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Difference between revisions of "Paulus Hector Mair"

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'''[121] '''
 
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'''[122] '''
 
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| {{section|page:Cod.10825 061v.png|German|lbl=061v}}
 
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| [[file:Mair longsword 123.jpg|300x300px|center]]
 
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| '''[123] '''
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'''[123] '''
 
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| {{section|page:Cod.10825 062r.png|German|lbl=062r}}
 
| {{section|page:Cod.10825 062r.png|German|lbl=062r}}
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| [[file:Cod.I.6.4º.2 005v.jpg|300x300px|center]]
 
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| [[file:Mair longsword 124.jpg|300x300px|center]]
 
| [[file:Mair longsword 124.jpg|300x300px|center]]
| '''[124] '''
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'''[124] '''
 
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| {{section|page:Cod.10825 062v.png|German|lbl=062v}}
 
| {{section|page:Cod.10825 062v.png|German|lbl=062v}}
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| [[file:Mair longsword 125.jpg|300x300px|center]]
 
| [[file:Mair longsword 125.jpg|300x300px|center]]
| '''[125] '''
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'''[125] '''
 
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| {{section|page:Cod.10825 063r.png|German|lbl=063r}}
 
| {{section|page:Cod.10825 063r.png|German|lbl=063r}}
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| [[file:Mair longsword 126.jpg|300x300px|center]]
 
| [[file:Mair longsword 126.jpg|300x300px|center]]
| '''[126] '''
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'''[126] '''
 
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| {{section|page:Cod.10825 063v.png|German|lbl=063v}}
 
| {{section|page:Cod.10825 063v.png|German|lbl=063v}}
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| [[file:Cod.I.6.4º.2 010v.jpg|300x300px|center]]
 
| [[file:Cod.I.6.4º.2 010v.jpg|300x300px|center]]
 
| [[file:Mair longsword 127.jpg|300x300px|center]]
 
| [[file:Mair longsword 127.jpg|300x300px|center]]
| '''[127] '''
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'''[127] '''
 
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| {{section|page:Cod.10825 064r.png|German|lbl=064r}}
 
| {{section|page:Cod.10825 064r.png|German|lbl=064r}}
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| [[file:Cod.I.6.4º.2 013v.jpg|300x300px|center]]
 
| [[file:Cod.I.6.4º.2 013v.jpg|300x300px|center]]
 
| [[file:Mair longsword 128.jpg|300x300px|center]]
 
| [[file:Mair longsword 128.jpg|300x300px|center]]
| '''[128] '''
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'''[128] '''
 
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| {{section|page:Cod.10825 064v.png|German|lbl=064v}}
 
| {{section|page:Cod.10825 064v.png|German|lbl=064v}}
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| [[file:Cod.I.6.4º.2 014r.jpg|300x300px|center]]
 
| [[file:Cod.I.6.4º.2 014r.jpg|300x300px|center]]
 
| [[file:Mair longsword 129.jpg|300x300px|center]]
 
| [[file:Mair longsword 129.jpg|300x300px|center]]
| '''[129] '''
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'''[129] '''
 
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| {{section|page:Cod.10825 065r.png|German|lbl=065r}}
 
| {{section|page:Cod.10825 065r.png|German|lbl=065r}}
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| [[file:Mair longsword 130.jpg|300x300px|center]]
 
| [[file:Mair longsword 130.jpg|300x300px|center]]
| '''[130] '''
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'''[130] '''
 
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| {{section|page:Cod.10825 065v.png|German|lbl=065v}}
 
| {{section|page:Cod.10825 065v.png|German|lbl=065v}}
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| [[file:Cod.I.6.4º.2 013r.jpg|300x300px|center]]
 
| [[file:Cod.I.6.4º.2 013r.jpg|300x300px|center]]
 
| [[file:Mair longsword 131.jpg|300x300px|center]]
 
| [[file:Mair longsword 131.jpg|300x300px|center]]
| '''[131] '''
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'''[131] '''
 
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| {{section|page:Cod.10825 066r.png|German|lbl=066r}}
 
| {{section|page:Cod.10825 066r.png|German|lbl=066r}}
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| [[file:Mair longsword 132.jpg|300x300px|center]]
 
| [[file:Mair longsword 132.jpg|300x300px|center]]
| '''[132] '''
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'''[132] '''
 
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| {{section|page:Cod.10825 066v.png|German|lbl=066v}}
 
| {{section|page:Cod.10825 066v.png|German|lbl=066v}}
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| [[file:Mair longsword 133.jpg|300x300px|center]]
 
| [[file:Mair longsword 133.jpg|300x300px|center]]
| '''[133] '''
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'''[133] '''
 
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| {{section|page:Cod.10825 067r.png|German|lbl=067r}}
 
| {{section|page:Cod.10825 067r.png|German|lbl=067r}}
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| [[file:Mair longsword 134.jpg|300x300px|center]]
 
| [[file:Mair longsword 134.jpg|300x300px|center]]
| '''[134] '''
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'''[134] '''
 
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| {{section|page:Cod.10825 067v.png|German|lbl=067v}}
 
| {{section|page:Cod.10825 067v.png|German|lbl=067v}}
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| [[file:Mair longsword 135.jpg|300x300px|center]]
 
| [[file:Mair longsword 135.jpg|300x300px|center]]
| '''[135] '''
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'''[135] '''
 
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| {{section|page:Cod.10825 068r.png|German|lbl=068r}}
 
| {{section|page:Cod.10825 068r.png|German|lbl=068r}}
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| [[file:Mair longsword 136.jpg|300x300px|center]]
 
| [[file:Mair longsword 136.jpg|300x300px|center]]
| '''[136] '''
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 +
'''[136] '''
 
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| {{section|page:Cod.10825 068v.png|German|lbl=068v}}
 
| {{section|page:Cod.10825 068v.png|German|lbl=068v}}
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|}
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{| class="wikitable floated master"
 +
|-
 +
! <p>Source Images</p>
 +
! <p>Images<br/>from the [[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Munich Version]]</p>
 +
! <p>{{rating|C}}<br/>by [[Eric Mains]]</p>
 +
! <p>[[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden I Transcription]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (MS Dresd.C.93)}}<br/>by [[Pierre-Henry Bas]]</p>
 +
! <p>[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna I Transcription]] [German] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10825)}}<br/>by [[Eric Mains]]</p>
 +
! <p>[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna I Transcription]] [Latin] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10825)}}</p>
 +
! <p>[[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Munich I Transcription]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (Cod.icon. 393 I)}}</p>
 +
! <p>[[Jörg Breu Draftbook (Cod.I.6.2º.4)|Draftbook Transcription]] (1540s){{edit index|Jörg Breu Draftbook (Cod.I.6.2º.4)}}</p><section end="Credits2"/>
  
 
|-  
 
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| [[file:Mair mixed 13.jpg|300x300px|center]]
 
| [[file:Mair mixed 13.jpg|300x300px|center]]
| '''[137] '''
+
|  
 +
'''[137] A Taking of the Sword with a Throw'''
 +
 
 +
When you are in the approach with your right foot standing forward, then step in toward the man with your left leg behind his right and cut toward his head with your long edge. At that moment, move your left hand from your grip to your sword blade. With that, wind the short edge on the left side of his neck. If you then stand with your right foot against him and he has confined<ref name="einengen">Choosing to read this as equivalent to modern German ''einengen''. “Trapped” as a translation for ''eineinden'' follows from this choice. Buyer beware.</ref> you like this, then plant the cross and shield of your sword under his left arm and briskly shove it upwards. Thus you take his trap<ref name="einengen"/> away. At that moment, grab the pommel of his sword with your inverted left hand and turn it well upwards. Thus you wind the sword out of his hands, and you may also be able to throw him.
 
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| {{section|page:Cod.10826 110r.png|German|lbl=110r}}
 
| {{section|page:Cod.10826 110r.png|German|lbl=110r}}
Line 3,224: Line 3,256:
 
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| [[file:Mair mixed 14.jpg|300x300px|center]]
 
| [[file:Mair mixed 14.jpg|300x300px|center]]
| '''[138] '''
+
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 +
'''[138] A Planting which Proceeds from a Throw'''
 +
 
 +
When you are in the approach with your left foot standing forward, then follow in after with your right leg inside of his left. In the same instant, cut to the left side of his head with your long edge. If he moves to strike a cut from above at you like this, and you are standing with your left foot toward him, then cut to the left side of his head with your long edge to oppose him, thereby taking away his cut on your left side. At that moment, cut him from his right side upon his left so that your short edge on his sword blade comes close to his grip. Next, let your left hand go from your pommel and take hold of your blade with inverted hand and plant it on the left side of his neck. Wrench to your left side, and thus you may be able to throw him over your left leg. If he has planted upon your neck like this and wishes to throw you, then quickly let your right hand go from your grip and plant it on his left elbow. Now strongly shove away from you and kick him in the ankle with your right foot around his left. With this, pull towards you below and shove away from you above. Thus, you throw him backwards.
 
|  
 
|  
 
| {{section|page:Cod.10826 110v.png|German|lbl=110v}}
 
| {{section|page:Cod.10826 110v.png|German|lbl=110v}}
Line 3,234: Line 3,269:
 
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|  
 
| [[file:Mair mixed 15.jpg|300x300px|center]]
 
| [[file:Mair mixed 15.jpg|300x300px|center]]
| '''[139] '''
+
|  
 +
'''[139] A Throw with the Sword'''
 +
 
 +
If you stand in the approach with your right foot toward the man, then step in after with your left leg and cut to the left side of his head. If he is coming in at you in the approach with his left leg toward you and has taken your cut away, then transfer your left hand from your pommel to the sword blade and place it on the left side of his neck. Wrench him with this on your right side. If he has set strongly upon you like this, then allow your sword to quickly fall away and set your right hand outside on his left elbow and shove it away from you. If he has taken away your planting, then let your right hand go from your handle and grab his left knee and lift it up high. If he has seized you in this way and intends to throw you, then grab his right hand with your left and push it down, thereby taking it away. In the same instant, hit him in the ankle with your left foot around his left. Pull that strongly toward you while you pull his right hand to you with your left and also push him strongly away from you above with your right hand, thus you throw him backwards.
 
|  
 
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| {{section|page:Cod.10826 111r.png|German|lbl=111r}}
 
| {{section|page:Cod.10826 111r.png|German|lbl=111r}}
Line 4,051: Line 4,089:
 
! <p>Source Images</p>
 
! <p>Source Images</p>
 
! <p>Images<br/>from the [[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Munich Version]]</p>
 
! <p>Images<br/>from the [[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Munich Version]]</p>
! <p>{{rating}}</p>
+
! <p>{{rating|C}}<br/>by [[Eric Mains]]</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden I Transcription]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (MS Dresd.C.93)}}</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden I Transcription]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (MS Dresd.C.93)}}</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna II Transcription]] [German] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10826)}}</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna II Transcription]] [German] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10826)}}</p>
Line 4,062: Line 4,100:
 
| [[file:Mair mixed 17.jpg|300x300px|center]]
 
| [[file:Mair mixed 17.jpg|300x300px|center]]
 
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'''[45] '''
+
'''[45] The Point against the Crown'''
 +
 
 +
Present yourself like so in this piece with the approach: Step in there with your right leg and shoot the point of your dussack high over both his arms into his face. If you are then in the approach with your left leg coming in there toward him, and he is thrusting at your face like this, then go up in the Crown with your dussack, with your left hand forward by the point and with that take away his thrust to your right side. In that instant, release your left hand from your dussack out of the Crown and cut at him from your right side toward his face. If he cuts at your face like this, then go against his cut with the long edge and take it away on your left side. In the same moment, let the weak of your dussack fall away and step in with your right leg and cut toward his right arm. In that instant, pull back away from him.
 
|  
 
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| {{section|page:Cod.10826 112r.png|German|lbl=112r}}
 
| {{section|page:Cod.10826 112r.png|German|lbl=112r}}
Line 4,073: Line 4,113:
 
| [[file:Mair mixed 18.jpg|300x300px|center]]
 
| [[file:Mair mixed 18.jpg|300x300px|center]]
 
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'''[46] '''
+
'''[46] A Dussack Hold'''
 +
 
 +
Follow this piece in the approach like so: If he is coming in against you with his right leg and stands in the Bow, and you also stand with your right leg toward him, then snatch hold of his dussack with your left hand, [catching it] close to the point. Turn it toward your left side, and in the same moment step in with your left leg and cut toward his head with your long edge. If he has seized your dussack like this and cuts from above at you, then come to the aid of your right hand with your left on the handle of your dussack. Wind it out of his left hand. In the same moment, step in the parrying with your left leg to his right side in a triangle and quickly cut toward his right arm.
 
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| {{section|page:Cod.10826 112v.png|German|lbl=112v}}
 
| {{section|page:Cod.10826 112v.png|German|lbl=112v}}
Line 4,084: Line 4,126:
 
| [[file:Mair mixed 19.jpg|300x300px|center]]
 
| [[file:Mair mixed 19.jpg|300x300px|center]]
 
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'''[47] '''
+
'''[47] A Throw with the Dussack'''
 +
 
 +
If both of you have come together in the approach and have bound with each other, then stand with your right foot forward and wind the handle of your dussack over his right arm. Once you have wound over his arm like this, then quickly step behind his right with your left leg and go around his neck with the point of your dussack, and then grab hold of your point with your left hand. In that moment, quickly and strongly pull it toward you. Thus you throw him backwards over your left leg.
 
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| {{section|page:Cod.10826 113r.png|German|lbl=113r}}
 
| {{section|page:Cod.10826 113r.png|German|lbl=113r}}
Line 4,095: Line 4,139:
 
| [[file:Mair mixed 20.jpg|300x300px|center]]
 
| [[file:Mair mixed 20.jpg|300x300px|center]]
 
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'''[48] '''
+
'''[48] A High Planting with a Throw'''
 +
 
 +
Present yourself like so in this piece with the approach: Step in to him with your right leg and cut to his head with your long edge. If he cuts at you from above like this, and you stand with your left leg toward him, then rush to oppose his cut with your dussack. With that, take away his cut on your left side and push hard away from you. In the same instant, wind over his dussack with your long edge and plant your dussack on his neck so that you have the dussack in both hands. Now, hit him in the ankle with your left foot around his right and strongly pull him toward you; above, strongly push him away from you with your dussack at his neck. Thus, you throw him backwards.
 
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| {{section|page:Cod.10826 113v.png|German|lbl=113v}}
 
| {{section|page:Cod.10826 113v.png|German|lbl=113v}}
Line 4,106: Line 4,152:
 
| [[file:Mair mixed 21.jpg|300x300px|center]]
 
| [[file:Mair mixed 21.jpg|300x300px|center]]
 
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'''[49] '''
+
'''[49] A High and Low Planting'''
 +
 
 +
When you come in to the approach with your left leg, and you are in a high cut with your dussack in the air, then step in to him with your right leg and cut outside and from above toward his right arm. If he cuts at you from above like this, and you stand against him in a low cut, then step in with your right leg and quickly cut him outside and from below toward his right arm. If you have planted upon him from below like this, then pull your dussack down and cut above to his head with your long edge. If he cuts high to you like this, then move to oppose his cut with your dussack, taking it away on your right side. In the same moment, leap to his right side with your left leg in a triangle and shove your point at his face. Cut back away from him.
 
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| {{section|page:Cod.10826 114r.png|German|lbl=114r}}
 
| {{section|page:Cod.10826 114r.png|German|lbl=114r}}
Line 4,117: Line 4,165:
 
| [[file:Mair mixed 22.jpg|300x300px|center]]
 
| [[file:Mair mixed 22.jpg|300x300px|center]]
 
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'''[50] '''
+
'''[50] Taking Away Two High Cuts with the Dagger'''
 +
 
 +
When you are in the approach, follow this piece like so: Step in with your right leg and cut high at his head with your long edge. If he cuts at you from above like this, and you stand with your left leg toward him, then move to oppose his dussack with your dagger, parrying his cut with the cross of your dagger. In the same moment, cut toward his head with your dussack, as he did to you. If he cuts at you like this, then go up to his dussack with your dagger (as he did to you) and parry with the cross of your dagger. In the same moment, turn his dussack to your left side with your left hand inverted and wind the point of your dussack to his face. With that, cut away from him.
 
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| {{section|page:Cod.10826 114v.png|German|lbl=114v}}
 
| {{section|page:Cod.10826 114v.png|German|lbl=114v}}
Line 9,524: Line 9,574:
 
! <p>Source Images</p>
 
! <p>Source Images</p>
 
! <p>Images<br/>from the [[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden Version]]</p>
 
! <p>Images<br/>from the [[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden Version]]</p>
! <p>{{rating|start}}<br/>by [[Keith P. Myers]]</p>
+
! <p>{{rating|c}}<br/>by [[Keith P. Myers]]</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden II Transcription]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (MS Dresd.C.94)}}<br/>by [[Pierre-Henry Bas]]</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden II Transcription]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (MS Dresd.C.94)}}<br/>by [[Pierre-Henry Bas]]</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna II Transcription]] [German] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10826)}}</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna II Transcription]] [German] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10826)}}</p>
Line 9,672: Line 9,722:
 
! <p>Source Images</p>
 
! <p>Source Images</p>
 
! <p>Images<br/>from the [[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden Version]]</p>
 
! <p>Images<br/>from the [[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden Version]]</p>
! <p>{{rating|start}}<br/>by [[Keith P. Myers]]</p>
+
! <p>{{rating|c}}<br/>by [[Keith P. Myers]]</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden II Transcription]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (MS Dresd.C.94)}}<br/>by [[Pierre-Henry Bas]]</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden II Transcription]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (MS Dresd.C.94)}}<br/>by [[Pierre-Henry Bas]]</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna II Transcription]] [German] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10826)}}</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna II Transcription]] [German] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10826)}}</p>
Line 9,826: Line 9,876:
 
! <p>Source Images</p>
 
! <p>Source Images</p>
 
! <p>Images<br/>from the [[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Munich Version]]</p>
 
! <p>Images<br/>from the [[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Munich Version]]</p>
! <p>{{rating}}</p>
+
! <p>{{rating|c}}<br/> by [[Eric Mains]]</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden II Transcription]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (MS Dresd.C.93)}}</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden II Transcription]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (MS Dresd.C.93)}}</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna II Transcription]] [German] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10826)}}</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna II Transcription]] [German] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10826)}}</p>
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'''[9] '''
+
'''[9] A High Thrust against a High Cut Taken Away with the Dagger'''
 +
 
 +
Present yourself like so in this approach: Step in toward the man with your right leg and cut to his head with a high cut using the long edge. If he cuts at you like this, and you stand with your left leg toward him, then go up with your dagger in the parrying and parry his cut on your left side. In the same moment, step in with your right leg and stab him from above to his face with your rapier. If he thrusts at you from above like this, then go to his rapier blade with your dagger from inside and wind with your cross to your left side. Thus you block him and take his thrust away. In the same moment quickly pull your rapier and stab him in the face or in the chest.
 
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| {{section|page:Cod.10826 115r.png|German|lbl=115r}}
 
| {{section|page:Cod.10826 115r.png|German|lbl=115r}}
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| [[file:Mair mixed 24.jpg|300x300px|center]]
 
| [[file:Mair mixed 24.jpg|300x300px|center]]
 
|  
 
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'''[10] '''
+
'''[10] Thrusts with Rapier and Dagger'''
 +
 
 +
Follow like so with this piece in the approach: If you stand with your left foot toward him and he thrusts at you with his rapier to your chest, then take that away with your rapier from your left side on his right side. In the same moment, step in with your right leg and stab him in his nuts with your dagger. If he is thrusting low at you like this, then fall upon his dagger with the cross of your dagger and push it down away from you on your right side and take it away. In the same moment, pull your rapier above to you and quickly stab him in the face. If he thrusts at you like this, then wind your rapier over his on your right side, taking his thrust away. In the same moment, jump to his right side in a triangle and stab him with your rapier to his face or chest.
 
|  
 
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| {{section|page:Cod.10826 115v.png|German|lbl=115v}}
 
| {{section|page:Cod.10826 115v.png|German|lbl=115v}}
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| [[file:Mair mixed 25.jpg|300x300px|center]]
 
| [[file:Mair mixed 25.jpg|300x300px|center]]
 
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'''[11] '''
+
'''[11] A High and a Low Thrust'''
 +
 
 +
Conduct yourself like so in this piece with the approach: Step in toward him with your left leg and thrust toward his face or chest with your dagger. If he thrusts at you like this, and you are coming with your left leg forward in the approach, then go up with your rondel in your left hand and take away his dagger thrust on your left side. In that moment, step in there with your right leg and thrust from above to his face or chest with your rapier. If he thrusts at you like this, then go up from below with your rapier to his rapier blade and take it away to your left side. In that moment, turn your rapier to his face over his rondel. If he winds at you like this, then take it away to your left side with your rondel. In that moment, pull your rapier above you and stab down to his nuts. If he thrusts low at you like this, then set him aside with your dagger and quickly cut at his head in the same moment and pull yourself back away from him.
 
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| {{section|page:Cod.10826 116r.png|German|lbl=116r}}
 
| {{section|page:Cod.10826 116r.png|German|lbl=116r}}
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| [[file:Mair mixed 26.jpg|300x300px|center]]
 
| [[file:Mair mixed 26.jpg|300x300px|center]]
 
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'''[12] '''
+
'''[12] A Piece When One Has Been Overtaken'''
 +
 
 +
If you have been overtaken, however it may have happened, and your adversary is working against you with cuts or thrusts and you are wearing your cloak, then conduct yourself like so: Take your cloak in your left hand behind the nape of your neck by your hood and quickly swing it around your left arm and catch his thrust with it, taking it away on your left side. In this moment, swing the cloak in front of his face so that you blind him and stab him in the torso. If he has blinded you and stabbed at you like this, then step back away from him with your right leg and force his rapier down with the long edge of your rapier, thus you take away his thrust. In that moment quickly step back in again with your right foot and cut at his head with your long edge.
 
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| {{section|page:Cod.10826 116v.png|German|lbl=116v}}
 
| {{section|page:Cod.10826 116v.png|German|lbl=116v}}

Revision as of 21:36, 15 January 2015

Paulus Hector Mair

"Mair", Cod.icon. 312b f 64r
Born 1517
Augsburg, Germany
Died 10 Dec 1579 (age 62)
Augsburg, Germany
Occupation
  • Civil servant
  • Historian
Movement
Influences
Genres
Language
Manuscript(s)
First printed
english edition
Knight and Hunt, 2008
Concordance by Michael Chidester
Translations Traduction française
Signature Paulus Hector Mair Sig.png

Paulus Hector Mair (Paulsen Hektor Mair, Paulus Hector Meyer; 1517 – 1579) was a 16th century German aristocrat, civil servant, and fencer. He was born in 1517 to a wealthy and influential Augsburg patrician family. In his youth, he likely received training in fencing and grappling from the masters of Augsburg fencing guild, and early on developed a deep fascination with fencing treatises. He began his civil service as a secretary to the Augsburg City Council; by 1541, Mair was the City Treasurer, and in 1545 he also took on the office of Master of Rations.

Mair's martial background is unknown, but as a citizen of a free city he would have had military obligations whenever the city went to war, and as a member of a patrician family he likely served in the cavalry. He was also an avid collector of fencing treatises and other literature on military history. Like his contemporary Joachim Meÿer, Mair believed that the Medieval martial arts were being forgotten, and he saw this as a tragedy, idealizing the arts of fencing as a civilizing and character-building influence on men. Where Meÿer sought to update the traditional fencing systems and apply them to contemporary weapons of war and defense, Mair was more interested in preserving historical teachings intact. Thus, some time in the latter part of the 1540s he commissioned what would become the most extensive compendium of German fencing treatises ever made, a massive two-volume manuscript compiling virtually every fencing treatise he could access. He retained famed artist Jörg Breu the Younger to create the illustrations for the text,[1] and hired two Augsburg fencers to pose for the illustrations.[2] This project was extraordinarily expensive and took at least four years to complete. Ultimately, three copies of this compendium were produced, each more extensive than the last; the first (MSS Dresden C.93/C.94) was written in Early New High German, the second and most artistically ambitious (Cod.icon. 393) in New Latin, and the third and final version (Cod. 10825/10826) incorporated both languages.

Beginning in the 1540s, Mair began purchasing older fencing manuscripts, some from fellow collector Lienhart Sollinger (a Freifechter who lived in Augsburg for many years) and others from auctions. Perhaps most significant of all of his acquisitions was the partially-completed treatise of Antonius Rast, a Master of the Long Sword and three-time captain of the Marxbrüder fencing guild. The venerable master left in incomplete when he died in 1549, and Mair ultimately produced a complete fencing manual (Reichsstadt "Schätze" Nr. 82) based on his notes. Ultimately, he owned over a dozen fencing manuscripts over the course of his life, including the following:

He also used several printed books as source material for his compendia, and presumably owned copies, including Der Altenn Fechter anfengliche kunst (compiled by Christian Egenolff), Opera Nova by Achille Marozzo, and Ringer Kunst by Fabian von Auerswald.

Mair not only spent incredible sums of money on his fencing interests, but generally lead a lavish lifestyle and maintained his political influence with expensive parties and other entertainments for the burghers and patricians of Augsburg. This habit of living far beyond his means for decades exhausted his family's wealth, eventually leading him to sell the Latin version of his fencing manuscript (netting the princely sum of 800 florins) and finally to begin embezzling money from the Augsburg city coffers. This embezzlement was not discovered for many years (or perhaps was overlooked due to the favor his parties garnered), until finally in 1579 a disgruntled assistant reported him to the Augsburg City Council and provoked an audit of his books. Mair was arrested, tried, and hanged as a thief at the age of 62. After Mair's death, his effects (including his library) were sold at auction to recoup some of the funds he had embezzled.

Whether viewed as an unwise scholar who paid the ultimate price for his art or an ignoble thief who violated his city's trust, Mair remains one of the most influential figures in the history of Kunst des Fechtens. By completing the fencing manual of Antonius Rast, Mair gave us valuable insight into the Nuremberg fencing tradition; his own works are impressive on both an artistic and practical level, and his extensive commentary on the uncaptioned treatises in his collection serves to make potentially useful training aids out of what would otherwise be mere curiosities. Finally, in purchasing so many important fencing treatises he succeeded in preserving them for future generations; they were purchased by the fabulously wealthy Fugger family after his death and ultimately passed to the Augsburg University Library, where they remain to this day.

Treatise

Much of Mair's content represents his revision and expansion of the older treatises listed above, including adding descriptive content to uncaptioned images. Where available, these images are displayed in the left-most column, labeled "Source Images", for comparison purposes. Mair's own illustrations appear in the second image column.

Additional Resources

  • Hunt, Brian. "Paulus Hector Mair: Peasant Staff and Flail." Masters of Medieval and Renaissance Martial Arts. Ed. Jeffrey Hull. Boulder, CO: Paladin Press, 2008. ISBN 978-1-58160-668-3
  • Knight, David James, and Hunt, Brian. The Polearms of Paulus Hector Mair. Boulder, CO: Paladin Press, 2008. ISBN 978-1-58160-644-7

References

  1. Breu is not listed in the Augsburg tax registers in 1542-3; given Mair's youth, he most likely hired Breu between his return in 1544 and his death in 1547.
  2. Hils 1985, pp 197-201.
  3. 3.0 3.1 Chronicon Abbatis Urspergensis, the Chronicle of Burchard of Ursberg (13th century), printed in Augsburg 1515.
  4. The amphitheatre of Fidenae (the modern Borgata Fidena, a suburb of Rome), endowed by a freed slave named Atilius, collapsed in 27 BC under the weight of a large crowd of spectators, apparently due to faults in construction. According to the (likely exaggerated) account by Tacitus (Annales, 4.63), a total of 50,000 people died in the collapse.
  5. wohl Gaius Sallustius Crispus Passienus (starb 47 n. Chr.)
  6. The preceding three paragraphs are missing in the Dresden version.
  7. Gaius Suetonius Tranquillus (ca. 71 – ca. 135), author of De vita Caesarum (ca. AD 120).
  8. Dresden version: four hundred.
  9. Marcus Antonius Gordianus Pius (225 – 244), Marcus Iulius Philippus (ca. 204 - 249)
  10. Claudius Galenus of Pergamum (AD 131 – 201)
  11. This may be in reference to 2 Timothy 2:4, rendered by Luther (1522) as: Niemant streyttet vnnd flicht sich ynn der narung geschefft, auff das er gefalle dem, der yhn zum streytter auffgenomen hat "None who would fight does meddle in the business of sustenance, so that he may please him who employed him as a fighter". Now Luthers narung "sustenance, nutrition, food" offers itself to an interpretation of "gluttony; carnal pleasure", but it translates pragmateiai biou, meaning "the pragmatics of life", i.e. "everyday business". c.f. Tyndale (1526), who has "No man that warreth, entangleth himself with worldly business, and that because he would please him that hath chosen him to be a soldier"; Dresden has "temporal" (zeitlich) rather than "transient" (zergenglich).
  12. This is a reference to Pliny, Nat. Hist. 30.32: "When a freedman of Nero was giving a gladiatorial show at Antium, the public porticoes were covered with paintings, so we are told, containing life-like portraits of all the gladiators and assistants. This portraiture of gladiators has been the highest interest in art for many centuries now, but it was Gaius Terentius who began the practice of having pictures made of gladiatorial shows and exhibited in public; in honour of his grandfather who had adopted him he provided thirty pairs of Gladiators in the Forum for three consecutive days, and exhibited a picture of the matches in the Grove of Diana."
  13. Anacharsis the Scythian, according to Herodotus (4.46, 76 f.) brother of the Scythian king Saulinos; attributed to him are inventions such as the anchor, bellows and pottery wheel. He was slain by his brother after he returned from a journey to Greece and began to advocate Greek culture to his countrymen. He is sometimes counted as one of the Seven Sages of Athens. Among a number of letters attributed to him is one addressed to the Lydian king Croesus.
  14. Johannes Aventinus (Johann Georg Turmair von Abensberg, 1477–1534), historiographer at the Bavarian court.
  15. Gampar is the seventh king in the (fictional) genealogy of the kings of the ancient Germans going back to the Great Flood in Aventinus' Annales (1522). Aventinus gives Gampar's regnal years as 1711–1667 BC.
  16. Eusebius of Caesarea (ca. 275 – 339)
  17. Pittakos of Mitylene (Lesbos), 7th c. BC, one of the Seven Sages. He led the Mitylenians against the Athenians and arranged a duel with Phrynon, an Olympic champion in pankration, by which to settle the war. He defeated Phrynon by trapping him in a net. The greater Ajay met Hector in place of Achilles (Iliad 7.181), the fight lasted the entire day and Hector was lightly wounded, and the heroes then parted with mutual respect. Porus, "king of India" was defeated by Alexander in the battle of Hydaspes in 326 BC. I have so far failed to identify Pyrechmen and Degmemnus.
  18. Mair gives more detail on this judicial duel of 1409 in the second volume. According to this account, the combatants were Wilhelm Marschalk von Dornsberg and Theodor Haschenacker, and the shields of the combatants were preserved in St. Leonard's church outside of the city until the tower of this church was demolished on 3 November 1542.
  19. Regum et imperatorum apophthegmata ("Sayings of kings and emperors") in Plutarch's Moralia.
  20. Vienna: mit schaden "with damage", Dresden: mit schanden "with dishonour/ignominy".
  21. Tacitus' Germania was unknown during the medieval period; rediscovered in 1455, the text was popularized in German humanism only from c. 1500; it is summarized by Aventinus, who is Mair's source, in his Annales ducum Boiariae (1522), the German-language edition of which (Bairische Chronik 1533) was just about ten years old when Mair wrote his text.
  22. pafese read for gafese (i.e. pavese, the infantry shields comparable to the Roman rectangular shields of the early imperial period)
  23. Tuisto is the primeval god of the Germanic peoples according to Tacitus. Aventinus euhemerizes him as the grandson of Noah and first king of the Germans (r. 2214–2038 BC). Herman here is not the historical Arminius, but the fifth king in Aventinus' list (r. 1820–1757 BC), founder of the Herminones or continental Germans.
  24. Mair's source is the Turnierbuch of Georg Rüxner (c. 1490), edited in Augsburg by Marx Würsung (1518). Rüxner describes a series of 36 "imperial tournaments" (Reichs-Turniere) between 938 and 1487, beginning with a legendary tournament held in Magdeburg during what Rüxner makes out as the reign of Henry I the Fowler.
  25. the successive Habsburg emperors Frederick III, Maximilian I and Charles V, spanning the period since the supposed disestablishment of the knightly tournament and the establishment of the Brotherhood of St. Mark or Marxbrüder. The Freifechter denounced by Mair seem to represent an early form of the guild later known as Federfechter (unless the term still has a generic meaning, frei as in "unincorporated").
  26. Schlaraffenland is the German adaptation of Coquaigne (Cucania), first encountered in the 15th century (as schlauraff, schluderaffe) and popularised by Hans Sachs (1558). The name seems to originate as an (unattested) medieval slur meaning "lazy idler", schlu(de)r-affe, lit. "drooping ape".
  27. Ninus: the legendary founder of Nineveh according to Ctesias (Persica, ca. 400 BC); Ctesias' Sardanapolus corresponds to Ashurbanipal (669 - 627 BC); Ctesias is a rather unreliable source by comparison with Herodotus and the Ptolemaic king list; but in any case knowledge on the Assyrian empire was very limited before the decipherment of cuneiform in the 1850s.
  28. Gideon: Judges 7:4-7; David: Psalm 144:1: "Blessed be the LORD my strength, which teacheth my hands to war, and my fingers to fight" (KJV).
  29. 'Long edge' is not listed in ty.
  30. sic : beide
  31. Marginalie unleserlich
  32. ”streck dein leyb und deine armen wol”
  33. sic : seinem ?
  34. The words are marked with numbers above. Probably it is to keep track of word order.
  35. sic : hinndersich
  36. sic : widerumb
  37. sic : seinem
  38. sic : schniten
  39. sic : seinnen ?
  40. 21r
  41. 41.0 41.1 Choosing to read this as equivalent to modern German einengen. “Trapped” as a translation for eineinden follows from this choice. Buyer beware.
  42. Corrections indicate it should be zu Im hinein
  43. The illustration suggests that this action should be done to your left side, rather than to your right.
  44. "Not the lower point". Why the awkward construction here? Why not say superiorem mucronem (or proper Latin equivalent)?
  45. Literally: put
  46. Literally: pull back the left foot
  47. German: his
  48. German: grab with your left hand from below outside over his right arm
  49. rechten
  50. Barred, or bolted.
  51. Pliers, or fire-tongs.
  52. Wrestlers wear a leather collar? Hmmm...
  53. Comb, carder?
  54. A variant on the o-goshi in judo.
  55. sic : Im mit
  56. »sst« oberhalb der Zeile korrigiert aus »fft«
  57. A technique for putting the opponent down head first with his feet in the air.
  58. Dagger pommel?! I have actually no idea what he is thinking here. My only guess is that it was late on Friday afternoon, and must have mistaken ”kopff” with ”knopff”.
  59. Which is what?
  60. Note: Change of grip required, or the illustration does not match.
  61. Dagger transfer necessary at this point.
  62. Note: person on left side starts with the dagger in the left hand according to the illustration.
  63. Note: push down, not out
  64. Arbait - technical term: work, force, struggle
  65. Vienna and Munich MS Latin: right.
  66. read: locitur
  67. Latin: snatch up.
  68. Note: the illustration shows ice-pick grip.
  69. "You will lick it!" Not pleasant if the dagger is lying on it. Especially in cold weather.
  70. May not represent the changing though described.
  71. Note illustration shows ice-pick grip.
  72. Note: left is corrected from a right. Left is correct.
  73. This seems to imply both parallel action and simultaneity.
  74. Reib - strong twisting, bending, rotating motion.
  75. Image shows left.
  76. From the inner side.
  77. From the Latin text
  78. Correct from underich.
  79. Could also mean immediately
  80. Only in the Latin.
  81. Inn - unclear whether directional or locational.
  82. The one in the left hand?
  83. Only in the Latin.
  84. Possible abbreviation of gegen – geg.
  85. Odd squiggle in the middle—f from previous line?
  86. Scribal error for pungito?
  87. Strange squiggle above the c.
  88. Squiggle – looks like the Munich MS symbol for us?
  89. Error for interim?
  90. Written as “in Clinando”
  91. NB, likely scribal error for “laevam”
  92. Second u has three dots almost like ǜ.
  93. Error for dextrum?
  94. sic : verborgnen