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Difference between revisions of "Andre Lignitzer"

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  | [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s)
 
  | [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s)
 
  | [[Codex Speyer (MS M.I.29)|MS M.I.29]] (1491)
 
  | [[Codex Speyer (MS M.I.29)|MS M.I.29]] (1491)
  | [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|MS Dresd. C.487]] (ca.1500s)
+
| [[Ortenburg Fechtbuch]] (1400s)
 +
  | [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|MS Dresd. C.487]] (1504-19)
 
  | [[Glasgow Fechtbuch (MS E.1939.65.341)|MS E.1939.65.341]] (1508)
 
  | [[Glasgow Fechtbuch (MS E.1939.65.341)|MS E.1939.65.341]] (1508)
 
  | [[Goliath Fechtbuch (MS Germ.Quart.2020)|MS Germ.Quart.2020]] (1535-40)
 
  | [[Goliath Fechtbuch (MS Germ.Quart.2020)|MS Germ.Quart.2020]] (1535-40)
 +
| [[Über die Fechtkunst und den Ringkampf (MS 963)|MS 963]] (1539)
 
  | [[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|MSS Dresd. C.93/94]] (1542)
 
  | [[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|MSS Dresd. C.93/94]] (1542)
 
  | [[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Cod. 10825/10826]] (1550s)
 
  | [[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Cod. 10825/10826]] (1550s)
 
  | [[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Cod.icon. 393]] (1550s)
 
  | [[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Cod.icon. 393]] (1550s)
  | [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod. I.6.2º.2]] (1564)
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  | [[Maister Liechtenawers Kunstbuech (Cgm 3712)|Cgm 3712]] (1556)
 +
| [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod. I.6.2º.2]] (1564)
 
}}
 
}}
 
| principal manuscript(s)=
 
| principal manuscript(s)=
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| website              =  
 
| website              =  
 
| translations        = {{collapsible list
 
| translations        = {{collapsible list
  | {{German translation|http://www.hammaborg.de/en/transkriptionen/peter_von_danzig/index.php|1}}
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  | {{German translation|http://www.hammaborg.de/de/transkriptionen/peter_von_danzig/index.php|1}}
 
  | {{Hungarian translation|http://www.middleages.hu/magyar/harcmuveszet/vivokonyvek/vondanzig.php|1}}
 
  | {{Hungarian translation|http://www.middleages.hu/magyar/harcmuveszet/vivokonyvek/vondanzig.php|1}}
 
  | {{Italian translation|http://www.septemcustodie.it/wp/?p{{=}}2239|1}}
 
  | {{Italian translation|http://www.septemcustodie.it/wp/?p{{=}}2239|1}}
 +
| {{Polish translation|http://feder.org.pl/images/pdfs/MS_DRESD_C_487-puklerz.pdf|1}}
 
  | {{Slovenian translation|Andre Lignitzer/Slovenian|2}}
 
  | {{Slovenian translation|Andre Lignitzer/Slovenian|2}}
 
  | {{Swedish translation|http://www.historical-academy.co.uk/files/research/keith-farrell/Lignitzer%20Sword%20and%20Buckler.pdf|1}}
 
  | {{Swedish translation|http://www.historical-academy.co.uk/files/research/keith-farrell/Lignitzer%20Sword%20and%20Buckler.pdf|1}}
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| below                =  
 
}}
 
}}
'''Andre Lignitzer''' (Andres Liegniczer) was a late 14th or early [[century::15th century]] [[nationality::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 (Cod.44.A.8)|Starhemberg Fechtbuch]] in 1452.<ref>He is given the traditional blessing on the dead on [[Page:Cod.44.A.8 073r.jpg|folio 73r]].</ref> He had a brother named '''Jacob Lignitzer''' who was also a fencing master,<ref name="Kal">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> 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.<ref name="Kal"/>
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'''Andre Lignitzer''' (Andres Liegniczer) was a late 14th or early [[century::15th century]] [[nationality::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 (Cod.44.A.8)|Starhemberg Fechtbuch]] in 1452.<ref>He is given the traditional blessing on the dead on [[Page:Cod.44.A.8 073r.jpg|folio 73r]].</ref> He had a brother named '''Jacob Lignitzer''' who was also a fencing master,<ref name="Kal">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> 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.<ref name="Kal"/>
  
 
An [[Andres Juden]] (Andres the Jew) is mentioned as a master associated with Liechtenauer in [[Pol Hausbuch (MS 3227a)|Pol Hausbuch]],<ref name="Döbringer">Anonymous. Untitled [manuscript]. [[Pol Hausbuch (MS 3227a)|MS 3227a]]. Nuremberg, Germany: [[Germanisches Nationalmuseum]], ca.1389.</ref> and [[Codex Speyer (MS M.I.29)|Codex Speyer]] contains a guide to converting between [[sword]] and [[Messer]] techniques written by a "Magister [[Andreas]]",<ref name="Speyer">[[Hans von Speyer|von Speyer, Hans]]. Untitled [manuscript]. [[Codex Speyer (MS M.I.29)|MS M.I.29]]. Salzburg, Austria: [[Universitätsbibliothek Salzburg]], 1491.</ref> but it is not currently known whether either of these masters is Lignitzer.
 
An [[Andres Juden]] (Andres the Jew) is mentioned as a master associated with Liechtenauer in [[Pol Hausbuch (MS 3227a)|Pol Hausbuch]],<ref name="Döbringer">Anonymous. Untitled [manuscript]. [[Pol Hausbuch (MS 3227a)|MS 3227a]]. Nuremberg, Germany: [[Germanisches Nationalmuseum]], ca.1389.</ref> and [[Codex Speyer (MS M.I.29)|Codex Speyer]] contains a guide to converting between [[sword]] and [[Messer]] techniques written by a "Magister [[Andreas]]",<ref name="Speyer">[[Hans von Speyer|von Speyer, Hans]]. Untitled [manuscript]. [[Codex Speyer (MS M.I.29)|MS M.I.29]]. Salzburg, Austria: [[Universitätsbibliothek Salzburg]], 1491.</ref> but it is not currently known whether either of these masters is Lignitzer.
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== Treatises ==
 
== Treatises ==
  
Note that the [[Codex Lew (Cod.I.6.4º.3)|Augsburg]], [[Codex Speyer (MS M.I.29)|Salzburg]], and [[Über die Fechtkunst und den Ringkampf (MS 963)|Graz]] versions of Lignitzer's treatise on short sword fencing are erroneously credited to [[Martin Huntsfeld]], while Huntsfeld's own treatise on the subject is credited to [[Lew]].<ref>Jaquet and Walczak 2014.</ref>
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Note that the [[Codex Lew (Cod.I.6.4º.3)|Augsburg]], [[Codex Speyer (MS M.I.29)|Salzburg]], [[Über die Fechtkunst und den Ringkampf (MS 963)|Graz]], and [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock]] versions of Lignitzer's treatise on short sword fencing are erroneously credited to [[Martin Huntsfeld]], while Huntsfeld's own treatise on the subject is credited to [[Lew]].<ref>Jaquet and Walczak 2014.</ref>
  
 
The text of the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow]] version of Lignitzer frequently refers to intended illustrations that were never added to the manuscript. The appropriate blank pages are included in the illustration column as placeholders. It's possible (though not likely, given what we know about its origins) that this manuscript was replicating another one with a complete set of illustrations; if this ever surfaces, the illustrations will be replaced.
 
The text of the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow]] version of Lignitzer frequently refers to intended illustrations that were never added to the manuscript. The appropriate blank pages are included in the illustration column as placeholders. It's possible (though not likely, given what we know about its origins) that this manuscript was replicating another one with a complete set of illustrations; if this ever surfaces, the illustrations will be replaced.
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<p>{{red|b=1|Here you rise to the mortal strike}}</p>
  
 
<p>The first mortal strike: step close to him, and do as if you would stab him inward to the face, and then let your right hand drive from the grip, and thereby come to help the left hand on the sword's blade, and strike him with the pommel or with the hilt, or with the grip to his head.</p>
 
<p>The first mortal strike: step close to him, and do as if you would stab him inward to the face, and then let your right hand drive from the grip, and thereby come to help the left hand on the sword's blade, and strike him with the pommel or with the hilt, or with the grip to his head.</p>
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! <p>Illustrations</p>
 
! <p>Illustrations</p>
 
! <p>{{rating|B|Complete Translation (from Rome and Dresden)}}<br/>by [[Keith Farrell]]</p>
 
! <p>{{rating|B|Complete Translation (from Rome and Dresden)}}<br/>by [[Keith Farrell]]</p>
 +
! <p>{{rating|C|Draft Translation (from the French)}}<br/>by [[John Tse]]</p>
 
! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
 
! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
 
! <p>[[Codex Lew (Cod.I.6.4º.3)|Augsburg Version]] (1460s){{edit index|Codex Lew (Cod.I.6.4º.3)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
 
! <p>[[Codex Lew (Cod.I.6.4º.3)|Augsburg Version]] (1460s){{edit index|Codex Lew (Cod.I.6.4º.3)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
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! <p>[[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Munich (Mair) Ⅰ Version]] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.icon. 393 I)}}</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Munich (Mair) Ⅰ Version]] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.icon. 393 I)}}</p>
 
! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Version]] (1570){{edit index| Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
 
! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Version]] (1570){{edit index| Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>''[[Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt)|Ergrundung Ritterlicher Kunst der Fechterey]]'' (1516){{edit index|Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
+
! <p>[[Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt)|Paurenfeyndt's Edition]] (1516){{edit index|Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
! <p>''[[Der Allten Fechter gründtliche Kunst (Christian Egenolff)‎‎|Der Allten Fechter gründtliche Kunst]]'' (1530s){{edit index|Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
+
! <p>[[Der Allten Fechter gründtliche Kunst (Christian Egenolff)|Egenolff's Edition]] (ca. 1531){{edit index|Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
! <p>''[[Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt)|La Noble Science des Ioueurs Despee]]'' (1538){{edit index|La noble science des ioueurs d%27espee (Andre Paur%C3%B1feyndt) 1538.pdf}}<br/>Transcribed by [[Olivier&nbsp;Dupuis]], [[Didier&nbsp;de&nbsp;Grenier]], [[Michael&nbsp;Huber]]</p>
+
! <p>[[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg Manuscript]] (1564){{edit index|Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Sollinger Fechtbuch]] (1564){{edit index|Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
+
! <p>[[La noble science des ioueurs d'espee (Andre Paurenfeyndt)|French Translation]] (1538){{edit index|La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf}}<br/>Transcribed by [[Olivier Dupuis]], [[Didier de Grenier]], and [[Michaël&nbsp;Huber]]</p>
  
 
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|-  
 
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|  
 
| <p>{{red|b=1|Hereafter stand written the pieces with the buckler}}<ref>The Rome version says: “Here begin the pieces with the buckler that the master Andre Lignitzer has written hereafter”.</ref></p>
 
| <p>{{red|b=1|Hereafter stand written the pieces with the buckler}}<ref>The Rome version says: “Here begin the pieces with the buckler that the master Andre Lignitzer has written hereafter”.</ref></p>
 +
| <p>'''Here begins then or now the manner of fencing with the buckler.'''</p>
 
| {{section|Page:Cod.44.A.8 080r.jpg|1|lbl=80r}}
 
| {{section|Page:Cod.44.A.8 080r.jpg|1|lbl=80r}}
 
| {{section|Page:Cod.I.6.4º.3 084r.jpg|1|lbl=84r}}
 
| {{section|Page:Cod.I.6.4º.3 084r.jpg|1|lbl=84r}}
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| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/83|1|lbl=76}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/83|1|lbl=76}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/62|3|lbl=31r}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/62|3|lbl=31r}}
 +
| {{section|Page:Cod.I.6.2º.2 70v.jpg|4|lbl=70v}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/80|3|lbl=67}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/80|3|lbl=67}}
| {{section|Page:Cod.I.6.2º.2 70v.jpg|4|lbl=70v}}
 
  
 
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<p>From the ''Oberhaw'':<ref>''Oberhaw'' could be translated as “downward cut” for ease of use and clarity in English.</ref> when you drive the ''Oberhaw'' to the man, set your sword with the pommel inside your buckler and at your thumb, and thrust in from below up to his face, and turn against his sword and let it snap-over. This goes to both sides.<ref>This instruction is present in the Dresden version, but missing from the Rome version.</ref></p>
 
<p>From the ''Oberhaw'':<ref>''Oberhaw'' could be translated as “downward cut” for ease of use and clarity in English.</ref> when you drive the ''Oberhaw'' to the man, set your sword with the pommel inside your buckler and at your thumb, and thrust in from below up to his face, and turn against his sword and let it snap-over. This goes to both sides.<ref>This instruction is present in the Dresden version, but missing from the Rome version.</ref></p>
 +
| <p>'''The first piece out of the high point'''</p>
 +
 +
<p>When you strike the high cut towards the man, put your pommel inside on the buckler towards the thumb and thrust from low to high towards his face. Turn against his sword and let it fly. This goes to both sides.</p>
 
| {{section|Page:Cod.44.A.8 080r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 080r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.I.6.4º.3 084r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.I.6.4º.3 084r.jpg|2|lbl=-}}
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| {{section|Page:MS Var.82 096v.png|2|lbl=96v.2}}
 +
 
 +
{{section|Page:MS Var.82 097r.png|1|lbl=97r.1}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/83|2|lbl=-}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/83|2|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/62|4|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/62|4|lbl=-}}
 +
| {{section|Page:Cod.I.6.2º.2 70v.jpg|5|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/80|4|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/80|4|lbl=-}}
| {{section|Page:Cod.I.6.2º.2 70v.jpg|5|lbl=-}}
 
  
 
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<p>Item, from the ''Underhaw'':<ref>''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.</ref> when he cuts in at you from above from his right shoulder,<ref>Dresden version specifies from his right shoulder, missing from Rome version.</ref> so turn against him to your left side to your ''schilt'', so that you stand in “two shields”,<ref>The position called the ''schilt'' is one described for longsword in the [[Kölner Fechtregeln (MS Best.7020 (W*)150)|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 [[Walpurgis Fechtbuch (MS I.33)|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''.</ref> then turn uncovered<ref>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.</ref> to your right side, and reach out to his mouth. If he defends against this and lifts<ref>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.</ref> his shield up, take the left leg. This goes to both sides.</p>
 
<p>Item, from the ''Underhaw'':<ref>''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.</ref> when he cuts in at you from above from his right shoulder,<ref>Dresden version specifies from his right shoulder, missing from Rome version.</ref> so turn against him to your left side to your ''schilt'', so that you stand in “two shields”,<ref>The position called the ''schilt'' is one described for longsword in the [[Kölner Fechtregeln (MS Best.7020 (W*)150)|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 [[Walpurgis Fechtbuch (MS I.33)|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''.</ref> then turn uncovered<ref>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.</ref> to your right side, and reach out to his mouth. If he defends against this and lifts<ref>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.</ref> his shield up, take the left leg. This goes to both sides.</p>
 +
| <p>'''The second piece out of the low cut'''</p>
 +
 +
<p>When he strikes from above towards you outwards from his right armpit, turn against him on your left side against your buckler. Thus you will move in both bucklers. Then turn your right side and raise towards his face. If he defends this and lifts his buckler, take his left leg. This also goes to both sides.</p>
 
| {{section|Page:Cod.44.A.8 080r.jpg|3|lbl=-}}
 
| {{section|Page:Cod.44.A.8 080r.jpg|3|lbl=-}}
 
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| {{section|Page:MS Var.82 097r.png|2|lbl=97r.2}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/83|3|lbl=-}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/83|3|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/62|5|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/62|5|lbl=-}}
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/74|5|lbl=-}}
 
 
| {{section|Page:Cod.I.6.2º.2 70v.jpg|6|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 70v.jpg|6|lbl=-}}
 +
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/80|5|lbl=-}}
  
 
|-  
 
|-  
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<p>Item, from the buckler, from the ''Wechselhaw'':<ref>''Wechselhaw'' could be translated as “changing cut”, because it goes up and down, side to side.</ref> ''Streÿch''<ref>''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.</ref> firmly upward from the buckler from the left side, into his sword, and then cut in from the left side to the head. And turn uncovered,<ref>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).</ref> and push<ref>Probably with a thrust, but potentially with any other pushing technique.</ref> in to the mouth. If he lifts with shield and sword, and defends against this, then cut with the long edge to the right leg. This goes to both sides.</p>
 
<p>Item, from the buckler, from the ''Wechselhaw'':<ref>''Wechselhaw'' could be translated as “changing cut”, because it goes up and down, side to side.</ref> ''Streÿch''<ref>''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.</ref> firmly upward from the buckler from the left side, into his sword, and then cut in from the left side to the head. And turn uncovered,<ref>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).</ref> and push<ref>Probably with a thrust, but potentially with any other pushing technique.</ref> in to the mouth. If he lifts with shield and sword, and defends against this, then cut with the long edge to the right leg. This goes to both sides.</p>
 +
| <p>'''The third piece out of the change cut'''</p>
 +
 +
<p>Raise from the left side off of the buckler high on his sword, then strike from the left side towards his head. Turn fully exposed, and thrust towards his face. If he lifts with his buckler and his sword and if he defends, then with the long edge strike towards his right leg. This also goes to both sides.</p>
 
| {{section|Page:Cod.44.A.8 080r.jpg|4|lbl=-}}
 
| {{section|Page:Cod.44.A.8 080r.jpg|4|lbl=-}}
 
| {{section|Page:Cod.I.6.4º.3 084v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.I.6.4º.3 084v.jpg|2|lbl=-}}
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{{section|Page:MS Var.82 097r.png|3|lbl=97r.3|p=1}} {{section|Page:MS Var.82 097v.png|1|lbl=97v.1|p=1}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/83|4|lbl=-}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/83|4|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/62|6|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/62|6|lbl=-}}
 +
| {{section|Page:Cod.I.6.2º.2 70v.jpg|7|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/81|1|lbl=70}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/81|1|lbl=70}}
| {{section|Page:Cod.I.6.2º.2 70v.jpg|7|lbl=-}}
 
  
 
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<p>Item, from the ''Mittelhaw'':<ref>''Mittelhaw'' could be translated as “middle cut”, going across from one side to the other.</ref> make the ''Zwer''<ref>''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.</ref> to both sides, and the ''Schaittler''<ref>''Schaittler'' could be translated as “parter”, in the sense of being something which parts another thing in two, or dividing something in two.</ref> with the long edge, and thrust in from below to him.</p>
 
<p>Item, from the ''Mittelhaw'':<ref>''Mittelhaw'' could be translated as “middle cut”, going across from one side to the other.</ref> make the ''Zwer''<ref>''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.</ref> to both sides, and the ''Schaittler''<ref>''Schaittler'' could be translated as “parter”, in the sense of being something which parts another thing in two, or dividing something in two.</ref> with the long edge, and thrust in from below to him.</p>
 +
| <p>'''The fourth piece out of the middle cut'''</p>
 +
 +
<p>Perform the defense<ref>The German transcription reads “Zwer”</ref> to both sides and the half launch<ref>The German transcription reads “Schaittler”, perhaps related to "parting" in two halves.</ref> with the long edge. Thrust him below towards his genitals.</p>
 
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{{section|Page:Cod.44.A.8 080r.jpg|5|lbl=-|p=1}} {{section|Page:Cod.44.A.8 080v.jpg|1|lbl=80v|p=1}}
 
{{section|Page:Cod.44.A.8 080r.jpg|5|lbl=-|p=1}} {{section|Page:Cod.44.A.8 080v.jpg|1|lbl=80v|p=1}}
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| {{section|Page:MS Var.82 097v.png|2|lbl=97v.2}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/83|5|lbl=-}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/83|5|lbl=-}}
 
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{{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/62|7|lbl=-|p=1}} {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/63|1|lbl=31v|p=1}}
 
{{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/62|7|lbl=-|p=1}} {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/63|1|lbl=31v|p=1}}
 +
| {{section|Page:Cod.I.6.2º.2 70v.jpg|8|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/81|2|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/81|2|lbl=-}}
| {{section|Page:Cod.I.6.2º.2 70v.jpg|8|lbl=-}}
 
  
 
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<p>Item, from the ''Sturtzhaw'':<ref>''Sturtzhaw'' could be translated as “dropping cut”, in the sense of a ball dropping back to earth when it has been thrown upward.</ref> pretend as if you want to thrust over his shield into his left side, and go with the point under and through, and thrust inside his shields<ref>The treatise says ''schilts'', plural, meaning that you thrust inside both sword and shield.</ref> to the body,<ref>Dresden version specifies to the body, missing from Rome version.</ref> and turn ''Indes''<ref>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.</ref> to your left side. If he defends against this, take his right leg with the long edge.</p>
 
<p>Item, from the ''Sturtzhaw'':<ref>''Sturtzhaw'' could be translated as “dropping cut”, in the sense of a ball dropping back to earth when it has been thrown upward.</ref> pretend as if you want to thrust over his shield into his left side, and go with the point under and through, and thrust inside his shields<ref>The treatise says ''schilts'', plural, meaning that you thrust inside both sword and shield.</ref> to the body,<ref>Dresden version specifies to the body, missing from Rome version.</ref> and turn ''Indes''<ref>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.</ref> to your left side. If he defends against this, take his right leg with the long edge.</p>
 +
| <p>'''The fifth piece'''</p>
 +
 +
<p>Act as if you want to thrust him towards his left side over his buckler, and move in with your tip or point through below. Thrust from his face towards his stomach, and from this turn downwards to your left side. If he defends this, then take his right leg with the long edge.</p>
 +
 
| {{section|Page:Cod.44.A.8 080v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 080v.jpg|2|lbl=-}}
 
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| {{section|Page:MS Var.82 097v.png|3|lbl=97v.3}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/84|1|lbl=77}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/84|1|lbl=77}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/63|2|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/63|2|lbl=-}}
 +
| {{section|Page:Cod.I.6.2º.2 71r.jpg|1|lbl=71r}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/81|3|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/81|3|lbl=-}}
| {{section|Page:Cod.I.6.2º.2 71r.jpg|1|lbl=71r}}
 
  
 
|-  
 
|-  
Line 1,298: Line 1,360:
  
 
<p>Item: take the blade to the buckler in your left hand, and turn against him with the half sword. If he cuts or thrusts at you from above to the face or from below to the legs, let your right hand go from the bind<ref>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.</ref> and ''Versetz''<ref>The instruction to ''Versetz'' could mean “to obstruct”.</ref> with shield and with sword, and grip with your right hand to the shield, well below to his right side, and twist out to your right side. Thus, you take the shield from him.<ref>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.</ref></p>
 
<p>Item: take the blade to the buckler in your left hand, and turn against him with the half sword. If he cuts or thrusts at you from above to the face or from below to the legs, let your right hand go from the bind<ref>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.</ref> and ''Versetz''<ref>The instruction to ''Versetz'' could mean “to obstruct”.</ref> with shield and with sword, and grip with your right hand to the shield, well below to his right side, and twist out to your right side. Thus, you take the shield from him.<ref>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.</ref></p>
 +
| class="noline" | <p>'''The sixth piece'''</p>
 +
 +
<p>Take your blade to your buckler in the left hand and defend against him. If he strikes or thrusts above towards your face or below towards your leg, remove your right hand from the sword and parry him with the buckler and sword. With your right hand take his buckler well down and press on your right side. Thus you take it from him.</p>
 +
 
| class="noline" | {{section|Page:Cod.44.A.8 080v.jpg|3|lbl=-}}
 
| class="noline" | {{section|Page:Cod.44.A.8 080v.jpg|3|lbl=-}}
 
| class="noline" |  
 
| class="noline" |  
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| class="noline" |  
 
| class="noline" |  
 
| class="noline" |  
 
| class="noline" |  
 +
{{section|Page:MS Var.82 097v.png|4|lbl=97v.4|p=1}} {{section|Page:MS Var.82 098r.png|1|lbl=98r.1|p=1}}
 
| class="noline" | {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/84|2|lbl=-}}
 
| class="noline" | {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/84|2|lbl=-}}
 
| class="noline" | {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/63|3|lbl=-}}
 
| class="noline" | {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/63|3|lbl=-}}
 +
| class="noline" | {{section|Page:Cod.I.6.2º.2 71r.jpg|2|lbl=-}}
 
| class="noline" | {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/81|4|lbl=-}}
 
| class="noline" | {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/81|4|lbl=-}}
| class="noline" | {{section|Page:Cod.I.6.2º.2 71r.jpg|2|lbl=-}}
 
  
 
|}
 
|}
Line 1,995: Line 2,062:
 
! <p>Illustrations</p>
 
! <p>Illustrations</p>
 
! <p>{{rating|C|Draft Translation (from the Rome)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>{{rating|C|Draft Translation (from the Rome)}}<br/>by [[Mike Rasmusson]]</p>
 +
! <p>{{rating|C|Draft Translation (from the French)}}<br/>by [[John Tse]]</p>
 
! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
 
! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
 
! <p>[[Codex Lew (Cod.I.6.4º.3)|Augsburg Version]] (1460s){{edit index|Codex Lew (Cod.I.6.4º.3)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
 
! <p>[[Codex Lew (Cod.I.6.4º.3)|Augsburg Version]] (1460s){{edit index|Codex Lew (Cod.I.6.4º.3)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
Line 2,008: Line 2,076:
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Munich (Mair) Ⅰ Version]] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.icon. 393 I)}}</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Munich (Mair) Ⅰ Version]] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.icon. 393 I)}}</p>
 
! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Version]] (1570){{edit index| Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
 
! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Version]] (1570){{edit index| Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>''[[Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt)|Ergrundung Ritterlicher Kunst der Fechterey]]'' (1516){{edit index|Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
+
! <p>[[Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt)|Paurenfeyndt's Edition]] (1516){{edit index|Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
! <p>''[[Der Allten Fechter gründtliche Kunst (Christian Egenolff)‎‎|Der Allten Fechter gründtliche Kunst]]'' (1530s){{edit index|Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
+
! <p>[[Der Allten Fechter gründtliche Kunst (Christian Egenolff)|Egenolff's Edition]] (ca. 1531){{edit index|Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
! <p>''[[Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt)|La Noble Science des Ioueurs Despee]]'' (1538){{edit index|La noble science des ioueurs d%27espee (Andre Paur%C3%B1feyndt) 1538.pdf}}<br/>Transcribed by [[Olivier&nbsp;Dupuis]], [[Didier&nbsp;de&nbsp;Grenier]], [[Michael&nbsp;Huber]]</p>
+
! <p>[[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg Manuscript]] (1564){{edit index|Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Sollinger Fechtbuch]] (1564){{edit index|Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
+
! <p>[[La noble science des ioueurs d'espee (Andre Paurenfeyndt)|French Translation]] (1538){{edit index|La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf}}<br/>Transcribed by [[Olivier Dupuis]], [[Didier de Grenier]], and [[Michaël&nbsp;Huber]]</p>
  
 
|-  
 
|-  
 
|  
 
|  
 
| <p>{{red|b=1|Fencing with the Dagger or Combat Dagger, Seven important Rules.}}</p>
 
| <p>{{red|b=1|Fencing with the Dagger or Combat Dagger, Seven important Rules.}}</p>
 +
|
 
| {{section|Page:Cod.44.A.8 085r.jpg|1|lbl=85r}}
 
| {{section|Page:Cod.44.A.8 085r.jpg|1|lbl=85r}}
 
|  
 
|  
Line 2,031: Line 2,100:
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/81|1|lbl=74}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/81|1|lbl=74}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/63|4|lbl=31v}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/63|4|lbl=31v}}
 +
| {{section|Page:Cod.I.6.2º.2 70r.jpg|6|lbl=70r}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/78|5|lbl=67}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/78|5|lbl=67}}
| {{section|Page:Cod.I.6.2º.2 70r.jpg|6|lbl=70r}}
 
  
 
|-  
 
|-  
Line 2,039: Line 2,108:
  
 
<p>If one stabs from above down to your face or chest, then drive forward with the left arm, and with the left hand grasp out from the inside over his right arm, and press him hard into your left side, and then stab him in the face with your dagger.</p>
 
<p>If one stabs from above down to your face or chest, then drive forward with the left arm, and with the left hand grasp out from the inside over his right arm, and press him hard into your left side, and then stab him in the face with your dagger.</p>
 +
| <p>'''The first piece'''</p>
 +
 +
<p>If someone thrusts you from below towards the face or towards the chest, move in with your left arm and with the left hand take out from inside over his right arm, and press strongly on your left side. Then thrust with the dagger towards his face.</p>
 
| {{section|Page:Cod.44.A.8 085r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 085r.jpg|2|lbl=-}}
 
|  
 
|  
Line 2,054: Line 2,126:
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/81|2|lbl=-}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/81|2|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/63|5|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/63|5|lbl=-}}
 +
| {{section|Page:Cod.I.6.2º.2 70r.jpg|7|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/78|6|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/78|6|lbl=-}}
| {{section|Page:Cod.I.6.2º.2 70r.jpg|7|lbl=-}}
 
  
 
|-  
 
|-  
Line 2,062: Line 2,134:
  
 
<p>If he moves as if he will stab to your face, and makes a feint to you, and will stab you in the side, then block the stab with your left arm, and then twist your left hand up from below over onto his right hand, and press hard onto your chest, and stab him to the face with your dagger.</p>
 
<p>If he moves as if he will stab to your face, and makes a feint to you, and will stab you in the side, then block the stab with your left arm, and then twist your left hand up from below over onto his right hand, and press hard onto your chest, and stab him to the face with your dagger.</p>
 +
| <p>'''The second piece'''</p>
 +
 +
<p>If he acts as if he wants to thrust high towards your face, makes the false cut, and wants to thrust to your side, shorten the cut on your left arm and with your left hand turn over his right’s and pierce him strongly against your chest. Then thrust towards his face.</p>
 
| {{section|Page:Cod.44.A.8 085r.jpg|3|lbl=-}}
 
| {{section|Page:Cod.44.A.8 085r.jpg|3|lbl=-}}
 
|  
 
|  
Line 2,078: Line 2,153:
 
|  
 
|  
 
{{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/63|6|lbl=-|p=1}} {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/64|1|lbl=32r|p=1}}
 
{{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/63|6|lbl=-|p=1}} {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/64|1|lbl=32r|p=1}}
 +
| {{section|Page:Cod.I.6.2º.2 70r.jpg|8|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/79|1|lbl=68}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/79|1|lbl=68}}
| {{section|Page:Cod.I.6.2º.2 70r.jpg|8|lbl=-}}
 
  
 
|-  
 
|-  
Line 2,086: Line 2,161:
  
 
<p>If he holds the dagger so that the disk stands by his thumb, and stabs to your face from above, then with your left hand drive up inward from below to his right arm, and out over his right hand, and trap his right hand in your left armpit, and attack him.</p>
 
<p>If he holds the dagger so that the disk stands by his thumb, and stabs to your face from above, then with your left hand drive up inward from below to his right arm, and out over his right hand, and trap his right hand in your left armpit, and attack him.</p>
 +
| <p>'''The third piece'''</p>
 +
 +
<p>If he has the dagger in his hand, the little finger towards the blade, and if he thrusts from above towards your face; raise your left hand from low to high in his right arm and out over his right hand. Take his hand with the dagger in your left and touch the dagger in front of him.</p>
 
| {{section|Page:Cod.44.A.8 085r.jpg|4|lbl=-}}
 
| {{section|Page:Cod.44.A.8 085r.jpg|4|lbl=-}}
 
|  
 
|  
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| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/81|4|lbl=-}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/81|4|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/64|2|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/64|2|lbl=-}}
 +
| {{section|Page:Cod.I.6.2º.2 70r.jpg|9|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/79|2|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/79|2|lbl=-}}
| {{section|Page:Cod.I.6.2º.2 70r.jpg|9|lbl=-}}
 
  
 
|-  
 
|-  
Line 2,110: Line 2,188:
  
 
<p>If he holds the dagger so that the disk stands by the thumb, and stabs to your side or torso, then with your left hand drive downward from above, and stab your dagger low under his right hand, and raise it up with your right hand, and press it hard to your chest, and twist yourself from him on your right side.</p>
 
<p>If he holds the dagger so that the disk stands by the thumb, and stabs to your side or torso, then with your left hand drive downward from above, and stab your dagger low under his right hand, and raise it up with your right hand, and press it hard to your chest, and twist yourself from him on your right side.</p>
 +
| <p>'''The fourth piece'''</p>
 +
 +
<p>If he has his dagger on the little finger towards the blade and if he thrust towards your side or the genitals, move in with your left hand from high to low and thrust with your dagger below his right hand. Press down with your left hand and with the right raise well up, take it to your chest and you shoot back or hurl from him on your right side.</p>
 
| {{section|Page:Cod.44.A.8 085v.jpg|1|lbl=85v}}
 
| {{section|Page:Cod.44.A.8 085v.jpg|1|lbl=85v}}
 
|  
 
|  
Line 2,126: Line 2,207:
 
{{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/82|1|lbl=75|p=1}}<ref>This play is listed twice.</ref>
 
{{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/82|1|lbl=75|p=1}}<ref>This play is listed twice.</ref>
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/64|3|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/64|3|lbl=-}}
 +
| {{section|Page:Cod.I.6.2º.2 70r.jpg|10|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/79|3|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/79|3|lbl=-}}
| {{section|Page:Cod.I.6.2º.2 70r.jpg|10|lbl=-}}
 
  
 
|-  
 
|-  
Line 2,134: Line 2,215:
  
 
<p>If he holds the dagger so that the disk stands on his little finger, and stabs down to you from above, then hold your dagger, and stab up from low on your left side, against his stab, over his right hand, and with your left hand grasp up under his right to your blade and push your arm hard on his, and pull downward, this is the trap.</p>
 
<p>If he holds the dagger so that the disk stands on his little finger, and stabs down to you from above, then hold your dagger, and stab up from low on your left side, against his stab, over his right hand, and with your left hand grasp up under his right to your blade and push your arm hard on his, and pull downward, this is the trap.</p>
 +
| <p>'''The fifth piece'''</p>
 +
 +
<p>If he has his dagger and little finger towards the blade and if he thrusts from high to low towards you, then take your dagger like him and thrust from low to high out from your left side against his attack below his right hand. With your left hand take his right hand over your blade and press your arms to his and pull down. Thus he loses his dagger.</p>
 
| {{section|Page:Cod.44.A.8 085v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 085v.jpg|2|lbl=-}}
 
|  
 
|  
Line 2,149: Line 2,233:
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/82|2|lbl=-}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/82|2|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/64|4|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/64|4|lbl=-}}
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/79|4|lbl=-}}
 
 
| <p><br/></p>
 
| <p><br/></p>
  
 
{{section|Page:Cod.I.6.2º.2 70v.jpg|1|lbl=70v}}
 
{{section|Page:Cod.I.6.2º.2 70v.jpg|1|lbl=70v}}
 +
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/79|4|lbl=-}}
  
 
|-  
 
|-  
Line 2,159: Line 2,243:
  
 
<p>If he has drawn his dagger, but you have not, and he stabs above to you, then drive up from below with your right arm, and grasp him with your right hand behind his right, and drive your left hand up from below to his right elbow, and take his arm hard above your left arm and throw him.</p>
 
<p>If he has drawn his dagger, but you have not, and he stabs above to you, then drive up from below with your right arm, and grasp him with your right hand behind his right, and drive your left hand up from below to his right elbow, and take his arm hard above your left arm and throw him.</p>
 +
| <p>'''The sixth piece'''</p>
 +
 +
<p>If he has pulled his dagger and you point yours and if he thrusts towards you, with your right arm raise from low to high and with your right hand seize behind his own. And with your left hand take his right elbow. Take his arm over and hurl him to the ground.</p>
 
|  
 
|  
 
{{section|Page:Cod.44.A.8 085v.jpg|3|lbl=-|p=1}} {{section|Page:Cod.44.A.8 086r.jpg|1|lbl=86r|p=1}}
 
{{section|Page:Cod.44.A.8 085v.jpg|3|lbl=-|p=1}} {{section|Page:Cod.44.A.8 086r.jpg|1|lbl=86r|p=1}}
Line 2,175: Line 2,262:
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/82|3|lbl=-}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/82|3|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/64|5|lbl=-}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/64|5|lbl=-}}
 +
| {{section|Page:Cod.I.6.2º.2 70v.jpg|2|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/80|1|lbl=69}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/80|1|lbl=69}}
| {{section|Page:Cod.I.6.2º.2 70v.jpg|2|lbl=-}}
 
  
 
|-  
 
|-  
Line 2,183: Line 2,270:
  
 
<p>If he draws his dagger sooner than you (draw) yours, and stabs above to you, then block the stab with your left arm, and drive outward from inside over his right arm, and press it to your left side, and twist yourself from him to your right side, thus you break his arm. If you would throw him on his back, then spring to your left with your right leg, and grab under his right arm with your right hand, then you throw him over the hip.</p>
 
<p>If he draws his dagger sooner than you (draw) yours, and stabs above to you, then block the stab with your left arm, and drive outward from inside over his right arm, and press it to your left side, and twist yourself from him to your right side, thus you break his arm. If you would throw him on his back, then spring to your left with your right leg, and grab under his right arm with your right hand, then you throw him over the hip.</p>
 +
| <p>'''The seventh piece'''</p>
 +
 +
<p>If he has his dagger pulled in front of you and if he thrusts from above towards you, shorten the cut on your left arm and with your left hand take his right arm in near his hand and press him to your left side. Throw him behind you. Thus you break his arm. And if you want to throw him over his back, with your right leg jump towards his left side, and with your hand take his right arm from below. Thus you will throw him over his thighs.</p>
 
| {{section|Page:Cod.44.A.8 086r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 086r.jpg|2|lbl=-}}
 
|  
 
|  
Line 2,199: Line 2,289:
 
|  
 
|  
 
{{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/64|6|lbl=-|p=1}} {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/65|1|lbl=32v|p=1}}
 
{{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/64|6|lbl=-|p=1}} {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/65|1|lbl=32v|p=1}}
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| {{section|Page:Cod.I.6.2º.2 70v.jpg|3|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/80|2|lbl=-}}
 
| {{section|Page:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf/80|2|lbl=-}}
| {{section|Page:Cod.I.6.2º.2 70v.jpg|3|lbl=-}}
 
  
 
|-  
 
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| class="noline" |
 
| class="noline" |  
 
| class="noline" |  
 
| class="noline" | <p>[8]</p>
 
| class="noline" | <p>[8]</p>
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  | source link = http://www.bj.uj.edu.pl/
 
  | source link = http://www.bj.uj.edu.pl/
 
  | source title= Biblioteka Jagiellońska
 
  | source title= Biblioteka Jagiellońska
  | license    = permission
+
  | license    = public domain
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
 
  | work        = Translation (Short Sword, Dagger)
 
  | work        = Translation (Short Sword, Dagger)
  | authors    = [[Mike Rasmusson]]
+
  | authors    = [[translator::Mike Rasmusson]]
 
  | source link =  
 
  | source link =  
 
  | source title= [http://www.schielhau.org/von.danzig.html Shielhau.org] (defunct)
 
  | source title= [http://www.schielhau.org/von.danzig.html Shielhau.org] (defunct)
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{{sourcebox
 
{{sourcebox
 
  | work        = Translation (Sword and Buckler)
 
  | work        = Translation (Sword and Buckler)
  | authors    = [[Keith Farrell]]
+
  | authors    = [[translator::Keith Farrell]]
 
  | source link = https://www.keithfarrell.net/research/sword-and-buckler-by-andre-lignitzer/
 
  | source link = https://www.keithfarrell.net/research/sword-and-buckler-by-andre-lignitzer/
 
  | source title= Academy of Historical Arts
 
  | source title= Academy of Historical Arts
 
  | license    = copyrighted
 
  | license    = copyrighted
 
}}
 
}}
 +
{{sourcebox
 +
| work        = Translation (Sword and Buckler, Dagger)
 +
| authors    = [[translator::John Tse]]
 +
| source link =
 +
| source title= Wiktenauer
 +
| license    = default
 +
}}
 +
 
{{sourcebox
 
{{sourcebox
 
  | work        = Translation (Grappling)
 
  | work        = Translation (Grappling)
  | authors    = [[Gregor Medvešek]]
+
  | authors    = [[translator::Gregor Medvešek]]
 
  | source link = http://www.scholapugnatoria.si/en/wrestling-andres-lignitzer/
 
  | source link = http://www.scholapugnatoria.si/en/wrestling-andres-lignitzer/
 
  | source title= Schola Pugnatoria
 
  | source title= Schola Pugnatoria
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}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = ''[[Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt)|Ergrundung Ritterlicher Kunst der Fechterey]]''
+
  | work        = [[Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt)|Paurenfeyndt's Edition]]
 
  | authors    = [[Michael Chidester]]
 
  | authors    = [[Michael Chidester]]
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf|Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516]]
+
  | source title= {{nowrap|[[Index:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf|Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516]]}}
 
  | license    = noncommercial
 
  | license    = noncommercial
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = ''[[Der Allten Fechter gründtliche Kunst (Christian Egenolff)‎‎|Der Allten Fechter gründtliche Kunst]]''
+
  | work        = [[Der Allten Fechter gründtliche Kunst (Christian Egenolff)‎‎|Egenolff's Edition]]
 
  | authors    = [[Michael Chidester]]
 
  | authors    = [[Michael Chidester]]
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Der Allten Fechter gründtliche Kunst (Christian Egenolff) 1531-1537.pdf|Index:Der Allten Fechter gründtliche Kunst (Christian Egenolff)]]
+
  | source title= [[Index:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf|Index:Der Altenn Fechter anfengliche kunst (Christian Egenolff)]]
 
  | license    = copyrighted
 
  | license    = copyrighted
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = ''[[Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt)|La Noble Science des Ioueurs Despee (Andre Paurenfeyndt)]]''
+
  | work        = [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Sollinger Fechtbuch]]
  | authors    = [[Olivier&nbsp;Dupuis]], [[Didier&nbsp;de&nbsp;Grenier]], [[Michael&nbsp;Huber]]
+
  | authors    = [[Dierk Hagedorn]]
 
  | source link =  
 
  | source link =  
  | source title= [[Index:La noble science des ioueurs d%27espee (Andre Paur%C3%B1feyndt) 1538.pdf|Index:La noble science des ioueurs d%27espee (Andre Paur%C3%B1feyndt)]]
+
  | source title= [[Index:Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)]]
 
  | license    = copyrighted
 
  | license    = copyrighted
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Sollinger Fechtbuch]]
+
  | work        = [[La noble science des ioueurs d'espee (Andre Paurenfeyndt)|French Translation]]
  | authors    = [[Dierk Hagedorn]]
+
  | authors    = [[Olivier&nbsp;Dupuis]], [[Didier&nbsp;de&nbsp;Grenier]], [[Michaël&nbsp;Huber]]
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)]]
+
  | source title= {{nowrap|[[Index:La noble science des ioueurs d'espee (Andre Paurenfeyndt) 1538.pdf|Index:La noble science des ioueurs d'espee (Andre Paurenfeyndt)]]}}
 
  | license    = copyrighted
 
  | license    = copyrighted
 
}}
 
}}
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== Additional Resources ==
 
== Additional Resources ==
  
* ''[http://www.archive.org/details/anzeigerfurkunde01germ Anzeiger für Kunde der deutschen Vorzeit]''. Nuremberg: [[Germanisches Nationalmuseum|Verlag der Artistisch-literarischen Anstalt des Germanischen Museums]], 1854.
+
{{bibliography}}
* Bauer, Matthias Johannes. ''“Der Alten Fechter gründtliche Kunst” &ndash; Das Frankfurter oder Egenolffsche Fechtbuch. Untersuchung und Edition''. Coll. Geschichtswissenschaften 37. München: Utz Verlag, 2016. ISBN: 978-3-8316-4559-6
 
* [[Albrecht Dürer|Dürer, Albrecht]] and [[Karl Wassmannsdorff|Wassmannsdorff, Karl]]. {{Google books|hb1AAAAAcAAJ|Die Ringkunst des deutschen Mittelalters}}. Liepzig: Priber, 1870.
 
* [[Dierk Hagedorn|Hagedorn, Dierk]]. ''Jude Lew: Das Fechtbuch.'' VS-Books, 2017. ISBN 978-3-932077-46-3
 
* [[Dierk Hagedorn|Hagedorn, Dierk]] and [[Christian Henry Tobler]]. ''The Peter von Danzig Fight Book''. [[Freelance Academy Press]], 2021. ISBN 978-1-937439-53-8
 
* [[Jeffrey Hull|Hull, Jeffrey]], with [[Monika Maziarz|Maziarz, Monika]] and [[Grzegorz Żabiński|Żabiński, Grzegorz]]. ''[http://www.academia.edu/1035644/Knightly_Dueling_the_Fighting_Arts_of_German_Chivalry Knightly Dueling: The Fighting Arts of German Chivalry]''. Boulder, CO: [[Paladin Press]], 2007. ISBN 1-58160-674-4
 
* Jaquet, Daniel; [[Bartłomiej Walczak|Walczak, Bartłomiej]]. "Liegnitzer, Hundsfeld or Lew? The question of authorship of popular Medieval fighting teachings". ''[[Acta Periodica Duellatorum]]'' '''2'''(1): 105-148. 2014. {{doi|10.1515/apd-2015-0015}}
 
* [[David Lindholm|Lindholm, David]] and Svard, Peter. ''Sigmund Ringeck's Knightly Arts of Combat.'' Boulder, CO: [[Paladin Press]], 2006. ISBN 978-1-58160-668-1
 
* Roelofsen, Mathijs. "La Noble Science des Joueurs d’Espée: Fight Book and Commercial Product". ''[[Acta Periodica Duellatorum]]'' '''8'''(1): 73-88, 2020. {{doi|10.36950/apd-2020-005}}
 
* [[Christian Henry Tobler|Tobler, Christian Henry]]. ''In Saint George's Name: An Anthology of Medieval German Fighting Arts.'' Wheaton, IL: [[Freelance Academy Press]], 2010. ISBN 978-0-9825911-1-6
 
* [[Christian Henry Tobler|Tobler, Christian Henry]]. ''Secrets of German Medieval Swordsmanship.'' Highland Village, TX: [[Chivalry Bookshelf]], 2001. ISBN 1-891448-07-2
 
* [[Bartłomiej Walczak|Walczak, Bartłomiej]] and Starko, Bartosz. ''Additional Transmissions of Hundsfeld and Lignitzer Dagger Teachings''. ''[[Acta Periodica Duellatorum]]'' '''6'''(1): 137-149. 2018. {{doi|10.2478/apd-2018-0005}}
 
* [[Szabolcs Waldmann|Waldmann, Szabolcs]]. "Mertein Hündsfelder: ''Fechtlehre mit dem Kurzen Schwert'', circa 1491 AD, Fight-Teaching with the Shortened Sword from Codex Speyer (137r-141r)". ''[[Acta Periodica Duellatorum]]'' '''1'''(2): 93-105. 2013.
 
* [[Rainer Welle|Welle, Rainer]]. "Ein unvollendetes Meisterwerk der Fecht- und Ringkampfliteratur des 16. Jahrhunderts sucht seinen Autor: der Landshuter Holzschneider und Maler Georg Lemberger als Fecht- und Ringbuchillustrator?" ''Codices manuscripti & impressi.'' Supplementum 12. Purkersdorf: Verlag Brüder Hollinek, 2017.
 
* [[Rainer Welle|Welle, Rainer]]. ''"…und wisse das alle höbischeit kompt von deme ringen". Der Ringkampf als adelige Kunst im 15. und 16. Jahrhundert.'' Pfaffenweiler: Centaurus-Verlagsgesellschaft, 1993. ISBN 3-89085-755-8
 
  
 
== References ==
 
== References ==
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[[Category:German]]
 
[[Category:German]]
 
[[Category:Latin]]
 
[[Category:Latin]]
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[[Category:French]]
  
 
[[Category:Translation]]
 
[[Category:Translation]]
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[[Category:Format on hold]]
 
[[Category:Format on hold]]
 +
[[Category:Modular display candidate]]

Latest revision as of 03:20, 12 July 2024

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, Graz, and Rostock versions of Lignitzer's treatise on short sword fencing are erroneously credited to Martin Huntsfeld, while Huntsfeld's own treatise on the subject is credited to Lew.[5]

The text of the Krakow version of Lignitzer frequently refers to intended illustrations that were never added to the manuscript. The appropriate blank pages are included in the illustration column as placeholders. It's possible (though not likely, given what we know about its origins) that this manuscript was replicating another one with a complete set of illustrations; if this ever surfaces, the illustrations will be replaced.

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. 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. This label was apparently copied in the wrong place, and ought to accompany the next play.
  7. play
  8. The Rome version says: “Here begin the pieces with the buckler that the master Andre Lignitzer has written hereafter”.
  9. Oberhaw could be translated as “downward cut” for ease of use and clarity in English.
  10. This instruction is present in the Dresden version, but missing from the Rome version.
  11. 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.
  12. Dresden version specifies from his right shoulder, missing from Rome version.
  13. 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.
  14. 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.
  15. 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.
  16. Wechselhaw could be translated as “changing cut”, because it goes up and down, side to side.
  17. 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.
  18. 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).
  19. Probably with a thrust, but potentially with any other pushing technique.
  20. Mittelhaw could be translated as “middle cut”, going across from one side to the other.
  21. 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.
  22. Schaittler could be translated as “parter”, in the sense of being something which parts another thing in two, or dividing something in two.
  23. The German transcription reads “Zwer”
  24. The German transcription reads “Schaittler”, perhaps related to "parting" in two halves.
  25. Sturtzhaw could be translated as “dropping cut”, in the sense of a ball dropping back to earth when it has been thrown upward.
  26. The treatise says schilts, plural, meaning that you thrust inside both sword and shield.
  27. Dresden version specifies to the body, missing from Rome version.
  28. 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.
  29. 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.
  30. The instruction to Versetz could mean “to obstruct”.
  31. 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.
  32. There is a further piece of instruction in Goliath: “Pull your left leg far back”.
  33. The instructions in Goliath are more precise: “Go through to your left side under his left armpit while holding his left arm”.
  34. “his” (in Goliath)
  35. “his” (in Goliath).
  36. “his” (in the Glasgow Fechtbuch).
  37. Goliath’s description is a bit different: “Strike out with your right hand and grab his right butt cheek”.
  38. The Glasgow Fechtbuch has another suggestion: “…or into his eyes”.
  39. “over” (in the Glasgow Fechtbuch).
  40. The instructions in Goliath are clearer: “Step with your right leg outside behind his right leg…”.
  41. Goliath goes in more detail here: “…turn to your left side and throw him over your right hip”.
  42. Goliath has a further suggestion: “You can also step with your right thigh to his left thigh during the turn and throw him”.
  43. “his” (in Glasgow Fechtbuch).
  44. Korrgiert aus »rechten«.
  45. This play is listed twice.