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Revision as of 21:40, 20 April 2025

Andre Lignitzer
Born date of birth unknown
Legnica, Poland
Died before 1452
Relative(s) Jacob Lignitzer (brother)
Occupation Fencing master
Movement Fellowship of Liechtenauer
Genres
Language Early New High German
Manuscript(s)
First printed
english edition
Tobler, 2010
Concordance by Michael Chidester
Translations

Andre Lignitzer (Andres Liegniczer) was a late 14th or early 15th century German fencing master. His name might signify that he came from Legnica, Poland (German: Lignitz). While Lignitzer's precise lifetime is uncertain, he seems to have died some time before the creation of the Starhemberg Fechtbuch in 1452.[1] He had a brother named Jacob Lignitzer who was also a fencing master,[2] but there is no record of any treatise Jacob may have authored. The only other fact that can be determined about Lignitzer's life is that his renown as a master was sufficient for Paulus Kal to include him, along with his brother, in his list of members of the Fellowship of Liechtenauer in 1470.[2]

An Andres Juden (Andres the Jew) is mentioned as a master associated with Liechtenauer in Pol Hausbuch,[3] and Codex Speyer contains a guide to converting between sword and Messer techniques written by a "Magister Andreas",[4] but it is not currently known whether either of these masters is Lignitzer.

Andre Lignitzer is best known for his teachings on sword and buckler, and some variation on this brief treatise is included in many compilation texts in the Liechtenauer tradition. He also authored treatises on fencing with the short sword, dagger, and grappling, though these appear less frequently. Lignitzer's sword and buckler teachings are sometimes attributed to Sigmund ain Ringeck due to their unattributed inclusion in the MS Dresden C.487, but this is clearly incorrect.

Treatises

Note that the Augsburg, Salzburg, Nuremberg, Graz, and Rostock versions of Lignitzer's treatise on short sword fencing are erroneously credited to Martin Huntsfeld.[5]

The text of the Kraków version includes thirteen references to illustrations that were never added to the manuscript. The appropriate blank pages are included in the illustration column as placeholders. It's possible that some version of these intended illustrations still exist somewhere; if they ever surface, the blank pages will be replaced.

Select one or more fencing styles using the checkboxes below to view the associated treatises.

The number in brackets at the beginning of each translation box is a paragraph number assigned by Wiktenauer; clicking it will take you to the translation page. The numbers in brackets in the transcriptions with an "r" or "v" are manuscript folio numbers; clicking them will take you to original page scan with the transcription alongside for comparison. If you want to sort a column by number, click the black triangles in the table headers.

Short sword

Sword and Buckler

Grappling

Dagger

Short Sword

Sword and Buckler

Grappling

Dagger

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. He is given the traditional blessing on the dead on folio 73r.
  2. Jump up to: 2.0 2.1 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).
  3. Anonymous. Untitled [manuscript]. MS 3227a. Nuremberg, Germany: Germanisches Nationalmuseum, ca.1389.
  4. von Speyer, Hans. Untitled [manuscript]. MS M.I.29. Salzburg, Austria: Universitätsbibliothek Salzburg, 1491.
  5. Jaquet and Walczak 2014.
  6. with longswords
  7. This label was apparently copied in the wrong place, and ought to accompany the next play.
  8. to the other side
  9. Lignitzer adds "and grab his right arm".
  10. play
  11. Lignitzer has aber instead of uber.
  12. Lignitzer adds "both his arms and wind your pommel".
  13. There is no equivalent by Hündsfelder via Speyer to this “breaking” by Lignitzer via Danzig. Conjectures: either Speyer forgot it; or he thought it was unworthy; or he never learned it. Who can say?
    Another breaking for this
    Someone wants to put both swords over your neck, so stay open with your right leg and let your sword glide by the handle and grab around his back with your right arm and throw him over without doubt.
  14. d corrected from t.
  15. Eben can also mean "smooth, level, or even". I prefer "flat" in this case.
  16. Lignitzer adds "choosing the one you like".
  17. Lignitzer adds "with crossed fingers".
  18. It's unclear why this word was struck out, since it's present in other versions.
  19. Literally "your", but corrected based on Lignitzer.
  20. Lignitzer adds "behind his left hand".
  21. Lignitzer adds "right".
  22. Literally "your", but corrected based on Lignitzer.
  23. Literally "his", but corrected based on Lignitzer.
  24. Lignitzer adds "left".
  25. Literally "right", but corrected based on Lignitzer.
  26. Literally "your", but corrected based on Lignitzer.
  27. Corrected from linnncken?
  28. Literally "your", but corrected based on Lignitzer.
  29. Literally "right", but corrected based on Lignitzer.
  30. Lignitzer adds "behind his right hand on the handle, and wind his pommel between both his arms from below".
  31. Added based on Lignitzer.
  32. Lignitzer adds "left".
  33. Lignitzer adds "behind".
  34. Lignitzer adds "So he will fall".
  35. The text ascribed to Lignitzer in Codex Danzig continues for 3 more folios until 79v. This section introduces the Mordschlag in 4 different pieces and a number of breakings against these. In this pieces one would reverse the grip on the sword, holding it by the blade with both hands, and hitting the opponent with the pommel or the crossbar, like a pollaxe. But these parts are completely missing from Speyer, and are thus not part of this translation.
  36. This single letter might have been intended to begin Lignitzer's final piece.
  37. The Dresden version says: “Hereafter stand written the pieces with the buckler”.
  38. Oberhaw could be translated as “downward cut” for ease of use and clarity in English.
  39. This instruction is present in the Dresden version, but missing from the Rome version.
  40. laß überschnappen has the sense of springing a trap rather than snapping "over" something
  41. Underhaw could be translated as “upward cut”. Can be done with the back edge or false edge, and can also be directed either at the man or at the sword. In this stuck, it appears to be a rising action to meet his sword.
  42. Dresden version specifies from his right shoulder, missing from Rome version.
  43. The position called the schilt is one described for longsword in the Kölner Fechtbuch and some of the other gemeinfechten sources, and is somewhat similar to what Liechtenauer would call an Ochs, although the point can be upward, potentially like quite a high Pflug. With the buckler in the left hand, standing like this in “two shields” with the sword in the schilt position and the shield covering the right hand, it looks very reminiscent of the schutzen position in the MS I.33. Following this line of thinking, the instruction to turn the sword to the right (out of the schutzen) and to reach (slice) through his mouth is very reminiscent of the follow-up action that the MS I.33 recommends from the schutzen obsesseo, and is also similar to what the Liechtenauer Zedel and glosses refer to as the Alten Schnitt.
  44. This instruction to wind bloß (“turn uncovered”) seems to have the sense of separating your sword and buckler while still pushing with both, keeping the hands more or less in front of the shoulders (as if sitting behind a steering wheel in a car with the hands at the “ten to two” position). The body probably has to move and turn in order to support this action, to keep the hands in front of the body rather than going out to the sides.
  45. Dresden has “holds his shield up”, Rome has “lifts his shield up”. Both could mean more or less the same thing, but I prefer “lifts” as an instruction.
  46. Wechselhaw could be translated as “changing cut”, because it goes up and down, side to side.
  47. Streÿchen could be translated as “strikes”, but in this context are specifically those striking actions from below, sweeping up with the short edge, perhaps “streaking” up from the ground to the opponent or to his sword.
  48. The same idea of separating your sword and buckler while still pushing both, keeping the hands more or less in front of the shoulders (as if sitting behind a steering wheel in a car with the hands at the “ten to two” position).
  49. Probably with a thrust, but potentially with any other pushing technique.
  50. Mittelhaw could be translated as “middle cut”, going across from one side to the other.
  51. Zwerch could be translated as “across”, in the sense of slanting across from one side to another or slanting across from one height to another, or going diagonally across from one place to another. It also has the sense perhaps of going across something, perhaps slanting across or athwart a boat, or going across your opponent’s blade or leg as opposed to simply coming onto it in whatever fashion. The Zwer is an example of a Mittelhaw, but it is important to note that the thumb is beneath the blade and the cut is performed with hand high.
  52. Schaittler could be translated as “parter”, in the sense of being something which parts another thing in two, or dividing something in two.
  53. The German transcription reads “Zwer”
  54. The German transcription reads “Schaittler”, perhaps related to "parting" in two halves.
  55. Corrected from »denn«.
  56. Sturtzhaw could be translated as “dropping cut”, in the sense of a ball dropping back to earth when it has been thrown upward.
  57. The treatise says schilts, plural, meaning that you thrust inside both sword and shield.
  58. Dresden version specifies to the body, missing from Rome version.
  59. If this gloss follows the Liechtenauer method of understanding the five words Vor, Nach, Schwöch, Störck, Indes and their relationship to each other, then we should look to the Blossfechten gloss for the meaning of Indes. However, there is no guarantee that this means exactly the same thing, so the word Indes could just mean “immediately” when removed from its technical context. There does not seem to be as much Winden involved with this sword and buckler treatise as there is in the Blossfechten gloss, although it is still quite possible to perform Winden with shorter blades (look at Leckuchner’s messerfechten, for example), and Lignitzer was a member of the Gessellschaft Lichtenawers and so was probably quite well aware of Liechtenauer’s understanding of the five words and how they relate to fighting.
  60. Although both the Dresden and Rome versions say bind, what they probably mean is the fastening of the hand, or the grip upon the sword.
  61. The instruction to Versetz could mean “to obstruct”.
  62. More correctly, both the Dresden and Rome versions say: “Thus, you have taken the shield from him.” However, the sudden change of tense seems a little abrupt and awkward, so I prefer to maintain the same tense as the rest of the instruction, for stylistic reasons.
  63. r corrected from h.
  64. There is a further piece of instruction in Goliath: “Pull your left leg far back”.
  65. Rainer Welle suggests the closing parenthesis should go here.
  66. An earlier word was effaced and this was written in its place.
  67. d corrected from s.
  68. The instructions in Goliath are more precise: “Go through to your left side under his left armpit while holding his left arm.”
  69. lincken runs into the margin and seems to have been added by the scribe after the paragraph was finished.
  70. Or “his” (in Goliath).
  71. r corrected from h.
  72. Or “his” (in the Glasgow Fechtbuch).
  73. r corrected from h.
  74. Goliath’s description is a bit different: “Strike out with your right hand and grab his right butt cheek”.
  75. I.e., against a hold with both arms under.
  76. The Glasgow Fechtbuch has another suggestion: “…or into his eyes”.
  77. Or “over” (in the Glasgow Fechtbuch).
  78. The instructions in Goliath are clearer: “Step with your right leg outside behind his right leg…”
  79. Goliath goes in more detail here: “…turn to your left side and throw him over your right hip”.
  80. Goliath has a further suggestion: “You can also step with your right thigh to his left thigh during the turn and throw him”.
  81. und druckh runs into the margin and seems to have been added by the scribe after the paragraph was finished, and the remainder of this segment was then added in a much smaller script underneath it.
  82. Or “his” (in the Glasgow Fechtbuch).
  83. Corrected from »deine~«
  84. Specified in the Vienna, but not in the Rome or Krakow.
  85. The term in the Rome is druck, which might more usually be translated as “press”. However, when considering how we might express this kind of motion in English, “pressing it” to the outside doesn’t sound right. “Taking it” to the outside is a little more vague in terms of precisely how you might do that, but sounds more natural in modern English.
  86. Korrgiert aus »rechten«.
  87. Although the source doesn’t quite say this, it does say that the opponent “does the same”, and so to what is this in reference? I think it refers to the previous lesson, where the attacker made a thrust from above.
  88. Feler could be translated as “failer” or “failing action”, and seems to mean a feint or an attack that is intended to fail in order to set up another action.
  89. This is most likely a rondel guard between the blade and handle.
  90. The Rome and Krakow have “the hand and dagger”, while the Vienna has “the hand with the dagger”. Although both mean more or less the same thing, I think the instruction in the Vienna is a bit clearer.
  91. The Vienna has “right armpit”, while the Rome and Krakow both have “left armpit”. Since the action is done with your own left arm, trapping their arm in your left armpit makes most sense.
  92. Although the Rome, Vienna, and Krakow all say “his right side”, this doesn’t make as much sense when thinking about applying a joint lock. I wonder if it was supposed to be “your right side”, as this would make perfect sense for a joint lock.
  93. This play is listed twice.
  94. The Vienna has “from below” while the Rome and Krakow both say “from above”. I don’t think this is a problem though, because if the dagger is drawing a circle in order to get from the right out to the left below the attack, and then returning to the right over the attack, then “from below” just refers to an earlier point on that circle before the dagger comes high enough to come “from above” to the hand.
  95. The Vienna has “from your left side” while the Rome and Krakow do not. Again, this is not a problem, and the Vienna is probably just clarifying what side the action comes from.
  96. The Vienna has “over” while the Rome and Krakow have “under”. Again, it is not a problem, because both options let you establish your grip on your own blade.
  97. The Rome and Krakow have “behind you” while the Vienna has “downward”. Again, not a problem, because both are valid options to conclude the action.
  98. Gewicht can mean “weight”, but the instruction could by trying to convey the sense of breaking the person’s balance.
  99. The sources have “and throw two, one, or seven”, likely a reference to a dice-throwing game.
  100. Whose right arm? The Rome has “the right arm”, the Vienna has “his right arm”, and the Krakow has “your right arm”.
  101. It's unclear why this word is deleted, since it's present in other copies.
  102. Sperren could be translated as “barring”. We see it described as a technique by Meyer and Balthasaro Cramonio Pomerano, so maybe it has the sense here of using the arms outstretched to bar against the thrust so that you can then do something else?