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Difference between revisions of "Andre Paurenfeyndt"

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<p>Undertake the wing cut from the upper guard or high point. The first strike to the left ear from the roof, the second from below with a step to your left side, the third strike to the head from behind.</p>
 
<p>Undertake the wing cut from the upper guard or high point. The first strike to the left ear from the roof, the second from below with a step to your left side, the third strike to the head from behind.</p>
| <p> '''From the flight'''</p>
+
| <p>'''From the flight'''</p>
  
 
<p>Take the high point and from the high guard: the first, attack high towards the left ear. The other with a step at the left side. The third, strike behind the head.</p>
 
<p>Take the high point and from the high guard: the first, attack high towards the left ear. The other with a step at the left side. The third, strike behind the head.</p>
Line 438: Line 438:
  
 
<p>If someone initiates a wing cut, parry the first from the roof. The second, pin down with the long edge from below and grab their sword's pommel with your left hand, then you throw them over their sword.</p>
 
<p>If someone initiates a wing cut, parry the first from the roof. The second, pin down with the long edge from below and grab their sword's pommel with your left hand, then you throw them over their sword.</p>
| <p> '''Break'''</p>
+
| <p>'''Break'''</p>
  
 
<p>If someone seeks in vain to strike from the flight, shoot the first cut back from above. The other, strike again below with your long cut or edge, and take the pommel of his sword with your left hand, thus you hurl him over his sword.</p>
 
<p>If someone seeks in vain to strike from the flight, shoot the first cut back from above. The other, strike again below with your long cut or edge, and take the pommel of his sword with your left hand, thus you hurl him over his sword.</p>
Line 477: Line 477:
  
 
<p>Step and strike through to the opponent's ear from above with the long edge. The second step and strike down from above to the right ear with the short edge. The third, strike from behind with the long edge.</p>
 
<p>Step and strike through to the opponent's ear from above with the long edge. The second step and strike down from above to the right ear with the short edge. The third, strike from behind with the long edge.</p>
| <p> '''From the cross or the straight strike'''</p>
+
| <p>'''From the cross or the straight strike'''</p>
  
 
<p>Step and strike high with your long edge through his left ear. Secondly, step and strike high with the short cut below the right ear. Thirdly, shoot back behind with the long edge.</p>
 
<p>Step and strike high with your long edge through his left ear. Secondly, step and strike high with the short cut below the right ear. Thirdly, shoot back behind with the long edge.</p>
Line 489: Line 489:
  
 
<p>When someone executes a crown cut, catch the first. For the second, situate your short edge against their neck so that they injure themselves themself.</p>
 
<p>When someone executes a crown cut, catch the first. For the second, situate your short edge against their neck so that they injure themselves themself.</p>
| <p> '''Break'''</p>
+
| <p>'''Break'''</p>
  
 
<p>When someone makes the curve<ref>Likely an error. Crombe is a northern Middle French word for “hunched” (e.g. a person) or “crooked”.</ref> cut, wait for him first. Secondly, put the short edge on his neck, he will strike himself.</p>
 
<p>When someone makes the curve<ref>Likely an error. Crombe is a northern Middle French word for “hunched” (e.g. a person) or “crooked”.</ref> cut, wait for him first. Secondly, put the short edge on his neck, he will strike himself.</p>
Line 501: Line 501:
  
 
<p>Undertake the failer from the high point. Cut short to the opponent's left ear explosively and step towards their right side with your left foot. And hammer in the second strike long to the right ear. Keep high with good parrying.</p>
 
<p>Undertake the failer from the high point. Cut short to the opponent's left ear explosively and step towards their right side with your left foot. And hammer in the second strike long to the right ear. Keep high with good parrying.</p>
| <p> '''Flying over'''</p>
+
| <p>'''Flying over'''</p>
  
 
<p>Take flying over from above. Take it short towards his left ear, and step with the left foot against his right side, and strike the other cut long on the right ear, and remain high for good defense.</p>
 
<p>Take flying over from above. Take it short towards his left ear, and step with the left foot against his right side, and strike the other cut long on the right ear, and remain high for good defense.</p>
Line 513: Line 513:
  
 
<p>Cut from above from the ox against the opponent, down through the roses and land your short edge in their face. Veer off short and make a followup strike with the long edge.</p>
 
<p>Cut from above from the ox against the opponent, down through the roses and land your short edge in their face. Veer off short and make a followup strike with the long edge.</p>
| <p> '''Break</p>
+
| <p>'''Break</p>
  
 
<p>Take yourself high from the wings against him through the roses and put the short cut in his face. Turn downwards very briefly and strike him after with the long edge.</p>
 
<p>Take yourself high from the wings against him through the roses and put the short cut in his face. Turn downwards very briefly and strike him after with the long edge.</p>
Line 525: Line 525:
  
 
<p>Against their strike, punch through with a cut<ref>literally: cut through agains their strike. The separable durch-hauen means to strike through something to create an opening. See: https://www.woerterbuchnetz.de/DWB2/2DURCHHAUEN</ref> and step in the triangle with your right foot such that you make yourself completely open so to cause them to initiate a cut at your opening. After that happens, step with your left foot and make a followup strike from the hand. </p>
 
<p>Against their strike, punch through with a cut<ref>literally: cut through agains their strike. The separable durch-hauen means to strike through something to create an opening. See: https://www.woerterbuchnetz.de/DWB2/2DURCHHAUEN</ref> and step in the triangle with your right foot such that you make yourself completely open so to cause them to initiate a cut at your opening. After that happens, step with your left foot and make a followup strike from the hand. </p>
| <p> '''Piece'''</p>
+
| <p>'''Piece'''</p>
  
 
<p>Take any cut through his cut, and step the triangle with the right foot so that you open yourself greatly for which he considers, whereupon you step after with the left foot in front and strike the back of the hand after him.</p>
 
<p>Take any cut through his cut, and step the triangle with the right foot so that you open yourself greatly for which he considers, whereupon you step after with the left foot in front and strike the back of the hand after him.</p>
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<p>Undertake hurling from the upper guard. Cut against the opponent to their left ear with your long edge. If they parry that, act as if you will suddenly withdraw and remain on their left ear with your short edge. Suddenly withdraw and hurl onto their right ear with the flat.</p>
 
<p>Undertake hurling from the upper guard. Cut against the opponent to their left ear with your long edge. If they parry that, act as if you will suddenly withdraw and remain on their left ear with your short edge. Suddenly withdraw and hurl onto their right ear with the flat.</p>
| <p> '''Drag from the long cut'''</p>
+
| <p>'''Drag from the long cut'''</p>
  
 
<p>Take the high guard. Take the long cut against him to the left ear. If he parries, act as if you would like to pull back and remain with the short cut to the left ear. Pull back, and strike the flat to the right ear.</p>
 
<p>Take the high guard. Take the long cut against him to the left ear. If he parries, act as if you would like to pull back and remain with the short cut to the left ear. Pull back, and strike the flat to the right ear.</p>
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<p>If someone starts to hurl at you, let the first strike detach and parry the second down from above with the long edge so that you can pin it down or suppress it.</p>
 
<p>If someone starts to hurl at you, let the first strike detach and parry the second down from above with the long edge so that you can pin it down or suppress it.</p>
|  <p> '''Break'''</p>
+
|  <p>'''Break'''</p>
  
 
<p>When someone drags the long cut at you, let the first run downwards and parry the other from high to low with your long cut. Thus you may beat or strike it.</p>
 
<p>When someone drags the long cut at you, let the first run downwards and parry the other from high to low with your long cut. Thus you may beat or strike it.</p>
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<p>You can also undertake shooting through from the high point. Cut down from above and with the short edge and inverted hand, down through the roses and into the opponent's face. Let it briefly run off and follow up with the long edge.</p>
 
<p>You can also undertake shooting through from the high point. Cut down from above and with the short edge and inverted hand, down through the roses and into the opponent's face. Let it briefly run off and follow up with the long edge.</p>
| <p> '''Pass below'''</p>
+
| <p>'''Pass below'''</p>
  
 
<p>Pass further can also take the high point ox<ref>the word "hocs" means "hooks", but I believe it is meant to be a loanword for ox instead.</ref>. Take it from high to low through the roses with crossed hands and the short edge in his face, and let it run downwards briefly to the long edge, and step after.</p>
 
<p>Pass further can also take the high point ox<ref>the word "hocs" means "hooks", but I believe it is meant to be a loanword for ox instead.</ref>. Take it from high to low through the roses with crossed hands and the short edge in his face, and let it run downwards briefly to the long edge, and step after.</p>
Line 617: Line 617:
  
 
<p>When someone shoots through, and will lay the short edge against you so that you cannot otherwise work, take your sword by the point and strike your cross against their head.</p>
 
<p>When someone shoots through, and will lay the short edge against you so that you cannot otherwise work, take your sword by the point and strike your cross against their head.</p>
| <p> '''Break'''</p>
+
| <p>'''Break'''</p>
  
 
<p>When someone passes you high and wants to put the short edge to you, if you otherwise cannot work, take the edge of your sword, and strike the cross on his head.</p>
 
<p>When someone passes you high and wants to put the short edge to you, if you otherwise cannot work, take the edge of your sword, and strike the cross on his head.</p>
Line 676: Line 676:
 
| <p>'''From high'''</p>
 
| <p>'''From high'''</p>
  
<p>Move into long point with the hands crossed in the iron lock. If someone strikes you from high, take his cut from above with the short edge and step after him with the long cut.</p>
+
<p>Move into long point with the hands crossed in the iron lock. If someone strikes at you from high, take his cut from above with the short edge and step after him with the long cut.</p>
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/17|2|lbl=10.2}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/17|2|lbl=10.2}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/12|2|lbl=6r.2}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/12|2|lbl=6r.2}}
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<p>Conduct the failer against them. If they lie in the iron door, then they are driven out in vain and uncover themselves.</p>
 
<p>Conduct the failer against them. If they lie in the iron door, then they are driven out in vain and uncover themselves.</p>
| <p> '''Break'''</p>
+
| <p>'''Break'''</p>
  
 
<p>Drive him out from above when he is in the iron lock, and he moves for nothing and opens himself.</p>
 
<p>Drive him out from above when he is in the iron lock, and he moves for nothing and opens himself.</p>
Line 698: Line 698:
  
 
<p>Position yourself as before with braced hands, step in with the short edge shot over to the opponent's left ear and make a follow up strike with the long edge.</p>
 
<p>Position yourself as before with braced hands, step in with the short edge shot over to the opponent's left ear and make a follow up strike with the long edge.</p>
| <p> '''Shoot further'''</p>
+
| <p>'''Shoot further'''</p>
  
 
<p>Lower yourself as before with the hands crossed and step with the short edge. Shoot further to his left ear, and turn your hands away and strike a long cut after him.</p>
 
<p>Lower yourself as before with the hands crossed and step with the short edge. Shoot further to his left ear, and turn your hands away and strike a long cut after him.</p>
Line 710: Line 710:
  
 
<p>When someone overshoots the short edge, turn the strike away so that you come to strike against strike and the same work.</p>
 
<p>When someone overshoots the short edge, turn the strike away so that you come to strike against strike and the same work.</p>
| <p> '''Break'''</p>
+
| <p>'''Break'''</p>
  
 
<p>When someone passes you further with the high short edge, turn the wing downwards. Thus you will have a cut against cut and the same or similar action or work.</p>
 
<p>When someone passes you further with the high short edge, turn the wing downwards. Thus you will have a cut against cut and the same or similar action or work.</p>
Line 782: Line 782:
  
 
<p>The hanging point lands with the right foot forwards, like in the figure, with the flat below the face, entering short; and parry high  whatever strike that will be struck from the roof. Let it run off short and follow up with a strike long.</p>
 
<p>The hanging point lands with the right foot forwards, like in the figure, with the flat below the face, entering short; and parry high  whatever strike that will be struck from the roof. Let it run off short and follow up with a strike long.</p>
| <p> '''Hanging the point on the thumb.'''</p>
+
| <p>'''Hanging the point on the thumb.'''</p>
  
<p>Set the right foot forward, step short, and parry whichever cut high. Strike high, let the short edge run well downwards, and step with the long cut towards him.</p>
+
<p>Set the right foot forward, step short, and parry whatever cut high. Strike high, let the short edge run well downwards, and step with the long cut towards him.</p>
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/19|3|lbl=12.3}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/19|3|lbl=12.3}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/11|2|lbl=5v.2}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/11|2|lbl=5v.2}}
Line 796: Line 796:
  
 
<p>Drive the right foot forwards from the right side. If someone lies still in the hanging point, position the short edge on their right ear so they are not permitted to suddenly withdraw and wherever they do withdraw, they uncover themselves.</p>
 
<p>Drive the right foot forwards from the right side. If someone lies still in the hanging point, position the short edge on their right ear so they are not permitted to suddenly withdraw and wherever they do withdraw, they uncover themselves.</p>
| <p> '''Break'''</p>
+
| <p>'''Break'''</p>
  
 
<p>Drive out with the right hand and the right foot forward. If he lies calmly in the hanging point, put the short edge to his left ear, yet he will not pull back, because if he pulls back he opens himself.</p>
 
<p>Drive out with the right hand and the right foot forward. If he lies calmly in the hanging point, put the short edge to his left ear, yet he will not pull back, because if he pulls back he opens himself.</p>
Line 808: Line 808:
  
 
<p>Whenever someone positions the short edge against your neck, twist your hands with your sword and bar them from above with the long edge and grab their pommel with your left hand and throw them over their sword to the left side.</p>
 
<p>Whenever someone positions the short edge against your neck, twist your hands with your sword and bar them from above with the long edge and grab their pommel with your left hand and throw them over their sword to the left side.</p>
| <p> '''Counter break'''</p>
+
| <p>'''Counter break'''</p>
  
 
<p>When someone puts the short cut to your neck, turn your hands and the sword and lock him above with the long cut, and take your left hand on the pommel of his sword, and throw him on the left side on top of his sword.</p>
 
<p>When someone puts the short cut to your neck, turn your hands and the sword and lock him above with the long cut, and take your left hand on the pommel of his sword, and throw him on the left side on top of his sword.</p>
Line 856: Line 856:
  
 
<p>You can also undertake overgripping from high point. Reach over your cross with your right hand into the blade such that your finger stands on the blade. If someone initiates a strike, strike against them with your strong such that you overwhelm their sword, keeping threat and suddenly withdraw your flat against their right ear and veer high into your act of parrying.</p>
 
<p>You can also undertake overgripping from high point. Reach over your cross with your right hand into the blade such that your finger stands on the blade. If someone initiates a strike, strike against them with your strong such that you overwhelm their sword, keeping threat and suddenly withdraw your flat against their right ear and veer high into your act of parrying.</p>
| <p> '''Grip'''</p>
+
| <p>'''Grip'''</p>
  
 
<p>The grip can also be taken out from the high point. Take your right hand high on your cross so that the blade must lie flat, and if someone strikes after you, strike against him with such force that you overwhelm his sword, and pull back with your flat to his right ear, and raise your cut high.</p>
 
<p>The grip can also be taken out from the high point. Take your right hand high on your cross so that the blade must lie flat, and if someone strikes after you, strike against him with such force that you overwhelm his sword, and pull back with your flat to his right ear, and raise your cut high.</p>
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<p>When someone overgrips, bait them with a strike and suddenly withdraw short, make a follow up strike long or else break it with a failer or a crown cut, etc.</p>
 
<p>When someone overgrips, bait them with a strike and suddenly withdraw short, make a follow up strike long or else break it with a failer or a crown cut, etc.</p>
| <p> '''Break'''</p>
+
| <p>'''Break'''</p>
  
 
<p>When someone grips against you, offer him the blade and pull short, then long away from you or break with the flying over or with the straight strike.</p>
 
<p>When someone grips against you, offer him the blade and pull short, then long away from you or break with the flying over or with the straight strike.</p>
Line 880: Line 880:
  
 
<p>Position yourself in the high guard or high point, and cut to the opponent's left ear with your long edge, and act as if you will suddenly withdraw, but remain against their left ear with your short edge, thereafter suddenly withdraw and make a follow up cut with the long edge.</p>
 
<p>Position yourself in the high guard or high point, and cut to the opponent's left ear with your long edge, and act as if you will suddenly withdraw, but remain against their left ear with your short edge, thereafter suddenly withdraw and make a follow up cut with the long edge.</p>
| <p> '''Remain'''</p>
+
| <p>'''Remain'''</p>
  
 
<p>Set or put yourself in the high point or guard, and take the long cut to his left ear. And act as if you would like to pull back, yet remain with the short edge to his left ear. And then pull back and take the long cut towards him.</p>
 
<p>Set or put yourself in the high point or guard, and take the long cut to his left ear. And act as if you would like to pull back, yet remain with the short edge to his left ear. And then pull back and take the long cut towards him.</p>
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<p>When someone remains with their short edge against your right ear, remain on the other side as well. If they indeed pull away first, then they strike themselves the same way.</p>
 
<p>When someone remains with their short edge against your right ear, remain on the other side as well. If they indeed pull away first, then they strike themselves the same way.</p>
| <p> '''Break'''</p>
+
| <p>'''Break'''</p>
  
 
<p>When someone remains with the short cut at your left ear, so too remain on the other side. If he then pulls back first, he hits himself.</p>
 
<p>When someone remains with the short cut at your left ear, so too remain on the other side. If he then pulls back first, he hits himself.</p>
Line 938: Line 938:
  
 
<p>Position yourself with braced hands in front of your face. If someone strikes the buffalo from high point, twist your hands up from below and step into a false step and shield yourself short such that they roll down your flat, thereafter make a follow up strike long with a step.</p>
 
<p>Position yourself with braced hands in front of your face. If someone strikes the buffalo from high point, twist your hands up from below and step into a false step and shield yourself short such that they roll down your flat, thereafter make a follow up strike long with a step.</p>
| <p> '''Triangle'''</p>
+
| <p>'''Triangle'''</p>
  
<p>Move into long point with the hands crossed in front of the face. If he strikes the assailant with a cut from high point, turn your hands away from low to high, and step with the false step and parry low so that he runs downwards on your flat. Then step and strike with the long cut after.</p>
+
<p>Move into long point with the hands crossed in front of the face. If he strikes the aggressor with a cut from high point, turn your hands away from low to high, and step with the false step and parry low so that he runs downwards on your flat. Then step and strike with the long cut after.</p>
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/23|2|lbl=16.2}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/23|2|lbl=16.2}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/13|1|lbl=6v.1}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/13|1|lbl=6v.1}}
Line 950: Line 950:
  
 
<p>When you have overcommitted yourself striking at your opponent, rise up with your pommel so you are also shielded. Let them roll down as well and work with them according to advantage.</p>
 
<p>When you have overcommitted yourself striking at your opponent, rise up with your pommel so you are also shielded. Let them roll down as well and work with them according to advantage.</p>
| <p> '''Break'''</p>
+
| <p>'''Break'''</p>
  
 
<p>When you have overstruck or have been limited against him, raise your pommel high and you will also recover. Also let him run down, and work with him to your advantage.</p>
 
<p>When you have overstruck or have been limited against him, raise your pommel high and you will also recover. Also let him run down, and work with him to your advantage.</p>
Line 997: Line 997:
  
 
<p>Remember whenever you initiate a thrust, that you always wind your sword under your right shoulder using the pommel when you hit with your point.</p>
 
<p>Remember whenever you initiate a thrust, that you always wind your sword under your right shoulder using the pommel when you hit with your point.</p>
| <p> '''Piece'''</p>
+
| <p>'''Piece'''</p>
  
 
<p>Consider that when you thrust in front of someone by reaching into your high point, always turn the sword with the pommel below your right armpit.</p>
 
<p>Consider that when you thrust in front of someone by reaching into your high point, always turn the sword with the pommel below your right armpit.</p>
Line 1,059: Line 1,059:
  
 
<p>When someone has lodged their sword against you and and will throw you, release your right hand from your sword and shove their left elbow from below so that they must turn themselves.</p>
 
<p>When someone has lodged their sword against you and and will throw you, release your right hand from your sword and shove their left elbow from below so that they must turn themselves.</p>
|  
+
| <p>'''Break'''</p>
 +
 
 +
<p>When someone has put his sword to your neck and when he wants to throw you, remove your hand from your sword, and push his left elbow from below, so that he must turn himself.</p>
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/25|4|lbl=18.4}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/25|4|lbl=18.4}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/16|6|lbl=8r.6}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/16|6|lbl=8r.6}}

Revision as of 01:49, 5 February 2022

Andre Paurenfeyndt
Born 15th century
Died 16th century
Occupation
Nationality German
Patron Matthäus Lang von Wellenburg
Movement Liechtenauer Tradition
Influences Johannes Liechtenauer
Influenced
Genres
Language Early New High German
Notable work(s) Ergrundung Ritterlicher Kunst der
Fechterey
(1516)
Manuscript(s)
Concordance by Michael Chidester
Translations Deutsch-Übersetzung

Andre Paurenfeyndt (Paurñfeyndt, Paurñfeindt) was a 16th century German Freifechter. He seems to have been a resident of Vienna, although he mentions in his introduction that he served as a bodyguard to Cardinal Matthäus Lang von Wellenburg (1468 - 1540).[1] In 1516, he wrote and published a fencing manual entitled Ergrundung Ritterlicher Kunst der Fechterey ("Founding of the Chivalric Art of Swordplay"), which Sydney Anglo notes may have been the first illustrated fencing treatise ever published.[2] Little else is known about the life of this master, but he describes himself as a Freifechter and the contents of his book make it clear that he was associated with the tradition of Johannes Liechtenauer. His treatise diverges significantly from the earlier teachings of the Liechtenauer tradition, which may be due to his stated purpose of writing for beginning fencers.

Treatise

Please note that only the first edition (1516) has the complete set of illustrations, and all later versions are disorganized and incomplete; this article follows the order of plays and illustrations laid out in the original, and the variant sequences can be viewed on the transcription pages. Egenolff's illustrations are rather different from Paurenfeyndt's, and smaller thumbnails are included where applicable. Furthermore, the illustrations on pages 57 and 59 of the 1516 don't seem to relate to the plays described on 58 and 60, since they show pairs of fencers with dussacks while the text indicates that one of them should be unarmed. They are included here for reference, but the Egenolff illustrations (which are original and not based on Paurenfeyndt) are the ones that seem to depict something similar to the plays as described. While the Twelve Rules for the Beginning Fencer are unillustrated in Paurenfeyndt's work, this presentation includes the illustrations for six of the twelve found in the MS B.200 (1524).

Rather than presenting the treatise transcriptions chronologically, this concordance groups the three complete German texts together (including Lienhart Sollinger's 1564 copy), followed by the 1538 French translation. There are three shorter manuscript fragments of the German text, and these have been added in additional columns on the far end of the table in only the sections where they appear.

Additional Resources

  • Bauer, Matthias Johannes. “Der Alten Fechter gründtliche Kunst” – Das Frankfurter oder Egenolffsche Fechtbuch. Untersuchung und Edition. Coll. Geschichtswissenschaften 37. München: Utz Verlag, 2016. ISBN 978-3-8316-4559-6
  • Bauer, Matthias Johannes. "Economising Early Prints on Fight Books by Multiple Using Movable Half Page Woodcuts". Acta Periodica Duellatorum 4(2): 99–116, 2016. doi:10.36950/apd-2016-015
  • Bergner, U. and Giessauf, J. Würgegriff und Mordschlag. Die Fecht- und Ringlehre des Hans Czynner (1538). Graz: Akademische Druck- u. Verlagsanstalt, 2006. ISBN 978-3-201-01855-5
  • Roelofsen, Mathijs. "La Noble Science des Joueurs d’Espée: Fight Book and Commercial Product". Acta Periodica Duellatorum 8(1): 73-88, 2020. doi:10.36950/apd-2020-005
  • Welle, Rainer. "Ein unvollendetes Meisterwerk der Fecht- und Ringkampfliteratur des 16. Jahrhunderts sucht seinen Autor: der Landshuter Holzschneider und Maler Georg Lemberger als Fecht- und Ringbuchillustrator?" Codices manuscripti & impressi. Supplementum 12. Purkersdorf: Verlag Brüder Hollinek, 2017.

References

  1. Ott, Michael. "Matthew Lang." The Catholic Encyclopedia, Vol. 8. New York: Robert Appleton Company, 1910.
  2. Anglo, Sydney. The Martial Arts of Renaissance Europe. New Haven and London: Yale University Press, 2000. p 46. ISBN 978-0-300-08352-1
  3. lit: foot, but can and often mean the leg
  4. alt: flesh wounds, tag hits.
  5. Lit. short knives.
  6. Likely an error. Crombe is a northern Middle French word for “hunched” (e.g. a person) or “crooked”.
  7. literally: cut through agains their strike. The separable durch-hauen means to strike through something to create an opening. See: https://www.woerterbuchnetz.de/DWB2/2DURCHHAUEN
  8. Text cut off; added from Paurnfeindt: er nit kumeñ
  9. the word "hocs" means "hooks", but I believe it is meant to be a loanword for ox instead.
  10. Text cut off; added from Paurnfeindt: Wan dir ainer die kurcz schneid vberscheust so wendt den straich ab, so kumpt dir straich wider straich, vnd gleiche arbait
  11. Text cut off; added from Paurnfeindt: so entplest er sich
  12. Text cut off; added from Paurnfeindt: zuck vnd haw mit langer schneid nach
  13. alt: points, ends
  14. Bottom cut off; added from Paurnfeindt: schwert mit dem knopf vnter dein recht uxñ
  15. Bottom cut off; added from Paurnfeindt: schon, die stich trucke mit schnitten sy ab czucke
  16. Top cut off; added from Paurnfeindt: yglichs in dreu wunder
  17. Corrected from »lanngem«
  18. Text cut off; added from Paurnfeindt: vmbsunst vrsach halben er mag kain folling straich auff dich habñ
  19. Erreur d'impression?
  20. Bottom cut off; added from Paurnfeindt: dar uber
  21. Bottom cut off; added from Paurnfeindt: arm
  22. Rephrasing of Ovid's "Cunctis qui placeat non credo quomodo vivat".
  23. Rephrasing of the proverb from Pliny, "ne supra crepidam sutor iudicaret".
  24. Hieronymous Büttner