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Difference between revisions of "Joachim Meyer"

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| class="noline" rowspan="2" | <p>[[File:MS A.4º.2 01r.jpg|400px|center]]</p>
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| [[File:MS A.4º.2 01r.jpg|400px|center]]
<p>[[File:MS A.4º.2 02v.jpg|400px|center]]</p>
+
| rowspan="2" | <p>'''To the Well born Lord, Duke Ottbo Count of Solms, Lord of Munzenberg and Sonnewaldt my Gracious Sir'''</p>
| <p>'''To the Well born Lord, Duke Ottbo Count of Solms, Lord of Munzenberg and Sonnewaldt my Gracious Sir'''</p>
 
  
 
<p>Well born Gracious Sir, Your Grace, my subservience and  willing service, is as every time before. Kindly Sir, It's not without particular Reasons that the Old Writings of the Knightly Free Art of Fencing  with all diligence, in their Books are praised and reposed and the Princes and gentlemen themselves, with earnestness Ordered namely but that more portions of Knightly Fighting and forthright strikes from there have arisen from trustworthy,credible words, that what through' splendid feelings for Manhood originated, for the Praise also thereby in the Highest Command and administration of War will be attained/revealed not solely in the History of the Greeks and Romans but is especially proven also through daily experience, that the training in various Knights games and Fencing, is learned with diligence, like those same  practices that came long before, and it is masterful with all speed. Then more to  our times Princes and Noblemen no less, Love it, and to the highest advancement than our Old Riders, how then also, You Grace, besides other free Arts, associates this manly Art with earnestness, and therefore I, Your grace, as an innocent Fencing Master, to this end, I must Instruct your grace which I in all Subservience and with willful courage have accepted, and while I am not alone, a particular beauty to such Art, but rather through Your Grace’s, merciful and consecrated will, you have sensed and found out about me I have no knowledge and Way but with it I, Your Grace, in such Art can subserviently serve and want to save, so this Fencing manual was put together, and all Stücken described, to Your Grace, and delivered in the subservient hope, that Your grace, would not only learn the techniques that are taught here, but through them thus they be cast in memory to be held, but rather also will swift and useful Stücken hence be learnt from not less than, thus, a similar Fencing master, that Your Grace will have had. I beg thus in subservience Your grace, wants a work such as mine, although unwary and minor a work, than that from one, Your grace, to all possible service in subservience and wholeheartedly, studiously flowed and graciously will accept. Of this will I, Your Grace, subserviently serve and wherewith I can pleasurably show, also to the Highest solicitude. May that the Almighty would confer on Your Grace, besides other prosperity, also long life in good health and Freedoms.</p>
 
<p>Well born Gracious Sir, Your Grace, my subservience and  willing service, is as every time before. Kindly Sir, It's not without particular Reasons that the Old Writings of the Knightly Free Art of Fencing  with all diligence, in their Books are praised and reposed and the Princes and gentlemen themselves, with earnestness Ordered namely but that more portions of Knightly Fighting and forthright strikes from there have arisen from trustworthy,credible words, that what through' splendid feelings for Manhood originated, for the Praise also thereby in the Highest Command and administration of War will be attained/revealed not solely in the History of the Greeks and Romans but is especially proven also through daily experience, that the training in various Knights games and Fencing, is learned with diligence, like those same  practices that came long before, and it is masterful with all speed. Then more to  our times Princes and Noblemen no less, Love it, and to the highest advancement than our Old Riders, how then also, You Grace, besides other free Arts, associates this manly Art with earnestness, and therefore I, Your grace, as an innocent Fencing Master, to this end, I must Instruct your grace which I in all Subservience and with willful courage have accepted, and while I am not alone, a particular beauty to such Art, but rather through Your Grace’s, merciful and consecrated will, you have sensed and found out about me I have no knowledge and Way but with it I, Your Grace, in such Art can subserviently serve and want to save, so this Fencing manual was put together, and all Stücken described, to Your Grace, and delivered in the subservient hope, that Your grace, would not only learn the techniques that are taught here, but through them thus they be cast in memory to be held, but rather also will swift and useful Stücken hence be learnt from not less than, thus, a similar Fencing master, that Your Grace will have had. I beg thus in subservience Your grace, wants a work such as mine, although unwary and minor a work, than that from one, Your grace, to all possible service in subservience and wholeheartedly, studiously flowed and graciously will accept. Of this will I, Your Grace, subserviently serve and wherewith I can pleasurably show, also to the Highest solicitude. May that the Almighty would confer on Your Grace, besides other prosperity, also long life in good health and Freedoms.</p>
|  
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| rowspan="2" |
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| [[File:MS A.4º.2 02v.jpg|400px|center]]
  
 
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| class="noline" |
 
| class="noline" | <p>Your Grace</p>
 
| class="noline" | <p>Your Grace</p>
  
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! <p>Figures</p>
 
! <p>Figures</p>
 
! <p>{{rating|B|Complete Translation (from the Lund)}}<br/>by [[Kevin Maurer]]</p>
 
! <p>{{rating|B|Complete Translation (from the Lund)}}<br/>by [[Kevin Maurer]]</p>
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
+
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p>
 
! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p>
  
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{{master subsection begin
 
{{master subsection begin
  | title = 2 - Of the Divisions of the Mann, and of the Weapon, and of Their Use.
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  | title = 2 - Of the Divisions of the Man, and of the Weapon, and of Their Use.
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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}}
 
}}
 
{{master subsection begin
 
{{master subsection begin
  | title = Staff
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  | title = Of the Fencing in the Staff
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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! <p>Figures</p>
 
! <p>Figures</p>
 
! <p>{{rating|C}}<br/>by [[Jon Pellett]]</p>
 
! <p>{{rating|C}}<br/>by [[Jon Pellett]]</p>
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
+
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
 
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|-  
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{{master subsection begin
 
{{master subsection begin
  | title = Halberd
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  | title = Of the Halberd
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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! <p>Figures</p>
 
! <p>Figures</p>
 
! <p>{{rating}}</p>
 
! <p>{{rating}}</p>
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
+
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
 
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/428|2|lbl=Ⅲ.32r.2}}
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/428|3|lbl=Ⅲ.32r.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/429|1|lbl=Ⅲ.32v.1|p=1}}
  
|}
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|-
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| [[File:Meyer 1570 Staff G.jpg|400px|center]]
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/429|2|lbl=Ⅲ.32v.2}}
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/429|3|lbl=Ⅲ.32v.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/430|1|lbl=Ⅲ.33r.1|p=1}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/430|2|lbl=Ⅲ.33r.2}}
  
{{master subsection begin
 
| title = Pike
 
| width = 90em
 
}}
 
{| class="master"
 
 
|-  
 
|-  
! <p>Figures</p>
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|
! <p>{{rating}}</p>
+
|
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/430|3|lbl=Ⅲ.33r.3}}
  
 
|-  
 
|-  
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| [[File:Meyer 1570 Staff H.jpg|400px|center]]
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|
 
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/430|4|lbl=Ⅲ.33r.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/432|1|lbl=Ⅲ.34r.1|p=1}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/432|2|lbl=Ⅲ.34r.2}}
  
|}
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|-
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/432|3|lbl=Ⅲ.34r.3}}
  
{{master subsection begin
 
| title = Unused Polearm Figures
 
| width = 90em
 
}}
 
{| class="master"
 
 
|-  
 
|-  
 
| [[File:Meyer 1570 Staff H.jpg|400px|center]]
 
| [[File:Meyer 1570 Staff H.jpg|400px|center]]
 
|  
 
|  
 
|  
 
|  
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/432|4|lbl=Ⅲ.34r.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/433|1|lbl=Ⅲ.34v.1|p=1}}
  
 
|-  
 
|-  
| [[File:Meyer 1570 Staff I.jpg|400px|center]]
 
 
|  
 
|  
 
|  
 
|  
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/433|2|lbl=Ⅲ.34v.2}}
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|-
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| [[File:Meyer 1570 Staff G.jpg|400px|center]]
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/433|3|lbl=Ⅲ.34v.3}}
  
 
|-  
 
|-  
| [[File:Meyer 1570 Staff K.jpg|400px|center]]
 
 
|  
 
|  
 
|  
 
|  
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/434|1|lbl=Ⅲ.35r.1}}
  
 
|-  
 
|-  
| [[File:Meyer 1570 Staff L.jpg|400px|center]]
 
 
|  
 
|  
 
|  
 
|  
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/434|2|lbl=Ⅲ.35r.2}}
  
 
|-  
 
|-  
| [[File:Meyer 1570 Staff M.jpg|400px|center]]
 
 
|  
 
|  
 
|  
 
|  
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/434|3|lbl=Ⅲ.35r.3}}
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|-
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| [[File:Meyer 1570 Staff I.jpg|400px|center]]
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|
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/434|4|lbl=Ⅲ.35r.4}}
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|-
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| [[File:Meyer 1570 Staff K.jpg|400px|center]]
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/434|5|lbl=Ⅲ.35r.5|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/436|1|lbl=Ⅲ.36r.1|p=1}}
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|-
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| [[File:Meyer 1570 Staff D.jpg|400px|center]]
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/436|2|lbl=Ⅲ.36r.2}}
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|-
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| [[File:Meyer 1570 Staff A.jpg|400px|center]]
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/436|3|lbl=Ⅲ.36r.3}}
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|-
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| [[File:Meyer 1570 Staff F.jpg|400px|center]]
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/436|4|lbl=Ⅲ.36r.4}}
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|-
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| [[File:Meyer 1570 Staff M.jpg|400px|center]]
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| rowspan="2" |
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| rowspan="2" |
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/436|5|lbl=Ⅲ.36r.5|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/438|1|lbl=Ⅲ.37r.1|p=1}}
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|-
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| rowspan="2" | [[File:Meyer 1570 Staff B.jpg|400px|center]]
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|-
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/438|2|lbl=Ⅲ.37r.2}}
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|-
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| [[File:Meyer 1570 Staff K.jpg|400px|center]]
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/438|3|lbl=Ⅲ.37r.3}}
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|-
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/438|4|lbl=Ⅲ.37r.4}}
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|-
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/438|5|lbl=Ⅲ.37r.5}}
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|-
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/438|6|lbl=Ⅲ.37r.6}}
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|-
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/440|1|lbl=Ⅲ.38r.1}}
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|-
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| rowspan="2" | [[File:Meyer 1570 Staff G.jpg|400px|center]]
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|
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/440|2|lbl=Ⅲ.38r.2}}
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|-
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/440|3|lbl=Ⅲ.38r.3}}
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/440|4|lbl=Ⅲ.38r.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/441|1|lbl=Ⅲ.38v.1|p=1}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/441|2|lbl=Ⅲ.38v.2}}
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|-
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/441|3|lbl=Ⅲ.38v.3}}
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|-
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| class="noline" |
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| class="noline" |
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| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/441|4|lbl=Ⅲ.38v.4}}
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|}
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{{master subsection end}}
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{{master subsection begin
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| title = Fencing in the Long Staff
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| width = 90em
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}}
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{| class="master"
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|-
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! <p>Figures</p>
 +
! <p>{{rating}}</p>
 +
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/441|5|lbl=Ⅲ.38v.5}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/441|6|lbl=Ⅲ.38v.6}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/442|1|lbl=Ⅲ.39r.1}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/442|2|lbl=Ⅲ.39r.2}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/442|3|lbl=Ⅲ.39r.3}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/442|4|lbl=Ⅲ.39r.4}}
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| [[File:Meyer 1570 Staff C.jpg|400px|center]]
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/442|5|lbl=Ⅲ.39r.5}}
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| [[File:Meyer 1570 Cover.jpg|400px|center]]
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/444|1|lbl=Ⅲ.40r.1}}
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| [[File:Meyer 1570 Staff I.jpg|400px|center]]
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/444|2|lbl=Ⅲ.40r.2}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/444|3|lbl=Ⅲ.40r.3}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/445|1|lbl=Ⅲ.40v.1}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/445|2|lbl=Ⅲ.40v.2}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/445|3|lbl=Ⅲ.40v.3}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/446|1|lbl=Ⅲ.41r.1}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/446|2|lbl=Ⅲ.41r.2}}
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/446|3|lbl=Ⅲ.41r.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/447|1|lbl=Ⅲ.41v.1|p=1}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/447|2|lbl=Ⅲ.41v.2}}
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Latest revision as of 20:40, 29 July 2021

Joachim Meyer
Born ca. 1537
Basel, Germany
Died 24 February 1571 (aged 34)
Schwerin, Germany
Spouse(s) Appolonia Ruhlman
Occupation
Citizenship Strasbourg
Patron
  • Georg Johann Ⅰ
  • Heinrich von Eberst
Movement Freifechter
Influences
Influenced
Genres Fencing manual
Language Early New High German
Notable work(s) Gründtliche Beschreibung der Kunst des
Fechtens
(1570)
Manuscript(s)
First printed
english edition
Forgeng, 2006
Concordance by Michael Chidester
Translations
Signature Joachim Meyer sig.jpg

Joachim Meyer (ca. 1537 - 1571)[1] was a 16th century German cutler, Freifechter, and fencing master. He was the last major figure in the tradition of the German grand master Johannes Liechtenauer, and in the later years of his life he devised at least four distinct and quite extensive fencing manuals. Meyer's writings incorporate both the traditional Germanic technical syllabus and contemporary systems that he encountered in his travels, including Italian rapier fencing.[2] In addition to his fencing practice, Meyer was a Burgher and a master cutler.[3]

Meyer was born in Basel,[4] where he presumably apprenticed as a cutler. He writes in his books that he traveled widely in his youth, most likely a reference to the traditional Walz that journeyman craftsmen were required to take before being eligible for mastery and membership in a guild. Journeymen were often sent to stand watch and participate in town and city militias (a responsibility that would have been amplified for the warlike cutlers' guild), and Meyer learned a great deal about foreign fencing systems during his travels. It's been speculated by some fencing historians that he trained specifically in the Bolognese school of fencing, but this doesn't stand up to closer analysis.[5]

Records show that by 4 June 1560 he had settled in Strasbourg, where he married Appolonia Ruhlman (Ruelman)[1] and was granted the rank of master cutler. His interests had already moved beyond smithing, however, and in 1561, Meyer petitioned the City Council of Strasbourg for the right to hold a Fechtschule (fencing competition). He would repeat this in 1563, 1566, 1567 and 1568;[6] the 1568 petition is the first extant record in which he identifies himself as a fencing master.

Meyer probably wrote his first manuscript (MS Bibl. 2465) in 1561 for Georg Johann Ⅰ, Count Palatine of Veldenz, and his second (MS A.4º.2) in 1568 for Otto, Count von Sulms, Minzenberg, and Sonnenwaldt.[7] Both of these manuscripts contain a series of lessons on training with long sword, dussack, and rapier; the 1561 also covers dagger, polearms, and armored fencing. His third manuscript (MS Var.82), written between 1563 and 1571 for Heinrich Graf von Eberst, is of a decidedly different nature. Like many fencing manuscripts from the previous century, it is an anthology of treatises by a number of prominent German masters including Sigmund ain Ringeck, pseudo-Peter von Danzig, and Martin Syber, and also includes a brief outline by Meyer himself on a system of rapier fencing based on German Messer teachings.

Finally, on 24 February 1570, Meyer completed an enormous treatise entitled Gründtliche Beschreibung der Kunst des Fechtens ("A Thorough Description of the Art of Combat"); it was dedicated to Johann Casimir, Count Palatine of the Rhine, and illustrated at the workshop of Tobias Stimmer.[8] It contains all of the weapons of the 1561 manuscript apart from fencing in armor, and dramtically expands his teachings on each.

Unfortunately, Meyer's writing and publication efforts incurred significant debts (about 1300 crowns), which Meyer pledged to repay by Christmas of 1571.[1] Late in 1570, Meyer accepted the position of Fechtmeister to Duke Johann Albrecht of Mecklenburg at his court in Schwerin. There Meyer hoped to sell his book for a better price than was offered locally (30 florins). Meyer sent his books ahead to Schwerin, and left from Strasbourg on 4 January 1571 after receiving his pay. He traveled the 800 miles to Schwerin in the middle of a harsh winter, arriving at the court on 10 February 1571. Two weeks later, on 24 February, Joachim Meyer died. The cause of his death is unknown, possibly disease or pneumonia.[6]

Antoni Rulman, Appolonia’s brother, became her legal guardian after Joachim’s death. On 15 May 1571, he had a letter written by the secretary of the Strasbourg city chamber and sent to the Duke of Mecklenburg stating that Antoni was now the widow Meyer’s guardian; it politely reminded the Duke who Joachim Meyer was, Meyer’s publishing efforts and considerable debt, requested that the Duke send Meyer’s personal affects and his books to Appolonia, and attempted to sell some (if not all) of the books to the Duke.[1]

Appolonia remarried in April 1572 to another cutler named Hans Kuele, bestowing upon him the status of Burgher and Meyer's substantial debts. Joachim Meyer and Hans Kuele are both mentioned in the minutes of Cutlers' Guild archives; Kuele may have made an impression if we can judge that fact by the number of times he is mentioned. It is believed that Appolonia and either her husband or her brother were involved with the second printing of his book in 1600. According to other sources, it was reprinted yet again in 1610 and in 1660.[9][10]

Contents

Treatises

Joachim Meyer's writings are preserved in three manuscripts prepared in the 1560s: the 1561 MS Bibl. 2465 (Munich), the 1568 MS A.4º.2 (Lund), and the MS Var. 82 (Rostock), which Meyer may have still been working at the time of his death in 1571. Dwarfing these works is the massive book he published in 1570 entitled "A Thorough Description of the Free, Chivalric, and Noble Art of Fencing, Showing Various Customary Defenses, Affected and Put Forth with Many Handsome and Useful Drawings". Meyer's writings purport to teach the entire art of fencing, something that he claimed had never been done before, and encompass a wide variety of teachings from disparate sources and traditions. To achieve this goal, Meyer seems to have constructed his treatises as a series of progressive lessons, describing a process for learning to fence rather than merely outlining the underlying theory or listing the techniques. In keeping with this, he illustrates his techniques with depictions of fencers in courtyards using training weapons such as two-handed foils, wooden dussacks, and rapiers with ball tips.

The first section of Meyer's treatise is devoted to the long sword (the sword in two hands), which he describes as the foundational weapon of his system, and this section devotes the most space to fundamentals like stance and footwork. His long sword system draws upon the teachings of Freifechter Andre Paurenfeyndt (via Christian Egenolff's reprint) and Liechtenauer glossators Sigmund ain Ringeck and Lew, as well as using terminology otherwise unique to the brief Recital of Martin Syber. Not content merely to compile these teachings as his contemporary Paulus Hector Mair was doing, Meyer sought to update—even reinvent—them in various ways to fit the martial climate of the late sixteenth century, including adapting many techniques to accommodate the increased momentum of a greatsword and modifying others to use beats with the flat and winding slices in place of thrusts to comply with street-fighting laws in German cities (and the rules of the Fechtschule).

The second section of Meyer's treatises is designed to address new weapons gaining traction in German lands, the dussack and the rapier, and thereby find places for them in the German tradition. His early Lund manuscript presents a more summarized syllabus of techniques for these weapons, while his printed book goes into greater depth and is structured more in the fashion of lesson plans.[11] Meyer's dussack system, designed for the broad proto-sabers that spread into German lands from Eastern Europe in the 16th century,[12] combines the old Messer teachings of Johannes Lecküchner and the dussack teachings of Andre Paurenfeyndt with other unknown systems (some have speculated that they might include early Polish or Hungarian saber systems). His rapier system, designed for the lighter single-hand swords spreading north from Iberian and Italian lands, seems again to be a hybrid creation, integrating both the core teachings of the 15th century Liechtenauer tradition as well as components that are characteristic of the various regional Mediterranean fencing systems (including, perhaps, teachings derived from the treatise of Achille Marozzo). Interestingly, Meyer's rapier teachings in the Rostock seem to represent an attempt to unify these two weapon system, outlining a method for rapier fencing that includes key elements of his dussack teachings; it is unclear why this method did not appear in his book, but given the dates it may be that they represent his last musings on the weapon, written in the time between the completion of his book in 1570 and his death a year later.

The third section of Meyer's treatise is omitted in the Lund manuscript but present in the Munich and the 1570, and covers dagger, wrestling, and various pole weapons; to this, the Munich adds several plays of armored fencing. His dagger teachings, designed primarily for urban self-defense, seem to be based in part on the writings of Bolognese master Achille Marozzo[13] and the anonymous teachings in Egenolff, but also include much unique content of unknown origin (perhaps the anonymous dagger teachings in his Rostock manuscript). His staff material makes up the bulk of this section, beginning with the short staff, which, like Paurenfeyndt, he uses as a training tool for various pole weapons (and possibly also the greatsword), and then moving on to the halberd before ending with the long staff (representing the pike). As with the dagger, the sources Meyer based his staff teachings on are largely unknown.