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The '''Gladiatoria Group''' is a series of several [[century::15th century]] [[nationality::German]] manuscripts that share the same art style and cover the same material—various types of [[armor]]ed fencing. These are interesting texts in that they seem to be contemporary with the tradition of [[Johannes Liechtenauer]], but not directly influenced by it. Gladiatoria is thus one of very few glimpses into the characteristics of a potentially independent German martial tradition.
 
The '''Gladiatoria Group''' is a series of several [[century::15th century]] [[nationality::German]] manuscripts that share the same art style and cover the same material—various types of [[armor]]ed fencing. These are interesting texts in that they seem to be contemporary with the tradition of [[Johannes Liechtenauer]], but not directly influenced by it. Gladiatoria is thus one of very few glimpses into the characteristics of a potentially independent German martial tradition.
  
The core of the Gladiatoria group is a series of plays of [[armored fencing]] following the typical progression of a [[judicial duel]]: beginning with [[spear]]s and small [[shield]]s called ''ecranches'', moving to [[longsword]]s, then employing [[dagger]]s on foot and [[wrestling|on the ground]]. (Traditional dueling would typically begin on horseback before going to foot combat, and the ''ecranche'' is designed for mounted fencing, but Gladiatoria seems to skip that stage entirely.) The diverse manuscripts in the group sometimes describe other kinds of fighting as well, such as the [[sword and buckler]] of the [[Wolfenbüttel Picture Book (Cod.Guelf.78.2 Aug.2º)|Cod. Guelf 78.2 Aug. 2º]] or the [[longshield]] of the [[Gladiatoria (MS Germ.Quart.16)|MS Germ. quart. 16]], but these teachings lack some of the common elements of the core Gladiatoria complex and will not be covered on this page. They may be found on the individual manuscript pages.
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The core of the Gladiatoria group is a series of plays of [[armored fencing]] following the typical progression of a [[judicial duel]]: beginning with [[spear]]s and small [[shield]]s called ''ecranches'', moving to [[sword]]s, then employing [[dagger]]s on foot and [[wrestling|on the ground]]. (Traditional dueling would typically begin on horseback before going to foot combat, and the ''ecranche'' is designed for mounted fencing, but Gladiatoria seems to skip that stage entirely.) The diverse manuscripts in the group sometimes describe other kinds of fighting as well, such as the [[sword and buckler]] of the [[Wolfenbüttel Picture Book (Cod.Guelf.78.2 Aug.2º)|Cod. Guelf 78.2 Aug. 2º]] or the [[longshield]] of the [[Gladiatoria (MS Germ.Quart.16)|MS Germ. quart. 16]], but these teachings lack some of the common elements of the core Gladiatoria complex and will not be covered on this page. They may be found on the individual manuscript pages.
  
There are currently five known versions of the Gladiatoria treatise, the [[Gladiatoria (MS U860.F46 1450)|New Haven]] (MS U860.F46 1450), the [[Gladiatoria (MS KK5013)|Vienna]] (MS KK5013), the [[Gladiatoria (MS Germ.Quart.16)|Kraków]] (MS Germ. quart. 16, the only version with a title page), the [[Wolfenbüttel Picture Book (Cod.Guelf.78.2 Aug.2º)|Wolfenbüttel]] (Cod. Guelf 78.2 Aug. 2º), and the [[Cluny Fechtbuch (Cl. 23842)|Paris]] (MS Cl. 23842) versions. [[Hans-Peter Hils]] mentions a sixth lost manuscript identified as MS T in his edition of Gladiatoria,<ref>Hils, Hans Peter. "''Gladiatoria'': Über drei Fechthandschriften aus der ersten Hälfte des 15. Jahrhunderts." ''Codici Manuscripti'' 13. Verlag Brüder Hollinek, 1987. pp. 1-54. Print.</ref> but [[Dierk Hagedorn]] has since determined that this is the New Haven (which Hils did not have access to). Aside from these five, there are several other manuscripts that some scholars have ascribed to the group. These include the the [[Cod.11093]] and part C of the [[Codex Wallerstein (Cod.I.6.4º.2)|Codex Wallerstein]] (also known as [[pseudo-Gladiatoria]] for this reason). In each case, there are disqualifying factors that lead us to exclude them from the group, but additional research may reverse these decisions.
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There are currently five known versions of the Gladiatoria treatise, the [[Gladiatoria (MS U860.F46 1450)|New Haven]] (MS U860.F46 1450), the [[Gladiatoria (MS KK5013)|Vienna]] (MS KK5013), the [[Gladiatoria (MS Germ.Quart.16)|Kraków]] (MS Germ. quart. 16, the only version with a title page), the [[Wolfenbüttel Picture Book (Cod.Guelf.78.2 Aug.2º)|Wolfenbüttel]] (Cod. Guelf 78.2 Aug. 2º), and the [[Cluny Fechtbuch (Cl. 23842)|Paris]] (MS Cl. 23842) versions. [[Hans-Peter Hils]] mentions a sixth lost manuscript identified as MS T in his edition of Gladiatoria,<ref>Hils, Hans Peter. "''Gladiatoria'': Über drei Fechthandschriften aus der ersten Hälfte des 15. Jahrhunderts." ''Codici Manuscripti'' 13. Verlag Brüder Hollinek, 1987. pp. 1-54. Print.</ref> but [[Dierk Hagedorn]] has since determined that this is the New Haven (which Hils did not have access to). Aside from these five, there are several other manuscripts that some scholars have ascribed to the group. These include the the [[Cod.11093]] and part C of the [[Bauman Fechtbuch (Cod.I.6.4º.2)|Bauman Fechtbuch]] (also known as [[pseudo-Gladiatoria]] for this reason). In each case, there are disqualifying factors that lead us to exclude them from the group, but additional research may reverse these decisions.
  
 
While the three oldest texts in the Gladiatoria complex present a fairly identical set of plays, the slightly later Wolfenbüttel version contains significantly more material, primarily in the dagger section. The origin of this additional material is unknown, and the text-less nature of that manuscript makes it difficult to place these plays in any sort of context.
 
While the three oldest texts in the Gladiatoria complex present a fairly identical set of plays, the slightly later Wolfenbüttel version contains significantly more material, primarily in the dagger section. The origin of this additional material is unknown, and the text-less nature of that manuscript makes it difficult to place these plays in any sort of context.
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| <p>{{paget|Page:Cod.Guelf.78.2 Aug.2º|041v|png|blk=1|p=1}}<ref>Similar</ref></p>
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| <p>[12] Note the tenth technique of the sword which is called ''straß der glider'':<ref>What is ''straß der glider''? It is likely ''glider'' is ''glieder'' from modern German, meaning "joints". While the use of ''straß'' (probably "road") is confusing here, the contextual use in this and the following plate suggest these to be a class of techniques attacking joints. Other texts (e.g., ''[[Codex Wallerstein (Cod.I.6.4º.2)|Codex Wallerstein]]'' fol. [[Page:Cod.I.6.4º.2 015r.jpg|15r]]) use the term ''Armbrüche'' (lit. "arm breaks") for joint locking techniques so this might represent a separate kind of attack, especially one intended to disarm an opponent.</ref> When one thrusts with full power and wants to drive the technique on the other then thrust your point towards the outside of his sword and drive through between his hands with your pommel and catch onto his right wrist and jerk towards you so that you break his arm or throw him as you see it in the picture above.</p>
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| <p>[12] Note the tenth technique of the sword which is called ''straß der glider'':<ref>What is ''straß der glider''? It is likely ''glider'' is ''glieder'' from modern German, meaning "joints". While the use of ''straß'' (probably "road") is confusing here, the contextual use in this and the following plate suggest these to be a class of techniques attacking joints. Other texts (e.g., ''[[Bauman Fechtbuch (Cod.I.6.4º.2)|Bauman Fechtbuch]]'' fol. [[Page:Cod.I.6.4º.2 015r.jpg|15r]]) use the term ''Armbrüche'' (lit. "arm breaks") for joint locking techniques so this might represent a separate kind of attack, especially one intended to disarm an opponent.</ref> When one thrusts with full power and wants to drive the technique on the other then thrust your point towards the outside of his sword and drive through between his hands with your pommel and catch onto his right wrist and jerk towards you so that you break his arm or throw him as you see it in the picture above.</p>
 
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<p>Note the technique of the wrestling from the ''wag''<ref>"''Wag''" might be ''Waage'' or scale, which in the [[Codex Wallerstein (Cod.I.6.4º.2)|Wallerstein Codex]] (fol. [[Page:Cod.I.6.4º.2 003r.jpg|3r]]) is used to refer to the Balance Stance of the feet.</ref> and it is the forty-sixth technique of the sword: When both thrust towards the face on the inside then push his point away with strength with your sword and release your right hand from your sword and grab behind his left elbow with it and move your right foot forward behind his left foot and quickly grab around his body with your right arm and throw him as seen in the picture above.</p>
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<p>Note the technique of the wrestling from the ''wag''<ref>"''Wag''" might be ''Waage'' or scale, which in the [[Bauman Fechtbuch (Cod.I.6.4º.2)|Bauman Fechtbuch]] (fol. [[Page:Cod.I.6.4º.2 003r.jpg|3r]]) is used to refer to the Balance Stance of the feet.</ref> and it is the forty-sixth technique of the sword: When both thrust towards the face on the inside then push his point away with strength with your sword and release your right hand from your sword and grab behind his left elbow with it and move your right foot forward behind his left foot and quickly grab around his body with your right arm and throw him as seen in the picture above.</p>
 
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  | source link = http://collections.britishart.yale.edu/vufind/Record/2034813
 
  | source link = http://collections.britishart.yale.edu/vufind/Record/2034813
 
  | source title= Yale Center for British Art
 
  | source title= Yale Center for British Art
  | license    = permission
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  | license    = public domain
 
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{{sourcebox
 
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== Additional Resources ==
 
== Additional Resources ==
  
* Cavazzuti, Carlo (in Italian). ''Gladiatoria''. Asola: Gilgamesh Edizioni, 2015. ISBN 978-88-6867-080-1
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{{bibliography}}
* [[Dierk Hagedorn|Hagedorn, Dierk]]. "The Adventures of the ''Gladiatoria'' Manuscript from New Haven". ''[[Acta Periodica Duellatorum]]'' '''3'''(1): 183-208. 2015. {{doi|10.1515/apd-2015-0006}}.
 
* [[Dierk Hagedorn|Hagedorn, Dierk]]; [[Bartłomiej Walczak|Walczak, Bartłomiej]]. ''Gladiatoria. New Haven - MS U860.F46 1450.'' Herne: VS-Books, 2015. ISBN 978-3-932077-42-5
 
* [[Hans-Peter Hils|Hils, Hans-Peter]] (in German). "Gladiatoria: Über drei Fechthandschriften aus der ersten Hälfte des 15. Jahrhunderts". ''Codices manuscripti'' '''13''':1-54, 1987.
 
* [[Hugh Knight|Knight, Hugh T., Jr.]] ''The Gladiatoria Fechtbuch: A Fifteenth-Century German Fight Book''. Self-published, 2008.
 
* [[Bartłomiej Walczak|Walczak, Bartłomiej]]. "Judicial Armoured Dagger Combat of ''Gladiatoria'' and ''KK 5013''." ''Masters of Medieval and Renaissance Martial Arts''. Ed. [[Jeffrey Hull]]. Boulder, CO: [[Paladin Press]], 2008. ISBN 978-1-58160-668-3
 
  
 
== References ==
 
== References ==

Latest revision as of 19:12, 27 October 2023

Gladiatoria Group
MS Germ.Quart.16 01r.jpg
Author(s) Unknown
Illustrated by Unknown
Patron Unknown
Date ca. 1430s
Genre
Language Early New High German
Archetype(s) Currently lost
Manuscript(s)
First Printed
English Edition
Knight, 2008
Concordance by Michael Chidester and
Dierk Hagedorn
Translations Traduzione italiana

The Gladiatoria Group is a series of several 15th century German manuscripts that share the same art style and cover the same material—various types of armored fencing. These are interesting texts in that they seem to be contemporary with the tradition of Johannes Liechtenauer, but not directly influenced by it. Gladiatoria is thus one of very few glimpses into the characteristics of a potentially independent German martial tradition.

The core of the Gladiatoria group is a series of plays of armored fencing following the typical progression of a judicial duel: beginning with spears and small shields called ecranches, moving to swords, then employing daggers on foot and on the ground. (Traditional dueling would typically begin on horseback before going to foot combat, and the ecranche is designed for mounted fencing, but Gladiatoria seems to skip that stage entirely.) The diverse manuscripts in the group sometimes describe other kinds of fighting as well, such as the sword and buckler of the Cod. Guelf 78.2 Aug. 2º or the longshield of the MS Germ. quart. 16, but these teachings lack some of the common elements of the core Gladiatoria complex and will not be covered on this page. They may be found on the individual manuscript pages.

There are currently five known versions of the Gladiatoria treatise, the New Haven (MS U860.F46 1450), the Vienna (MS KK5013), the Kraków (MS Germ. quart. 16, the only version with a title page), the Wolfenbüttel (Cod. Guelf 78.2 Aug. 2º), and the Paris (MS Cl. 23842) versions. Hans-Peter Hils mentions a sixth lost manuscript identified as MS T in his edition of Gladiatoria,[1] but Dierk Hagedorn has since determined that this is the New Haven (which Hils did not have access to). Aside from these five, there are several other manuscripts that some scholars have ascribed to the group. These include the the Cod.11093 and part C of the Bauman Fechtbuch (also known as pseudo-Gladiatoria for this reason). In each case, there are disqualifying factors that lead us to exclude them from the group, but additional research may reverse these decisions.

While the three oldest texts in the Gladiatoria complex present a fairly identical set of plays, the slightly later Wolfenbüttel version contains significantly more material, primarily in the dagger section. The origin of this additional material is unknown, and the text-less nature of that manuscript makes it difficult to place these plays in any sort of context.

Treatise

As the oldest manuscript, the New Haven version would normally be used to set the order of plays. However, it has been extensively damaged and disordered during its history (and especially in the 20th century), and its current sequence of plays is the result of guesswork during a recent binding. Since the next two oldest versions, Vienna and Kraków, are in general agreement, they will be used to establish the order instead.

To illustrate the different amount of content in each manuscript, the New Haven illustrations are used whenever available. Plays in the Vienna version that are missing from New Haven are illustrated from that source. Illustrations from the Kraków version are only used for plays not present in both older manuscripts (presumably invented after they were created). Due to the fact that Wolfenbüttel and Paris versions appear in mixed anthologies combining multiple sources, plays from these two that are not reflected in at least one other version will not be included below.

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. Hils, Hans Peter. "Gladiatoria: Über drei Fechthandschriften aus der ersten Hälfte des 15. Jahrhunderts." Codici Manuscripti 13. Verlag Brüder Hollinek, 1987. pp. 1-54. Print.
  2. Lit: turn the iron below itself
  3. Es läßt sich nicht zweifelsfrei ausmachen, ob das Wort durchgestrichen oder die Tinte nur verwischt wurde
  4. Lit. "turn your place"
  5. Zwischen „gew“ und „omen“ befindet sich ein Zeichen, daß wie eine schließende Klammer aussieht.
  6. Könnte auch „deim“ heißen.
  7. Beim ´z´ ist zwar ein Aufstrich am Beginn des Wortes zu sehen, dieser geht aber nicht über das Niveau des ´z´. Das Wort wird deshalb als „zukch“ anstatt „tzukch“ transkribiert.
  8. Last letter in the inner fold not visible.
  9. Illustration contains an error.
  10. Über dem Wort befindet sich ein kurzer Strich. Es ist nicht ersichtlich, ob es sich dabei um einen Nasalstrich handelt oder den Umlaut ´ä´ oder ´ö´ kennzeichnen soll. Hier wird es als ´ä´ transkribiert.
  11. Der Anfangsbuchstabe ist eindeutig als ´v´ zu identifizieren, das Wort muß aber „recht“ heißen. Vergleiche auch 30r 2. Zeile 1. Wort „resch“
  12. Der Schreiber hat das erste ´l´ zu tief gezogen, so dass es einem ſähnelt, es wird hier dennoch als ´vallen´ transkribiert.
  13. Disappears into the margin.
  14. Difficult to decipher from «als er». The text reaches into the lower, clipped off margin.
  15. Der Schreiber fügt dem Buchstaben l meist einen kurzen Aufstrich an, womit das Wort wie „zwelifft“ aussieht, dies wird hier aber vernachläßigt
  16. Das Wort ist nicht lesbar und läßt sich auch mit Hilfe der Ms. germ. Quart. 16 nicht ergänzen, da dieses dort fehlt.
  17. Folio 8 appears to have been added to the Kraków version at the end of its production. It's been moved to the beginning of the sword section because it appears to be intended as an introductory note, inserted between the first and second play because that's as close to the beginning of the section as the layout of the manuscript would allow.
  18. The left margin is clipped off, so the initial letters are missing occasionally.
  19. vor dich nicht eindeutiges so
  20. Geschrieben ist „ärtt“, sinngemäß ist ortt gemeint.
  21. This seems to suggest holding the sword well back—close to the body—so there is room to thrust up under the attacker's palm.
  22. Difficult to read due to a speck.
  23. Neben dem s befinden sich 2 Punkte und ein halbhoher Schaft. Dies könnte auch auf die Kombination „sü“ hinweisen, wird aber hier als „si“ transkribiert
  24. „darhin“ könnte auch nur „darin“ heißen. Das ´h´ sieht hier eher wie eine schließende Klammer aus und könnte auch auf einen Abschreibfehler hindeuten
  25. Similar
  26. A speck has made portions of the text difficult to read.
  27. What is straß der glider? It is likely glider is glieder from modern German, meaning "joints". While the use of straß (probably "road") is confusing here, the contextual use in this and the following plate suggest these to be a class of techniques attacking joints. Other texts (e.g., Bauman Fechtbuch fol. 15r) use the term Armbrüche (lit. "arm breaks") for joint locking techniques so this might represent a separate kind of attack, especially one intended to disarm an opponent.
  28. nach bruch setzt der Schreiber drei Punkte, offenbar um anzuzeigen das der Satz durch das in den Text ragende Bild nicht unterbrochen ist.
  29. Die r-Abbreviatur befindet sich am Ende des Wortes, wird hier aber sinngemäß mit andern transkribiert.
  30. korrekt wohl: wenn ainer den andern das ort an dye prust hat gesetzt
  31. Dringen = Crowding. This refers to pressing into one's opponent after lodging one's point in the opponent's mail in armored halfsword combat and is the same as Ringeck and von Danzig's Fourth Guard of the halfsword.
  32. dreyvndreyßigst fälschlich für Zweiundreissigstes ?
  33. nhd : davon
  34. Wer es ... gemalet siest Hierbei müßte es sich um das 38. Stück handeln
  35. Partially illegible due to clipping.
  36. „tenken“ wurde aberhalb der Zeile ergänzt.
  37. Hs: als du es oben gemalt ist, du wurde vom Hg. getilgt
  38. The rest of the line disapears in the margin.
  39. „auffs“ wurde oberhalb der Zeile ergänzt.
  40. "Wag" might be Waage or scale, which in the Bauman Fechtbuch (fol. 3r) is used to refer to the Balance Stance of the feet.
  41. Perhaps this refers to the angle of your hand as you reach through?
  42. The last line diappears in the margin.
  43. Some words illegible because of clipping.
  44. 44.0 44.1 Underlined by a later hand in pencil
  45. Hs: ob du er dir, du wurde vom Hg. getilgt
  46. Über dem Wort befindet sich ein Nasal- oder ein Zierstrich, wird aber in der Transkription vernachlässigt.
  47. Über dem Wort befindet sich ein Nasal- oder ein Zierstrich, wird aber in der Transkription vernachlässigt.
  48. tencken korrigiert für teincken ? temcken ? trincken ?
  49. Wurde am oberen Rand des Blattes durch eine andere Hand ergänzt, ist aber nicht vollständig zu lesen.
  50. „oben“ wurde oberhalb der Zeile ergänzt.
  51. Wurde am oberen Rand des Blattes durch eine andere Hand hinzugefügt.
  52. The rest of the line disappears in the clipped margin.
  53. Part
  54. lentter
  55. „zum´“wurde sinngemäß ergänzt, da im Text, durch eine Beschädigung des Blattes nur ein ´z´ und ´m´ erkennbar sind.
  56. Das Wort ist im Text nur fragmentarisch erkennbar, da das Blatt hier beschädigt ist und wurde deshalb sinngemäß ergänzt.