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Difference between revisions of "Jörg Wilhalm"

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(→‎Treatise: changed "cleave" and "cut" to "hew")
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| <p>[2] Whoever wants to cut upon you,<br/>you shall parry it with joy,<br/>and when you have parried,<br/>thus all of his cuts are destroyed.</p>
+
| <p>[2] Whoever wants to hew upon you,<br/>you shall parry it with joy,<br/>and when you have parried,<br/>thus all of his hews are destroyed.</p>
  
−
:The two both stand to the right in the over cut
+
:The two both stand to the right in the over hew
  
−
<p>If you want to behold the art,<br/>then to left and right with cuts<br/>and left with right<br/>is what you strongly desire to fence.<br/>Whoever goes after with cutting<br/>allow their art little joy.<br/>Cut nearing what you want,<br/>no change-through comes to your shield.<br/>To head, to body,<br/>don’t abandon the fencing,<br/>with the whole body fence,<br/>what you desire to drive strongly,</p>
+
<p>If you want to behold the art,<br/>then to left and right with hews<br/>and left with right<br/>is what you strongly desire to fence.<br/>Whoever goes after with hews<br/>allow their art little joy.<br/>Hew nearing what you want,<br/>no change-through comes to your shield.<br/>To head, to body,<br/>don’t abandon the fencing,<br/>with the whole body fence,<br/>what you desire to drive strongly,</p>
  
 
<p>hereafter what you strike crisply on.</p>
 
<p>hereafter what you strike crisply on.</p>
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| <p>[3] The two both stand on the left in the over cut</p>
+
| <p>[3] The two both stand on the left in the over hew</p>
  
−
<p>Don’t fight above on the left if you are right handed,<br/>and if you are left handed<br/>and in the right also severely hindered.<br/>Before and after, the two things<br/>are the origin of all art.<br/>Weak and strong,<br/>indes, wait, with that note your work.<br/>Thus may you learn<br/>your work with art, and whoever<br/>frightens easily,<br/>he shall not learn to be a fencer.</p>
+
<p>Don’t fence above on the left if you are right handed,<br/>and if you are left handed<br/>and in the right also severely hindered.<br/>Before and after, the two things<br/>are the origin of all art.<br/>Weak and strong,<br/>indes, wait, with that note your work.<br/>Thus may you learn<br/>your work with art, and whoever<br/>frightens easily,<br/>he shall not learn to be a fencer.</p>
 
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| [[File:Cod.I.6.2º.2 06r.jpg|200px|center]]
 
| [[File:Cod.I.6.2º.2 06r.jpg|200px|center]]
−
| <p>[4] He stands in the over cut</p>
+
| <p>[4] He stands in the over hew</p>
  
−
:This is the wrath cut from the right shoulder
+
:This is the wrath hew from the right shoulder
  
−
<p>This is about the wrath cut. Whoever cuts you from above, take the wrath cut strong on your shoulder and cut in straight, over the parry, and hang and wind with the sword as if you want to thwart, and allow to drop to both sides with half failers and hit him with the long edge to the right ear to the head away.</p>
+
<p>This is about the wrath hew. Whoever hews you from above, take the wrath hew strong on your shoulder and hew in straight, over the parry, and hang and wind with the sword as if you want to thwart, and allow to drop to both sides with half failers and hit him with the long edge to the right ear to the head away.</p>
 
| {{paget|Page:Cod.I.6.2º.2|06r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|06r|jpg}}
 
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| [[File:Cod.I.6.2º.2 06v.jpg|200px|center]]
−
| <p>[5] He stands in the over cut</p>
+
| <p>[5] He stands in the over hew</p>
  
−
:This is the wrath cut from the left shoulder
+
:This is the wrath hew from the left shoulder
  
−
<p>This is the wrath cut on the left side, and take the same from the left shoulder and cut him quickly in long to the head and hang and wind with it, and again use the failers, and hit yet again as stands written before and behind.</p>
+
<p>This is the wrath hew on the left side, and take the same from the left shoulder and hew him quickly in long to the head and hang and wind with it, and again use the failers, and hit yet again as stands written before and behind.</p>
 
| {{paget|Page:Cod.I.6.2º.2|06v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|06v|jpg}}
 
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| <p>[6] This is the wrath point</p>
 
| <p>[6] This is the wrath point</p>
  
−
:He stands in the over cut
+
:He stands in the over hew
  
 
<p>This is the direction, and note:</p>
 
<p>This is the direction, and note:</p>
  
−
<p>whoever cuts you from above,<br/>that you penetrate him with the wrath point<br/>and if he becomes aware,<br/>then take it away above without risk,<br/>and be strong here again,<br/>wind, cut and stab, if he sees it, then take it low.<br/>Note this precisely:<br/>cut, stab, weak and strong</p>
+
<p>whoever hews you from above,<br/>that you penetrate him with the wrath point<br/>and if he becomes aware,<br/>then take it away above without risk,<br/>and be strong here again,<br/>wind, hew, and stab, if he sees it, then take it low.<br/>Note this precisely:<br/>hew, stab, weak and strong</p>
  
 
<p>and take it with half failers, but hit in as before and behind.</p>
 
<p>and take it with half failers, but hit in as before and behind.</p>
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| [[File:Cod.I.6.2º.2 03v.jpg|200px|center]]
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| <p>[7] He stands in the over cut</p>
+
| <p>[7] He stands in the over hew</p>
  
 
:This is the other wrath point.
 
:This is the other wrath point.
  
−
<p>This is the other wrath point on the other side, take it also thusly: If they indeed both wrath cut from the shoulder, and one must make a stab from a cut, and the cut must be thrown, and take that also quickly away like the above.</p>
+
<p>This is the other wrath point on the other side, take it also thusly: If they indeed both wrath hew from the shoulder, and one must make a stab from a hew, and the hew must be thrown, and take that also quickly away like the above.</p>
 
| {{paget|Page:Cod.I.6.2º.2|03v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|03v|jpg}}
 
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<p>This is also about the war, and should also know that</p>
 
<p>This is also about the war, and should also know that</p>
  
−
<p>in all windings,<br/>cleave and stab<br/>swords, run-over<br/>sword, wind out<br/>in all exchanges<br/>if you want to fool the masters</p>
+
<p>in all windings,<br/>hew and stab<br/>swords, run-over<br/>sword, wind out<br/>in all exchanges<br/>if you want to fool the masters</p>
  
 
<p>because there are very many breaks about them and also to them, realize how one bares with the war. Gloss note.</p>
 
<p>because there are very many breaks about them and also to them, realize how one bares with the war. Gloss note.</p>
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| <p>[10] This is an outer winding and break from the war</p>
 
| <p>[10] This is an outer winding and break from the war</p>
  
−
<p>This is another play from the war and a break of the previous play, and is an outer winding that goes: cut or stab, find slices well.</p>
+
<p>This is another play from the war and a break of the previous play, and is an outer winding that goes: hew or stab, find slices well.</p>
  
−
<p>You shall also<br/>cut, stab, slice below with need<br/>in all exchanges<br/>if you want to fool the master.</p>
+
<p>You shall also<br/>hew, stab, slice below with need<br/>in all exchanges<br/>if you want to fool the master.</p>
 
| {{paget|Page:Cod.I.6.2º.2|04r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|04r|jpg}}
 
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| [[File:Cod.I.6.2º.2 40r.jpg|200px|center]]
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| <p>[18] This is the crooked cut on the right side change</p>
+
| <p>[18] This is the crooked hew on the right side change</p>
  
−
:He stands in the over-cut
+
:He stands in the over hew
  
−
<p>This is about the crooked cut, the direction:</p>
+
<p>This is about the crooked hew, the direction:</p>
  
−
<p>Crook on nimbly,<br/>throw the point upon the hands.<br/>Cut crooked to the flats<br/>if you want to weaken the masters.<br/>Don’t cut crooked, cut short,<br/>with it show your change through,</p>
+
<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>
  
 
<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>
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| <p>[19] He stands in the over cut</p>
+
| <p>[19] He stands in the over hew</p>
  
−
:This is the crooked cut from the left side
+
:This is the crooked hew from the left side
  
 
<p>That is, crook on nimbly.</p>
 
<p>That is, crook on nimbly.</p>
  
−
<p>Whoever parries well<br/>with striding, he destroys many cuts.<br/>Cut 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 cut,<br/>with it show the change through.<br/>Cut crooked whoever errs you,<br/>the noble war confuses him.</p>
+
<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>
 
| {{paget|Page:Cod.I.6.2º.2|40v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|40v|jpg}}
 
| {{paget|Page:Cgm 3711|10v|jpg}}
 
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:He hits to the other opening to his left side  
 
:He hits to the other opening to his left side  
  
−
<p>This is the opening breaking on the other side, and break it as you see pictured. You must also double above, and mutate correctly below. Item: The opening breaking shall stand pictured in front before the crooked cut.</p>
+
<p>This is the opening breaking on the other side, and break it as you see pictured. You must also double above, and mutate correctly below. Item: The opening breaking shall stand pictured in front before the crooked hew.</p>
 
| {{paget|Page:Cod.I.6.2º.2|08v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|08v|jpg}}
 
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| [[File:Cod.I.6.2º.2 14v.jpg|200px|center]]
 
| [[File:Cod.I.6.2º.2 14v.jpg|200px|center]]
−
| <p>[23] Skull cut</p>
+
| <p>[23] Skull hew</p>
  
 
:A position, or the iron gate
 
:A position, or the iron gate
  
−
<p>Item: This is about the crown, etc. and then he raises the sword upwards. He stands in the skull cut, and the other in a position, and when he hits away from the roof, thus the other takes the crown all right. Gloss note.</p>
+
<p>Item: This is about the crown, etc. and then he raises the sword upwards. He stands in the skull hew, and the other in a position, and when he hits away from the roof, thus the other takes the crown all right. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|14v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|14v|jpg}}
 
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|-  
 
| [[File:Cod.I.6.2º.2 07r.jpg|200px|center]]
 
| [[File:Cod.I.6.2º.2 07r.jpg|200px|center]]
−
| <p>[24] This is the thwart cut</p>
+
| <p>[24] This is the thwart hew</p>
  
−
:He stands in the over cut
+
:He stands in the over hew
  
 
<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>
 
<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>
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| <p>[25] This is the thwart on the other side</p>
 
| <p>[25] This is the thwart on the other side</p>
  
−
:He stands in the over cut
+
:He stands in the over hew
  
 
<p>This is the thwart on the other side, take it also as on the other side: invert, force, run through, and also wrestle, and in the elbows in the scale and step to the left, and don’t be lazy. You may wrestle in both thwarts. Gloss note.</p>
 
<p>This is the thwart on the other side, take it also as on the other side: invert, force, run through, and also wrestle, and in the elbows in the scale and step to the left, and don’t be lazy. You may wrestle in both thwarts. Gloss note.</p>
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| [[File:Cod.I.6.2º.2 24r.jpg|200px|center]]
 
| [[File:Cod.I.6.2º.2 24r.jpg|200px|center]]
−
| <p>[42] This is the skull cut</p>
+
| <p>[42] This is the skull hew</p>
  
 
:This is the squinter
 
:This is the squinter
  
−
<p>This is about the skull cut, the direction: This is squinter with skuller, the face is threatened. With its turn, the chest quickly threatened, and what comes from him, the crown, all right. Gloss note.</p>
+
<p>This is about the skull hew, the direction: This is squinter with skuller, the face is threatened. With its turn, the chest quickly threatened, and what comes from him, the crown, all right. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|24r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|24r|jpg}}
 
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| {{paget|Page:Cgm 3711|22r|jpg}}
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| <p>[43] This is the short edge</p>
 
| <p>[43] This is the short edge</p>
  
−
:Skull cut
+
:Skull hew
  
−
<p>This is also about the skull cut. It is to know that one shall take the skull cut with three steps and one may take it with a step, then the crown comes from him, that takes away the slice through the crown. Thus you break it hard and beautiful. Press the sweep, withdraw it with slicing. Gloss note.</p>
+
<p>This is also about the skull hew. It is to know that one shall take the skull hew with three steps and one may take it with a step, then the crown comes from him, that takes away the slice through the crown. Thus you break it hard and beautiful. Press the sweep, withdraw it with slicing. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|24v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|24v|jpg}}
 
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| [[File:Cod.I.6.2º.2 31r.jpg|200px|center]]
 
| [[File:Cod.I.6.2º.2 31r.jpg|200px|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 cuts severely.<br/>Pursue twofold,<br/>thus you take the old slice with power</p>
+
| <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>and have eight. Gloss note.</p>
 
<p>and have eight. Gloss note.</p>
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| [[File:Cgm 3711 29r.jpg|200px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_97]]
 
| [[File:Cgm 3711 29r.jpg|200px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_97]]
−
| <p>[56] This is about the set aside. Whoever cleaves away at you from roof, set his cut away with the sword with the short edge. If he is soft, then let your pommel go around and hit him with the thwart. But if he is hard, then don’t hit and take and turn him at his sword and work. Gloss note as it stands pictured below.</p>
+
| <p>[56] This is about the set aside. Whoever hews away at you from roof, set his hew away with the sword with the short edge. If he is soft, then let your pommel go around and hit him with the thwart. But if he is hard, then don’t hit and take and turn him at his sword and work. Gloss note as it stands pictured below.</p>
 
| {{paget|Page:Cod.I.6.2º.2|34r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|34r|jpg}}
 
| {{paget|Page:Cgm 3711|29r|jpg}}
 
| {{paget|Page:Cgm 3711|29r|jpg}}
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:He lies in the long point
 
:He lies in the long point
  
−
<p>This is about the set aside. Cleave, stab, quickly injure, and the man behind lies in the long point, and the man in front sets him aside with a set-aside.</p>
+
<p>This is about the set aside. Hew, stab, quickly injure, and the man behind lies in the long point, and the man in front sets him aside with a set-aside.</p>
 
| {{paget|Page:Cod.I.6.2º.2|35r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|35r|jpg}}
 
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| {{paget|Page:Cgm 3711|30r|jpg}}
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:A long point
 
:A long point
  
−
<p>This is whoever wants to set-aside,<br/>cleave, 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>
+
<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>
  
 
<p>That is also as a set aside. Gloss note.</p>
 
<p>That is also as a set aside. Gloss note.</p>
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:A long point
 
:A long point
−
<p>This is whoever wants to set aside, cleave, stab, crooked, quickly injure, and is also a set aside. Gloss note, as it stands pictured below.</p>
+
<p>This is whoever wants to set aside, hew, stab, crooked, quickly injure, and is also a set aside. Gloss note, as it stands pictured below.</p>
 
| {{paget|Page:Cod.I.6.2º.2|36v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|36v|jpg}}
 
| {{paget|Page:Cgm 3711|31v|jpg}}
 
| {{paget|Page:Cgm 3711|31v|jpg}}
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| [[File:Cod.I.6.2º.2 20v.jpg|200px|center]]
 
| [[File:Cod.I.6.2º.2 20v.jpg|200px|center]]
−
| <p>[71] This is about the hanging. Two hangings turn out of one hand from the other in all techniques, cleave, stab, position, soft or hard with your technique, that is the hanging, which thwarts itself as you see it pictured above. Gloss note, that is a hanging on the one side, understand that precisely.</p>
+
| <p>[71] This is about the hanging. Two hangings turn out of one hand from the other in all techniques, hew, stab, position, soft or hard with your technique, that is the hanging, which thwarts itself as you see it pictured above. Gloss note, that is a hanging on the one side, understand that precisely.</p>
 
| {{paget|Page:Cod.I.6.2º.2|20v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|20v|jpg}}
 
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Revision as of 19:01, 31 July 2017

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 a version of the pseudo-Peter von Danzig gloss that 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 three copies of Hutter's work, including Cod.Guelf.1.6.3 Aug.2º, Cod.Guelf.79.2 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, and jousting. 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.

Treatise

Additional Resources

References

  1. ↑ MS E.1939.65.354, folio 189r; this is itself a heavily-abridged copy of branch C of the gloss, found in its complete form only 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. ↑ Treibn?
  8. ↑ Meaning as though armored
  9. ↑ At the end of the first line “zwiuach” is written with an “h” which is a scribal error.
  10. ↑ Note: different hand
  11. ↑ Same hand as previous.
  12. ↑ Change in scribe's hand?
  13. ↑ schnidt
  14. ↑ Change in hand
  15. ↑ With a good intention/forethought
  16. ↑ Disappears into the margin.
  17. ↑ The rest of the paragraph is cut off.
  18. ↑ The statement as given in the treatises of Paulus Kal and Hans Talhoffer is "God, thou Eternal Word, help the body here, the soul there". See MS 1825, fol. 5v, MS Chart.A.558, fol. 2r, and Ms.XIX.17-3, fol. 2r.
  19. ↑ Word disappears into margin.
  20. ↑ unleserliche Notiz zweier Wörter am unteren Seitenrand
  21. ↑ The last word disappears partly in trimming.
  22. ↑ The rest of the text is badly damaged at the bottom, disappears in the trimming and is not decipherable.
  23. ↑ The text disappears in trimming and is not decipherable.
  24. ↑ The rest of the text disappears in trimming and is not decipherable.
  25. ↑ The text disappears in trimming and is not decipherable.
  26. ↑ The text disappears in trimming.
  27. ↑ The rest of the text disappears in trimming and is not decipherable.
  28. ↑ The text disappears in trimming and is not decipherable.
  29. ↑ The text disappears in trimming and is not decipherable.
  30. ↑ The text disappears in trimming and is not decipherable.
  31. ↑ The rest of the text disappears in trimming and is not decipherable.
  32. ↑ In a second hand.
  33. ↑ In a third hand.
  34. ↑ In a different hand.
  35. ↑ In a different hand.
  36. ↑ korrigiert aus »mich«
  37. ↑ korrigiert aus »tengke«
  38. ↑ Notiz Mairs
  39. ↑ Notiz Mairs
  40. ↑ 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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