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 mathematics. Upon this foundation he superimposes a structure of audacity. But he often falls into one error or another, for all his mental brilliancy. He may become rigidly formal in his practice, or, in a revolt from his own formalism, be seduced into a display of showy, sensational tricks that are all very well in the studio but dangerous to their practitioner on the actual dueling ground.

The Italian, looser, freer, less formal, more individual in his style, springing from a line of forbears who have preferred the thrust to the cut, the point to the edge, for centuries, is a more instinctive and less intellectual swordsman than the Frenchman. It is in his blood; he uses his rapier with a wild and angry grace that is feline.

The Frenchman, even when he is thoroughly serious in his desire to slay, loves a duel for its own sake; he is never free from the thought of the picture he is making; the art, the science, the practical cleverness, appeal to him independently of the bloodshed.

The Italian thinks of but one thing; to kill. He will take a severe wound to give a fatal one. The French are the best fencers in the world; the Italians the deadliest duelists.