Stroke.
Hang a silk cushion, stuffed with feathers or down, so high that the centre of it would be a few inches higher than the top of your lead-cutting stool, then, aiming at the most acute edge, deliver as at the lead. On account of the inconvenience caused by the escape of the feathers from the cushion when cut, this feat has of late years been left unperformed at public assaults-of-arms. The last time I saw it executed was many years ago by my esteemed friend, Mr. Alfred Shury, at that time one of the best swordsmen in London.
This and the following are the feats said to have been done by Saladin, when he met Richard Cœur de Lion in the Diamond of the Desert.
They consequently bear his name.
PLATE XXXIII.—CUTTING A VEIL.
PLATE XXXIII.—CUTTING A VEIL.
PLATE XXXIII.—CUTTING A VEIL.
PLATE XXXIII.To Cut a Veil in Two at One Stroke.
Fold a veil neatly lengthways and lay it on the edge of the sword, almost close to the hilt.
Place your feet together, with your sword hand resting on the bend of the left arm, the edge of the sword turned up. Take two quick steps to your front, beginning with the left foot, and as you make the second, deliver an upward cut with a good edge, throwing the point of the sword high in the air, so that when the veil separates the two parts will have some distance to fall. A good effect will thus be produced.
At the finish of this cut, as in the lead cutting one, the arm should be brought straight.
The feat may also be done with a cambric or a silk handkerchief (the latter is very difficult), or with a kid glove or ribbon.
When ribbon (which should be very narrow) is used, have three or four colours, about a yard of each, and lay the whole on the sword at once.
After cutting them once, take all the pieces and cut them again. If they are thrown high they will somewhat resemble the coloured fire falling from a sky-rocket, and will have a very pretty effect.
Gauze is the best textile to practise with. Try to cut a yard of it into as many pieces as possible, always taking care to fold each piece lengthways before placing it on the sword.
When you can do this well, try something more difficult.
For this and the preceding feat you require a special sword called a handkerchief cutter. It should have the edge of and be kept as sharp as a razor.
The edge should be ground and set towards the hand, and when sharpening or stropping it, you should always rub from point to hilt.
If you look through a very powerful magnifying glass you will find the edge of a sword is serrated like a saw, but not so regularly; therefore, by having the teeth pointed towards the hilt, the edge more readily lays hold of the veil.
To understand this more clearly, take a common saw, whose edge is set towards the point, and rub your finger from handle to point. However hard you may press, the teeth will not prick you. Rub the other way and the effect will be very different.
To Cut a Sheet of Note-paper Unsupported.
Take a sheet of note-paper, and, half opening it, place it on end on the lead-cutting stool, the acute angle to your left, the opening to your right, and with your handkerchief cutter deliver as at the lead. This is not difficult.
In this and the preceding feats the thumb should be round the grip.
In the following it will be better to lay it on the back.
Suspend an orange by a piece of thin thread about four or five feet from the ground. Place yourself with the right toes in a line with the orange, then, with a very light touch of the sword near to the point, cut the thread, and quickly turning the hand, divide the orange as it falls.
The thread may be cut from right to left and the orange from left to right, orvice versâ, whichever you find the handier. In both ways the cuts must be very small and close.
For this and the following feats any light and handy sword will do. It should not be very sharp except close to the point, so that you can cut the thread with ease, and thus cause the orange to fall straight.
PLATE XXXIV.—CUTTING AN APPLE ON A MAN’S HAND.
PLATE XXXIV.—CUTTING AN APPLE ON A MAN’S HAND.
PLATE XXXIV.—CUTTING AN APPLE ON A MAN’S HAND.
PLATE XXXIV.To Cut an Apple in Two on a Man’s Hand Without Injuring Him.
This is called the “Napier Feat,” from the fact that it was done on Sir Charles Napier’s hand when in India by a native swordsman.
It is very dangerous and difficult, and none but those who have great command over a sword should attempt it.
The man who holds the apple should have good nerve, and should keep his hand very steady. He must raise the palm of his hand as much as possible, and, keeping the four fingers close together, bend them back. The thumb must also be pressed back, and kept as far as possible from the forefinger.
Place the apple on his palm, and standing so that your sword will pass between his thumb and forefinger and point in the same direction, deliver a downward cut without the slightest draw and with sufficient force and no more than will cut the apple.
This is such a delicate and dangerous feat that whenever I have to do it I practise on severalapples of the sort I intend to cut, so that I may find out the exact force to apply. Apples differ so much in toughness.
Take a pocket-handkerchief and tie the four corners together with a piece of string. Hang it four or five feet from the ground, then put in the apple so that it will rest exactly in the centre.
Aiming under the apple, give an upward cut of sufficient force to pass through. If you make the slightest draw you will cut the handkerchief.
When apples cannot be got, you may use potatoes or thin-skinned turnips for this and the preceding feat.
When performing these feats, take great care that no one is within reach of your sword, and see that everything is properly placed and steady before delivering your stroke.
Do not chop or hack, but make the cuts with neatness and freedom. Avoid all parade, and always remember to grasp your sword so that the middle knuckles are in a line with the edge of the sword. This rule is imperative.