Difference between revisions of "Pseudo-Peter von Danzig"

Gloss and Interpretation of the Recital
	die gloss und die auslegung der zettel des langen schwerts
Author(s)	Unknown
Ascribed to	Pseudo-Peter von Danzig
Illustrated by	Unknown
Date	before 1452
Genre	Fencing manual ; Wrestling manual ;
Language	Early New High German
State of Existence	Original hypothetical; multiple branches exist
Principal; Manuscript(s)	Cod. 44.A.8 (1452)
Manuscript(s)	MS KK5126 (1480s) ; Ortenburg Fechtbuch (1400s) ; Falkner Turnierbuch (ca. 1500) [more]
First Printed; English Edition	Tobler, 2010
Concordance by	Michael Chidester
Translations	Traduction française ; Deutsch-Übersetzung ; Magyar fordítás [more]

Latest revision as of 04:34, 9 November 2024

"Pseudo-Peter von Danzig" is the name given to an anonymous 15th century German fencing master.^[1] Some time before the creation of the Starhemberg Fechtbuch in 1452, he authored a gloss of Johannes Liechtenauer's Recital (Zettel) which would go on to become the most widespread in the tradition. While the identity of the glossator remains unknown, it is possible that he was in fact Lew, a name associated with one of the branches of the gloss (see below), or Sigmund ain Ringeck, whose gloss shows strong similarities to the work. On the other hand, the introduction to the Rome version of the text could be construed as attributing it to Liechtenauer himself.

Textual History

Manuscript Stemma

Early on in its history, the prototype of the Pseudo-Peter von Danzig gloss seems to have split into at least three branches, and no definite copies of the unaltered original are known to survive. The gloss of Sigmund ain Ringeck also seems to be related to this work, due to the considerable overlap in text and contents, but it is currently unclear if Ringeck's gloss is based on that of pseudo-Danzig or if they both derive from an even earlier original gloss (or even if Ringeck and pseudo-Danzig are the same author and the "Ringeck" gloss should be considered Branch D).

Provisional stemma codicum for Branch B

Branch A, first attested in the Augsburg version (1450s) and comprising the majority of extant copies, has more plays overall than Branch B but generally shorter descriptions in areas of overlap. It also glosses only Liechtenauer's Recital on long sword and mounted fencing; in lieu of a gloss of Liechtenauer's short sword, it is generally accompanied by the short sword teachings of Andre Lignitzer and Martin Huntsfeld (or, in the case of the 1512 Vienna II, Ringeck's short sword gloss). Branch A is sometimes called the Lew gloss, based on a potential attribution at the end of the mounted gloss in a few copies. Apart from the Augsburg, the other principal text in Branch A is the Salzburg version (1491), which was copied independently^[2] and also incorporates twelve paragraphs from Ringeck's gloss and nineteen paragraphs from an unidentified third source. Branch A was redacted by Paulus Hector Mair (three mss., 1540s), Lienhart Sollinger (1556), and Joachim Meyer (1570), which despite being the latest is the cleanest extant version and was likely either copied directly from the original or created by comparing multiple versions to correct their errors. It was also one of the bases for Johannes Lecküchner's gloss on the Messer in the late 1470s.

Branch B, attested first in the Rome version (1452), is found in only five manuscripts; it tends to feature slightly longer descriptions than Branch A, but includes fewer plays overall. Branch B glosses Liechtenauer's entire Recital, including the short sword section, and may therefore be considered more complete than Branch A; it also differs in that three of the four known copies are illustrated to some extent, where none in the other branches are. Branch B is the one most commonly identified with pseudo-Danzig, because it is entirely anonymous and lacks any clues for other attribution. The Krakow version (1535-40) seems to be an incomplete (though extensively illustrated) copy taken from the Rome,^[3] while Augsburg II (1564) collects only the six illustrated wrestling plays from the Krakow. The other substantial version of Branch B is the Vienna, which includes the mounted and short sword sections but omits the long sword in favor of Branch C. Most anomalous are the Glasgow version (1508), consisting solely of a nearly-complete redaction of the short sword gloss which begins with seven paragraphs of unknown origin, and the Dresden version, consisting of a redaction of the first half of the mounted fencing gloss which begins with four paragraphs from Ringeck. A final manuscript, the Falkner Turnierbuch, is known to have once existed but seems to have been destroyed in the Siege of Strasbourg.

Branch C is first attested in the Vienna version (1480s). It is unclear whether it was derived independently from the original, represents an intermediate evolutionary step between Branches A and B, or was created by simply merging copies of those two branches together. The structure and contents of this branch align closely with Branch B, lacking most of the unique plays of Branch A, but the actual text is more consistent with that of Branch A (though not identical). The other mostly-complete copy of Branch C is the Augsburg version II (1553), which was created by Paulus Hector Mair based on the writings of Antonius Rast, and which segues into the text of Ringeck's gloss for the final eighteen paragraphs. A substantial fragment of Branch C is present in five additional 16th century manuscripts alongside the illustrated treatise of Jörg Wilhalm; one of these, Glasgow II (1533) assigns the text a much earlier origin, stating that it was devised by Nicolaüs in 1489. This branch has received the least attention and is currently the least well understood.

(A final text of interest is the gloss of Hans Medel von Salzburg, which was acquired by Mair in 1539^[4] and bound into the Cod. I.6.2º.5 after 1566.^[5] Medel demonstrates familiarity with the teachings of a variety of 15th century Liechtenauer masters, and his text often takes the form of a revision and expansion of the long sword glosses of Ringeck and Branch C. Because of the extent of original and modified content, no attempt has been made on either of those pages to associate Medel's gloss with the sources he was copying from.)

Modern HEMA

The Rome version has been an object of interest in HEMA going back all the way to Martin Wierschin's 1965 opus Meister Johann Liechtenauers Kunst des Fechtens, in which he attributed the entire manuscript to Peter von Danzig zum Ingolstadt and described the anonymous gloss as a modified version of Ringeck devised by Danzig. He also included the Dresden, Vienna, and Augsburg manuscripts in his catalog, with the glosses all attributed to either Ringeck or Liechtenauer himself. In Hans-Peter Hils' updated catalog in 1985, Meister Johann Liechtenauers Kunst des langen Schwertes, he included all four of these plus the Kraków manuscript, but maintained and even doubled down on the attributions to Ringeck, Danzig, and Liechtenauer. Finally, the Glasgow version was identified in Sydney Anglo's 2000 opus as merely "[R. L.] Scott's Liechtenauer MS",^[6] but Rainer Leng's 2008 catalog fully outlined its contents, including glosses he attributed to Ringeck and Liechtenauer.

The earliest work on the pseudo-Peter von Danzig gloss is inseparable from work on Ringeck, partly because of the convoluted chain of copying proposed by Wierschin and Hils and accepted uncritically for a long time thereafter, but mostly because the Dresden manuscript was entirely credited to Ringeck in early days. The correct attribution of Andre Lignitzer's sword and buckler and the fragment of Ott Jud's wrestling were recognized by the early 21st century, but the fragment of pseudo-Danzig's mounted gloss was only identified by Michael Chidester in 2021. Thus, the first transcription of any part of the gloss would be Wierschin's transcription of the Dresden version in 1965, the first German modernization was made by Christoph Kaindel in the 1990s, the first English translation was authored in 1999 by Jörg Bellinghausen, and so on.

Also in 2001, Grzegorz Żabiński authored the first transcriptions of pseudo-Danzig without attribution to Ringeck: the long and short sword from the Rome version and the long sword from the Kraków. This work was posted on the ARMA-PL site, and likewise when Monika Maziarz rounded off the Rome by transcribing the mounted fencing in 2004.

That same year, Mike Rasmusson authored the first English translations of the long sword gloss (based on the Kraków version with occasional references to the Rome) and short sword gloss (based on Rome) and posted them on Schielhau.org. English translations of the short sword and mounted fencing (based on the Rome) followed in 2007, authored by Jeffrey Hull and published by Paladin Press in Knightly Dueling: The Fighting Arts of German Chivalry. Then in 2010, Grzegorz Żabiński released a new translation of the Kraków long sword as part of his dissertation on that manuscript, published by Adam Marshall in The Longsword Teachings of Master Liechtenauer: the Early Sixteenth Century Swordsmanship Comments in the "Goliath" Manuscript, and Christian Henry Tobler released the first complete English translation of the Rome version, published by Freelance Academy Press in In Saint George's Name: An Anthology of Medieval German Fighting Arts.

The first non-English translation seems to be a French translation of the Rome and Dresden mounted glosses produced by Michaël Huber and posted on the ARDAMHE site in 2004. In 2010, he followed this up with a translation of the long sword, together with Philippe Errard and Didier de Grenier, which was also posted on the ARDAMHE site; this would be translated to Spanish by Eugenio García-Salmones in 2011 and posted on the AVEH site.

In 2006, Dierk Hagedorn authored a new transcription of the Rome version and posted it on the Hammaborg site. This was subsequently published, along with his translation to modern German, by VS-Books in Transkription und Übersetzung der Handschrift 44 A 8. In 2012, Gábor Erényi authored separate translations of the Rome and Kraków versions of the long sword and posted them on the Schola Artis Gladii et Armorum site.

The Rome version has tended to be the most popular due to being the oldest surviving one, and the Kraków second-most-popular on account of having extensive illustrations, but a small amount of work on the other versions has also emerged over time. In 2006, Carsten Lorbeer, Julia Lorbeer, Andreas Meier, Marita Wiedner, and Johann Heim, working as part of the Gesellschaft für pragmatische Schriftlichkeit, authored a complete transcription of the Vienna version as part of their Kal project (which was eventually posted on that site). In 2009, Dierk Hagedorn likewise produced transcriptions of the Augsburg and Glasgow versions and posted them on Hammaborg (he eventually also re-transcribed the Vienna version in 2017).

In 2013, Cory Winslow authored a new English translation of the long sword section for Wiktenauer, which was the first that incorporated all known versions of the gloss; in 2016, this translation was published by Wiktenauer in The Recital of the Chivalric Art of Fencing of the Grand Master Johannes Liechtenauer. In 2018, Stephen Cheney rounded off the Wiktenauer article with translations of the short sword and mounted glosses.

The Falkner Turnierbuch, the final known copy of the pseudo-Danzig gloss, was identified in 2015 by Christian Trosclair through study of a late-18th century dictionary by Johann Georg Scherz. This dictionary included 94 quotations from the manuscript ranging from a few words to an entire paragraph, which Trosclair transcribed and which constitute the entire known text of the manuscript since it has been lost and presumed destroyed since the 19th century.

In 2017, Rainer Welle authored a monograph seeking to set the record straight on the Kraków manuscript and including the first complete transcription, published as "Ein unvollendetes Meisterwerk der Fecht- und Ringkampfliteratur des 16. Jahrhunderts sucht seinen Autor: der Landshuter Holzschneider und Maler Georg Lemberger als Fecht- und Ringbuchillustrator?", a supplemental issue of the journal Codices manuscripti & impressi.

Most recently, more translations of the Rome version have continued to be released. In 2019, Harry R. self-published a complete English translation titled Peter von Danzig. In 2020, Stephen Cheney self-published an English translation of the long sword in Ringeck · Danzig · Lew Longsword. And in 2021, Dierk Hagedorn and Christian Henry Tobler co-authored a revision to their transcription and translation (respectively) which was published by Freelance Academy Press in The Peter von Danzig Fight Book.

Treatise

Illustrations
from the Kraków and Rome versions

Featured Translation (2016)
by Cory Winslow

[1] Here begins the gloss and the interpretation of the Epitome on the Long Sword

This has been composed and created by Johannes Liechtenauer, the one High Master in the Art, may God be gracious to him, so that princes, lords, knights, and soldiers shall know and learn that which pertains to the Art. Therefore he has allowed the Epitome to be written with secret and suspicious words, so that not every man shall undertake and understand them. And he has done that so the Epitome’s Art will little concern the reckless Fencing Masters, so that from those same Masters his Art is not openly presented, nor shall it become common. And the same secret and suspicious words of the Epitome which stand hereafter, the glosses teach and explain thus, so that everyone who otherwise can fence may well undertake and understand them.

[2] Here mark what the red writing is in the beginning of the techniques described hereafter: it is the text of secret words of the Epitome of the Long Sword. And always the black script after it is the gloss and the explanation of the secret and suspicious words of the Epitome.

[3] This is the preface:

1	Young knight learn To have love for God, honor maidens,
2	So waxes your honor. Practice Knighthood, and learn
3	Art that adorns you, And in wars brings honor.
4	Wrestle well, grappler. Glaive, spear, sword, and knife,
5	Manfully handle, And in others’ hands ruin.
6	Hew therein, and swift there. Rush in, hit or let drive.
7	Knowing this Hastens the man seen praised.
8	Thereon you grasp, All Art has length and measure.

[4] This is a general lesson of the Long Sword in which very fine Art is held:

Text

9	If you will show Art, You go left, and right with hewing.
10	And left with right Is how you most strongly fence.

Gloss: Mark, that is the first art of the Long Sword, that you shall learn the hews correctly before all things, so that you will otherwise fence strongly, and undertake that thus: When you stand with your left foot before and hew from your right side, if you do not follow after the hew with a step forward of your right foot, then the hew is false and incorrect. When your right side remains behind, the hew becomes too short thereby and may not have its correct path downwards to the other side before the left foot.

[5] Or, if you stand with your right foot before and hew from the left side, and you do not follow after the hew with your left foot, then the hew is still false. Therefore mark when you hew from the right side that you always follow after the hew. Do also likewise the same when you hew from the left side. So put your body therewith correctly in the balance, and thus the hews become long and hewn correctly.^[8]

[6] This is the text and the gloss of yet a lesson:

11	Whoever goes after hewing, He deserves little joy in his art.

Gloss: This is when you come to him with the pre-fencing: then you shall not stand still and look after his hews, waiting for what he fences against you. Know that all fencers that look and wait on another’s hews and will do nothing other than parrying deserve such very little joy in their art, since they are destroyed and become struck thereby.

[7] This is the text and the gloss of yet a lesson:

12	Hew near what you will, No Change comes on your shield.
13	To the head, to the body, The Lighter-hits do not shun.
14	With the entire body, Fence so that you most strongly drive.

Gloss: Mark, that is when you come to him with the pre-fencing: what you will then fence, drive it with the entire strength of your body, and hew in therewith near to the head and to the body, and remain with your point in before his face or the breast so he cannot Change-through before your point. If he parries with strength and lets the point go out from you on the side, then give him a Lighter-hit^[9] on the arm.

[8] Or, if he drives high up with his arms with the parrying, then strike him with a free hew below to the body, and step quickly backward therewith, so he is struck before he comes in.

[9] This is the text and the gloss of yet another lesson:

15	Hear what is bad there: Fence not above left, if you are right.
16	If you are left, With the right you also sorely limp.

Gloss: Mark, this is a lesson and touches upon two persons, a righty and a lefty, and is how you shall hew so that one does not win the Weak of your sword with the first hew, and undertake that thus: when you come to him with the pre-fencing, if you are then a righty, then do not hew the first hew with purpose from the left side, when he is Weak, and may not hold against therewith when he hews strongly in with you. So therefore hew from the right, so that you may well hold strongly against, and work what you will on the sword. Likewise, if you are a lefty, then also do not hew the first hew from the right side, since it is quite perilous for a lefty to practice Art from the right side, the same as it is also for a righty from the left side.

[10] This is the text and the gloss of yet another lesson:

17	Before and After, these two things, Are to all Art a well-spring.
18	Weak and Strong, Meanwhile, that word therewith mark.
19	So you may learn Working and defending with Art.
20	If you readily frighten, No fencing ever learn.

Gloss: Mark, this is that before all things you shall rightly undertake and understand these two things, which are the Before and the After, and thereafter the Weak and Strong of the sword, and then the word "Meanwhile", whence comes the entire foundation of all the Art of Fencing. When you think on, undertake, and understand them rightly, and do not forget the word "Meanwhile" in all techniques that you drive, then you are a very good Master of the Sword and may teach princes and lords well, so that they may be best in combat and in earnest with the correct Art of the Sword.

[11] Here mark what is there called the Before:

This is that you shall always come Before (be it with the hew or with the stab) before he does. And when you come before with the hew or otherwise, then he must parry that, so work Meanwhile nimbly before yourself with the sword in the parrying, or otherwise with other techniques. Then he may come to no work.

[12] Here mark what is there called the After:

The After are the breaks against all techniques and hews the opponent drives on you, and that undertake thus: When he comes Before with the hew, and you must parry him, then work Meanwhile with your parrying nimbly with the sword to the nearest opening. Then you break his Before with your After.

[13] Here mark the Weak and the Strong of the sword:

Understand the Weak and the Strong thus: On the sword from the hilt to the middle of the blade is the Strong of the sword, and further above the middle to the point is the Weak. (And how you shall work with the Strong of your sword after the Weak of his sword you will learn hereafter.)

[14] This is the text and gloss of Five Hews:

21	Five Hews learn From the right hand. Who they defend,
22	Them we vow In Arts to reward well.

Gloss: Mark, there are Five hidden Hews of which many Masters of the Sword know nothing to say; these Hews you shall learn correctly from the right side. Whichever fencer, whom you then hew with correct Art, that can break these without injury, will be praised by other Masters, so that his Art shall become rewarded more than other fencers. And how one shall hew the Hews with their techniques, that will be clarified to you hereafter.

[15] This is the text and the gloss of techniques of the Epitome:

23	Wrath hew, Crooked, Thwart, Have Squinter with Parter.
24	Fool, Forfends, Travelling-after, Over-running, Set hews,
25	Changing-through, Pull, Run-through, Slice-off, Press hands,
26	Hang, Wind, with openings, Blows, grasp, strike, stab with thrusting.

Gloss: Mark, here have become named to you the right Chief Techniques of the Epitome on the Long Sword (how they are each called particularly by their names), so that you can remember and recall them all the better. The first are the Five Hews, and how they are particularly named:

Item: The first is called the Wrath-hew.
Item: The second the Crooked-hew.
Item: The third the Thwart-hew.
Item: The fourth the Squint-hew.
Item: The fifth the Parting-hew.

[16] Now mark the techniques:

Item: The first, they are the Four Guards.
Item: The second, the Four Forfendings.
Item: Thirdly, the Travelling-after.
Item: The fourth, Over-running.
Item: The fifth, the Setting-off.
Item: The sixth is the Changing-through.
Item: The seventh is the Pulling.
Item: The eighth, the Running-through.
Item: The ninth, the Slicing-off.
Item: The tenth is the Hand Pressing.
Item: The eleventh are the Hangings.
Item: The twelfth are the Windings.

[17] And what you shall fence from the techniques, and how you shall give openings with the Hangings and Windings, you will thus find described hereafter, one after another to the next.

[18] Mark. Here begins the text and the gloss.

First, of the Wrath-hew with its techniques:

Text

27	Whoever Over-hews you, Wrath-hew point threatens him.

Gloss: Mark, the Wrath-hew breaks all Over-hews with the point, and yet is nothing other than a simple peasant strike, and drive it thus: When you come to him with the pre-fencing, if he then hews at your head from above on his right side, then hew also with him wrathfully from your right side from above, without any parrying, on his sword. If he is then Soft on the sword, then shoot in the long point straight before you and stab him to the face or the breast. So Set-on him.

[19] This is the text and the gloss of yet another technique of the Wrath-hew:

28	If he becomes aware of it, Then take off above without danger.

Gloss: Mark, that is when you hew in on him with the Wrath-hew, then shoot the long point into the face or breast, as the fore-described states. If he becomes aware of the point and parries strongly and presses your sword to the side, then wrench up over it with your sword on his sword’s blade, off above from his sword, and hew him to the other side, yet on his sword’s blade, into the head. That is called "taking off above".

[20] Break against the taking off above

When he takes off above, then bind above on his sword strongly, in with the long edge to his head.

[21] This is the text and the gloss on yet another of the Wrath-hew:

29	Be Stronger against, Wind, Stab. If he sees, then take it down.

Gloss: Mark, that is when you hew in on him with the Wrath-hew, if he parries and remains Strong with the parrying on the sword, then remain also Strong against with your sword on his, and drive high up with your arms, and Wind your hilt on his sword in front before your head, and stab him above into his face. If he becomes aware of the stab, and drives high up with his arms and parries with his hilt, then remain standing thus with your hilt before your head, and set the point in below on his neck, or on his breast between both his arms.

As painted hereafter.^[11]

[22] This is the text and the gloss of a lesson of the Wrath-hew:

30	This precisely mark: Hew, stab, Leaguer, Soft or Hard,
31	Meanwhile, and Before, After, Without haste. Your War should not be rushed.

Gloss: Mark, this is when he has bound with you, with a hew or with a stab (or otherwise on your sword): then from the Winding before you, you shall not too quickly leave his sword. When one sword clashes on the other, very precisely mark if he is Soft or Hard in the bind, and when you have found that first, then work Meanwhile with the Winding, after the Soft and after the Hard, always to the nearest-standing opening as you will be taught hereafter and trained in the techniques.

[23] This is the text and the gloss of the War:

32	Whoever enters the War Above, he becomes ashamed below.

Gloss: Mark the War, that is, the Winding and the work with the point that goes from there to the Four Openings, and drive it thus: when you hew in with the Wrath-hew, then as quickly as he parries, drive up well with your arms and Wind the point of your sword above in to the upper opening of his left side. If he then sets the upper stab off, then remain thus standing in the Winding with the hilt before your head, and let the point sink down to the lower opening yet on his left side. If he then follows after your sword with the parrying, then search with the point for the lower opening on his right side. If he then follows after your sword further with the parrying, then drive up with your sword on your left side, and hang the point in above to the upper opening on his right side. Thus he becomes ashamed with the War above and low, if you drive correctly from one to the other.

[24] This is the text and the gloss of yet another lesson from the Wrath-hew:

33	In all Winding, Learn to find hew, stab, slice.
34	Also shall you, with Proving, hew, stab, or slice.
35	In all hits You will trick the Masters.

Gloss: Mark, this is when you hew in to him with the Wrath-hew: then you shall be very well trained and entirely ready with the Winding on the sword, since each single Winding has three particular techniques, which are a hew, a stab, and a slice. And when you Wind on the sword, then you shall think precisely well, so that you do not incorrectly drive the technique that pertains in that Winding (so that you do not hew when you should stab, and not slice when you should hew, and not stab when you should slice). And thus you shall always know to drive the technique that correctly pertains thereto in all hits and binding on the sword, if you will trick or deceive the other Masters when they are set against you. And how you shall drive the Windings, and how many there are, you will find described in the last technique of the Epitome, which says "Whoever drives well and correctly breaks…"^[13]

[25] This is the text and the gloss of the Four Openings:

36	Four Openings know; Aim so you hit knowingly
37	In all driving, Without confusion for how he acts.

Gloss: Mark, whoever will be a Master of the Sword, he shall know how one shall search the Four Openings with art, if he will otherwise fence correctly and wisely. The first opening is the right side, the other the left, of the upper-half above the girdle of the man. The other two openings are the right and left side of the lower-half below the girdle. Now, there are two drivings whence one shall search the openings. First, one shall search from the pre-fencing with Travelling-after and with shooting-in the long point. Secondly, one shall search with the Eight Windings when one has bound the other on the sword. That you shall thus understand: when you come to him with the pre-fencing, you shall always aim at the Four Openings boldly without any fear (with a hew or with a stab, to whichever you may best come on) and regard not what he drives or fences against you. Therewith, you force the man so that he must parry you, and when he has parried, then search quickly in the parrying with the Winding on his sword yet to the nearest opening, and thus aim always at the openings of the man and fence not to the sword, as in the technique which says, "Set-on four ends; Learn to remain thereon if you will end."^[14]

[26] This is the text and the gloss how one shall break the Four Openings:

38	If you will reckon The Four Openings artfully to break,
39	Above Double, Below correctly Mutate.
40	I say to you truthfully, No man protects himself without danger.
41	If you have understood this, To strikes may he seldom come.

Gloss: Mark, when one earnestly hews in at you, if you will then reckon on him and win on the openings with art, so that he must let you strike without thinking, then drive the Doubling against the Strong of his sword, and the Mutating when he is Weak on the sword. So I say to you truthfully that he may not protect himself from strikes before you, and cannot come to strikes himself.

[27] Here mark how you shall drive the Doubling to both sides:

Mark, when he hews above to you from his right shoulder: then hew also from your right with him, likewise above strongly to the head. If he parries and remains Strong on the sword, then drive up Meanwhile with your arms, and thrust your sword’s pommel with your left hand under your right arm, and strike in with the long edge with crossed arms, behind his sword’s blade on his head.

[28] Another:

Mark, if he hews you with the long edge in to your head from above his left shoulder, and you do likewise, if he then remains Strong on the sword again, then quickly drive up with your arms and strike in with the short edge, behind his sword’s blade on his head.

[29] Thus you have learned to bring your sword to the War and pass through it.

[30] Here mark how one shall drive the Mutating to both sides:

Mark, when you hew strongly on him from above your right shoulder to his head, if he parries and is Soft on the sword, then Wind on your left side with your short edge on his sword, and drive up well with your arms, and drive in with your sword’s blade above over his sword, and stab into the lower opening.

[31] Another:

Mark, when you hew to his head from above your left side, if he parries and is Soft on the sword, then drive up with your arms and hang in the point above over his sword, and stab into the lower opening. Thus you may drive the two techniques from all hews thereafter, as you find the Weak and Strong on the sword.

[32] These are the fencings with the sword, and embody the work that is exalted.

[33] This is the text and the gloss of the Crooked Hew with its techniques:

42	Crooked on nimbly, Throw the point on the hands.
43	Whoever sets well Crooked With steps injures many hews.

Mark, the Crooked hew is one of the Four Forfendings against the Four Guards, and breaks the guard that is called the Ox therewith, and also the Over-hew and the Under-hew. Drive it thus: when you come to him with the pre-fencing, if he then stands against you and holds his sword before his head in guard of the Ox on his left side, then set your left foot before and hold your sword on your right shoulder in the guard, and spring with your right foot well on your right side against him, and strike in with crossed arms^[15] over his hands with the long edge.

[34] Another:

Mark, you may also drive the Crooked hew from the Barrier-Guard on both sides, and in that guard position yourself thus: when you come to him with the pre-fencing, then stand with your left foot before and hold your sword with the point near your right side on the earth (so that the long edge is above), and give an opening with the left side. If he then hews to the opening, then spring from the hew with your right foot well on your right side against him, and strike him with the long edge with crossed hands, with the point on his hands.

[35] Of the Barrier-Guard

Thus position yourself with the Barrier-Guard on your left side: when you come to him with the pre-fencing, then stand with your right foot before and hold your sword near your left side on the earth with crossed hands (so that the short edge is above), and give an opening with the right side. If he then hews to the opening, then spring from the hew against him with your left foot well on his right side, and strike him with the short edge over the hands in the spring.

[36] This is the text and the gloss of a good technique from the Crooked hew:

44	Hew Crooked to the flat. The Masters will you weaken.
45	When it clashes above Then stand off, that will I praise.

Gloss: Mark, you shall drive this technique against the Masters from the bind of the swords, and drive it thus: when you come to him with the pre-fencing, then stand with the left foot before and lay your sword to your right side in the Barrier-Guard (or hold it on your right shoulder). If he then hews above to the opening, then hew strongly with your long edge with crossed arms against his hew, and as quickly as the swords clash together, then Wind Meanwhile against your left side with the short edge on his sword, and stab him to the face. Or, if you will not stab him, then hew him with your short edge Meanwhile, from the sword to his head or to his body.

[37] This is the text and the gloss of yet another from the Crooked-hew:

46	Crooked not, Short-hew. Changing-through therewith show.

Gloss: Mark, this is when he will hew you from above his right side: then drive high up with your hands and do as if you will bind him on his sword with the Crooked hew, and drive through under his sword with your point, and stab him to the other side, to his face or his breast, and see that you are well protected above with the hilt before your head. You also break the guard of the Ox with this technique, drive it thus: when you go to him with the pre-fencing, when he then stands against you and holds his sword with the hilt on his left side before his head, then throw your sword on your right shoulder and do as if you will bind him with the Crooked hew on his sword, and hew short and Change-through therewith below his sword, and shoot in the long point to the other side, under his sword, in to his neck. Then he must parry, and you come to strikes therewith, and to other work with the sword.

[38] This is the text and the gloss of yet another technique from the Crooked hew:

47	Crooked, who makes you astray, The noble War confuses him,
48	That he truthfully Knows not where he is without danger.

Gloss: Mark, when you will drive the Crooked hew then you must always therewith give openings, and undertake it thus: when you hew him with the Crooked hew from your right side, or bind on his sword, all the while you are open with the left side. Thus, if he is then clever and will hew you from the sword after the opening, and you will make him confused with agility, then remain with your sword on his, and follow his sword thereon after, and Wind in your point to his face, and work in before you with the War (that is, with the Winding to the openings). Then he becomes confused before you, so that he truthfully does not know which end he shall protect before you against hews or stabs, etc.

[39] Here begins the text and the gloss of the Thwart Hew with its techniques:

49	Thwart takes What comes From the Day.

Gloss: Mark, the Thwart hew breaks the guard From the Day and all hews that come hewing down from above, and drive the Thwart thus: when you come with the pre-fencing, then stand with your left foot before and hold your sword on your right shoulder. If he then stands against you and holds his sword high over his head with outstretched arms and threatens to hew in at you from above, then come before him with your hew and spring with your right foot well on your right side against him, and in the spring Wind your sword with the hilt before your head so that your thumb comes under, and strike him with the short edge against his left side to the head.

[40] Or, if he comes before with the hew down from above before you, then spring from the hew with your right foot well on your right side, with the parry described before, so that you catch his hew on your hilt and strike him with the Thwart to the left side of his head.

[41] Here mark the break against the Thwart Hew:

Mark, when you stand against him in the guard From the Day, then hew him boldly above to the head. If he then springs from the hew, and he means to come Before with the Thwart Hew and strike you therewith to your left side to the head, then fall in with the long edge on his sword. If he then strikes around to your other side with the Thwart, then come Meanwhile before, also with the Thwart, in front, under his sword, on his neck. So he strikes himself with your sword.

[42] With this piece, Master Berthold sliced Master Hans Talhoffer on the hand and struck him on the head in front of my Lord, his Grace Duke Albrecht, in München.^[16]

Mark, when a fencer has bound you on his sword, if he then strikes around from the sword with the Thwart to your other side, then fall in on his hands or on his arm with your long edge, and press his arm from you with your sword (with the slice with your all), and then strike him on his head with the sword (from the slice on his arm).

[43] Here mark the break against the Over-slice on the arm:

Mark, when you strike him with the Thwart to his right side, if he then follows you with the slice on the arm, then strike him in his mouth with the Doubling, behind his sword’s blade with the short edge.

[44] Or, if you strike him with the Thwart to his left side, and he then follows you with the slice on your arm, then strike him in his mouth with the Doubling, behind his sword’s blade with the long edge.

[45] Mark, break him thus against the Doubling: when you slice him above on his arm, if he then strikes above with the Doubling to your head, then drive up against the strike and Wind your sword under his, and drive in with the short edge, with your sword on his neck.

[46] This is the text and the gloss of yet a technique from the Thwart hew:

50	Thwart with the Strong, Your work therewith mark.

Gloss: Mark, this is when you will strike with the Thwart: then you shall strike him with the entire strength of your body, and always bind on his sword with the Strong of your sword, with which you win the opening. Undertake it thus: when you hew to him with the Thwart from your right side, if he then parries and binds strongly on your sword therewith,^[17] then drive the Doubling. Or thrust his sword off to the side from the Thwart with your hilt, and strike him therewith to the other side.

[47] Yet another:

When you strongly hew to him from your right side with the Thwart, if he then parries and is Soft on the sword, then drive in with the short edge of your sword to his right side on his neck, and spring with your right foot behind his left foot, and shove him over with the sword’s blade thus, or drive the Mutating in to the lower opening.

[48] Thus break that:

When one drives on your neck with the sword, then drive up with the pommel inside his sword and let your blade hang low, and thrust his sword therewith from your neck, and strike him with the snapping above to the head. Or strike him with your right hand above with the Doubling below to his face, over his sword, while he has his sword on your neck.

[49] This is the text and the gloss of the Thwart strike to the Four Openings:

51	Thwart to the Plow, To the Ox hard joined.
52	What you well Thwart With springing, the head endanger.

Gloss: Mark, you have heard before how the Ox and the Plow are named two Leaguers (or two guards), so are they here called the Four Openings. The Ox is the upper two openings on the right and the left sides of the head, and so is the Plow the lower two openings, also the right and the left side of the lower half of the girdle of the man. You shall strike the same openings with the Thwart in the pre-fencing, and seek all four.

[50] Mark, thus strike the Thwart strike to the Four Openings:

Mark, when you come to him with the pre-fencing then stand with your left foot before, and then, when you are near him, spring well on his left side with your right foot against him, and strike the Thwart with vigor against his left side to the lower opening. That is called "striking to the Plow". If he parries, then strike him quickly to the upper opening on his right side. That is called "[striking] to the Ox". And then drive the Thwart strikes quickly, always one to the Ox and the other to the Plow, crosswise from one side to the other, that is to the head and to the body.

[51] Also you shall always think to spring out wide on the side against him with each Thwart strike: so may you hit well to his head, and see also that you are well guarded above with the hilt before your head.

[52] Here mark a break against the lower Thwart strike:

Mark, when he strikes you above to your head with the Thwart (from his right side to your left), then parry with the long edge and remain with the point before his breast. If he then strikes around with the Thwart, from the sword to the lower opening on your right side, then strike also with the Thwart below through (between you and him), also against his right side, and bind therewith on his sword, and remain in the bind and stab him Meanwhile to the lower opening.

[53] This is the text and the gloss of the technique that is called the Failer:

53	Failer misleads. Hit from below after your wish.

Gloss: The Failer is a technique which many fencers plan and hit with as they wish, and strike those who like parrying and who fence to the sword (and not to the openings of the body).

[54] Mark, when you come to him with the pre-fencing, then do as if you will strike him with a free Over-hew to the head, but pull the hew and strike him with the Thwart to the lower opening of his left or his right side (to whichever you want), and see that you are well-guarded with the hilt over your head. You may also drive this thus with the Thwart-hew.

[55] This is the text and the gloss of the technique that is called the Inverter:

54	Inverter forces Running through, also with wrestling.
55	The elbow knowingly take; Spring into the balance.

Gloss: Mark, the Inverter is called "the half-hew" or "the turned-hand" by fencers. Therewith one forces the man, so that he may Run-through him and grasp him with wrestling.

[56] Drive that thus:

When you go to him with the pre-fencing, then go with your left foot before, and hew the half-hew with inverted long edge from the right side, each and every, up and down, still with your left foot. When you have come to him, and as quickly as you bind on his sword, then Meanwhile hang the point in above and stab in to his face. If he parries the stab and drives high up with his arms, then Run-through him. Or if he remains low with his hands in the parrying, then grip his right elbow with your left hand and hold him fast therewith, and spring with your left foot before his right and thrust him thus over the foot.

[57] Or, if you will not thrust him over the foot by the elbow with your left hand (as the fore-described states), then drive in with your left arm behind around his body, and throw him before you over your left hip.

[58] This is the text and the gloss of yet another Failer:

56	Failer twofold, Hit him, then make with the slice.
57	Twofold it proceeds, Step in left and be not lax.

Gloss: Mark, this is called the twofold Failer, drive it thus: when you come to him with the pre-fencing, then stand with your left foot before and hold your sword on your right shoulder, and when he is even to you, then spring well against him with your right foot on his left side, and do as if you would hew him with a free Thwart-strike to the left side of his head, but pull the hew before it hits, and spring with your left foot on his right side, and strike there to his head. If he parries and you hit his sword, then spring over to the same side near him, and slice him in his mouth with the short edge, behind his sword with the Doubling.

[59] Or fall in with your sword over both arms with the slice.Also, you may thus drive the Failer as well from the Over-hew as from the Thwart strike, when you are even (or when you want).

[60] Here begins the Squint-hew with its techniques:

Text

58	Squinter breaks What the Buffalo strikes or stabs.
59	Whoever threatens to change, Squinter robs him therefrom.

Gloss: Mark, the Squinter^[19] breaks the guard that is called the Plow, and is a good, strange, and serious hew when it breaks with force one who is hewing in or stabbing in, and it goes with inverted sword. There are many Masters of the Sword around that know nothing to say of this hew.

[61] Here mark how one shall do the Squinter-hew:

Mark, when you come to him with the pre-fencing, then stand with your left foot before and hold your sword on your right shoulder. If he then hews above in to your head, then turn your sword and hew long against his hew with the short edge, over his sword with stretched arms above in to his head. If he is then clever and Fails with the hew, and will Change-through below your sword, then let the point shoot in long before you with the hew, so he may not Change-through below.

[62] Another:

When you stand against him and hold your sword on your right shoulder, if he then stands against you in the guard of the Plow and will stab below to you, then hew him long in above with the Squinter, and shoot the point long in to the breast, so may he not reach you below with the stab.

[63] This is the text and the gloss of a lesson of the Squinter:

60	Squint that he is short on you, Changing-through defeats him.

Gloss: Mark this lesson, when you come to him with the pre-fencing, so shall you Squint with the face and see if he fences short against you. You shall perceive if, when he then hews to you, he stretches the arms not long from him with the hew; so is his sword shortened.

[64] Or, if you lie before him in the guard of the Fool, if he will then fall Crooked thereon with the sword, so is his sword but shortened.

[65] Or, if he lies against you in the guard of the Ox or the Plow, so is his sword but shortened. Also know that all Winds with the sword before the man are short and shorten the sword, and whatever fencer drives the Winding thus, then freely Change through from hews and from stabs, and shoot in the long point therewith into the nearest opening. Therewith you force him so that he must parry, and so you come to your correct work.

[66] This is the text and the gloss of how one breaks the Long Point with the Squinter:

61	Squint to the point, And take the neck without fear.

Gloss: Mark, when you come to him with the pre-fencing, if he then stands against you and holds the Long Point against your face or breast, then hold your sword on the right shoulder and squint with your face to the point, and do as if you will hew him there, but then hew strongly with the Squinter, with the short edge on his sword, and shoot in the long point to the neck therewith (with a step to of the right foot).

[67] This is the text and the gloss of yet a technique from the Squint Hew:

62	Squint to the upper Head, hands will you harm.

Gloss: Mark, this is another break when he stands against you in the Long Point. Squint with your face to his head, and do as if you will strike him thereon, but strike him with the Squint-hew with the point on his hands.

[68] Here begins the text and the gloss of the Parting-Hew:

Text

63	The Parter Is dangerous to the face.
64	With its turn Very dangerous to the breast.
65	What comes from him, The Crown takes that off.
66	Slice through the Crown, So yet you break hard.
67	Press the strike, With slicing you pull off.

Gloss: Mark, the Parter breaks the guard that is called Fool, and, with its turn, is very dangerous to the face and the breast.

[69] That drive thus:

When you come to him with the pre-fencing, if he then lies against you in the guard Fool, then set your left foot before and hold your sword on your right shoulder in the guard, and spring to him, and hew strongly down from above with the long edge to his head. If he then parries the hew so that his point and hilt both stand over him, that is called the Crown. Then remain high with your arms, and with your left hand lift your sword’s pommel over you, and sink the point in over his hilt to his breast. If he then drives up with his sword and thrusts your point upwards with his hilt, then Wind your sword through under his Crown with the slice in his arms and press. Thus is the Crown again broken, and with the pressing slice fast in the arms, and then pull yourself off with the slice.

[70] This is the text and gloss on the Four Leaguers:

68	Four Leaguers alone Therefrom hold, and curse the common.
69	Ox, Plow, Fool, From the Day, are not unpleasant to you.

Gloss: Mark the Four Leaguers, that is, the Four Guards from which you shall fence.

[71] [This is the first guard:]

The first guard is called the Ox, position yourself thus with it: stand with your left foot before and hold your sword near your right side, with the hilt before your head so that your thumb is under the sword, and hang the point in against his face.

[72] Mark, on the left side position yourself thus in the Ox: stand with your right foot before and hold your sword near your left side, with the hilt before your head so that your thumb is below, and hang the point in against his face. That is the Ox on both sides.

[73] This is the second guard:

Mark, the other guard is called the Plow, there position yourself thus with it: stand with your left foot before and hold your sword with crossed hands, with the pommel below you near your right side on your hip, so that the short edge is above and the point stands in against his face.

[74] Mark, on the left side position yourself thus in the Plow: stand with your right foot before and hold your sword near your left side, with the pommel below you on your hip, so that the long edge is above and the point stands in against the face. That is the Plow on both sides.

[75] This is the third guard:

Mark, position yourself thus in the guard called Fool: stand with your right foot before and hold your sword with stretched arms before you, with the point on the earth so that the short edge is turned above.

[76] This is the fourth guard:

Mark, the guard is called From the Day, therein position yourself thus: stand with your left foot before and hold your sword on your right shoulder, or with up-stretched arms high over your head, and stand thus in the guard.

[77] This is the text and the gloss of the Four Forfendings:

70	Four are the Forfendings That also sorely injure the Leaguers.

Gloss: Mark, you have heard before that there are Four Guards. So you shall now also know the Four Forfendings that break the same Four Guards. Also hear that the Forfendings are nothing more than breaking with four hews.

[78] Mark, the first hew is the Crooked-hew, which breaks the guard that is called the Ox.

[79] Mark the second hew, that is, the Thwart-hew, which breaks the guard From the Day.

[80] Mark the third hew, that is, the Squinter, which breaks the guard that is called the Plow.

[81] Mark the fourth hew, that is, the Parter, which breaks the guard that is called the Fool.

[82] And you shall find how you shall break the four guards with the hews before, in the descriptions of the same hews.

[83] This is the text and the gloss that one shall not parry:

71	Guard yourself against parrying. If that happens it also sorely troubles you.

Gloss: Mark, that is that you shall not parry as the common fencers do: when they parry they hold their points high or to the side, and that is to understand that they do not know to seek the Four Openings^[20] with the point with their parrying, therefore they often become struck. When you will parry, then parry with your hew or with your stab, and seek Meanwhile the nearest opening with the point; so may no Master strike at you without being injured.

[84] This is the text and the gloss on what you shall drive against him when one has parried you:

72	If you are parried, And how that there comes,
73	Hear what I teach you: Wrench off, hew quickly with threat.

Gloss: Mark, that is when one has parried you and will not withdraw from your sword, and means to not let you come to techniques: then wrench with your sword upwards on his sword’s blade, as if you would take off from his sword above, but remain on his sword and hew him, striking in with the long edge on his blade again, into his head.

[85] This is the text and the gloss of the Four Settings-on:

74	Set-on four ends; Learn to remain thereon if you will end.

Gloss: Mark, there are Four Settings-on that you hear you shall drive in earnest when you will quickly strike or injure him. Drive them thus: when you come to him with the pre-fencing, then lie with your sword in the guard of the Ox or the Plow. If he will then hew above or stab below, then mark while he lifts up his sword and will strike, or pulls it to himself below and will stab, and then come Before and shoot the long point into the nearest opening before he brings ahead his hew or stab, and see if you may Set-on him. Likewise do that also when he hews to you with Under-hews: then shoot the point in before he comes up with the hew from below, and drive that to both sides. If he then becomes aware of the Setting-on, then remain with your sword on his and work in nimbly to the nearest opening.

[86] This is the text and the gloss of the Travelling-after:

75	Travelling-after learn Twofold, or slice in the weapon.
76	Two Outside Conducts, The work thereafter begins.
77	And prove the drivings, If they are Soft or Hard.

Gloss: Mark, the Travelling-afters are many and multiple, and pertain to driving from hews and stabs with great prudence against the fencers that fence with free and long hews (and otherwise do not hold well to the correct Art of the Sword).

[87] Drive the Travelling-after thus:

When you come to him with the pre-fencing, then stand with your left foot before in the guard From the Day, and see well how he will fence against you. If he then hews long above in to you, then watch so that he does not reach you, and mark while his sword goes under you against the earth with the hew. Then spring to with your right foot and hew him above into the head before he comes up again with the sword; so is he struck.

[88] This technique described hereafter^[21] is called the Outside Conduct:

Mark, when he fore-hews you, and you Travel-after him with the hew to the opening, if he then drives up quickly with the sword and comes below you on your sword, then remain strong thereon. If he then heaves fast upwards with the sword, then spring with your left foot behind his right and strike him with the Thwart (or otherwise to his head on his right side), and work quickly again around to his left side with the Doubling (or otherwise with other techniques thereafter, as you find if he is Soft or Hard on the sword).

[89] Here mark a good Travelling-after on the sword from Under-hewing:

Mark, when you fence against him from Under-hewing, or from the slashing, or lie against him in the guard that is called Fool, if he then falls with his sword on yours before you therewith come up, then remain thus with your sword below on his and heave upwards. If he then Winds on the sword with the point into your face or breast, then do not let him off from the sword, and follow him thereafter, and work in with the point to the nearest opening. Or, if he strikes around from the sword, then follow him or Travel-after with the point as before.

[90] Mark, you shall travel after him from all hews and from all guards^[22] as quickly as you can when he fore-hews from you or opens himself with the sword. And see that afterward you do not open yourself nor fore-hew with the Travelling-after, and mark that to both sides.

[91] Here mark the text and the gloss of the Feeling and of the word that is called "Meanwhile":

Text

78	Learn the Feeling. "Meanwhile", that word slices sorely.

Gloss: Mark, the Feeling and the word "Meanwhile" are the greatest and the best art with the sword, and who is a Master of the Sword (or wants to be), if he cannot understand the Feeling and the word "Meanwhile", then is he not a Master, but he is a Buffalo of the Sword. Therefore you shall, before all things, learn well these two things so that you understand them rightly.

[92] Here mark the lesson of the Feeling and of the word that is called "Meanwhile":

Mark, when you come to him with the pre-fencing, and bind one another on the sword, then, as the swords clash together, you shall Feel with the hand simultaneously if he has bound Soft or Hard on you, and as quickly as you have found out, then think of the word "Meanwhile": that is, that simultaneously as you find the same, you shall nimbly work on the sword so he is struck before he becomes aware of it.

[93] Here you shall mark…

That the Feeling and the word "Meanwhile" are one thing, and one may not be without the other, and undertake it thus: when you bind on his sword, then you must Feel with the hand (with the word "Meanwhile") if he is but Soft or Hard on the sword, and when you have Felt, then you must but work Meanwhile after the Soft and after the Hard on the sword; thus are they both naught than one thing. And the word "Meanwhile" is in all techniques previously, and that undertake thus:

	"Meanwhile" Doubles, "Meanwhile" Mutates,
	"Meanwhile" Changes through, "Meanwhile" Runs through,
	"Meanwhile" takes the slice, "Meanwhile" wrestles with,^[23]
	"Meanwhile" takes the sword; "Meanwhile" does what your heart desires.

"Meanwhile": that is a sharp word wherewith all Masters of the Sword who know not to name this word become sliced. That is the key of the Art.

[94] Here mark the text and the gloss of yet a Travelling-after:

79	Travel-after twofold. One hits, make with the Ancient Slice.

Gloss: Mark, that is that you shall drive the Travelling-after to both sides and you shall not forget the slice there. Undertake it thus: when he fore-hews in front of you (be it from the right or from the left side), then hew in boldly After to the opening. If he then drives up and binds below you on the sword, then mark as quickly as the swords clash on each other, and then slice him Meanwhile after his neck, or fall in with the long edge on his arms and slice fast.

[95] Here mark the text and the gloss of the Over-running:

80	Whoever aims below, Over-run, then he becomes ashamed.
81	When it clashes above, Then strengthen, that I praise.
82	Your work make, Or press hard twofold.

Gloss: Mark, that is when you come to him with the pre-fencing: if he then hews below to your lower opening, do not parry that, but hew in above strongly to his head. Or, if he hews to you with Under-hewing, then mark before he comes up with the Under-hew, and shoot the long point above into his face or his breast, and Set-on him above so he may not reach you below (since all upper Settings-on break and defeat the lower). If he then drives up and binds below on your sword, then remain with the long edge strongly on his sword, and work nimbly to the nearest opening, or let him work and come Meanwhile so that you hit him.

[96] Here mark, this is the text and the gloss on how one shall Set-off stabs and hews:

83	Learn Setting-off, Hews, stabs, artfully injure.
84	Whoever stabs on you, Your point hits and his breaks.
85	From both sides Hit all, if you will step.

Gloss: Mark, drive the Setting-off thus: when you come to him with the pre-fencing, if he then stands against you as if he will stab, then set your left foot before and stand against him in the guard of the Plow on your right side, and give an opening with your left side. If he then stabs to that same opening, then Wind against his stab with your short edge on his sword (and your sword on your left side), and therewith Set-off, and therewith step to him with your right foot and stab him Meanwhile to the face or the chest.

[97] Another technique:

Mark, when you stand on your right side in the Plow, if he then hews into your left side above to your head, then drive up with the sword and Wind therewith on your left side against his hew with the hilt before your head, and step therewith to him with your right foot, and stab him to the face or breast. Drive this technique from the Plow on both sides.

[98] This is the text with the gloss on how one shall Change-through:

86	Changing-through learn From both sides with stabs sorely.
87	Whoever binds on you, Changing-through closely finds him.

Gloss: Mark, the Changing-throughs are many and multiple; you shall drive them against the fencers that readily parry and that hew to the sword (and not to the openings of the body). You shall learn to drive it well with prudence, so that one cannot Set-on you or come in with something^[25] while you are Changing-through.

[99] Drive the Changing-through thus:

When you come to him with the pre-fencing, then hew in above strongly. If he then hews against your sword (and not to your body), then let the point go through his sword with the hew, below between you, before he binds on your sword, and stab into the other side to his breast. If he becomes aware of the stab, and drives quickly after the stab with parrying with the sword, then Change-through yet again, and always do that when he drives after the sword with parrying.

[100] Another

When you come to him with the pre-fencing, then set your left foot before and hold the Long Point against his face. If he then hews to your sword down from above (or up from below), and will strike that away or bind strongly thereon, then let the point sink underneath and stab him to the other side. Drive that against all hews wherewith one hews to your sword.

[101] That even mark…

How you shall Change-through so that one will not Set-on you while you are doing so, and undertake it thus: when he parries and lets his point go out near your side, then bravely Change-though and stab him to the other side. Or, if he remains with the point before your face (or otherwise against the opening), then do not Change-through but remain on the sword, and work therewith to the nearest opening so he may not Travel-after you with Setting-on.

[102] Here mark the text and the gloss of the Pulling on the sword:

88	Step near in binding. The Pulling gives good findings.
89	Pull; if he hits, Pull more. He finds work that does him woe.
90	Pull all hits If you want to trick the Masters.

Gloss: Mark that Pulling pertains to driving against the Masters who bind strongly on the sword, and in the bind of the swords remain standing still, and will wait to see if one will hew off, or will draw off from the sword before them so that they can then use Travelling-after to the opening. If you will trick or deceive those same Masters, then drive the Pulling against him thus: hew in from the right side above strongly to his head. If he then drives with the sword strongly forward with the hew and will parry, or hews to your sword, then pull your sword on you before he binds on you, and stab into the other side. And do that against all hitting and binding-on of the swords.

[103] Mark another Pulling:

When he has bound on your sword, if he then stands against you in the bind and waits to see if you yourself will draw off from the sword, then do as if you will Pull, but remain on his sword and Pull your sword on you as far as half the blade, and stab in quickly again into his face or his breast. If you do not hit him correctly with the stab, then work with the Doubling or otherwise with other techniques which are best.

[104] Here mark the text and the gloss of the Running-through and of the wrestling on the sword:

91	Run-through, let hang With the pommel. Grip if you will wrestle.
92	Whoever is Strong against you, Running-through therewith mark.

Gloss: Mark, the Running-through and the wrestling are of two kinds with the sword: the Running-throughs are the body wrestling, and then thereafter are the arm wrestlings. And they pertain to driving against the fencers that like to run in.

[105] The Running-through, drive the first of that thus:

Mark, when he runs into you and drives high up with the arms and will overwhelm you above with strength, then drive also up with your arms, and hold your sword by the pommel over your head with your left hand, and let the blade hang down behind over your back, and Run with your head through your arm against his right side, and spring with your right foot behind his right, and with the spring then drive in with your right arm against his left side in front, well around his body, and grasp him thus on your right hip and throw him before you backwards on his head.

[106] Yet another body wrestling:

Mark, when he runs into you with up-stretched arms, and you do so against him, then Run-through him with the head to his right side, and let your sword hang behind over your back (as the before stated describes), and step with your right foot in front before his right, and drive in with your right arm through below his right arm, behind, around his body, and grasp him on your right hip and throw him behind you. Drive these two wrestlings to both sides.

[107] Yet another body wrestling:

Mark, when he runs into your right side and is high with his arms, and you are also, then hold your sword in the right hand with the pommel reversed, and thrust his arms and his sword from you with your hilt, and spring with your left foot in front before both his feet, and drive in with your left arm well behind, around his body, and grasp him on your left hip and throw him before you.

[108] Yet another body wrestling:

Mark, when he runs into you and is high with his arms, and you are also, then hold your sword in your right hand and thrust his arms from you therewith, and spring with your left foot behind his right, and drive in with your left arm through, below, before his breast on his left side, and grasp him on your left hip and throw him behind you. Drive these two wrestlings also to both sides.

[109] Here mark now the arm wrestling with the sword:

Mark, when one runs into you with the sword and holds his hands low, then invert your left hand and grip his right inwardly therewith (between both his hands), and press him therewith on your left side, and strike in with the sword with the right over his head.

[110] Another

If you will not strike, then spring with your right foot behind his left, and drive in with your right arm in front or behind his neck, and throw him thus over your right knee.

[111] Yet an arm wrestling:

Mark, when he runs into you with the sword and is low with his hands, then let your left hand drive from the sword, and drive in with your right with the pommel out over his right hand, and press down therewith, and grip him with your left hand by his right elbow, and spring with your left foot before his right and thrust him over thus.

[112] Yet an arm wrestling:

Mark, when he runs into you with the sword, then let your sword fall and invert your right hand, and grip his right outwardly therewith, and with your left grasp him by the right elbow, and spring with your left foot before his right, and thrust his right arm over your left with your right hand, and heave him over you therewith. Thus may you break his arm, or throw him over your left leg before you (if you want).

[113] Here mark a sword taking:

Mark, when one runs into you with the sword, then invert your left hand and drive therewith over his right arm, and grip his sword by the handle therewith (between both his hands),^[27] and press therewith on your left side; so you take his sword.

[114] Yet another sword taking:

Mark, when he parries or otherwise binds on your sword, then grip both swords in the middle with your left hand on the blades, and hold them both fast together, and with your right hand drive with the pommel below, through, in front over both his hands, and press upwards therewith on your right side. Then you remain with both swords.

[115] Here mark the text and the gloss of Slicing-off:

93	Slice off the hard ones From below in both drivings.

Gloss: Mark, that is what you shall drive when one binds on your sword strongly above, or falls thereon, and undertake it thus: when you fence-to with the Under-hewing or with the slashing, or lie against him in the guard Fool, if he then falls with his sword on yours (before you come up therewith), then remain below on his sword and heave upwards with the short edge fast. If he then presses your sword downwards fast, then slash off from his sword from below on his blade with your sword behind yourself, and hew in to the other side on his sword’s blade quickly again, above into his mouth.

[116] Yet another:

When you fence-to him with Under-hewing, or lie in the guard Fool, if he then falls with the sword on yours nearby the hilt (before you come up therewith), so that his point goes out to your right side, then drive up nimbly with your pommel over his sword and strike with the long edge to his head. Or, if he binds on your sword so that his point goes out to your left side, then drive with your pommel over his sword and strike in with the short edge to his head. That is called the Snapping.

[117] Here mark the text and the gloss of the Four Slices:

94	Four are the Slices, Two below, with two above.

Gloss: Mark the Four Slices: know that the first are the two Overs, which pertain to driving against the fencers that like to strike around with the Thwart (or otherwise to the other side) from the parrying or from the bind of the sword.

[118] Break that thus:

When he binds you on your sword to your left side, and strikes quickly again around therewith with the left foot on your right side, then fall in with the long edge above over both arms and press from you with the slice. You shall always drive that to both sides when he strikes around from the parrying, or hews from the sword.

[119] Mark

That the two Under-slices pertain to driving against the fencers that like to run in with outstretched arms. Drive it thus: when he binds on your sword and drives high up with his arms, and runs in to you on your left side, then invert your sword so that your thumb comes below, and fall in with the long edge in his arm, under the pommel, and press upward with the slice.

[120] Or, if he runs with out-stretched arms to your right side, then invert your sword so that your thumb comes below, and fall in with the short edge in the arms, under his pommel, and press upwards with the slice. Those are the Four Slices.

[121] Here mark the text and the gloss of the turning of the slices:

95	Your edge turn To escape, press the hands.

Gloss: Mark, that is how you shall drive the two Over-slices from the two Under-slices. Undertake it thus: When he runs in to you on your left side with up-stretched arms, then invert your sword and fall with the long edge in the arm, under his pommel, and press fast upwards and step therewith on his right side, and Wind your pommel below through, and come not from his arms with the sword, and turn the sword from the Under-slice into the Over-slice with the long edge over his arms.

[122] Another

If he runs in with up-stretched arms to your right side, then turn your sword against his arms with the short edge, under the pommel, and press fast upwards, and step on his left side therewith and let the pommel go through below, and turn your sword with the long edge over his arm and press from you with the slice.

[123] Here mark the text and the gloss of the two lower hangings:

96	Two hangings come From one hand from the earth.
97	In all drivings, Hew, stab, Leaguers, Soft or Hard.

Gloss: Mark, the two hangings from the earth, that is, the Plow on both sides: and when you will fence therefrom, or are fencing, then you shall therein also have the Feeling if he is Soft or Hard in hewing, and in stabbing, and in all binding of the swords. Also you shall therefrom drive the four Windings, and from each Winding feature a hew, a stab, and a slice, and otherwise also drive all driving as from the two upper hangings.

[124] Here mark the text and the gloss of the Speaking-Window:

98	Speaking-Window make. Stand freely, see his business.
99	Strike in so that he snaps. Whoever pulls off before you,
100	I say to you truthfully, No man can protect himself without danger.
101	If you have understood, To strikes may he barely come.

Gloss: Mark, you have heard before how you shall position yourself before the man with the sword in the Four Guards, and you shall fence therefrom. So shall you now also know the Speaking-Window, which is also a guard that you may well stand in, and the guard that is called the Long Point is the noblest and the best ward with the sword. Whoever correctly fences therefrom can force the man, that he must let you strike as you desire, and may not come to strikes and stabs himself before the point.

[125] Position yourself thus in the Speaking-Window:

When you go to him with the pre-fencing, with whatever hew you then come on him (whether it be a Under or an Over-hew), then let the long point always shoot in to his face or his breast with the hew. Therewith you force him, so that he must parry you or bind on the sword, and when he thus has bound on, then remain strongly with the long edge on the sword and stand freely and see his business (what he will further fence against you). If he pulls off backwards from the sword, then follow after him with the point to the opening. Or, if he strikes around from the sword to the other side, then bind after his hew strongly above to his head. Or, if he will not draw off from the sword or strike around, then work with the Doubling (or otherwise with other techniques) thereafter as you find him Weak or Strong on the sword.

[126] This is another stance

And is also called the Speaking-Window. Mark, when you come close to him with the pre-fencing, then set your left foot before, and hold the long point with your arms against his face or his breast before you bind him on the sword, and stand freely and see^[30] what he will fence against you. If he then hews in to your head long above, then drive up and Wind against his hew with the sword in the Ox, and stab into his face. Or, if he hews to your sword and not to your body, then Change through and stab in to the other side. If he runs in and is high with his arms, then drive the Under-slice. Or, if he runs in through with wrestling and is low with his arms, then drive the arm wrestling. Thus you may drive all techniques from the Long Point.

[127] Here mark the text and the gloss of the explanation on the Four Hangings and the Eight Windings with the sword that the Epitome holds:

102	Whoever drives well, and correctly breaks, And finally well accounts,
103	And breaks particularly Each of the Three Wounders,
104	Whoever correctly hangs well, And brings therewith Winding,
105	And eight Windings With correct weighing considers,
106	And to unite them The Windings are triple, I mean,
107	So are they twenty- And-four pieces only.
108	From both sides Learn eight Windings with steps,
109	And prove the driving, Nothing more, only Soft or Hard.

Gloss: Mark, this is a lesson and an admonition of Hanging and of Winding with the sword; therein you shall well meditate on and take account of, so that you boldly drive with agility and break against the others fencers’ techniques correctly, and drive boldly against him therefrom. When the hangings are the Ox above on both sides, these are the two upper hangings; and the Plow below on both sides, these are the lower two hangings. From the Four Hangings you shall bring Eight Windings, four from the Ox, and four from the Plow, and the same Eight Windings you shall further thus consider and correctly weigh, so that from every particular Winding you shall drive the Three Wounders (that is a hew, a stab, and a slice).

[128] Here mark how you shall drive the four Windings from the right side and from the left side from the two upper hangings, that is, from the Ox:^[31]

These are the first two Windings from the Ox on the right side alone, drive them thus: When you come to him with the pre-fencing, then stand with your left foot before and hold your sword on your right side before your head in the Ox. If he then hews from above on his right side, then Wind against his hew on your left side with the short edge on his sword, yet still in the Ox, and stab above into his face. This is one Winding.

[129] Mark

If he parries the stab with strength and forces your sword on the side, then remain on the sword and Wind again on your right side over in the Ox, and stab above into his face. These are the two Windings on the sword from the one upper hanging from the right side.

[130] Here mark, these are the two other Windings from the Ox on the left side. Drive them thus:

When you come to him with the pre-fencing, then stand on your left side in the Ox, and if he then hews in above from his left side, then Wind against his hew on your right side with the long edge on his sword, and stab above in to his face. That is one Winding.

[131] Mark

If he parries the stab and presses your sword to the side, then remain on the sword and Wind on your left side, yet in the Ox, with the long edge on his sword, and stab in above to his face. These are the four Windings from the upper two hangers on the left and on the right side.

[132] Now you shall know…

That the Plow on both sides are the two lower hangings. When you lie therein, or will fence therefrom, then you shall also drive four Windings therefrom, from the left and from the right side with all your fencing as from the upper hanging, so the Windings become Eight. And mark, as you Wind, then think of the hew and of the stab and of the slice in each Winding particularly. Thus, four-and-twenty techniques come from the Eight Windings, and how you shall drive the four-and-twenty techniques from the Eight Windings, you shall find all that described before in the glosses.

[133] Here mark even more…

That you may not rightly drive the Eight Windings except with stepping from both sides, and that you prove not more than the two drivings well before, which are, when he binds on your sword, that he is but Soft or Hard in his driving. When you have found that first, then Wind and work to the Four Openings (as that described before states). Also, know that all fencers that Wind on the sword and cannot Feel on the sword, they become struck by the Winding. Therefore be diligent, so that you mark well the Feeling and the word "Meanwhile", when all the Art of Fencing goes from these two things.

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Illustrations
from the Kraków version

Draft Translation (Rome only) (2018)
by Stephen Cheney

[1] Here begins [the] gloss and the interpretation of the zettel of the art of mounted fencing, which was composed and made by Johannes Liechtenauer, he is known as a high master in the art, God be gracious to him, and the art about this belongs to princes and lords, knights and squires, so that they shall know and learn. He has thus let the same art be specially written with obscure and disguised words, therefore commoners shall not hear nor understand them, as you will find them written hereafter, and has done because of the reckless fencing masters, who show little regard for their art, so that his art shall not be public or common from the same, from such people who can’t progress to behold the art, as those to whom the art pertains. And the same obscure and disguised words of mounted fencing, they stand hereafter, explained and interpreted in the gloss, so that anyone may well hear and understand them, if they can otherwise fence.

[2] Here note the text and the gloss about a common lesson on horseback

1	Direct your spear Against riding, make useless

Gloss: Note, this is when you ride with your lance, and someone against you, also with one, you shall, before all cases, know three guards with it, and from the guards you shall [go] to him by hand. The first, when wielding your lance, they are settings-aside with art and with strength, so that you therefore hit him with it.

[3] The twenty-first figure teaches this, which says “The strength in the raising, arrange yourself in it correctly.”

[4] Item: This is the first guard on horseback

Arrange yourself with it as follows: Grasp your lance with the back point under the right armpit, and reckon the front part to the longest to him with the point against the face.

[5] Note, this is the second guard on horseback

Arrange yourself with it as follows: Grasp your lance with the back point under the right armpit, and let it hang low to your left side next to your horse’s neck, and ride to him as such.

[6] Note, this is the third guard on horseback

Arrange yourself with it as follows: Grasp your lance in the middle with both hands, and hold it athwart^[34] in front of you on the saddle bow,^[35] so that the point remains to your left side, and ride to him as such.

[7] This is the text and the gloss of the plays from the three guards

2	If it falls down Your point undoes him

Gloss: Note, drive this play from the first guard as follows: When you have extended your lance against him to the longest from the arm, and he his against you, then ride upon him and do as if you want to stab him to the face, and when you come near to him, then let the front of your lance sink down,^[36] and change through with it below his lance to his right side. Thus you hit, and he does not.

[8] The first figure teaches this, which says “Hunt from the chest to his right hand.”

[9] Note

Drive this play from the second guard. When you ride together with him, let the front of your lance sink down to your left side. If he then drives upon you with the lance, then sweep up simply onto your right side with your lance to his, and raise a little upwards with it. Thus you hit, and he does not.

[10] The eighteenth figure teaches this, which says “Hunt to the right hand with your art.”

[11]

Note, drive this play from the third guard as follows: When you ride together with him, hold your lance with both hands in the middle athwart in front of you on the saddle bow. If he then rides onto you with the lance, then sweep with the front part of your lance to his right side at his, and strike your lance with it under your right armpit, and ride forward. Thus you hit, and he does not. You shall also, from all three guards, come to half of the lance with the left hand, for the sake of strength.

[12] The sixth figure teaches this, which says “Seize the strong with both hands.”

[13] Here note a special play with the short lance against the long

Note, when you have a short lance and he a long, ride moderately^[37] against him, and hold the point to him from the arm against the face, and when it comes to the hit, let go of the reins,^[38] and lead his lance away with the left hand onto your left side, and ride forward and plant to him.

[14] The twelfth figure teaches this, which says “With empty hand, learn two sweeps against all weapons.”

[15] This is the text and the gloss about a lesson and about wrestling on horseback

3	Hew in, don’t draw From sheath, jolt to him left
4	Grapple to his right So you catch him without fencing

Note the lesson: When you both ride together with the lance, if it is then the case that you both missed with it, if you then want to catch him without any fencing, then drop your lance by hand, and draw neither sword nor knife, and turn yourself with your left side to his right, and wait upon his right arm, and drive the wrestle written hereafter.

[16] Here note two wrestles

Note, when you come with your left side to his right, grab his right hand with your right, and throw him with the unnamed hold or with the secret hold, and how you shall drive the two wrestles, you find that written hereafter.

[17] Here note a sword taking

Note, when you come with the left side to his right, if he has then drawn your [sic] sword and rises with the arm and wants to strike you, then grab his right arm with the left hand behind the elbow, and shove him above with it from you, and raise his right below with the left foot under the stirrup leather,

[18]
and grab his sword with the right hand by the pommel, and jolt it to you with it, so you take his sword, and additionally shove him as such from the horse.

[19] The third figure teaches this, which says “With brushing, saddle rim or takes weapon.”

[20] Note, when you come with the right side to his right, drive the wrestle written hereafter

Note, when you both have missed with the lance, if you may then not come with the left side to his right, then hold and throw him with the “sun showing” or with the sheep hold, and how you shall drive the two wrestles, you shall find that written hereafter.

[21] Again a wrestle

Note, when you come with the right side to his right, if he has then drawn his sword and rises with it and wants to strike, then grab his right arm with the left hand behind the elbow, and raise it firmly, and with the right, grip his sword by the pommel, and jolt it out of his hand.

[22] Or

Take his knife or otherwise other weapon with the right, and work with it to the opening.

[23] The eleventh figure teaches this, which says “Press firmly, shove from reins, and search for his knife.”

[24] These are two sword takings

When you come with your right side to his right, if he has then drawn his sword and rises and wants to strike, then move with the right arm outwards to the top of his right, and press it downwards as such into your right side, and ride forward, so you take his sword.

[25] Or

Rise with the right arm inwards to the top of his right, and press it forward to your chest, and ride forward, so you again take his sword.

[26] Again a wrestle

Note, when you come with your right side to his right, if he has then drawn his sword and rises with it and wants to strike, then grab his right arm with the right hand behind the elbow, and shove him above from you with it, and raise his right foot below with the right foot under the stirrup leather, and shove him above from you with the left hand, so he falls.

[27] Note a good wrestle

When you come with the right side to his right, grab his right [hand] with the left hand, and jolt it in front of your chest, and turn your horse from him, and pull him from the horse as such.

[28] The second figure teaches this, which says “Turn around with the horse, pull his right hand with your left.”

[29] This is the text and the gloss about a lesson on horseback

5	So that lances stab Fence moderately, learn to break without hurry

Note the lesson: When he rides upon you with a lance, if you then want to work against him with art, then you shall ride against him quite moderately, so you may well set aside his [lance] with your lance, and otherwise win other advantages with the sword, or if you will rush or run to the man, then you may drive no play correctly, and additionally not be similarly secure on the horse.

[30] The twenty-second figure teaches this, which says “That is now the spear run, which confronts the other under eyes.”

[31] Here begins the art with the sword on horseback

Note, when you want to fence on horseback with the sword, you shall know five guards with it.

[32] This is the first guard

When you sit on the horse, hold your sword with the right hand by the handle, and lay it with the blade on your left arm.

[33] This is the second guard

When you sit on the horse, hold your sword with the right hand on your right side high over the head, and hang the point against his face.

[34] This is the third guard

When you sit on the horse, hold your sword with the right hand next to your right leg, and so that the point stands upwards against the man.

[35] This is the fourth guard

When you sit on the horse, hold your sword in the right hand and set the pommel at the saddle bow, and so that the point [is] against the man.

[36] This is the fifth guard

When you sit on the horse, hold your sword with the right hand by the handle, and with the left, grip the middle of the blade, and hold it athwart in front of you on the saddle.

[37] Here note the text and the gloss about the tasset

6	If it converts itself The sword will be dealt against sword
7	Correctly grasp the strong Tasset^[41] hew, you search and note

Gloss: Note, this is if you both will come from the lance and shall fence with swords, note when you ride to him, that your sword lies on the left arm in the guard, and ride to him likewise under eyes to his right side. If he then hews onto you or stabs you to the face, then rise and parry so that your point stands against his right side, and stab him indes to the face. If he parries the stab and rises high with it, then hew with the long edge to the reins or to the left hand.

[38] Or

If the horse makes a fool out of you, then hew to his right leg in the running away.

[39] The seventh figure teaches this, which says “Here, begin to search the man for the tasset hew.”

[40] Here note the text and the gloss, how you shall force the man at the sword on horseback

8	Learn to compel well strong All hits without danger, distress him with it
9	Plant without danger Hang to his hair

Gloss: Note, this is that you shall always bind strong to his sword with all hews and in all movements, and endanger him at the sword, and force with the point, and artfully attempt, if you may plant to him. If he parries and rides near to you with it, then rise with the pommel from below through his sword to the top of his left shoulder around the neck, and come with the left hand behind his back to your pommel to help,^[42] and pull him in front of you onto the side.

[41] The sixth figure^[43] teaches this, which says “The compelling precedes all successful hews and stabs.”

[42] This is another play

Note, when you hew in, if he parries and rides near to you with it, then grip his right hand with your left, and with the right, set the point into his face.

[43] The eight figure teaches this, which says “Turn the right hand to him, set the point to his eyes.”

[44] Again a good play

Note, when you hew in above, if he parries and comes near to you with it, then move to him with the hilt of your sword under the jawbone, and with the left hand, grab him on his left side by the helmet,^[45] or by the pommel, and pull him to you with it, and with the hilt, shove him above from you, so he falls from the horse.

[45] Again a wrestle

Note, when you hew in above, if he parries high and comes near to you with it, then move to him with the hilt of your sword under the arm behind his elbow, and shove above from you, and move with the right foot under his right and raise up with it, so he falls from the horse.

[46] This is again a play

Note, when you hew in above, if he parries the hew with the thwart, then rise high with the sword and hang the point to his face over his sword, and plant to him.

[47] Or

When you have hung the point to him over his sword, if he then comes near to you with it, then move to him with the right arm through his right, and press the arm firmly into your right side, and ride forward, so you take his sword.

[48] The fourth figure teaches this, which says “Plant high, swing through, move or sword breaks.”

[49] This is a sword taking

Note, when you ride to him, lay your sword on the left arm in the guard. If he then hews in above to your head, then rise and parry, so that your point stands against your left side, and ride to him with it, and rise with the pommel inwards to the top of his right hand forward by the hilt, and press his hand with your arm firmly to your chest, and ride forward, so you take his sword.

[50] Again a sword taking on horseback

Note, when you hew in above, if he parries and comes near to you with it, then move^[46] with the pommel outside to the top of his right hand, and shove the hand with the hilt in front of you to your saddle bow, and grab his sword’s pommel with the left hand, and ride forward, so you take his sword.

[51] Here note the text and the gloss about a stab and a wind with the sword on horseback

10	If you want to lie Long, hunting, that severely hurts
11	Whoever now wards that Then wind, that maims the eye
12	If he continues to ward it Catch reins^[47] and don’t be lazy

Gloss: Note, this is if you want to fence lying while riding up, you shall do that from your right leg from the side guard with stabs from the long point, and note, when he parries the stab, that you wind in the point at the sword to his face. With it, you force him so that you may come to other plays, and how you shall wind, you will find that written hereafter in the next play.

[52] The nineteenth figure teaches this, which says “Plant the point against the face.”

[53] Here note a good play on horseback with the sword and a catching with the reins

Note, the first play from the side guard from the right leg, drive it as follows: When you ride to him, hold your sword next to your right leg in the guard, and stab him long from stretched arm to the face. If he parries the stab, then rise at the sword with the right hand into the upper guard, and hang the point to his face. If he remains at the sword and rides near to you, then rise inwards with the left hand over his right arm, and strike the reins with it [your left hand] over it [his right arm], and grab your reins with left inverted hand again under his right arm, and hold firmly. Therefore he is entwined with the reins.

[54] Note: Again a play

When you ride to him, stab him from the side guard to the face. If he wards the stab and rides near to you with it, then grab his right hand with the left, and work with the sword to the opening, or throw him with the sheep hold or otherwise with other wrestles.

[55] The ninth figure teaches this, which says “Whoever wards the stab, catch his right hand in your left.”

[56] This is called the Turkish hew

Note, stab him from the guard from the right leg to the face, and wind the short edge to his sword. If he parries the stab and rides away next to your right side, then hew with the long edge behind to his neck.

[57] Here note how you shall set aside out of the guard from the saddle bow on horseback from both sides

Note, when you ride to him, hold your sword with the pommel at the saddle bow. If he then hews in above to the head to your left side, the rise with the sword against his hew, also onto your left side, and wind the short edge to his sword, and stab him to the face.

[58] Or

If he hews in above to your right side, then rise with the sword also onto your right side and wind the long edge to his sword and stab in above to the face. Therefore, you shall also set aside when he stabs onto you with the lance, because the windings and the settings-aside are the best art on horseback.

[59] This is the text and the gloss about the openings of the man

13	Think about the openings Search for knife, don’t ward pommel

Gloss: Note, this is when you come near to him as such, so that you have captured him with the reins, or have grabbed his right hand with your left, you shall quite precisely think to which opening you may best win, and whether you are too close, so your sword will be too long so that you can’t work with it, then work with the dagger or otherwise with other short weapons. If you may not come to your weapon, then take his, and work with it to the openings, to which you may best come, that is to the face, or under the armpit, or outwards onto the hand, in the gloves, or inwards into the hands, to the palm, and in all joints of the armor. You shall also not work to a far opening when you see one nearer in front of you.

[60] The tenth figure teaches this, which says “Search for the openings, arm, leather, glove, under the eyes.”

[61] This is the text and the gloss about a lesson with free hands

14	Learn two sweeps With empty hand against the weapon

Gloss: Note, this is a great advantage on horseback, that you shall drive all of your plays to both sides with free hands against all weapons with which someone comes to you. Therefore you shall know to hold your reins as such, so that you may have your hands free and available when you want, and shift the reins from one hand to the other, when it is even to you to the wrestles or otherwise to other plays, and how you shall drive the plays with free hands, you find that written in the gloss.

[62] The 12th figure teaches this, which says “With empty hand, two sweeps against all weapons.”

[63] This is the text and the gloss about the noble sheep hold

15	The sheep hold wards Whoever turns themselves to you with wrestling
16	As under eyes Grab him correctly with fluff

Gloss: Note, the sheep hold is one of the best wrestles on horseback, because with it, one breaks all wrestles with which someone attacks you in front or grapples with wrestling.

[64] Drive the sheep hold as follows

When you want to wrestle with someone on horseback, ride equally to him under eyes, and assess that you come with your right side to his. If he then grapples you in front with wrestling, then grab his right hand with your left, and jolt him in front of you under your chest, and move with the right arm over his right, and grab your saddle bow with it, and lie with the body strongly upon it, and ride forward, so you pull him from the horse.

[65] The 13th figure teaches this, which says “The sheep hold wards all holds, wrestle under eyes.”

[66] This is the text and the gloss, how one shall break each wrestle on horseback

17	Whoever attacks you Against riding, he will be joined
18	Hanging it to the ground Grip over him correctly with gesture

Gloss:

[67]

Note, this is when you ride together with someone, if you then come with your right side to his, if he then moves with the right arm over your left shoulder in front around the neck and wants to pull you from the horse as such, then fall to him also around his as such, and move with the left hand behind around him, and grip your right hand with it, and jolt him with both hands to you onto the side, so he must fall from the horse.

[68] Or

When he moves with the right arm in front over your left shoulder around the neck, then strike your right arm above over his right, and throw him with the sheep hold.

[69] This is another break

Note, if he comes with the left side to your right and moves with the left arm behind around the neck or holds you with it by your left shoulder, then turn yourself with the body against him, and rise with the right arm inwards between you and him, and press the left arm away with the strength of your right arm, so you will be free from him.

[70] Again a break

Note, when he comes with his left side to your right and falls to you with the left arm behind around the neck, if he is then a weak man, then rise from below with the right arm behind you strong over his left, and come with the left hand to your right to help, and press his left arm firmly behind in your nape. If he then veers away with the arm, then grab his left hand with the left hand, and throw him with the unnamed hold or with the secret hold.

[71] Again a break

Note, if he comes with his left side to your right and falls to you with the left arm behind around your body and wants to wrestle, then strike down from above behind you with the right hand outward in the joint of his left arm, and ride forward.

[72] The 26th figure teaches this, which says “Grip over whoever attacks you, or do to him against riding.”

[73] This is the text and the gloss of a lesson on horseback

19	From both sides You teach yourself all ridings against him

Gloss: Note, that is, that you, in all encounters or ridings near to the man, shall hold to whichever side you come to him. Therefore, if you come to his right side, then drive the plays nimbly which pertain to it, or if you come to his left side, then again drive whatever pertains to it, and let him come to no plays.

[74] This is the text and the gloss of the plays to the left side

20	If you want to ride Horse runs to the other side
21	Compel the strong Plant, endanger him with it
22	Whoever wards that Wide, catch sword, carry to the handle

Gloss: Note, this is when you ride to his left side, you shall also bind strongly to his sword, and assess whether you may plant to him. With it, you force him so that you may well come to other plays.

[75] The 20th figure teaches you this, which says “Compel against all hits, which will always be.”

[76] Here note this play

When you ride to him to the left side, hew in strong, and shoot the point to his face. If he parries or stabs equally with you, before he indeed comes to you, then rise with the left arm inwards over his sword, and press it as such with the arm into your left side, and ride forward, so you take his sword.

[77] The 16th figure teaches this, which says “Catch the weapons in the wide, meanwhile ride against.”

[78] Again a play

Note, when you ride to him to the left side, and hew in, if he parries and rides near to you with it, then grab his right hand with the left, then work with the sword or wait for the wrestling.

[79] This is the text and the gloss, if your horse makes a fool out of you with violence

23	Or turn around Lie to hunt the weapon
24	With all art He hunts, he sends, for his benefit

Gloss: Note, this is a lesson, if your horse makes a fool out of you so that you would like to come to no plays, then don’t let your horse run far from him, therefore it will not become tired, and you also remain lying, and ride against him to the side which makes it good for you, which you may have your best advantage with all art.

[80] The 14th figure teaches this, which says “Otherwise turn around, there the horse hurries back.”

[81] This is the text and the gloss, if you have no choice but to ride to his left side

25	If you are hunted And hunted left against your will
26	Feel for his sword Wrestle, shove with firmness

Gloss: Note, this is if you have no choice but to ride to his left side, if you then have a sword, and he also has one, then lay yours on the left arm in the guard. If he then hews in above to the head, then rise and parry with the long edge so that your point stands to your left side, and ride to him, and grab his right hand with your left, and bash him with the pommel under the face.

[82]

[83] The 17th figure teaches this, which says “If you hunt left, then fall upon sword’s pommel, shove under eyes.”

[84] Again a play

Note, when you ride to his left side, lie your sword onto your left arm in the guard. If he then hews in above to the head, then parry with the long edge, and hew a free over hew to his head from the parry.

[85] This is the text and the gloss about the set-aside behind

27	If one hunts to the right Half turn around, wait for fencing
28	Catching with arms So no harm may approach you

Gloss: Note, this is a lesson: If it is the case that someone has won your back, or otherwise comes to you behind, whether it was with a spear or with a sword, then note, if he wants to plant to your right side behind, then turn yourself away from the stab onto your left, or if he plants behind to your left side, then turn yourself away from the stab against him onto your right side, and ride with it to him and work with the sword or with the wrestling.

[86] The 24th figure teaches this, which says “If one hunts you from^[50] both sides, turn around left so he comes right.”

[87] Note, a nimbleness with the spear

Note, when you hunt away before him, and have a lance, and he also has one, if he then hunts after you, then hold your lance on your right shoulder, and note when he almost comes to you behind, then raise your lance over the head onto your left shoulder, and turn yourself against him onto your left side, and strike his lance with it under your arm. Therefore you come to him with it turned under eyes.

[88] Note, sword against the spear

When you have a sword and he a lance, then lay your sword on the left arm in the guard. If he then rides onto you with the lance to your left side, then ride moderately against him, and when he comes to the hit, rise with the pommel and leave the blade in the hand against your left side, and set his lance aside with it.

Or, if he rides to your right side, then sweep up simply with the sword to his lance to his right side, and rise into the upper hanging, and plant to him in the face.

[89] This is the text and the gloss about the sword taking

29	The knife taking Learn to keep without shame

Gloss: Note, when you ride to him and come to him with your right side to his, then hew in above strong to the head, and stab to his face. If he parries the stab, then hurry to him and grab his right arm with left inverted hand in front under his pommel, and hold him firmly as such, and bend your left arm outwards at the handle of his sword, so he must let go of the sword. Thereafter you may hold him with the one hand and strike with the other.

[90] The 15th figure^[51] teaches this, which says “Think about the knife taking and keeping, etc.”

[91] This is the text and the gloss about the play which is called “the unnamed hold”

30	The unnamed Turn it to the strong
31	Their strike, their stab Makes useless without any fencing

Gloss: Note, this wrestle is called “the unnamed hold,” so that anyone shall not understand, because with it, one destroys all of a strong person's hews and stabs without any fencing, if one correctly grapples him with it.

[92] Drive it as follows:

Note, when you come with your left side to his right, if he has then drawn his sword or otherwise another weapon and wants to strike or stab you, then grab his right hand with your right, and jolt it in front of your chest, and lie yourself with the body strongly upon it, and ride forward, so you break his arm, or he must fall.

Or, if you don’t want to throw him, when you have jolted his arm in front of you, grab his right elbow with the left hand, and shove from you with it, and grab his sword’s pommel with the right, and jolt it to you, so you take his sword.

[93] The twenty-third figure teaches this, which says “The unnamed hold, takes weapons or falls him.”

[94] This is the text and the gloss about the sun showing

32	If you want to grasp on You shall not allow him to ride next to you
33	The sun showing Drive left first if you want to bend
34	Touch the forehead Press very firmly against nape
35	So that he swings himself And rarely arrives again

Gloss: Note, the “sun showing” is a good wrestle on horseback, which you may drive to all sides when you come near to the man.

[95] Note, drive it as follows:

When you ride together with him and want to wrestle, hold yourself near to him. If you then come with your right side at his, then move with the left hand behind around him, and grab his left arm with it, and pull him firmly to you with it, and with the right hand, move below to the jawbone, and shove his face upwards with it to the mountain against the sun, so he winds, then swings, and falls in front of you. Or, and if you come with the left side to his right, then grasp him as before, and throw him behind you.

[96] The 15th figure teaches this, which says “Nearby, catch the hand, invert his face, there is the nape.”

[97] This is the text and the gloss, how one breaks the sun showing

36	Whoever aims that to you Grip over, then he will be shamed
37	Press arms to head The hold often robs saddle

Gloss: Note, drive the break as follows: When he comes with his right side to yours, and falls to you with the right hand below to the jawbone, and wants to shove you from him as such, strike your right arm over his right, and press it to your chest, and ride forward, so it is broken. Or, break it with the sheep hold, and how you shall press his arm to head, you find that written before in the brushing.^[53]

[98] This is the text and the gloss about the secret wrestle

38	But if you want to measure yourself Of the catching,
39	Easily releasing from you Caught behind without laces^[54]

Gloss: Note, this is a secret wrestle on horseback, and has no name like the other wrestles have, so that one shall not allow to come to the light, nor allow anyone to see.

[99] Note, drive it as follows

When you ride together with him, assess that you come with your left side to his right, and grab his right hand with your right hand, and jolt it in front of you, and with the left hand, grab his right elbow, and shove it upwards, and bend his right arm quite well above over your left with the right hand, and raise upwards with the left arm. Therefore he is caught without any bind, and [you] may therefore lead him wherever you want, or break the arm.

[100] This is the text and the gloss about the “before” and about the “after”

40	Note the “before” hold It continues to break his strength

Gloss: Note, this is a lesson, that you shall quite precisely note upon the “before” holds, because they are two. The first, that is when you come before and grapple him before he [grapples] you. The second is when he comes before and grapples you before you [grapple] him. And upon the two things you shall quite correctly know to drive your plays, and hear it as follows: If you grapple him before, then drive your play nimbly with it, so he may not break you. Or, if he grapples you before, then ward, so that you nimbly break his, so he may not come to the play. Likewise, you shall not the two things with all weapons on horseback. With it they will be made fools of, if they rely upon their strength, and do not want to hold for correct art.

[101] Here note the fencing with the short sword on horseback

When you ride against him, hold your sword with the right hand by the handle, and with the left, grip the middle of the blade, and lie it as such in front of you onto the saddle bow. If he then rides onto your right side against you, and hews in above to the head, then parry with the sword from your left hand, and stab him to the face. Or, if he comes so near to you that you may not stab to him or plant, then move with the front part of your sword in front to the top of his left shoulder around the neck, and jolt him to you onto the side with it, so he falls.

[102] Again a play with the short sword

When you ride against him with the short sword, if he then rides to the right side and stabs you to the body, set it aside simply with the short sword, and plant to him. Or, if he stabs you to the face, then rise against the stab and wind in the point above to the face. Or, if he comes near to you with it, then wait for the wrestling.

[103] Again a play

Note, if you ride with half sword to his left side, if he then stabs you to the body, then rise with the pommel against your left side, and leave the blade hanging down next to you also to your left, and set his stab aside as such with the short sword, and plant to him.

[104] Again a play

Note, if you ride with the half sword to his left side, if he then hews in above to your head, then parry between both hands into the sword, and let go of the sword with the right hand, and come with it to the left to help in the middle of the blade, and strike him with the pommel to the head or to the left elbow.

[105] Again a play

Note, when you ride to his left side with the half sword, if he then hews in above to your head, then parry between your hands to the blade, and in the parry, grab your sword’s pommel with the left hand, and strike him with a free over hew from the long sword to the head.

[106] Here note, with half sword against the lance

Note, when you ride against him with half sword, and he against you with his lance to your right side, then note, when it goes to the hit, then rise with the half sword onto your right side against the lance, and set the stab aside, and ride to him with it and stab him to the face, or plant to him.

[107] Again a play with the short sword on horseback against the lance

Note, when you ride with the half sword, if he then hunts upon you with the lance to your left side and wants to plant to you, then rise with the pommel against your left side, and leave the point hanging down next to you also to your left side, and set aside with the short sword, and ride to him with it, and plant to him. If you may not come to the planting, then wait for the wrestling, etc.

Illustrations
from the Kraków version

Draft Translation (Rome only) (2018)
by Stephen Cheney

[1] Here begins the gloss and the interpretation of the zettel of the art of combat fencing

It was composed and made by Johannes Liechtenauer, he a high master in the art, God be gracious to him, and the art about this belongs to princes and lords, knights and squires, so that they shall know and learn. He has thus let the same art be specially written with obscure and disguised words, therefore commoners shall not hear nor understand them, as you will find them written hereafter, and has done because of the reckless fencing masters, who show little regard for their art, so that his art shall not be public or common from the same. Such people can’t progress to behold the art, as those to whom the art pertains. And the same obscure and disguised words of combat fencing, they stand explained and interpreted as such hereafter in the gloss, so that anyone may well hear and understand, if they can otherwise fence.

[2] Here begins the foreword

	Young knight learn To have love for god, honor to women
	Thus your honor grows chivalry and learn
	Art which adorns you And in war, honor your master
	Wrestle well, grappler Lance, spear, sword and knife
	Valiantly wield And make useless in others’ hands
	Hew in and hurry there Rush in, hit, or let go
	So that the wise hate that one sees praise
	Grasp yourself upon this arts have distance and moderation

[3] This is the text and the gloss of a common lesson in combat

1	Whoever dismounts Begins to fence on foot

Gloss: Note, this is a lesson: One may fence in armor on foot and on horseback, thereafter as one wills the two, and also whatever correctly reveals that, and if it were the case that you shall strike or fence with someone on horseback, and tricks you so that he was too prudent or too powerful with it, then dismount on foot, and fight with him from the art written hereafter.

[4] This is the text and the gloss about two stances

2	He arranges his spear Two stances, wielding correct weapons

Gloss: Note, this is when you have dismounted from the horse, you shall first meanwhile know to raise two stances by hand. The first stance is how you shall arrange yourself with the lance in combat. The second is how you shall arrange yourself with the sword. You shall also know two particular stances with the lance. The first stance is and pertains to him if he remains on the horse. The second stance pertains to him if he also dismounts. You shall also know to correctly drive the plays against the two stances, which will be explained to you hereafter nearest.

[5] This is the first play

Note, arrange yourself with the first play as follows: When you have dismounted from the horse and he does not want to dismount, then stand with the left foot forward, and set your lance to your right side into the ground, and hold the point against him, to whichever side he then rides to you. On the same side, turn yourself always against him, and lead his lance away with yours, and plant to him with it.

[6] Again a play

When you have dismounted on foot, if he then remains on the horse, then stand with the left foot forward and hold your lance in the middle with both hands athwart in front of you, so that the front point is longer than the back. If he then rides upon you with the lance, then sweep firmly with the front part of your lance to his right side to his, and plant to him with it with a step out onto his side.

[7] Again a play

Note, when you have dismounted on foot, if he then remains on the horse, then hold your lance next to your right side in the lower guard with the point against him. If he then rides upon you with the lance to your left side, then set aside with the lance also to your left side, and jump onto your right side and plant to him.

[8] Again another play

Note, when you have dismounted on foot, if he then rides upon you with the sword, then stab him with the lance to the openings, and assess if you may [have] planted to him, and do that with jumping out onto a side.

[9] Again another play

Note, when you have dismounted, if he remains on the horse and rides upon you with the sword, then set your lance with the point onto the furthest in front of you into the ground, and when he rides upon you, move with the lance to his horse between the front legs, and jump onto a side, and attempt if you may overturn him as such together with the horse.

[10] This is the text and the gloss of the second stance, when you both have dismounted on foot with the lance against the lance in combat

3	Spear and point The “before” stab, stab without apprehension

Gloss: Note, this is the second stance, when he has also dismounted, and holds his lance, and you do yours, arrange yourself against him as follows: stand with the left foot forwards, and hold your lance next to your right side in the lower guard, and assess that you always stab to him before he to you. Or, hold your lance with the right hand over your head to prepare to throw,^[56] and step to him as such, and assess that you throw before he [does], and follow quickly after the throw to him with the sword against the lance, which will be explained to you hereafter in other plays.

[11] This is the text and the gloss about planting and about jerk with the lance in combat

4	Jump, wind, correctly plant If he wards, jerk, that defeats him

Gloss: Note, this is another, when you both have dismounted on foot, and each has his lance. If you then do not want to throw as stands written before, then hold you lance next to your right side in the lower guard, and go to him as such, and stab him artfully to the face from stretched arms. If he then stabs in equally with you, then rise with your lance at his in the upper hanging, and jump to him with it, and plant to him above. If he then rises with the arms and wards the upper stab, then jerk, and set the point under his left armpit to the opening, or otherwise, where you may, and force through him in front of you.

[12] This is the text and the gloss about a lesson, how one shall jerk

5	If you want to stab before Learn to break wards with jerking

Gloss: Note, this is when you want to stab him before he you, or otherwise come before with the stab. If he parries the stab, then you shall know indes how you shall change through or jerk, so that he doesn’t plant to you while you jerk through, and hear it as follows: If he parries the stab strongly with the lance and lets the point go out next to you beside, then jerk quickly and stab him to the other side. Or, if he remains in the parry with the point in front of the face, then don’t jerk through, remain with your lance at his, and work to the opening thereafter as you sense whether he has bound hard or soft.

[13] This is the text and the gloss, how one shall break the jerk

6	Note, if he wants to draw From sheath, and he wants to flee
7	Then you shall near to him catch, yet wisely ward

Gloss: Note, this is if he comes before with the stab, so that you must parry him, then parry so that your point does not go out wide next to him beside, but rather remain near to him with it in front of the face or the chest. If he then jerks or changes through it, don’t parry him, and follow after him with the point, and plant to him while he jerks through. If you then land your hit correctly with the plant, then force through him as such in front of you, and don’t let him come away from the point. If he then wants to flee back away from the point with [a] step away backwards, or jump backwards away from it, or wants to turn himself as such away from the stab, and turns to one side of you, then jump to him, and assess that you wisely and correctly grapple with arm breaking or otherwise with other wrestles.

[14] This is the text and the gloss about wrestling in combat

8	If you want to wrestle Learn to correctly jump behind leg
9	Lock before shooting Artfully locking the front leg before

Gloss: Note, this is if you want to wrestle with him, then you shall, before all cases, know how you shall correctly jump behind his front foot, and you shall lock and trap the same foot with the art, which will be explained to you hereafter.

[15] This is a wrestle

Note, when you attack him with wrestling, and he against you, see if he has a foot set in front or not. If he then does not have one in front, then jolt him to you or shove him from you, so he must step forward. If he then steps forward with the left foot, then jump quickly with the right foot behind his left, and bend your right knee, and press him behind with it into the back of his left knee, and jolt him over it with both hands.

[16] Another wrestle

When you jump to him with the right foot behind his left, step in with the left foot after between both of his feet, and grasp his left knee between both of your knees, and hold firmly with it, and shove him forward with the left hand to the cap, and with the right, pull him behind onto the side, so he falls.

[17] Another wrestle

Note, when you grasp him with wrestling, and he against you, if he then stands with the left foot forward, then jump with the right forward in front of both of his feet, and move through him with the right arm under his left behind around the body, and grasp him as such onto the right hip, and throw him in front of you. Or, if he stands with the right foot forward, then jump with the left in front of both of his feet, and move him with the left arm behind around the body, and throw him in front of you over your left hip.

[18]

[19] This is the text and gloss, that one shall know to drive all wrestles to both sides

10	From both hands If you desire to end with art

Gloss: Note, this is when you want to artfully end with wrestling, you shall know to drive the wrestles from both sides, and hear it as follows: When [you] jump to him with the right foot behind his left as stands written before, if he then steps back with the left foot in the jump or while you jump, then step after him quickly with the left foot behind his right, and drive the lock and the trap, which you have heard before.

[20] This is the text and the gloss of the plays which one shall drive with the sword against the lance

11	If it is displaced The sword will be drawn against spear
12	Notice the stab Jump, catch, wrestle, rush to him

Gloss: Note, this is when you have thrown your lance. If he then holds his, then observe quite precisely how he has grasped it, whether he lets the point go forward long or short in front of his front placed hand, and if he wants to stab to you above or below with it.

[21] Here note the play

When you have a sword and he a lance, if he then has grasped it short, and stands with it in the upper guard, then lie your sword onto your left knee in the guard. If he then stabs in above to the face, then rise and parry the stab with the sword in front of your left hand against his right side, and rise with it to his lance into the upper guard, and jump to him and plant to him. If you then don’t hit correctly with the planting, then drop your sword, and rush to him, and wait for the wrestling.

[22] Again a play

When you have a sword and he a lance, if he then stands against you with it in the lower guard and has grasped his lance short, then stand with your sword also against him in the lower guard. If he then stabs to you below, then set the stab aside with the sword in front of your left hand, and move him with the pommel forward to the top of his right shoulder around the neck, and jump with the right foot behind his left, and jolt him over your right knee with the pommel.

[23] This is the text and the gloss about the parry with the left hand against the lance

13	Strike left long from hand Jump wisely and then catch
14	If he wants to draw From sheath, catch, and press
15	So that he annoys the openings With sword’s point

Gloss: Note, this is when you have a sword and he a lance. If he then stands against you with it in the upper guard, and has grasped it so that the point goes out long in front of his front hand, then hold your sword against him also in a guard. If he then stabs in above to the face, then strike away his lance with the left hand beside, and grip your sword quickly again with the left hand in the middle of the blade, and jump to him, and plant to him.

[24] Another play

Note, when you have a sword and he a lance, if he then lays the point going out long in front of the hands and stabs you below with it to the testicles, then grab his lance with the left hand and hold it firmly with it, and stab him below with the sword to the testicles. If he then jerks his lance firmly to himself, then let it go suddenly, so he opens the side. With that, grab your sword with the left hand quickly again in the middle of the blade, and follow after him with planting to the same side, or wait for the wrestling.

[25] This is the text and the gloss about which ends you shall search for the openings on the armed man

16	Leather and glove Correctly search for the openings under the eyes

Gloss: Note, this is where the armed man is best to win through the armor, that is under the face or under the armpit, or in the palm of the hand, or on the arm behind in the gloves, or in the backs of the knees, or below at the feet to the soles, and in the joint of the inside of the elbow, and between the legs, and at the sites in which the armor has its joints, and you shall therefore search for the openings, so that you shall not work nor stab to one far away, because you may have one nearer in front of you.

[26] This is the text and the gloss about the forbidden wrestles, which of them those are, and how one shall drive them

Text:

17	Forbidden wrestles Learn to bring wisely
18	Find to lock Overcome the strong with it

Gloss: Note, this is if you may not come with the planting, because you run in with him^[59] to the previously written openings, then assess that you bring the wrestles wisely to scale,^[60] and drive those which are forbidden from all wise masters of the sword, so that one shall allow no sport fencers^[61] to learn nor see them on public competitions. Therefore, they pertain to the combat. They are arm breaks, and leg breaks, and knee shoves, and testicle bashes, and finger dislocations, and eye gouges, and a stronger person shall therefore become locked with the plays, so that he may well not relish his strength there, and note that in the next wrestle written hereafter.

[27] The first wrestle

Note, if he attacks you above with strength and wants to jolt you to him or shove you from him, then strike your right arm outside to the top of his left forward by his hand, and press his arm to your breast with both hands, and jump with the right foot behind his left, and throw him from the foot over the knee.

[28] This is an arm break

Note, if he falls to you with both hands to the arms and you against him, if he then does not hold you firmly, then grab his right arm with the right hand forward by his right hand or by the fingers, and hold him firmly by them, and with the left, grasp him by the right elbow, and shove it upwards, and bend his right arm over your left with the right hand, and raise his right arm upwards with the left arm, so you break his arm, or throw him in front of you.

[29] A wrestle and an arm break

Note, if he attacks you with both hands to the arms or to the chest, if he then does not hold you firmly, then grab his right hand with your right, and pull him as such in front of you with it, and with the left, grasp him by the elbow, and step with the left foot in front of his right, and jolt him over it as such, so he falls. Or, when you pull him in front of you with the right arm, then fall to him strongly with the chest upon it, so you break his arm.

[30] Again a wrestle

Mark when he falls unto you with wrestling Then grasp the front of his right arm by the hand with your left hand and pull him to yourself on the left side and strike your left arm with strength over his right in the joint of his elbow and with your left hand break his right arm over your right and spring with the right foot behind his right and throw him over your right hip.

[31] This is again a wrestle

Note, when you wrestle with him and come near to him with the body, if he then moves to you with the left arm over your right shoulder around the neck, then move with the right arm outside over his left to the top of the joint of the elbow, and come with the left hand to help your right, and press downwards with both hands, and jump with the right foot in front of his left, and turn yourself from him onto your left side, and throw him over your left [sic] hip.

[32] Again a wrestle

Note, if he falls to you with both hands into the arms and you against him, if he then strikes you with his left arm on your right and moves through with the left under your right behind around the body, then strike him outwards with the right arm strongly down from above into the joint of his left elbow, and step with the right foot in front of his left, and turn yourself from him, and sling him onto your left side.

[33] A wrestle and a murder shove

Note, when you have grappled him by the arms and he against you, if he has then set a foot forward and holds it stretched, then bash him with a foot onto the same knee, or bash him to the testicles, and make sure that he does not grip the same foot which you have shoved to him with. Or, when you set a foot forwards, bend the knee in front of you, so he may not harm you with the shove to the knee.

[34] Again a wrestle

Note, when you want to wrestle with him, if he then grips after you with stretched fingers or with open hands or grabs you with wrestling and does not hold you firmly, then assess whether you may grab him by a finger, and break it upwards, and in front of him to circle with it, you also win his side with it, and otherwise other great advantages.

[35] This is an arm break

Note, if you throw him down and he falls onto the belly and stretches his arm from him, then knee him quickly with a knee on an arm into his joint of the elbow, and grab the same arm forward with your hand, and jolt upwards with it, so you break his arm.

[36] An underhold and an arm break

Note, when you throw him down and he falls on the belly, then quickly sit behind onto him, and grab him by an arm, and pull it on his back, and hold it firmly with a hand, so he can’t come up. Or, if you want to break his arm, then you hold him with the one hand, then raise the same elbow firmly upwards with the other hand, so you break his arm.

[37] A good underhold

Note, if you throw him down and he falls on the belly, then straddle behind him near to his shoulders, and pull his right arm over your right leg to the top of your thigh, and pull his left arm over your left thigh, so he may not come up, and must therefore die under you.

[38] Again an underhold

Note, if you throw him down and he falls on his back, then fall to him with the body across his face, and grasp him by the neck under an arm, and hold him firmly as such, and with the other hand, jolt out his arm with which he wants to help himself, so he may not come up, and work with the dagger.^[67]

[39] This is the text and the gloss about the weapons which pertain to the combat, and how one shall work with the points to the openings

19	In all weapons Turn the point against the opening

Gloss: Note, this is a lesson, that you shall plant the point with all weapons which pertain to combat nowhere to the armed man other than to the opening which it is the best to win, and you shall correctly know to search for the openings with the point,^[68] because there are three weapons which have four points. The first weapon, that is the lance, which has one point. The second weapon, that is the dagger, which also has one point. The third weapon, that is the sword, which has two points, the first point is the tip, the second the pommel. And how you shall work^[69] with the points, you find all of that written in the gloss from end to end.

[40] Here note quite precisely, this is the text and the gloss of how one shall fence with the sword against sword in combat out of four guards

20	Where one from sheath Both see sword drawing from him
21	So one shall strengthen Correctly precisely note the compelling

Gloss: Note, this is a lesson, if you both have thrown the lance, and shall fight with the swords, then you shall, before all cases, know the four guards with the short sword. From them you shall always strongly stab him to the face.^[71] If he then stabs in equally with you or parries, then remain strong at the sword with the point in front of the face or in front of the chest, and note precisely if he is soft or hard at the sword. If he is strong, then drive the plays which belong against the strong, or if he is soft, then rather drive what pertains to the weak, as will be explained to you hereafter in the plays which one drives out of the four guards.^[72]

[41] Here note the first guard with the short sword in combat with its plays and its arrangement

Note, this is the first guard in combat, arrange yourself with it as follows: Stand with the left foot forward and hold your sword with the right hand by the handle, and with the left hand grip the middle of the blade, and hold it next to your right side over the head, and let the point hang against his face.

[42] Note the first play

When you stand in the upper guard, if he then stands against you in the lower guard and wants to stab to you below, [you] shall not ward nor parry that,^[73] but rather stab him to the face, or plant to him above, so he may not reach you below, because all upper plantings break and free the lower. Or, if he stabs to you above, be it to the face or wherever it is, you shall ward that, so that he does not reach you above with planting.

[43] Again a play

Note, when you stand in the upper guard, if he then stabs to you below, then stab down from above through between the sword and his front placed hand, and press the pommel to the ground, and wind your point to his sword’s blade below through his sword, and plant to him to his right side.

[44] Again a play

Note, when you stand in the upper guard, stab him artfully from it to the face. If he parries with the sword in front of his left hand and remains to you with the point in front of the face and wants to plant to you, then grab his sword by the point with the left hand, and hold it firmly and stab him with the right hand with force to the testicles.

[45] If he then jerks his sword firmly to himself and wants to jolt it out of your hand, then let go of his sword suddenly,^[74] so he opens the side. With that, grab your sword quickly again with the left hand in the middle of the blade, and follow after him to the same side with planting or with wrestling.

[46] This is again a play

Note, when you stand in the upper guard, stab him from it to the face. If he parries the stab and presses your point onto your left side, then jump with the right foot behind his left, and move to him with the pommel forward over his right shoulder around the neck, and jolt him over his [sic] right knee with it.

[47] The first break against the play

When he moves to you with the pommel around the neck over your right shoulder, drop your sword, and grab his right hand with the right hand, and with the left, grasp him by the right elbow, and jump with the left foot [to?] his right, and drive the arm break, or jolt him over the left leg.

[48] A break against the break

Note, when he wants to move to you with the pommel around the neck, grab his right elbow with the left hand, and shove him from you with it, and with the right, stab him with force behind to the back.

[49] Note, a good break

Note, when he has moved to you with the pommel over your right shoulder around the neck, grab with the left hand up from below between both of his arms, and grab his right arm with it and hold firmly, and turn yourself around from him onto your right side, and throw him over your left hip.

[50] Again a break

When he wants to move to you with the pommel around the neck, grab his sword by the handle or by the pommel with the left hand behind his right, and press it downwards, and plant to him with your sword wherever you want.

[51] Or, move through to him with your pommel under his right arm forward over his right hand, and jolt his hand downwards with the pommel, and plant to him.

[52] Again a play out of the upper guard

Note, when you stab to his face out of the upper guard, if he then falls with the left hand between both of your hands in the middle of your sword’s blade, then move to him with the pommel how you want below or above to the top of his left hand, and wrench with it onto your right side, and plant to him.

[53]

Note, how you shall strike with the pommel out of the upper guard, you find that written in the back in the play which says “of the forward foot with striking, you must guard”.

[54] Here note, this is the second guard with the short sword in combat with its plays and its arrangement

This is the second guard in combat, arrange yourself with it as follows: Stand with the left foot forward, and hold your sword with the right hand by the handle, and with the left, grip the middle of the blade, and hold it next to your right side downwards with the pommel against your right knee, and so that the point stands upwards to the man against the face or the chest.

[55] This is the first play

When you stand in the lower guard, if he then stands against you in the upper and stabs to your face or wants to plant to you above, then stab him to his front placed hand to the opening of the palm, or set the point under his left armpit into the opening.

[56] The second play

Note, when you stand in the lower guard and he in the upper, if he then wants to plant to you above, then grab his sword by the point with the left hand, and with the right, wind your sword with the hilt to your chest, and plant to him as such.

[57] The third play

Note, when you stand in the lower guard, stab him certainly from it to the face. If he then stabs in equally with you, then grab his left hand with your left, and grasp him by the left elbow with the right [hand], and drive the arm break.

[58] Break that as follows

When someone grabs your left hand with his left, move with the front part of your sword forward to the top of his left hand, and press downwards with it, and plant to him. Or, when you press his hand down with the sword, move with the pommel over his right shoulder, and throw him over your right knee.

[59] Break it as follows

When he moves with the pommel over your right shoulder around the neck, turn yourself against him onto your right side, and move with the pommel outwards over his right leg into the back of the knee, and raise firmly up with it, so you throw him behind you.

[60] The fourth play^[78]

Note, when you stand in the lower guard and he in the upper, if he then wants to plant to you above, then stab through over his front placed hand, and to the sword, and press the pommel against the ground, and plant to him to his right side.

[61] The fifth play is a break against the stab-through

Mark you stab to him from the low guard If he stabs to you from the high guard through between your forward hand and the sword and pushes the pommel toward the ground and would attack you, then mark while he pushes the pommel down Then drive out on the sword in the high guard and attack him.

[62] This is the sixth play

Note, when you stab to him out of the lower guard, if he then stabs you out of the upper guard through between your front placed hand and the sword and presses the pommel against the ground, and wants to plant to you, then note while he pushes the pommel down, rise at the sword into the upper guard and plant to him.

[63] The seventh play

Note, when you stand in the lower guard, stab him strongly from it inwards to the face. If he parries, then jerk through and stab him outwards to the face. If he continues to parry, and presses the point onto your left side, then step to him and shove him with the hilt under his left armpit, and move through with the front part between his legs, and raise up his left leg firmly upwards with the sword in the back of the knee with the left hand, and with the right, shove him above with the hilt firmly from you, so he falls.

[64] Break that play as follows

Note, when he moves forward between the legs with the front part of his sword in the back of the left knee, and raises up with it, grab his right elbow with the left hand, and shove him from you with it.

[65] This is another play

When you have grabbed his right elbow with the left hand, then grab his right arm forward by the hand with the right, and drive the arm break, and throw him in front of you.

[66] The eighth play

Stab him from the lower guard outwards to the face. If he parries the stab with strength, then move him with the pommel outwards into the back of his left knee, and jolt with the pommel to you, and lie with the right side above strong into him, so he falls.

[67] Break that play as follows

When one moves with the pommel outside over your left leg into the back of the knee, grab his left [hand] with the left hand, and with the right, grab his left elbow, and drive the arm break, and throw him in front of you.

[68] The ninth play

Note, when you stab him from the lower guard strong to the face, if he then moves through your sword below with the pommel and wants to set aside or wrench with it, then remain with the point strong in front of him, and press his right hand down with the sword while he moves through, and plant to him.

[69] The tenth play

Note, when you stab him from the lower guard strong to the face, if he then falls with left inverted hand forward to your sword, then wind the sword with the point outside to the top of his left hand into the upper guard, and plant to him.

[70] The 11th play is a sword taking

Note, when you stab him from the lower guard strong to the face, if he then stabs in equally with you, then grab his sword in the middle with left inverted hand, and hold them both firmly, and move through with the pommel below his sword, and jolt upwards with it onto your right side, so you take his sword.

[71] Break that as follows

When someone grabs your sword in the middle to his with his left hand, and wants to wrench it out with the pommel below through, note while he grasps your sword into the left hand to his, then rise into the upper guard and plant to him.

[72] The 12th play

Note, when you stand in the lower guard, stab him strong from it below to the testicles. If he then falls to your sword with the left hand, and you against him to his, then throw his sword from the left hand, and grip yours with it again in the middle of the blade, and wind the point outside to the top of his left hand into the upper guard, and plant to him.

[73] The 13th play

Note, when you stab him from the lower guard, if he then falls with the left hand to your sword, and you against him to his, then throw your sword to him with the pommel in front of the feet, and grab his left hand with your left, and his left elbow with the right, and drive the arm break.

[74] Or, when you have thrown your sword to him in front of the feet, shove him with the left hand forward to the chest, and grab him with the right in the back of his left knee, and jolt him to you with it, and shove with the left above from you, so he falls.

[75] You shall also know, that you may also well strike with the pommel from the lower guard, as from the upper, when it is even to you.

[76] Here note, this is the third guard with the short sword in combat, with its plays and arrangement

Note, arrange yourself as follows in the third guard in combat: Stand with the left foot forward, and hold your sword with the right hand by the handle, and with the left, grip the middle of the blade, and lay it athwart on top of your left knee in the guard. Break his plays from it with parry.

[77] The first play

Note, when you have your sword on top of your left knee in the guard, if he then stabs you from the upper guard to the face, then set the stab aside with the sword in front of your left hand against his right side, and rise into the upper guard, and plant to him.

[78]
Or, parry the stab between both of your hands to the sword’s blade, and move with the pommel over his front placed hand, and jolt downwards with it, and plant to him.

[79] Again a play

Note, when you have your sword over the left knee in the guard, if he then stabs you to the face, then move through his sword with the pommel below, and set his stab aside with it in front of his left hand, and plant to him.

[80] Again a play

Note, when you have your sword over the left knee in the guard, if he then stabs to the face, then move through below with the pommel over his sword behind his front placed hand, and jolt his hand downwards with it, and plant to him.

[81] Or

If he is too strong so that you may not jolt his hand from the sword, then wind the pommel up from below outside to the top of his left hand, and shove him from you, and plant to him with it.

[82] You shall also know, that you may not continue to parry the hits with the pommel, than from the guard from the left knee, that you find written hereafter in the play which says “with his striking point…”

[83] Here note, this is the fourth guard with the short sword in combat with its plays and its arrangement

Note, arrange yourself into the fourth guard in combat as follows: Hold your sword with the right hand by the handle, and with the left grip the middle of the blade, and hold it under your right armpit, and plant the one hilt forward firmly to the chest, and hold the point against the man.

[84] Note a good lesson

Know, you shall come to the fourth guard from all other guards with planting, hear it as follows: When you stab to him from a guard, if it is then the case that you land your hit correctly, so that your point sticks in the armor, then immediately wind the hilt to your chest into the guard, and force him in front of you as such, and don’t let him come away from the point, so he may not stab nor strike again.

[85] This is again a lesson

Note, everything that you want to plant, set it to the face, or to the neck, or to his left shoulder, or under his left armpit, and when you have planted to him, note if he is taller than you are, then force him as such in front of you, and assess that your point rises upwards, and is set well into the ring.

[86] Or, if he is shorter than you, then let your sword sink away downwards with the hand until onto your right hip, and so that your point stands upwards, and is set well in the armor, and force him as such in front of you.

[87] This is the text and the gloss about the two things, the first called the “before”, the second called the “after”

22	Before and after, the two things Test wisely, learn with jump away

Gloss: Note, this is that you, before all cases, shall know the “before” and the “after,” because from the two things go all art in combat, and note the “before,” that is that you shall always come “before,” before him,^[83] be it with the stab or with the hit, so he must parry you, and and as soon as he binds to your sword with the parry or otherwise, drive the play nimbly indes thereafter, as you test whether he is soft or hard at the sword, so he may not come to any break.

[88] Here note what is called the “after”

The “after,” those are the breaks against all plays which one drives upon you, hear it as follows: When he comes “before” with the stab or hit before you, so that you must parry him, note as soon as your sword sparks on his with the parry, then search indes with the point for the nearest opening, or wait for the wrestling, so you win his “before” with the parry, that is with the “after.”

[89] Here note how one shall step away in combat

Know that no more than one step away pertains to combat fencing, and one step forth, and otherwise stand firmly, so that one will not become tired in the armor, and hear it as follows: If it is the case that he has rushed over you so that you may not come to any parry with the sword or otherwise, then step quickly backwards with the front placed foot, and assess that you plant to him indes quickly against, or grapple with wrestling with a step forth of the same foot with which you have previously stepped away.

[90] This is the text and the gloss about pursuit in combat

23	Follow all hits To the strong, if you want to trick them
24	If he wards, then jerk Stab, if he yet wards, jolt to him

Gloss: Note, if you want to fool or trick the strong, they who fence wide and long, and want to overpower their things with strength, and do not hold from correct art, you shall rush to the same with pursuit, and with jerking through, as will be explained to you in the next play.

[91] Here note the play

Note, when you shall fight, if it then seems to you that your fighter wards too strong, then hold your sword in a guard, and step to him artfully, and note quite precisely when pulls his sword to himself and wants to stab or strike with the pommel. At the same time, follow after him quickly, and rush him with the point, and plant to him before he brings the stab or the hit. If he then becomes aware of the planting and moves wide in front with the sword and parries so that his point goes out next to you beside, then jerk through and stab him to the other side. If he wards that to the second time, then again jerk through, and do that as often as he parries, and jolt or rush quickly to him through with it at will. If you had not landed your hit on him correctly with the planting, then you may grapple with wrestling. Know, that is the art against all the fencers who parry long and wide, and fence to the sword and not to the openings of the body.

[92] This is the text and the gloss, how you shall free yourself away from the sword when one has planted to you with it, and forces you with it

26	If he also grips on strong The shooting defeats him

Gloss: Note, this is when he has planted to you, and you against him. If he then wants to overpower you with strength, then grab his left hand with your left on his sword’s blade by the fingers, and hold them firmly with it, and stab with the right hand with the sword above through between his front placed hand and his sword, and press the pommel down, and set the point against his right side into his face, and break his left hand over your sword’s blade with your left hand.

[93] Another

Or, stab through with both hands above between the sword and his front placed hand, and press the pommel against the ground, and wind the point at his sword against his right side, and plant to him.

[94] Again a solution

When he has planted to you and forced, stab him below in the palm of the hand, by which he holds his sword in the middle. Or, if he has turned the hand around, then stab him in it down from above, and when the stab sticks, then in front of him to the circle with it.

[95] Another

Or, stab him outwards of the arm, by which he holds the sword in the middle, behind in the glove, and when the stab sticks, run forwards with the hand to the circle. You also win his side with it, and other great advantages.

[96]

[97] Again a solution

Note, if he has planted to you to your left shoulder, and you against him at his, then step backwards with the left foot, and also turn your left side from him, so your point sticks, and his does not. Or, if he has planted to your right shoulder, and you again at his, then step backwards with the right foot, so your point sticks again, and his does not.

[98] Again a solution

Note, when he has planted to your left shoulder and you again at his, jolt your pommel forward to your chest, and force forwards as such, so you have overpowered him.

[99] This is the text and the gloss of the parries against the hits with the pommel

27	With his striking point If he protects himself, hit without apprehension
28	With both hands Learn to turn the point to the eyes

Gloss: Note, the striking point, that is the pommel, if he wants to protect himself with it in front of you, and overrun you with big hits, you shall artfully parry them without any apprehension with the sword, and in the parry, always turn the point to the face with both hands, or shove and wrench with the pommel, as will be explained hereafter in the next plays.

[100] This is the first parry against the hit with the pommel

Note, if one is strong, and he means well to strike you down with the pommel, then stand against him and hold your sword on top of your left knee in the guard. If he then strikes in with the pommel from his right shoulder above to the head, then sweep his strike away with the sword in front of your left hand from your left side against his right, and rise into the upper guard, and set the point into the face.

[101] Or, if he strikes in with the pommel from his left side above to the head, then sweep his strike away with the sword in front of your left hand from your right side against his left, and plant to him.

[102] Again a parry

Note, when you have your sword over the left knee in the guard, if he is then not strong and strikes in with the pommel above, then step in artfully, and catch the strike between both of your hands in the middle of the sword’s blade, and rise into the upper guard and plant to him.

[103] Or, move to him with the pommel to the top of his front placed hand, and jolt him to you and plant to him.

[104] Note, a parry and a sword taking

Note, when you have your sword over the left knee in the guard, if he is then not strong and strikes with the pommel to the head, then catch the strike in the middle of the blade, and move with the pommel outside over his sword nearing behind the hilt, and wrench downwards with it onto your right side, so you take his sword, and also plant to him.

[105] Note, again a parry and a sword taking

When you have your sword over the left knee in the guard, if he then strikes with the pommel to your left knee, then turn your pommel to the ground and the point upwards, and catch the strike in the middle of your sword’s blade, and move through to him below with the pommel above to the top of his sword, nearing behind his hilt, and jolt upwards onto your right side, so you take his sword.

[106] Again a parry

Note, when you have your sword over the left knee, or stand otherwise in another guard, if he then strikes with the pommel below to the ankle of your left foot, then hold your sword firmly in the left hand, and throw it with the pommel out of the right hand against his hit into the ground onto your left side, and jump to him with it, and wait for the arm break or otherwise other wrestles.

[107]

[108] This is the text and the gloss, how one shall strike with the pommel

29	The front foot You must guard with hits

Gloss: Note, the striking point, that is the sword’s pommel, you shall strike with it to his front placed limbs. You shall quite precisely aim for them, so that you correctly land a hit with it, and you shall bring the hits to scales as such:

[109] Hold your sword in the upper guard over the head, and do as if you want to stab or plant into the face from it. With it, let go of the sword with the right hand and come with it to help the left hand in the middle of the blade, and strike him with the pommel to the knee of his front placed foot, or to his front placed hand, with which he holds the sword in the middle. You may also strike with it to the head or to the elbow or to the shoulder, when it is even to you.

[110] Here note the work with the dagger in combat

Now you shall know that the greatest part of all combat fencing in armor comes to the last to the dagger fencing, and to the wrestling. Therefore note, when you run in with him, otherwise don’t wait when wrestling, and let your dagger stick in the scabbard, because you may not hurt him with it through the armor while he stands in front of you, and hinders you in the hand, because you shall grasp him with wrestling, or when you have thrown him, and have been powerful, then first work with the dagger to the openings of the armor which will be explained to you next, and are to be explained.

[111] Another

Note, when you come to wrestle with him, if you then throw him on the back, then fall to him with the body on top of his face, and grasp him by the neck under an arm, thus he is pinned, and may additionally not well come up with whichever hand he then grips to you, then stab him after to the opening of the palm, or stab him under the armpit. Or, work with the dagger below to the business, and to all joints where it seems that you may win the best.

[112] Another

Note, if you throw him onto the belly with wrestling, then quickly sit on him and grab his right hand with your right hand, and pull it behind on his back, and hold it firmly with the left hand, and with the right, stab him into the same hand to the opening of the palm, or to the opening under the armpit. Or, when he falls, you may grip him by a foot, then stab him with the dagger below into the sole of the same foot.

[113] Finish

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.

Cheney, Stephen (2020). Ringeck • Danzig • Lew Longsword. Self-published. ISBN 979-8649845441.
Hagedorn, Dierk (2008). Transkription und Übersetzung der Handschrift 44 A 8. Herne: VS-Books. ISBN 978-3-932077-34-0.
Hagedorn, Dierk (2016). "German Fechtbücher from the Middle Ages to the Renaissance." Late Medieval and Early Modern Fight Books. Transmission and Tradition of Martial Arts in Europe: 247-279. Ed. by Daniel Jaquet; Karin Verelst; Timothy Dawson. Leiden and Boston: Brill. ISBN 978-90-04-31241-8.
Hagedorn, Dierk; Christian Henry Tobler (2021). The Peter von Danzig Fight Book. Wheaton: Freelance Academy Press. ISBN 978-1-937439-53-8.
Hagedorn, Dierk (2023). Das Ortenburger Fechtbuch. Herne: VS-Books. ISBN 978-3-932077-53-1.
Hull, Jeffrey; Grzegorz Żabiński; Monika Maziarz (2007). Knightly Dueling: The Fighting Arts of German Chivalry. Boulder: Paladin Press. ISBN 978-1-581606744.
R., Harry (2019). Peter von Danzig. Self-published. ISBN 978-0-36-870245-7.
Tobler, Christian Henry (2001). Secrets of German Medieval Swordsmanship. Union City: Chivalry Bookshelf. ISBN 978-1-891448-07-2.
Tobler, Christian Henry (2010). In Saint George's Name: An Anthology of Medieval German Fighting Arts. Wheaton: Freelance Academy Press. ISBN 978-0-9825911-1-6.
Verelst, Karin (2016). "Finding a Way through the Labyrinth: Some Methodological Remarks on Critically Editing the Fight Book Corpus." Late Medieval and Early Modern Fight Books. Transmission and Tradition of Martial Arts in Europe: 117-188. Ed. by Daniel Jaquet; Karin Verelst; Timothy Dawson. Leiden and Boston: Brill. doi:10.1163/9789004324725_008. ISBN 978-90-04-31241-8.
Welle, Rainer (2017). "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 S12. Purkersdorf: Verlag Brüder Hollinek. ISBN 0379-3621.
Wierschin, Martin (1965). Meister Johann Liechtenauers Kunst des Fechtens. München: C. H. Beck.
Żabiński, Grzegorz (2010). The Longsword Teachings of Master Liechtenauer. The Early Sixteenth Century Swordsmanship Comments in the 'Goliath' Manuscript. Poland: Adam Marshall. ISBN 978-83-7611-662-4.

References

↑ This name stems from the false assumption of many 20th century writers, including Martin Wierschin and Hans-Peter Hils, identifying him with Peter von Danzig zum Ingolstadt. It has been argued that this name is inappropriate because the treatises attributed to pseudo-Danzig (and also pseudo-Hans Döbringer) are not true pseudepigrapha—they are internally anonymous. However, many Ancient and Medieval pseudepigraphic texts were originally anonymous and were assigned their false attributions by later readers, and this is also the case with these two glosses in our fledgling tradition.
↑ Both Augsburg and Salzburg contain significant scribal errors of omission that allow us to identify manuscripts copied from them.
↑ Zabinski, pp 82-83
↑ Medel's section of the Cod. I.6.2º.5 is internally dated on folio 21r.
↑ The record of the Marxbrüder in the manuscript ends on folio 20r with the year 1566, so Mair couldn't have compiled it before then.
↑ Sydney Anglo. The Martial Arts of Renaissance Europe. New Haven and London: Yale University Press, 2000. pp 312-315.
↑ lit: All art has length and measure
↑ Per Trosclair, Goliath text reads "In the same way, the counterpart from the left side through, you shall always render hew and tread with each other as one."
↑ Or "tap-hit".
↑ Just As
↑ Line added in the Kraków.
↑ Just As // Indes
↑ Couplets 102-109.
↑ Couplet 74.
↑ Literally "from crossed arms".
↑ Translation by Michael Chidester.
↑ "and binds strongly on your sword therewith" omitted from the Kraków.
↑ lit: zufechten
↑ Squint here means "an askew glance", referring to both the sword's direction of travel and also the use of deception with the eyes with this hew.
↑ "the Four Openings" omitted from the Kraków.
↑ K. "The Following Technique".
↑ "from all" omitted from the Kraków.
↑ "with" omitted from the Kraków.
↑ Letter erased and overwritten.
↑ "with something" omitted from the Kraków.
↑ This text is a repetition of the first paragraph on folio 68r, but this is the illustration that corresponds to the text in Goliath (folio 54v).
↑ K. "with both hands".
↑ ^{Jump up to: 28.0} ^28.1 Indecipherable due to an ink blotch.
↑ Note: cut as in slice
↑ "and see" omitted from the Kraków.
↑ K. "Here you should drive four windings from both hands from the two over-hangings, that is, the ox".
↑ The rest of this paragraph appears after paragraph 4, but has been moved here for consistency with the other versions.
↑ Steht nach der nächsten Zeile.
↑ crosswise? across? obliquely?
↑ satelbogen, maybe saddle horn?
↑ let your lance sink down in front
↑ “sittigklich,” or “sittiglich,” at the time meant “moderately” in the sense of slowly or not too fast, modern “sittlich” means morally or ethically.
↑ "zaum," literally "bridle," context indicates reins
↑ Steht nach der nächsten Zeile.
↑ Steht nach der nächsten Zeile.
↑ A “tasset” is a piece of armor that covers the side of the thigh. It is possible that the last part of this hew aims for a gap in the armor on the back of the leg.
↑ zu hilff - to help
↑ This is wrong, it is the 5th figure.
↑ Different ink, original text possibly scraped off and replaced.
↑ eysenhuet - iron hat
↑ move him? move to him?
↑ Could be bridle. Have it as "reins" because it makes more sense in the context of the play below.
↑ Letter I smudged.
↑ The text ends here abruptly, in the middle of a play. Since the page isn't full, it's unclear why the scribe stopped at this point. The subsequent folia come from earlier in the manuscript; they were removed and then added back in at the end.
↑ Other one says "too".
↑ Typo in the source, should be 25 (xxv)
↑ Steht nach der nächsten Zeile.
↑ Somewhere else it says "strike a glancing blow," I think that's the same idea
↑ This quatrain is a mess
↑ Scribal error, doubling this phrase.
↑ Make a note, "zu dem schuß," literally "to the shot"
↑ "Nachent in weyshait" is reversed in the text, with markings indicating the correct word order"
↑ This paragraph is displaced in the text, and appears between paragraphs 18 and 19.
↑ Glasgow version adds "him"
↑ G. "wisely and masterfully".
↑ G. "students".
↑ Nota is written in the margin in a different hand, with a line pointing to kainen.
↑ Wie hienach conterfct[?] written below in a different hand.
↑ Corrected from »sein«.
↑ Added in a different hand.
↑ Corrected from »seinem«.
↑ Glasgow contains extensive differences.
↑ And you shall... with the point" omitted from the Glasgow.
↑ G. "work to the openings".
↑ The rest vanishes in the binding.
↑ "the face" omitted in the Glasgow.
↑ Clause omitted from the Glasgow.
↑ Clause omitted from the Glasgow.
↑ Tricky. The rome says "vrbrigen," the Glasgow says "verpringen," and the Vienna says "vbaring." Since we see this exact same construction in a lance play earlier, I'm going with "urbaring," and going to say that the author of the Glasgow didn't understand the word, so he went with "verbringen."
↑ This paragraph and the next one are displaced in the text, and appear between paragraphs 54 and 55.
↑ Illegible deletion
↑ U changed to an I
↑ I don't get this or the following one.
↑ This paragraph is displaced in the text, and appears between paragraphs 74 and 75.
↑ Corrected from »dam«.
↑ Corrected from »dem«.
↑ Corrected from »vchsel«.
↑ It is "er" in the text because "ee wenn" is a conjunction, so it resets the case. It wouldn't do that in english I think, or I'm just an idiot.
↑ The order of these two paragraphs is reversed in the manuscript.
↑ This paragraph is displaced in the text, and appears between paragraphs 96 and 97.
↑ Korrigiert aus »sein«.
↑ The verses are placed before the title in the text.
↑ Corrected from »mit«.
↑ Text was effaced and "unnder ein arm" written over it.

[1] This name stems from the false assumption of many 20th century writers, including Martin Wierschin and Hans-Peter Hils, identifying him with Peter von Danzig zum Ingolstadt. It has been argued that this name is inappropriate because the treatises attributed to pseudo-Danzig (and also pseudo-Hans Döbringer) are not true pseudepigrapha—they are internally anonymous. However, many Ancient and Medieval pseudepigraphic texts were originally anonymous and were assigned their false attributions by later readers, and this is also the case with these two glosses in our fledgling tradition.

[2] Both Augsburg and Salzburg contain significant scribal errors of omission that allow us to identify manuscripts copied from them.

[3] Zabinski, pp 82-83

[4] Medel's section of the Cod. I.6.2º.5 is internally dated on folio 21r.

[5] The record of the Marxbrüder in the manuscript ends on folio 20r with the year 1566, so Mair couldn't have compiled it before then.

[6] Sydney Anglo. The Martial Arts of Renaissance Europe. New Haven and London: Yale University Press, 2000. pp 312-315.

[7] t: All art has length and measure

[8] Per Trosclair, Goliath text reads "In the same way, the counterpart from the left side through, you shall always render hew and tread with each other as one."

[9] Or "tap-hit".

[10] Just As

[11] Line added in the Kraków.

[12] Just As // Indes

[13] Couplets 102-109.

[14] Couplet 74.

[15] Literally "from crossed arms".

[16] Translation by Michael Chidester.

[17] "and binds strongly on your sword therewith" omitted from the Kraków.

[18] t: zufechten

[19] Squint here means "an askew glance", referring to both the sword's direction of travel and also the use of deception with the eyes with this hew.

[20] "the Four Openings" omitted from the Kraków.

[21] K. "The Following Technique".

[22] "from all" omitted from the Kraków.

[23] "with" omitted from the Kraków.

[24] Letter erased and overwritten.

[25] "with something" omitted from the Kraków.

[26] This text is a repetition of the first paragraph on folio 68r, but this is the illustration that corresponds to the text in Goliath (folio 54v).

[27] K. "with both hands".

[blotch-28] {Jump up to: 28.0} ^28.1 Indecipherable due to an ink blotch.

[29] Note: cut as in slice

[30] "and see" omitted from the Kraków.

[31] K. "Here you should drive four windings from both hands from the two over-hangings, that is, the ox".

[32] The rest of this paragraph appears after paragraph 4, but has been moved here for consistency with the other versions.

[33] Steht nach der nächsten Zeile.

[34] rosswise? across? obliquely?

[35] satelbogen, maybe saddle horn?

[36] t your lance sink down in front

[37] “sittigklich,” or “sittiglich,” at the time meant “moderately” in the sense of slowly or not too fast, modern “sittlich” means morally or ethically.

[38] "zaum," literally "bridle," context indicates reins

[39] Steht nach der nächsten Zeile.

[40] Steht nach der nächsten Zeile.

[41] A “tasset” is a piece of armor that covers the side of the thigh. It is possible that the last part of this hew aims for a gap in the armor on the back of the leg.

[42] zu hilff - to help

[43] This is wrong, it is the 5th figure.

[44] Different ink, original text possibly scraped off and replaced.

[45] eysenhuet - iron hat

[46] ve him? move to him?

[47] Could be bridle. Have it as "reins" because it makes more sense in the context of the play below.

[48] Letter I smudged.

[49] The text ends here abruptly, in the middle of a play. Since the page isn't full, it's unclear why the scribe stopped at this point. The subsequent folia come from earlier in the manuscript; they were removed and then added back in at the end.

[50] Other one says "too".

[51] Typo in the source, should be 25 (xxv)

[52] Steht nach der nächsten Zeile.

[53] Somewhere else it says "strike a glancing blow," I think that's the same idea

[54] This quatrain is a mess

[55] Scribal error, doubling this phrase.

[56] Make a note, "zu dem schuß," literally "to the shot"

[57] "Nachent in weyshait" is reversed in the text, with markings indicating the correct word order"

[58] This paragraph is displaced in the text, and appears between paragraphs 18 and 19.

[59] Glasgow version adds "him"

[60] G. "wisely and masterfully".

[61] G. "students".

[62] Nota is written in the margin in a different hand, with a line pointing to kainen.

[63] Wie hienach conterfct[?] written below in a different hand.

[64] Corrected from »sein«.

[65] Added in a different hand.

[66] Corrected from »seinem«.

[67] Glasgow contains extensive differences.

[68] And you shall... with the point" omitted from the Glasgow.

[69] G. "work to the openings".

[70] The rest vanishes in the binding.

[71] "the face" omitted in the Glasgow.

[72] Clause omitted from the Glasgow.

[73] Clause omitted from the Glasgow.

[74] Tricky. The rome says "vrbrigen," the Glasgow says "verpringen," and the Vienna says "vbaring." Since we see this exact same construction in a lance play earlier, I'm going with "urbaring," and going to say that the author of the Glasgow didn't understand the word, so he went with "verbringen."

[75] This paragraph and the next one are displaced in the text, and appear between paragraphs 54 and 55.

[76] Illegible deletion

[77] U changed to an I

[78] I don't get this or the following one.

[79] This paragraph is displaced in the text, and appears between paragraphs 74 and 75.

[80] Corrected from »dam«.

[81] Corrected from »dem«.

[82] Corrected from »vchsel«.

[83] It is "er" in the text because "ee wenn" is a conjunction, so it resets the case. It wouldn't do that in english I think, or I'm just an idiot.

[84] The order of these two paragraphs is reversed in the manuscript.

[85] This paragraph is displaced in the text, and appears between paragraphs 96 and 97.

[86] Korrigiert aus »sein«.

[87] The verses are placed before the title in the text.

[88] Corrected from »mit«.

[89] Text was effaced and "unnder ein arm" written over it.

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Gloss and Interpretation of the Recital
die gloss und die auslegung der zettel des langen schwerts


Author(s)	Unknown
Ascribed to	Pseudo-Peter von Danzig
Illustrated by	Unknown
Date	before 1452
Genre	Fencing manual Wrestling manual
Language	Early New High German
State of Existence	Original hypothetical; multiple branches exist
Principal Manuscript(s)	Cod. 44.A.8 (1452)
Manuscript(s)	MS KK5126 (1480s) Ortenburg Fechtbuch (1400s) Falkner Turnierbuch (ca. 1500) [more] MS Dresd.C.487 (1504-19) MS E.1939.65.341 (1508) MS Germ.quart. 2020 (1535-40) Cod. I.6.2º.2 (1564)
First Printed English Edition	Tobler, 2010
Concordance by	Michael Chidester
Translations	Traduction française Deutsch-Übersetzung Magyar fordítás [more] Traducción castellano

Work	Author(s)	Source
Kraków Illustrations	Biblioteka Jagiellońska	Biblioteka Jagiellońska
Translation	Cory Winslow	Wiktenauer
Translation	Mike Rasmusson	Shielhau.org
Translation	Stephen Cheney	Wiktenauer
Rome Transcription	Dierk Hagedorn	Index:Starhemberg Fechtbuch (Cod.44.A.8)
Vienna Transcription	Dierk Hagedorn	Index:Paulus Kal Fechtbuch (MS KK5126)
Dresden Transcription	Dierk Hagedorn	Index:Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)
Glasgow Transcription	Dierk Hagedorn	Index:Glasgow Fechtbuch (MS E.1939.65.341)
Kraków Transcription	Grzegorz Żabiński	Index:Goliath Fechtbuch (MS Germ.Quart.2020)
Augsburg Transcription	Dierk Hagedorn	Index:Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)

Difference between revisions of "Pseudo-Peter von Danzig"

Latest revision as of 04:34, 9 November 2024

Contents

Textual History

Manuscript Stemma

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Long sword

Mounted fencing

Short sword

Long Sword

Mounted Fencing

Short Sword

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@@ Line 1: / Line 1: @@
-{{under construction}}
 {{infobox medieval text
 <!-----------Name---------->
@@ Line 30: / Line 29: @@
 | manuscript(s)         = {{collapsible list
   | [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s)
+ | [[Ortenburg Fechtbuch]] (1400s)
   | [[Falkner Turnierbuch]] (ca. 1500)
   | [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|MS Dresd.C.487]] (1504-19)
@@ Line 68: / Line 68: @@
 The Rome version has been an object of interest in HEMA going back all the way to [[Martin Wierschin]]'s 1965 opus ''Meister Johann Liechtenauers Kunst des Fechtens'', in which he attributed the entire manuscript to Peter von Danzig zum Ingolstadt and described the anonymous gloss as a modified version of Ringeck devised by Danzig. He also included the Dresden, Vienna, and Augsburg manuscripts in his catalog, with the glosses all attributed to either Ringeck or Liechtenauer himself. In [[Hans-Peter Hils]]' updated catalog in 1985, ''Meister Johann Liechtenauers Kunst des langen Schwertes'', he included all four of these plus the Kraków manuscript, but maintained and even doubled down on the attributions to Ringeck, Danzig, and Liechtenauer. Finally, the Glasgow version was identified in [[Sydney Anglo]]'s 2000 opus as merely "[R. L.] Scott's Liechtenauer MS",<ref>Sydney Anglo. ''The Martial Arts of Renaissance Europe''. New Haven and London: Yale University Press, 2000. pp 312-315.</ref> but [[Rainer Leng]]'s 2008 catalog fully outlined its contents, including glosses he attributed to Ringeck and Liechtenauer.
-The earliest work on the pseudo-Peter von Danzig gloss is inseparable from work on Ringeck, partly because of the convoluted chain of copying proposed by Wierschin and Hils and accepted uncritically for a long time thereafter, but mostly because the Dresden manuscript was entirely credited to Ringeck in early days. The correct attribution of [[Andre Lignitzer]]'s sword and buckler and the fragment of [[Ott Jud]]'s wrestling were recognized by the early 21st century, but the fragment of pseudo-Danzig's mounted gloss was only identified by [[Michael Chidester]] in 2021. Thus, the first transcription of any part of the gloss would be Wierschin's transcription of the Dresden version in 1965, and the first English translation was authored in 2001 by [[Christian Henry Tobler]] and published by [[Chivalry Bookshelf]] in ''Secrets of German Medieval Swordsmanship''.
+The earliest work on the pseudo-Peter von Danzig gloss is inseparable from work on Ringeck, partly because of the convoluted chain of copying proposed by Wierschin and Hils and accepted uncritically for a long time thereafter, but mostly because the Dresden manuscript was entirely credited to Ringeck in early days. The correct attribution of [[Andre Lignitzer]]'s sword and buckler and the fragment of [[Ott Jud]]'s wrestling were recognized by the early 21st century, but the fragment of pseudo-Danzig's mounted gloss was only identified by [[Michael Chidester]] in 2021. Thus, the first transcription of any part of the gloss would be Wierschin's transcription of the Dresden version in 1965, the first German modernization was made by [[Christoph Kaindel]] in the 1990s, the first English translation was authored in 1999 by [[Jörg Bellinghausen]], and so on.
 Also in 2001, [[Grzegorz Żabiński]] authored the first transcriptions of pseudo-Danzig without attribution to Ringeck: the long and short sword from the Rome version and the long sword from the Kraków. This work was posted on the ARMA-PL site, and likewise when [[Monika Maziarz]] rounded off the Rome by transcribing the mounted fencing in 2004.
-That same year, [[Mike Rasmusson]] authored the first English translation of the long sword gloss, based on the Kraków version with occasional references to the Rome, and posted it on Schielhau.org. English translations of the short sword and mounted fencing (based on the Rome) followed in 2007, authored by [[Jeffrey Hull]] and published by [[Paladin Press]] in ''Knightly Dueling: The Fighting Arts of German Chivalry''. Then in 2010, [[Grzegorz Żabiński]] released a new translation of the Kraków long sword as part of his dissertation on that manuscript, published by Adam Marshall in ''The Longsword Teachings of Master Liechtenauer: the Early Sixteenth Century Swordsmanship Comments in the "Goliath" Manuscript'', and [[Christian Henry Tobler]] released the first complete English translation of the Rome version, published by [[Freelance Academy Press]] in ''In Saint George's Name: An Anthology of Medieval German Fighting Arts''.
+That same year, [[Mike Rasmusson]] authored the first English translations of the long sword gloss (based on the Kraków version with occasional references to the Rome) and short sword gloss (based on Rome) and posted them on Schielhau.org. English translations of the short sword and mounted fencing (based on the Rome) followed in 2007, authored by [[Jeffrey Hull]] and published by [[Paladin Press]] in ''Knightly Dueling: The Fighting Arts of German Chivalry''. Then in 2010, [[Grzegorz Żabiński]] released a new translation of the Kraków long sword as part of his dissertation on that manuscript, published by Adam Marshall in ''The Longsword Teachings of Master Liechtenauer: the Early Sixteenth Century Swordsmanship Comments in the "Goliath" Manuscript'', and [[Christian Henry Tobler]] released the first complete English translation of the Rome version, published by [[Freelance Academy Press]] in ''In Saint George's Name: An Anthology of Medieval German Fighting Arts''.
-The first non-English translation seems to be a French translation of the Rome and Dresden mounted glosses produced by [[Michaël Huber]] and posted on the ARDAMHE site in 2004. In 2010, he followed this up with a translation of the long sword, along with [[Philippe Errard]] and [[Didier de Grenier]], which was also posted on the ARDAMHE site; this would be translated to Spanish by [[Eugenio García-Salmones]] in 2011 and posted on the AVEH site.
+The first non-English translation seems to be a French translation of the Rome and Dresden mounted glosses produced by [[Michaël Huber]] and posted on the ARDAMHE site in 2004. In 2010, he followed this up with a translation of the long sword, together with [[Philippe Errard]] and [[Didier de Grenier]], which was also posted on the ARDAMHE site; this would be translated to Spanish by [[Eugenio García-Salmones]] in 2011 and posted on the AVEH site.
 In 2006, [[Dierk Hagedorn]] authored a new transcription of the Rome version and posted it on the Hammaborg site. This was subsequently published, along with his translation to modern German, by [[VS-Books]] in ''Transkription und Übersetzung der Handschrift 44 A 8''.
@@ Line 81: / Line 81: @@
 The Rome version has tended to be the most popular due to being the oldest surviving one, and the Kraków second-most-popular on account of having extensive illustrations, but a small amount of work on the other versions has also emerged over time. In 2006, [[Carsten Lorbeer]], [[Julia Lorbeer]], [[Andreas Meier]], [[Marita Wiedner]], and [[Johann Heim]], working as part of the [[Gesellschaft für pragmatische Schriftlichkeit]], authored a complete transcription of the Vienna version as part of their Kal project (which was eventually posted on that site). In 2009, [[Dierk Hagedorn]] likewise produced transcriptions of the Augsburg and Glasgow versions and posted them on Hammaborg (he eventually also re-transcribed the Vienna version in 2017).
-In 2015, [[Cory Winslow]] authored a new English translation of the long sword section for Wiktenauer, which was the first that incorporated all known versions of the gloss; this translation was also published by Wiktenauer that year in ''The Recital of the Chivalric Art of Fencing of the Grand Master Johannes Liechtenauer''. In 2018, [[Stephen Cheney]] rounded off the Wiktenauer article with translations of the short sword and mounted glosses.
+In 2013, [[Cory Winslow]] authored a new English translation of the long sword section for Wiktenauer, which was the first that incorporated all known versions of the gloss; in 2016, this translation was published by Wiktenauer in ''The Recital of the Chivalric Art of Fencing of the Grand Master Johannes Liechtenauer''. In 2018, [[Stephen Cheney]] rounded off the Wiktenauer article with translations of the short sword and mounted glosses.
 The [[Falkner Turnierbuch]], the final known copy of the pseudo-Danzig gloss, was identified in 2015 by [[Christian Trosclair]] through study of a late-18th century dictionary by [[Johann Georg Scherz]]. This dictionary included 94 quotations from the manuscript ranging from a few words to an entire paragraph, which Trosclair transcribed and which constitute the entire known text of the manuscript since it has been lost and presumed destroyed since the 19th century.
@@ Line 87: / Line 87: @@
 In 2017, [[Rainer Welle]] authored a monograph seeking to set the record straight on the Kraków manuscript and including the first complete transcription, published as "Ein unvollendetes Meisterwerk der Fecht- und Ringkampfliteratur des 16. Jahrhunderts sucht seinen Autor: der Landshuter Holzschneider und Maler Georg Lemberger als Fecht- und Ringbuchillustrator?", a supplemental issue of the journal ''Codices manuscripti & impressi''.
-Most recently, more translations of the Rome version have continued to be released over time. In 2019, [[Harrison Ridgeway|Harry R.]] self-published a complete English translation titled ''Peter von Danzig''. In 2020, [[Stephen Cheney]] self-published an English translation of the long sword in ''Ringeck{{middot}}Danzig{{middot}}Lew Longsword''. And in 2021, [[Dierk Hagedorn]] and [[Christian Henry Tobler]] co-authored a revision to their transcription and translation (respectively) which was published by [[Freelance Academy Press]] in ''The Peter von Danzig Fight Book''.
+Most recently, more translations of the Rome version have continued to be released. In 2019, [[Harrison Ridgeway|Harry R.]] self-published a complete English translation titled ''Peter von Danzig''. In 2020, [[Stephen Cheney]] self-published an English translation of the long sword in ''Ringeck{{middot}}Danzig{{middot}}Lew Longsword''. And in 2021, [[Dierk Hagedorn]] and [[Christian Henry Tobler]] co-authored a revision to their transcription and translation (respectively) which was published by [[Freelance Academy Press]] in ''The Peter von Danzig Fight Book''.
 == Treatise ==
-While all branches were originally presented in a single concordance in this article, the differences between them are extensive enough that they merit separate consideration. Thus, Branch A has been placed on the page of [[Lew]], Branch B has been retained here, and branch C is now on the [[Nicolaüs]] page.
-The text of the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków]] version of Pseudo-Danzig frequently refers to intended illustrations, some of which were never added to the manuscript. The appropriate blank pages are included in the illustration column for reference. 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.
 {{Special:RunQuery/Pseudo-Peter von Danzig}}
 <h3 style="display: none;> Long Sword </h3>
@@ Line 104: / Line 99: @@
      <th id="LSIllustrationsK0"><p>Illustrations<br/>from the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków version]]</p></th>
      <th id="LSIllustrationsA0"><p>Illustrations<br/>from the [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg Version]]</p></th>
-     <th id="LSTrosclair0"><p>{{rating|c}} (2022)<br/>by [[Christian Trosclair]]</p></th>
+     <th id="LSTrosclair0"><p>{{rating|C}} (2022)<br/>by [[Christian Trosclair]]</p></th>
      <th id="LSWinslow0"><p>{{rating|A}} (2016)<br/>by [[Cory Winslow]]</p></th>
+    <th id="LSRasmusson0">{{rating|D|Flawed Translation (Kraków only)}} (2005)<br/>by [[Mike Rasmusson]]</th>
      <th id="LSRome0"><p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed by [[Dierk Hagedorn]]</p></th>
      <th id="LSKrakow0"><p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków Version]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>Transcribed by [[Grzegorz Żabiński]]</p></th>
@@ Line 539: / Line 535: @@
 {{Ps-Danzig row LS|41
+| [[File:MS Germ.Quart.2020 023r.jpg|350px|center]]
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-|
+| [[File:MS Germ.Quart.2020 023r.jpg|350px|center]]
-|
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@@ Line 549: / Line 545: @@
 }}
-{{Ps-Danzig row LS rsa|A
+{{Ps-Danzig row LS|42
-| rowspan=2
+| [[File:MS Germ.Quart.2020 024r.jpg|350px|center]]
-| [[File:MS Germ.Quart.2020 023r.jpg|350px|center]]
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-| [[File:MS Germ.Quart.2020 023r.jpg|350px|center]]
+| [[File:MS Germ.Quart.2020 024r.jpg|350px|center]]
 |
 | {{section|Page:Cod.44.A.8 019v.jpg|2|lbl=19v.2}}
-|
-|
-|
-}}
-{{Ps-Danzig row LS rsb|42
-| <p><br/></p>
 {{section|Page:Cod.44.A.8 019v.jpg|3|lbl=19v.3}}
@@ Line 569: / Line 557: @@
 }}
-{{Ps-Danzig row LS|43
+{{Ps-Danzig row LS rsa|43
-| [[File:MS Germ.Quart.2020 024r.jpg|350px|center]]
+| rowspan=3
+| [[File:MS Germ.Quart.2020 025r.jpg|350px|center]]
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-| [[File:MS Germ.Quart.2020 024r.jpg|350px|center]]
+| [[File:MS Germ.Quart.2020 025r.jpg|350px|center]]
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-{{section|Page:Cod.44.A.8 019v.jpg|4|lbl=19v.3|p=1}} {{section|Page:Cod.44.A.8 020r.jpg|1|lbl=20r.1|p=1}}
+{{section|Page:Cod.44.A.8 019v.jpg|4|lbl=19v.4|p=1}} {{section|Page:Cod.44.A.8 020r.jpg|1|lbl=20r.1|p=1}}
 | {{section|Page:MS Germ.Quart.2020 024v.jpg|1|lbl=24v.1}}
 |
 }}
-{{Ps-Danzig row LS rsa|44
+{{Ps-Danzig row LS rsb|44
-| rowspan=2
-| [[File:MS Germ.Quart.2020 025r.jpg|350px|center]]
-|
-| [[File:MS Germ.Quart.2020 025r.jpg|350px|center]]
-|
 | {{section|Page:Cod.44.A.8 020r.jpg|2|lbl=20r.2}}
 | {{section|Page:MS Germ.Quart.2020 024v.jpg|2|lbl=24v.2}}
@@ Line 929: / Line 913: @@
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 |
+| {{section|Page:Cod.44.A.8 026v.jpg|2|lbl=26v.2}}
 |
 {{section|Page:MS Germ.Quart.2020 040r.jpg|4|lbl=40r.4|p=1}} {{section|Page:MS Germ.Quart.2020 040v.jpg|1|lbl=40v.1|p=1}}
@@ Line 1,529: / Line 1,514: @@
 |
 | [[File:MS Germ.Quart.2020 073r.jpg|350px|center]]
-|
+| [[File:Cod.I.6.2º.2 69v.jpg|300px|center]]
 |
 | {{paget|Page:MS Germ.Quart.2020|073r|jpg|blk=1|lbl=73r}}
@@ Line 1,547: / Line 1,532: @@
 </div>
-{{master begin
+<h3 style="display: none;> Mounted Fencing </h3>
-  | title = Mounted Fencing Gloss
+<div id="mounted_fencing" style="background:transparent; clear:both; font-weight:normal; padding:3px; text-align:left; width:0em; min-width:0em;">
-  | width = 180em
+<table class="master sortable">
-}}
+  <tr>
-{| class="master sortable"
+    <th id="MFIllustrations0"><p>Illustrations<br/>from the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków version]]</p></th>
-|-
+    <th id="MFCheney0"><p>{{rating|C|Draft Translation (Rome only)}} (2018)<br/>by [[User:Stephen Cheney|Stephen Cheney]]</p></th>
-! <p>Illustrations<br/>from the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków version]]</p>
+    <th id="MFRome0"><p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed by [[Dierk Hagedorn]]</p></th>
-! <p>{{rating|c|Draft Translation (from the Rome)}}<br/>by [[User:Stephen Cheney|Stephen Cheney]]</p>
+    <th id="MFVienna0"><p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Version]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>Transcribed by [[Dierk Hagedorn]]</p></th>
-! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
+    <th id="MFDresden0"><p>[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Version]] (1504-19){{edit index|Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)}}<br/>Transcribed by [[Dierk Hagedorn]]</p></th>
-! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków Version]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>Transcribed by [[Michael Chidester]]</p>
+    <th id="MFKrakow0"><p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków Version]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>Transcribed by [[Michael Chidester]]</p></th>
-! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Version]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
+  </tr>
-! <p>[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Version]] (1504-19){{edit index|Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
+{{Ps-Danzig row MF|1
+|
-|-
-| [[File:Cod.44.A.8 002v.jpg|300px|center]]
-| <p>[1] {{red|b=1|Here begins [the] gloss and the interpretation of the zettel of the art of mounted fencing, which}} was composed and made by {{red|Johannes Liechtenauer}}, he is known as a high master in the art, God be gracious to him, and the art about this belongs to princes and lords, knights and squires, so that they shall know and learn. He has thus let the same art be specially written with obscure and disguised words, therefore commoners shall not hear nor understand them, as you will find them written hereafter, and has done because of the reckless fencing masters, who show little regard for their art, so that his art shall not be public or common from the same, from such people who can’t progress to behold the art, as those to whom the art pertains. And the same obscure and disguised words of mounted fencing, they stand hereafter, explained and interpreted in the gloss, so that anyone may well hear and understand them, if they can otherwise fence.</p>
 | {{section|Page:Cod.44.A.8 039v.jpg|1|lbl=39v.1}}
 |
 |
 |
+}}
-|-
+{{Ps-Danzig row MF|2
 |
-| <p>[2] {{red|b=1|Here note the text and the gloss about a common lesson on horseback}}</p>
-{| class="zettel"
-|-
-| <small>1</small>
-| {{red|Direct your spear<br/>&emsp;Against riding, make useless}}
-|}
-<p>Gloss: Note, this is when you ride with your lance, and someone against you, also with one, you shall, before all cases, know three guards with it, and from the guards you shall [go] to him by hand. The first, when wielding your lance, they are settings-aside with art and with strength, so that you therefore hit him with it.</p>
 |
 {{section|Page:Cod.44.A.8 039v.jpg|2|lbl=39v.2|p=1}} {{section|Page:Cod.44.A.8 040r.jpg|1|lbl=40r.1|p=1}}
@@ Line 1,584: / Line 1,559: @@
 {{section|Page:MS KK5126 114r.jpg|3|lbl=114r.1|p=1}}<ref>The rest of this paragraph appears after paragraph 4, but has been moved here for consistency with the other versions.</ref><br/>{{section|Page:MS KK5126 114r.jpg|7|lbl=-|p=1}}
 |
+}}
-|-
+{{Ps-Danzig row MF|3
 |
-| <p>[3] {{red|b=1|The twenty-first figure teaches this,}} which says “The strength in the raising, arrange yourself in it correctly.”</p>
 | {{section|Page:Cod.44.A.8 040r.jpg|2|lbl=40r.2}}
 | {{section|Page:MS Germ.Quart.2020 166v.jpg|2|lbl=166v.2}}
 |
 |
+}}
-|-
+{{Ps-Danzig row MF rsa|4
-| rowspan="2" | [[File:MS Germ.Quart.2020 167r.jpg|350px|center]]
+| rowspan=2
-| <p>[4] {{red|b=1|Item:}} This is the first guard on horseback</p>
+| [[File:MS Germ.Quart.2020 167r.jpg|350px|center]]
-<p>Arrange yourself with it as follows: Grasp your lance with the back point under the right armpit, and reckon the front part to the longest to him with the point against the face.</p>
 | {{section|Page:Cod.44.A.8 040r.jpg|3|lbl=40r.3}}
 | {{section|Page:MS Germ.Quart.2020 166v.jpg|3|lbl=166v.3}}
 | {{section|Page:MS KK5126 114r.jpg|4|lbl=114r.2}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsb|5
-| <p>[5] {{red|b=1|Note, this is the second guard on horseback}}</p>
-<p>Arrange yourself with it as follows: Grasp your lance with the back point under the right armpit, and let it hang low to your left side next to your horse’s neck, and ride to him as such.</p>
 | {{section|Page:Cod.44.A.8 040r.jpg|4|lbl=40r.4}}
 | {{section|Page:MS Germ.Quart.2020 166v.jpg|4|lbl=166v.4}}
@@ Line 1,613: / Line 1,585: @@
 | {{section|Page:MS KK5126 114r.jpg|5|lbl=114r.3}}
 |
+}}
-|-
+{{Ps-Danzig row MF|6
 | [[File:MS Germ.Quart.2020 166v.jpg|350px|center]]
-| <p>[6] {{red|b=1|Note, this is the third guard on horseback}}</p>
-<p>Arrange yourself with it as follows: Grasp your lance in the middle with both hands, and hold it athwart<ref>crosswise? across? obliquely?</ref> in front of you on the saddle bow,<ref>satelbogen, maybe saddle horn?</ref> so that the point remains to your left side, and ride to him as such.</p>
 | {{section|Page:Cod.44.A.8 040r.jpg|5|lbl=40r.5}}
 | {{section|Page:MS Germ.Quart.2020 167r.jpg|2|lbl=167r.2}}
 | {{section|Page:MS KK5126 114r.jpg|6|lbl=114r.4}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsa|7
-| rowspan="2" | [[File:MS Germ.Quart.2020 167v.jpg|350px|center]]
+| rowspan=2
-| <p>[7] {{red|b=1|This is the text and the gloss of the plays from the three guards}}</p>
+| [[File:MS Germ.Quart.2020 167v.jpg|350px|center]]
-{| class="zettel"
-|-
-| <small>2</small>
-| {{red|If it falls down<br/>&emsp;Your point undoes him}}
-|}
-<p>Gloss: Note, drive this play from the first guard as follows: When you have extended your lance against him to the longest from the arm, and he his against you, then ride upon him and do as if you want to stab him to the face, and when you come near to him, then let the front of your lance sink down,<ref>let your lance sink down in front</ref> and change through with it below his lance to his right side. Thus you hit, and he does not.</p>
 |
 {{section|Page:Cod.44.A.8 040r.jpg|6|lbl=40r.6|p=1}} {{section|Page:Cod.44.A.8 040v.jpg|1|lbl=40v.1|p=1}}
@@ Line 1,639: / Line 1,604: @@
 | {{section|Page:MS KK5126 114r.jpg|8|lbl=114r.5}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsb|8
-| <p>[8] {{red|b=1|The first figure teaches this,}} which says “Hunt from the chest to his right hand.”</p>
 | {{section|Page:Cod.44.A.8 040v.jpg|2|lbl=40v.2}}
 | {{section|Page:MS Germ.Quart.2020 167v.jpg|2|lbl=167v.2}}
 |
 |
+}}
-|-
+{{Ps-Danzig row MF rsa|9
-| rowspan="2" | [[File:MS Germ.Quart.2020 168r.jpg|350px|center]]
+| rowspan=2
-| <p>[9] {{red|b=1|Note}}</p>
+| [[File:MS Germ.Quart.2020 168r.jpg|350px|center]]
-<p>{{red|b=1|Drive this play}} from the second guard. When you ride together with him, let the front of your lance sink down to your left side. If he then drives upon you with the lance, then sweep up simply onto your right side with your lance to his, and raise a little upwards with it. Thus you hit, and he does not.</p>
 | {{section|Page:Cod.44.A.8 040v.jpg|3|lbl=40v.3}}
 | {{section|Page:MS Germ.Quart.2020 168r.jpg|1|lbl=168r.1}}
@@ Line 1,658: / Line 1,622: @@
 {{section|Page:MS KK5126 114r.jpg|9|lbl=114r.6}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsb|10
-| <p>[10] {{red|b=1|The eighteenth figure teaches this,}} which says “Hunt to the right hand with your art.”</p>
 | {{section|Page:Cod.44.A.8 040v.jpg|4|lbl=40v.4}}
 | {{section|Page:MS Germ.Quart.2020 168r.jpg|2|lbl=168r.2}}
 |
 |
+}}
-|-
+{{Ps-Danzig row MF rsa|11
-| rowspan="2" | [[File:MS Germ.Quart.2020 168v.jpg|350px|center]]
+| rowspan=2
-| <p>[11]</p>
+| [[File:MS Germ.Quart.2020 168v.jpg|350px|center]]
-<p>{{red|b=1|Note, drive this play}} from the third guard as follows: When you ride together with him, hold your lance with both hands in the middle athwart in front of you on the saddle bow. If he then rides onto you with the lance, then sweep with the front part of your lance to his right side at his, and strike your lance with it under your right armpit, and ride forward. Thus you hit, and he does not. You shall also, from all three guards, come to half of the lance with the left hand, for the sake of strength.</p>
 | <p><br/></p>
@@ Line 1,679: / Line 1,642: @@
 {{section|Page:MS KK5126 114r.jpg|10|lbl=114r.7}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsb|12
-| <p>[12] {{red|b=1|The sixth figure teaches this,}} which says “Seize the strong with both hands.”</p>
 | {{section|Page:Cod.44.A.8 040v.jpg|6|lbl=40v.6}}
 | {{section|Page:MS Germ.Quart.2020 168v.jpg|2|lbl=168v.2}}
 |
 |
+}}
-|-
+{{Ps-Danzig row MF rsa|13
-| rowspan="2" | [[File:MS Germ.Quart.2020 179r.jpg|350px|center]]
+| rowspan=2
-| <p>[13] {{red|b=1|Here note a special play with the short lance against the long}}</p>
+| [[File:MS Germ.Quart.2020 179r.jpg|350px|center]]
-<p>Note, when you have a short lance and he a long, ride moderately<ref>“sittigklich,” or “sittiglich,” at the time meant “moderately” in the sense of slowly or not too fast, modern “sittlich” means morally or ethically.</ref> against him, and hold the point to him from the arm against the face, and when it comes to the hit, let go of the reins,<ref>"zaum," literally "bridle," context indicates reins</ref> and lead his lance away with the left hand onto your left side, and ride forward and plant to him.</p>
 | {{section|Page:Cod.44.A.8 040ar.jpg|1|lbl=40ar.1}}
 | {{section|Page:MS Germ.Quart.2020 179r.jpg|1|lbl=179r.1}}
 |
 | {{section|Page:MS Dresd.C.487 110v.png|2|lbl=110v.1}}
+}}
-|-
+{{Ps-Danzig row MF rsb|14
-| <p>[14] {{red|b=1|The twelfth figure teaches this,}} which says “With empty hand, learn two sweeps against all weapons.”</p>
 | {{section|Page:Cod.44.A.8 040ar.jpg|2|lbl=40ar.2}}
 | {{section|Page:MS Germ.Quart.2020 179r.jpg|2|lbl=179r.2}}
 |
 |
+}}
-|-
+{{Ps-Danzig row MF|15
 |
-| <p>[15] {{red|b=1|This is the text and the gloss about a lesson and about wrestling on horseback}}</p>
-{| class="zettel"
-|-
-| <small>3</small>
-| {{red|Hew in, don’t draw<br/>&emsp;From sheath, jolt to him left}}
-|-
-| <small>4</small>
-| {{red|Grapple to his right<br/>&emsp;So you catch him without fencing}}
-|}
-<p>Note the lesson: When you both ride together with the lance, if it is then the case that you both missed with it, if you then want to catch him without any fencing, then drop your lance by hand, and draw neither sword nor knife, and turn yourself with your left side to his right, and wait upon his right arm, and drive the wrestle written hereafter.</p>
 | {{section|Page:Cod.44.A.8 040ar.jpg|3|lbl=40ar.3}}
 | {{section|Page:MS Germ.Quart.2020 179v.jpg|1|lbl=179v}}
@@ Line 1,727: / Line 1,680: @@
 {{section|Page:MS Dresd.C.487 110v.png|3|lbl=110v.2|p=1}} {{section|Page:MS Dresd.C.487 111r.png|1|lbl=111r.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF|16
 |
-| <p>[16] {{red|b=1|Here note two wrestles}}</p>
-<p>Note, when you come with your left side to his right, grab his right hand with your right, and throw him with the unnamed hold or with the secret hold, and how you shall drive the two wrestles, you find that written hereafter.</p>
 |
 {{section|Page:Cod.44.A.8 040ar.jpg|4|lbl=40ar.4|p=1}} {{section|Page:Cod.44.A.8 040av.jpg|1|lbl=40av.1|p=1}}
@@ Line 1,740: / Line 1,691: @@
 {{section|Page:MS KK5126 114v.jpg|2|lbl=114v.2}}
 | {{section|Page:MS Dresd.C.487 111r.png|2|lbl=111r.2}}
+}}
-|-
+{{Ps-Danzig row MF|17
 |
-| <p>[17] {{red|b=1|Here note a sword taking}}</p>
-<p>Note, when you come with the left side to his right, if he has then drawn your [sic] sword and rises with the arm and wants to strike you, then grab his right arm with the left hand behind the elbow, and shove him above with it from you, and raise his right below with the left foot under the stirrup leather,</p>
 | {{section|Page:Cod.44.A.8 040av.jpg|2|lbl=40av.2}}
 | {{section|Page:MS Germ.Quart.2020 180r.jpg|2|lbl=180r.2}}
@@ Line 1,752: / Line 1,701: @@
 {{section|Page:MS Dresd.C.487 111v.png|1|lbl=111v.1}}
+}}
-|-
+{{Ps-Danzig row MF|18
 |
-| <p>[18] <br/>and grab his sword with the right hand by the pommel, and jolt it to you with it, so you take his sword, and additionally shove him as such from the horse.</p>
 |
 <br/>{{section|Page:Cod.44.A.8 040av.jpg|3|lbl=40av.3|p=1}}
@@ Line 1,763: / Line 1,712: @@
 |
 {{section|Page:MS Dresd.C.487 111v.png|2|lbl=111v.2|p=1}} {{section|Page:MS Dresd.C.487 112r.png|1|lbl=112r.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF|19
 |
-| <p>[19] {{red|b=1|The third figure teaches this,}} which says “With brushing, saddle rim or takes weapon.”</p>
 | {{section|Page:Cod.44.A.8 040av.jpg|4|lbl=40av.4}}
 | {{section|Page:MS Germ.Quart.2020 180r.jpg|4|lbl=180r.4}}
 |
 | {{section|Page:MS Dresd.C.487 112r.png|2|lbl=112r.2}}
+}}
-|-
+{{Ps-Danzig row MF|20
 |
-| <p>[20] {{red|b=1|Note, when you come with the right side to his right, drive the wrestle written hereafter}}</p>
-<p>Note, when you both have missed with the lance, if you may then not come with the left side to his right, then hold and throw him with the “sun showing” or with the sheep hold, and how you shall drive the two wrestles, you shall find that written hereafter.</p>
 | {{section|Page:Cod.44.A.8 040av.jpg|5|lbl=40av.5}}
 | {{section|Page:MS Germ.Quart.2020 181r.jpg|1|lbl=181r.1}}
 | {{section|Page:MS KK5126 114v.jpg|5|lbl=114v.5}}
 | {{section|Page:MS Dresd.C.487 112r.png|3|lbl=112r.3}}
+}}
-|-
+{{Ps-Danzig row MF rsa|21
-| rowspan="3" | [[File:MS Germ.Quart.2020 180v.jpg|350px|center]]
+| rowspan=3
-| <p>[21] {{red|b=1|Again a wrestle}}</p>
+| [[File:MS Germ.Quart.2020 180v.jpg|350px|center]]
-<p>Note, when you come with the right side to his right, if he has then drawn his sword and rises with it and wants to strike, then grab his right arm with the left hand behind the elbow, and raise it firmly, and with the right, grip his sword by the pommel, and jolt it out of his hand.</p>
 |
 {{section|Page:Cod.44.A.8 040av.jpg|6|lbl=40av.6|p=1}} {{section|Page:Cod.44.A.8 041r.jpg|1|lbl=41r.1|p=1}}
@@ Line 1,796: / Line 1,742: @@
 {{section|Page:MS Dresd.C.487 112r.png|4|lbl=112r.4|p=1}} {{section|Page:MS Dresd.C.487 112v.png|1|lbl=112v.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF rsb|22
-| <p>[22] {{red|b=1|Or}}</p>
-<p>Take his knife or otherwise other weapon with the right, and work with it to the opening.</p>
 | {{section|Page:Cod.44.A.8 041r.jpg|2|lbl=41r.2}}
 | {{section|Page:MS Germ.Quart.2020 181r.jpg|3|lbl=181r.3}}
@@ Line 1,807: / Line 1,751: @@
 {{section|Page:MS KK5126 114v.jpg|7|lbl=114v.7}}
 | {{section|Page:MS Dresd.C.487 112v.png|2|lbl=112v.2}}
+}}
-|-
+{{Ps-Danzig row MF rsb|23
-| <p>[23] {{red|b=1|The eleventh figure teaches this,}} which says “Press firmly, shove from reins, and search for his knife.”</p>
 | {{section|Page:Cod.44.A.8 041r.jpg|3|lbl=41r.3}}
 | {{section|Page:MS Germ.Quart.2020 181r.jpg|4|lbl=181r.4}}
 |
 |
+}}
-|-
+{{Ps-Danzig row MF rsa|24
-| rowspan="2" | [[File:MS Germ.Quart.2020 181v.jpg|350px|center]]
+| rowspan=2
-| <p>[24] {{red|b=1|These are two sword takings}}</p>
+| [[File:MS Germ.Quart.2020 181v.jpg|350px|center]]
-<p>When you come with your right side to his right, if he has then drawn his sword and rises and wants to strike, then move with the right arm outwards to the top of his right, and press it downwards as such into your right side, and ride forward, so you take his sword.</p>
 | {{section|Page:Cod.44.A.8 041r.jpg|4|lbl=41r.4}}
 | {{section|Page:MS Germ.Quart.2020 182r.jpg|1|lbl=182r.1}}
@@ Line 1,827: / Line 1,770: @@
 |
 {{section|Page:MS Dresd.C.487 112v.png|3|lbl=112v.3|p=1}} {{section|Page:MS Dresd.C.487 113r.png|1|lbl=113r.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF rsb|25
-| <p>[25] {{red|b=1|Or}}</p>
-<p>Rise with the right arm inwards to the top of his right, and press it forward to your chest, and ride forward, so you again take his sword.</p>
 | {{section|Page:Cod.44.A.8 041r.jpg|5|lbl=41r.5}}
 | {{section|Page:MS Germ.Quart.2020 182r.jpg|2|lbl=182r.2}}
 |
 | {{section|Page:MS Dresd.C.487 113r.png|2|lbl=113r.2}}
+}}
-|-
+{{Ps-Danzig row MF|26
 | [[File:MS Germ.Quart.2020 182r.jpg|350px|center]]
-| <p>[26] {{red|b=1|Again a wrestle}}</p>
-<p>Note, when you come with your right side to his right, if he has then drawn his sword and rises with it and wants to strike, then grab his right arm with the right hand behind the elbow, and shove him above from you with it, and raise his right foot below with the right foot under the stirrup leather, and shove him above from you with the left hand, so he falls.</p>
 |
 {{section|Page:Cod.44.A.8 041r.jpg|6|lbl=41r.6|p=1}} {{section|Page:Cod.44.A.8 041v.jpg|1|lbl=41v.1|p=1}}
@@ Line 1,850: / Line 1,789: @@
 |
 {{section|Page:MS Dresd.C.487 113r.png|3|lbl=113r.3|p=1}} {{section|Page:MS Dresd.C.487 113v.png|1|lbl=113v.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF rsa|27
-| rowspan="2" | [[File:MS Germ.Quart.2020 183r.jpg|350px|center]]
+| rowspan=2
-| <p>[27] {{red|b=1|Note a good wrestle}}</p>
+| [[File:MS Germ.Quart.2020 183r.jpg|350px|center]]
-<p>When you come with the right side to his right, grab his right [hand] with the left hand, and jolt it in front of your chest, and turn your horse from him, and pull him from the horse as such.</p>
 | {{section|Page:Cod.44.A.8 041v.jpg|2|lbl=41v.2}}
 | {{section|Page:MS Germ.Quart.2020 183r.jpg|1|lbl=183r.1}}
@@ Line 1,862: / Line 1,800: @@
 {{section|Page:MS KK5126 114v.jpg|10|lbl=114v.10}}
 | {{section|Page:MS Dresd.C.487 113v.png|2|lbl=113v.2}}
+}}
-|-
+{{Ps-Danzig row MF rsb|28
-| <p>[28] {{red|b=1|The second figure teaches this,}} which says “Turn around with the horse, pull his right hand with your left.”</p>
 | {{section|Page:Cod.44.A.8 041v.jpg|3|lbl=41v.3}}
 | {{section|Page:MS Germ.Quart.2020 183r.jpg|2|lbl=183r.2}}
 |
 | {{section|Page:MS Dresd.C.487 113v.png|3|lbl=113v.3}}
+}}
-|-
+{{Ps-Danzig row MF rsa|29
-| rowspan="4" | [[File:MS Germ.Quart.2020 184r.jpg|350px|center]]
+| rowspan=4
-| <p>[29] {{red|b=1|This is the text and the gloss about a lesson on horseback}}</p>
+| [[File:MS Germ.Quart.2020 184r.jpg|350px|center]]
-{| class="zettel"
-|-
-| <small>5</small>
-| {{red|So that lances stab<br/>&emsp;Fence moderately, learn to break without hurry}}
-|}
-<p>Note the lesson: When he rides upon you with a lance, if you then want to work against him with art, then you shall ride against him quite moderately, so you may well set aside his [lance] with your lance, and otherwise win other advantages with the sword, or if you will rush or run to the man, then you may drive no play correctly, and additionally not be similarly secure on the horse.</p>
 | {{section|Page:Cod.44.A.8 041v.jpg|4|lbl=41v.4}}
 | {{section|Page:MS Germ.Quart.2020 183v.jpg|1|lbl=183v.1}}
@@ Line 1,885: / Line 1,818: @@
 |
 {{section|Page:MS Dresd.C.487 114r.png|1|lbl=114r|p=1}} {{section|Page:MS Dresd.C.487 114v.png|1|lbl=114v.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF rsb|30
-| <p>[30] {{red|b=1|The twenty-second figure teaches this,}} which says “That is now the spear run, which confronts the other under eyes.” </p>
 | {{section|Page:Cod.44.A.8 041v.jpg|5|lbl=41v.5}}
 | {{section|Page:MS Germ.Quart.2020 183v.jpg|2|lbl=183v.2}}
 |
 | {{section|Page:MS Dresd.C.487 114v.png|2|lbl=114v.2}}
+}}
-|-
+{{Ps-Danzig row MF rsb|31
-| <p>[31] {{red|b=1|Here begins the art with the sword on horseback}}</p>
-<p>Note, when you want to fence on horseback with the sword, you shall know five guards with it.</p>
 | {{section|Page:Cod.44.A.8 041v.jpg|6|lbl=41v.6}}
 | {{section|Page:MS Germ.Quart.2020 183v.jpg|3|lbl=183v.3}}
 | {{section|Page:MS KK5126 115r.jpg|2|lbl=115r.2}}
 | {{section|Page:MS Dresd.C.487 115v.png|1|lbl=115v.1}}
+}}
-|-
+{{Ps-Danzig row MF rsb|32
-| <p>[32] {{red|b=1|This is the first guard}}</p>
-<p>When you sit on the horse, hold your sword with the right hand by the handle, and lay it with the blade on your left arm.</p>
 |
 {{section|Page:Cod.44.A.8 041v.jpg|7|lbl=41v.7|p=1}} {{section|Page:Cod.44.A.8 042r.jpg|1|lbl=42r.1|p=1}}
@@ Line 1,914: / Line 1,843: @@
 {{section|Page:MS KK5126 115r.jpg|3|lbl=115r.3}}
 | {{section|Page:MS Dresd.C.487 115v.png|2|lbl=115v.2}}
+}}
-|-
+{{Ps-Danzig row MF rsa|33
-| rowspan="4" | [[File:MS Germ.Quart.2020 184v.jpg|350px|center]]
+| rowspan=4
-| <p>[33] {{red|b=1|This is the second guard}}</p>
+| [[File:MS Germ.Quart.2020 184v.jpg|350px|center]]
-<p>When you sit on the horse, hold your sword with the right hand on your right side high over the head, and hang the point against his face.</p>
 | {{section|Page:Cod.44.A.8 042r.jpg|2|lbl=42r.2}}
 | {{section|Page:MS Germ.Quart.2020 184r.jpg|2|lbl=184r.2}}
@@ Line 1,925: / Line 1,853: @@
 |
 {{section|Page:MS Dresd.C.487 115v.png|3|lbl=115v.3|p=1}} {{section|Page:MS Dresd.C.487 116r.png|1|lbl=116r.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF rsb|34
-| <p>[34] {{red|b=1|This is the third guard}}</p>
-<p>When you sit on the horse, hold your sword with the right hand next to your right leg, and so that the point stands upwards against the man.</p>
 | {{section|Page:Cod.44.A.8 042r.jpg|3|lbl=42r.3}}
 | {{section|Page:MS Germ.Quart.2020 184r.jpg|3|lbl=184r.3}}
 | {{section|Page:MS KK5126 115r.jpg|5|lbl=115r.5}}
 | {{section|Page:MS Dresd.C.487 116r.png|2|lbl=116r.2}}
+}}
-|-
+{{Ps-Danzig row MF rsb|35
-| <p>[35] {{red|b=1|This is the fourth guard}}</p>
-<p>When you sit on the horse, hold your sword in the right hand and set the pommel at the saddle bow, and so that the point [is] against the man.</p>
 | {{section|Page:Cod.44.A.8 042r.jpg|4|lbl=42r.4}}
 | {{section|Page:MS Germ.Quart.2020 184r.jpg|4|lbl=184r.4}}
 | {{section|Page:MS KK5126 115r.jpg|6|lbl=115r.6}}
 | {{section|Page:MS Dresd.C.487 116r.png|3|lbl=116r.3}}
+}}
-|-
+{{Ps-Danzig row MF rsb|36
-| <p>[36] {{red|b=1|This is the fifth guard}}</p>
-<p>When you sit on the horse, hold your sword with the right hand by the handle, and with the left, grip the middle of the blade, and hold it athwart in front of you on the saddle.</p>
 | {{section|Page:Cod.44.A.8 042r.jpg|5|lbl=42r.5}}
 | {{section|Page:MS Germ.Quart.2020 184r.jpg|5|lbl=184r.5}}
@@ Line 1,953: / Line 1,875: @@
 |
 {{section|Page:MS Dresd.C.487 116r.png|4|lbl=116r.4|p=1}} {{section|Page:MS Dresd.C.487 116v.png|1|lbl=116v.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF rsa|37
-| rowspan="3" | [[File:MS Germ.Quart.2020 174r.jpg|350px|center]]
+| rowspan=3
-| <p>[37] {{red|b=1|Here note the text and the gloss about the tasset}}</p>
+| [[File:MS Germ.Quart.2020 174r.jpg|350px|center]]
-{| class="zettel"
-|-
-| <small>6</small>
-| {{red|If it converts itself<br/>&emsp;The sword will be dealt against sword}}
-|-
-| <small>7</small>
-| {{red|Correctly grasp the strong<br/>&emsp;Tasset<ref>A “tasset” is a piece of armor that covers the side of the thigh. It is possible that the last part of this hew aims for a gap in the armor on the back of the leg.</ref> hew, you search and note}}
-|}
-<p>Gloss: Note, this is if you both will come from the lance and shall fence with swords, note when you ride to him, that your sword lies on the left arm in the guard, and ride to him likewise under eyes to his right side. If he then hews onto you or stabs you to the face, then rise and parry so that your point stands against his right side, and stab him indes to the face. If he parries the stab and rises high with it, then hew with the long edge to the reins or to the left hand.</p>
 |
 {{section|Page:Cod.44.A.8 042r.jpg|6|lbl=42r.6|p=1}} {{section|Page:Cod.44.A.8 042v.jpg|1|lbl=42v.1|p=1}}
@@ Line 1,972: / Line 1,886: @@
 |
 {{section|Page:MS Dresd.C.487 116v.png|2|lbl=116v.2|p=1}} {{section|Page:MS Dresd.C.487 117r.png|1|lbl=117r.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF rsb|38
-| <p>[38] {{red|b=1|Or}}</p>
-<p>If the horse makes a fool out of you, then hew to his right leg in the running away.</p>
 | {{section|Page:Cod.44.A.8 042v.jpg|2|lbl=42v.2}}
 | {{section|Page:MS Germ.Quart.2020 173v.jpg|2|lbl=173v.2}}
 | {{section|Page:MS KK5126 115r.jpg|9|lbl=115r.9}}
 | {{section|Page:MS Dresd.C.487 117r.png|2|lbl=117r.2}}
+}}
-|-
+{{Ps-Danzig row MF rsb|39
-| <p>[39] {{red|b=1|The seventh figure teaches this,}} which says “Here, begin to search the man for the tasset hew.”</p>
 | {{section|Page:Cod.44.A.8 042v.jpg|3|lbl=42v.3}}
 | {{section|Page:MS Germ.Quart.2020 173v.jpg|3|lbl=173v.3}}
 |
 | {{section|Page:MS Dresd.C.487 117r.png|3|lbl=117r.3}}
+}}
-|-
+{{Ps-Danzig row MF rsa|40
-| rowspan="2" | [[File:MS Germ.Quart.2020 175r.jpg|350px|center]]
+| rowspan=2
-| <p>[40] {{red|b=1|Here note the text and the gloss, how you shall force the man at the sword on horseback}}</p>
+| [[File:MS Germ.Quart.2020 175r.jpg|350px|center]]
-{| class="zettel"
-|-
-| <small>8</small>
-| {{red|Learn to compel well strong<br/>&emsp;All hits without danger, distress him with it}}
-|-
-| <small>9</small>
-| {{red|Plant without danger<br/>&emsp;Hang to his hair}}
-|}
-<p>Gloss: Note, this is that you shall always bind strong to his sword with all hews and in all movements, and endanger him at the sword, and force with the point, and artfully attempt, if you may plant to him. If he parries and rides near to you with it, then rise with the pommel from below through his sword to the top of his left shoulder around the neck, and come with the left hand behind his back to your pommel to help,<ref>''zu hilff'' - to help</ref> and pull him in front of you onto the side.</p>
 | {{section|Page:Cod.44.A.8 042v.jpg|4|lbl=42v.4}}
 | {{section|Page:MS Germ.Quart.2020 174v.jpg|1|lbl=174v.1}}
@@ Line 2,006: / Line 1,910: @@
 |
 {{section|Page:MS Dresd.C.487 117v.png|1|lbl=117v|p=1}} {{section|Page:MS Dresd.C.487 118r.png|1|lbl=118r.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF rsb|41
-| <p>[41] {{red|b=1|The sixth figure<ref>This is wrong, it is the 5th figure.</ref> teaches this,}} which says “The compelling precedes all successful hews and stabs.”</p>
 | {{section|Page:Cod.44.A.8 042v.jpg|5|lbl=42v.5}}
 | {{section|Page:MS Germ.Quart.2020 174v.jpg|2|lbl=174v.2}}
 |
 | {{section|Page:MS Dresd.C.487 118r.png|2|lbl=118r.2}}
+}}
-|-
+{{Ps-Danzig row MF rsa|42
-| rowspan="3" | [[File:MS Germ.Quart.2020 175v.jpg|350px|center]]
+| rowspan=3
-| <p>[42] {{red|b=1|This is another play}}</p>
+| [[File:MS Germ.Quart.2020 175v.jpg|350px|center]]
-<p>Note, when you hew in, if he parries and rides near to you with it, then grip his right hand with your left, and with the right, set the point into his face.</p>
 |
 {{section|Page:Cod.44.A.8 042v.jpg|6|lbl=42v.6|p=1}} {{section|Page:Cod.44.A.8 043r.jpg|1|lbl=43r.1|p=1}}
@@ Line 2,024: / Line 1,927: @@
 | {{section|Page:MS KK5126 115r.jpg|11|lbl=115r.11}}
 | {{section|Page:MS Dresd.C.487 118r.png|3|lbl=118r.3}}
+}}
-|-
+{{Ps-Danzig row MF rsb|43
-| <p>[43] {{red|b=1|The eight figure teaches this,}} which says “Turn the right hand to him, set the point to his eyes.”</p>
 | {{section|Page:Cod.44.A.8 043r.jpg|2|lbl=43r.2}}
 | {{section|Page:MS Germ.Quart.2020 175v.jpg|2|lbl=175v.2}}
@@ Line 2,032: / Line 1,935: @@
 |
 {{section|Page:MS Dresd.C.487 118r.png|4|lbl=118r.4|p=1}} {{section|Page:MS Dresd.C.487 118v.png|1|lbl=118v.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF rsb|44
-| <p>[44] {{red|b=1|Again a good play}}</p>
-<p>Note, when you hew in above, if he parries and comes near to you with it, then move to him with the hilt of your sword under the jawbone, and with the left hand, grab him on his left side by the helmet,<ref>''eysenhuet'' - iron hat</ref> or by the pommel, and pull him to you with it, and with the hilt, shove him above from you, so he falls from the horse.</p>
 | {{section|Page:Cod.44.A.8 043r.jpg|3|lbl=43r.3}}
 | {{section|Page:MS Germ.Quart.2020 175v.jpg|3|lbl=175v.3}}
@@ Line 2,043: / Line 1,944: @@
 {{section|Page:MS KK5126 115r.jpg|12|lbl=115r.12}}
 | {{section|Page:MS Dresd.C.487 118v.png|2|lbl=118v.2}}
+}}
-|-
+{{Ps-Danzig row MF|45
 | [[File:MS Germ.Quart.2020 176r.jpg|350px|center]]
-| <p>[45] {{red|b=1|Again a wrestle}}</p>
-<p>Note, when you hew in above, if he parries high and comes near to you with it, then move to him with the hilt of your sword under the arm behind his elbow, and shove above from you, and move with the right foot under his right and raise up with it, so he falls from the horse.</p>
 | {{section|Page:Cod.44.A.8 043r.jpg|4|lbl=43r.4}}
 | {{section|Page:MS Germ.Quart.2020 176r.jpg|1|lbl=176r}}
@@ Line 2,057: / Line 1,956: @@
 {{section|Page:MS Dresd.C.487 119r.png|1|lbl=119r.1}}
+}}
-|-
+{{Ps-Danzig row MF rsa|46
-| rowspan="3" | [[File:MS Germ.Quart.2020 176v.jpg|350px|center]]
+| rowspan=3
-| <p>[46] {{red|b=1|This is again a play}}</p>
+| [[File:MS Germ.Quart.2020 176v.jpg|350px|center]]
-<p>Note, when you hew in above, if he parries the hew with the thwart, then rise high with the sword and hang the point to his face over his sword, and plant to him.</p>
 | {{section|Page:Cod.44.A.8 043r.jpg|5|lbl=43r.5}}
 | {{section|Page:MS Germ.Quart.2020 176v.jpg|1|lbl=176v.1}}
@@ Line 2,070: / Line 1,968: @@
 |
 {{section|Page:MS Dresd.C.487 119r.png|2|lbl=119r.2|p=1}} {{section|Page:MS Dresd.C.487 119v.png|1|lbl=119v.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF rsb|47
-| <p>[47] {{red|b=1|Or}}</p>
-<p>When you have hung the point to him over his sword, if he then comes near to you with it, then move to him with the right arm through his right, and press the arm firmly into your right side, and ride forward, so you take his sword.</p>
 |
 {{section|Page:Cod.44.A.8 043r.jpg|6|lbl=43r.6|p=1}} {{section|Page:Cod.44.A.8 043v.jpg|1|lbl=43v.1|p=1}}
@@ Line 2,080: / Line 1,976: @@
 | {{section|Page:MS KK5126 115v.jpg|3|lbl=115v.3}}
 | {{section|Page:MS Dresd.C.487 119v.png|2|lbl=119v.2}}
+}}
-|-
+{{Ps-Danzig row MF rsb|48
-| <p>[48] {{red|b=1|The fourth figure teaches this,}} which says “Plant high, swing through, move or sword breaks.”</p>
 | {{section|Page:Cod.44.A.8 043v.jpg|2|lbl=43v.2}}
 | {{section|Page:MS Germ.Quart.2020 176v.jpg|3|lbl=176v.3}}
 |
 | {{section|Page:MS Dresd.C.487 119v.png|3|lbl=119v.3}}
+}}
-|-
+{{Ps-Danzig row MF rsa|49
-| rowspan="2" | [[File:MS Germ.Quart.2020 177r.jpg|350px|center]]
+| rowspan=2
-| <p>[49] {{red|b=1|This is a sword taking}}</p>
+| [[File:MS Germ.Quart.2020 177r.jpg|350px|center]]
-<p>Note, when you ride to him, lay your sword on the left arm in the guard. If he then hews in above to your head, then rise and parry, so that your point stands against your left side, and ride to him with it, and rise with the pommel inwards to the top of his right hand forward by the hilt, and press his hand with your arm firmly to your chest, and ride forward, so you take his sword.</p>
 | {{section|Page:Cod.44.A.8 043v.jpg|3|lbl=43v.3}}
 | {{section|Page:MS Germ.Quart.2020 177r.jpg|1|lbl=177r}}
@@ Line 2,098: / Line 1,993: @@
 |
 {{section|Page:MS Dresd.C.487 119v.png|4|lbl=119v.4|p=1}} {{section|Page:MS Dresd.C.487 120r.png|1|lbl=120r.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF rsb|50
-| <p>[50] {{red|b=1|Again a sword taking on horseback}}</p>
-<p>Note, when you hew in above, if he parries and comes near to you with it, then move<ref>move him? move to him?</ref> with the pommel outside to the top of his right hand, and shove the hand with the hilt in front of you to your saddle bow, and grab his sword’s pommel with the left hand, and ride forward, so you take his sword.</p>
 | {{section|Page:Cod.44.A.8 043v.jpg|4|lbl=43v.4}}
 | {{section|Page:MS Germ.Quart.2020 177v.jpg|1|lbl=177v}}
@@ Line 2,108: / Line 2,001: @@
 |
 {{section|Page:MS Dresd.C.487 120r.png|2|lbl=120r.2|p=1}} {{section|Page:MS Dresd.C.487 120v.png|1|lbl=120v.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF|51
 |
-| <p>[51] {{red|b=1|Here note the text and the gloss about a stab and a wind with the sword on horseback}}</p>
-{| class="zettel"
-|-
-| <small>10</small>
-| {{red|If you want to lie<br/>&emsp;Long, hunting, that severely hurts}}
-|-
-| <small>11</small>
-| {{red|Whoever now wards that<br/>&emsp;Then wind, that maims the eye}}
-|-
-| <small>12</small>
-| {{red|If he continues to ward it<br/>&emsp;Catch reins<ref>Could be bridle. Have it as "reins" because it makes more sense in the context of the play below.</ref> and don’t be lazy}}
-|}
-<p>Gloss: Note, this is if you want to fence lying while riding up, you shall do that from your right leg from the side guard with stabs from the long point, and note, when he parries the stab, that you wind in the point at the sword to his face. With it, you force him so that you may come to other plays, and how you shall wind, you will find that written hereafter in the next play.</p>
 |
 {{section|Page:Cod.44.A.8 043v.jpg|5|lbl=43v.5|p=1}}<br/>{{section|Page:Cod.44.A.8 044r.jpg|1|lbl=44r.1|p=1}}
@@ Line 2,130: / Line 2,011: @@
 |
 {{section|Page:MS Dresd.C.487 120v.png|2|lbl=120v.2|p=1}} {{section|Page:MS Dresd.C.487 121r.png|1|lbl=121r.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF|52
 |
-| <p>[52] {{red|b=1|The nineteenth figure teaches this,}} which says “Plant the point against the face.”</p>
 | {{section|Page:Cod.44.A.8 044r.jpg|2|lbl=44r.2}}
 | {{section|Page:MS Germ.Quart.2020 178r.jpg|2|lbl=178r.2}}
 |
 | {{section|Page:MS Dresd.C.487 121r.png|2|lbl=121r.2}}
+}}
-|-
+{{Ps-Danzig row MF|53
 | [[File:MS Germ.Quart.2020 178v.jpg|350px|center]]
-| <p>[53] {{red|b=1|Here note a good play on horseback with the sword and a catching with the reins}}</p>
-<p>Note, the first play from the side guard from the right leg, drive it as follows: When you ride to him, hold your sword next to your right leg in the guard, and stab him long from stretched arm to the face. If he parries the stab, then rise at the sword with the right hand into the upper guard, and hang the point to his face. If he remains at the sword and rides near to you, then rise inwards with the left hand over his right arm, and strike the reins with it [your left hand] over it [his right arm], and grab your reins with left inverted hand again under his right arm, and hold firmly. Therefore he is entwined with the reins.</p>
 | {{section|Page:Cod.44.A.8 044r.jpg|3|lbl=44r.3}}
 | {{section|Page:MS Germ.Quart.2020 178r.jpg|3|lbl=178r.3}}
@@ Line 2,153: / Line 2,032: @@
 |
 {{section|Page:MS Dresd.C.487 121r.png|3|lbl=121r.3|p=1}} {{section|Page:MS Dresd.C.487 121v.png|1|lbl=121v.1|p=1}}
+}}
-|-
+{{Ps-Danzig row MF rsa|54
-| rowspan="3" | [[File:MS Germ.Quart.2020 185r.jpg|350px|center]]
+| rowspan=3
-| <p>[54] {{red|b=1|Note: Again a play}}</p>
+| [[File:MS Germ.Quart.2020 185r.jpg|350px|center]]
-<p>When you ride to him, stab him from the side guard to the face. If he wards the stab and rides near to you with it, then grab his right hand with the left, and work with the sword to the opening, or throw him with the sheep hold or otherwise with other wrestles.</p>
 | {{section|Page:Cod.44.A.8 044v.jpg|1|lbl=44v.1}}
 | {{section|Page:MS Germ.Quart.2020 185r.jpg|1|lbl=185r.1}}
@@ Line 2,165: / Line 2,043: @@
 {{section|Page:MS KK5126 115v.jpg|5|lbl=115v.5}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsb|55
-| <p>[55] {{red|b=1|The ninth figure teaches this,}} which says “Whoever wards the stab, catch his right hand in your left.”</p>
 | {{section|Page:Cod.44.A.8 044v.jpg|2|lbl=44v.2}}
 | {{section|Page:MS Germ.Quart.2020 185r.jpg|2|lbl=185r.2}}
 |
 |
+}}
-|-
+{{Ps-Danzig row MF rsb|56
-| <p>[56] {{red|b=1|This is called the Turkish hew}}</p>
-<p>Note, stab him from the guard from the right leg to the face, and wind the short edge to his sword. If he parries the stab and rides away next to your right side, then hew with the long edge behind to his neck.</p>
 | {{section|Page:Cod.44.A.8 044v.jpg|3|lbl=44v.3}}
 | {{section|Page:MS Germ.Quart.2020 185r.jpg|3|lbl=185r.3}}
@@ Line 2,183: / Line 2,059: @@
 {{section|Page:MS KK5126 115v.jpg|6|lbl=115v.6}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsa|57
-| rowspan="2" | [[File:MS Germ.Quart.2020 185v.jpg|350px|center]]
+| rowspan=2
-| <p>[57] {{red|b=1|Here note how you shall set aside out of the guard from the saddle bow on horseback from both sides}}</p>
+| [[File:MS Germ.Quart.2020 185v.jpg|350px|center]]
-<p>Note, when you ride to him, hold your sword with the pommel at the saddle bow. If he then hews in above to the head to your left side, the rise with the sword against his hew, also onto your left side, and wind the short edge to his sword, and stab him to the face.</p>
 | {{section|Page:Cod.44.A.8 044v.jpg|4|lbl=44v.4}}
 | {{section|Page:MS Germ.Quart.2020 185r.jpg|4|lbl=185r.4}}
@@ Line 2,195: / Line 2,070: @@
 | {{section|Page:MS KK5126 115v.jpg|7|lbl=115v.7}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsb|58
-| <p>[58] {{red|b=1|Or}}</p>
-<p>If he hews in above to your right side, then rise with the sword also onto your right side and wind the long edge to his sword and stab in above to the face.</p>
-<p>{{red|b=1|Therefore,}} you shall also set aside when he stabs onto you with the lance, because the windings and the settings-aside are the best art on horseback.</p>
 |
 {{section|Page:Cod.44.A.8 044v.jpg|5|lbl=44v.5|p=1}} {{section|Page:Cod.44.A.8 045r.jpg|1|lbl=45r.1|p=1}}
@@ Line 2,207: / Line 2,078: @@
 | {{section|Page:MS KK5126 115v.jpg|8|lbl=115v.8}}
 |
+}}
-|-
+{{Ps-Danzig row MF|59
 |
-| <p>[59] {{red|b=1|This is the text and the gloss about the openings of the man}}</p>
-{| class="zettel"
-|-
-| <small>13</small>
-| {{red|Think about the openings<br/>&emsp;Search for knife, don’t ward pommel}}
-|}
-<p>Gloss: Note, this is when you come near to him as such, so that you have captured him with the reins, or have grabbed his right hand with your left, you shall quite precisely think to which opening you may best win, and whether you are too close, so your sword will be too long so that you can’t work with it, then work with the dagger or otherwise with other short weapons. If you may not come to your weapon, then take his, and work with it to the openings, to which you may best come, that is to the face, or under the armpit, or outwards onto the hand, in the gloves, or inwards into the hands, to the palm, and in all joints of the armor. You shall also not work to a far opening when you see one nearer in front of you.</p>
 | {{section|Page:Cod.44.A.8 045r.jpg|2|lbl=45r.2}}
 |
 | {{section|Page:MS KK5126 115v.jpg|9|lbl=115v.9}}
 |
+}}
-|-
+{{Ps-Danzig row MF|60
 |
-| <p>[60] {{red|b=1|The tenth figure teaches this,}} which says “Search for the openings, arm, leather, glove, under the eyes.”</p>
 | {{section|Page:Cod.44.A.8 045r.jpg|3|lbl=45r.3}}
 |
 |
 |
+}}
-|-
+{{Ps-Danzig row MF|61
 |
-| <p>[61] {{red|b=1|This is the text and the gloss about a lesson with free hands}}</p>
-{| class="zettel"
-|-
-| <small>14</small>
-| {{red|Learn two sweeps<br/>&emsp;With empty hand against the weapon}}
-|}
-<p>Gloss: Note, this is a great advantage on horseback, that you shall drive all of your plays to both sides with free hands against all weapons with which someone comes to you. Therefore you shall know to hold your reins as such, so that you may have your hands free and available when you want, and shift the reins from one hand to the other, when it is even to you to the wrestles or otherwise to other plays, and how you shall drive the plays with free hands, you find that written in the gloss.</p>
 |
 {{section|Page:Cod.44.A.8 045r.jpg|4|lbl=45r.4|p=1}} {{section|Page:Cod.44.A.8 045v.jpg|1|lbl=45v.1|p=1}}
@@ Line 2,245: / Line 2,104: @@
 {{section|Page:MS KK5126 115v.jpg|10|lbl=115v.10|p=1}} {{section|Page:MS KK5126 116r.jpg|1|lbl=116r.1|p=1}}
 |
+}}
-|-
+{{Ps-Danzig row MF|62
 |
-| <p>[62] {{red|b=1|The 12th figure teaches this,}} which says “With empty hand, two sweeps against all weapons.”</p>
 | {{section|Page:Cod.44.A.8 045v.jpg|2|lbl=45v.2}}
 |
 |
 |
+}}
-|-
+{{Ps-Danzig row MF|63
 |
-| <p>[63] {{red|b=1|This is the text and the gloss about the noble sheep hold}}</p>
-{| class="zettel"
-|-
-| <small>15</small>
-| {{red|The sheep hold wards<br/>&emsp;Whoever turns themselves to you with wrestling}}
-|-
-| <small>16</small>
-| {{red|As under eyes<br/>&emsp;Grab him correctly with fluff}}
-|}
-<p>Gloss: Note, the sheep hold is one of the best wrestles on horseback, because with it, one breaks all wrestles with which someone attacks you in front or grapples with wrestling.</p>
 | {{section|Page:Cod.44.A.8 045v.jpg|3|lbl=45v.3}}
 |
 | {{section|Page:MS KK5126 116r.jpg|2|lbl=116r.2}}
 |
+}}
-|-
+{{Ps-Danzig row MF|64
 |
-| <p>[64] {{red|b=1|Drive the sheep hold as follows}}</p>
-<p>When you want to wrestle with someone on horseback, ride equally to him under eyes, and assess that you come with your right side to his. If he then grapples you in front with wrestling, then grab his right hand with your left, and jolt him in front of you under your chest, and move with the right arm over his right, and grab your saddle bow with it, and lie with the body strongly upon it, and ride forward, so you pull him from the horse.</p>
 |
 {{section|Page:Cod.44.A.8 045v.jpg|4|lbl=45v.4|p=1}} {{section|Page:Cod.44.A.8 046r.jpg|1|lbl=46r.1|p=1}}
@@ Line 2,281: / Line 2,129: @@
 | {{section|Page:MS KK5126 116r.jpg|3|lbl=116r.3}}
 |
+}}
-|-
+{{Ps-Danzig row MF|65
 |
-| <p>[65] {{red|b=1|The 13th figure teaches this,}} which says “The sheep hold wards all holds, wrestle under eyes.”</p>
 | {{section|Page:Cod.44.A.8 046r.jpg|2|lbl=46r.2}}
 |
 |
 |
+}}
-|-
+{{Ps-Danzig row MF|66
 |
-| <p>[66] {{red|b=1|This is the text and the gloss, how one shall break each wrestle on horseback}}</p>
-{| class="zettel"
-|-
-| <small>17</small>
-| {{red|Whoever attacks you<br/>&emsp;Against riding, he will be joined}}
-|-
-| <small>18</small>
-| {{red|Hanging it to the ground<br/>&emsp;Grip over him correctly with gesture}}
-|}
-<p>Gloss:</p>
 | {{section|Page:Cod.44.A.8 046r.jpg|3|lbl=46r.3}}
 |
 | {{section|Page:MS KK5126 116r.jpg|4|lbl=116r.4}}
 |
+}}
-|-
+{{Ps-Danzig row MF|67
 |
-| <p>[67] </p>
-<p>Note, this is when you ride together with someone, if you then come with your right side to his, if he then moves with the right arm over your left shoulder in front around the neck and wants to pull you from the horse as such, then fall to him also around his as such, and move with the left hand behind around him, and grip your right hand with it, and jolt him with both hands to you onto the side, so he must fall from the horse.</p>
 | <p><br/></p>
@@ Line 2,318: / Line 2,155: @@
 | {{section|Page:MS KK5126 116r.jpg|5|lbl=116r.5}}
 |
+}}
-|-
+{{Ps-Danzig row MF|68
 |
-| <p>[68] {{red|b=1|Or}}</p>
-<p>When he moves with the right arm in front over your left shoulder around the neck, then strike your right arm above over his right, and throw him with the sheep hold.</p>
 | {{section|Page:Cod.44.A.8 046r.jpg|5|lbl=46r.5}}
 |
@@ Line 2,330: / Line 2,165: @@
 {{section|Page:MS KK5126 116r.jpg|6|lbl=116r.6}}
 |
+}}
-|-
+{{Ps-Danzig row MF|69
 |
-| <p>[69] {{red|b=1|This is another break}}</p>
-<p>Note, if he comes with the left side to your right and moves with the left arm behind around the neck or holds you with it by your left shoulder, then turn yourself with the body against him, and rise with the right arm inwards between you and him, and press the left arm away with the strength of your right arm, so you will be free from him.</p>
 | {{section|Page:Cod.44.A.8 046r.jpg|6|lbl=46r.6}}
@@ Line 2,344: / Line 2,177: @@
 {{section|Page:MS KK5126 116r.jpg|7|lbl=116r.7}}
 |
+}}
-|-
+{{Ps-Danzig row MF|70
 |
-| <p>[70] {{red|b=1|Again a break}}</p>
-<p>Note, when he comes with his left side to your right and falls to you with the left arm behind around the neck, if he is then a weak man, then rise from below with the right arm behind you strong over his left, and come with the left hand to your right to help, and press his left arm firmly behind in your nape. If he then veers away with the arm, then grab his left hand with the left hand, and throw him with the unnamed hold or with the secret hold.</p>
 | {{section|Page:Cod.44.A.8 046v.jpg|2|lbl=46v.2}}
 |
@@ Line 2,356: / Line 2,187: @@
 {{section|Page:MS KK5126 116r.jpg|8|lbl=116r.8}}
 |
+}}
-|-
+{{Ps-Danzig row MF|71
 |
-| <p>[71] {{red|b=1|Again a break}}</p>
-<p>Note, if he comes with his left side to your right and falls to you with the left arm behind around your body and wants to wrestle, then strike down from above behind you with the right hand outward in the joint of his left arm, and ride forward.</p>
 | {{section|Page:Cod.44.A.8 046v.jpg|3|lbl=46v.3}}
 |
@@ Line 2,368: / Line 2,197: @@
 {{section|Page:MS KK5126 116r.jpg|9|lbl=116r.9}}
 |
+}}
-|-
+{{Ps-Danzig row MF|72
 |
-| <p>[72] {{red|b=1|The 26th figure teaches this,}} which says “Grip over whoever attacks you, or do to him against riding.”</p>
 |
 {{section|Page:Cod.44.A.8 046v.jpg|4|lbl=46v.4|p=1}} {{section|Page:Cod.44.A.8 047r.jpg|1|lbl=47r.1|p=1}}
@@ Line 2,377: / Line 2,206: @@
 |
 |
+}}
-|-
+{{Ps-Danzig row MF|73
 |
-| <p>[73] {{red|b=1|This is the text and the gloss of a lesson on horseback}}</p>
-{| class="zettel"
-|-
-| <small>19</small>
-| {{red|From both sides<br/>&emsp;You teach yourself all ridings against him}}
-|}
-<p>Gloss: Note, that is, that you, in all encounters or ridings near to the man, shall hold to whichever side you come to him. Therefore, if you come to his right side, then drive the plays nimbly which pertain to it, or if you come to his left side, then again drive whatever pertains to it, and let him come to no plays.</p>
 | {{section|Page:Cod.44.A.8 047r.jpg|2|lbl=47r.2}}
 | {{section|Page:MS Germ.Quart.2020 186r.jpg|1|lbl=186r.1}}
 | {{section|Page:MS KK5126 116r.jpg|10|lbl=116r.10}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsa|74
-| rowspan="3" | [[File:MS Germ.Quart.2020 186v.jpg|350px|center]]
+| rowspan=3
-| <p>[74] {{red|b=1|This is the text and the gloss of the plays to the left side}}<br/><br/></p>
+| [[File:MS Germ.Quart.2020 186v.jpg|350px|center]]
-{| class="zettel"
-|-
-| <small>20</small>
-| {{red|If you want to ride<br/>&emsp;Horse runs to the other side}}
-|-
-| <small>21</small>
-| {{red|Compel the strong<br/>&emsp;Plant, endanger him with it}}
-|-
-| <small>22</small>
-| {{red|Whoever wards that<br/>&emsp;Wide, catch sword, carry to the handle}}
-|}
-<p>Gloss: Note, this is when you ride to his left side, you shall also bind strongly to his sword, and assess whether you may plant to him. With it, you force him so that you may well come to other plays.</p>
 | {{section|Page:Cod.44.A.8 047r.jpg|3|lbl=47r.3}}
 |
@@ Line 2,416: / Line 2,228: @@
 {{section|Page:MS KK5126 116v.jpg|1|lbl=116v.1}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsb|75
-| <p>[75] {{red|b=1|The 20th figure teaches you this,}} which says “Compel against all hits, which will always be.”</p>
 | {{section|Page:Cod.44.A.8 047r.jpg|4|lbl=47r.4}}
 | {{section|Page:MS Germ.Quart.2020 186v.jpg|2|lbl=186v.2}}
 |
 |
+}}
-|-
+{{Ps-Danzig row MF rsb|76
-| <p>[76] {{red|b=1|Here note this play}}</p>
-<p>When you ride to him to the left side, hew in strong, and shoot the point to his face. If he parries or stabs equally with you, before he indeed comes to you, then rise with the left arm inwards over his sword, and press it as such with the arm into your left side, and ride forward, so you take his sword.</p>
 | {{section|Page:Cod.44.A.8 047r.jpg|5|lbl=47r.5}}
@@ Line 2,436: / Line 2,246: @@
 {{section|Page:MS KK5126 116v.jpg|2|lbl=116v.2}}
 |
+}}
-|-
+{{Ps-Danzig row MF|77
 |
-| <p>[77] {{red|b=1|The 16th figure teaches this,}} which says “Catch the weapons in the wide, meanwhile ride against.”</p>
 | {{section|Page:Cod.44.A.8 047v.jpg|2|lbl=47v.2}}
 | {{section|Page:MS Germ.Quart.2020 186v.jpg|4|lbl=186v.4}}
 |
 |
+}}
-|-
+{{Ps-Danzig row MF|78
 |
-| <p>[78] {{red|b=1|Again a play}}</p>
-<p>Note, when you ride to him to the left side, and hew in, if he parries and rides near to you with it, then grab his right hand with the left, then work with the sword or wait for the wrestling.</p>
 | {{section|Page:Cod.44.A.8 047v.jpg|3|lbl=47v.3}}
 | {{section|Page:MS Germ.Quart.2020 169r.jpg|1|lbl=169r.1}}
@@ Line 2,456: / Line 2,264: @@
 {{section|Page:MS KK5126 116v.jpg|3|lbl=116v.3}}
 |
+}}
-|-
+{{Ps-Danzig row MF|79
 |
-| <p>[79] {{red|b=1|This is the text and the gloss, if your horse makes a fool out of you with violence}}</p>
-{| class="zettel"
-|-
-| <small>23</small>
-| {{red|Or turn around<br/>&emsp;Lie to hunt the weapon}}
-|-
-| <small>24</small>
-| {{red|With all art<br/>&emsp;He hunts, he sends, for his benefit}}
-|}
-<p>Gloss: Note, this is a lesson, if your horse makes a fool out of you so that you would like to come to no plays, then don’t let your horse run far from him, therefore it will not become tired, and you also remain lying, and ride against him to the side which makes it good for you, which you may have your best advantage with all art.</p>
 | {{section|Page:Cod.44.A.8 047v.jpg|4|lbl=47v.4}}
 | {{section|Page:MS Germ.Quart.2020 169r.jpg|2|lbl=169r.2}}
@@ Line 2,477: / Line 2,276: @@
 {{section|Page:MS KK5126 116v.jpg|4|lbl=116v.4}}
 |
+}}
-|-
+{{Ps-Danzig row MF|80
 |
-| <p>[80] {{red|b=1|The 14th figure teaches this,}} which says “Otherwise turn around, there the horse hurries back.”</p>
 | {{section|Page:Cod.44.A.8 047v.jpg|5|lbl=47v.5}}
 | {{section|Page:MS Germ.Quart.2020 169r.jpg|3|lbl=169r.3}}
 |
 |
+}}
-|-
+{{Ps-Danzig row MF rsa|81
-| rowspan="3" | [[File:MS Germ.Quart.2020 169v.jpg|350px|center]]
+| rowspan=3
-| <p>[81] {{red|b=1|This is the text and the gloss, if you have no choice but to ride to his left side}}</p>
+| [[File:MS Germ.Quart.2020 169v.jpg|350px|center]]
-{| class="zettel"
-|-
-| <small>25</small>
-| {{red|If you are hunted<br/>&emsp;And hunted left against your will}}
-|-
-| <small>26</small>
-| {{red|Feel for his sword<br/>&emsp;Wrestle, shove with firmness}}
-|}
-<p>Gloss: Note, this is if you have no choice but to ride to his left side, if you then have a sword, and he also has one, then lay yours on the left arm in the guard. If he then hews in above to the head, then rise and parry with the long edge so that your point stands to your left side, and ride to him, and grab his right hand with your left, and bash him with the pommel under the face.</p>
 |
 {{section|Page:Cod.44.A.8 047v.jpg|6|lbl=47v.6|p=1}} {{section|Page:Cod.44.A.8 048r.jpg|1|lbl=48r.1|p=1}}
@@ Line 2,510: / Line 2,301: @@
 {{section|Page:MS KK5126 116v.jpg|5|lbl=116v.5}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsb|82
-| <p>[82]</p>
 |
 |
 | {{section|Page:MS KK5126 116v.jpg|6|lbl=116v.6}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsb|83
-| <p>[83] {{red|b=1|The 17th figure teaches this,}} which says “If you hunt left, then fall upon sword’s pommel, shove under eyes.”</p>
 | {{section|Page:Cod.44.A.8 048r.jpg|2|lbl=48r.2}}
 | {{section|Page:MS Germ.Quart.2020 169v.jpg|2|lbl=169v.2}}
 |
 |
+}}
-|-
+{{Ps-Danzig row MF|84
 |
-| <p>[84] {{red|b=1|Again a play}}</p>
-<p>Note, when you ride to his left side, lie your sword onto your left arm in the guard. If he then hews in above to the head, then parry with the long edge, and hew a free over hew to his head from the parry.</p>
 | {{section|Page:Cod.44.A.8 048r.jpg|3|lbl=48r.3}}
 | {{section|Page:MS Germ.Quart.2020 170r.jpg|1|lbl=170r.1}}
@@ Line 2,536: / Line 2,325: @@
 {{section|Page:MS KK5126 116v.jpg|7|lbl=116v.7}}
 |
+}}
-|-
+{{Ps-Danzig row MF|85
 |
-| <p>[85] {{red|b=1|This is the text and the gloss about the set-aside behind}}</p>
-{| class="zettel"
-|-
-| <small>27</small>
-| {{red|If one hunts to the right<br/>&emsp;Half turn around, wait for fencing}}
-|-
-| <small>28</small>
-| {{red|Catching with arms<br/>&emsp;So no harm may approach you}}
-|}
-<p>Gloss: Note, this is a lesson: If it is the case that someone has won your back, or otherwise comes to you behind, whether it was with a spear or with a sword, then note, if he wants to plant to your right side behind, then turn yourself away from the stab onto your left, or if he plants behind to your left side, then turn yourself away from the stab against him onto your right side, and ride with it to him and work with the sword or with the wrestling.</p>
 |
 {{section|Page:Cod.44.A.8 048r.jpg|4|lbl=48r.4|p=1}} {{section|Page:Cod.44.A.8 048v.jpg|1|lbl=48v.1|p=1}}
@@ Line 2,558: / Line 2,338: @@
 {{section|Page:MS KK5126 116v.jpg|8|lbl=116v.8}}
 |
+}}
-|-
+{{Ps-Danzig row MF|86
 |
-| <p>[86] {{red|b=1|The 24th figure teaches this,}} which says “If one hunts you from<ref>Other one says "too".</ref> both sides, turn around left so he comes right.”</p>
 | {{section|Page:Cod.44.A.8 048v.jpg|2|lbl=48v.2}}
 | {{section|Page:MS Germ.Quart.2020 170r.jpg|3|lbl=170r.3}}
 |
 |
+}}
-|-
+{{Ps-Danzig row MF rsa|87
-| rowspan="2" | [[File:MS Germ.Quart.2020 170v.jpg|350px|center]]
+| rowspan=2
-| <p>[87] {{red|b=1|Note, a nimbleness with the spear}}</p>
+| [[File:MS Germ.Quart.2020 170v.jpg|350px|center]]
-<p>Note, when you hunt away before him, and have a lance, and he also has one, if he then hunts after you, then hold your lance on your right shoulder, and note when he almost comes to you behind, then raise your lance over the head onto your left shoulder, and turn yourself against him onto your left side, and strike his lance with it under your arm. Therefore you come to him with it turned under eyes.</p>
 | {{section|Page:Cod.44.A.8 048v.jpg|3|lbl=48v.3}}
 | {{section|Page:MS Germ.Quart.2020 170v.jpg|1|lbl=170v}}
 | {{section|Page:MS KK5126 116v.jpg|9|lbl=116v.9}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsb|88
-| <p>[88] {{red|b=1|Note, sword against the spear}}</p>
-<p>When you have a sword and he a lance, then lay your sword on the left arm in the guard. If he then rides onto you with the lance to your left side, then ride moderately against him, and when he comes to the hit, rise with the pommel and leave the blade in the hand against your left side, and set his lance aside with it.</p>
-<p>Or, if he rides to your right side, then sweep up simply with the sword to his lance to his right side, and rise into the upper hanging, and plant to him in the face.</p>
 | {{section|Page:Cod.44.A.8 048v.jpg|4|lbl=48v.4|p=1}} {{section|Page:Cod.44.A.8 049r.jpg|1|lbl=49r.1|p=1}}
 |
@@ Line 2,589: / Line 2,364: @@
 {{section|Page:MS KK5126 116v.jpg|10|lbl=116v.10}}
 |
+}}
-|-
+{{Ps-Danzig row MF|89
 |
-| <p>[89] {{red|b=1|This is the text and the gloss about the sword taking}}</p>
-{| class="zettel"
-|-
-| <small>29</small>
-| {{red|The knife taking<br/>&emsp;Learn to keep without shame}}
-|}
-<p>Gloss: Note, when you ride to him and come to him with your right side to his, then hew in above strong to the head, and stab to his face. If he parries the stab, then hurry to him and grab his right arm with left inverted hand in front under his pommel, and hold him firmly as such, and bend your left arm outwards at the handle of his sword, so he must let go of the sword. Thereafter you may hold him with the one hand and strike with the other.</p>
 | {{section|Page:Cod.44.A.8 049r.jpg|2|lbl=49r.2}}
 |
 | {{section|Page:MS KK5126 116v.jpg|11|lbl=116v.11}}
 |
+}}
-|-
+{{Ps-Danzig row MF|90
 |
-| <p>[90] {{red|b=1|The 15th figure<ref>Typo in the source, should be 25 (xxv)</ref> teaches this,}} which says “Think about the knife taking and keeping, etc.”</p>
 | {{section|Page:Cod.44.A.8 049r.jpg|3|lbl=49r.3}}
 |
 |
 |
+}}
-|-
+{{Ps-Danzig row MF|91
 |
-| <p>[91] {{red|b=1|This is the text and the gloss about the play which is called “the unnamed hold”}}</p>
-{| class="zettel"
-|-
-| <small>30</small>
-| {{red|The unnamed<br/>&emsp;Turn it to the strong}}
-|-
-| <small>31</small>
-| {{red|Their strike, their stab<br/>&emsp;Makes useless without any fencing}}
-|}
-<p>Gloss: Note, this wrestle is called “the unnamed hold,” so that anyone shall not understand, because with it, one destroys all of a strong person's hews and stabs without any fencing, if one correctly grapples him with it.</p>
 | {{section|Page:Cod.44.A.8 049r.jpg|4|lbl=49r.4}}
 |
@@ Line 2,632: / Line 2,392: @@
 {{section|Page:MS KK5126 116v.jpg|12|lbl=116v.12}}
 |
+}}
-|-
+{{Ps-Danzig row MF|92
 |
-| <p>[92] {{red|b=1|Drive it as follows:}}</p>
-<p>Note, when you come with your left side to his right, if he has then drawn his sword or otherwise another weapon and wants to strike or stab you, then grab his right hand with your right, and jolt it in front of your chest, and lie yourself with the body strongly upon it, and ride forward, so you break his arm, or he must fall.</p>
-<p>Or, if you don’t want to throw him, when you have jolted his arm in front of you, grab his right elbow with the left hand, and shove from you with it, and grab his sword’s pommel with the right, and jolt it to you, so you take his sword.</p>
 |
 {{section|Page:Cod.44.A.8 049r.jpg|5|lbl=49r.5|p=1}} {{section|Page:Cod.44.A.8 049v.jpg|1|lbl=49v.1|p=1}}
@@ Line 2,647: / Line 2,403: @@
 {{section|Page:MS KK5126 116v.jpg|13|lbl=116v.13|p=1}} {{section|Page:MS KK5126 117r.jpg|1|lbl=117r.1|p=1}}
 |
+}}
-|-
+{{Ps-Danzig row MF|93
 |
-| <p>[93] {{red|b=1|The twenty-third figure teaches this,}} which says “The unnamed hold, takes weapons or falls him.”</p>
 | {{section|Page:Cod.44.A.8 049v.jpg|2|lbl=49v.2}}
 |
 |
 |
+}}
-|-
+{{Ps-Danzig row MF|94
 |
-| <p>[94] {{red|b=1|This is the text and the gloss about the sun showing}}</p>
-{| class="zettel"
-|-
-| <small>32</small>
-| {{red|If you want to grasp on<br/>&emsp;You shall not allow him to ride next to you}}
-|-
-| <small>33</small>
-| {{red|The sun showing<br/>&emsp;Drive left first if you want to bend}}
-|-
-| <small>34</small>
-| {{red|Touch the forehead<br/>&emsp;Press very firmly against nape}}
-|-
-| <small>35</small>
-| {{red|So that he swings himself<br/>&emsp;And rarely arrives again}}
-|}
-<p>Gloss: Note, the “sun showing” is a good wrestle on horseback, which you may drive to all sides when you come near to the man.</p>
 |
 {{section|Page:Cod.44.A.8 049v.jpg|3|lbl=49v.3}}
@@ Line 2,683: / Line 2,424: @@
 {{section|Page:MS KK5126 117r.jpg|2|lbl=117r.2}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsa|95
-| rowspan="2" | [[File:MS Germ.Quart.2020 171v.jpg|350px|center]]
+| rowspan=2
-| <p>[95] {{red|b=1|Note, drive it as follows:}}</p>
+| [[File:MS Germ.Quart.2020 171v.jpg|350px|center]]
-<p>When you ride together with him and want to wrestle, hold yourself near to him. If you then come with your right side at his, then move with the left hand behind around him, and grab his left arm with it, and pull him firmly to you with it, and with the right hand, move below to the jawbone, and shove his face upwards with it to the mountain against the sun, so he winds, then swings, and falls in front of you. Or, and if you come with the left side to his right, then grasp him as before, and throw him behind you.</p>
 |
 {{section|Page:Cod.44.A.8 049v.jpg|4|lbl=49v.4|p=1}} {{section|Page:Cod.44.A.8 050r.jpg|1|lbl=50r.1|p=1}}
@@ Line 2,694: / Line 2,434: @@
 | {{section|Page:MS KK5126 117r.jpg|3|lbl=117r.3}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsb|96
-| <p>[96] {{red|b=1|The 15th figure teaches this,}} which says “Nearby, catch the hand, invert his face, there is the nape.”</p>
 | {{section|Page:Cod.44.A.8 050r.jpg|2|lbl=50r.2}}
 | {{section|Page:MS Germ.Quart.2020 171v.jpg|1|lbl=171v}}
 |
 |
+}}
-|-
+{{Ps-Danzig row MF|97
 | [[File:MS Germ.Quart.2020 172r.jpg|350px|center]]
-| <p>[97] {{red|b=1|This is the text and the gloss, how one breaks the sun showing}}</p>
-<p><br/></p>
-{| class="zettel"
-|-
-| <small>36</small>
-| {{red|Whoever aims that to you<br/>&emsp;Grip over, then he will be shamed}}
-|-
-| <small>37</small>
-| {{red|Press arms to head<br/>&emsp;The hold often robs saddle}}
-|}
-<p>Gloss: Note, drive the break as follows: When he comes with his right side to yours, and falls to you with the right hand below to the jawbone, and wants to shove you from him as such, strike your right arm over his right, and press it to your chest, and ride forward, so it is broken. Or, break it with the sheep hold, and how you shall press his arm to head, you find that written before in the brushing.<ref>Somewhere else it says "strike a glancing blow," I think that's the same idea</ref></p>
 | {{section|Page:Cod.44.A.8 050r.jpg|3|lbl=50r.3}}
 | {{section|Page:MS Germ.Quart.2020 172r.jpg|1|lbl=172r}}
 | {{section|Page:MS KK5126 117r.jpg|4|lbl=117r.4}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsa|98
-| rowspan="2" | [[File:MS Germ.Quart.2020 173r.jpg|350px|center]]
+| rowspan=2
-| <p>[98] {{red|b=1|This is the text and the gloss about the secret wrestle}}</p>
+| [[File:MS Germ.Quart.2020 173r.jpg|350px|center]]
-{| class="zettel"
-|-
-| <small>38</small>
-| {{red|But if you want to measure yourself<br/>&emsp;Of the catching,}}
-|-
-| <small>39</small>
-| {{red|Easily releasing from you<br/>&emsp;Caught behind without laces}}<ref>This quatrain is a mess</ref>
-|}
-<p>Gloss: Note, this is a secret wrestle on horseback, and has no name like the other wrestles have, so that one shall not allow to come to the light, nor allow anyone to see.</p>
 |
 {{section|Page:Cod.44.A.8 050r.jpg|4|lbl=50r.4|p=1}} {{section|Page:Cod.44.A.8 050v.jpg|1|lbl=50v.1|p=1}}
@@ Line 2,738: / Line 2,459: @@
 | {{section|Page:MS KK5126 117r.jpg|5|lbl=117r.5}}
 |
+}}
-|-
+{{Ps-Danzig row MF rsb|99
-| <p>[99] {{red|b=1|Note, drive it as follows}}</p>
-<p>When you ride together with him, assess that you come with your left side to his right, and grab his right hand with your right hand, and jolt it in front of you, and with the left hand, grab his right elbow, and shove it upwards, and bend his right arm quite well above over your left with the right hand, and raise upwards with the left arm. Therefore he is caught without any bind, and [you] may therefore lead him wherever you want, or break the arm.</p>
 | {{section|Page:Cod.44.A.8 050v.jpg|2|lbl=50v.2}}
 | {{section|Page:MS Germ.Quart.2020 172v.jpg|2|lbl=172v.2}}
 | {{section|Page:MS KK5126 117r.jpg|6|lbl=117r.6}}
 |
+}}
-|-
+{{Ps-Danzig row MF|100
 |
-| <p>[100] {{red|b=1|This is the text and the gloss about the “before” and about the “after”}}</p>
-{| class="zettel"
-|-
-| <small>40</small>
-| {{red|Note the “before” hold<br/>&emsp;It continues to break his strength}}
-|}
-<p>Gloss: Note, this is a lesson, that you shall quite precisely note upon the “before” holds, because they are two. The first, that is when you come before and grapple him before he [grapples] you. The second is when he comes before and grapples you before you [grapple] him. And upon the two things you shall quite correctly know to drive your plays, and hear it as follows: If you grapple him before, then drive your play nimbly with it, so he may not break you. Or, if he grapples you before, then ward, so that you nimbly break his, so he may not come to the play. Likewise, you shall not the two things with all weapons on horseback. With it they will be made fools of, if they rely upon their strength, and do not want to hold for correct art.</p>
 |
 {{section|Page:Cod.44.A.8 050v.jpg|3|lbl=50v.3|p=1}} {{section|Page:Cod.44.A.8 051r.jpg|1|lbl=51r.1|p=1}}
@@ Line 2,762: / Line 2,475: @@
 | {{section|Page:MS KK5126 117r.jpg|7|lbl=117r.7}}
 |
+}}
-|-
+{{Ps-Danzig row MF|101
-| rowspan="2" | [[File:MS Germ.Quart.2020 188v.jpg|350px|center]]
+| [[File:MS Germ.Quart.2020 188v.jpg|350px|center]]
-| <p>[101] {{red|b=1|Here note the fencing with the short sword on horseback}}</p>
-<p>When you ride against him, hold your sword with the right hand by the handle, and with the left, grip the middle of the blade, and lie it as such in front of you onto the saddle bow. If he then rides onto your right side against you, and hews in above to the head, then parry with the sword from your left hand, and stab him to the face.</p>
 | {{section|Page:Cod.44.A.8 051r.jpg|2|lbl=51r.2}}
 | <p><br/><br/></p>
-{{section|Page:MS Germ.Quart.2020 188r.jpg|1|lbl=188r.1}}
+{{paget|Page:MS Germ.Quart.2020|188r|jpg}}
-| {{section|Page:MS KK5126 117r.jpg|8|lbl=117r.8}}
+| {{section|Page:MS KK5126 117r.jpg|8|lbl=117r.8|p=1}} {{section|Page:MS KK5126 117v.jpg|1|lbl=117v.1|p=1}}
 |
+}}
-|-
+{{Ps-Danzig row MF|102
-| <p>[102] Or, if he comes so near to you that you may not stab to him or plant, then move with the front part of your sword in front to the top of his left shoulder around the neck, and jolt him to you onto the side with it, so he falls.</p>
-| {{section|Page:Cod.44.A.8 051r.jpg|3|lbl=51r.3}}
-| {{section|Page:MS Germ.Quart.2020 188r.jpg|2|lbl=188r.2}}
-|
-{{section|Page:MS KK5126 117r.jpg|9|lbl=117r.9|p=1}} {{section|Page:MS KK5126 117v.jpg|1|lbl=117v.1|p=1}}
-|
-|-
 | [[File:MS Germ.Quart.2020 189r.jpg|350px|center]]
-| <p>[103] {{red|b=1|Again a play with the short sword}}</p>
-<p>When you ride against him with the short sword, if he then rides to the right side and stabs you to the body, set it aside simply with the short sword, and plant to him. Or, if he stabs you to the face, then rise against the stab and wind in the point above to the face. Or, if he comes near to you with it, then wait for the wrestling.</p>
 |
-{{section|Page:Cod.44.A.8 051r.jpg|4|lbl=51r.4|p=1}} {{section|Page:Cod.44.A.8 051v.jpg|1|lbl=51v.1|p=1}}
+{{section|Page:Cod.44.A.8 051r.jpg|3|lbl=51r.3|p=1}} {{section|Page:Cod.44.A.8 051v.jpg|1|lbl=51v.1|p=1}}
 | {{section|Page:MS Germ.Quart.2020 189r.jpg|1|lbl=189r}}
 | <p><br/></p>
@@ Line 2,795: / Line 2,496: @@
 {{section|Page:MS KK5126 117v.jpg|2|lbl=117v.2}}
 |
+}}
-|-
+{{Ps-Danzig row MF|103
 | [[File:MS Germ.Quart.2020 189v.jpg|350px|center]]
-| <p>[104] {{red|b=1|Again a play}}</p>
-<p>Note, if you ride with half sword to his left side, if he then stabs you to the body, then rise with the pommel against your left side, and leave the blade hanging down next to you also to your left, and set his stab aside as such with the short sword, and plant to him.</p>
 | {{section|Page:Cod.44.A.8 051v.jpg|2|lbl=51v.2}}
 | {{section|Page:MS Germ.Quart.2020 189v.jpg|1|lbl=189v}}
@@ Line 2,807: / Line 2,506: @@
 {{section|Page:MS KK5126 117v.jpg|3|lbl=117v.3}}
 |
+}}
-|-
+{{Ps-Danzig row MF|104
 | [[File:MS Germ.Quart.2020 190r.jpg|350px|center]]
-| <p>[105] {{red|b=1|Again a play}}</p>
-<p>Note, if you ride with the half sword to his left side, if he then hews in above to your head, then parry between both hands into the sword, and let go of the sword with the right hand, and come with it to the left to help in the middle of the blade, and strike him with the pommel to the head or to the left elbow.</p>
 | {{section|Page:Cod.44.A.8 051v.jpg|3|lbl=51v.3}}
 | {{section|Page:MS Germ.Quart.2020 190r.jpg|1|lbl=190r}}
@@ Line 2,819: / Line 2,516: @@
 {{section|Page:MS KK5126 117v.jpg|4|lbl=117v.4}}
 |
+}}
-|-
+{{Ps-Danzig row MF|105
 | [[File:MS Germ.Quart.2020 190v.jpg|350px|center]]
-| <p>[106] {{red|b=1|Again a play}}</p>
-<p>Note, when you ride to his left side with the half sword, if he then hews in above to your head, then parry between your hands to the blade, and in the parry, grab your sword’s pommel with the left hand, and strike him with a free over hew from the long sword to the head.</p>
 |
 {{section|Page:Cod.44.A.8 051v.jpg|4|lbl=51v.4|p=1}} {{section|Page:Cod.44.A.8 052r.jpg|1|lbl=52r.1|p=1}}
@@ Line 2,832: / Line 2,527: @@
 {{section|Page:MS KK5126 117v.jpg|5|lbl=117v.5}}
 |
+}}
-|-
+{{Ps-Danzig row MF|106
 | [[File:MS Germ.Quart.2020 191r.jpg|350px|center]]
-| <p>[107] {{red|b=1|Here note, with half sword against the lance}}</p>
-<p>Note, when you ride against him with half sword, and he against you with his lance to your right side, then note, when it goes to the hit, then rise with the half sword onto your right side against the lance, and set the stab aside, and ride to him with it and stab him to the face, or plant to him.</p>
 | {{section|Page:Cod.44.A.8 052r.jpg|2|lbl=52r.2}}
 | <p><br/></p>
 {{section|Page:MS Germ.Quart.2020 191r.jpg|1|lbl=191r}}
-| {{section|Page:MS KK5126 117v.jpg|6|lbl=117v.6}}
+| <p><br/></p>
-|
-|-
-| class="noline" | [[File:MS Germ.Quart.2020 192r.jpg|350px|center]]
-| class="noline" | <p>[108] {{red|b=1|Again a play with the short sword on horseback against the lance}}</p>
-<p>Note, when you ride with the half sword, if he then hunts upon you with the lance to your left side and wants to plant to you, then rise with the pommel against your left side, and leave the point hanging down next to you also to your left side, and set aside with the short sword, and ride to him with it, and plant to him. If you may not come to the planting, then wait for the wrestling, etc.</p>
-| class="noline" | {{section|Page:Cod.44.A.8 052r.jpg|3|lbl=52r.3}}
-| class="noline" | {{section|Page:MS Germ.Quart.2020 192r.jpg|1|lbl=192r}}
-| class="noline" | <p><br/><br/></p>
 {{section|Page:MS KK5126 117v.jpg|7|lbl=117v.7}}
-| class="noline" |
+|
-|}
-{{master end}}
-{{master begin
-  | title = Short Sword Gloss
-  | width = 180em
 }}
-{| class="master sortable"
-|-
-! <p>Illustrations<br/>from the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków version]]</p>
-! <p>{{rating|C|Draft Translation (from the Rome)}}<br/>by [[Stephen Cheney]]</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>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków Version]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>Transcribed by [[Michael Chidester]]</p>
-! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Version]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
-! <p>[[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow Version]] (1508){{edit index|Glasgow Fechtbuch (MS E.1939.65.341)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
-|-
+{{Ps-Danzig row MF|107
-| [[File:Cod.44.A.8 002v.jpg|300px|center]]
+| [[File:MS Germ.Quart.2020 192r.jpg|350px|center]]
-| <p>[1] {{red|b=1|Here begins the gloss and the interpretation of the zettel of the art of combat fencing}}</p>
+| {{section|Page:Cod.44.A.8 052r.jpg|3|lbl=52r.3}}
+| {{section|Page:MS Germ.Quart.2020 192r.jpg|1|lbl=192r}}
+| {{section|Page:MS KK5126 117v.jpg|6|lbl=117v.6}}
+|
+}}
+</table>
+</div>
-<p>It was composed and made by Johannes Liechtenauer, he a high master in the art, God be gracious to him, and the art about this belongs to princes and lords, knights and squires, so that they shall know and learn. He has thus let the same art be specially written with obscure and disguised words, therefore commoners shall not hear nor understand them, as you will find them written hereafter, and has done because of the reckless fencing masters, who show little regard for their art, so that his art shall not be public or common from the same. Such people can’t progress to behold the art, as those to whom the art pertains. And the same obscure and disguised words of combat fencing, they stand explained and interpreted as such hereafter in the gloss, so that anyone may well hear and understand, if they can otherwise fence.</p>
+<h3 style="display: none;> Short Sword </h3>
+<div id="short_sword" style="background:transparent; clear:both; font-weight:normal; padding:3px; text-align:left; width:0em; min-width:0em;">
+<table class="master sortable">
+  <tr>
+    <th id="SSIllustrations0"><p>Illustrations<br/>from the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków version]]</p></th>
+    <th id="SSCheney0"><p>{{rating|C|Draft Translation (Rome only)}} (2018)<br/>by [[User:Stephen Cheney|Stephen Cheney]]</p></th>
+    <th id="SSRasmusson0">{{rating|C|Draft Translation (Kraków only)}} (2005)<br/>by [[Mike Rasmusson]]</th>
+    <th id="SSRome0"><p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed by [[Dierk Hagedorn]]</p></th>
+    <th id="SSVienna0"><p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Version]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>Transcribed by [[Dierk Hagedorn]]</p></th>
+    <th id="SSGlasgow0"><p>[[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow Version]] (1508){{edit index|Glasgow Fechtbuch (MS E.1939.65.341)}}<br/>Transcribed by [[Dierk Hagedorn]]</p></th>
+    <th id="SSKrakow0"><p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków Version]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>Transcribed by [[Michael Chidester]]</p></th>
+  </tr>
+{{Ps-Danzig row SS|1
+|
 | {{section|Page:Cod.44.A.8 053r.jpg|1|lbl=53r.1}}
 |
 | {{section|Page:MS KK5126 117v.jpg|8|lbl=117v.8}}
 |
+}}
-|-
+{{Ps-Danzig row SS|2
 |
-| <p>[2] {{red|b=1|Here begins the foreword}}</p>
-{| class="zettel"
-|-
-| <small></small>
-| Young knight learn<br/>&emsp;To have love for god, honor to women
-|-
-| <small></small>
-| Thus your honor grows<br/>&emsp;chivalry and learn
-|-
-| <small></small>
-| Art which adorns you<br/>&emsp;And in war, honor your master
-|-
-| <small></small>
-| Wrestle well, grappler<br/>&emsp;Lance, spear, sword and knife
-|-
-| <small></small>
-| Valiantly wield<br/>&emsp;And make useless in others’ hands
-|-
-| <small></small>
-| Hew in and hurry there<br/>&emsp;Rush in, hit, or let go
-|-
-| <small></small>
-| So that the wise<br/>&emsp;hate that one sees praise
-|-
-| <small></small>
-| Grasp yourself upon this<br/>&emsp;arts have distance and moderation
-|}
 |
 {{section|Page:Cod.44.A.8 053r.jpg|2|lbl=53r.2|p=1}}<br/>{{section|Page:Cod.44.A.8 053v.jpg|1|lbl=53v.1|p=1}}
@@ Line 2,917: / Line 2,578: @@
 |
 |
+}}
-|-
+{{Ps-Danzig row SS|3
 |
-| <p>[3] {{red|b=1|This is the text and the gloss of a common lesson in combat}}</p>
-<p><br/></p>
-{| class="zettel"
-|-
-| <small>1</small>
-| {{red|Whoever dismounts<br/>&emsp;Begins to fence on foot}}
-|}
-<p>Gloss: Note, this is a lesson: One may fence in armor on foot and on horseback, thereafter as one wills the two, and also whatever correctly reveals that, and if it were the case that you shall strike or fence with someone on horseback, and tricks you so that he was too prudent or too powerful with it, then dismount on foot, and fight with him from the art written hereafter.</p>
 | {{section|Page:Cod.44.A.8 053v.jpg|2|lbl=53v.2}}
 | {{section|Page:MS Germ.Quart.2020 201v.jpg|1|lbl=201v}}
@@ Line 2,937: / Line 2,590: @@
 {{section|Page:MS KK5126 117v.jpg|9|lbl=117v.9}}
 |
+}}
-|-
+{{Ps-Danzig row SS|4
 |
-| <p>[4] {{red|b=1|This is the text and the gloss about two stances}}</p>
-{| class="zettel"
-|-
-| <small>2</small>
-| {{red|He arranges his spear<br/>&emsp;Two stances, wielding correct weapons}}
-|}
-<p>Gloss: Note, this is when you have dismounted from the horse, you shall first meanwhile know to raise two stances by hand. The first stance is how you shall arrange yourself with the lance in combat. The second is how you shall arrange yourself with the sword. You shall also know two particular stances with the lance. The first stance is and pertains to him if he remains on the horse. The second stance pertains to him if he also dismounts. You shall also know to correctly drive the plays against the two stances, which will be explained to you hereafter nearest.</p>
 |
 {{section|Page:Cod.44.A.8 053v.jpg|3|lbl=53v.3|p=1}} {{section|Page:Cod.44.A.8 054r.jpg|1|lbl=54r.1|p=1}}
@@ Line 2,952: / Line 2,599: @@
 | {{section|Page:MS KK5126 117v.jpg|10|lbl=117v.10}}
 |
+}}
-|-
+{{Ps-Danzig row SS|5
 | {{double page|MS Germ.Quart.2020 202v.jpg|MS Germ.Quart.2020 203r.jpg|x230px|x230px}}
-| <p>[5] {{red|b=1|This is the first play}}</p>
-<p>Note, arrange yourself with the first play as follows: When you have dismounted from the horse and he does not want to dismount, then stand with the left foot forward, and set your lance to your right side into the ground, and hold the point against him, to whichever side he then rides to you. On the same side, turn yourself always against him, and lead his lance away with yours, and plant to him with it.</p>
 | {{section|Page:Cod.44.A.8 054r.jpg|2|lbl=54r.2}}
 | {{section|Page:MS Germ.Quart.2020 202v.jpg|1|lbl=202v}}
@@ Line 2,964: / Line 2,609: @@
 {{section|Page:MS KK5126 117v.jpg|11|lbl=117v.11|p=1}} {{section|Page:MS KK5126 118r.jpg|1|lbl=118r.1|p=1}}
 |
+}}
-|-
+{{Ps-Danzig row SS|6
 |
-| <p>[6] {{red|b=1|Again a play}}</p>
-<p>When you have dismounted on foot, if he then remains on the horse, then stand with the left foot forward and hold your lance in the middle with both hands athwart in front of you, so that the front point is longer than the back. If he then rides upon you with the lance, then sweep firmly with the front part of your lance to his right side to his, and plant to him with it with a step out onto his side.</p>
 | {{section|Page:Cod.44.A.8 054r.jpg|3|lbl=54r.3}}
 | {{section|Page:MS Germ.Quart.2020 203v.jpg|1|lbl=203v}}
@@ Line 2,976: / Line 2,619: @@
 {{section|Page:MS KK5126 118r.jpg|2|lbl=118r.2}}
 |
+}}
-|-
+{{Ps-Danzig row SS|7
 |
-| <p>[7] {{red|b=1|Again a play}}</p>
-<p>Note, when you have dismounted on foot, if he then remains on the horse, then hold your lance next to your right side in the lower guard with the point against him. If he then rides upon you with the lance to your left side, then set aside with the lance also to your left side, and jump onto your right side and plant to him.</p>
 | {{section|Page:Cod.44.A.8 054r.jpg|4|lbl=54r.4}}
@@ Line 2,990: / Line 2,631: @@
 {{section|Page:MS KK5126 118r.jpg|3|lbl=118r.3}}
 |
+}}
-|-
+{{Ps-Danzig row SS|8
 |
-| <p>[8] {{red|b=1|Again another play}}</p>
-<p>Note, when you have dismounted on foot, if he then rides upon you with the sword, then stab him with the lance to the openings, and assess if you may [have] planted to him, and do that with jumping out onto a side.</p>
 | {{section|Page:Cod.44.A.8 054v.jpg|2|lbl=54v.2}}
 | {{section|Page:MS Germ.Quart.2020 204v.jpg|1|lbl=204v.1}}
@@ Line 3,002: / Line 2,641: @@
 {{section|Page:MS KK5126 118r.jpg|4|lbl=118r.4}}
 |
+}}
-|-
+{{Ps-Danzig row SS|9
 | {{double page|MS Germ.Quart.2020 204v.jpg|MS Germ.Quart.2020 205r.jpg|x230px|x230px}}
-| <p>[9] {{red|b=1|Again another play}}</p>
-<p>Note, when you have dismounted, if he remains on the horse and rides upon you with the sword, then set your lance with the point onto the furthest in front of you into the ground, and when he rides upon you, move with the lance to his horse between the front legs, and jump onto a side, and attempt if you may overturn him as such together with the horse.</p>
 | {{section|Page:Cod.44.A.8 054v.jpg|3|lbl=54v.3}}
 | {{section|Page:MS Germ.Quart.2020 204v.jpg|2|lbl=204v.2}}
@@ Line 3,014: / Line 2,651: @@
 {{section|Page:MS KK5126 118r.jpg|5|lbl=118r.5}}
 |
+}}
-|-
+{{Ps-Danzig row SS|10
 |
-| <p>[10] {{red|b=1|This is the text and the gloss of the second stance, when you both have dismounted on foot with the lance against the lance in combat}}</p>
-{| class="zettel"
-|-
-| <small>3</small>
-| {{red|Spear and point<br/>&emsp;The “before” stab, stab without apprehension}}
-|}
-<p>Gloss: Note, this is the second stance, when he has also dismounted, and holds his lance, and you do yours, arrange yourself against him as follows: stand with the left foot forwards, and hold your lance next to your right side in the lower guard, and assess that you always stab to him before he to you.</p>
-<p>Or, hold your lance with the right hand over your head to prepare to throw,<ref>Make a note, "zu dem schuß," literally "to the shot"</ref> and step to him as such, and assess that you throw before he [does], and follow quickly after the throw to him with the sword against the lance, which will be explained to you hereafter in other plays.</p>
 | {{section|Page:Cod.44.A.8 054v.jpg|4|lbl=54v.4}}
@@ Line 3,033: / Line 2,662: @@
 | {{section|Page:MS KK5126 118r.jpg|6|lbl=118r.6}}
 |
+}}
-|-
+{{Ps-Danzig row SS|11
 |
-| <p>[11] {{red|b=1|This is the text and the gloss about planting and about jerk with the lance in combat}}</p>
-{| class="zettel"
-|-
-| <small>4</small>
-| {{red|Jump, wind, correctly plant<br/>&emsp;If he wards, jerk, that defeats him}}
-|}
-<p>Gloss: Note, this is another, when you both have dismounted on foot, and each has his lance. If you then do not want to throw as stands written before, then hold you lance next to your right side in the lower guard, and go to him as such, and stab him artfully to the face from stretched arms. If he then stabs in equally with you, then rise with your lance at his in the upper hanging, and jump to him with it, and plant to him above. If he then rises with the arms and wards the upper stab, then jerk, and set the point under his left armpit to the opening, or otherwise, where you may, and force through him in front of you.</p>
 |
 {{section|Page:Cod.44.A.8 055r.jpg|2|lbl=55r.2|p=1}} {{section|Page:Cod.44.A.8 055v.jpg|1|lbl=55v.1|p=1}}
@@ Line 3,049: / Line 2,672: @@
 | {{section|Page:MS KK5126 118r.jpg|7|lbl=118r.7}}
 |
+}}
-|-
+{{Ps-Danzig row SS|12
 |
-| <p>[12] {{red|b=1|This is the text and the gloss about a lesson, how one shall jerk}}</p>
-{| class="zettel"
-|-
-| <small>5</small>
-| {{red|If you want to stab before<br/>&emsp;Learn to break wards with jerking}}
-|}
-<p>Gloss: Note, this is when you want to stab him before he you, or otherwise come before with the stab. If he parries the stab, then you shall know indes how you shall change through or jerk, so that he doesn’t plant to you while you jerk through, and hear it as follows: If he parries the stab strongly with the lance and lets the point go out next to you beside, then jerk quickly and stab him to the other side.</p>
-<p>Or, if he remains in the parry with the point in front of the face, then don’t jerk through, remain with your lance at his, and work to the opening thereafter as you sense whether he has bound hard or soft.</p>
 | {{section|Page:Cod.44.A.8 055v.jpg|2|lbl=55v.2}}
 |
@@ Line 3,066: / Line 2,681: @@
 | {{section|Page:MS KK5126 118r.jpg|8|lbl=118r.8}}
 |
+}}
-|-
+{{Ps-Danzig row SS|13
 |
-| <p>[13] {{red|b=1|This is the text and the gloss, how one shall break the jerk}}</p>
-{| class="zettel"
-|-
-| <small>6</small>
-| {{red|Note, if he wants to draw<br/>&emsp;From sheath, and he wants to flee}}
-|-
-| <small>7</small>
-| {{red|Then you shall near to him<br/>&emsp;catch, yet wisely ward}}
-|}
-<p>Gloss: Note, this is if he comes before with the stab, so that you must parry him, then parry so that your point does not go out wide next to him beside, but rather remain near to him with it in front of the face or the chest. If he then jerks or changes through it, don’t parry him, and follow after him with the point, and plant to him while he jerks through. If you then land your hit correctly with the plant, then force through him as such in front of you, and don’t let him come away from the point. If he then wants to flee back away from the point with [a] step away backwards, or jump backwards away from it, or wants to turn himself as such away from the stab, and turns to one side of you, then jump to him, and assess that you wisely and correctly grapple with arm breaking or otherwise with other wrestles.</p>
 |
 {{section|Page:Cod.44.A.8 055v.jpg|3|lbl=55v.3|p=1}} {{section|Page:Cod.44.A.8 056r.jpg|1|lbl=56r.1|p=1}}
@@ Line 3,089: / Line 2,695: @@
 {{section|Page:MS KK5126 118v.jpg|1|lbl=118v.1}}
 |
+}}
-|-
+{{Ps-Danzig row SS rsa|14
-| rowspan="2" | [[File:MS Germ.Quart.2020 209r.jpg|350px|center]]
+| rowspan=2
-| <p>[14] {{red|b=1|This is the text and the gloss about wrestling in combat}}</p>
+| [[File:MS Germ.Quart.2020 209r.jpg|350px|center]]
-{| class="zettel"
-|-
-| <small>8</small>
-| {{red|If you want to wrestle<br/>&emsp;Learn to correctly jump behind leg}}
-|-
-| <small>9</small>
-| {{red|Lock before shooting<br/>&emsp;Artfully locking the front leg before}}
-|}
-<p>Gloss: Note, this is if you want to wrestle with him, then you shall, before all cases, know how you shall correctly jump behind his front foot, and you shall lock and trap the same foot with the art, which will be explained to you hereafter.</p>
 | {{section|Page:Cod.44.A.8 056r.jpg|2|lbl=56r.2}}
 | {{section|Page:MS Germ.Quart.2020 208r.jpg|2|lbl=208r.2}}
@@ Line 3,108: / Line 2,706: @@
 | {{section|Page:MS KK5126 118v.jpg|2|lbl=118v.2}}
 | {{section|Page:MS E.1939.65.341 084r.jpg|2|lbl=84r.1}}
+}}
-|-
+{{Ps-Danzig row SS rsb|15
-| <p>[15] {{red|b=1|This is a wrestle}}</p>
-<p>Note, when you attack him with wrestling, and he against you, see if he has a foot set in front or not. If he then does not have one in front, then jolt him to you or shove him from you, so he must step forward. If he then steps forward with the left foot, then jump quickly with the right foot behind his left, and bend your right knee, and press him behind with it into the back of his left knee, and jolt him over it with both hands.</p>
 | {{section|Page:Cod.44.A.8 056r.jpg|3|lbl=56r.3}}
@@ Line 3,121: / Line 2,717: @@
 {{section|Page:MS KK5126 118v.jpg|3|lbl=118v.3}}
 | {{section|Page:MS E.1939.65.341 084r.jpg|3|lbl=84r.3}}
+}}
-|-
+{{Ps-Danzig row SS|16
 |
-| <p>[16] {{red|b=1|Another wrestle}}</p>
-<p>When you jump to him with the right foot behind his left, step in with the left foot after between both of his feet, and grasp his left knee between both of your knees, and hold firmly with it, and shove him forward with the left hand to the cap, and with the right, pull him behind onto the side, so he falls.</p>
 | {{section|Page:Cod.44.A.8 056v.jpg|2|lbl=56v.2}}
 | {{section|Page:MS Germ.Quart.2020 209v.jpg|1|lbl=209v}}
@@ Line 3,133: / Line 2,727: @@
 {{section|Page:MS KK5126 118v.jpg|4|lbl=118v.4}}
 | {{section|Page:MS E.1939.65.341 084r.jpg|4|lbl=84r.4}}
+}}
-|-
+{{Ps-Danzig row SS|17
 |
-| <p>[17] {{red|b=1|Another wrestle}}</p>
-<p>Note, when you grasp him with wrestling, and he against you, if he then stands with the left foot forward, then jump with the right forward in front of both of his feet, and move through him with the right arm under his left behind around the body, and grasp him as such onto the right hip, and throw him in front of you.</p>
-<p>Or, if he stands with the right foot forward, then jump with the left in front of both of his feet, and move him with the left arm behind around the body, and throw him in front of you over your left hip.</p>
 | {{section|Page:Cod.44.A.8 056v.jpg|3|lbl=56v.3}}
 | {{section|Page:MS Germ.Quart.2020 210r.jpg|1|lbl=210r}}
@@ Line 3,148: / Line 2,738: @@
 |
 {{section|Page:MS E.1939.65.341 084r.jpg|5|lbl=84r.5|p=1}} {{section|Page:MS E.1939.65.341 084v.jpg|1|lbl=84v.1|p=1}}
+}}
-|-
+{{Ps-Danzig row SS|18
 |
-| <p>[18]</p>
 |
 |
 | {{section|Page:MS KK5126 118v.jpg|6|lbl=118v.6}}
 |
+}}
-|-
+{{Ps-Danzig row SS|19
 |
-| <p>[19] {{red|b=1|This is the text and gloss, that one shall know to drive all wrestles to both sides}}</p>
-{| class="zettel"
-|-
-| <small>10</small>
-| {{red|From both hands<br/>&emsp;If you desire to end with art}}
-|}
-<p>Gloss: Note, this is when you want to artfully end with wrestling, you shall know to drive the wrestles from both sides, and hear it as follows: When [you] jump to him with the right foot behind his left as stands written before, if he then steps back with the left foot in the jump or while you jump, then step after him quickly with the left foot behind his right, and drive the lock and the trap, which you have heard before.</p>
 | {{section|Page:Cod.44.A.8 057r.jpg|1|lbl=57r.1}}
 |
@@ Line 3,171: / Line 2,755: @@
 | {{section|Page:MS KK5126 118v.jpg|8|lbl=118v.7}}
 | {{section|Page:MS E.1939.65.341 084v.jpg|2|lbl=84v.2}}
+}}
-|-
+{{Ps-Danzig row SS|20
 |
-| <p>[20] {{red|b=1|This is the text and the gloss of the plays which one shall drive with the sword against the lance}}</p>
-{| class="zettel"
-|-
-| <small>11</small>
-| {{red|If it is displaced<br/>&emsp;The sword will be drawn against spear}}
-|-
-| <small>12</small>
-| {{red|Notice the stab<br/>&emsp;Jump, catch, wrestle, rush to him}}
-|}
-<p>Gloss: Note, this is when you have thrown your lance. If he then holds his, then observe quite precisely how he has grasped it, whether he lets the point go forward long or short in front of his front placed hand, and if he wants to stab to you above or below with it.</p>
 | {{section|Page:Cod.44.A.8 057r.jpg|2|lbl=57r.2}}
 |
@@ Line 3,192: / Line 2,767: @@
 {{section|Page:MS KK5126 118v.jpg|7|lbl=118v.7|p=1}}<ref>This paragraph is displaced in the text, and appears between paragraphs 18 and 19.</ref>
 | {{section|Page:MS E.1939.65.341 084v.jpg|3|lbl=84v.3}}
+}}
-|-
+{{Ps-Danzig row SS|21
 |
-| <p>[21] {{red|b=1|Here note the play}}</p>
-<p>When you have a sword and he a lance, if he then has grasped it short, and stands with it in the upper guard, then lie your sword onto your left knee in the guard. If he then stabs in above to the face, then rise and parry the stab with the sword in front of your left hand against his right side, and rise with it to his lance into the upper guard, and jump to him and plant to him. If you then don’t hit correctly with the planting, then drop your sword, and rush to him, and wait for the wrestling.</p>
 | {{section|Page:Cod.44.A.8 057r.jpg|3|lbl=57r.3}}
@@ Line 3,207: / Line 2,780: @@
 |
 {{section|Page:MS E.1939.65.341 084v.jpg|4|lbl=84v.4|p=1}} {{section|Page:MS E.1939.65.341 085r.jpg|1|lbl=85r.1|p=1}}
+}}
-|-
+{{Ps-Danzig row SS|22
 |
-| <p>[22] {{red|b=1|Again a play}}</p>
-<p>When you have a sword and he a lance, if he then stands against you with it in the lower guard and has grasped his lance short, then stand with your sword also against him in the lower guard. If he then stabs to you below, then set the stab aside with the sword in front of your left hand, and move him with the pommel forward to the top of his right shoulder around the neck, and jump with the right foot behind his left, and jolt him over your right knee with the pommel.</p>
 | {{section|Page:Cod.44.A.8 057v.jpg|2|lbl=57v.2}}
 |
@@ Line 3,220: / Line 2,791: @@
 {{section|Page:MS KK5126 119r.jpg|3|lbl=119r.3}}
 | {{section|Page:MS E.1939.65.341 085r.jpg|2|lbl=85r.2}}
+}}
-|-
+{{Ps-Danzig row SS|23
 |
-| <p>[23] {{red|b=1|This is the text and the gloss about the parry with the left hand against the lance}}</p>
-<p><br/></p>
-{| class="zettel"
-|-
-| <small>13</small>
-| {{red|Strike left long from hand<br/>&emsp;Jump wisely and then catch}}
-|-
-| <small>14</small>
-| {{red|If he wants to draw<br/>&emsp;From sheath, catch, and press}}
-|-
-| <small>15</small>
-| {{red|So that he annoys the openings<br/>&emsp;With sword’s point}}
-|}
-<p>Gloss: Note, this is when you have a sword and he a lance. If he then stands against you with it in the upper guard, and has grasped it so that the point goes out long in front of his front hand, then hold your sword against him also in a guard. If he then stabs in above to the face, then strike away his lance with the left hand beside, and grip your sword quickly again with the left hand in the middle of the blade, and jump to him, and plant to him.</p>
 |
 {{section|Page:Cod.44.A.8 057v.jpg|3|lbl=57v.3|p=1}} {{section|Page:Cod.44.A.8 058r.jpg|1|lbl=58r.1|p=1}}
@@ Line 3,244: / Line 2,801: @@
 | {{section|Page:MS KK5126 119r.jpg|4|lbl=119r.4}}
 | {{section|Page:MS E.1939.65.341 085r.jpg|3|lbl=85r.3}}
+}}
-|-
+{{Ps-Danzig row SS|24
 |
-| <p>[24] {{red|b=1|Another play}}</p>
-<p>Note, when you have a sword and he a lance, if he then lays the point going out long in front of the hands and stabs you below with it to the testicles, then grab his lance with the left hand and hold hold it firmly with it, and stab him below with the sword to the testicles. If he then jerks his lance firmly to himself, then let it go suddenly, so he opens the side. With that, grab your sword with the left hand quickly again in the middle of the blade, and follow after him with planting to the same side, or wait for the wrestling.</p>
 | {{section|Page:Cod.44.A.8 058r.jpg|2|lbl=58r.2}}
 | {{section|Page:MS Germ.Quart.2020 213r.jpg|2|lbl=213r.2}}
@@ Line 3,256: / Line 2,811: @@
 {{section|Page:MS KK5126 119r.jpg|5|lbl=119r.5}}
 | {{section|Page:MS E.1939.65.341 085v.jpg|1|lbl=85v.1}}
+}}
-|-
+{{Ps-Danzig row SS|25
 |
-| <p>[25] {{red|b=1|This is the text and the gloss about which ends you shall search for the openings on the armed man}}</p>
-<p><br/></p>
-{| class="zettel"
-|-
-| <small>16</small>
-| {{red|Leather and glove<br/>&emsp;Correctly search for the openings under the eyes}}
-|}
-<p>Gloss: Note, this is where the armed man is best to win through the armor, that is under the face or under the armpit, or in the palm of the hand, or on the arm behind in the gloves, or in the backs of the knees, or below at the feet to the soles, and in the joint of the inside of the elbow, and between the legs, and at the sites in which the armor has its joints, and you shall therefore search for the openings, so that you shall not work nor stab to one far away, because you may have one nearer in front of you.</p>
 |
 {{section|Page:Cod.44.A.8 058r.jpg|3|lbl=58r.3|p=1}} {{section|Page:Cod.44.A.8 058v.jpg|1|lbl=58v.1|p=1}}
@@ Line 3,274: / Line 2,821: @@
 | {{section|Page:MS KK5126 119r.jpg|6|lbl=119r.6}}
 | {{section|Page:MS E.1939.65.341 085v.jpg|2|lbl=85v.2}}
+}}
-|-
+{{Ps-Danzig row SS|26
 |
-| <p>[26] {{red|b=1|This is the text and the gloss about the forbidden wrestles, which of them those are, and how one shall drive them}}</p>
-<p>'''Text:'''</p>
-{| class="zettel"
-|-
-| <small>17</small>
-| {{red|Forbidden wrestles<br/>&emsp;Learn to bring wisely}}
-|-
-| <small>18</small>
-| {{red|Find to lock<br/>&emsp;Overcome the strong with it}}
-|}
-<p>'''Gloss:''' Note, this is if you may not come with the planting, because you run in with him<ref>Glasgow version adds "him"</ref> to the previously written openings, then assess that you bring the wrestles wisely to scale,<ref>G. "wisely and masterfully".</ref> and drive those which are forbidden from all wise masters of the sword, so that one shall allow no sport fencers<ref>G. "students".</ref> to learn nor see them on public competitions. Therefore, they pertain to the combat. They are arm breaks, and leg breaks, and knee shoves, and testicle bashes, and finger dislocations, and eye gouges, and a stronger person shall therefore become locked with the plays, so that he may well not relish his strength there, and note that in the next wrestle written hereafter.</p>
 |
 {{section|Page:Cod.44.A.8 058v.jpg|2|lbl=58v.2|p=1}} {{section|Page:Cod.44.A.8 059r.jpg|1|lbl=59r.1|p=1}}
@@ Line 3,296: / Line 2,832: @@
 |
 {{section|Page:MS E.1939.65.341 085v.jpg|3|lbl=85v.3|p=1}} {{section|Page:MS E.1939.65.341 086r.jpg|1|lbl=86r.1|p=1}}
+}}
-|-
+{{Ps-Danzig row SS|27
 |
-| <p>[27] {{red|b=1|The first wrestle}}</p>
-<p>Note, if he attacks you above with strength and wants to jolt you to him or shove you from him, then strike your right arm outside to the top of his left forward by his hand, and press his arm to your breast with both hands, and jump with the right foot behind his left, and throw him from the foot over the knee.</p>
 | {{section|Page:Cod.44.A.8 059r.jpg|2|lbl=59r.2}}
 | {{section|Page:MS Germ.Quart.2020 215r.jpg|2|lbl=215r.2}}
 |
 | {{section|Page:MS E.1939.65.341 086r.jpg|2|lbl=86r.2}}
+}}
-|-
+{{Ps-Danzig row SS|28
 |
-| <p>[28] {{red|b=1|This is an arm break}}</p>
-<p>Note, if he falls to you with both hands to the arms and you against him, if he then does not hold you firmly, then grab his right arm with the right hand forward by his right hand or by the fingers, and hold him firmly by them, and with the left, grasp him by the right elbow, and shove it upwards, and bend his right arm over your left with the right hand, and raise his right arm upwards with the left arm, so you break his arm, or throw him in front of you.</p>
 | {{section|Page:Cod.44.A.8 059r.jpg|3|lbl=59r.3}}
 |
 |
 | {{section|Page:MS E.1939.65.341 086r.jpg|3|lbl=86r.3}}
+}}
-|-
+{{Ps-Danzig row SS|29
 |
-| <p>[29] {{red|b=1|A wrestle and an arm break}}</p>
-<p>Note, if he attacks you with both hands to the arms or to the chest, if he then does not hold you firmly, then grab his right hand with your right, and pull him as such in front of you with it, and with the left, grasp him by the elbow, and step with the left foot in front of his right, and jolt him over it as such, so he falls.</p>
-<p>Or, when you pull him in front of you with the right arm, then fall to him strongly with the chest upon it, so you break his arm.</p>
 | {{section|Page:Cod.44.A.8 059r.jpg|4|lbl=59r.4}}
@@ Line 3,332: / Line 2,860: @@
 {{section|Page:MS KK5126 119r.jpg|8|lbl=119r.8|p=1}} {{section|Page:MS KK5126 119v.jpg|1|lbl=119v.1|p=1}}
 | {{section|Page:MS E.1939.65.341 086v.jpg|1|lbl=86v.1}}
+}}
-|-
+{{Ps-Danzig row SS|30
 |
-| <p>[30] {{red|b=1|Again a wrestle}}</p>
-<p>Mark when he falls unto you with wrestling Then grasp the front of his right arm by the hand with your left hand and pull him to yourself on the left side and strike your left arm with strength over his right in the joint of his elbow and with your left hand break his right arm over your right and spring with the right foot behind his right and throw him over your right hip.</p>
 | {{section|Page:Cod.44.A.8 059v.jpg|2|lbl=59v.2}}
 | {{section|Page:MS Germ.Quart.2020 216r.jpg|1|lbl=216r}}
@@ Line 3,344: / Line 2,870: @@
 {{section|Page:MS KK5126 119v.jpg|2|lbl=119v.2}}
 | {{section|Page:MS E.1939.65.341 086v.jpg|2|lbl=86v.2}}
+}}
-|-
+{{Ps-Danzig row SS|31
 |
-| <p>[31] {{red|b=1|This is again a wrestle}}</p>
-<p>Note, when you wrestle with him and come near to him with the body, if he then moves to you with the left arm over your right shoulder around the neck, then move with the right arm outside over his left to the top of the joint of the elbow, and come with the left hand to help your right, and press downwards with both hands, and jump with the right foot in front of his left, and turn yourself from him onto your left side, and throw him over your left [sic] hip.</p>
 |
 {{section|Page:Cod.44.A.8 059v.jpg|3|lbl=59v.3|p=1}} {{section|Page:Cod.44.A.8 060r.jpg|1|lbl=60r.1|p=1}}
@@ Line 3,357: / Line 2,881: @@
 {{section|Page:MS KK5126 119v.jpg|3|lbl=119v.3}}
 | {{section|Page:MS E.1939.65.341 086v.jpg|3|lbl=86v.3}}
+}}
-|-
+{{Ps-Danzig row SS|32
 |
-| <p>[32] {{red|b=1|Again a wrestle}}</p>
-<p>Note, if he falls to you with both hands into the arms and you against him, if he then strikes you with his left arm on your right and moves through with the left under your right behind around the body, then strike him outwards with the right arm strongly down from above into the joint of his left elbow, and step with the right foot in front of his left, and turn yourself from him, and sling him onto your left side.</p>
 | {{section|Page:Cod.44.A.8 060r.jpg|2|lbl=60r.2}}
 | {{section|Page:MS Germ.Quart.2020 217r.jpg|1|lbl=217r}}
@@ Line 3,370: / Line 2,892: @@
 |
 {{section|Page:MS E.1939.65.341 086v.jpg|4|lbl=86v.4|p=1}} {{section|Page:MS E.1939.65.341 087r.jpg|1|lbl=87r.1|p=1}}
+}}
-|-
+{{Ps-Danzig row SS rsa|33
-| rowspan="2" | [[File:MS Germ.Quart.2020 217v.jpg|350px|center]]
+| rowspan=2
-| <p>[33] {{red|b=1|A wrestle and a murder shove}}</p>
+| [[File:MS Germ.Quart.2020 217v.jpg|350px|center]]
-<p>Note, when you have grappled him by the arms and he against you, if he has then set a foot forward and holds it stretched, then bash him with a foot onto the same knee, or bash him to the testicles, and make sure that he does not grip the same foot which you have shoved to him with.</p>
-<p>Or, when you set a foot forwards, bend the knee in front of you, so he may not harm you with the shove to the knee.</p>
 |
 {{section|Page:Cod.44.A.8 060r.jpg|3|lbl=60r.3|p=1}} {{section|Page:Cod.44.A.8 060v.jpg|1|lbl=60v.1|p=1}}
@@ Line 3,385: / Line 2,904: @@
 {{section|Page:MS KK5126 119v.jpg|5|lbl=119v.5}}
 | {{section|Page:MS E.1939.65.341 087r.jpg|2|lbl=87r.2}}
+}}
-|-
+{{Ps-Danzig row SS rsb|34
-| <p>[34] {{red|b=1|Again a wrestle}}</p>
-<p>Note, when you want to wrestle with him, if he then grips after you with stretched fingers or with open hands or grabs you with wrestling and does not hold you firmly, then assess whether you may grab him by a finger, and break it upwards, and in front of him to circle with it, you also win his side with it, and otherwise other great advantages.</p>
 | {{section|Page:Cod.44.A.8 060v.jpg|2|lbl=60v.2}}
 | {{section|Page:MS Germ.Quart.2020 218r.jpg|1|lbl=218r.1}}
@@ Line 3,396: / Line 2,913: @@
 {{section|Page:MS KK5126 119v.jpg|6|lbl=119v.6}}
 | {{section|Page:MS E.1939.65.341 087r.jpg|3|lbl=87r.3}}
+}}
-|-
+{{Ps-Danzig row SS rsa|35
-| rowspan="2" | [[File:MS Germ.Quart.2020 218v.jpg|350px|center]]
+| rowspan=2
-| <p>[35] {{red|b=1|This is an arm break}}</p>
+| [[File:MS Germ.Quart.2020 218v.jpg|350px|center]]
-<p>Note, if you throw him down and he falls onto the belly and stretches his arm from him, then knee him quickly with a knee on an arm into his joint of the elbow, and grab the same arm forward with your hand, and jolt upwards with it, so you break his arm.</p>
 | {{section|Page:Cod.44.A.8 060v.jpg|3|lbl=60v.3}}
 | {{section|Page:MS Germ.Quart.2020 218r.jpg|2|lbl=218r.2}}
@@ Line 3,408: / Line 2,924: @@
 {{section|Page:MS KK5126 119v.jpg|7|lbl=119v.7}}
 | {{section|Page:MS E.1939.65.341 087r.jpg|4|lbl=87r.4}}
+}}
-|-
+{{Ps-Danzig row SS rsb|36
-| <p>[36] {{red|b=1|An underhold and an arm break}}</p>
-<p>Note, when you throw him down and he falls on the belly, then quickly sit behind onto him, and grab him by an arm, and pull it on his back, and hold it firmly with a hand, so he can’t come up.</p>
-<p>Or, if you want to break his arm, then you hold him with the one hand, then raise the same elbow firmly upwards with the other hand, so you break his arm.</p>
 | {{section|Page:Cod.44.A.8 060v.jpg|4|lbl=60v.4|p=1}} {{section|Page:Cod.44.A.8 061r.jpg|1|lbl=61r.1|p=1}}
 | {{section|Page:MS Germ.Quart.2020 219r.jpg|1|lbl=219r}}
@@ Line 3,422: / Line 2,934: @@
 |
 {{section|Page:MS E.1939.65.341 087r.jpg|5|lbl=87r.5|p=1}} {{section|Page:MS E.1939.65.341 087v.jpg|1|lbl=87v.1|p=1}}
+}}
-|-
+{{Ps-Danzig row SS|37
 |
-| <p>[37] {{red|b=1|A good underhold}}</p>
-<p>Note, if you throw him down and he falls on the belly, then straddle behind him near to his shoulders, and pull his right arm over your right leg to the top of your thigh, and pull his left arm over your left thigh, so he may not come up, and must therefore die under you.</p>
 | {{section|Page:Cod.44.A.8 061r.jpg|2|lbl=61r.2}}
 | {{section|Page:MS Germ.Quart.2020 219v.jpg|1|lbl=219v}}
 |
 | {{section|Page:MS E.1939.65.341 087v.jpg|2|lbl=87v.2}}
+}}
-|-
+{{Ps-Danzig row SS|38
 |
-| <p>[38] {{red|b=1|Again an underhold}}</p>
-<p>Note, if you throw him down and he falls on his back, then fall to him with the body across his face, and grasp him by the neck under an arm, and hold him firmly as such, and with the other hand, jolt out his arm with which he wants to help himself, so he may not come up, and work with the dagger.<ref>Glasgow contains extensive differences.</ref></p>
 | {{section|Page:Cod.44.A.8 061r.jpg|3|lbl=61r.3}}
 | {{section|Page:MS Germ.Quart.2020 220r.jpg|1|lbl=220r}}
@@ Line 3,444: / Line 2,952: @@
 {{section|Page:MS KK5126 119v.jpg|9|lbl=119v.9}}
 | {{section|Page:MS E.1939.65.341 087v.jpg|3|lbl=87v.3}}
+}}
-|-
+{{Ps-Danzig row SS|39
 |
-| <p>[39] {{red|b=1|This is the text and the gloss about the weapons which pertain to the combat, and how one shall work with the points to the openings}}</p>
-<p><br/></p>
-{| class="zettel"
-|-
-| <small>19</small>
-| {{red|In all weapons<br/>&emsp;Turn the point against the opening}}
-|}
-<p>Gloss: Note, this is a lesson, that you shall plant the point with all weapons which pertain to combat nowhere to the armed man other than to the opening which it is the best to win, and you shall correctly know to search for the openings with the point,<ref>And you shall... with the point" omitted from the Glasgow.</ref> because there are three weapons which have four points. The first weapon, that is the lance, which has one point. The second weapon, that is the dagger, which also has one point. The third weapon, that is the sword, which has two points, the first point is the tip, the second the pommel. And how you shall work<ref>G. "work to the openings".</ref> with the points, you find all of that written in the gloss from end to end.</p>
 |
 {{section|Page:Cod.44.A.8 061r.jpg|4|lbl=61r.4|p=1}} {{section|Page:Cod.44.A.8 061v.jpg|1|lbl=61v.1|p=1}}
@@ Line 3,463: / Line 2,963: @@
 {{section|Page:MS KK5126 119v.jpg|10|lbl=119v.10|p=1}} {{section|Page:MS KK5126 120r.jpg|1|lbl=120r.1|p=1}}
 | {{section|Page:MS E.1939.65.341 087v.jpg|4|lbl=87v.4}}
+}}
-|-
+{{Ps-Danzig row SS|40
 |
-| <p>[40] {{red|b=1|Here note quite precisely, this is the text and the gloss of how one shall fence with the sword against sword in combat out of four guards}}</p>
-<p><br/></p>
-{| class="zettel"
-|-
-| <small>20</small>
-| {{red|Where one from sheath<br/>&emsp;Both see sword drawing from him}}
-|-
-| <small>21</small>
-| {{red|So one shall strengthen<br/>&emsp;Correctly precisely note the compelling}}
-|}
-<p>Gloss: Note, this is a lesson, if you both have thrown the lance, and shall fight with the swords, then you shall, before all cases, know the four guards with the short sword. From them you shall always strongly stab him to the face.<ref>"the face" omitted in the Glasgow.</ref> If he then stabs in equally with you or parries, then remain strong at the sword with the point in front of the face or in front of the chest, and note precisely if he is soft or hard at the sword. If he is strong, then drive the plays which belong against the strong, or if he is soft, then rather drive what pertains to the weak, as will be explained to you hereafter in the plays which one drives out of the four guards.<ref>Clause omitted from the Glasgow.</ref></p>
 |
 {{section|Page:Cod.44.A.8 061v.jpg|2|lbl=61v.2|p=1}} {{section|Page:Cod.44.A.8 062r.jpg|1|lbl=62r.1|p=1}}
@@ Line 3,488: / Line 2,977: @@
 {{section|Page:MS E.1939.65.341 088r.jpg|1|lbl=88r.1}}
+}}
-|-
+{{Ps-Danzig row SS|41
 |
-| <p>[41] {{red|b=1|Here note the first guard with the short sword in combat with its plays and its arrangement}}</p>
-<p>Note, this is the first guard in combat, arrange yourself with it as follows: Stand with the left foot forward and hold your sword with the right hand by the handle, and with the left hand grip the middle of the blade, and hold it next to your right side over the head, and let the point hang against his face.</p>
 | {{section|Page:Cod.44.A.8 062r.jpg|2|lbl=62r.2}}
 |
@@ Line 3,499: / Line 2,986: @@
 | {{section|Page:MS KK5126 120r.jpg|3|lbl=120r.3}}
 | {{section|Page:MS E.1939.65.341 088r.jpg|2|lbl=88r.2}}
+}}
-|-
+{{Ps-Danzig row SS|42
 |
-| <p>[42] {{red|b=1|Note the first play}}</p>
-<p>When you stand in the upper guard, if he then stands against you in the lower guard and wants to stab to you below, [you] shall not ward nor parry that,<ref>Clause omitted from the Glasgow.</ref> but rather stab him to the face, or plant to him above, so he may not reach you below, because all upper plantings break and free the lower.</p>
-<p>Or, if he stabs to you above, be it to the face or wherever it is, you shall ward that, so that he does not reach you above with planting.</p>
 | {{section|Page:Cod.44.A.8 062r.jpg|3|lbl=62r.3}}
 | {{section|Page:MS Germ.Quart.2020 222v.jpg|1|lbl=222v}}
@@ Line 3,513: / Line 2,996: @@
 {{section|Page:MS KK5126 120r.jpg|4|lbl=120r.4}}
 | {{section|Page:MS E.1939.65.341 088r.jpg|3|lbl=88r.3}}
+}}
-|-
+{{Ps-Danzig row SS|43
 | [[File:MS Germ.Quart.2020 223r.jpg|350px|center]]
-| <p>[43] {{red|b=1|Again a play}}</p>
-<p>Note, when you stand in the upper guard, if he then stabs to you below, then stab down from above through between the sword and his front placed hand, and press the pommel to the ground, and wind your point to his sword’s blade below through his sword, and plant to him to his right side.</p>
 |
 {{section|Page:Cod.44.A.8 062r.jpg|4|lbl=62r.4|p=1}} {{section|Page:Cod.44.A.8 062v.jpg|1|lbl=62v.1|p=1}}
@@ Line 3,526: / Line 3,007: @@
 {{section|Page:MS KK5126 120r.jpg|5|lbl=120r.5}}
 |
+}}
-|-
+{{Ps-Danzig row SS rsa|44
-| rowspan="2" | [[File:MS Germ.Quart.2020 224r.jpg|350px|center]]
+| rowspan=2
-| <p>[44] {{red|b=1|Again a play}}</p>
+| [[File:MS Germ.Quart.2020 224r.jpg|350px|center]]
-<p>Note, when you stand in the upper guard, stab him artfully from it to the face. If he parries with the sword in front of his left hand and remains to you with the point in front of the face and wants to plant to you, then grab his sword by the point with the left hand, and hold it firmly and stab him with the right hand with force to the testicles.</p>
 | {{section|Page:Cod.44.A.8 062v.jpg|2|lbl=62v.2}}
 | {{section|Page:MS Germ.Quart.2020 223v.jpg|1|lbl=223v.1}}
@@ Line 3,539: / Line 3,019: @@
 |
 {{section|Page:MS E.1939.65.341 088r.jpg|4|lbl=88r.4|p=1}} {{section|Page:MS E.1939.65.341 088v.jpg|1|lbl=88v.1|p=1}}
+}}
-|-
+{{Ps-Danzig row SS rsb|45
-| <p>[45] {{red|b=1|If he then jerks his sword}} firmly to himself and wants to jolt it out of your hand, then let go of his sword suddenly,<ref>Tricky. The rome says "vrbrigen," the Glasgow says "verpringen," and the Vienna says "vbaring." Since we see this exact same construction in a lance play earlier, I'm going with "urbaring," and going to say that the author of the Glasgow didn't understand the word, so he went with "verbringen."</ref> so he opens the side. With that, grab your sword quickly again with the left hand in the middle of the blade, and follow after him to the same side with planting or with wrestling.</p>
 | {{section|Page:Cod.44.A.8 062v.jpg|3|lbl=62v.3}}
 | {{section|Page:MS Germ.Quart.2020 223v.jpg|2|lbl=223v.2}}
 | {{section|Page:MS KK5126 120r.jpg|7|lbl=120r.7}}
 | {{section|Page:MS E.1939.65.341 088v.jpg|2|lbl=88v.2}}
+}}
-|-
+{{Ps-Danzig row SS|46
 | [[File:MS Germ.Quart.2020 224v.jpg|350px|center]]
-| <p>[46] {{red|b=1|This is again a play}}</p>
-<p>Note, when you stand in the upper guard, stab him from it to the face. If he parries the stab and presses your point onto your left side, then jump with the right foot behind his left, and move to him with the pommel forward over his right shoulder around the neck, and jolt him over his [sic] right knee with it.</p>
 | {{section|Page:Cod.44.A.8 062v.jpg|4|lbl=62v.4}}
 | {{section|Page:MS Germ.Quart.2020 224v.jpg|1|lbl=224v}}
@@ Line 3,558: / Line 3,036: @@
 {{section|Page:MS KK5126 120r.jpg|8|lbl=120r.8}}
 | {{section|Page:MS E.1939.65.341 088v.jpg|3|lbl=88v.3}}
+}}
-|-
+{{Ps-Danzig row SS rsa|47
-| rowspan="2" | [[File:MS Germ.Quart.2020 225r.jpg|350px|center]]
+| rowspan=2
-| <p>[47] {{red|b=1|The first break against the play}}</p>
+| [[File:MS Germ.Quart.2020 225r.jpg|350px|center]]
-<p>When he moves to you with the pommel around the neck over your right shoulder, drop your sword, and grab his right hand with the right hand, and with the left, grasp him by the right elbow, and jump with the left foot [to?] his right, and drive the arm break, or jolt him over the left leg.</p>
 |
 {{section|Page:Cod.44.A.8 062v.jpg|5|lbl=62v.5|p=1}} {{section|Page:Cod.44.A.8 063r.jpg|1|lbl=63r.1|p=1}}
@@ Line 3,571: / Line 3,048: @@
 {{section|Page:MS KK5126 120r.jpg|9|lbl=120r.9}}
 | {{section|Page:MS E.1939.65.341 088v.jpg|4|lbl=88v.4}}
+}}
-|-
+{{Ps-Danzig row SS rsb|48
-| <p>[48] {{red|b=1|A break against the break}}</p>
-<p>Note, when he wants to move to you with the pommel around the neck, grab his right elbow with the left hand, and shove him from you with it, and with the right, stab him with force behind to the back.</p>
 | {{section|Page:Cod.44.A.8 063r.jpg|2|lbl=63r.2}}
 | {{section|Page:MS Germ.Quart.2020 225v.jpg|1|lbl=225v}}
@@ Line 3,582: / Line 3,057: @@
 {{section|Page:MS KK5126 120r.jpg|10|lbl=120r.10}}
 | {{section|Page:MS E.1939.65.341 088v.jpg|5|lbl=88v.5}}
+}}
-|-
+{{Ps-Danzig row SS|49
 |
-| <p>[49] {{red|b=1|Note, a good break}}</p>
-<p>Note, when he has moved to you with the pommel over your right shoulder around the neck, grab with the left hand up from below between both of his arms, and grab his right arm with it and hold firmly, and turn yourself around from him onto your right side, and throw him over your left hip.</p>
 | {{section|Page:Cod.44.A.8 063r.jpg|3|lbl=63r.3}}
 | {{section|Page:MS Germ.Quart.2020 226r.jpg|1|lbl=226r}}
@@ Line 3,595: / Line 3,068: @@
 |
 {{section|Page:MS E.1939.65.341 088v.jpg|6|lbl=88v.6|p=1}} {{section|Page:MS E.1939.65.341 089r.jpg|1|lbl=89r.1|p=1}}
+}}
-|-
+{{Ps-Danzig row SS|50
 |
-| <p>[50] {{red|b=1|Again a break}}</p>
-<p>When he wants to move to you with the pommel around the neck, grab his sword by the handle or by the pommel with the left hand behind his right, and press it downwards, and plant to him with your sword wherever you want.</p>
 | {{section|Page:Cod.44.A.8 063r.jpg|4|lbl=63r.4}}
 | {{section|Page:MS Germ.Quart.2020 226v.jpg|1|lbl=226v.1}}
@@ Line 3,607: / Line 3,078: @@
 {{section|Page:MS KK5126 120v.jpg|6|lbl=120v.6}}
 | {{section|Page:MS E.1939.65.341 089r.jpg|2|lbl=89r.2}}
+}}
-|-
+{{Ps-Danzig row SS|51
 |
-| <p>[51] Or, move through to him with your pommel under his right arm forward over his right hand, and jolt his hand downwards with the pommel, and plant to him.</p>
 |
 {{section|Page:Cod.44.A.8 063r.jpg|5|lbl=63r.5|p=1}} {{section|Page:Cod.44.A.8 063v.jpg|1|lbl=63v.1|p=1}}
@@ Line 3,616: / Line 3,087: @@
 | {{section|Page:MS KK5126 120v.jpg|1|lbl=120v.1}}
 | {{section|Page:MS E.1939.65.341 089r.jpg|3|lbl=89r.3}}
+}}
-|-
+{{Ps-Danzig row SS|52
 |
-| <p>[52] {{red|b=1|Again a play out of the upper guard}}</p>
-<p>Note, when you stab to his face out of the upper guard, if he then falls with the left hand between both of your hands in the middle of your sword’s blade, then move to him with the pommel how you want below or above to the top of his left hand, and wrench with it onto your right side, and plant to him.</p>
 | {{section|Page:Cod.44.A.8 063v.jpg|2|lbl=63v.2}}
 | {{section|Page:MS Germ.Quart.2020 227r.jpg|1|lbl=227r}}
@@ Line 3,628: / Line 3,097: @@
 {{section|Page:MS KK5126 120v.jpg|2|lbl=120v.2}}
 | {{section|Page:MS E.1939.65.341 089r.jpg|4|lbl=89r.4}}
+}}
-|-
+{{Ps-Danzig row SS|53
 |
-| <p><br/></p>
-<p>[53] {{red|b=1|Note,}} how you shall strike with the pommel out of the upper guard, you find that written in the back in the play which says “of the forward foot with striking, you must guard”.</p>
 | <p><br/></p>
@@ Line 3,644: / Line 3,111: @@
 {{section|Page:MS E.1939.65.341 089r.jpg|5|lbl=89r.5}}
+}}
-|-
+{{Ps-Danzig row SS|54
 |
-| <p>[54] {{red|b=1|Here note, this is the second guard with the short sword in combat with its plays and its arrangement}}</p>
-<p>This is the second guard in combat, arrange yourself with it as follows: Stand with the left foot forward, and hold your sword with the right hand by the handle, and with the left, grip the middle of the blade, and hold it next to your right side downwards with the pommel against your right knee, and so that the point stands upwards to the man against the face or the chest.</p>
 | {{section|Page:Cod.44.A.8 063v.jpg|4|lbl=63v.4}}
 |
 | {{section|Page:MS KK5126 120v.jpg|4|lbl=120v.4}}
 | {{section|Page:MS E.1939.65.341 089r.jpg|6|lbl=89r.6}}
+}}
-|-
+{{Ps-Danzig row SS|55
 |
-| <p>[55] {{red|b=1|This is the first play}}</p>
-<p>When you stand in the lower guard, if he then stands against you in the upper and stabs to your face or wants to plant to you above, then stab him to his front placed hand to the opening of the palm, or set the point under his left armpit into the opening.</p>
 |
 {{section|Page:Cod.44.A.8 063v.jpg|5|lbl=63v.5|p=1}} {{section|Page:Cod.44.A.8 064r.jpg|1|lbl=64r.1|p=1}}
@@ Line 3,667: / Line 3,130: @@
 {{section|Page:MS KK5126 120v.jpg|7|lbl=120v.7}}
 | {{section|Page:MS E.1939.65.341 089v.jpg|1|lbl=89v.1}}
+}}
-|-
+{{Ps-Danzig row SS|56
 |
-| <p>[56] {{red|b=1|The second play}}</p>
-<p>Note, when you stand in the lower guard and he in the upper, if he then wants to plant to you above, then grab his sword by the point with the left hand, and with the right, wind your sword with the hilt to your chest, and plant to him as such.</p>
 | {{section|Page:Cod.44.A.8 064r.jpg|2|lbl=64r.2}}
 | {{section|Page:MS Germ.Quart.2020 228v.jpg|1|lbl=228v}}
@@ Line 3,679: / Line 3,140: @@
 {{section|Page:MS KK5126 120v.jpg|8|lbl=120v.8}}
 | {{section|Page:MS E.1939.65.341 089v.jpg|2|lbl=89v.2}}
+}}
-|-
+{{Ps-Danzig row SS|57
 |
-| <p>[57] {{red|b=1|The third play}}</p>
-<p>Note, when you stand in the lower guard, stab him certainly from it to the face. If he then stabs in equally with you, then grab his left hand with your left, and grasp him by the left elbow with the right [hand], and drive the arm break.</p>
 | {{section|Page:Cod.44.A.8 064r.jpg|3|lbl=64r.3}}
 | {{section|Page:MS Germ.Quart.2020 229r.jpg|1|lbl=229r}}
@@ Line 3,691: / Line 3,150: @@
 {{section|Page:MS KK5126 120v.jpg|9|lbl=120v.9}}
 | {{section|Page:MS E.1939.65.341 089v.jpg|3|lbl=89v.3}}
+}}
-|-
+{{Ps-Danzig row SS|58
 |
-| <p>[58] {{red|b=1|Break that as follows}}</p>
-<p>When someone grabs your left hand with his left, move with the front part of your sword forward to the top of his left hand, and press downwards with it, and plant to him.</p>
-<p>Or, when you press his hand down with the sword, move with the pommel over his right shoulder, and throw him over your right knee.</p>
 | {{section|Page:Cod.44.A.8 064r.jpg|4|lbl=64r.4}}
 |
@@ Line 3,705: / Line 3,160: @@
 {{section|Page:MS KK5126 120v.jpg|10|lbl=120v.10}}
 | {{section|Page:MS E.1939.65.341 089v.jpg|4|lbl=89v.4}}
+}}
-|-
+{{Ps-Danzig row SS|59
 |
-| <p>[59] {{red|b=1|Break it as follows}}</p>
-<p>When he moves with the pommel over your right shoulder around the neck, turn yourself against him onto your right side, and move with the pommel outwards over his right leg into the back of the knee, and raise firmly up with it, so you throw him behind you.</p>
 |
 {{section|Page:Cod.44.A.8 064r.jpg|5|lbl=64r.5|p=1}} {{section|Page:Cod.44.A.8 064v.jpg|1|lbl=64v.1|p=1}}
@@ Line 3,716: / Line 3,169: @@
 |
 | {{section|Page:MS E.1939.65.341 089v.jpg|5|lbl=89v.5}}
+}}
-|-
+{{Ps-Danzig row SS|60
 |
-| <p>[60] {{red|b=1|The fourth play}}<ref>I don't get this or the following one.</ref></p>
-<p>Note, when you stand in the lower guard and he in the upper, if he then wants to plant to you above, then stab through over his front placed hand, and to the sword, and press the pommel against the ground, and plant to him to his right side.</p>
 | {{section|Page:Cod.44.A.8 064v.jpg|2|lbl=64v.2}}
 | {{section|Page:MS Germ.Quart.2020 230r.jpg|1|lbl=230r}}
@@ Line 3,728: / Line 3,179: @@
 {{section|Page:MS KK5126 120v.jpg|11|lbl=120v.11}}
 | {{section|Page:MS E.1939.65.341 090r.jpg|1|lbl=90r.1}}
+}}
-|-
+{{Ps-Danzig row SS|61
 |
-| <p>[61] {{red|b=1|The fifth play is a break against the stab-through}}<br/><br/></p>
-<p>Mark you stab to him from the low guard If he stabs to you from the high guard through between your forward hand and the sword and pushes the pommel toward the ground and would attack you, then mark while he pushes the pommel down Then drive out on the sword in the high guard and attack him.</p>
 | {{section|Page:Cod.44.A.8 064v.jpg|3|lbl=64v.3}}
 | {{section|Page:MS Germ.Quart.2020 230v.jpg|1|lbl=230v}}
@@ Line 3,740: / Line 3,189: @@
 {{section|Page:MS KK5126 120v.jpg|12|lbl=120v.12}}
 | {{section|Page:MS E.1939.65.341 090r.jpg|2|lbl=90r.2}}
+}}
-|-
+{{Ps-Danzig row SS|62
 |
-| <p>[62] {{red|b=1|This is the sixth play}}</p>
-<p>Note, when you stab to him out of the lower guard, if he then stabs you out of the upper guard through between your front placed hand and the sword and presses the pommel against the ground, and wants to plant to you, then note while he pushes the pommel down, rise at the sword into the upper guard and plant to him.</p>
 | {{section|Page:Cod.44.A.8 064v.jpg|4|lbl=64v.4}}
 | {{section|Page:MS Germ.Quart.2020 231r.jpg|1|lbl=231r}}
@@ Line 3,752: / Line 3,199: @@
 {{section|Page:MS KK5126 120v.jpg|13|lbl=120v.13}}
 | {{section|Page:MS E.1939.65.341 090r.jpg|3|lbl=90r.3}}
+}}
-|-
+{{Ps-Danzig row SS|63
 |
-| <p>[63] {{red|b=1|The seventh play}}</p>
-<p>Note, when you stand in the lower guard, stab him strongly from it inwards to the face. If he parries, then jerk through and stab him outwards to the face. If he continues to parry, and presses the point onto your left side, then step to him and shove him with the hilt under his left armpit, and move through with the front part between his legs, and raise up his left leg firmly upwards with the sword in the back of the knee with the left hand, and with the right, shove him above with the hilt firmly from you, so he falls.</p>
 | {{section|Page:Cod.44.A.8 065r.jpg|1|lbl=65r.1}}
 | {{section|Page:MS Germ.Quart.2020 231v.jpg|1|lbl=231v}}
@@ Line 3,765: / Line 3,210: @@
 |
 {{section|Page:MS E.1939.65.341 090r.jpg|4|lbl=90r.4|p=1}} {{section|Page:MS E.1939.65.341 090v.jpg|1|lbl=90v.1|p=1}}
+}}
-|-
+{{Ps-Danzig row SS rsa|64
-| rowspan="2" | [[File:MS Germ.Quart.2020 232v.jpg|350px|center]]
+| rowspan=2
-| <p>[64] {{red|b=1|Break that play as follows}}</p>
+| [[File:MS Germ.Quart.2020 232v.jpg|350px|center]]
-<p>Note, when he moves forward between the legs with the front part of his sword in the back of the left knee, and raises up with it, grab his right elbow with the left hand, and shove him from you with it.</p>
 | {{section|Page:Cod.44.A.8 065r.jpg|2|lbl=65r.2}}
 | {{section|Page:MS Germ.Quart.2020 232r.jpg|1|lbl=232r.1}}
 |
 | {{section|Page:MS E.1939.65.341 090v.jpg|2|lbl=90v.2}}
+}}
-|-
+{{Ps-Danzig row SS rsb|65
-| <p>[65] {{red|b=1|This is another play}}</p>
-<p>When you have grabbed his right elbow with the left hand, then grab his right arm forward by the hand with the right, and drive the arm break, and throw him in front of you.</p>
 | {{section|Page:Cod.44.A.8 065r.jpg|3|lbl=65r.3}}
 | {{section|Page:MS Germ.Quart.2020 232r.jpg|2|lbl=232r.2}}
 |
 | {{section|Page:MS E.1939.65.341 090v.jpg|3|lbl=90v.3}}
+}}
-|-
+{{Ps-Danzig row SS rsa|66
-| rowspan="2" | [[File:MS Germ.Quart.2020 233v.jpg|350px|center]]
+| rowspan=2
-| <p>[66] {{red|b=1|The eighth play}}</p>
+| [[File:MS Germ.Quart.2020 233v.jpg|350px|center]]
-<p>Stab him from the lower guard outwards to the face. If he parries the stab with strength, then move him with the pommel outwards into the back of his left knee, and jolt with the pommel to you, and lie with the right side above strong into him, so he falls.</p>
 |
 {{section|Page:Cod.44.A.8 065r.jpg|4|lbl=65r.4|p=1}} {{section|Page:Cod.44.A.8 065v.jpg|1|lbl=65v.1|p=1}}
@@ Line 3,795: / Line 3,236: @@
 |
 | {{section|Page:MS E.1939.65.341 090v.jpg|4|lbl=90v.4}}
+}}
-|-
+{{Ps-Danzig row SS rsb|67
-| <p>[67] {{red|b=1|Break that play as follows}}</p>
-<p>When one moves with the pommel outside over your left leg into the back of the knee, grab his left [hand] with the left hand, and with the right, grab his left elbow, and drive the arm break, and throw him in front of you.</p>
 | {{section|Page:Cod.44.A.8 065v.jpg|2|lbl=65v.2}}
 | {{section|Page:MS Germ.Quart.2020 233r.jpg|2|lbl=233r.2}}
 |
 | {{section|Page:MS E.1939.65.341 090v.jpg|5|lbl=90v.5}}
+}}
-|-
+{{Ps-Danzig row SS|68
 |
-| <p>[68] {{red|b=1|The ninth play}}</p>
-<p>Note, when you stab him from the lower guard strong to the face, if he then moves through your sword below with the pommel and wants to set aside or wrench with it, then remain with the point strong in front of him, and press his right hand down with the sword while he moves through, and plant to him.</p>
 | {{section|Page:Cod.44.A.8 065v.jpg|3|lbl=65v.3}}
 | {{section|Page:MS Germ.Quart.2020 234r.jpg|1|lbl=234r}}
@@ Line 3,816: / Line 3,253: @@
 {{section|Page:MS KK5126 120v.jpg|14|lbl=120v.14}}
 | {{section|Page:MS E.1939.65.341 090v.jpg|6|lbl=90v.6}}
+}}
-|-
+{{Ps-Danzig row SS|69
 |
-| <p>[69] {{red|b=1|The tenth play}}</p>
-<p>Note, when you stab him from the lower guard strong to the face, if he then falls with left inverted hand forward to your sword, then wind the sword with the point outside to the top of his left hand into the upper guard, and plant to him.</p>
 | {{section|Page:Cod.44.A.8 065v.jpg|4|lbl=65v.4}}
 | {{section|Page:MS Germ.Quart.2020 234v.jpg|1|lbl=234v}}
@@ Line 3,828: / Line 3,263: @@
 {{section|Page:MS KK5126 121r.jpg|1|lbl=121r.1}}
 | {{section|Page:MS E.1939.65.341 091r.jpg|1|lbl=91r.1}}
+}}
-|-
+{{Ps-Danzig row SS|70
 |
-| <p>[70] {{red|b=1|The 11th play is a sword taking}}</p>
-<p>Note, when you stab him from the lower guard strong to the face, if he then stabs in equally with you, then grab his sword in the middle with left inverted hand, and hold them both firmly, and move through with the pommel below his sword, and jolt upwards with it onto your right side, so you take his sword.</p>
 |
 {{section|Page:Cod.44.A.8 065v.jpg|5|lbl=65v.5|p=1}} {{section|Page:Cod.44.A.8 066r.jpg|1|lbl=66r.1|p=1}}
@@ Line 3,841: / Line 3,274: @@
 {{section|Page:MS KK5126 121r.jpg|2|lbl=121r.2}}
 | {{section|Page:MS E.1939.65.341 091r.jpg|2|lbl=91r.2}}
+}}
-|-
+{{Ps-Danzig row SS|71
 |
-| <p>[71] {{red|b=1|Break that as follows}}</p>
-<p>When someone grabs your sword in the middle to his with his left hand, and wants to wrench it out with the pommel below through, note while he grasps your sword into the left hand to his, then rise into the upper guard and plant to him.</p>
 | {{section|Page:Cod.44.A.8 066r.jpg|2|lbl=66r.2}}
 | {{section|Page:MS Germ.Quart.2020 235v.jpg|1|lbl=235v.1}}
@@ Line 3,853: / Line 3,284: @@
 {{section|Page:MS KK5126 121r.jpg|3|lbl=121r.3}}
 | {{section|Page:MS E.1939.65.341 091r.jpg|3|lbl=91r.3}}
+}}
-|-
+{{Ps-Danzig row SS|72
 |
-| <p>[72] {{red|b=1|The 12th play}}</p>
-<p>Note, when you stand in the lower guard, stab him strong from it below to the testicles. If he then falls to your sword with the left hand, and you against him to his, then throw his sword from the left hand, and grip yours with it again in the middle of the blade, and wind the point outside to the top of his left hand into the upper guard, and plant to him.</p>
 | {{section|Page:Cod.44.A.8 066r.jpg|3|lbl=66r.3}}
 | {{section|Page:MS Germ.Quart.2020 235v.jpg|2|lbl=235v.2}}
@@ Line 3,865: / Line 3,294: @@
 {{section|Page:MS KK5126 121r.jpg|4|lbl=121r.4}}
 | {{section|Page:MS E.1939.65.341 091r.jpg|4|lbl=91r.4}}
+}}
-|-
+{{Ps-Danzig row SS rsa|73
-| rowspan="3" | [[File:MS Germ.Quart.2020 236v.jpg|350px|center]]
+| rowspan=3
-| <p>[73] {{red|b=1|The 13th play}}</p>
+| [[File:MS Germ.Quart.2020 236v.jpg|350px|center]]
-<p>Note, when you stab him from the lower guard, if he then falls with the left hand to your sword, and you against him to his, then throw your sword to him with the pommel in front of the feet, and grab his left hand with your left, and his left elbow with the right, and drive the arm break.</p>
 |
 {{section|Page:Cod.44.A.8 066r.jpg|4|lbl=66r.4|p=1}} {{section|Page:Cod.44.A.8 066v.jpg|1|lbl=66v.1|p=1}}
@@ Line 3,879: / Line 3,307: @@
 |
 {{section|Page:MS E.1939.65.341 091r.jpg|5|lbl=91r.5|p=1}} {{section|Page:MS E.1939.65.341 091v.jpg|1|lbl=91v.1|p=1}}
+}}
-|-
+{{Ps-Danzig row SS rsb|74
-| <p>[74] Or, when you have thrown your sword to him in front of the feet, shove him with the left hand forward to the chest, and grab him with the right in the back of his left knee, and jolt him to you with it, and shove with the left above from you, so he falls.</p>
 | {{section|Page:Cod.44.A.8 066v.jpg|2|lbl=66v.2}}
 | {{section|Page:MS Germ.Quart.2020 236r.jpg|2|lbl=236r.2}}
 | {{section|Page:MS KK5126 121r.jpg|6|lbl=121r.6}}
 | {{section|Page:MS E.1939.65.341 091v.jpg|2|lbl=91v.2}}
+}}
-|-
+{{Ps-Danzig row SS rsb|75
-| <p>[75] {{red|b=1|You shall also know,}} that you may also well strike with the pommel from the lower guard, as from the upper, when it is even to you.</p>
 | {{section|Page:Cod.44.A.8 066v.jpg|3|lbl=66v.3}}
 | {{section|Page:MS Germ.Quart.2020 236r.jpg|3|lbl=236r.3}}
 |
 | {{section|Page:MS E.1939.65.341 091v.jpg|3|lbl=91v.3}}
+}}
+{{Ps-Danzig row SS|76
-|-
 |
-| <p>[76] {{red|b=1|Here note, this is the third guard with the short sword in combat, with its plays and arrangement }}</p>
-<p>Note, arrange yourself as follows in the third guard in combat: Stand with the left foot forward, and hold your sword with the right hand by the handle, and with the left, grip the middle of the blade, and lay it athwart on top of your left knee in the guard. Break his plays from it with parry.</p>
 | {{section|Page:Cod.44.A.8 066v.jpg|4|lbl=66v.4}}
 | {{section|Page:MS Germ.Quart.2020 237r.jpg|1|lbl=237r}}
 | {{section|Page:MS KK5126 121r.jpg|8|lbl=121r.8}}
 | {{section|Page:MS E.1939.65.341 091v.jpg|4|lbl=91v.4}}
+}}
-|-
+{{Ps-Danzig row SS|77
 |
-| <p>[77] {{red|b=1|The first play}}</p>
-<p>Note, when you have your sword on top of your left knee in the guard, if he then stabs you from the upper guard to the face, then set the stab aside with the sword in front of your left hand against his right side, and rise into the upper guard, and plant to him.</p>
 | {{section|Page:Cod.44.A.8 066v.jpg|5|lbl=66v.5}}
 | {{section|Page:MS Germ.Quart.2020 237v.jpg|1|lbl=237v.1}}
@@ Line 3,916: / Line 3,339: @@
 {{section|Page:MS KK5126 121r.jpg|9|lbl=121r.9}}
 | {{section|Page:MS E.1939.65.341 091v.jpg|5|lbl=91v.5}}
+}}
-|-
+{{Ps-Danzig row SS|78
+|
 |
-| <p>[78] Or, parry the stab between both of your hands to the sword’s blade, and move with the pommel over his front placed hand, and jolt downwards with it, and plant to him.</p>
+<br/>{{section|Page:Cod.44.A.8 066v.jpg|6|lbl=66v.6|p=1}} {{section|Page:Cod.44.A.8 067r.jpg|1|lbl=67r.1|p=1}}
 |
-{{section|Page:Cod.44.A.8 066v.jpg|6|lbl=66v.6|p=1}} {{section|Page:Cod.44.A.8 067r.jpg|1|lbl=67r.1|p=1}}
+<br/>{{section|Page:MS Germ.Quart.2020 237v.jpg|2|lbl=237v.2|p=1}}
-| {{section|Page:MS Germ.Quart.2020 237v.jpg|2|lbl=237v.2}}
 | {{section|Page:MS KK5126 121r.jpg|10|lbl=121r.10}}
-| {{section|Page:MS E.1939.65.341 091v.jpg|6|lbl=91v.6}}
+|
+<br/>{{section|Page:MS E.1939.65.341 091v.jpg|6|lbl=91v.6|p=1}}
+}}
-|-
+{{Ps-Danzig row SS|79
 |
-| <p>[79] {{red|b=1|Again a play}}</p>
-<p>Note, when you have your sword over the left knee in the guard, if he then stabs you to the face, then move through his sword with the pommel below, and set his stab aside with it in front of his left hand, and plant to him.</p>
 | {{section|Page:Cod.44.A.8 067r.jpg|2|lbl=67r.2}}
 | {{section|Page:MS Germ.Quart.2020 238r.jpg|1|lbl=238r}}
@@ Line 3,938: / Line 3,361: @@
 |
 {{section|Page:MS E.1939.65.341 091v.jpg|7|lbl=91v.7|p=1}} {{section|Page:MS E.1939.65.341 092r.jpg|1|lbl=92r.1|p=1}}
+}}
-|-
+{{Ps-Danzig row SS|80
 |
-| <p>[80] {{red|b=1|Again a play}}</p>
-<p>Note, when you have your sword over the left knee in the guard, if he then stabs to the face, then move through below with the pommel over his sword behind his front placed hand, and jolt his hand downwards with it, and plant to him.</p>
 | {{section|Page:Cod.44.A.8 067r.jpg|3|lbl=67r.3}}
 | {{section|Page:MS Germ.Quart.2020 238v.jpg|1|lbl=238v}}
@@ Line 3,950: / Line 3,371: @@
 {{section|Page:MS KK5126 121r.jpg|12|lbl=121r.12}}
 | {{section|Page:MS E.1939.65.341 092r.jpg|2|lbl=92r.2}}
+}}
-|-
+{{Ps-Danzig row SS rsa|81
-| rowspan="2" | [[File:MS Germ.Quart.2020 239r.jpg|350px|center]]
+| rowspan=2
-| <p>[81] Or</p>
+| [[File:MS Germ.Quart.2020 239r.jpg|350px|center]]
-<p>If he is too strong so that you may not jolt his hand from the sword, then wind the pommel up from below outside to the top of his left hand, and shove him from you, and plant to him with it.</p>
 | {{section|Page:Cod.44.A.8 067r.jpg|4|lbl=67r.4}}
 | {{section|Page:MS Germ.Quart.2020 239r.jpg|1|lbl=239r.1}}
 | {{section|Page:MS KK5126 121r.jpg|13|lbl=121r.13}}
 | {{section|Page:MS E.1939.65.341 092r.jpg|3|lbl=92r.3}}
+}}
-|-
+{{Ps-Danzig row SS rsb|82
-| <p>[82] {{red|b=1|You shall also know,}} that you may not continue to parry the hits with the pommel, than from the guard from the left knee, that you find written hereafter in the play which says “with his striking point…”</p>
 | {{section|Page:Cod.44.A.8 067r.jpg|5|lbl=67r.5}}
 | {{section|Page:MS Germ.Quart.2020 239r.jpg|2|lbl=239r.2}}
@@ Line 3,968: / Line 3,388: @@
 {{section|Page:MS KK5126 121r.jpg|14|lbl=121r.14|p=1}} {{section|Page:MS KK5126 121v.jpg|1|lbl=121v.1|p=1}}
 | {{section|Page:MS E.1939.65.341 092r.jpg|4|lbl=92r.4}}
+}}
-|-
+{{Ps-Danzig row SS|83
 |
-| <p>[83] {{red|b=1|Here note, this is the fourth guard with the short sword in combat with its plays and its arrangement}}</p>
-<p>Note, arrange yourself into the fourth guard in combat as follows: Hold your sword with the right hand by the handle, and with the left grip the middle of the blade, and hold it under your right armpit, and plant the one hilt forward firmly to the chest, and hold the point against the man.</p>
 | {{section|Page:Cod.44.A.8 067r.jpg|6|lbl=67r.6}}
@@ Line 3,980: / Line 3,398: @@
 | {{section|Page:MS KK5126 121v.jpg|2|lbl=121v.2}}
 | {{section|Page:MS E.1939.65.341 092r.jpg|5|lbl=92r.5}}
+}}
-|-
+{{Ps-Danzig row SS|84
 |
-| <p>[84] {{red|b=1|Note a good lesson}}</p>
-<p>Know, you shall come to the fourth guard from all other guards with planting, hear it as follows: When you stab to him from a guard, if it is then the case that you land your hit correctly, so that your point sticks in the armor, then immediately wind the hilt to your chest into the guard, and force him in front of you as such, and don’t let him come away from the point, so he may not stab nor strike again.</p>
 | {{section|Page:Cod.44.A.8 067v.jpg|2|lbl=67v.2}}
 | {{section|Page:MS Germ.Quart.2020 240r.jpg|1|lbl=240r.1}}
@@ Line 3,992: / Line 3,408: @@
 {{section|Page:MS KK5126 121v.jpg|3|lbl=121v.3}}
 | {{section|Page:MS E.1939.65.341 092r.jpg|6|lbl=92r.6}}
+}}
-|-
+{{Ps-Danzig row SS rsa|85
-| rowspan="2" | [[File:MS Germ.Quart.2020 240v.jpg|350px|center]]
+| rowspan=2
-| <p>[85] {{red|b=1|This is again a lesson}}</p>
+| [[File:MS Germ.Quart.2020 240v.jpg|350px|center]]
-<p>Note, everything that you want to plant, set it to the face, or to the neck, or to his left shoulder, or under his left armpit, and when you have planted to him, note if he is taller than you are, then force him as such in front of you, and assess that your point rises upwards, and is set well into the ring.</p>
 | {{section|Page:Cod.44.A.8 067v.jpg|3|lbl=67v.3}}
 | {{section|Page:MS Germ.Quart.2020 240r.jpg|2|lbl=240r.2}}
@@ Line 4,004: / Line 3,419: @@
 {{section|Page:MS KK5126 121v.jpg|4|lbl=121v.4}}
 | {{section|Page:MS E.1939.65.341 092v.jpg|1|lbl=92v.1}}
+}}
-|-
+{{Ps-Danzig row SS rsb|86
-| <p>[86] Or, if he is shorter than you, then let your sword sink away downwards with the hand until onto your right hip, and so that your point stands upwards, and is set well in the armor, and force him as such in front of you.</p>
 |
 {{section|Page:Cod.44.A.8 067v.jpg|4|lbl=67v.4|p=1}} {{section|Page:Cod.44.A.8 068r.jpg|1|lbl=68r.1|p=1}}
@@ Line 4,013: / Line 3,428: @@
 | {{section|Page:MS KK5126 121v.jpg|5|lbl=121v.5}}
 | {{section|Page:MS E.1939.65.341 092v.jpg|2|lbl=92v.2}}
+}}
-|-
+{{Ps-Danzig row SS|87
 |
-| <p>[87] {{red|b=1|This is the text and the gloss about the two things, the first called the “before”, the second called the “after”}}</p>
-<p><br/></p>
-{| class="zettel"
-|-
-| <small>22</small>
-| {{red|Before and after, the two things<br/>&emsp;Test wisely, learn with jump away}}
-|}
-<p>Gloss: Note, this is that you, before all cases, shall know the “before” and the “after,” because from the two things go all art in combat, and note the “before,” that is that you shall always come “before,” before him,<ref>It is "er" in the text because "ee wenn" is a conjunction, so it resets the case. It wouldn't do that in english I think, or I'm just an idiot.</ref> be it with the stab or with the hit, so he must parry you, and and as soon as he binds to your sword with the parry or otherwise, drive the play nimbly indes thereafter, as you test whether he is soft or hard at the sword, so he may not come to any break.</p>
 | {{section|Page:Cod.44.A.8 068r.jpg|2|lbl=68r.2}}
 | {{section|Page:MS Germ.Quart.2020 241r.jpg|1|lbl=241r.1}}
 | {{section|Page:MS KK5126 121v.jpg|6|lbl=121v.6}}
 | {{section|Page:MS E.1939.65.341 092v.jpg|3|lbl=92v.3}}
+}}
-|-
+{{Ps-Danzig row SS|88
 |
-| <p>[88] {{red|b=1|Here note what is called the “after”}}</p>
-<p>The “after,” those are the breaks against all plays which one drives upon you, hear it as follows: When he comes “before” with the stab or hit before you, so that you must parry him, note as soon as your sword sparks on his with the parry, then search indes with the point for the nearest opening, or wait for the wrestling, so you win his “before” with the parry, that is with the “after.”</p>
 | {{section|Page:Cod.44.A.8 068r.jpg|3|lbl=68r.3}}
 |
@@ Line 4,040: / Line 3,445: @@
 | {{section|Page:MS KK5126 121v.jpg|7|lbl=121v.7}}
 | {{section|Page:MS E.1939.65.341 092v.jpg|4|lbl=92v.4}}
+}}
-|-
+{{Ps-Danzig row SS|89
 |
-| <p>[89] {{red|b=1|Here note how one shall step away in combat}}</p>
-<p>Know that no more than one step away pertains to combat fencing, and one step forth, and otherwise stand firmly, so that one will not become tired in the armor, and hear it as follows: If it is the case that he has rushed over you so that you may not come to any parry with the sword or otherwise, then step quickly backwards with the front placed foot, and assess that you plant to him indes quickly against, or grapple with wrestling with a step forth of the same foot with which you have previously stepped away.</p>
 | {{section|Page:Cod.44.A.8 068r.jpg|4|lbl=68r.4}}
@@ Line 4,054: / Line 3,457: @@
 {{section|Page:MS KK5126 121v.jpg|9|lbl=121v.9|p=1}}<br/>{{section|Page:MS KK5126 121v.jpg|8|lbl=121v.8|p=1}}<ref>The order of these two paragraphs is reversed in the manuscript.</ref>
 | {{section|Page:MS E.1939.65.341 093r.jpg|1|lbl=93r.1}}
+}}
-|-
+{{Ps-Danzig row SS|90
 |
-| <p>[90] {{red|b=1|This is the text and the gloss about pursuit in combat}}</p>
-<p><br/></p>
-{| class="zettel"
-|-
-| <small>23</small>
-| {{red|Follow all hits<br/>&emsp;To the strong, if you want to trick them}}
-|-
-| <small>24</small>
-| {{red|If he wards, then jerk<br/>&emsp;Stab, if he yet wards, jolt to him}}
-|}
-<p>Gloss: Note, if you want to fool or trick the strong, they who fence wide and long, and want to overpower their things with strength, and do not hold from correct art, you shall rush to the same with pursuit, and with jerking through, as will be explained to you in the next play.</p>
 | {{section|Page:Cod.44.A.8 068v.jpg|2|lbl=68v.2}}
 | {{section|Page:MS Germ.Quart.2020 242r.jpg|1|lbl=242r.1}}
 | {{section|Page:MS KK5126 121v.jpg|10|lbl=121v.10}}
 | {{section|Page:MS E.1939.65.341 093r.jpg|2|lbl=93r.2}}
+}}
-|-
+{{Ps-Danzig row SS|91
 |
-| <p>[91] {{red|b=1|Here note the play}}</p>
-<p>Note, when you shall fight, if it then seems to you that your fighter wards too strong, then hold your sword in a guard, and step to him artfully, and note quite precisely when pulls his sword to himself and wants to stab or strike with the pommel. At the same time, follow after him quickly, and rush him with the point, and plant to him before he brings the stab or the hit. If he then becomes aware of the planting and moves wide in front with the sword and parries so that his point goes out next to you beside, then jerk through and stab him to the other side. If he wards that to the second time, then again jerk through, and do that as often as he parries, and jolt or rush quickly to him through with it at will. If you had not landed your hit on him correctly with the planting, then you may grapple with wrestling. Know, that is the art against all the fencers who parry long and wide, and fence to the sword and not to the openings of the body.</p>
 |
 {{section|Page:Cod.44.A.8 068v.jpg|3|lbl=68v.3|p=1}} {{section|Page:Cod.44.A.8 069r.jpg|1|lbl=69r.1|p=1}}
@@ Line 4,089: / Line 3,479: @@
 |
 {{section|Page:MS E.1939.65.341 093r.jpg|3|lbl=93r.3|p=1}} {{section|Page:MS E.1939.65.341 093v.jpg|1|lbl=93v.1|p=1}}
+}}
-|-
+{{Ps-Danzig row SS|92
 |
-| <p>[92] {{red|b=1|This is the text and the gloss, how you shall free yourself away from the sword when one has planted to you with it, and forces you with it}}</p>
-<p><br/></p>
-{| class="zettel"
-|-
-| <small>26</small>
-| {{red|If he also grips on strong<br/>&emsp;The shooting defeats him}}
-|}
-<p>Gloss: Note, this is when he has planted to you, and you against him. If he then wants to overpower you with strength, then grab his left hand with your left on his sword’s blade by the fingers, and hold them firmly with it, and stab with the right hand with the sword above through between his front placed hand and his sword, and press the pommel down, and set the point against his right side into his face, and break his left hand over your sword’s blade with your left hand.</p>
 |
 {{section|Page:Cod.44.A.8 069r.jpg|2|lbl=69r.2|p=1}} {{section|Page:Cod.44.A.8 069v.jpg|1|lbl=69v.1|p=1}}
@@ Line 4,109: / Line 3,491: @@
 {{section|Page:MS KK5126 122r.jpg|1|lbl=122r.1}}
 | {{section|Page:MS E.1939.65.341 093v.jpg|2|lbl=93v.2}}
+}}
-|-
+{{Ps-Danzig row SS|93
 |
-| <p>[93] {{red|b=1|Another}}</p>
-<p>Or, stab through with both hands above between the sword and his front placed hand, and press the pommel against the ground, and wind the point at his sword against his right side, and plant to him.</p>
 | {{section|Page:Cod.44.A.8 069v.jpg|2|lbl=69v.2}}
 | {{section|Page:MS Germ.Quart.2020 244r.jpg|1|lbl=244r}}
@@ Line 4,120: / Line 3,500: @@
 {{section|Page:MS KK5126 122r.jpg|7|lbl=122r.7|p=1}}<ref>This paragraph is displaced in the text, and appears between paragraphs 96 and 97.</ref>
 | {{section|Page:MS E.1939.65.341 093v.jpg|3|lbl=93v.3}}
+}}
-|-
+{{Ps-Danzig row SS|94
 |
-| <p>[94] {{red|b=1|Again a solution}}</p>
-<p>When he has planted to you and forced, stab him below in the palm of the hand, by which he holds his sword in the middle.</p>
-<p>Or, if he has turned the hand around, then stab him in it down from above, and when the stab sticks, then in front of him to the circle with it.</p>
 | {{section|Page:Cod.44.A.8 069v.jpg|3|lbl=69v.3}}
 | {{section|Page:MS Germ.Quart.2020 244v.jpg|1|lbl=244v}}
@@ Line 4,134: / Line 3,510: @@
 {{section|Page:MS KK5126 122r.jpg|2|lbl=122r.2}}
 | {{section|Page:MS E.1939.65.341 093v.jpg|4|lbl=93v.4}}
+}}
-|-
+{{Ps-Danzig row SS|95
 |
-| <p>[95] {{red|b=1|Another}}</p>
-<p>Or, stab him outwards of the arm, by which he holds the sword in the middle, behind in the glove, and when the stab sticks, run forwards with the hand to the circle. You also win his side with it, and other great advantages.</p>
 | {{section|Page:Cod.44.A.8 069v.jpg|4|lbl=69v.4}}
 |
@@ Line 4,149: / Line 3,523: @@
 {{section|Page:MS E.1939.65.341 094r.jpg|1|lbl=94r.1}}
+}}
-|-
+{{Ps-Danzig row SS|96
 |
-| <p>[96]</p>
 |
 |
 | {{section|Page:MS KK5126 122r.jpg|4|lbl=122r.4}}
 |
+}}
-|-
+{{Ps-Danzig row SS|97
 |
-| <p>[97] {{red|b=1|Again a solution}}</p>
-<p>Note, if he has planted to you to your left shoulder, and you against him at his, then step backwards with the left foot, and also turn your left side from him, so your point sticks, and his does not.</p>
-<p>Or, if he has planted to your right shoulder, and you again at his, then step backwards with the right foot, so your point sticks again, and his does not.</p>
 | {{section|Page:Cod.44.A.8 069v.jpg|5|lbl=69v.5}}
 | {{section|Page:MS Germ.Quart.2020 245r.jpg|2|lbl=245r.2}}
@@ Line 4,171: / Line 3,541: @@
 {{section|Page:MS KK5126 122r.jpg|5|lbl=122r.5}}
 | {{section|Page:MS E.1939.65.341 094r.jpg|2|lbl=94r.2}}
+}}
-|-
+{{Ps-Danzig row SS|98
 |
-| <p>[98] {{red|b=1|Again a solution}}</p>
-<p>Note, when he has planted to your left shoulder and you again at his, jolt your pommel forward to your chest, and force forwards as such, so you have overpowered him.</p>
 | {{section|Page:Cod.44.A.8 069v.jpg|6|lbl=69v.6}}
 | {{section|Page:MS Germ.Quart.2020 246r.jpg|1|lbl=246r}}
@@ Line 4,183: / Line 3,551: @@
 {{section|Page:MS KK5126 122r.jpg|6|lbl=122r.6}}
 | {{section|Page:MS E.1939.65.341 094r.jpg|3|lbl=94r.3}}
+}}
-|-
+{{Ps-Danzig row SS|99
 |
-| <p>[99] {{red|b=1|This is the text and the gloss of the parries against the hits with the pommel}}</p>
-<p><br/></p>
-{| class="zettel"
-|-
-| <small>27</small>
-| {{red|With his striking point<br/>&emsp;If he protects himself, hit without apprehension}}
-|-
-| <small>28</small>
-| {{red|With both hands<br/>&emsp;Learn to turn the point to the eyes}}
-|}
-<p>Gloss: Note, the striking point, that is the pommel, if he wants to protect himself with it in front of you, and overrun you with big hits, you shall artfully parry them without any apprehension with the sword, and in the parry, always turn the point to the face with both hands, or shove and wrench with the pommel, as will be explained hereafter in the next plays.</p>
 | {{section|Page:Cod.44.A.8 070r.jpg|1|lbl=70r.1}}
 | {{section|Page:MS Germ.Quart.2020 246v.jpg|1|lbl=246v}}
@@ Line 4,206: / Line 3,563: @@
 {{section|Page:MS KK5126 122r.jpg|8|lbl=122r.8|p=1}} {{section|Page:MS KK5126 122r.jpg|10|lbl=122r.10|p=1}}<ref>The verses are placed before the title in the text.</ref>
 | {{section|Page:MS E.1939.65.341 094r.jpg|4|lbl=94r.4}}
+}}
-|-
+{{Ps-Danzig row SS|100
 |
-| <p>[100] {{red|b=1|This is the first parry against the hit with the pommel}}<br/><br/></p>
-<p>Note, if one is strong, and he means well to strike you down with the pommel, then stand against him and hold your sword on top of your left knee in the guard. If he then strikes in with the pommel from his right shoulder above to the head, then sweep his strike away with the sword in front of your left hand from your left side against his right, and rise into the upper guard, and set the point into the face.</p>
 |
 {{section|Page:Cod.44.A.8 070r.jpg|2|lbl=70r.2}}
@@ Line 4,217: / Line 3,572: @@
 | {{section|Page:MS KK5126 122r.jpg|11|lbl=122r.11}}
 |
-{{section|Page:MS E.1939.65.341 094r.jpg|5|lbl=94r.5|p=1}}<br/><br/>
+{{section|Page:MS E.1939.65.341 094r.jpg|5|lbl=94r.5|p=1}}
 {{section|Page:MS E.1939.65.341 094v.jpg|1|lbl=94v.1}}
+}}
-|-
+{{Ps-Danzig row SS|101
 |
-| <p>[101] Or, if he strikes in with the pommel from his left side above to the head, then sweep his strike away with the sword in front of your left hand from your right side against his left, and plant to him.</p>
 |
 {{section|Page:Cod.44.A.8 070r.jpg|3|lbl=70r.3|p=1}} {{section|Page:Cod.44.A.8 070v.jpg|1|lbl=70v.1|p=1}}
@@ Line 4,229: / Line 3,584: @@
 |
 | {{section|Page:MS E.1939.65.341 094v.jpg|2|lbl=94v.2}}
+}}
-|-
+{{Ps-Danzig row SS|102
 |
-| <p>[102] {{red|b=1|Again a parry}}</p>
-<p>Note, when you have your sword over the left knee in the guard, if he is then not strong and strikes in with the pommel above, then step in artfully, and catch the strike between both of your hands in the middle of the sword’s blade, and rise into the upper guard and plant to him.</p>
 | {{section|Page:Cod.44.A.8 070v.jpg|2|lbl=70v.2}}
 | {{section|Page:MS Germ.Quart.2020 247v.jpg|1|lbl=247v.1}}
@@ Line 4,241: / Line 3,594: @@
 {{section|Page:MS KK5126 122r.jpg|12|lbl=122r.12}}
 | {{section|Page:MS E.1939.65.341 094v.jpg|3|lbl=94v.3}}
+}}
-|-
+{{Ps-Danzig row SS|103
 |
-| <p>[103] Or, move to him with the pommel to the top of his front placed hand, and jolt him to you and plant to him.</p>
 | {{section|Page:Cod.44.A.8 070v.jpg|3|lbl=70v.3}}
 | {{section|Page:MS Germ.Quart.2020 247v.jpg|2|lbl=247v.2}}
 |
 | {{section|Page:MS E.1939.65.341 094v.jpg|4|lbl=94v.4}}
+}}
-|-
+{{Ps-Danzig row SS|104
 |
-| <p>[104] {{red|b=1|Note, a parry and a sword taking}}</p>
-<p>Note, when you have your sword over the left knee in the guard, if he is then not strong and strikes with the pommel to the head, then catch the strike in the middle of the blade, and move with the pommel outside over his sword nearing behind the hilt, and wrench downwards with it onto your right side, so you take his sword, and also plant to him. </p>
 | {{section|Page:Cod.44.A.8 070v.jpg|4|lbl=70v.4}}
 | {{section|Page:MS Germ.Quart.2020 248r.jpg|1|lbl=248r}}
@@ Line 4,261: / Line 3,612: @@
 {{section|Page:MS KK5126 122r.jpg|13|lbl=122r.13}}
 | {{section|Page:MS E.1939.65.341 094v.jpg|5|lbl=94v.5}}
+}}
-|-
+{{Ps-Danzig row SS|105
 |
-| <p>[105] {{red|b=1|Note, again a parry and a sword taking}}</p>
-<p>When you have your sword over the left knee in the guard, if he then strikes with the pommel to your left knee, then turn your pommel to the ground and the point upwards, and catch the strike in the middle of your sword’s blade, and move through to him below with the pommel above to the top of his sword, nearing behind his hilt, and jolt upwards onto your right side, so you take his sword.</p>
 |
 {{section|Page:Cod.44.A.8 070v.jpg|5|lbl=70v.5|p=1}} {{section|Page:Cod.44.A.8 071r.jpg|1|lbl=71r.1|p=1}}
@@ Line 4,275: / Line 3,624: @@
 |
 {{section|Page:MS E.1939.65.341 094v.jpg|6|lbl=94v.6|p=1}} {{section|Page:MS E.1939.65.341 095r.jpg|1|lbl=95r.1|p=1}}
+}}
-|-
+{{Ps-Danzig row SS|106
 |
-| <p>[106] {{red|b=1|Again a parry}}</p>
-<p>Note, when you have your sword over the left knee, or stand otherwise in another guard, if he then strikes with the pommel below to the ankle of your left foot, then hold your sword firmly in the left hand, and throw it with the pommel out of the right hand against his hit into the ground onto your left side, and jump to him with it, and wait for the arm break or otherwise other wrestles.</p>
 | {{section|Page:Cod.44.A.8 071r.jpg|2|lbl=71r.2}}
 | {{section|Page:MS Germ.Quart.2020 249r.jpg|1|lbl=249r}}
@@ Line 4,287: / Line 3,634: @@
 {{section|Page:MS KK5126 122v.jpg|1|lbl=122v.1}}
 | {{section|Page:MS E.1939.65.341 095r.jpg|2|lbl=95r.2}}
+}}
-|-
+{{Ps-Danzig row SS|107
 |
-| <p>[107]</p>
 |
 |
 | {{section|Page:MS KK5126 122v.jpg|2|lbl=122v.2}}
 |
+}}
-|-
+{{Ps-Danzig row SS|108
 |
-| <p>[108] {{red|b=1|This is the text and the gloss, how one shall strike with the pommel}}</p>
-{| class="zettel"
-|-
-| <small>29</small>
-| {{red|The front foot<br/>&emsp;You must guard with hits}}
-|}
-<p>Gloss: Note, the striking point, that is the sword’s pommel, you shall strike with it to his front placed limbs. You shall quite precisely aim for them, so that you correctly land a hit with it, and you shall bring the hits to scales as such:</p>
 |
 {{section|Page:Cod.44.A.8 071r.jpg|3|lbl=71r.3|p=1}} {{section|Page:Cod.44.A.8 071v.jpg|1|lbl=71v.1|p=1}}
@@ Line 4,311: / Line 3,652: @@
 | {{section|Page:MS KK5126 122v.jpg|3|lbl=122v.3}}
 | {{section|Page:MS E.1939.65.341 095r.jpg|3|lbl=95r.3}}
+}}
-|-
+{{Ps-Danzig row SS|109
 |
-| <p>[109] Hold your sword in the upper guard over the head, and do as if you want to stab or plant into the face from it. With it, let go of the sword with the right hand and come with it to help the left hand in the middle of the blade, and strike him with the pommel to the knee of his front placed foot, or to his front placed hand, with which he holds the sword in the middle. You may also strike with it to the head or to the elbow or to the shoulder, when it is even to you.</p>
 | {{section|Page:Cod.44.A.8 071v.jpg|2|lbl=71v.2}}
 |
@@ Line 4,320: / Line 3,661: @@
 | {{section|Page:MS KK5126 122v.jpg|4|lbl=122v.4}}
 | {{section|Page:MS E.1939.65.341 095r.jpg|4|lbl=95r.4}}
+}}
-|-
+{{Ps-Danzig row SS|110
 |
-| <p>[110] {{red|b=1|Here note the work with the dagger in combat}}</p>
-<p>Now you shall know that the greatest part of all combat fencing in armor comes to the last to the dagger fencing, and to the wrestling. Therefore note, when you run in with him, otherwise don’t wait when wrestling, and let your dagger stick in the scabbard, because you may not hurt him with it through the armor while he stands in front of you, and hinders you in the hand, because you shall grasp him with wrestling, or when you have thrown him, and have been powerful, then first work with the dagger to the openings of the armor which will be explained to you next, and are to be explained.</p>
 |
 {{section|Page:Cod.44.A.8 071v.jpg|3|lbl=71v.3|p=1}} {{section|Page:Cod.44.A.8 072r.jpg|1|lbl=72r.1|p=1}}
@@ Line 4,332: / Line 3,671: @@
 |
 {{section|Page:MS E.1939.65.341 095r.jpg|5|lbl=95r.5|p=1}} {{section|Page:MS E.1939.65.341 095v.jpg|1|lbl=95v.1|p=1}}
+}}
-|-
+{{Ps-Danzig row SS|111
 |
-| <p>[111] {{red|b=1|Another}}</p>
-<p>Note, when you come to wrestle with him, if you then throw him on the back, then fall to him with the body on top of his face, and grasp him by the neck under an arm, thus he is pinned, and may additionally not well come up with whichever hand he then grips to you, then stab him after to the opening of the palm, or stab him under the armpit.</p>
-<p>Or, work with the dagger below to the business, and to all joints where it seems that you may win the best.</p>
 | {{section|Page:Cod.44.A.8 072r.jpg|2|lbl=72r.2}}
-| {{section|Page:MS Germ.Quart.2020 250v.jpg|2|lbl=250v.2|p=1}} {{section|Page:MS Germ.Quart.2020 251r.jpg|1|lbl=251r|p=1}}
+|
+{{section|Page:MS Germ.Quart.2020 250v.jpg|2|lbl=250v.2|p=1}} {{section|Page:MS Germ.Quart.2020 251r.jpg|1|lbl=251r|p=1}}
 | <p><br/></p>
 {{section|Page:MS KK5126 122v.jpg|6|lbl=122v.6}}
 | {{section|Page:MS E.1939.65.341 095v.jpg|2|lbl=95v.2}}
+}}
-|-
+{{Ps-Danzig row SS|112
 |
-| <p>[112] {{red|b=1|Another}}</p>
-<p>Note, if you throw him onto the belly with wrestling, then quickly sit on him and grab his right hand with your right hand, and pull it behind on his back, and hold it firmly with the left hand, and with the right, stab him into the same hand to the opening of the palm, or to the opening under the armpit.</p>
-<p>Or, when he falls, you may grip him by a foot, then stab him with the dagger below into the sole of the same foot.</p>
 | {{section|Page:Cod.44.A.8 072r.jpg|3|lbl=72r.3}}
 | {{section|Page:MS Germ.Quart.2020 251v.jpg|1|lbl=251v}}
@@ Line 4,360: / Line 3,692: @@
 {{section|Page:MS KK5126 122v.jpg|7|lbl=122v.7}}
 | {{section|Page:MS E.1939.65.341 095v.jpg|3|lbl=95v.3}}
+}}
-|-
+{{Ps-Danzig row SS|113
-| class="noline" |
+|
-| class="noline" | <p>''Finish''</p>
+|
-| class="noline" |
+|
-| class="noline" |
+|
-| class="noline" |
+| {{section|Page:MS E.1939.65.341 095v.jpg|4|lbl=95v.4}}
-| class="noline" | {{section|Page:MS E.1939.65.341 095v.jpg|4|lbl=95v.4}}
+}}
+</table>
-|}
+</div>
-{{master end}}
 {{master begin
    | title = Copyright and License Summary
@@ Line 4,382: / Line 3,713: @@
   | work        = Kraków Illustrations
   | authors     = [[Biblioteka Jagiellońska]]
-  | source link = http://www.bj.uj.edu.pl/
+  | source link = http://fbc.pionier.net.pl/id/oai:jbc.bj.uj.edu.pl:350451
   | source title= Biblioteka Jagiellońska
-  | license     = permission
+  | license     = public domain
 }}
 {{sourcebox
@@ Line 4,392: / Line 3,723: @@
   | source title= Wiktenauer
   | license     = noncommercial
+}}
+{{sourcebox
+ | work        = Translation
+ | authors     = [[translator::Mike Rasmusson]]
+ | source link = http://www.schielhau.org/danzig.html
+ | source title= Shielhau.org
+ | license     = GNU
 }}
 {{sourcebox
@@ Line 4,447: / Line 3,785: @@
 == Additional Resources ==
-* [[Stephen Cheney|Cheney, Stephen]]. ''Ringeck &middot; Danzig &middot; Lew Longsword''. Self-published, 2020. ISBN 978-8649845441
+{{bibliography}}
-* [[Dierk Hagedorn|Hagedorn, Dierk]] (in German). ''Transkription und Übersetzung der Handschrift 44 A 8''. Herne: [[VS-Books]], 2008. ISBN 978-3-932077-34-0
-* [[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
-* [[Harrison Ridgeway|R., Harry]]. ''Peter von Danzig''. Self-published, 2019. ISBN 978-0-36-870245-7
-* [[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
-* Verelst, Karin. "Finding a Way through the Labyrinth: Some Methodological Remarks on Critically Editing the Fight Book Corpus". ''Late Medieval and Early Modern Fight Books. Transmission and Tradition of Martial Arts in Europe'': 117-188. Ed.  Daniel Jaquet, Karin Verelst, and Timothy Dawson. History of Warfare 112. Leiden/Boston: Brill, 2016. {{doi|10.1163/9789004324725_008}}
-* [[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.
-* [[Grzegorz Żabiński|Żabiński, Grzegorz]]. ''The Longsword Teachings of Master Liechtenauer. The Early Sixteenth Century Swordsmanship Comments in the "Goliath" Manuscript.'' Poland: Adam Marshall, 2010. ISBN 978-83-7611-662-4
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