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Difference between revisions of "Paulus Hector Mair"

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(→‎Treatise: Added the rest of the poleaxe devices.)
(→‎Treatise: added six longshield devices.)
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! <p><includeonly><span style="font-weight:normal; font-size:85%;">&#91;{{edit|Paulus Hector Mair/Longshield|edit}}&#93;</span> &nbsp; </includeonly>Source Images</p>
 
! <p><includeonly><span style="font-weight:normal; font-size:85%;">&#91;{{edit|Paulus Hector Mair/Longshield|edit}}&#93;</span> &nbsp; </includeonly>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>
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! <p>{{rating|start}}<br/>by [[Per Magnus Haaland]]</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 [[Jan Gosewinkel]], [[Oliver Janseps]]</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 [[Jan Gosewinkel]], [[Oliver Janseps]]</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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| [[File:Mair longshield 1.jpg|300x300px|center]]
 
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[1]
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[1]'''A thrust against a parry'''
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 +
In this device you step forward with your left foot and hold your spear and the shield together in your left hand and the sword in the right, and from there you thrust at your opponent's throat with the spearpoint. If he does this, on the other hand, and you, just as him, are standing with your left foot forward, with the shield and sword in your left hand and the spear in your right, you parry his thrust with the pommel of your sword, and then you thrust at his face with your spear. If he attacks you with a thrust in the same manner, you raise the shield and parry thus. But if he parries with his shield, you direct your thrust into his visor. Furthermore, should he do the same thing, you parry his attack to your right with your shield, drop your spear, step forward with your right foot, grab the sword with your right hand, and strike him in his right elbow and step away from him.
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| {{paget|Page:MS Dresd.C.94|179r|png}}
 
| {{paget|Page:MS Dresd.C.94|179r|png}}
 
| {{section|page:Cod.10826 211r.png|German|lbl=211r}}
 
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| [[File:Mair longshield 2.jpg|300x300px|center]]
 
| [[File:Mair longshield 2.jpg|300x300px|center]]
 
|  
 
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[2]
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[2]'''A thrust to the groin against a parry with the shield'''
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 +
Perform this device thus: step with your left foot forward and hold the spear with both hands on your right side and thrust the opponent in the crotch. If he attacks you below thus, while you are standing with your right foot forward, holding sword and shield together in your left hand and the spear in your right hand in front of your face with the back end in the ground, and remove his thrust to your left with the shield. Then, step forward with your left foot and thrust your opponent in the armpit with the spear. If he should thrust at you in the same manner, then step back with the left foot and parry with the shield, step forward again with your left foot and thrust him in the visor with the point of your spear. If he parries with the back end of his spear, then you change through with your spear from his and thrust him with your spearpoint in the groin.
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| {{paget|Page:MS Dresd.C.94|179v|png}}
 
| {{paget|Page:MS Dresd.C.94|179v|png}}
 
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| [[File:Mair longshield 3.jpg|300x300px|center]]
 
| [[File:Mair longshield 3.jpg|300x300px|center]]
 
|  
 
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[3]
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[3]'''A double thrust to the face'''
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 +
Perform this device thus: step forward with the right foot and hold the middle of the sword with your right hand, and the spear raised over your head in your left hand, and turn in a thrust with the spear toward his visor. If he uses the same technique against you, and you are standing with your left foot forward, left hand on the middle of the sword and the spear in your right hand raised behind your head , then lift the sword and beat his thrus away with the hilt to your right, and thrust your own spearpoint into his visor. Should he parry with his sword then you step forward with your right foot, and grab your swordhilt with your right hand and thrust at his throat. If he turns in a thrust in the same manner, then grab hold of the pommel with your right hand, raise the sword and parry on the hilt between your both hands, move the left hand to your right on the middle of the blad and strike pommel and cross into his left leg, and then move away from him.
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| {{paget|Page:MS Dresd.C.94|180r|png}}
 
| {{paget|Page:MS Dresd.C.94|180r|png}}
 
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[4]
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[4]'''Two set-ons from the middle of the spear'''
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Thus you perform this device: step forward with your left foot and hold your sword and spear together with both hands and thrust to your opponent's groin with your spear point. Of he attacks you below in this manner, and you are also standing with your left foot forward, holding your spear in both hands on your right side, then parry his thrust on the shield, throw it and thrust him in the throat with your spear point. If he thrusts at you in the same way, and you have thrown away your shield as well, then step back with your left foot and remove his thrust with the front end of your spear. Then you step forward again with your left foot and aim a thrust at his visor. If he attacks you in the same manner, then parry with your spear, drop it, step back with your left foot and draw your sword, grab it with both hands and step forward with your left foot and thrust him in the neck with the tip. If he parries this as well, then grab hold with both hands on the middle of the blade and strike him in the head with cross and pommel, and then you step away from him.
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| {{paget|Page:MS Dresd.C.94|180v|png}}
 
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[5]
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[5]'''Two thrusts from the middle of the spear along with a taking if the opponent's shield'''
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 +
If you wish to win the victory in this device, then you must do as follows: step forward with your left foot and hold the spear with both hands on your right side, and from there you step forward with your right foot and thrust the opponent in the throat with your spear. If your opponent does this, on the other hand, then parry with the front end of your spear on your left side. Then step forward with your right foot and thrust him in the groin. If he attacks you this way, then parry with the spear, drop the spear and shield step back with the right foot. If he steps back like this, then drop your spear and shield as well, and grab his shield with both hands. If he has taken your shield in this manner, then draw your sword, step forward with your right foot again and turn a thrust into your opponent's visor. Should he parry with your shield that he has taken from you then change grips and take hold with both hands on the blade and strike him in the head with cross and pommel, turn the sword around and step away from him.
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| {{paget|Page:MS Dresd.C.94|181r|png}}
 
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| {{section|page:Cod.10826 213r.png|German|lbl=213r}}
 
| {{section|page:Cod.10826 213r.png|German|lbl=213r}}

Revision as of 21:34, 28 March 2017

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 records 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. Further, incidentally.
  4. 4.0 4.1 Chronicon Abbatis Urspergensis, the Chronicle of Burchard of Ursberg (13th century), printed in Augsburg 1515.
  5. 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.
  6. wohl Gaius Sallustius Crispus Passienus (starb 47 n. Chr.)
  7. The preceding three paragraphs are missing in the Dresden version.
  8. Gaius Suetonius Tranquillus (ca. 71 – ca. 135), author of De vita Caesarum (ca. AD 120).
  9. Dresden version: four hundred.
  10. Marcus Antonius Gordianus Pius (225 – 244), Marcus Iulius Philippus (ca. 204 - 249)
  11. Claudius Galenus of Pergamum (AD 131 – 201)
  12. 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).
  13. 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."
  14. 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.
  15. Johannes Aventinus (Johann Georg Turmair von Abensberg, 1477–1534), historiographer at the Bavarian court.
  16. 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.
  17. Eusebius of Caesarea (ca. 275 – 339)
  18. 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.
  19. 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.
  20. Regum et imperatorum apophthegmata ("Sayings of kings and emperors") in Plutarch's Moralia.
  21. Vienna: mit schaden "with damage", Dresden: mit schanden "with dishonour/ignominy".
  22. 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.
  23. pafese read for gafese (i.e. pavese, the infantry shields comparable to the Roman rectangular shields of the early imperial period)
  24. 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.
  25. 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.
  26. 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").
  27. 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".
  28. Ligatura non sequitur.
  29. Non sequitur.
  30. 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.
  31. 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).
  32. Mair writes “Kunstfechtbuch”; “art of fencing” would be “Fechtkunst”. It is not clear whether this is just a question of usage or a deliberate difference.
  33. Welsch” refers to neighbouring peoples speaking a romance language, so it could mean French, Italian, Spanish or Romansh. The Cod. icon. 393 text translates to “Fencing on foot, in which we use round shields and Spanish swords, in the fashion of the Italians, is 56 plays”).
  34. Mair here uses “die Wag” (pl. “Wagen”), which I am assuming refers to “balance scale” (die Waage, pl. Waagen), and by extension the structure providing for the balance. It could also be derived from “wagen” (to dare), but the derivation is not convincing. A derivation from “der Wagen” (cart, carriage) is linguistically not supported. The other two MS do not contain this passage, so a comparison is not possible.
  35. 'Long edge' is not listed in ty.
  36. sic : beide
  37. Marginalie unleserlich
  38. ”streck dein leyb und deine armen wol”
  39. sic : seinem ?
  40. The words are marked with numbers above. Probably it is to keep track of word order.
  41. sic : hinndersich
  42. sic : widerumb
  43. sic : seinem
  44. sic : schniten
  45. sic : seinnen ?
  46. 21r
  47. 47.0 47.1 Choosing to read this as equivalent to modern German einengen. “Trapped” as a translation for eineinden follows from this choice. Buyer beware.
  48. Corrections indicate it should be zu Im hinein
  49. The illustration suggests that this action should be done to your left side, rather than to your right.
  50. "Not the lower point". Why the awkward construction here? Why not say superiorem mucronem (or proper Latin equivalent)?
  51. Literally: put
  52. Literally: pull back the left foot
  53. German: his
  54. German: grab with your left hand from below outside over his right arm
  55. rechten
  56. Barred, or bolted.
  57. Pliers, or fire-tongs.
  58. Wrestlers wear a leather collar? Hmmm...
  59. Comb, carder?
  60. A variant on the o-goshi in judo.
  61. sic : Im mit
  62. »sst« oberhalb der Zeile korrigiert aus »fft«
  63. A technique for putting the opponent down head first with his feet in the air.
  64. 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”.
  65. Which is what?
  66. Note: Change of grip required, or the illustration does not match.
  67. Dagger transfer necessary at this point.
  68. Note: person on left side starts with the dagger in the left hand according to the illustration.
  69. Note: push down, not out
  70. Arbait - technical term: work, force, struggle
  71. Vienna and Munich MS Latin: right.
  72. read: locitur
  73. Latin: snatch up.
  74. Note: the illustration shows ice-pick grip.
  75. "You will lick it!" Not pleasant if the dagger is lying on it. Especially in cold weather.
  76. May not represent the changing though described.
  77. Note illustration shows ice-pick grip.
  78. Note: left is corrected from a right. Left is correct.
  79. This seems to imply both parallel action and simultaneity.
  80. Reib - strong twisting, bending, rotating motion.
  81. Image shows left.
  82. From the inner side.
  83. From the Latin text
  84. Correct from underich.
  85. Could also mean immediately
  86. Only in the Latin.
  87. Inn - unclear whether directional or locational.
  88. The one in the left hand?
  89. Only in the Latin.
  90. Possible abbreviation of gegen – geg.
  91. Odd squiggle in the middle—f from previous line?
  92. Scribal error for pungito?
  93. Strange squiggle above the c.
  94. Squiggle – looks like the Munich MS symbol for us?
  95. Error for interim?
  96. Written as “in Clinando”
  97. NB, likely scribal error for “laevam”
  98. Second u has three dots almost like ǜ.
  99. Error for dextrum?
  100. sic : verborgnen