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| birthdate            = 15th century
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| deathdate            = 16th century
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| manuscript(s)        = [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Codex I.6.2º.5]] (1539)
+
| manuscript(s)        = [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Cod. I.6.2º.5]] (ca. 1500)
 
| principal manuscript(s)=
 
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| first printed edition=  
 
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| relatives            =  
 
| relatives            =  
 
| influences          = {{plainlist
 
| influences          = {{plainlist
 +
| [[Nicolaus]]
 +
| [[Sigmund ain Ringeck]]
 
  | [[Hans Seydenfaden von Erfurt]]
 
  | [[Hans Seydenfaden von Erfurt]]
| [[Sigmund ain Ringeck]]
 
 
}}
 
}}
 
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| influenced          =  
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| website              =  
| translations        = {{Hungarian translation|http://www.middleages.hu/magyar/harcmuveszet/vivokonyvek/niedl.php|1}}
+
| translations        = {{collapsible list
 +
| {{Hungarian translation|http://www.middleages.hu/magyar/harcmuveszet/vivokonyvek/niedl.php|1}}
 +
| {{French translation|https://drive.google.com/file/d/1KhdUBj8XfatJexGyHyK07dkBtKYtjzuZ/view|1}}
 +
}}
 
| below                =  
 
| below                =  
 
}}
 
}}
'''Hans Medel von Salzburg''' (Hans Niedel, Hans Mendel) was an early [[century::16th century]] [[nationality::German]] [[fencing master]]. Salzburg is a city in northern Austria, and he seems to have operated as a burgher and ''Schirmmeister'' there from at least 1503.<ref>''Mitteilungen der Gesellschaft für Salzburger Landeskunde'', vol. 40. Salzburg, 1900. p 177.</ref> Little else is known about this master, but he seems to have been associated with the tradition of [[Johannes Liechtenauer]]. He may have traced his lineage through [[Hans Seydenfaden von Erfurt]], a member of the [[Fellowship of Liechtenauer]],<ref>The Fellowship of Liechtenauer is recorded in three versions of [[Paulus Kal]]'s treatise: [[Paulus Kal Fechtbuch (MS 1825)|MS 1825]] (1460s), [[Paulus Kal Fechtbuch (Cgm 1507)|Cgm 1570]] (ca. 1470), and [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s).</ref> as Medel's text is the only known source that mentions teachings from the earlier master.
+
'''Hans Medel von Salzburg''' (Hans Niedel, Hans Mendel) was a [[century::15th century]] [[nationality::German]] [[fencing master]]. Little is known about this master, but he seems to have been associated with the tradition of [[Johannes Liechtenauer]]. He may have traced his lineage through [[Hans Seydenfaden von Erfurt]], a member of the [[Fellowship of Liechtenauer]],<ref>The Fellowship of Liechtenauer is recorded in three versions of [[Paulus Kal]]'s treatise: [[Paulus Kal Fechtbuch (MS 1825)|MS 1825]] (1460s), [[Paulus Kal Fechtbuch (Cgm 1507)|Cgm 1507]] (ca. 1470), and [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s).</ref> as Medel's text is the only known source that mentions teachings from the earlier master.
  
Medel's name is attached to a manuscript treatise on swordsmanship from 1539, including an incomplete [[gloss]] of Liechtenauer's [[Recital]] and an addendum on fencing based on "the Seven Stances"; it seems to have been written by a student or associate of Medel rather than the master himself. This gloss is unique in the Liechtenauer tradition in that it not only offers direct commentary on the Recital, but also demonstrates an awareness of the earlier glosses of [[Sigmund ain Ringeck]] and [[Nicolaüs]], and both quotes and occasionally offers criticisms of and corrections to their teachings. In a few places the gloss specifically describes a teaching of Hans Seydenfaden or Hans Medel, but in several more it merely attributes the teaching to "Master Hans" without indicating which one.
+
Medel's name is attached to a manuscript fencing treatise from the late 15th or early 16th century, including an incomplete [[gloss]] of Liechtenauer's [[Recital]] on the long sword and an addendum on fencing based on "the Seven Stances"; it seems to have been written by a student or associate of Medel rather than the master himself. This gloss is unique in the Liechtenauer tradition in that it not only offers unique commentary on the Recital, but also both quotes and occasionally criticizes or corrects the earlier glosses of [[Sigmund ain Ringeck]] and [[Nicolaüs]]. The gloss specifically describes a teaching of [[Hans Seydenfaden von Erfurt]] or Hans Medel in a few places, but in several more it merely attributes the teaching to "Master Hans" without indicating which one. The illustrations in Medel's treatises are very similar to the earlier [[Cluny Fechtbuch|Cluny Fechtbuch (Cl. 23842)]] (which also includes brief notes that might refer to [[Medel]]'s teachings) as well as to the paintings [[Paulus Hector Mair]] would later commission for his own manuscripts, and may have been an inspiration for them.
  
This manuscript eventually passed into the library of [[Paulus Hector Mair]], who bound it into the current [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Codex I.6.2º.5]] some time after 1566; unfortunately, the extant fragment of the gloss terminates abruptly at the beginning of the section on Zucken, and the remainder is currently lost.
+
This manuscript eventually passed into Mair's library, who seems to have acquired it in 1539 and bound it into the current [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Codex I.6.2º.5]] some time after 1566; unfortunately, the extant fragment of the gloss terminates abruptly at the beginning of the section on drawing back, and the remainder is currently lost.
  
 
== Treatise ==
 
== Treatise ==
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  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Christian Trosclair]]</p>
 
! <p>{{rating|B}}<br/>by [[Christian Trosclair]]</p>
 
! <p>[[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Transcription]]{{edit index|Hans Medel Fechtbuch (Cod.I.6.2º.5)}}<br/>by [[Andreas Engström]], [[Anton Kohutovič]], <br/>and [[Christian Trosclair]]</p>
 
! <p>[[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Transcription]]{{edit index|Hans Medel Fechtbuch (Cod.I.6.2º.5)}}<br/>by [[Andreas Engström]], [[Anton Kohutovič]], <br/>and [[Christian Trosclair]]</p>
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| <p>'''The After.'''</p>
 
| <p>'''The After.'''</p>
  
<p>The after is when you cannot come in the before (or otherwise will not take it), so await upon the after. That is the break upon any play that he deploys upon you. Understand it like this: When he comes before, so that you must displace him, then in-the-moment work swiftly with the after to the nearest opening in front of you. Thus, you hit him before he brings forth his play. In this way, you yet win the before and he remains after.</p>
+
<p>The after is when you cannot come in the before (or otherwise will not take it), so await upon the after. That is the break upon any play that he deploys upon you. Understand it like this: When he comes before, so that you must displace him, then in-the-moment work swiftly with the after to the nearest opening in front of you. Thus, you hit him before he brings forth his play.</p>
 
| {{section|Page:Cod.I.6.2º.5 22r.jpg|4|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.5 22r.jpg|4|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>In the after and in the before, you shall also note how you shall work with the word in-the-moment according to the weak and according to the strong of his sword and understand it like this: From the hilt of the sword the mid-part of the blade, the sword has its strong, with that you may hold against [it] well when someone binds upon you therein; and has its weak from the middle beyond to the point, you cannot hold against [it] there. And when you understand the things correctly, then you may work with the art properly and with that ward yourself and furthermore teach princes and lords so that they may well understand this art in play and in earnest. But if you frighten easily, then you should never learn this art about fencing, because you will become struck by any art. Therefore you shall not learn it because a blood drained heart does no good in fencing.</p>
+
| <p>In this way, you yet win the before and he remains after. In the after and in the before, you shall also note how you shall work with the word in-the-moment according to the weak and according to the strong of his sword and understand it like this: From the hilt of the sword the mid-part of the blade, the sword has its strong, with that you may hold against [it] well when someone binds upon you therein; and has its weak from the middle beyond to the point, you cannot hold against [it] there. And when you understand the things correctly, then you may work with the art properly and with that ward yourself and furthermore teach princes and lords so that they may well understand this art in play and in earnest. But if you frighten easily, then you should never learn this art about fencing, because you will become struck by any art. Therefore you shall not learn it because a blood drained heart does no good in fencing.</p>
 
|  
 
|  
 
{{section|Page:Cod.I.6.2º.5 22r.jpg|5|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 22v.jpg|1|lbl=22v|p=1}}
 
{{section|Page:Cod.I.6.2º.5 22r.jpg|5|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 22v.jpg|1|lbl=22v|p=1}}
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|-  
 
|-  
| [[File:Cod.I.6.2º.5_26r.jpg|400x400px|center]]
+
| rowspan="2" | [[File:Cod.I.6.2º.5_26r.jpg|400x400px|center]]
 
| <p>'''Again a play'''</p>
 
| <p>'''Again a play'''</p>
 
{| class="zettel"
 
{| class="zettel"
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|-  
 
|-  
|
 
 
| <p>And if you stand and have your sword to the other side in the crooked setting-on and not with crossed hands, rather with open arms, then the long edge again stands above and with offsetting as before and thereafter working with warring or otherwise. That is, that you also strike him properly from the offsetting to his head. This is so that you also strike or thrust him well upon his head from the offsetting. [This] is also good against the fool or the flat. If he throws you over it as above, then strike as above, etc.</p>
 
| <p>And if you stand and have your sword to the other side in the crooked setting-on and not with crossed hands, rather with open arms, then the long edge again stands above and with offsetting as before and thereafter working with warring or otherwise. That is, that you also strike him properly from the offsetting to his head. This is so that you also strike or thrust him well upon his head from the offsetting. [This] is also good against the fool or the flat. If he throws you over it as above, then strike as above, etc.</p>
 
| {{section|Page:Cod.I.6.2º.5 26r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.5 26r.jpg|2|lbl=-}}
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|-  
 
|-  
| [[File:Cod.I.6.2º.5_30v.jpg|400x400px|center]]
+
| rowspan="2" | [[File:Cod.I.6.2º.5_30v.jpg|400x400px|center]]
 
| <p>'''The squinter with scalper with it's plays'''</p>
 
| <p>'''The squinter with scalper with it's plays'''</p>
 
{| class="zettel"
 
{| class="zettel"
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|-  
 
|-  
|
 
 
| <p>Master Hans Seydenfaden also taught the scalper like this: initiate a hew straight above from the top of the head with the long edge and swiftly upon that, an under-hew to the right side of his head. Thereafter according to the two plays in his school rules with other strikes, treads and deception.</p>
 
| <p>Master Hans Seydenfaden also taught the scalper like this: initiate a hew straight above from the top of the head with the long edge and swiftly upon that, an under-hew to the right side of his head. Thereafter according to the two plays in his school rules with other strikes, treads and deception.</p>
 
| {{section|Page:Cod.I.6.2º.5 30v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.5 30v.jpg|2|lbl=-}}
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|-  
 
|-  
 
|  
 
|  
| <p>'''Break. Take the elbow.'''</p>
+
| <p>Break: Take the elbow.</p>
 +
| {{section|Page:Cod.I.6.2º.5 33v.jpg|2|lbl=-}}
  
<p>Item. You may also set-upon upon the four endings to both sides from the stance of the wrath-point beside your left knee as will be taught hereafter in the seven stances. Thereafter he comes to you with over-hews. Thereafter, set the point upon his neck. But if he comes with under-hews, again set-on to that and he comes to your side and finish your work.</p>
+
|-
| {{section|Page:Cod.I.6.2º.5 33v.jpg|2|lbl=-}}
+
|
 +
| <p>Item. You may also set-upon upon the four endings to both sides from the stance of the wrath-point beside your left knee as will be taught hereafter in the seven stances. Thereafter he comes to you with over-hews. Thereafter, set the point upon his neck. But if he comes with under-hews, again set-on to that and he comes to your side and finish your work.</p>
 +
| {{section|Page:Cod.I.6.2º.5 33v.jpg|3|lbl=-}}
  
 
|-  
 
|-  
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|}
 
|}
 
<p>'''Gloss:''' Firstly note a general lesson that the racings-after are many and diverse and are called to deploy with great prudence against the fencer that fences from free and from long hews and otherwise does not hew with the proper art of the sword, etc. And this is according to the text: You shall properly learn the racings-after, because they are double.</p>
 
<p>'''Gloss:''' Firstly note a general lesson that the racings-after are many and diverse and are called to deploy with great prudence against the fencer that fences from free and from long hews and otherwise does not hew with the proper art of the sword, etc. And this is according to the text: You shall properly learn the racings-after, because they are double.</p>
| {{section|Page:Cod.I.6.2º.5 33v.jpg|3|lbl=-}}
+
| {{section|Page:Cod.I.6.2º.5 33v.jpg|4|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
 
| <p>The first deploys like this: If he will cleave-in to you above, then note while he draws up the sword into the strike, race-after him with a hew or with a thrust and hit him in the upper opening before he comes down with the hew. And if he binds-upon you and will thereafter work from the sword, then follow after and in-the-moment take the cut out after with the long edge in over into the arm and press him strongly from you with that, so he has no power. In the same way, always race-after him strongly above into the head.</p>
 
| <p>The first deploys like this: If he will cleave-in to you above, then note while he draws up the sword into the strike, race-after him with a hew or with a thrust and hit him in the upper opening before he comes down with the hew. And if he binds-upon you and will thereafter work from the sword, then follow after and in-the-moment take the cut out after with the long edge in over into the arm and press him strongly from you with that, so he has no power. In the same way, always race-after him strongly above into the head.</p>
| {{section|Page:Cod.I.6.2º.5 33v.jpg|4|lbl=-}}
+
| {{section|Page:Cod.I.6.2º.5 33v.jpg|5|lbl=-}}
  
 
|-  
 
|-  
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<p>The second racing-after is when he initiates a hew at you from above, if he then with the hew lets his sword go to the ground, then race-after him with a hew in above to the head before he comes up with the sword. Or if he will thrust you, then note while he draw the sword to him into the thrust, then race-after him and then stab him before he carries out his thrust, etc.</p>
 
<p>The second racing-after is when he initiates a hew at you from above, if he then with the hew lets his sword go to the ground, then race-after him with a hew in above to the head before he comes up with the sword. Or if he will thrust you, then note while he draw the sword to him into the thrust, then race-after him and then stab him before he carries out his thrust, etc.</p>
| {{section|Page:Cod.I.6.2º.5 33v.jpg|5|lbl=-}}
+
| {{section|Page:Cod.I.6.2º.5 33v.jpg|6|lbl=-}}
  
 
|-  
 
|-  
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| <p>But if you fence against someone from under-hews or the strokes or lay against him in the fool or plow, if he then falls upon that with the sword before you come up with yours, then remain as such below, on the sword and left upwards. If he will then cleave-in from the displacement or wind-in on the sword, then do not let him take-off from the sword, rather follow-after him thereon and work to the nearest opening with the war and the others.</p>
 
| <p>But if you fence against someone from under-hews or the strokes or lay against him in the fool or plow, if he then falls upon that with the sword before you come up with yours, then remain as such below, on the sword and left upwards. If he will then cleave-in from the displacement or wind-in on the sword, then do not let him take-off from the sword, rather follow-after him thereon and work to the nearest opening with the war and the others.</p>
 
|  
 
|  
{{section|Page:Cod.I.6.2º.5 33v.jpg|6|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 34r.jpg|1|lbl=34r|p=1}}
+
{{section|Page:Cod.I.6.2º.5 33v.jpg|7|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 34r.jpg|1|lbl=34r|p=1}}
  
 
|-  
 
|-  
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|-  
 
|-  
| [[File:Cod.I.6.2º.5_34r.jpg|400x400px|center]]
+
| rowspan="3" | [[File:Cod.I.6.2º.5_34r.jpg|400x400px|center]]
 
| <p>'''A good lesson about the racing-after'''</p>
 
| <p>'''A good lesson about the racing-after'''</p>
  
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|-  
 
|-  
|
 
 
| <p>In the after is one other. So if he doesn't flee, rather stays still and comes into the work or the war with you.</p>
 
| <p>In the after is one other. So if he doesn't flee, rather stays still and comes into the work or the war with you.</p>
 
| {{section|Page:Cod.I.6.2º.5 34r.jpg|4|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.5 34r.jpg|4|lbl=-}}
  
 
|-  
 
|-  
|
 
 
| <p>There is a difference between the racing-after and in the after. Racing-after is in the fleeing<ref>alt: flying</ref>. The after is in the standing still, working after.</p>
 
| <p>There is a difference between the racing-after and in the after. Racing-after is in the fleeing<ref>alt: flying</ref>. The after is in the standing still, working after.</p>
 
| {{section|Page:Cod.I.6.2º.5 34r.jpg|5|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.5 34r.jpg|5|lbl=-}}
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|-  
 
|-  
|  
+
| class="noline" |  
| <p>'''About the Disengaging'''</p>
+
| class="noline" | <p>'''About the Disengaging'''</p>
  
 
<p>[text ends]</p>
 
<p>[text ends]</p>
| {{section|Page:Cod.I.6.2º.5 36v.jpg|4|lbl=-}}
+
| class="noline" | {{section|Page:Cod.I.6.2º.5 36v.jpg|4|lbl=-}}
  
 
|}
 
|}
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  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Christian Trosclair]]</p>
 
! <p>{{rating|B}}<br/>by [[Christian Trosclair]]</p>
 
! <p>[[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Transcription]]{{edit index|Hans Medel Fechtbuch (Cod.I.6.2º.5)}}<br/>by [[Anton Kohutovič]], [[Andreas Engström]], <br/>and [[Christian Trosclair]]</p>
 
! <p>[[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Transcription]]{{edit index|Hans Medel Fechtbuch (Cod.I.6.2º.5)}}<br/>by [[Anton Kohutovič]], [[Andreas Engström]], <br/>and [[Christian Trosclair]]</p>
Line 1,358: Line 1,361:
  
 
|-  
 
|-  
|  
+
| class="noline" |  
| <p>But if you do not wish to cut, then mutate. But if he is from the right, then double him. If you do not wish to cut, then break him and strike. But if he will thrust from his left side and not disengage, then wind-in crooked against him, etc. You may also go-up or offset into yours when he thrust upon you, also disengaging and striking, etc. War.</p>
+
| class="noline" | <p>But if you do not wish to cut, then mutate. But if he is from the right, then double him. If you do not wish to cut, then break him and strike. But if he will thrust from his left side and not disengage, then wind-in crooked against him, etc. You may also go-up or offset into yours when he thrust upon you, also disengaging and striking, etc. War.</p>
| {{section|Page:Cod.I.6.2º.5 42v.jpg|2|lbl=-}}
+
| class="noline" | {{section|Page:Cod.I.6.2º.5 42v.jpg|2|lbl=-}}
  
 
|}
 
|}
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<section begin="sourcebox"/>{{sourcebox header}}
 
<section begin="sourcebox"/>{{sourcebox header}}
 
{{sourcebox
 
{{sourcebox
  | work        = Images
+
  | work        = Illustrations
 
  | authors    = [[Universitätsbibliothek Augsburg]]
 
  | authors    = [[Universitätsbibliothek Augsburg]]
 
  | source link = http://www.nbn-resolving.de/urn:nbn:de:bvb:384-uba002007-6
 
  | source link = http://www.nbn-resolving.de/urn:nbn:de:bvb:384-uba002007-6
 
  | source title= Universitätsbibliothek Augsburg
 
  | source title= Universitätsbibliothek Augsburg
  | license    = permission
+
  | license    = public domain
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
 
  | work        = Translation
 
  | work        = Translation
  | authors    = [[Christian Trosclair]]
+
  | authors    = [[translator::Christian Trosclair]]
 
  | source link =
 
  | source link =
 
  | source title= Wiktenauer
 
  | source title= Wiktenauer
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== Additional Resources ==
 
== Additional Resources ==
  
 
+
{{bibliography}}
  
 
== References ==
 
== References ==
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[[Category:German]]
 
[[Category:German]]
 +
 +
[[Category:New format]]

Latest revision as of 02:34, 5 September 2024

Hans Medel von Salzburg

A play from Medel's fencing manual
Occupation Fencing master
Citizenship Salzburg, Germany
Movement Liechtenauer tradition
Influences
Genres Fencing manual
Language Early New High German
Manuscript(s) Cod. I.6.2º.5 (ca. 1500)
Concordance by Michael Chidester
Translations

Hans Medel von Salzburg (Hans Niedel, Hans Mendel) was a 15th century German fencing master. Little is known about this master, but he seems to have been associated with the tradition of Johannes Liechtenauer. He may have traced his lineage through Hans Seydenfaden von Erfurt, a member of the Fellowship of Liechtenauer,[1] as Medel's text is the only known source that mentions teachings from the earlier master.

Medel's name is attached to a manuscript fencing treatise from the late 15th or early 16th century, including an incomplete gloss of Liechtenauer's Recital on the long sword and an addendum on fencing based on "the Seven Stances"; it seems to have been written by a student or associate of Medel rather than the master himself. This gloss is unique in the Liechtenauer tradition in that it not only offers unique commentary on the Recital, but also both quotes and occasionally criticizes or corrects the earlier glosses of Sigmund ain Ringeck and Nicolaüs. The gloss specifically describes a teaching of Hans Seydenfaden von Erfurt or Hans Medel in a few places, but in several more it merely attributes the teaching to "Master Hans" without indicating which one. The illustrations in Medel's treatises are very similar to the earlier Cluny Fechtbuch (Cl. 23842) (which also includes brief notes that might refer to Medel's teachings) as well as to the paintings Paulus Hector Mair would later commission for his own manuscripts, and may have been an inspiration for them.

This manuscript eventually passed into Mair's library, who seems to have acquired it in 1539 and bound it into the current Codex I.6.2º.5 some time after 1566; unfortunately, the extant fragment of the gloss terminates abruptly at the beginning of the section on drawing back, and the remainder is currently lost.

Treatise

Additional Resources

The following is a list of publications containing scans, transcriptions, and translations relevant to this article, as well as published peer-reviewed research.

References

  1. The Fellowship of Liechtenauer is recorded in three versions of Paulus Kal's treatise: MS 1825 (1460s), Cgm 1507 (ca. 1470), and MS KK5126 (1480s).
  2. alt: right
  3. alt: side
  4. alt: defense
  5. the artist/professional doing their work
  6. alt: gladly valuing in the arts
  7. alt: gladly valuing with kindness
  8. alt: right
  9. alt: weapon
  10. eindrohen: to imminently threaten
  11. Zeck: a biting insect, ie: a tick.
  12. alt: closer, sooner
  13. this is usually the term for the severing of limbs/extremities, though it can mean hewing while exiting or just separating
  14. widerschlagen: to strike against, in a reverberating sense
  15. rechnen: compute, take into account, align
  16. towards
  17. In the standard verse it is 'ab', not 'fast'
  18. severely, precisely, ruthlessly, violently
  19. videlicet: namely; to wit
  20. abhauen: to sever or to hew in exit
  21. alt: high
  22. aufsitzen: to sit on top of something. A rider was sometimes called an 'Aufsitzer'
  23. ausheben: lift out
  24. conjecture, possibly: 'neben'
  25. 25.0 25.1 25.2 25.3 25.4 25.5 25.6 25.7 25.8 25.9 The text here is hidden by a crease in the page.
  26. alt: breaks-apart, shatters, asunders; burgles; interrupts
  27. ansiegen: to return with victory
  28. glance, discern, glean
  29. Ochs
  30. Ochs
  31. Ochs
  32. could also mean 'carelessly'
  33. Alternately: strongly, firmly, steadfastly.
  34. across
  35. across
  36. your leger
  37. rappen: to gather, to snatch, to seize
  38. no apparent verb here. A similar construction appears below with the added phrase: "set-upon upon the four endings to both sides"
  39. alt: flying
  40. mitmachen: join, unite, combine, participate
  41. alternately: old
  42. marginalia: 'malz' => bad, weak
  43. Or possibly "maler"
  44. Here some pages apparently have been lost, unfortunately.
  45. alt: across
  46. alt: inside
  47. alt: across
  48. uncross your hands