first brilliancy for a considerable period’. The anonymous work Pancratia (1812) noted that ‘In his manner there is more neatness than strength, and it has been said, more show than service; his blows are in general deficient in force, but given with astonishing quickness, and he is [agreed] to strike oftener, and stop more dexterously, than any other man.’ Other attributes considered typical of Mendoza’s style were: ‘stopping and returning with the same hand’, and extensive use of the ‘chopper’ (a backhanded punch, often delivered with the same hand that had just been used to make a block). He was also noted for his ability in ‘tiring out a man’s strength […] by acting on the defensive till the assault in turn could be practiced with success’. Mendoza was believed to have ‘derived his primitive knowledge of boxing from the tuition of his elegant rival Humphreys; but he so rapidly improved upon the system of his master, as to remain several years without a rival’. Mendoza as a teacher Mendoza’s contribution to the development of scientific technique came as much from his ability as a teacher as from his own personal boxing style. In 1789 he published two books, The Art of Boxing, and The Modern Art of Boxing, and from 1790 onwards he frequently offered public exhibitions of pugilism in theatres, either in London or across the provinces. Mendoza also worked closely with a number of later pugilists, either as a trainer or as a second (i.e. cornerman in modern parlance). Egan noted that ‘as a teacher […], it might almost be said, that [Mendoza] was without a competitor, and turned out some excellent pupils.’ The influence of Mendoza’s books is perhaps unclear. The Art of Boxing devotes just 28 pages to boxing technique, but a further 67 to documenting the ill-tempered correspondence that had passed between Mendoza and Humphreys. The Modern Art of Boxing (a slim 48 page tome) is described by Mendoza as ‘a selection from different works on the same subject’ (it contains material taken directly from, for example, Godfrey’s 1747 treatise on self-defence). Contained in both of these works are Mendoza’s ‘Six Lessons’ (described as being 'for the use of his scholars'). These consist of exercises whereby the master makes various attacks and the student is told how to defend against them. The 'Six Lessons' can be seen as an expression of Mendoza’s style as