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{{infobox writer
 
{{infobox writer
| name                = [[name::Jörg Wilhalm Hutter]]
+
| name                = [[name::Jörg Wilhalm]]
| image                = File:Jörg Wilhalm Hutter.png
+
| image                = File:Jörg Wilhalm.png
 
| imagesize            = 250px
 
| imagesize            = 250px
 
| caption              =  
 
| caption              =  
Line 28: Line 28:
 
| subject              =  
 
| subject              =  
 
| movement            = Augsburg tradition
 
| movement            = Augsburg tradition
| notableworks        = ''Jörg Wilhalm Hutters kunst zu<br/>Augspurg''
+
| notableworks        = ''Jörg Wilhalm Hutters kunst zu Augspurg''
 
| archetype            = {{plainlist
 
| archetype            = {{plainlist
 
  | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Cod. I.6.4º.5]] (1522)
 
  | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Cod. I.6.4º.5]] (1522)
 
  | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Cod. I.6.2º.3]] (1522)
 
  | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Cod. I.6.2º.3]] (1522)
  | [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod. I.6.2º.2]] (1523)
+
  | [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod. I.6.2º.2]] (1523)
 
}}
 
}}
 
| manuscript(s)        = {{collapsible list
 
| manuscript(s)        = {{collapsible list
Line 39: Line 39:
 
  | [[Maister Liechtenawers Kunstbuech (Cgm 3712)|Cgm 3712]] (1556)
 
  | [[Maister Liechtenawers Kunstbuech (Cgm 3712)|Cgm 3712]] (1556)
 
  | [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Cod.Guelf.38.21 Aug.2º]] (1588)
 
  | [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Cod.Guelf.38.21 Aug.2º]] (1588)
 +
| [[Reit und Turnierbuch (MS KK5247)|MS KK5247]] (ca.&nbsp;1600)
 
  | [[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Cod.Guelf.1.6.3 Aug.2º]] (ca.&nbsp;1600)
 
  | [[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Cod.Guelf.1.6.3 Aug.2º]] (ca.&nbsp;1600)
| [[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Cod.Guelf.79.2 Aug.2º]] (ca.&nbsp;1600)
+
  | [[Reit und Turnierbuch (MS 23.279)|MS 23.279]] (1838)
  | [[Reit und Turnierbuch (MS KK5247)|MS KK5247]] (ca.&nbsp;1600)  
 
 
}}
 
}}
 
| principal manuscript(s)=
 
| principal manuscript(s)=
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| influences          = {{plainlist
 
| influences          = {{plainlist
 
  | [[Johannes Liechtenauer]]
 
  | [[Johannes Liechtenauer]]
  | [[Nicolaüs Augsburger]]
+
  | [[Nicolaüs]]
 
}}
 
}}
 
| influenced          = {{plainlist
 
| influenced          = {{plainlist
Line 60: Line 60:
 
}}
 
}}
 
| awards              =  
 
| awards              =  
| signature            = [[File:Jörg Wilhalm Hutter sig.jpg|170px]]
+
| signature            =  
 
| website              =  
 
| website              =  
 
| below                =  
 
| below                =  
 
}}
 
}}
{{foreignchar|Joerg Wilhalm Hutter|ö}}
+
{{foreignchar|Joerg Wilhalm|ö}}
'''Jörg Wilhalm Hutter''' was a [[century::16th century]] [[nationality::German]] [[fencing master]]. In addition to his fencing practice, his surname signifies that he was a hatter by trade, a fact that is confirmed in the tax records of Augsburg, Germany in 1501, 1504, and 1516.{{cn}}
+
'''Jörg Wilhalm''' was a [[century::16th century]] [[nationality::German]] [[fencing master]]. He refers to himself as a hatter (''Hutter''), a fact that is confirmed in the tax records of Augsburg, Germany in 1501, 1504, and 1516.{{cn}}
  
 
== Manuscripts ==
 
== Manuscripts ==
  
Four works are commonly attributed to Hutter: on unarmored [[long sword]] fencing in the tradition of [[Johannes Liechtenauer]], on [[armored fencing|armored]] and [[mounted fencing|mounted dueling]] that appear to be based on those of the early 15th century (relying on armor designs that were obsolete by the 1520s), and a series of 32 uncaptioned illustrations portraying scenes of judicial combat. However, it is unclear if Hutter authored all of these works or, like [[Lienhart Sollinger]] and [[Paulus Hector Mair]] after him, merely compiled existing works together and placed his name on them as an owner's mark. The development of the armored dueling treatises can be traced through a draftbook and rough early annotated copy, but the same is not true of the unarmored long sword fencing, which appears to be based on the [[Cluny Fechtbuch (Cl. 23842)|MS Cl. 23842]] from the 1480s-90s and is accompanied by a version of the [[pseudo-Peter von Danzig]] gloss that [[Gregor Erhart]] attributes to one Nicolaüs and dates to 1489.<ref>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]], folio [[Page:MS E.1939.65.354 189r.jpg|189r]]; this is itself a heavily-abridged copy of branch C of the gloss, found in its complete form only in [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s).</ref>  
+
Four works are commonly attributed to Wilhalm: on unarmored [[long sword]] fencing in the tradition of [[Johannes Liechtenauer]], on [[armored fencing|armored]] and [[mounted fencing|mounted dueling]] that appear to be based on those of the early 15th century (relying on armor designs that were obsolete by the 1520s), and a series of 32 uncaptioned illustrations portraying scenes of judicial combat. However, it is unclear if Wilhalm authored all of these works or, like [[Lienhart Sollinger]] and [[Paulus Hector Mair]] after him, merely compiled existing works together and placed his name on them as an owner's mark. The development of the armored dueling treatises can be traced through a draftbook and rough early annotated copy, but the same is not true of the unarmored long sword fencing, which appears to be based on the [[Cluny Fechtbuch (Cl. 23842)|MS Cl. 23842]] from the 1480s-90s and is accompanied by an excerpt of Branch C of the pseudo-Peter von Danzig gloss which [[Gregor Erhart]] attributes to one [[Nicolaüs]] and dates to 1489.<ref>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]], folio [[Page:MS E.1939.65.354 189r.jpg|189r]]; the complete text of Branch C is only given in [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s).</ref>  
  
There are three extant manuscripts of Hutter's treatises created between 1522 and 1523, all now residing in Augsburg (along with most of the rest of Paulus Hector Mair's collection). The apparent oldest of Hutter's manuscripts, [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Cod.I.6.4º.5]],<ref>Generally we refer to manuscripts by their locations for ease of communication, but with three of the ten manuscripts in Augsburg, three in Wolfenbüttel, and two in Munich, that's not really feasible here.</ref> consists of numbered but uncaptioned illustrations of armored dueling on horse and on foot, and is dated to 1522. The same year saw the completion of the [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Cod.I.6.2º.3]], which includes the same illustrations but adds written instructions to the plays; for this reason, Hils assumed the former was the draftbook used to develop the latter.{{cn}} In 1523, Hutter seems to have created an accompanying long sword treatise, preserved in the [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]].
+
There are three extant manuscripts of Wilhalm's treatises created between 1522 and 1523, all now residing in Augsburg (along with most of the rest of Paulus Hector Mair's collection). The apparent oldest of Wilhalm's manuscripts, [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Cod.I.6.4º.5]],<ref>Generally we refer to manuscripts by their locations for ease of communication, but with three of the ten manuscripts in Augsburg, three in Wolfenbüttel, and two in Munich, that's not really feasible here.</ref> consists of numbered but uncaptioned illustrations of armored dueling on horse and on foot, and is dated to 1522. The same year saw the completion of the [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Cod.I.6.2º.3]], which includes the same illustrations but adds written instructions to the plays; for this reason, Hils assumed the former was the draftbook used to develop the latter.{{cn}} In 1523, Wilhalm seems to have created an accompanying long sword treatise, preserved in the [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]].
  
Some time soon after this, all three of Hutter's prior works, along a new series of 32 uncaptioned illustrations of dueling, were compiled into the [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]]. This manuscript has some oddities not found in the others, including carnival costumes on some of the fighters and a pretzel salesman appearing in the illustration on [[Page:Cgm 3711 11r.jpg|folio 11r]]. It's currently unclear whether Hutter was involved in the creation of this manuscript or not, but it appears to be a presentation copy of the collected works and includes content unique to each of the three earlier manuscripts. Hutter's long sword treatise was also copied by sculptor Gregor Erhart into the [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]] in 1533, though it's currently unclear which source he based it on.
+
Some time soon after this, all three of Wilhalm's prior works, along a new series of 32 uncaptioned illustrations of dueling, were compiled into the [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]]. This manuscript has some oddities not found in the others, including carnival costumes on some of the fighters and a pretzel salesman appearing in the illustration on [[Page:Cgm 3711 11r.jpg|folio 11r]]. It's currently unclear whether Wilhalm was involved in the creation of this manuscript or not, but it appears to be a presentation copy of the collected works and includes content unique to each of the three earlier manuscripts. Wilhalm's long sword treatise was also copied by sculptor Gregor Erhart into the [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]] in 1533, though it's currently unclear which source he based it on.
  
Most copies of Hutter's treatises were eventually acquired by Freifechter and collector Lienhart Sollinger. Cgm 3711 was a source for his [[Lienhart Sollinger Fechtbuch (Cgm 3712)|Cgm 3712]] (1556) and [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Cod.Guelf.38.21 Aug.2º]] (1588), and the former also seems to have drawn heavily from MS E.1939.65.354. Sollinger, in turn, sold several of these works to [[Paulus Hector Mair]]: the Cod.I.6.2º.2 in 1544, the Cod.I.6.4º.5 in 1552, the MS E.1939.65.354 in 1560, and the Cod.I.6.2º.3 in 1561. Hutter's draftbook in particular was apparently used as the primary source for Mair's writings on armored dueling (preserved in three manuscripts in the 1540s and 50s); owing to its lack of text, Mair inserted his own descriptions of the plays—descriptions which diverge noticeably from Hutter's own explanations.
+
Most copies of Wilhalm's treatises were eventually acquired by Freifechter and collector Lienhart Sollinger. Cgm 3711 was a source for his [[Lienhart Sollinger Fechtbuch (Cgm 3712)|Cgm 3712]] (1556) and [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Cod.Guelf.38.21 Aug.2º]] (1588), and the former also seems to have drawn heavily from MS E.1939.65.354. Sollinger, in turn, sold several of these works to [[Paulus Hector Mair]]: the Cod.I.6.2º.2 in 1544, the Cod.I.6.4º.5 in 1552, the MS E.1939.65.354 in 1560, and the Cod.I.6.2º.3 in 1561. Wilhalm's draftbook in particular was apparently used as the primary source for Mair's writings on armored dueling (preserved in three manuscripts in the 1540s and 50s); owing to its lack of text, Mair inserted his own descriptions of the plays—descriptions which diverge noticeably from Wilhalm's own explanations.
  
A final set of three copies of Hutter's work, including [[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Cod.Guelf.1.6.3 Aug.2º]], [[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Cod.Guelf.79.2 Aug.2º]], and [[Reit und Turnierbuch (MS KK5247)|MS KK5247]], were prepared by Jeremias Schemel von Augsburg at the end of the 16th century as part of a massive compilation of treatises on horsemanship which also included discussion of riding, dressage, and jousting. These manuscripts contain Hutter's original text (unlike Mair's version), but the elaborate artwork includes details from multiple prior versions of Hutter's work, suggesting that Schemel's source manuscript may remain to be discovered.
+
A final set of two copies of Wilhalm's work, [[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Cod.Guelf.1.6.3 Aug.2º]] and [[Reit und Turnierbuch (MS KK5247)|MS KK5247]], were prepared by [[Jeremias Schemel von Augsburg]] at the end of the 16th century as part of a massive compilation of treatises on horsemanship which also included discussion of riding, dressage, jousting, and tournaments. These manuscripts contain Wilhalm's original text (unlike Mair's version), but the elaborate artwork includes details from multiple prior versions of Wilhalm's work, suggesting that Schemel's source manuscript may remain to be discovered. A [[Reit und Turnierbuch (MS 23.279)|third manuscript]] of Schemel's work also exists, copied from the MS KK5247 in 1838, but such a late work has little to contribute to any analysis of the tradition.
  
 
== Treatise ==
 
== Treatise ==
 +
 +
In order to compress these tables and avoid empty columns, the Glasgow version of the long sword section and the draftbook for the short sword and mounted fencing sections appear in the same column (since they don't overlap). The three additional versions of the short sword and mounted fencing appear at the far side of those tables. The section containing uncaptioned plays only appears in three manuscripts, so the others are all omitted.
  
 
{{master begin
 
{{master begin
 
  | title = Long Sword
 
  | title = Long Sword
  | width = 204em
+
  | width = 210em
 
}}<section begin="credits1"/>
 
}}<section begin="credits1"/>
{| class="floated master" style="clear:right;"
+
{| class="master" style="clear:right;"
 
|-  
 
|-  
! id="thin" | <p>Images<br/>from the Archetype</p>
+
! <p>Illustrations<br/>from the Archetype</p>
 
! <p>{{rating|C|Draft Translation (from the Munich)}}<br/>by [[User:Stephen Cheney|Stephen Cheney]]</p>
 
! <p>{{rating|C|Draft Translation (from the Munich)}}<br/>by [[User:Stephen Cheney|Stephen Cheney]]</p>
! <p>[[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Archetype]] (1523){{edit index|Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Archetype]] (1523){{edit index|Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version I]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/>by [[Kendra&nbsp;Brown]], [[Rebecca&nbsp;Garber]], [[Don&nbsp;Kindsvatter]], [[Mark&nbsp;Millman]], [[Amy&nbsp;West]]</p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version ]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/>Transcribed by [[Kendra&nbsp;Brown]], [[Rebecca&nbsp;Garber]], [[Don&nbsp;Kindsvatter]], [[Mark&nbsp;Millman]], [[Amy&nbsp;West]]</p>
 
! <p>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow Version]] (1533){{edit index|Gregor Erhart Fechtbuch (MS E.1939.65.354)}}</p>
 
! <p>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow Version]] (1533){{edit index|Gregor Erhart Fechtbuch (MS E.1939.65.354)}}</p>
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version II]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}</p>
+
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version ]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}</p>
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version I]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/>by [[Kevin Maurer]]</p>
+
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version ]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/>Transcribed by [[Kevin Maurer]]</p>
 
<section end="credits1"/>
 
<section end="credits1"/>
 
|-  
 
|-  
 
|  
 
|  
| <p>[1] Young knight learn, to have love for god and honor women. Speak to women well and be valiant, so that one shall hear you and also be available thereto. Do not let yourself be deceived by one’s tricks, go with courage to he who does injustice to you, and set your sense to a sincere principle, and to this end learn valiant chivalry, yet practice pinching and jesting with joy. Throw the stones, shoving staves, fencing and wrestling, dancing and jumping, stabbing and jousting, with that should one seem to curry favor with women, yet fencing wants to have pinching and jesting. The heart which easily frightens there, no fencing shall he learn, why whoever loses the art from the sword, he goes hazy, and also makes large sweeps, those softly warped hearts, therefore one hears very many stories, that the hopeless often will be hit, and is a righteous sense that a truth with fencing will be reached and art has not learned. Of that complaint, I myself Jörg Wilhalm Hutter from Augspurg open and ridicule.</p>
+
| <p>[1] Young knight learn, to have love for god and honor women. Speak to women well and be valiant, so that one shall hear you and also be available thereto. Do not let yourself be deceived by one’s tricks, go with courage to he who does injustice to you, and set your sense to a sincere principle, and to this end learn valiant chivalry, yet practice pinching and jesting with joy. Throw the stones, shoving staves, fencing and wrestling, dancing and jumping, stabbing and jousting, with that should one seem to curry favor with women, yet fencing wants to have pinching and jesting. The heart which easily frightens there, no fencing shall he learn, why whoever loses the art from the sword, he goes hazy, and also makes large sweeps, those softly warped hearts, therefore one hears very many stories, that the hopeless often will be hit, and is a righteous sense that a truth with fencing will be reached and art has not learned. Of that complaint, I myself Jörg Wilhalm from Augspurg open and ridicule.</p>
 
|  
 
|  
 
| {{paget|Page:Cgm 3711|01r|jpg}}
 
| {{paget|Page:Cgm 3711|01r|jpg}}
Line 105: Line 107:
  
 
|-  
 
|-  
| [[File:Cgm 3711 2r.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_43]]
+
| [[File:Cgm 3711 2r.jpg|300px|center]]
 
| <p>[2] Whoever wants to hew upon you,<br/>you shall parry it with joy,<br/>and when you have parried,<br/>thus all of his hews are destroyed.</p>
 
| <p>[2] Whoever wants to hew upon you,<br/>you shall parry it with joy,<br/>and when you have parried,<br/>thus all of his hews are destroyed.</p>
  
Line 140: Line 142:
  
 
|-  
 
|-  
| [[File:Cgm 3711 2v.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_44]]
+
| [[File:Cgm 3711 2v.jpg|300px|center]]
 
| <p>[3] The two both stand on the left in the over hew</p>
 
| <p>[3] The two both stand on the left in the over hew</p>
  
Line 315: Line 317:
 
<p>This is also about the war:</p>
 
<p>This is also about the war:</p>
  
<p>squint to the point<br/>and take the neck without apprehension.</p>
+
{| class="zettel"
 
+
|-
 +
| <small>61</small>
 +
| Squint to the point<br/>and take the neck without apprehension.
 +
|}
 
<p>You shall also turn crooked and search to and on and test his techniques, whether he is soft or hard in his technique. Gloss note.</p>
 
<p>You shall also turn crooked and search to and on and test his techniques, whether he is soft or hard in his technique. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|05r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|05r|jpg}}
Line 336: Line 341:
  
 
|-  
 
|-  
| [[File:Cgm 3711 7v.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_54]]
+
| [[File:Cgm 3711 7v.jpg|300px|center]]
 
| <p>[13] Those are points in the war</p>
 
| <p>[13] Those are points in the war</p>
  
Line 409: Line 414:
  
 
<p>This is about the crooked hew, the direction:</p>
 
<p>This is about the crooked hew, the direction:</p>
 
+
{| class="zettel"
<p>Crook on nimbly,<br/>throw the point upon the hands.<br/>Hew crooked to the flats<br/>if you want to weaken the masters.<br/>Don’t hew crooked, hew short,<br/>with it show your change through,</p>
+
|-
 
+
| <small>42</small>
 +
| Crook on nimbly,<br/>throw the point upon the hands.
 +
|-
 +
| <small>44</small>
 +
| Hew crooked to the flats<br/>if you want to weaken the masters.
 +
|-
 +
| <small>46</small>
 +
| Don’t hew crooked, hew short,<br/>with it show your change through,
 +
|}
 
<p>or use if you want to wrestle, and step to him in the triangle. Gloss note.</p>
 
<p>or use if you want to wrestle, and step to him in the triangle. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|40r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|40r|jpg}}
Line 420: Line 433:
  
 
|-  
 
|-  
| [[File:Cgm 3711 10v.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_60]]
+
| [[File:Cgm 3711 10v.jpg|300px|center]]
 
| <p>[19] He stands in the over hew</p>
 
| <p>[19] He stands in the over hew</p>
  
Line 426: Line 439:
  
 
<p>That is, crook on nimbly.</p>
 
<p>That is, crook on nimbly.</p>
 
+
{| class="zettel"
<p>Whoever parries well<br/>with striding, he destroys many hews.<br/>Hew crooked to the flats<br/>if you want to weaken the masters.<br/>When it sparks above,<br/>stand away, that I want to praise.<br/>Strike crooked and not short hew,<br/>with it show the change through.<br/>Hew crooked whoever errs you,<br/>the noble war confuses him.</p>
+
|-
 +
| <small>43</small>
 +
| Whoever parries well<br/>with striding, he destroys many hews.
 +
|-
 +
| <small>44</small>
 +
| Hew crooked to the flats<br/>if you want to weaken the masters.
 +
|-
 +
| <small>45</small>
 +
| When it sparks above,<br/>stand away, that I want to praise.
 +
|-
 +
| <small>46</small>
 +
| Strike crooked and not short hew,<br/>with it show the change through.
 +
|-
 +
| <small>48</small>
 +
| Hew crooked whoever errs you,<br/>the noble war confuses him.
 +
|}
 
| {{paget|Page:Cod.I.6.2º.2|40v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|40v|jpg}}
 
| {{paget|Page:Cgm 3711|10v|jpg}}
 
| {{paget|Page:Cgm 3711|10v|jpg}}
Line 435: Line 463:
  
 
|-  
 
|-  
| [[File:Cgm 3711 11r.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_61]]
+
| [[File:Cgm 3711 11r.jpg|300px|center]]
 
| <p>[20] This is how one shall break in the four openings: He hits him with opening to the side, thus the other breaks it to him and hits him behind onto his head</p>
 
| <p>[20] This is how one shall break in the four openings: He hits him with opening to the side, thus the other breaks it to him and hits him behind onto his head</p>
  
Line 442: Line 470:
 
<p>This is to break openings,</p>
 
<p>This is to break openings,</p>
  
<p>and you want to reckon yourself,<br/>artfully break the four openings,<br/>you double above,<br/>rightly mutate below.<br/>I say to you truthfully,<br/>no man protects himself without danger.<br/>If you have heard,<br/>he may come to hit nobody.</p>
+
{| class="zettel"
 
+
|-
 +
| <small>38</small>
 +
| and you want to reckon yourself,<br/>artfully break the four openings,
 +
|-
 +
| <small>39</small>
 +
| you double above,<br/>rightly mutate below.
 +
|-
 +
| <small>40</small>
 +
| I say to you truthfully,<br/>no man protects himself without danger.
 +
|-
 +
| <small>41</small>
 +
| If you have heard,<br/>he may come to hit nobody.
 +
|}
 
<p>That I have heard. Gloss note.</p>
 
<p>That I have heard. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|08r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|08r|jpg}}
Line 465: Line 505:
 
     --><section end="Krumphaw"/>
 
     --><section end="Krumphaw"/>
 
|-  
 
|-  
| [[File:Cgm 3711 12r.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_63]]
+
| [[File:Cgm 3711 12r.jpg|300px|center]]
 
| <p>[22] The guard from the day</p>
 
| <p>[22] The guard from the day</p>
  
Line 495: Line 535:
  
 
:He stands in the over hew
 
:He stands in the over hew
 
+
{| class="zettel"
<p>This is the thwart, it takes<br/>what comes from the day,<br/>then thwart with the strong,<br/>with it note your work.<br/>The thwart to plow,<br/>join hard to the ox,<br/>and who thwarts themselves well,<br/>with jumping threatens your head,</p>
+
|-
 
+
| <small>49</small>
 +
| This is the thwart, it takes<br/>what comes from the day,
 +
|-
 +
| <small>50</small>
 +
| then thwart with the strong,<br/>with it note your work.
 +
|-
 +
| <small>51</small>
 +
| The thwart to plow,<br/>join hard to the ox,
 +
|-
 +
| <small>52</small>
 +
| and who thwarts themselves well,<br/>with jumping threatens your head,</p>
 +
|}
 
<p>and whoever directs the failer on from below two times aims as he wishes. Gloss note.</p>
 
<p>and whoever directs the failer on from below two times aims as he wishes. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|07r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|07r|jpg}}
Line 535: Line 586:
 
| <p>[27] He stands in the guard from day and raises as much as he likes</p>
 
| <p>[27] He stands in the guard from day and raises as much as he likes</p>
  
:He speaks thusly: “Whatever thwarts itself well, moves to the head with jumping.” This is the play
+
:He speaks thusly: “Whatever thwarts itself well, moves to the head with jumping.”<ref>Verse 52</ref> This is the play
  
 
<p>This is also a play from the thwart: Whatever thwarts itself well moves to the head with jumping from one side to the other, is also one that is better than that, therefore hear. Gloss note.</p>
 
<p>This is also a play from the thwart: Whatever thwarts itself well moves to the head with jumping from one side to the other, is also one that is better than that, therefore hear. Gloss note.</p>
Line 659: Line 710:
  
 
:This is the squinter which breaks in what a buffalo hits or stabs
 
:This is the squinter which breaks in what a buffalo hits or stabs
 
+
{| class="zettel"
<p>The squinter breaks in<br/>what a buffalo hits or stabs.<br/>Whoever drives to change,<br/>is robbed of it with the squinter.<br/>If he squints at you short,<br/>to your change-through prevailed against him.<br/>Squint to the point<br/>and take the neck without apprehension,<br/>squint to the upper head nimbly<br/>if you want to strive and find beauty.</p>
+
|-
 +
| <small>58</small>
 +
| The squinter breaks in<br/>what a buffalo hits or stabs.
 +
|-
 +
| <small>59</small>
 +
| Whoever drives to change,<br/>is robbed of it with the squinter.
 +
|-
 +
| <small>60</small>
 +
| If he squints at you short,<br/>to your change-through prevailed against him.
 +
|-
 +
| <small>61</small>
 +
| Squint to the point<br/>and take the neck without apprehension,
 +
|-
 +
| <small>62</small>
 +
| squint to the upper head nimbly<br/>if you want to strive and find beauty.
 +
|}
 
| {{paget|Page:Cod.I.6.2º.2|16r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|16r|jpg}}
 
| {{paget|Page:Cgm 3711|20r|jpg}}
 
| {{paget|Page:Cgm 3711|20r|jpg}}
Line 672: Line 738:
  
 
:This is the squinter
 
:This is the squinter
 
+
{| class="zettel"
<p>The squinter<br/>is a danger to the face.<br/>With its turn,<br/>the chest is quickly threatened.<br/>What comes from him,<br/>the crown takes away.<br/>The slice through the crown,<br/>thus you break hard and beautifully.<br/>Press the strike,<br/>withdraw with a slice.</p>
+
|-
 
+
| <small>63</small>
 +
| The squinter<br/>is a danger to the face.
 +
|-
 +
| <small>64</small>
 +
| With its turn,<br/>the chest is quickly threatened.
 +
|-
 +
| <small>65</small>
 +
| What comes from him,<br/>the crown takes away.
 +
|-
 +
| <small>66</small>
 +
| The slice through the crown,<br/>thus you break hard and beautifully.
 +
|-
 +
| <small>67</small>
 +
| Press the strike,<br/>withdraw with a slice.
 +
|}
 
<p>In all things, let us make crisply.</p>
 
<p>In all things, let us make crisply.</p>
 
| {{paget|Page:Cod.I.6.2º.2|16v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|16v|jpg}}
Line 692: Line 772:
 
| {{paget|Page:Cgm 3711|21r|jpg}}
 
| {{paget|Page:Cgm 3711|21r|jpg}}
 
| {{paget|Page:MS E.1939.65.354|35v|jpg}}
 
| {{paget|Page:MS E.1939.65.354|35v|jpg}}
| {{paget|page:Cgm 3712|116r|jpg}}
+
| {{paget|Page:Cgm 3712|116r|jpg}}
 
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|028r|jpg}}
 
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|028r|jpg}}
  
Line 741: Line 821:
  
 
<p>This is about the four positions, and also always a position and a parry from it.</p>
 
<p>This is about the four positions, and also always a position and a parry from it.</p>
 
+
{| class="zettel"
<p>The four positions alone,<br/>hold from them, it says, and flee the common.<br/>Ox and plow, fool<br/>from the day is well his right.</p>
+
|-
 +
| <small>68</small>
 +
| The four positions alone,<br/>hold from them, it says, and flee the common.
 +
|-
 +
| <small>69</small>
 +
| Ox and plow, fool<br/>from the day is well his right.
 +
|}
 
| {{paget|Page:Cod.I.6.2º.2|25r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|25r|jpg}}
 
| {{paget|Page:Cgm 3711|23r|jpg}}
 
| {{paget|Page:Cgm 3711|23r|jpg}}
Line 772: Line 858:
  
 
:This is also a position
 
:This is also a position
 
+
{| class="zettel"
<p>This is about the four parries,<br/>which severely injure the positions,<br/>yet beware of parries,<br/>if it happens to you necessary,</p>
+
|-
 
+
| <small>70</small>
 +
| This is about the four parries,<br/>which severely injure the positions,
 +
|-
 +
| <small>71</small>
 +
| yet beware of parries,<br/>if it happens to you necessary,
 +
|}
 
<p>it hurts you, and be crisp and come before. If you have heard, he may come to no art. Gloss note.</p>
 
<p>it hurts you, and be crisp and come before. If you have heard, he may come to no art. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|25v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|25v|jpg}}
Line 802: Line 893:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.2 31r.jpg|300px|center]]
 
| [[File:Cod.I.6.2º.2 31r.jpg|300px|center]]
| <p>[50] This is about the pursuit.<br/>Learn twofold in the scale,<br/>and take two from it,<br/>and your work begins from it,<br/>and test your movements,<br/>whether they are soft or hard,<br/>learn the same.<br/>Indes, that word slices severely.<br/>Pursue twofold,<br/>thus you take the old slice with power</p>
+
| <p>[50] </p>
 
+
{| class="zettel"
<p>and have eight. Gloss note.</p>
+
|-
 +
| <small>75</small>
 +
| This is about the pursuit.<br/>Learn twofold in the scale,
 +
|-
 +
| <small>76</small>
 +
| and take two from it,<br/>and your work begins from it,
 +
|-
 +
| <small>77</small>
 +
| and test your movements,<br/>whether they are soft or hard,
 +
|-
 +
| <small>78</small>
 +
| learn the same.<br/>Indes, that word slices severely.
 +
|-
 +
| <small>79</small>
 +
| Pursue twofold,<br/>thus you take the old slice with power
 +
|}
 +
<p>and pay attention. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|31r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|31r|jpg}}
 
| {{paget|Page:Cgm 3711|26r|jpg}}
 
| {{paget|Page:Cgm 3711|26r|jpg}}
Line 832: Line 939:
 
| [[File:Cod.I.6.2º.2 32v.jpg|300px|center]]
 
| [[File:Cod.I.6.2º.2 32v.jpg|300px|center]]
 
| <p>[53] This is also about the run over, and that is an inward run over,</p>
 
| <p>[53] This is also about the run over, and that is an inward run over,</p>
 
+
{| class="zettel"
<p>and whoever aims below,<br/>and when one runs over you, then you will be shamed,<br/>and if it sparks above,<br/>then set it aside, that I will praise.<br/>Make your work<br/>soft or hard and press that twofold</p>
+
|-
 
+
| <small>80</small>
 +
| and whoever aims below,<br/>and when one runs over you, then you will be shamed,
 +
|-
 +
| <small>81</small>
 +
| and if it sparks above,<br/>then set it aside, that I will praise.
 +
|-
 +
| <small>82</small>
 +
| Make your work<br/>soft or hard and press that twofold</p>
 +
|}
 
<p>as you wish. Gloss mark.</p>
 
<p>as you wish. Gloss mark.</p>
 
| {{paget|Page:Cod.I.6.2º.2|32v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|32v|jpg}}
Line 861: Line 976:
  
 
|-  
 
|-  
| [[File:Cgm 3711 29r.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_97]]
+
| [[File:Cgm 3711 29r.jpg|300px|center]]
 
| <p>[56] This is about the set aside. Whoever hews away at you from roof, set his hew away with the sword with the short edge. If he is soft, then let your pommel go around and hit him with the thwart. But if he is hard, then don’t hit and take and turn him at his sword and work. Gloss note as it stands pictured below.</p>
 
| <p>[56] This is about the set aside. Whoever hews away at you from roof, set his hew away with the sword with the short edge. If he is soft, then let your pommel go around and hit him with the thwart. But if he is hard, then don’t hit and take and turn him at his sword and work. Gloss note as it stands pictured below.</p>
 
| {{paget|Page:Cod.I.6.2º.2|34r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|34r|jpg}}
Line 911: Line 1,026:
  
 
:A long point
 
:A long point
 
+
{| class="zettel"
<p>This is whoever wants to set-aside,<br/>hew, stab, quickly injure,<br/>and whoever wants to stab onto you,<br/>thus look that your point hits and his breaks,<br/>hits from both sides<br/>if you want to step.</p>
+
|-
 
+
| <small>83</small>
 +
| This is whoever wants to set-aside,<br/>hew, stab, quickly injure,
 +
|-
 +
| <small>84</small>
 +
| and whoever wants to stab onto you,<br/>thus look that your point hits and his breaks,
 +
|-
 +
| <small>85</small>
 +
| hits from both sides<br/>if you want to step.
 +
|}
 
<p>That is also as a set aside. Gloss note.</p>
 
<p>That is also as a set aside. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|36r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|36r|jpg}}
Line 935: Line 1,058:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.2 37r.jpg|300px|center]]
 
| [[File:Cod.I.6.2º.2 37r.jpg|300px|center]]
| <p>[62] This is the first upper slice to the top of the arms and slice away the hardening fast and quickly with your technique and have eight and take the slice with force, and therefore to do, gloss note, as it stands pictured below.</p>
+
| <p>[62] This is the first upper slice to the top of the arms and slice away the hardening fast and quickly with your technique and pay attention and take the slice with force, and therefore to do, gloss note, as it stands pictured below.</p>
 
| {{paget|Page:Cod.I.6.2º.2|37r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|37r|jpg}}
 
| {{paget|Page:Cgm 3711|32r|jpg}}
 
| {{paget|Page:Cgm 3711|32r|jpg}}
Line 1,024: Line 1,147:
  
 
|-  
 
|-  
| [[File:Cgm 3711 37r.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_113]]
+
| [[File:Cgm 3711 37r.jpg|300px|center]]
 
| <p>[72] Item: This is another hanging on the other side. He does it with the short sword and raises the point that faces downward, as you see it pictured above, and are the two hangings, two good parries to all things. Gloss note.</p>
 
| <p>[72] Item: This is another hanging on the other side. He does it with the short sword and raises the point that faces downward, as you see it pictured above, and are the two hangings, two good parries to all things. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|21r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|21r|jpg}}
Line 1,040: Line 1,163:
 
| {{paget|Page:Cgm 3711|37v|jpg}}
 
| {{paget|Page:Cgm 3711|37v|jpg}}
 
| {{paget|Page:MS E.1939.65.354|72v|jpg}}
 
| {{paget|Page:MS E.1939.65.354|72v|jpg}}
| {{paget|page:Cgm 3712|131v|jpg}}
+
| {{paget|Page:Cgm 3712|131v|jpg}}
 
|
 
|
  
Line 1,120: Line 1,243:
  
 
|-  
 
|-  
| [[File:Cod.I.6.2º.2 41r.jpg|300px|center]]
+
| class="noline" | [[File:Cod.I.6.2º.2 41r.jpg|300px|center]]
| <p>[82] Item: This is the break onto the crown, there note all right as you see it pictured, and he raises sword upwards, it breaks the crown with the grasping at the sword with the cross, look upon it, because he wrenches the crown away to him. Gloss note.</p>
+
| class="noline" | <p>[82] Item: This is the break onto the crown, there note all right as you see it pictured, and he raises sword upwards, it breaks the crown with the grasping at the sword with the cross, look upon it, because he wrenches the crown away to him. Gloss note.</p>
  
 
<p>Here the long recital has an end, and that god help us nimbly, and the crown is the very last, and is the very best.</p>
 
<p>Here the long recital has an end, and that god help us nimbly, and the crown is the very last, and is the very best.</p>
| {{paget|Page:Cod.I.6.2º.2|41r|jpg}}
+
| class="noline" | {{paget|Page:Cod.I.6.2º.2|41r|jpg}}
| {{paget|Page:Cgm 3711|42r|jpg}}
+
| class="noline" | {{paget|Page:Cgm 3711|42r|jpg}}
| {{paget|Page:MS E.1939.65.354|83v|jpg}}  
+
| class="noline" | {{paget|Page:MS E.1939.65.354|83v|jpg}}  
  
 
{{paget|Page:MS E.1939.65.354|84v|jpg}}
 
{{paget|Page:MS E.1939.65.354|84v|jpg}}
| {{paget|page:Cgm 3712|136r|jpg}}
+
| class="noline" | {{paget|page:Cgm 3712|136r|jpg}}
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|047r|jpg}}
+
| class="noline" | {{paget|Page:Cod.Guelf.38.21 Aug.2º|047r|jpg}}
  
 
|}
 
|}
Line 1,137: Line 1,260:
 
{{master begin
 
{{master begin
 
  | title = Short Sword
 
  | title = Short Sword
  | width = 294em
+
  | width = 300em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <p>Images<br/>from the Archetype</p>
+
! <p>Illustrations<br/>from the Archetype</p>
! <p>{{rating|start}}<br/>by [[Ondřej Vodička]] and [[Michael Chidester]]</p>
 
 
! <p>{{rating|start}}<br/>by [[Robert Kraaijeveld]]</p>
 
! <p>{{rating|start}}<br/>by [[Robert Kraaijeveld]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Archetype]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Archetype]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version I]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/></p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version ]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/></p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Draftbook]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Draftbook]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version II]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
+
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version ]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version I]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
+
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version ]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
! <p>[[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel Version II]] (ca. 1600){{edit index|Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)}}<br/></p>
 
! <p>[[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Wolfenbüttel Version III]] (ca. 1600){{edit index|Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)}}<br/></p>
 
 
! <p>[[Reit und Turnierbuch (MS KK5247)|Vienna Version]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<br/></p>
 
! <p>[[Reit und Turnierbuch (MS KK5247)|Vienna Version]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<br/></p>
 +
! <p>[[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel Version Ⅱ]] (ca. 1600){{edit index|Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)}}<br/></p>
 +
! <p>[[Reit und Turnierbuch (MS 23.279)|New York Version]] (1838){{edit index|Reit und Turnierbuch (MS 23.279)}}<br/></p>
  
 
|-  
 
|-  
 
| [[File:Cod.I.6.4º.5 Ir.jpg|300px|center]]
 
| [[File:Cod.I.6.4º.5 Ir.jpg|300px|center]]
| <p>[1] Here stand three persons, one rich, one strong, one weak.</p>
+
| <p>[1] Here stand three persons: a rich one, a strong one and a weak one.</p>
<p>If the rich man has neither art nor knowledge, he wastes his possessions and belongings and has nothing left.</p>
+
 
 +
<p>When the rich one has neither art nor knowledge, he wastes his possessions and goods, and has nothing left.</p>
  
<p>If the strong man has neither art nor courage, he gains neither possessions nor belongings. What good is his strength to him then?</p>
+
<p>When the strong one has neither art nor courage, he gains neither possessions nor goods. What good is his strength to him then?</p>
  
<p>If the weak man has art and knowledge, he may use them rightly<ref>With a good intention/forethought</ref> and thus he may obtain great honor and possession.</p>
+
<p>When the weak one has art and knowledge that he uses thoughtfully, he can use those to gain great honour and goods.</p>
|
 
<p>Here stand three persons: a rich one, a strong one and a weak one.</p>
 
<p>When the rich one has neither art nor knowledge, he wastes his possessions and goods,
 
and has nothing left.</p>
 
<p>When the strong one has neither art nor courage, he gains neither possessions nor goods.
 
What good is his strength to him then?</p>
 
<p>When the weak one has art and knowledge that he uses thoughtfully, he can use those to gain
 
great honour and goods.
 
 
|  
 
|  
 
| {{paget|Page:Cgm 3711|59r|jpg}}
 
| {{paget|Page:Cgm 3711|59r|jpg}}
Line 1,180: Line 1,295:
 
|-  
 
|-  
 
| [[File:Cod.I.6.4º.5 Iv.jpg|300px|center]]
 
| [[File:Cod.I.6.4º.5 Iv.jpg|300px|center]]
| <p>[2] Help [me], Lord, thou Eternal Word; help [the body] here, the soul there.<ref>The statement as given in the treatises of [[Paulus Kal]] and [[Hans Talhoffer]] is "God, thou Eternal Word, help the body here, the soul there". See [[Page:MS 1825 05v.jpg|MS 1825, fol. 5v]], [[Page:MS Chart.A.558 002r.png|MS Chart.A.558, fol. 2r]], and [[Page:Ms.XIX.17-3 02r.png|Ms.XIX.17-3, fol. 2r]].</ref></p>
+
| <p>[2] Help [me] Lord [with] your eternal Word; help [my body] here, and the Soul over there.</p>
| <p> Help (me) Lord (with) your eternal World; help (my body) here, and the Soul over there. </p>
 
 
|
 
|
 
| {{paget|Page:Cgm 3711|59v|jpg}}
 
| {{paget|Page:Cgm 3711|59v|jpg}}
Line 1,193: Line 1,307:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 01r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 01r.png|300px|center]]
| <p>[3] Here the master introduces his lord into the list, and thus should he hold himself.</p>
+
| <p>[3] The master leads his Lord into the barriers, this is the way in which he should hold himself.</p>
| <p> The master leads his Lord into the barriers, this is the way in which he should hold himself.</p>
 
 
| {{section|Page:Cod.I.6.2º.3 01r.png|2|lbl=01r}}
 
| {{section|Page:Cod.I.6.2º.3 01r.png|2|lbl=01r}}
 
| {{paget|Page:Cgm 3711|60r|jpg}}
 
| {{paget|Page:Cgm 3711|60r|jpg}}
Line 1,200: Line 1,313:
 
| {{paget|Page:Cgm 3712|168r|jpg}}
 
| {{paget|Page:Cgm 3712|168r|jpg}}
 
|  
 
|  
 +
| {{paget|Page:KK5247|086r|jpg}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|089r|png}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|089r|png}}
|
 
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 01v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 01v.png|300px|center]]
| <p>[4] </p>
+
| <p>[4] Here the two [combatants] come into the barriers, and [show] how they want to end the fight.</p>
| <p> Here the two (combatants) come into the barriers, and (show) how they want to end the fight. </p>
 
 
| {{paget|Page:Cod.I.6.2º.3|01v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|01v|png}}
 
| {{paget|Page:Cgm 3711|60v|jpg}}
 
| {{paget|Page:Cgm 3711|60v|jpg}}
Line 1,213: Line 1,325:
 
| {{paget|Page:Cgm 3712|168v|jpg}}
 
| {{paget|Page:Cgm 3712|168v|jpg}}
 
|  
 
|  
 +
| {{paget|Page:KK5247|086v|jpg}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|089v|png}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|089v|png}}
 
|  
 
|  
|
 
 
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 02r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 02r.png|300px|center]]
| <p>[5] </p>
+
| <p>[5] '''This is the first guard and stance'''</p>
| '''This is the first guard and stance'''
 
Note: If you want to teach someone how to fight, then note to who he is related<ref>Matthias Lexer's Mittelhochdeutsch Handwoerterbuch defines 'sippen' as 'verwant sein mit einem (dat.)'</ref>, and whether he has a good heart, so that you can trust him to fight.
 
 
 
And (see) if he is righteous or not.
 
 
 
If he is righteous, then teach him the true art, let him use a heavy harness so that he may be usefull in earnest (fighting).
 
  
If he has chainmail, then he can use it.
+
<p>Note: If you want to teach someone how to fight, then note to whom he is related,<ref>Matthias Lexer's ''Mittelhochdeutsch Handwoerterbuch'' defines 'sippen' as 'verwant sein mit einem (dat.)'</ref> and whether he has a good heart (so that you can trust him to fight), and if he is righteous or not. If he is righteous, then teach him the true art.</p>
 
 
When a fight is  
 
arranged using the three weapons: The spear, the sword or the dagger, then teach him the two stances or guards that are painted above first, so that he is certain in his stance.
 
  
 +
<p>Let him use a heavy harness so that he may be useful in earnest [fighting]. If he has chain-mail, then he can use it. When a fight is arranged using the three weapons: The spear, the sword or the dagger, then teach him the two stances or guards that are painted above first, so that he is certain in his stance.</p>
 
| {{paget|Page:Cod.I.6.2º.3|02r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|02r|png}}
 
| {{paget|Page:Cgm 3711|61r|jpg}}
 
| {{paget|Page:Cgm 3711|61r|jpg}}
Line 1,237: Line 1,340:
 
| {{paget|Page:Cgm 3712|172r|jpg}}
 
| {{paget|Page:Cgm 3712|172r|jpg}}
 
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|057r|jpg}}
 
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|057r|jpg}}
 +
| {{paget|Page:KK5247|087r|jpg}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|090r|png}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|090r|png}}
|
 
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 02v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 02v.png|300px|center]]
| <p>[6] </p>
+
| <p>[6] '''The second piece'''</p>
| '''The second piece'''
+
 
Note the other two stances or guards, as was written before.  
+
<p>Note the other two stances or guards (as was written before). Also note that you are sure in your work, and have well thought out how you want to work [against] your opponent, and lower yourself well (as it is painted above).</p>
Also note that you are sure in your work, and have well thought out how you want to work (against) your opponent, and lower yourself well as it is painted above.
 
 
| {{paget|Page:Cod.I.6.2º.3|02v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|02v|png}}
 
| {{paget|Page:Cgm 3711|61v|jpg}}
 
| {{paget|Page:Cgm 3711|61v|jpg}}
Line 1,252: Line 1,354:
 
| {{paget|Page:Cgm 3712|172v|jpg}}
 
| {{paget|Page:Cgm 3712|172v|jpg}}
 
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|057v|jpg}}
 
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|057v|jpg}}
 +
| {{paget|Page:KK5247|087v|jpg}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|090v|png}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|090v|png}}
|
 
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 03r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 03r.png|300px|center]]
| <p>[7] </p>
+
| <p>[7] '''The third piece'''</p>
| '''The third piece'''
+
 
Note: The third piece is called the sixth guard. When someone  
+
<p>Note: The third piece is called the sixth guard. When someone turns his pommel against you and has his sword on his left side, then lower yourself with your point towards the ground against him (as it is painted above). Make sure that you do not let yourself be distracted, as there is very beautiful work to be done from there.</p>
turns his pommel against you and has his sword on his left side, then lower yourself with your point towards the ground against him, as it is painted above. Make sure that you do not let yourself be distracted, as there is very beautifull work to be done from there.
 
 
| {{paget|Page:Cod.I.6.2º.3|03r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|03r|png}}
 
| {{paget|Page:Cgm 3711|62r|jpg}}
 
| {{paget|Page:Cgm 3711|62r|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|04r|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|04r|jpg}}
 
| {{paget|Page:Cgm 3712|173r|jpg}}
 
| {{paget|Page:Cgm 3712|173r|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|058r|jpg}}
|  
+
| {{paget|Page:KK5247|088r|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|091r|png}}
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 03v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 03v.png|300px|center]]
| <p>[8] </p>
+
| <p>[8] '''The fourth piece is called the Contact'''</p>
| '''The fourth piece is called the Contact'''
+
 
Note: When someone works towards you as was written before, then see if you can come into the contact or pinning onto his front foot. If you hit him, then fall with your chest onto the sword and press it down firmly. By doing so, you stab him down through his foot as it is painted above. This is the first pinning, or work, in the fight.
+
<p>Note: When someone works towards you (as was written before), then see if you can come into the contact or pinning onto his front foot. If you hit him, then fall with your chest onto the sword and press it down firmly. By doing so, you stab him down through his foot (as it is painted above). This is the first pinning, or work, in the fight.</p>
 
| {{paget|Page:Cod.I.6.2º.3|03v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|03v|png}}
 
| {{paget|Page:Cgm 3711|62v|jpg}}
 
| {{paget|Page:Cgm 3711|62v|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|04v|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|04v|jpg}}
 
| {{paget|Page:Cgm 3712|173v|jpg}}
 
| {{paget|Page:Cgm 3712|173v|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|058v|jpg}}
|  
+
| {{paget|Page:KK5247|088v|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|091v|png}}
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 04r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 04r.png|300px|center]]
| <p>[9] </p>
+
| <p>[9] '''The fifth is called throwing'''</p>
| '''The fifth is called throwing'''
+
 
Note: When you see that one wants to pin your foot as it is painted before, then go up with your sword, thrust towards his face and place the other foot forward. By doing so you break his  
+
<p>Note: When you see that one wants to pin your foot (as it is painted before), then go up with your sword, thrust towards his face and place the other foot forward. By doing so you break his contact (as it is painted above), and position yourself well.</p>
contact as it is painted above; and position yourself well.
 
 
| {{paget|Page:Cod.I.6.2º.3|04r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|04r|png}}
 
| {{paget|Page:Cgm 3711|63r|jpg}}
 
| {{paget|Page:Cgm 3711|63r|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|05r|jpg|blk=1}}
 
| {{paget|Page:Cod.I.6.4º.5|05r|jpg|blk=1}}
 
| {{paget|Page:Cgm 3712|174r|jpg}}
 
| {{paget|Page:Cgm 3712|174r|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|059r|jpg}}
|  
+
| {{paget|Page:KK5247|089r|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|092r|png}}
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 04v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 04v.png|300px|center]]
| <p>[10] </p>
+
| <p>[10] '''The sixth is the contact'''</p>
| '''The sixth is the contact'''
 
Note: When one ignores the high thrust (as it is drawn above) and thrusts to your back foot,
 
then fall with your sword, with both your hands onto his sword, and press it down well. By doing this, you free yourself as is written next. Always be sure in your work, as is painted above.
 
  
 +
<p>Note: When one ignores the high thrust (as it is drawn above) and thrusts to your back foot, then fall with your sword, with both your hands onto his sword, and press it down well. By doing this, you free yourself as is written next. Always be sure in your work (as is painted above).</p>
 
| {{paget|Page:Cod.I.6.2º.3|04v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|04v|png}}
 
| {{paget|Page:Cgm 3711|63v|jpg}}
 
| {{paget|Page:Cgm 3711|63v|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|05v|jpg|blk=1}}
 
| {{paget|Page:Cod.I.6.4º.5|05v|jpg|blk=1}}
 
| {{paget|Page:Cgm 3712|174v|jpg}}
 
| {{paget|Page:Cgm 3712|174v|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|059v|jpg}}
|  
+
| {{paget|Page:KK5247|089v|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|092v|png}}
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 05r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 05r.png|300px|center]]
| <p>[11] </p>
+
| <p>[11] '''The seventh is called the Murder-strike'''</p>
| '''The seventh is called the Murder-strike'''
 
Note: When you notice that (he wants to perform) the third contact or pinning onto
 
the foot, then grab your sword by the point and turn the pommel forward. Strike him to
 
his helmet: by doing so he will be stunned<ref>The 'Teutscher Dictionarus' by 'Simon Roten' of 1571 defines 'Temisch' as 'Temisch,Crüncken/weinig/vom wozt Temez tum, das ist wein', and 'Temen' as 'Oberflüssig wein trincken', so I assume being stunned as if drunk is what is implied here.</ref><ref>I omitted the translation of 'in Seim helm' in order to make the translation easier to read.</ref> as it is painted above. By doing this, you free yourself (of him).
 
  
 +
<p>Note: When you notice that [he wants to perform] the third contact or pinning onto the foot, then grab your sword by the point and turn the pommel forward. Strike him to his helmet: by doing so he will be stunned<ref>The 'Teutscher Dictionarus' by 'Simon Roten' of 1571 defines 'Temisch' as 'Temisch,Crüncken/weinig/vom wozt Temez tum, das ist wein', and 'Temen' as 'Oberflüssig wein trincken', so I assume being stunned as if drunk is what is implied here.</ref><ref>I omitted the translation of 'in Seim helm' in order to make the translation easier to read.</ref> (as it is painted above). By doing this, you free yourself.</p>
 
| {{paget|Page:Cod.I.6.2º.3|05r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|05r|png}}
 
| {{paget|Page:Cgm 3711|64r|jpg}}
 
| {{paget|Page:Cgm 3711|64r|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|06r|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|06r|jpg}}
 
| {{paget|Page:Cgm 3712|175r|jpg}}
 
| {{paget|Page:Cgm 3712|175r|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|060r|jpg}}
|  
+
| {{paget|Page:KK5247|090r|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|093r|png}}
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 05v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 05v.png|300px|center]]
| <p>[12] </p>
+
| <p>[12] '''The eight is called the Contact'''</p>
| '''The eight is called the Contact'''
 
Note: When one strikes to your head, or wants to do so, then go up with your sword
 
and pin his left elbow with the point. By doing that you have broken his murder-strike. Go well
 
into (his elbow), and push him up, as is painted above.
 
  
 +
<p>Note: When one strikes to your head, or wants to do so, then go up with your sword and pin his left elbow with the point. By doing that you have broken his murder-strike. Go well into [his elbow], and push him up (as is painted above).</p>
 
| {{paget|Page:Cod.I.6.2º.3|05v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|05v|png}}
 
| {{paget|Page:Cgm 3711|64v|jpg}}
 
| {{paget|Page:Cgm 3711|64v|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|06v|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|06v|jpg}}
 
| {{paget|Page:Cgm 3712|175v|jpg}}
 
| {{paget|Page:Cgm 3712|175v|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|060v|jpg}}
|  
+
| {{paget|Page:KK5247|090v|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|093v|png}}
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 06r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 06r.png|300px|center]]
| <p>[13] </p>
+
| <p>[13] '''The ninth: Overwrenching'''</p>
| '''The ninth: Overwrenching'''
 
Note the ninth (piece of) work: When one has pinned you and wants to shove you backwards, then grab your sword by the hilt with your left hand, and step with your right foot forwards, and wrench to his face with the pommel. By doing so you break his pin and contact, as was painted before. And the work of the break (of that which was painted before) is as is painted here.
 
  
 +
<p>Note the ninth [piece of] work: When one has pinned you and wants to shove you backwards, then grab your sword by the hilt with your left hand, and step with your right foot forwards, and wrench to his face with the pommel. By doing so you break his pin and contact (as was painted before). And the work of the break [of that which was painted before] is as is painted here.</p>
 
| {{paget|Page:Cod.I.6.2º.3|06r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|06r|png}}
 
| {{paget|Page:Cgm 3711|65r|jpg}}
 
| {{paget|Page:Cgm 3711|65r|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|07r|jpg|blk=1}}
 
| {{paget|Page:Cod.I.6.4º.5|07r|jpg|blk=1}}
 
| {{paget|Page:Cgm 3712|176r|jpg}}
 
| {{paget|Page:Cgm 3712|176r|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|061r|jpg}}
|  
+
| {{paget|Page:KK5247|091r|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|094r|png}}
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 06v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 06v.png|300px|center]]
| <p>[14] </p>
+
| <p>[14] '''The tenth piece'''</p>
| '''The tenth piece'''
 
Note: When you see that one is working towards your face, then step with your right foot forward, go well up with your sword and shove your sword inside of his sword over his right arm. This is called 'stabbed between both the arms'. Press down well with your left foot forward, so that you can pin his right foot, as is painted above.
 
  
 +
<p>Note: When you see that one is working towards your face, then step with your right foot forward, go well up with your sword and shove your sword inside of his sword over his right arm. This is called 'stabbed between both the arms'. Press down well with your left foot forward, so that you can pin his right foot (as is painted above).</p>
 
| {{paget|Page:Cod.I.6.2º.3|06v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|06v|png}}
 
| {{paget|Page:Cgm 3711|65v|jpg}}
 
| {{paget|Page:Cgm 3711|65v|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|07v|jpg|blk=1}}
 
| {{paget|Page:Cod.I.6.4º.5|07v|jpg|blk=1}}
 
| {{paget|Page:Cgm 3712|176v|jpg}}
 
| {{paget|Page:Cgm 3712|176v|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|061v|jpg}}
|  
+
| {{paget|Page:KK5247|091v|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|094v|png}}
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 07r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 07r.png|300px|center]]
| <p>[15] </p>
+
| <p>[15] '''The eleventh piece'''</p>
|
+
 
 +
<p> When you see that he wants to push (with his sword) through both your arms and has taken your strength, then step forward with your left foot, and go upwards with your points towards his face, as is painted above. By doing so, you have broken him.</p>
 
| {{paget|Page:Cod.I.6.2º.3|07r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|07r|png}}
 
| {{paget|Page:Cgm 3711|66r|jpg}}
 
| {{paget|Page:Cgm 3711|66r|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|08r|jpg|blk=1}}
 
| {{paget|Page:Cod.I.6.4º.5|08r|jpg|blk=1}}
 
| {{paget|Page:Cgm 3712|177r|jpg}}
 
| {{paget|Page:Cgm 3712|177r|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|062r|jpg}}
|  
+
| {{paget|Page:KK5247|092r|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|095r|png}}
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 07v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 07v.png|300px|center]]
| <p>[16] </p>
+
| <p>[16] '''The twelfth piece'''</p>
|
+
 
 +
<p> When you notice that he is working towards your face, then stand with your right foot forward, and pull your pommel towards you with your right hand, under his left hand. Jerk the sword well towards yourself, as is
 +
painted above.</p>
 
| {{paget|Page:Cod.I.6.2º.3|07v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|07v|png}}
 
| {{paget|Page:Cgm 3711|66v|jpg}}
 
| {{paget|Page:Cgm 3711|66v|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|08v|jpg|blk=1}}
 
| {{paget|Page:Cod.I.6.4º.5|08v|jpg|blk=1}}
 
| {{paget|Page:Cgm 3712|177v|jpg}}
 
| {{paget|Page:Cgm 3712|177v|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|062v|jpg}}
|  
+
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|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 08r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 08r.png|300px|center]]
| <p>[17] </p>
+
| <p>[17] '''The thirteenth piece'''</p>
|
+
 
 +
<p> When you see that one pulls through as was described before, then step forward with your left foot </p>
 
| {{paget|Page:Cod.I.6.2º.3|08r|png}}
 
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Line 1,422: Line 1,516:
 
| [[File:Cod.I.6.2º.3 08v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 08v.png|300px|center]]
 
| <p>[18] </p>
 
| <p>[18] </p>
|
 
 
| {{paget|Page:Cod.I.6.2º.3|08v|png}}
 
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Line 1,435: Line 1,528:
 
| [[File:Cod.I.6.2º.3 09r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 09r.png|300px|center]]
 
| <p>[19] </p>
 
| <p>[19] </p>
|
 
 
| {{paget|Page:Cod.I.6.2º.3|09r|png}}
 
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Line 1,448: Line 1,540:
 
| [[File:Cod.I.6.2º.3 09v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 09v.png|300px|center]]
 
| <p>[20] </p>
 
| <p>[20] </p>
|
 
 
| {{paget|Page:Cod.I.6.2º.3|09v|png}}
 
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Line 1,461: Line 1,552:
 
| [[File:Cod.I.6.2º.3 10r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 10r.png|300px|center]]
 
| <p>[21] </p>
 
| <p>[21] </p>
|
 
 
| {{paget|Page:Cod.I.6.2º.3|10r|png}}
 
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Line 1,474: Line 1,564:
 
| [[File:Cod.I.6.2º.3 10v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 10v.png|300px|center]]
 
| <p>[22] </p>
 
| <p>[22] </p>
|
 
 
| {{paget|Page:Cod.I.6.2º.3|10v|png}}
 
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|-  
 
| [[File:Cod.I.6.2º.3 11r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 11r.png|300px|center]]
 
| <p>[23] </p>
 
| <p>[23] </p>
|
 
 
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Line 1,500: Line 1,588:
 
| [[File:Cod.I.6.2º.3 11v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 11v.png|300px|center]]
 
| <p>[24] </p>
 
| <p>[24] </p>
|
 
 
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| [[File:Cod.I.6.2º.3 12r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 12r.png|300px|center]]
 
| <p>[25] </p>
 
| <p>[25] </p>
|
 
 
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| [[File:Cod.I.6.2º.3 12v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 12v.png|300px|center]]
 
| <p>[26] </p>
 
| <p>[26] </p>
|
 
 
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| [[File:Cod.I.6.2º.3 13r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 13r.png|300px|center]]
 
| <p>[27] </p>
 
| <p>[27] </p>
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| [[File:Cod.I.6.2º.3 13v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 13v.png|300px|center]]
 
| <p>[28] </p>
 
| <p>[28] </p>
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| [[File:Cod.I.6.2º.3 14r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 14r.png|300px|center]]
 
| <p>[29] </p>
 
| <p>[29] </p>
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| [[File:Cod.I.6.2º.3 14v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 14v.png|300px|center]]
 
| <p>[30] </p>
 
| <p>[30] </p>
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| [[File:Cod.I.6.2º.3 15r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 15r.png|300px|center]]
 
| <p>[31] </p>
 
| <p>[31] </p>
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| [[File:Cod.I.6.2º.3 15v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 15v.png|300px|center]]
 
| <p>[32] </p>
 
| <p>[32] </p>
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| [[File:Cod.I.6.2º.3 16r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 16r.png|300px|center]]
 
| <p>[33] </p>
 
| <p>[33] </p>
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| [[File:Cod.I.6.2º.3 16v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 16v.png|300px|center]]
 
| <p>[34] </p>
 
| <p>[34] </p>
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| [[File:Cod.I.6.2º.3 17r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 17r.png|300px|center]]
 
| <p>[35] </p>
 
| <p>[35] </p>
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| {{paget|Page:Cod.I.6.2º.3|17r|png}}
 
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| [[File:Cod.I.6.2º.3 17v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 17v.png|300px|center]]
 
| <p>[36] </p>
 
| <p>[36] </p>
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| [[File:Cod.I.6.2º.3 18r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 18r.png|300px|center]]
 
| <p>[37] </p>
 
| <p>[37] </p>
|
 
 
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| <p>[38] </p>
 
| <p>[38] </p>
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| <p>[39] </p>
 
| <p>[39] </p>
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| <p>[40] </p>
 
| <p>[40] </p>
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| <p>[41] </p>
 
| <p>[41] </p>
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| <p>[42] </p>
 
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| <p>[50] </p>
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+
| class="noline" | [[File:Cod.I.6.2º.3 25r.png|300px|center]]
| <p>[51] </p>
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| class="noline" | <p>[51] </p>
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{{master begin
 
{{master begin
 
  | title = Mounted Fencing
 
  | title = Mounted Fencing
  | width = 294em
+
  | width = 300em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <p>Images<br/>from the Archetype</p>
+
! <p>Illustrations<br/>from the Archetype</p>
! <p>{{rating|start}}<br/>by [[Ondřej Vodička]] and [[Michael Chidester]]</p>
+
! <p>{{rating}}</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Archetype]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Archetype]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version I]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/></p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version ]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/></p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Draftbook]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Draftbook]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version II]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
+
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version ]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version I]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
+
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version ]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
! <p>[[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel Version II]] (ca. 1600){{edit index|Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)}}<br/></p>
 
! <p>[[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Wolfenbüttel Version III]] (ca. 1600){{edit index|Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)}}<br/></p>
 
 
! <p>[[Reit und Turnierbuch (MS KK5247)|Vienna Version]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<br/></p>
 
! <p>[[Reit und Turnierbuch (MS KK5247)|Vienna Version]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<br/></p>
 +
! <p>[[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel Version Ⅱ]] (ca. 1600){{edit index|Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)}}<br/></p>
 +
! <p>[[Reit und Turnierbuch (MS 23.279)|New York Version]] (1838){{edit index|Reit und Turnierbuch (MS 23.279)}}<br/></p>
  
 
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| [[File:Cod.I.6.2º.3 41v.png|300px|center]]
 
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| <p>[35]</p>
 
| <p>[35]</p>
 
| {{paget|Page:Cod.I.6.2º.3|42r|png}}
 
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| {{paget|Page:Cgm 3711|101r|jpg}}
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| <p><br/></p>
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{{paget|Page:Cgm 3711|101r|jpg}}
 
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{{paget|Page:KK5247|189v|jpg|lbl=189v90r}}
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| <p><br/></p>
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<p>''[An analogous illustration is present on [[Page:Cod.Guelf.1.6.3 Aug.2º 192v.png|folia 192v-193r]], but the text is that of the equivalent play in [[Antonius Rast]].]''</p>
 
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|-  
 
|-  
| [[File:Cod.I.6.2º.3 42v.png|300px|center]]
+
| class="noline" | [[File:Cod.I.6.2º.3 42v.png|300px|center]]
| <p>[36]</p>
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| class="noline" | <p>[36]</p>
| {{paget|Page:Cod.I.6.2º.3|42v|png}}
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{{master begin
 
{{master begin
 
  | title = Secondary Content
 
  | title = Secondary Content
  | width = 144em
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  | width = 150em
 
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}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <p>Images<br/></p>
+
! <p>Illustrations<br/></p>
 
! <p>{{rating|B}}<br/>by [[Michael Chidester]]</p>
 
! <p>{{rating|B}}<br/>by [[Michael Chidester]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version I]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/></p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version ]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/></p>
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version II]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
+
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version ]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
+
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version ]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
  
 
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|-  
 
|-  
| [[File:Cod.Guelf.38.21.Aug.2º 95v.png|300px|center]]
+
| class="noline" | [[File:Cod.Guelf.38.21 Aug.2º 095v.jpg|300px|center]]
| <p>[32] [No text]</p>
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|}
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<section begin="sourcebox"/>{{sourcebox header}}
 
<section begin="sourcebox"/>{{sourcebox header}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]] Images
+
  | work        = [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]] Illustrations
 
  | authors    = [[Universitätsbibliothek Augsburg]]
 
  | authors    = [[Universitätsbibliothek Augsburg]]
 
  | source link = http://www.nbn-resolving.de/urn:nbn:de:bvb:384-uba002003-5
 
  | source link = http://www.nbn-resolving.de/urn:nbn:de:bvb:384-uba002003-5
 
  | source title= Universitätsbibliothek Augsburg
 
  | source title= Universitätsbibliothek Augsburg
  | license    = permission
+
  | license    = public domain
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Cod.I.6.2º.3]] Images
+
  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Cod.I.6.2º.3]] Illustrations
 
  | authors    = [[Universitätsbibliothek Augsburg]]
 
  | authors    = [[Universitätsbibliothek Augsburg]]
 
  | source link = http://www.nbn-resolving.de/urn:nbn:de:bvb:384-uba002006-0
 
  | source link = http://www.nbn-resolving.de/urn:nbn:de:bvb:384-uba002006-0
 
  | source title= Universitätsbibliothek Augsburg
 
  | source title= Universitätsbibliothek Augsburg
  | license    = permission
+
  | license    = public domain
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] Images
+
  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] Illustrations
 
  | authors    = [[Bayerische Staatsbibliothek]]
 
  | authors    = [[Bayerische Staatsbibliothek]]
 
  | source link = http://daten.digitale-sammlungen.de/bsb00064546/image_1
 
  | source link = http://daten.digitale-sammlungen.de/bsb00064546/image_1
 
  | source title= Bayerische Staatsbibliothek
 
  | source title= Bayerische Staatsbibliothek
  | license    = permission
+
  | license    = noncommercial
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = Translation (sword)
+
  | work        = Translation (long sword)
  | authors    = [[Stephen Cheney]]
+
  | authors    = [[translator::Stephen Cheney]]
 +
| source link =
 +
| source title= Wiktenauer
 +
| license    = noncommercial
 +
}}
 +
{{sourcebox
 +
| work        = Translation (short sword)
 +
| authors    = [[translator::Robert Kraaijeveld]]
 
  | source link =  
 
  | source link =  
 
  | source title= Wiktenauer
 
  | source title= Wiktenauer
Line 2,579: Line 2,659:
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Archetype B]]
+
  | work        = [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Archetype B]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)]]
+
  | source title= [[Index:Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)]]
 
  | license    = copyrighted
 
  | license    = copyrighted
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
 
  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version I]]
 
  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version I]]
  | authors    = [[Kendra&nbsp;Brown]], [[Rebecca&nbsp;Garber]], [[Don&nbsp;Kindsvatter]], [[Mark&nbsp;Millman]], [[Amy&nbsp;West]]
+
  | authors    = [[Kendra&nbsp;Brown]], [[Rebecca&nbsp;Garber]], [[Don&nbsp;Kindsvatter]], <br/>[[Mark&nbsp;Millman]], [[Amy&nbsp;West]]
 
  | source link =  
 
  | source link =  
 
  | source title= [[Index:Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)]]
 
  | source title= [[Index:Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)]]
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}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel Version II]]
+
  | work        = [[Reit und Turnierbuch (MS KK5247)|Vienna Version]]
 
  | authors    =  
 
  | authors    =  
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)]]
+
  | source title= [[Index:Reit und Turnierbuch (MS KK5247)]]
 
  | license    =  
 
  | license    =  
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Wolfenbüttel Version III]]
+
  | work        = [[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel Version II]]
 
  | authors    =  
 
  | authors    =  
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)]]
+
  | source title= [[Index:Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)]]
 
  | license    =  
 
  | license    =  
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Reit und Turnierbuch (MS KK5247)|Vienna Version]]
+
  | work        = [[Reit und Turnierbuch (MS 23.279)|New York Version]]
 
  | authors    =  
 
  | authors    =  
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Reit und Turnierbuch (MS KK5247)]]
+
  | source title= [[Index:Reit und Turnierbuch (MS 23.279)]]
 
  | license    =  
 
  | license    =  
 
}}
 
}}
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== Additional Resources ==
 
== Additional Resources ==
  
 
+
{{bibliography}}
  
 
== References ==
 
== References ==
  
 
{{reflist|2}}
 
{{reflist|2}}
{{DEFAULTSORT: Hutter, Jörg Wilhalm}}
+
{{DEFAULTSORT: Wilhalm, Jörg}}
 
{{Liechtenauer tradition}}
 
{{Liechtenauer tradition}}
 
__FORCETOC__
 
__FORCETOC__
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[[Category:Armored Fencing]]
 
[[Category:Armored Fencing]]
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[[Category:Dagger]]
 
[[Category:Longshield]]
 
[[Category:Longshield]]
 
[[Category:Longsword]]
 
[[Category:Longsword]]
[[Category:Marriage Counseling]]
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[[Category:Man vs. Woman]]
 
[[Category:Mounted Fencing]]
 
[[Category:Mounted Fencing]]
[[Category:Navaja]]
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[[Category:Modular display candidate]]

Latest revision as of 20:17, 30 November 2023

Jörg Wilhalm
Born 15th century
Died 16th century
Occupation
Citizenship Augsburg, Germany
Movement Augsburg tradition
Influences
Influenced
Genres Fencing manual
Language Early New High German
Notable work(s) Jörg Wilhalm Hutters kunst zu Augspurg
Archetype(s)
Manuscript(s)
Concordance by Michael Chidester

Jörg Wilhalm was a 16th century German fencing master. He refers to himself as a hatter (Hutter), a fact that is confirmed in the tax records of Augsburg, Germany in 1501, 1504, and 1516.[citation needed]

Manuscripts

Four works are commonly attributed to Wilhalm: on unarmored long sword fencing in the tradition of Johannes Liechtenauer, on armored and mounted dueling that appear to be based on those of the early 15th century (relying on armor designs that were obsolete by the 1520s), and a series of 32 uncaptioned illustrations portraying scenes of judicial combat. However, it is unclear if Wilhalm authored all of these works or, like Lienhart Sollinger and Paulus Hector Mair after him, merely compiled existing works together and placed his name on them as an owner's mark. The development of the armored dueling treatises can be traced through a draftbook and rough early annotated copy, but the same is not true of the unarmored long sword fencing, which appears to be based on the MS Cl. 23842 from the 1480s-90s and is accompanied by an excerpt of Branch C of the pseudo-Peter von Danzig gloss which Gregor Erhart attributes to one Nicolaüs and dates to 1489.[1]

There are three extant manuscripts of Wilhalm's treatises created between 1522 and 1523, all now residing in Augsburg (along with most of the rest of Paulus Hector Mair's collection). The apparent oldest of Wilhalm's manuscripts, Cod.I.6.4º.5,[2] consists of numbered but uncaptioned illustrations of armored dueling on horse and on foot, and is dated to 1522. The same year saw the completion of the Cod.I.6.2º.3, which includes the same illustrations but adds written instructions to the plays; for this reason, Hils assumed the former was the draftbook used to develop the latter.[citation needed] In 1523, Wilhalm seems to have created an accompanying long sword treatise, preserved in the Cod.I.6.2º.2.

Some time soon after this, all three of Wilhalm's prior works, along a new series of 32 uncaptioned illustrations of dueling, were compiled into the Cgm 3711. This manuscript has some oddities not found in the others, including carnival costumes on some of the fighters and a pretzel salesman appearing in the illustration on folio 11r. It's currently unclear whether Wilhalm was involved in the creation of this manuscript or not, but it appears to be a presentation copy of the collected works and includes content unique to each of the three earlier manuscripts. Wilhalm's long sword treatise was also copied by sculptor Gregor Erhart into the MS E.1939.65.354 in 1533, though it's currently unclear which source he based it on.

Most copies of Wilhalm's treatises were eventually acquired by Freifechter and collector Lienhart Sollinger. Cgm 3711 was a source for his Cgm 3712 (1556) and Cod.Guelf.38.21 Aug.2º (1588), and the former also seems to have drawn heavily from MS E.1939.65.354. Sollinger, in turn, sold several of these works to Paulus Hector Mair: the Cod.I.6.2º.2 in 1544, the Cod.I.6.4º.5 in 1552, the MS E.1939.65.354 in 1560, and the Cod.I.6.2º.3 in 1561. Wilhalm's draftbook in particular was apparently used as the primary source for Mair's writings on armored dueling (preserved in three manuscripts in the 1540s and 50s); owing to its lack of text, Mair inserted his own descriptions of the plays—descriptions which diverge noticeably from Wilhalm's own explanations.

A final set of two copies of Wilhalm's work, Cod.Guelf.1.6.3 Aug.2º and MS KK5247, were prepared by Jeremias Schemel von Augsburg at the end of the 16th century as part of a massive compilation of treatises on horsemanship which also included discussion of riding, dressage, jousting, and tournaments. These manuscripts contain Wilhalm's original text (unlike Mair's version), but the elaborate artwork includes details from multiple prior versions of Wilhalm's work, suggesting that Schemel's source manuscript may remain to be discovered. A third manuscript of Schemel's work also exists, copied from the MS KK5247 in 1838, but such a late work has little to contribute to any analysis of the tradition.

Treatise

In order to compress these tables and avoid empty columns, the Glasgow version of the long sword section and the draftbook for the short sword and mounted fencing sections appear in the same column (since they don't overlap). The three additional versions of the short sword and mounted fencing appear at the far side of those tables. The section containing uncaptioned plays only appears in three manuscripts, so the others are all omitted.

Additional Resources

The following is a list of publications containing scans, transcriptions, and translations relevant to this article, as well as published peer-reviewed research.

References

  1. MS E.1939.65.354, folio 189r; the complete text of Branch C is only given in MS KK5126 (1480s).
  2. Generally we refer to manuscripts by their locations for ease of communication, but with three of the ten manuscripts in Augsburg, three in Wolfenbüttel, and two in Munich, that's not really feasible here.
  3. windest
  4. korrigiert aus »halben«
  5. from ehert
  6. loss
  7. Verse 52
  8. Treibn?
  9. Meaning as though armored
  10. At the end of the first line “zwiuach” is written with an “h” which is a scribal error.
  11. Note: different hand
  12. Same hand as previous.
  13. Change in scribe's hand?
  14. schnidt
  15. Change in hand
  16. Disappears into the margin.
  17. The rest of the paragraph is cut off.
  18. Word disappears into margin.
  19. Matthias Lexer's Mittelhochdeutsch Handwoerterbuch defines 'sippen' as 'verwant sein mit einem (dat.)'
  20. unleserliche Notiz zweier Wörter am unteren Seitenrand
  21. The last word disappears partly in trimming.
  22. The 'Teutscher Dictionarus' by 'Simon Roten' of 1571 defines 'Temisch' as 'Temisch,Crüncken/weinig/vom wozt Temez tum, das ist wein', and 'Temen' as 'Oberflüssig wein trincken', so I assume being stunned as if drunk is what is implied here.
  23. I omitted the translation of 'in Seim helm' in order to make the translation easier to read.
  24. The rest of the text is badly damaged at the bottom, disappears in the trimming and is not decipherable.
  25. The text disappears in trimming and is not decipherable.
  26. The rest of the text disappears in trimming and is not decipherable.
  27. The text disappears in trimming and is not decipherable.
  28. The text disappears in trimming.
  29. The rest of the text disappears in trimming and is not decipherable.
  30. The text disappears in trimming and is not decipherable.
  31. The text disappears in trimming and is not decipherable.
  32. The text disappears in trimming and is not decipherable.
  33. The rest of the text disappears in trimming and is not decipherable.
  34. In a second hand.
  35. In a third hand.
  36. In a different hand.
  37. In a different hand.
  38. korrigiert aus »mich«
  39. korrigiert aus »tengke«
  40. Notiz Mairs
  41. Notiz Mairs
  42. At the lower edge are remnants of a line written by another hand, but which is unreadable and lost to a later recutting of the manuscript.