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Difference between revisions of "Jörg Wilhalm"

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Line 414: Line 414:
  
 
<p>This is about the crooked hew, the direction:</p>
 
<p>This is about the crooked hew, the direction:</p>
−
 
+
{| class="zettel"
−
<p>Crook on nimbly,<br/>throw the point upon the hands.<br/>Hew crooked to the flats<br/>if you want to weaken the masters.<br/>Don’t hew crooked, hew short,<br/>with it show your change through,</p>
+
|-
−
 
+
| <small>42</small>
 +
| Crook on nimbly,<br/>throw the point upon the hands.
 +
|-
 +
| <small>44</small>
 +
| Hew crooked to the flats<br/>if you want to weaken the masters.
 +
|-
 +
| <small>46</small>
 +
| Don’t hew crooked, hew short,<br/>with it show your change through,
 +
|}
 
<p>or use if you want to wrestle, and step to him in the triangle. Gloss note.</p>
 
<p>or use if you want to wrestle, and step to him in the triangle. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|40r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|40r|jpg}}
Line 431: Line 439:
  
 
<p>That is, crook on nimbly.</p>
 
<p>That is, crook on nimbly.</p>
−
 
+
{| class="zettel"
−
<p>Whoever parries well<br/>with striding, he destroys many hews.<br/>Hew crooked to the flats<br/>if you want to weaken the masters.<br/>When it sparks above,<br/>stand away, that I want to praise.<br/>Strike crooked and not short hew,<br/>with it show the change through.<br/>Hew crooked whoever errs you,<br/>the noble war confuses him.</p>
+
|-
 +
| <small>43</small>
 +
| Whoever parries well<br/>with striding, he destroys many hews.
 +
|-
 +
| <small>44</small>
 +
| Hew crooked to the flats<br/>if you want to weaken the masters.
 +
|-
 +
| <small>45</small>
 +
| When it sparks above,<br/>stand away, that I want to praise.
 +
|-
 +
| <small>46</small>
 +
| Strike crooked and not short hew,<br/>with it show the change through.
 +
|-
 +
| <small>48</small>
 +
| Hew crooked whoever errs you,<br/>the noble war confuses him.
 +
|}
 
| {{paget|Page:Cod.I.6.2º.2|40v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|40v|jpg}}
 
| {{paget|Page:Cgm 3711|10v|jpg}}
 
| {{paget|Page:Cgm 3711|10v|jpg}}
Line 447: Line 470:
 
<p>This is to break openings,</p>
 
<p>This is to break openings,</p>
  
−
<p>and you want to reckon yourself,<br/>artfully break the four openings,<br/>you double above,<br/>rightly mutate below.<br/>I say to you truthfully,<br/>no man protects himself without danger.<br/>If you have heard,<br/>he may come to hit nobody.</p>
+
{| class="zettel"
−
 
+
|-
 +
| <small>38</small>
 +
| and you want to reckon yourself,<br/>artfully break the four openings,
 +
|-
 +
| <small>39</small>
 +
| you double above,<br/>rightly mutate below.
 +
|-
 +
| <small>40</small>
 +
| I say to you truthfully,<br/>no man protects himself without danger.
 +
|-
 +
| <small>41</small>
 +
| If you have heard,<br/>he may come to hit nobody.
 +
|}
 
<p>That I have heard. Gloss note.</p>
 
<p>That I have heard. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|08r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|08r|jpg}}
Line 500: Line 535:
  
 
:He stands in the over hew
 
:He stands in the over hew
−
 
+
{| class="zettel"
−
<p>This is the thwart, it takes<br/>what comes from the day,<br/>then thwart with the strong,<br/>with it note your work.<br/>The thwart to plow,<br/>join hard to the ox,<br/>and who thwarts themselves well,<br/>with jumping threatens your head,</p>
+
|-
−
 
+
| <small>49</small>
 +
| This is the thwart, it takes<br/>what comes from the day,
 +
|-
 +
| <small>50</small>
 +
| then thwart with the strong,<br/>with it note your work.
 +
|-
 +
| <small>51</small>
 +
| The thwart to plow,<br/>join hard to the ox,
 +
|-
 +
| <small>52</small>
 +
| and who thwarts themselves well,<br/>with jumping threatens your head,</p>
 +
|}
 
<p>and whoever directs the failer on from below two times aims as he wishes. Gloss note.</p>
 
<p>and whoever directs the failer on from below two times aims as he wishes. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|07r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|07r|jpg}}
Line 540: Line 586:
 
| <p>[27] He stands in the guard from day and raises as much as he likes</p>
 
| <p>[27] He stands in the guard from day and raises as much as he likes</p>
  
−
:He speaks thusly: “Whatever thwarts itself well, moves to the head with jumping.” This is the play
+
:He speaks thusly: “Whatever thwarts itself well, moves to the head with jumping.”<ref>Verse 52</ref> This is the play
  
 
<p>This is also a play from the thwart: Whatever thwarts itself well moves to the head with jumping from one side to the other, is also one that is better than that, therefore hear. Gloss note.</p>
 
<p>This is also a play from the thwart: Whatever thwarts itself well moves to the head with jumping from one side to the other, is also one that is better than that, therefore hear. Gloss note.</p>
Line 664: Line 710:
  
 
:This is the squinter which breaks in what a buffalo hits or stabs
 
:This is the squinter which breaks in what a buffalo hits or stabs
−
 
+
{| class="zettel"
−
<p>The squinter breaks in<br/>what a buffalo hits or stabs.<br/>Whoever drives to change,<br/>is robbed of it with the squinter.<br/>If he squints at you short,<br/>to your change-through prevailed against him.<br/>Squint to the point<br/>and take the neck without apprehension,<br/>squint to the upper head nimbly<br/>if you want to strive and find beauty.</p>
+
|-
 +
| <small>58</small>
 +
| The squinter breaks in<br/>what a buffalo hits or stabs.
 +
|-
 +
| <small>59</small>
 +
| Whoever drives to change,<br/>is robbed of it with the squinter.
 +
|-
 +
| <small>60</small>
 +
| If he squints at you short,<br/>to your change-through prevailed against him.
 +
|-
 +
| <small>61</small>
 +
| Squint to the point<br/>and take the neck without apprehension,
 +
|-
 +
| <small>62</small>
 +
| squint to the upper head nimbly<br/>if you want to strive and find beauty.
 +
|}
 
| {{paget|Page:Cod.I.6.2º.2|16r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|16r|jpg}}
 
| {{paget|Page:Cgm 3711|20r|jpg}}
 
| {{paget|Page:Cgm 3711|20r|jpg}}
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:This is the squinter
 
:This is the squinter
−
 
+
{| class="zettel"
−
<p>The squinter<br/>is a danger to the face.<br/>With its turn,<br/>the chest is quickly threatened.<br/>What comes from him,<br/>the crown takes away.<br/>The slice through the crown,<br/>thus you break hard and beautifully.<br/>Press the strike,<br/>withdraw with a slice.</p>
+
|-
−
 
+
| <small>63</small>
 +
| The squinter<br/>is a danger to the face.
 +
|-
 +
| <small>64</small>
 +
| With its turn,<br/>the chest is quickly threatened.
 +
|-
 +
| <small>65</small>
 +
| What comes from him,<br/>the crown takes away.
 +
|-
 +
| <small>66</small>
 +
| The slice through the crown,<br/>thus you break hard and beautifully.
 +
|-
 +
| <small>67</small>
 +
| Press the strike,<br/>withdraw with a slice.
 +
|}
 
<p>In all things, let us make crisply.</p>
 
<p>In all things, let us make crisply.</p>
 
| {{paget|Page:Cod.I.6.2º.2|16v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|16v|jpg}}
Line 746: Line 821:
  
 
<p>This is about the four positions, and also always a position and a parry from it.</p>
 
<p>This is about the four positions, and also always a position and a parry from it.</p>
−
 
+
{| class="zettel"
−
<p>The four positions alone,<br/>hold from them, it says, and flee the common.<br/>Ox and plow, fool<br/>from the day is well his right.</p>
+
|-
 +
| <small>68</small>
 +
| The four positions alone,<br/>hold from them, it says, and flee the common.
 +
|-
 +
| <small>69</small>
 +
| Ox and plow, fool<br/>from the day is well his right.
 +
|}
 
| {{paget|Page:Cod.I.6.2º.2|25r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|25r|jpg}}
 
| {{paget|Page:Cgm 3711|23r|jpg}}
 
| {{paget|Page:Cgm 3711|23r|jpg}}
Line 777: Line 858:
  
 
:This is also a position
 
:This is also a position
−
 
+
{| class="zettel"
−
<p>This is about the four parries,<br/>which severely injure the positions,<br/>yet beware of parries,<br/>if it happens to you necessary,</p>
+
|-
−
 
+
| <small>70</small>
 +
| This is about the four parries,<br/>which severely injure the positions,
 +
|-
 +
| <small>71</small>
 +
| yet beware of parries,<br/>if it happens to you necessary,
 +
|}
 
<p>it hurts you, and be crisp and come before. If you have heard, he may come to no art. Gloss note.</p>
 
<p>it hurts you, and be crisp and come before. If you have heard, he may come to no art. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|25v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|25v|jpg}}
Line 807: Line 893:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.2 31r.jpg|300px|center]]
 
| [[File:Cod.I.6.2º.2 31r.jpg|300px|center]]
−
| <p>[50] This is about the pursuit.<br/>Learn twofold in the scale,<br/>and take two from it,<br/>and your work begins from it,<br/>and test your movements,<br/>whether they are soft or hard,<br/>learn the same.<br/>Indes, that word slices severely.<br/>Pursue twofold,<br/>thus you take the old slice with power</p>
+
| <p>[50] </p>
−
 
+
{| class="zettel"
 +
|-
 +
| <small>75</small>
 +
| This is about the pursuit.<br/>Learn twofold in the scale,
 +
|-
 +
| <small>76</small>
 +
| and take two from it,<br/>and your work begins from it,
 +
|-
 +
| <small>77</small>
 +
| and test your movements,<br/>whether they are soft or hard,
 +
|-
 +
| <small>78</small>
 +
| learn the same.<br/>Indes, that word slices severely.
 +
|-
 +
| <small>79</small>
 +
| Pursue twofold,<br/>thus you take the old slice with power
 +
|}
 
<p>and pay attention. Gloss note.</p>
 
<p>and pay attention. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|31r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|31r|jpg}}
Line 837: Line 939:
 
| [[File:Cod.I.6.2º.2 32v.jpg|300px|center]]
 
| [[File:Cod.I.6.2º.2 32v.jpg|300px|center]]
 
| <p>[53] This is also about the run over, and that is an inward run over,</p>
 
| <p>[53] This is also about the run over, and that is an inward run over,</p>
−
 
+
{| class="zettel"
−
<p>and whoever aims below,<br/>and when one runs over you, then you will be shamed,<br/>and if it sparks above,<br/>then set it aside, that I will praise.<br/>Make your work<br/>soft or hard and press that twofold</p>
+
|-
−
 
+
| <small>80</small>
 +
| and whoever aims below,<br/>and when one runs over you, then you will be shamed,
 +
|-
 +
| <small>81</small>
 +
| and if it sparks above,<br/>then set it aside, that I will praise.
 +
|-
 +
| <small>82</small>
 +
| Make your work<br/>soft or hard and press that twofold</p>
 +
|}
 
<p>as you wish. Gloss mark.</p>
 
<p>as you wish. Gloss mark.</p>
 
| {{paget|Page:Cod.I.6.2º.2|32v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|32v|jpg}}
Line 916: Line 1,026:
  
 
:A long point
 
:A long point
−
 
+
{| class="zettel"
−
<p>This is whoever wants to set-aside,<br/>hew, stab, quickly injure,<br/>and whoever wants to stab onto you,<br/>thus look that your point hits and his breaks,<br/>hits from both sides<br/>if you want to step.</p>
+
|-
−
 
+
| <small>83</small>
 +
| This is whoever wants to set-aside,<br/>hew, stab, quickly injure,
 +
|-
 +
| <small>84</small>
 +
| and whoever wants to stab onto you,<br/>thus look that your point hits and his breaks,
 +
|-
 +
| <small>85</small>
 +
| hits from both sides<br/>if you want to step.
 +
|}
 
<p>That is also as a set aside. Gloss note.</p>
 
<p>That is also as a set aside. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|36r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|36r|jpg}}

Revision as of 05:01, 31 December 2021

Jörg Wilhalm Hutter
Born 15th century
Died 16th century
Occupation
Citizenship Augsburg, Germany
Movement Augsburg tradition
Influences
Influenced
Genres Fencing manual
Language Early New High German
Notable work(s) Jörg Wilhalm Hutters kunst zu Augspurg
Archetype(s)
Manuscript(s)
Concordance by Michael Chidester
Signature Jörg Wilhalm sig.jpg
The title of this article contains the character ö. Where it is unavailable or not desired, the name may be represented as Joerg Wilhalm Hutter.

Jörg Wilhalm Hutter was a 16th century German fencing master. In addition to his fencing practice, his surname signifies that he was a hatter by trade, a fact that is confirmed in the tax records of Augsburg, Germany in 1501, 1504, and 1516.[citation needed]

Manuscripts

Four works are commonly attributed to Hutter: on unarmored long sword fencing in the tradition of Johannes Liechtenauer, on armored and mounted dueling that appear to be based on those of the early 15th century (relying on armor designs that were obsolete by the 1520s), and a series of 32 uncaptioned illustrations portraying scenes of judicial combat. However, it is unclear if Hutter authored all of these works or, like Lienhart Sollinger and Paulus Hector Mair after him, merely compiled existing works together and placed his name on them as an owner's mark. The development of the armored dueling treatises can be traced through a draftbook and rough early annotated copy, but the same is not true of the unarmored long sword fencing, which appears to be based on the MS Cl. 23842 from the 1480s-90s and is accompanied by an excerpt of Branch C of the pseudo-Peter von Danzig gloss which Gregor Erhart attributes to one Nicolaüs and dates to 1489.[1]

There are three extant manuscripts of Hutter's treatises created between 1522 and 1523, all now residing in Augsburg (along with most of the rest of Paulus Hector Mair's collection). The apparent oldest of Hutter's manuscripts, Cod.I.6.4º.5,[2] consists of numbered but uncaptioned illustrations of armored dueling on horse and on foot, and is dated to 1522. The same year saw the completion of the Cod.I.6.2º.3, which includes the same illustrations but adds written instructions to the plays; for this reason, Hils assumed the former was the draftbook used to develop the latter.[citation needed] In 1523, Hutter seems to have created an accompanying long sword treatise, preserved in the Cod.I.6.2º.2.

Some time soon after this, all three of Hutter's prior works, along a new series of 32 uncaptioned illustrations of dueling, were compiled into the Cgm 3711. This manuscript has some oddities not found in the others, including carnival costumes on some of the fighters and a pretzel salesman appearing in the illustration on folio 11r. It's currently unclear whether Hutter was involved in the creation of this manuscript or not, but it appears to be a presentation copy of the collected works and includes content unique to each of the three earlier manuscripts. Hutter's long sword treatise was also copied by sculptor Gregor Erhart into the MS E.1939.65.354 in 1533, though it's currently unclear which source he based it on.

Most copies of Hutter's treatises were eventually acquired by Freifechter and collector Lienhart Sollinger. Cgm 3711 was a source for his Cgm 3712 (1556) and Cod.Guelf.38.21 Aug.2º (1588), and the former also seems to have drawn heavily from MS E.1939.65.354. Sollinger, in turn, sold several of these works to Paulus Hector Mair: the Cod.I.6.2º.2 in 1544, the Cod.I.6.4º.5 in 1552, the MS E.1939.65.354 in 1560, and the Cod.I.6.2º.3 in 1561. Hutter's draftbook in particular was apparently used as the primary source for Mair's writings on armored dueling (preserved in three manuscripts in the 1540s and 50s); owing to its lack of text, Mair inserted his own descriptions of the plays—descriptions which diverge noticeably from Hutter's own explanations.

A final set of two copies of Hutter's work, including Cod.Guelf.1.6.3 Aug.2º and MS KK5247, were prepared by Jeremias Schemel von Augsburg at the end of the 16th century as part of a massive compilation of treatises on horsemanship which also included discussion of riding, dressage, jousting, and tournaments. These manuscripts contain Hutter's original text (unlike Mair's version), but the elaborate artwork includes details from multiple prior versions of Hutter's work, suggesting that Schemel's source manuscript may remain to be discovered. A third manuscript of Schemel's work also exists, copied from the MS KK5247 in 1838, but such a late work has little to contribute to any analysis of the tradition.

Treatise

In order to compress these tables and avoid empty columns, the Glasgow version of the long sword section and the draftbook for the short sword and mounted fencing sections appear in the same column (since they don't overlap). The three additional versions of the short sword and mounted fencing appear at the far side of those tables. The section containing uncaptioned plays only appears in three manuscripts, so the others are all omitted.

Additional Resources

References

  1. ↑ MS E.1939.65.354, folio 189r; the complete text of Branch C is only given in MS KK5126 (1480s).
  2. ↑ Generally we refer to manuscripts by their locations for ease of communication, but with three of the ten manuscripts in Augsburg, three in Wolfenbüttel, and two in Munich, that's not really feasible here.
  3. ↑ windest
  4. ↑ korrigiert aus »halben«
  5. ↑ from ehert
  6. ↑ loss
  7. ↑ Verse 52
  8. ↑ Treibn?
  9. ↑ Meaning as though armored
  10. ↑ At the end of the first line “zwiuach” is written with an “h” which is a scribal error.
  11. ↑ Note: different hand
  12. ↑ Same hand as previous.
  13. ↑ Change in scribe's hand?
  14. ↑ schnidt
  15. ↑ Change in hand
  16. ↑ Disappears into the margin.
  17. ↑ The rest of the paragraph is cut off.
  18. ↑ Word disappears into margin.
  19. ↑ Matthias Lexer's Mittelhochdeutsch Handwoerterbuch defines 'sippen' as 'verwant sein mit einem (dat.)'
  20. ↑ unleserliche Notiz zweier Wörter am unteren Seitenrand
  21. ↑ The last word disappears partly in trimming.
  22. ↑ The 'Teutscher Dictionarus' by 'Simon Roten' of 1571 defines 'Temisch' as 'Temisch,Crüncken/weinig/vom wozt Temez tum, das ist wein', and 'Temen' as 'Oberflüssig wein trincken', so I assume being stunned as if drunk is what is implied here.
  23. ↑ I omitted the translation of 'in Seim helm' in order to make the translation easier to read.
  24. ↑ The rest of the text is badly damaged at the bottom, disappears in the trimming and is not decipherable.
  25. ↑ The text disappears in trimming and is not decipherable.
  26. ↑ The rest of the text disappears in trimming and is not decipherable.
  27. ↑ The text disappears in trimming and is not decipherable.
  28. ↑ The text disappears in trimming.
  29. ↑ The rest of the text disappears in trimming and is not decipherable.
  30. ↑ The text disappears in trimming and is not decipherable.
  31. ↑ The text disappears in trimming and is not decipherable.
  32. ↑ The text disappears in trimming and is not decipherable.
  33. ↑ The rest of the text disappears in trimming and is not decipherable.
  34. ↑ In a second hand.
  35. ↑ In a third hand.
  36. ↑ In a different hand.
  37. ↑ In a different hand.
  38. ↑ korrigiert aus »mich«
  39. ↑ korrigiert aus »tengke«
  40. ↑ Notiz Mairs
  41. ↑ Notiz Mairs
  42. ↑ At the lower edge are remnants of a line written by another hand, but which is unreadable and lost to a later recutting of the manuscript.
Early Germanic Traditions
Common Fencing Johannes Liechtenauer reversed.jpg
Wrestling
Liechtenauer
Tradition
Beringer Verse
Augsburg Tradition
Other Works
Fabris Tradition
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