devoted himself to the study of law; but about the time of his admission to the bar of Paris, the bishop of Troyes granted him ordination, and offered him a canonry in his cathedral. This bishop died soon after, and the abbé, coming to Paris, was, on account of his relations with Soanen, the famous Jansenist, deprived of his ecclesiastical functions by the archbishop of Beaumont. About the same time it happened that he heard of two deaf mutes whom a priest lately dead had been endeavouring to instruct, and he offered to take his place. The Spaniard Pereira was then in Paris, exhibiting the results he had obtained in the education of deaf mutes; and it has been affirmed that it was from him that Épée obtained his manual alphabet. The abbé, however, affirmed that he knew nothing of Pereira’s method; and whether he did or not, there can be no doubt that he attained far greater success than Pereira or any of his predecessors, and that the whole system now followed in the instruction of deaf mutes virtually owes its origin to his intelligence and devotion. In 1755 he founded, for this beneficent purpose, a school which he supported at his own expense until his death, and which afterwards was succeeded by the “Institution Nationale des Sourds Muets à Paris,” founded by the National Assembly in 1791. He died on the 23rd of December 1789. In 1838 a bronze monument was erected over his grave in the church of Saint Roch. He published various books on his method of instruction, but that published in 1784 virtually supersedes all others. It is entitled La Véritable Manière d’instruire les sourds et muets, confirmée par une longue expérience. He also began a Dictionnaire général des signes, which was completed by his successor, the abbé Sicard.
ÉPÉE-DE-COMBAT, a weapon still used in France for duelling,
and there and elsewhere (blunted, of course) for exercise
and amusement in fencing (q.v.). It has a sharp-pointed blade,
about 35 in. long, without any cutting edge, and the guard, or
shell, is bowl-shaped, having its convexity towards the point.
The épée is the modern representative of the small-sword, and
both are distinguished from the older rapier, mainly by being
several inches shorter and much lighter in weight. The small-sword
(called thus in opposition to the heavy cavalry broadsword),
was worn by gentlemen in full dress throughout the 18th century,
and it still survives in the modern English court costume.
Fencing practice was originally carried on without the protection of any mask for the face. Wire masks were not invented till near 1780 by a famous fencing-master, La Boëssière the elder, and did not come into general use until much later. Consequently, in order to avoid dangerous accidents to the face, and especially the eyes, it was long the rigorous etiquette of the fencing-room that the point should always be kept low.
In the 17th century a Scottish nobleman, who had procured the assassination of a fencing-master in revenge for having had one of his eyes destroyed by the latter at sword-play, pleaded on his trial for murder that it was the custom to “spare the face.”
Rowlandson’s well-known drawing of a fencing bout, dated 1787, shows two accomplished amateurs making a foil assault without masks, while in the background a less practised one is having a wire mask tied on.
For greater safety the convention was very early arrived at that no hits should count in a fencing-bout except those landing on the breast. Thus sword-play soon became so unpractical as to lose much of its value as a training for war or the duel. For, hits with “sharps” take effect wherever they are made, and many an expert fencer of the old school has been seriously wounded, or lost his life in a duel, through forgetting that very simple fact.
Strangely enough, when masks began to be generally worn, and the fleuret (anglice, “foil,” a cheap and light substitute for the real épée) was invented, fencing practice became gradually even more conventional than before. No one seems to have understood that with masks all the conventions could be safely done away with, root and branch, and sword-practice might assume all the semblance of reality. Nevertheless it should be clearly recognized that the basis of modern foil-fencing was laid with the épée or small-sword alone, in and before the days of Angelo, of Danet, and the famous chevalier de St George, who were among the first to adopt the fleuret also. All the illustrious French professors who came after them, such as La Boëssière the younger, Lafaugère, Jean Louis, Cordelois, Grisier, Bertrand and Robert, with amateurs like the baron d’Ezpeléta, were foil-players pure and simple, whose reputations were gained before the modern épée play had any recognized status. It was reserved for Jacob, a Parisian fencing-master, to establish in the last quarter of the 19th century a definite method of the épée, which differed essentially from all its forerunners. He was soon followed by Baudry, Spinnewyn, Laurent and Ayat. The methods of the four first-named, not differing much inter se, are based on the perception that in the real sword fight, where hits are effective on all parts of the person, the “classical” bent-arm guard, with the foil inclining upwards, is hopelessly bad. It offers a tempting mark in the exposed sword-arm itself, while the point requires a movement to bring it in line for the attack, which involves a fatal loss of time. The épée is really in the nature of a short lance held in one hand, and for both rapidity and precision of attack, as well as for the defence of the sword-arm and the body behind it, a position of guard with the arm almost fully extended, and épée in line with the forearm, is far the safest. Against this guard the direct lunge at the body is impossible, except at the risk of a mutual or double hit (le coup des deux veuves). No safe attack at the face or body can be made without first binding or beating, opposing or evading the adverse blade, and such an attack usually involves an initial forward movement. Beats and binds of the blade, with retreats of the body, or counter attacks with opposition, replace the old foil-parries in most instances, except at close quarters. And much of the offensive is reduced to thrusts at the wrist or forearm, intended to disable without seriously wounding the adversary. The direct lunge (coup-droit) at the body often succeeds in tournaments, but usually at the cost of a counter hit, which, though later in time, would be fatal with sharp weapons.
Ayat’s method, as might be expected from a first-class foil-player, is less simple. Indeed for years, too great simplicity marked the most successful épée-play, because it usually gained its most conspicuous victories over those who attempted a foil defence, and whose practice gave them no safe strokes for an attack upon the extended blade. But by degrees the épéists themselves discovered new ways of attacking with comparative safety, and at the present day a complete épée-player is master of a large variety of attractive as well as scientific movements, both of attack and defence.
It was mainly by amateurs that this development was achieved. Perhaps the most conspicuous representative of the new school is J. Joseph-Renaud, a consummate swordsman, who has also been a champion foil-player. Lucien Gaudin, Alibert and Edmond Wallace may be also mentioned as among the most skilful amateurs, Albert Ayat and L. Bouché as professors—all of Paris. Belgium, Italy and England have also produced épéists quite of the first rank.
The épée lends itself to competition far better than the foil, and the revival of the small-sword soon gave rise in France to “pools” and “tournaments” in which there was the keenest rivalry between all comers.
In considering the épée from a British point of view, it may be mentioned that it was first introduced publicly in London by C. Newton-Robinson at an important assault-at-arms held in the Steinway Hall on the 4th May 1900. Professor Spinnewyn was the principal demonstrator, with his pupil, the late Willy Sulzbacher. The next day was held at the Inns of Court R. V. School of Arms, Lincoln’s Inn, the first English open épée tournament for amateurs. It was won by W. Sulzbacher, C. Newton-Robinson being second, and Paul Ettlinger, a French resident in London, third. This was immediately followed by the institution of the Épée Club of London, which, under the successive residencies of a veteran swordsman, Sir Edward Jenkinson, and of Lord Desborough, subsequently held annual open international tournaments. The winners were: in 1901, Willy Sulzbacher; 1902, Robert Montgomerie; 1903, the marquis de Chasseloup-Laubat; 1904, J. J. Renaud; 1905, R. Montgomerie. In 1906
