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Difference between revisions of "Joachim Meyer"

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  | manuscript(s)        = {{plainlist
 
  | manuscript(s)        = {{plainlist
 
   | [[Joachim Meyers Fechtbuch (MS Bibl. 2465)|MS Bibl. 2465]] (1561)
 
   | [[Joachim Meyers Fechtbuch (MS Bibl. 2465)|MS Bibl. 2465]] (1561)
   | [[Joachim Meyers Fäktbok (MS A.4º.2)|MS A.4º.2]] (1568)
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   | [[Joachim Meyers Fäktbok (MS A.4º.2)|MS A.4º.2]] (1563-68)
 
   | [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|MS Var.82]] (1570-1)
 
   | [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|MS Var.82]] (1570-1)
 
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Meyer was born in Basel,<ref>According to his wedding certificate.</ref> where he presumably apprenticed as a cutler. Records show that by 4 June 1560 he had settled in Strasbourg, where he married Appolonia Ruhlman (Ruelman)<ref name="Dupuis">[[Olivier Dupuis]], "Joachim Meyer, escrimeur libre, bourgeois de Strasbourg (1537 ? - 1571)", ''Maîtres et techniques de combat'', Dijon: AEDEH, 2006.</ref> and was granted the rank of master cutler. His interests had already moved beyond smithing, however, and in 1561, Meyer's petition to the City Council of Strasbourg for the right to hold a [[Fechtschule]] was granted. He would repeat this in 1563, 1566, 1567 and 1568;<ref name="Van Slambrouck">Van Slambrouck, Christopher. "[https://www.researchgate.net/publication/291284452_The_Life_and_Work_of_Joachim_Meyer The Life and Work of Joachim Meyer]". ''Meyer Frei Fechter Guild, 2010. Retrieved 29 January 2010.''</ref> the 1568 petition is the first extant record in which he identifies himself as a fencing master.
 
Meyer was born in Basel,<ref>According to his wedding certificate.</ref> where he presumably apprenticed as a cutler. Records show that by 4 June 1560 he had settled in Strasbourg, where he married Appolonia Ruhlman (Ruelman)<ref name="Dupuis">[[Olivier Dupuis]], "Joachim Meyer, escrimeur libre, bourgeois de Strasbourg (1537 ? - 1571)", ''Maîtres et techniques de combat'', Dijon: AEDEH, 2006.</ref> and was granted the rank of master cutler. His interests had already moved beyond smithing, however, and in 1561, Meyer's petition to the City Council of Strasbourg for the right to hold a [[Fechtschule]] was granted. He would repeat this in 1563, 1566, 1567 and 1568;<ref name="Van Slambrouck">Van Slambrouck, Christopher. "[https://www.researchgate.net/publication/291284452_The_Life_and_Work_of_Joachim_Meyer The Life and Work of Joachim Meyer]". ''Meyer Frei Fechter Guild, 2010. Retrieved 29 January 2010.''</ref> the 1568 petition is the first extant record in which he identifies himself as a fencing master.
  
Meyer probably wrote his first manuscript ([[Joachim Meyers Fechtbuch (MS Bibl. 2465)|MS Bibl. 2465]]) in 1561 for Georg Johann Ⅰ, Count Palatine of Veldenz,<ref name="Wittelsbach">Though as a prince of the Wittelsbach dynasty, he was addressed by the loftiest titles held by the family: Count Palatine of the Rhine and Duke of Bavaria.</ref> and his second ([[Joachim Meyers Fäktbok (MS A.4º.2)|MS A.4º.2]]) in 1568 for Otto (later Count of Solms-Sonnewalde).<ref>[[Roger Norling|Norling, Roger]]. "[http://www.hroarr.com/the-history-of-joachim-meyers-treatise-to-von-solms/ The history of Joachim Meyer’s fencing treatise to Otto von Solms]". Hroarr.com, 2012. Retrieved 14 February 2015.</ref> Both of these manuscripts contain a series of lessons on training with [[long sword]], [[dusack]], and [[rapier]]; the 1561 also covers [[dagger]], [[polearms]], and [[armored fencing]]. His third manuscript ([[Fechtbuch zu Ross und zu Fuss (MS Var.82)|MS Var.82]]), written between 1563 and 1571 and containing a dedication at the end to Heinrich, Count of Eberstein, is of a decidedly different nature. Like many fencing manuscripts from the previous century, it is an anthology of treatises by a number of prominent German masters including [[Sigmund ain Ringeck]], [[pseudo-Peter von Danzig]], and [[Martin Syber]], and also includes a brief outline by Meyer himself on a system of rapier fencing based on German [[Messer]] teachings.  
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Meyer probably wrote his first manuscript ([[Joachim Meyers Fechtbuch (MS Bibl. 2465)|MS Bibl. 2465]]) in 1561 for Georg Johann Ⅰ, Count Palatine of Veldenz,<ref name="Wittelsbach">Though as a prince of the Wittelsbach dynasty, he was addressed by the loftiest titles held by the family: Count Palatine of the Rhine and Duke of Bavaria.</ref> and his second ([[Joachim Meyers Fäktbok (MS A.4º.2)|MS A.4º.2]]) some time between 1560 and 1568 for Otto (later Count of Solms-Sonnewalde).<ref>[[Roger Norling|Norling, Roger]]. "[http://www.hroarr.com/the-history-of-joachim-meyers-treatise-to-von-solms/ The history of Joachim Meyer’s fencing treatise to Otto von Solms]". Hroarr.com, 2012. Retrieved 14 February 2015.</ref> Both of these manuscripts contain a series of lessons on training with [[long sword]], [[dusack]], and [[rapier]]; the 1561 also covers [[dagger]], [[polearms]], and [[armored fencing]]. His third manuscript ([[Fechtbuch zu Ross und zu Fuss (MS Var.82)|MS Var.82]]), produced in the 1560s, is of a decidedly different nature. Like many fencing manuscripts from the previous century, it is an anthology of treatises by a number of prominent German masters including [[Sigmund ain Ringeck]], [[pseudo-Peter von Danzig]], and [[Martin Syber]], and also includes a brief outline by Meyer himself on a system of rapier fencing based on German [[Messer]] teachings and the teachings of Stephen Heinrich, Count of Eberstein.  
  
Finally, on 24 February 1570, Meyer completed an enormous treatise entitled ''[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|Gründtliche Beschreibung, der freyen Ritterlichen unnd Adelichen kunst des Fechtens, in allerley gebreuchlichen Wehren, mit vil schönen und nützlichen Figuren gezieret und fürgestellet]]'' ("A Thorough Description of the Free, Chivalric, and Noble Art of Fencing, Showing Various Customary Defenses, Affected and Put Forth with Many Handsome and Useful Drawings"); it was dedicated to Johann Casimir, Count Palatine of Simmern,<ref name="Wittelsbach"/> and illustrated at the workshop of [[Hans Christoff Stimmer]]. It contains all of the weapons of the 1561 and '68 manuscripts apart from fencing in armor, and dramatically expands his teachings on each.
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Finally, on 24 February 1570, Meyer completed an enormous treatise entitled ''[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|Gründtliche Beschreibung, der freyen Ritterlichen unnd Adelichen kunst des Fechtens, in allerley gebreuchlichen Wehren, mit vil schönen und nützlichen Figuren gezieret und fürgestellet]]'' ("A Foundational Description of the Free, Chivalric, and Noble Art of Fencing, Showing Various Customary Defenses, Affected and Put Forth with Many Handsome and Useful Drawings"); it was dedicated to Johann Casimir, Count Palatine of Simmern,<ref name="Wittelsbach"/> and illustrated at the workshop of [[Hans Christoff Stimmer]]. It contains all of the weapons of the 1561 and '68 manuscripts apart from fencing in armor, and dramatically expands his teachings on each.
  
 
Unfortunately, Meyer's writing and publication efforts incurred significant debts (about 300 crowns), which Meyer pledged to repay by Christmas of 1571.<ref name="Dupuis"/> Late in 1570, Meyer accepted the position of Fechtmeister to Duke Johann Albrecht of Mecklenburg at his court in Schwerin. There Meyer hoped to sell his book for a better price than was offered locally (30 florins). Meyer sent his books ahead to Schwerin, and left from Strasbourg on 4 January 1571 after receiving his pay. He traveled the 800 miles to Schwerin in the middle of a harsh winter, arriving at the court on 10 February 1571. Two weeks later, on 24 February, Joachim Meyer died. The cause of his death is unknown, possibly disease or pneumonia.<ref name="Van Slambrouck"/>
 
Unfortunately, Meyer's writing and publication efforts incurred significant debts (about 300 crowns), which Meyer pledged to repay by Christmas of 1571.<ref name="Dupuis"/> Late in 1570, Meyer accepted the position of Fechtmeister to Duke Johann Albrecht of Mecklenburg at his court in Schwerin. There Meyer hoped to sell his book for a better price than was offered locally (30 florins). Meyer sent his books ahead to Schwerin, and left from Strasbourg on 4 January 1571 after receiving his pay. He traveled the 800 miles to Schwerin in the middle of a harsh winter, arriving at the court on 10 February 1571. Two weeks later, on 24 February, Joachim Meyer died. The cause of his death is unknown, possibly disease or pneumonia.<ref name="Van Slambrouck"/>
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Joachim Meyer's writings are preserved in three manuscripts prepared in the 1560s: the 1561 [[Joachim Meyers Fechtbuch (MS Bibl. 2465)|MS Bibl. 2465]] (Munich), dedicated to Georg Johannes von Veldenz; the 1563-68 [[Joachim Meyers Fäktbok (MS A.4º.2)|MS A.4º.2]] (Lund), dedicated to Otto von Solms; and the [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|MS Var. 82]] (Rostock), which includes notes on the teachings of Stephan Heinrich von Eberstein and which Meyer may have still been working at the time of his death in 1571. The former two manuscripts are substantially similar in text and organization, and it seems clear that the Munich was the basis for the much shorter Lund.
 
Joachim Meyer's writings are preserved in three manuscripts prepared in the 1560s: the 1561 [[Joachim Meyers Fechtbuch (MS Bibl. 2465)|MS Bibl. 2465]] (Munich), dedicated to Georg Johannes von Veldenz; the 1563-68 [[Joachim Meyers Fäktbok (MS A.4º.2)|MS A.4º.2]] (Lund), dedicated to Otto von Solms; and the [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|MS Var. 82]] (Rostock), which includes notes on the teachings of Stephan Heinrich von Eberstein and which Meyer may have still been working at the time of his death in 1571. The former two manuscripts are substantially similar in text and organization, and it seems clear that the Munich was the basis for the much shorter Lund.
  
Dwarfing these works is the massive book he published in 1570 entitled ''[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|Gründtliche Beschreibung der ...Kunst des Fechtens]]'' ("A Thorough Description of the... Art of Fencing"), dedicated to Johann Kasimir von Pfalz-Simmern. Meyer's writings purport to teach the entire art of fencing, something that he claimed had never been done before, and encompass a wide variety of teachings from disparate sources and traditions. To achieve this goal, Meyer seems to have constructed his treatises as a series of progressive lessons, describing a process for learning to fence rather than merely outlining the underlying theory or listing the techniques. In keeping with this, he illustrates his techniques with depictions of fencers in courtyards using training weapons such as two-handed foils, wooden dusacks, and rapiers with ball tips.
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Dwarfing these works is the massive book he published in 1570 entitled ''[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|Gründtliche Beschreibung der ...Kunst des Fechtens]]'' ("A Foundational Description of the... Art of Fencing"), dedicated to Johann Kasimir von Pfalz-Simmern. Meyer's writings purport to teach the entire art of fencing, something that he claimed had never been done before, and encompass a wide variety of teachings from disparate sources and traditions. To achieve this goal, Meyer seems to have constructed his treatises as a series of progressive lessons, describing a process for learning to fence rather than merely outlining the underlying theory or listing the techniques. In keeping with this, he illustrates his techniques with depictions of fencers in courtyards using training weapons such as two-handed foils, wooden dusacks, and rapiers with ball tips.
  
 
The first section of Meyer's teachings is devoted to the long sword (the sword in two hands), the traditional centerpiece of the [[Liechtenauer]] tradition which Meyer describes as the foundational weapon of his system, and this section devotes the most space to fundamentals like stance and footwork. His long sword system draws upon the teachings of ''Freifechter'' [[Andre Paurenfeyndt]] (via [[Der Allten Fechter gründtliche Kunst (Christian Egenolff)|Christian Egenolff's reprint]]) and Liechtenauer glossators [[Sigmund ain Ringeck]] and [[Lew]], as well as using terminology otherwise unique to the brief [[Recital]] of [[Martin Syber]]. Not content merely to compile these teachings as his contemporary [[Paulus Hector Mair]] was doing, Meyer sought to update—even reinvent—them in various ways to fit the martial climate of the late sixteenth century, including adapting many techniques to accommodate the increased weight and momentum of a [[greatsword]] and modifying others to use beats with the flat and winding slices in place of thrusts to comply with street-fighting laws in German cities (and the rules of the ''Fechtschule'').
 
The first section of Meyer's teachings is devoted to the long sword (the sword in two hands), the traditional centerpiece of the [[Liechtenauer]] tradition which Meyer describes as the foundational weapon of his system, and this section devotes the most space to fundamentals like stance and footwork. His long sword system draws upon the teachings of ''Freifechter'' [[Andre Paurenfeyndt]] (via [[Der Allten Fechter gründtliche Kunst (Christian Egenolff)|Christian Egenolff's reprint]]) and Liechtenauer glossators [[Sigmund ain Ringeck]] and [[Lew]], as well as using terminology otherwise unique to the brief [[Recital]] of [[Martin Syber]]. Not content merely to compile these teachings as his contemporary [[Paulus Hector Mair]] was doing, Meyer sought to update—even reinvent—them in various ways to fit the martial climate of the late sixteenth century, including adapting many techniques to accommodate the increased weight and momentum of a [[greatsword]] and modifying others to use beats with the flat and winding slices in place of thrusts to comply with street-fighting laws in German cities (and the rules of the ''Fechtschule'').
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| <p>'''To the Noble High-born Prince and Lord, Lord Georg Hansen Count Palatine of the Rhine Duke of Bavaria, Count at Veldenz and Lord of Lutzelstein, my gracious Prince and Lord'''</p>
 
| <p>'''To the Noble High-born Prince and Lord, Lord Georg Hansen Count Palatine of the Rhine Duke of Bavaria, Count at Veldenz and Lord of Lutzelstein, my gracious Prince and Lord'''</p>
 
| {{section|Page:MS Bibl. 2465 IIIr.jpg|1|lbl=IIIr.1}}
 
| {{section|Page:MS Bibl. 2465 IIIr.jpg|1|lbl=IIIr.1}}
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| class="noline" | <p>Your Princely Grace</p>
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| <p>Your Princely Grace</p>
  
 
<p>&emsp;&emsp;Subservient, Obedient, Willing,</p>
 
<p>&emsp;&emsp;Subservient, Obedient, Willing,</p>
  
 
<p>&emsp;&emsp;&emsp;&emsp;Joachim Meyer<br/>&emsp;&emsp;&emsp;&emsp;Frey Fechter</p>
 
<p>&emsp;&emsp;&emsp;&emsp;Joachim Meyer<br/>&emsp;&emsp;&emsp;&emsp;Frey Fechter</p>
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| class="noline" | <p><small>[73]</small> But if he cuts at you from his left to your fingers, then also cut in simultaneously with the flat and crossed hands, so that the long edge of the blade clashes in on his blade, and your cross is put horizontally in the Crown, when you make this Crown Cut correctly, then always hit with the sharp edge by the half edge, however if you are too far from him and he cuts after at your hands, then cut him to the head, and with that you protect yourself in parrying, thus you have defended your fingers from damage, but if he cuts in simultaneously with a step, then spring with every cut to his parrying with closing.</p>
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| <p><small>[73]</small> But if he cuts at you from his left to your fingers, then also cut in simultaneously with the flat and crossed hands, so that the long edge of the blade clashes in on his blade, and your cross is put horizontally in the Crown, when you make this Crown Cut correctly, then always hit with the sharp edge by the half edge, however if you are too far from him and he cuts after at your hands, then cut him to the head, and with that you protect yourself in parrying, thus you have defended your fingers from damage, but if he cuts in simultaneously with a step, then spring with every cut to his parrying with closing.</p>
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{{section|Page:MS Bibl. 2465 013v.jpg|4|lbl=13v.4|p=1}} {{section|Page:MS Bibl. 2465 014r.jpg|1|lbl=14r.1|p=1}}
 
{{section|Page:MS Bibl. 2465 013v.jpg|4|lbl=13v.4|p=1}} {{section|Page:MS Bibl. 2465 014r.jpg|1|lbl=14r.1|p=1}}
  
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| class="noline" | <p><small>[35]</small> '''From the Stepping'''</p>
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| <p><small>[35]</small> '''From the Stepping'''</p>
  
 
<p>Stepping breaks, what one fights, he who does not do it, it fights one to the ground as he wills it, if he does not do it correctly, he is unsuccessful, therefore the saying in the twelve rules is made and understood:</p>
 
<p>Stepping breaks, what one fights, he who does not do it, it fights one to the ground as he wills it, if he does not do it correctly, he is unsuccessful, therefore the saying in the twelve rules is made and understood:</p>
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<p>Every cut must have its step, they must go together, otherwise the ''stuck'' will not work, for much relies on stepping, then if you step too soon or too late, thus you (will be responsible for your own loss). The stepping makes it so that the opponent’s work cannot go on, but that yours’ can, you must attack the opponent in a stance or wide position, so he thinks he has you for sure but that you are further from him than you have presented yourself, if on the other hand the opponent thinks you want to step in at him, then do not hurry to the attack. There is great art and cunning in the stepping, and the right measure lies in it. About it, all fencers say, so notice when you are close to the man, then let yourself note with the cutting as if you were treading with great, wide steps, but remain with your feet near to each other, meanwhile, strike off the man secretly like one who wants to steal a step, once you think it is time, then step further with your feet and boldly attack.</p>
 
<p>Every cut must have its step, they must go together, otherwise the ''stuck'' will not work, for much relies on stepping, then if you step too soon or too late, thus you (will be responsible for your own loss). The stepping makes it so that the opponent’s work cannot go on, but that yours’ can, you must attack the opponent in a stance or wide position, so he thinks he has you for sure but that you are further from him than you have presented yourself, if on the other hand the opponent thinks you want to step in at him, then do not hurry to the attack. There is great art and cunning in the stepping, and the right measure lies in it. About it, all fencers say, so notice when you are close to the man, then let yourself note with the cutting as if you were treading with great, wide steps, but remain with your feet near to each other, meanwhile, strike off the man secretly like one who wants to steal a step, once you think it is time, then step further with your feet and boldly attack.</p>
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| class="noline" | <p><small>[61]</small> In ''Zufechten'' pay attention and when you note that one desires to cut in high over at you, so then drive under it with the Bow and capture his arm then grab with your left hand quickly to the crook of his knee<ref>''Kniebugen'' = crook of knee, bend of knee.</ref> on his forward most leg, and heave upwards then push up away from you, thus he falls.</p>
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| <p><small>[61]</small> In ''Zufechten'' pay attention and when you note that one desires to cut in high over at you, so then drive under it with the Bow and capture his arm then grab with your left hand quickly to the crook of his knee<ref>''Kniebugen'' = crook of knee, bend of knee.</ref> on his forward most leg, and heave upwards then push up away from you, thus he falls.</p>
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| class="noline" | <p><small>[54]</small> Item: If you get too close to him, thus you should use slicing, traveling after with the point, setting on, cutting over, winding over, pushing, grabbing and throwing.</p>
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| <p><small>[54]</small> Item: If you get too close to him, thus you should use slicing, traveling after with the point, setting on, cutting over, winding over, pushing, grabbing and throwing.</p>
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| class="noline" | <p><small>[104]</small> These ''Stuck'', along with the Change Cuts, should be changed from one ''Stuck'' to another and from one cut to another, and also varied with the thrusts. The man who wants to defend himself with the rapier, should diligently study this book.</p>
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| <p><small>[104]</small> These ''Stuck'', along with the Change Cuts, should be changed from one ''Stuck'' to another and from one cut to another, and also varied with the thrusts. The man who wants to defend himself with the rapier, should diligently study this book.</p>
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| class="noline" | <p><small>[51]</small> Item: Grab him by his right hand, swing it up and go through under his arm. Then step with your right foot between both his legs, grab from outside with your right hand around his leg, pull his right arm well towards you over your shoulder and heave upwards, throwing him to your liking.</p>
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| <p><small>[51]</small> Item: Grab him by his right hand, swing it up and go through under his arm. Then step with your right foot between both his legs, grab from outside with your right hand around his leg, pull his right arm well towards you over your shoulder and heave upwards, throwing him to your liking.</p>
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| class="noline" | <p><small>[25]</small> Several clarifications of good strikes with the staff: When you bind one at the forward point, jerk your hand over you and give the staff a swing with your left hand and strike him above to the head, Cross Strike is when you pull in the bind and strike with both hands to his forward arm from the other side. Round Strike I want to save for the halberd. Locker Strike is the one with an overhand. Through Strike is when you strike him through to his forward leg and back in again to the other side.</p>
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| <p><small>[25]</small> Several clarifications of good strikes with the staff: When you bind one at the forward point, jerk your hand over you and give the staff a swing with your left hand and strike him above to the head, Cross Strike is when you pull in the bind and strike with both hands to his forward arm from the other side. Round Strike I want to save for the halberd. Locker Strike is the one with an overhand. Through Strike is when you strike him through to his forward leg and back in again to the other side.</p>
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| class="noline" | <p><small>[26]</small> Item: In the winding and running in don't be too high, for generally you will not be harmed by it at all, to the winding must belong a very great speed, if you note that someone wants to run in at you with winding, then jump back a little with the halberd across your body or come in before quickly to the opening.</p>
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| <p><small>[26]</small> Item: In the winding and running in don't be too high, for generally you will not be harmed by it at all, to the winding must belong a very great speed, if you note that someone wants to run in at you with winding, then jump back a little with the halberd across your body or come in before quickly to the opening.</p>
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| class="noline" | <p><small>[32]</small> '''A good Provoking ''Stuck'''''</p>
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| <p><small>[32]</small> '''A good Provoking ''Stuck'''''</p>
  
 
<p>Item: Lay your staff on your shoulder, position yourself with the intention to thrust, but don't actually do it, rather, change with your pike into the Low Guard, so that he is incited to strike when he thinks you have violated (your original intention), so then take out his thrust with a slicing off and thrust in likewise.</p>
 
<p>Item: Lay your staff on your shoulder, position yourself with the intention to thrust, but don't actually do it, rather, change with your pike into the Low Guard, so that he is incited to strike when he thinks you have violated (your original intention), so then take out his thrust with a slicing off and thrust in likewise.</p>
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| class="noline" | {{section|Joachim Meyer/Jordan Elliot Finch 2023 MAF|51}}
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| {{section|Joachim Meyer/Jordan Elliot Finch 2023 MAF|51}}
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| rowspan="2" class="noline" | [[File:MS A.4º.2 02v.jpg|400px|center]]
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| rowspan="2" | [[File:MS A.4º.2 02v.jpg|400px|center]]
 
| <p>'''To the Well born Lord, Duke Ottbo Count of Solms, Lord of Munzenberg and Sonnewaldt my Gracious Sir'''<br/><br/></p>
 
| <p>'''To the Well born Lord, Duke Ottbo Count of Solms, Lord of Munzenberg and Sonnewaldt my Gracious Sir'''<br/><br/></p>
  
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|-  
 
|-  
| class="noline" | <p>Your Grace</p>
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| <p>Your Grace</p>
  
 
<p>Subserviently Willing</p>
 
<p>Subserviently Willing</p>
  
 
<p>Joachim Meyer<br/>Fencing Master</p>
 
<p>Joachim Meyer<br/>Fencing Master</p>
| class="noline" | {{section|Page:MS A.4º.2 04r.jpg|2|lbl=04r.2|p=1}}
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| {{section|Page:MS A.4º.2 04r.jpg|2|lbl=04r.2|p=1}}
  
 
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<p>Thus you shall mark in the binding of the swords, as you shall feel if he has become hard or soft in the bind, with the cut.</p>
 
<p>Thus you shall mark in the binding of the swords, as you shall feel if he has become hard or soft in the bind, with the cut.</p>
 +
 +
<p>Item: If he is yet again, strong or weak, and is usually more watchful of the weak binding before the strong, how hereafter in the fencing it can be seen.</p>
 
| {{section|Page:MS A.4º.2 06v.jpg|3|lbl=6v.3}}
 
| {{section|Page:MS A.4º.2 06v.jpg|3|lbl=6v.3}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[6]</small> Item: If he is yet again, strong or weak, and is usually more watchful of the weak binding before the strong, how hereafter in the fencing it can be seen.</p>
+
| <p><small>[6]</small> With this however the sword fencing and the following written ''Stuck'' is more understandable thus as I explain my ''Zedel'' according to the rules, as I want the words to have understanding so I have named the order; the Beginning, Middle and End.</p>
 
| {{section|Page:MS A.4º.2 06v.jpg|4|lbl=6v.4}}
 
| {{section|Page:MS A.4º.2 06v.jpg|4|lbl=6v.4}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[7]</small> With this however the sword fencing and the following written ''Stuck'' is more understandable thus as I explain my ''Zedel'' according to the rules, as I want the words to have understanding so I have named the order; the Beginning, Middle and End.</p>
+
| <p><small>[7]</small> '''Follow the Sword ''Zedel'''''</p>
| {{section|Page:MS A.4º.2 06v.jpg|5|lbl=6v.5}}
 
 
 
|-
 
|
 
| <p><small>[8]</small> '''Follow the Sword ''Zedel'''''</p>
 
  
 
<p>'''The Four Main guards'''</p>
 
<p>'''The Four Main guards'''</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[9]</small> '''The Eight Secondary Guards'''</p>
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| <p><small>[8]</small> '''The Eight Secondary Guards'''</p>
  
 
<p>Long Point, Iron Gate, Hanging Point, Speak Window, Key, Side Guard, Barrier Guard, Wrath Guard</p>
 
<p>Long Point, Iron Gate, Hanging Point, Speak Window, Key, Side Guard, Barrier Guard, Wrath Guard</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[10]</small> '''The Five Master-Cuts'''</p>
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| <p><small>[9]</small> '''The Five Master-Cuts'''</p>
  
 
<p>Wrath Cut, Crooked Cut, Thwart Cut, Squinting Cut, Scalper</p>
 
<p>Wrath Cut, Crooked Cut, Thwart Cut, Squinting Cut, Scalper</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[11]</small> '''The Six Covert Cuts'''</p>
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| <p><small>[10]</small> '''The Six Covert Cuts'''</p>
  
 
<p>Blinding Cut, Bouncing Cut, Short Cut, Knuckle Cut, Clashing Cut, Wind Cut</p>
 
<p>Blinding Cut, Bouncing Cut, Short Cut, Knuckle Cut, Clashing Cut, Wind Cut</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[12]</small> '''Handworks in the Sword'''</p>
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| <p><small>[11]</small> '''Handworks in the Sword'''</p>
  
 
<p>Bind On, Remain, Cut, Strike Around, Travel After, Snap Around, Run Off, Doubling, Leading, Flying, Feeling, Circle, Looping, Winding, Winding Through, Reverse, Change Through, Run over, Set Off, Cut Off, Pull, Hand Press, Displace, Hanging, Blocking, Barring, Travel out, Grab over, Weak pushing</p>
 
<p>Bind On, Remain, Cut, Strike Around, Travel After, Snap Around, Run Off, Doubling, Leading, Flying, Feeling, Circle, Looping, Winding, Winding Through, Reverse, Change Through, Run over, Set Off, Cut Off, Pull, Hand Press, Displace, Hanging, Blocking, Barring, Travel out, Grab over, Weak pushing</p>
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|-  
| rowspan="2" | [[File:MS A.4º.2 07v.jpg|400px|center]]
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| rowspan="3" | [[File:MS A.4º.2 07v.jpg|400px|center]]
| <p><small>[13]</small> '''From the Four Openings and Divisions'''</p>
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| <p><small>[12]</small> '''From the Four Openings and Divisions'''</p>
  
<p>Firstly will the opponent be divided in two sections, namely left and right, how the lines in the figure above is shown, thereafter in two more divisions namely under and over, the above two openings would be the Ox, to divide the under two, the Plow. Whose use one should thus firstly note, in which division he leads his sword under or above, to the right or the left/ when you have seen that, thus attack against him at once from above, it is about the location, otherwise, take a general example of this:</p>
+
<p>Firstly will the opponent be divided in two sections, namely left and right, how the lines in the figure above is shown, thereafter in two more divisions namely under and over, the above two openings would be the Ox, to divide the under two, the Plow.</p>
 
| {{section|Page:MS A.4º.2 07v.jpg|1|lbl=7v.1}}
 
| {{section|Page:MS A.4º.2 07v.jpg|1|lbl=7v.1}}
 +
 +
|-
 +
| <p><small>[13]</small> Whose use one should thus firstly note, in which division he leads his sword under or above, to the right or the left/ when you have seen that, thus attack against him at once from above, it is about the location, otherwise, take a general example of this:</p>
 +
| {{section|Page:MS A.4º.2 07v.jpg|2|lbl=7v.2}}
  
 
|-  
 
|-  
 
| <p><small>[14]</small> In ''Zufechten'', thus both of you have come together, and you see that he leads his sword to his right in the high opening, in Ox or Wrath Guard, thus attack in to his lower left opening, if not, then it is much more important that you provoke him to meet you. As soon as this clashes, or will, thus pull around your head and strike him high to the opening from which he came. This is namely to his right ear, with the half edge and crossed hands. This is the correct Squinting Cut.</p>
 
| <p><small>[14]</small> In ''Zufechten'', thus both of you have come together, and you see that he leads his sword to his right in the high opening, in Ox or Wrath Guard, thus attack in to his lower left opening, if not, then it is much more important that you provoke him to meet you. As soon as this clashes, or will, thus pull around your head and strike him high to the opening from which he came. This is namely to his right ear, with the half edge and crossed hands. This is the correct Squinting Cut.</p>
 
|  
 
|  
{{section|Page:MS A.4º.2 07v.jpg|2|lbl=7v.2|p=1}} {{section|Page:MS A.4º.2 08r.jpg|1|lbl=8r.1|p=1}}
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{{section|Page:MS A.4º.2 07v.jpg|3|lbl=7v.3|p=1}} {{section|Page:MS A.4º.2 08r.jpg|1|lbl=8r.1|p=1}}
  
 
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|-  
| class="noline" rowspan="2" | [[File:MS A.4º.2 40r.jpg|400px|center]]
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| rowspan="2" | [[File:MS A.4º.2 40r.jpg|400px|center]]
 
| <p><small>[115]</small> '''Over-gripping'''</p>
 
| <p><small>[115]</small> '''Over-gripping'''</p>
  
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|-  
 
|-  
| class="noline" | <p><small>[116]</small> '''A Sword Taking'''</p>
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| <p><small>[116]</small> '''A Sword Taking'''</p>
  
 
<p>Mark when one strongly binds to you on the blade, so remove your left hand from the pommel and grab there with both blades in the middle, and drive with the haft or pommel over besides his both arms. Pull to you, thus must he lose his sword.</p>
 
<p>Mark when one strongly binds to you on the blade, so remove your left hand from the pommel and grab there with both blades in the middle, and drive with the haft or pommel over besides his both arms. Pull to you, thus must he lose his sword.</p>
| class="noline" | {{paget|Page:MS A.4º.2|40v|jpg}}
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| {{paget|Page:MS A.4º.2|40v|jpg}}
  
 
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|-  
| class="noline" |  
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|  
| class="noline" | <p><small>[80]</small> Diligently cut the strikes once or more, one after another always through a line, twice namely once from above and again from below with the short edge, thus with this changing you can break the guards and strikes.</p>
+
| <p><small>[80]</small> Diligently cut the strikes once or more, one after another always through a line, twice namely once from above and again from below with the short edge, thus with this changing you can break the guards and strikes.</p>
| class="noline" |  
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|  
 
{{section|Page:MS A.4º.2 65r.jpg|3|lbl=65r.3|p=1}} {{paget|Page:MS A.4º.2|65v|jpg|p=1}}
 
{{section|Page:MS A.4º.2 65r.jpg|3|lbl=65r.3|p=1}} {{paget|Page:MS A.4º.2|65v|jpg|p=1}}
  
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|-  
| class="noline" |  
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|  
| class="noline" | <p><small>[87]</small> Item: Hold you cloak long and when he cuts at you, thus strike with the cape around his blade and spring to him with striking. Thus you yourself will fight.</p>
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| <p><small>[87]</small> Item: Hold you cloak long and when he cuts at you, thus strike with the cape around his blade and spring to him with striking. Thus you yourself will fight.</p>
| class="noline" | {{section|Page:MS A.4º.2 89v.jpg|3|lbl=89v.3}}
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| {{section|Page:MS A.4º.2 89v.jpg|3|lbl=89v.3}}
  
 
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| class="noline" |  
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| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/13|2|lbl=a4v.1}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/13|2|lbl=a4v.1}}
  
 
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| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/21|3|lbl=b4v.3}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/21|3|lbl=b4v.3}}
  
 
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|-  
| class="noline" |  
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|  
| class="noline" | <p>Such input I have seen fit to make for purposes of clearer understanding, so that with this Book each onward going shall become easier to understand, thus easier to modify, and thus initially to learn, and thus I shall see such Knightly arts grow onward, and will now with the first Letter of this chapter, whose first purpose is to teach usefulness, instruct by moving on to present the Four Targets.</p>
+
| <p>Such input I have seen fit to make for purposes of clearer understanding, so that with this Book each onward going shall become easier to understand, thus easier to modify, and thus initially to learn, and thus I shall see such Knightly arts grow onward, and will now with the first Letter of this chapter, whose first purpose is to teach usefulness, instruct by moving on to present the Four Targets.</p>
| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/25|3|lbl=Ⅰ.2v.3}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/25|3|lbl=Ⅰ.2v.3}}
  
 
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|-  
| class="noline" |  
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|  
| class="noline" | <p>The means to learn what follows from the Stances, Strikes, and Targets is undertaken here more easily, in that these descriptions and presentations are enough for one to flow on.</p>
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| <p>The means to learn what follows from the Stances, Strikes, and Targets is undertaken here more easily, in that these descriptions and presentations are enough for one to flow on.</p>
| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/28|3|lbl=Ⅰ.4r.3}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/28|3|lbl=Ⅰ.4r.3}}
  
 
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|-  
| class="noline" |  
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|  
| class="noline" | <p>The fourth is the Weak, through which Changing, Rushing, Slinging, and similar such will duly be used in fencing, of which in what follows there will be many examples and pieces.</p>
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| <p>The fourth is the Weak, through which Changing, Rushing, Slinging, and similar such will duly be used in fencing, of which in what follows there will be many examples and pieces.</p>
| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/30|6|lbl=Ⅰ.5r.6}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/30|6|lbl=Ⅰ.5r.6}}
  
 
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|-  
| class="noline" |  
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|  
| class="noline" | <p>Now much has been said about this art’s start, namely the pre-fencing against your opponent, which faces off through the Stances to the Strikes. Now the rest of the art will follow and we will move onto other parts, and in due form onto the next chapter, which is Of The Strikes.</p>
+
| <p>Now much has been said about this art’s start, namely the pre-fencing against your opponent, which faces off through the Stances to the Strikes. Now the rest of the art will follow and we will move onto other parts, and in due form onto the next chapter, which is Of The Strikes.</p>
| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/40|4|lbl=Ⅰ.10r.4}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/40|4|lbl=Ⅰ.10r.4}}
  
 
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| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/50|2|lbl=Ⅰ.15r.2}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/50|2|lbl=Ⅰ.15r.2}}
  
 
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<section end="Einlauffen"/>
 
<section end="Einlauffen"/>
 
|-  
 
|-  
| class="noline" |  
+
|  
| class="noline" | <p>What the dear reader heard only up until now, on knowing how to engage your opponent with the strikes, moving also through the middle where you will want to come further in the handwork without damage, is meanwhile however not enough without the third, which will be making a good withdrawal. Thus I will give you proper and clear direction in Withdrawing in the following chapter.</p>
+
| <p>What the dear reader heard only up until now, on knowing how to engage your opponent with the strikes, moving also through the middle where you will want to come further in the handwork without damage, is meanwhile however not enough without the third, which will be making a good withdrawal. Thus I will give you proper and clear direction in Withdrawing in the following chapter.</p>
| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/66|1|lbl=Ⅰ.23r.1}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/66|1|lbl=Ⅰ.23r.1}}
  
 
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| class="noline" |  
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|  
| class="noline" | <p>While you will bring all this with you, in this section you will be instructed on his point, such that enough can and will be retained.</p>
+
| <p>While you will bring all this with you, in this section you will be instructed on his point, such that enough can and will be retained.</p>
| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/67|2|lbl=Ⅰ.23v.2}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/67|2|lbl=Ⅰ.23v.2}}
  
 
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| class="noline" |  
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|  
| class="noline" | <p>The steps are done in three different ways, firstly backward and forward, what these are can’t be clarified much as one namely steps to or from someone. The other ones are the steps to the sides which are delineated through a triangle, namely thus: Stand in a straight line with your right foot before your opponent, and with the left behind the right step toward his left, this is the first. The second which is done double you do thus: Step as before with the right foot against his left, then follow with the left behind the right somewhat to the side to his left, and then again with the right farther to his left. The third type is the broken or stolen steps, these are accomplished thus, stand yourself as if you would step forward with your right foot, but as and when you go low, then step back with it behind the other foot. Since these are the same as described in Rapier, I will thus leave it for now.</p>
+
| <p>The steps are done in three different ways, firstly backward and forward, what these are can’t be clarified much as one namely steps to or from someone. The other ones are the steps to the sides which are delineated through a triangle, namely thus: Stand in a straight line with your right foot before your opponent, and with the left behind the right step toward his left, this is the first. The second which is done double you do thus: Step as before with the right foot against his left, then follow with the left behind the right somewhat to the side to his left, and then again with the right farther to his left. The third type is the broken or stolen steps, these are accomplished thus, stand yourself as if you would step forward with your right foot, but as and when you go low, then step back with it behind the other foot. Since these are the same as described in Rapier, I will thus leave it for now.</p>
| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/68|2|lbl=Ⅰ.24r.2}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/68|2|lbl=Ⅰ.24r.2}}
  
 
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| class="noline" |  
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| class="noline" | <p>The expression “Intus” and what it means I will let remain Latin, however the expression “Indes” (Just As) is a good German expression and has in itself an important meaning to handy application, that one always and quickly take care, as in when you at first slash to the left, to then at the same time observe the opening to the right, then thirdly on to make sure that you attain the observed opening, where or with what actions you want to come unto it, that you don’t then make openings for your opponent and take damage. Thus retain the meaning of “Just As” so that you observe sharply, which can be much observing and undertaking, also seek to learn faking to your opponent sufficiently, since he needs to have senses in his part, and similarly what Openings you will bring, and where you will be open. Then in all these things to which the expression “Just As” has meaning, stands the whole art of fencing (as Liechtenauer said) and where you don’t undertake such to carefully and securely drive all strikes, will you advance lightly to your damage, as then all fencers will observe, which one thus overpowers and (as one said) tops out and nullifies as wanted.</p>
+
| <p>The expression “Intus” and what it means I will let remain Latin, however the expression “Indes” (Just As) is a good German expression and has in itself an important meaning to handy application, that one always and quickly take care, as in when you at first slash to the left, to then at the same time observe the opening to the right, then thirdly on to make sure that you attain the observed opening, where or with what actions you want to come unto it, that you don’t then make openings for your opponent and take damage. Thus retain the meaning of “Just As” so that you observe sharply, which can be much observing and undertaking, also seek to learn faking to your opponent sufficiently, since he needs to have senses in his part, and similarly what Openings you will bring, and where you will be open. Then in all these things to which the expression “Just As” has meaning, stands the whole art of fencing (as Liechtenauer said) and where you don’t undertake such to carefully and securely drive all strikes, will you advance lightly to your damage, as then all fencers will observe, which one thus overpowers and (as one said) tops out and nullifies as wanted.</p>
| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/70|3|lbl=Ⅰ.25r.3}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/70|3|lbl=Ⅰ.25r.3}}
  
 
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| class="noline" |  
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|  
| class="noline" | <p>In the pre-fencing come into the right Changer, pay attention that as soon as his sword shows bearing to strike, then before him nimbly strike through above you, and strike with a Traverse from your right at the same time as his, in the strike step on to his left side, if he drives his strike directly at your head, then hit with your Traverse to his left ear, however mark that he doesn’t strike straight to your head by winding his strike with the long edge against your Traverse in the displacement, thus pull the strike with a long Traverse nimbly to his right ear, step just then with your left foot to his right, now you have attacked out of the change with two traverse strikes to each side over against the other. This you take now from the first part to this attack. Forward you will step on to Middle work, then bring yourself to the other part thus, if he slashes from your sword over to the other side, then move after him with a cut against his arm, hit with the strong of your blade, or with your hilt in a jerk away from you, just as he still threatens from the thrust, and still has not yet reached you, then drive to rush out with crossed arms and slash him with the short edge over his right arm to his head; and so that when he reaches you from the thrust, but where he stops you and sweeps away through displacing, then let your sword fly off again, and traverse to his left ear while you step away with your left foot; or where he doesn’t go off or slash around, but stays with the cut or long edge outward, then loop your sword so that your half edge comes at his, ride his sword thus on your right side, but just then let it clip off into the air, so that your hands come together again crosswise high over your head, to then slash him as before, as he reaches from the ride with the short edge over his head, step back following with the left foot, and strike a high traversing middle strike with the long edge from your right to his half, and just as it glides, then pull off to your right with a high strike. Thus you see now how there’s always one part after the other, the application and ordering through must be conceived and executed together, which makes up an entire part of Fencing. Lastly mark here also that the entire engagement can be completed in two or three strikes, where you rush to engage in the first strike, and with the second strike off again and in this strike commit either to the first or last meeting, which needs to be undertaken correctly, or you will lead on there to a third strike. Namely engage with the first, follow after with a second, but when the proper time such must be shown, that you have something worth saying, then mark how one speaks such that you will learn yourself, after which you will learn all other parts in fencing and here on retain your lessons with diligence.</p>
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| <p>In the pre-fencing come into the right Changer, pay attention that as soon as his sword shows bearing to strike, then before him nimbly strike through above you, and strike with a Traverse from your right at the same time as his, in the strike step on to his left side, if he drives his strike directly at your head, then hit with your Traverse to his left ear, however mark that he doesn’t strike straight to your head by winding his strike with the long edge against your Traverse in the displacement, thus pull the strike with a long Traverse nimbly to his right ear, step just then with your left foot to his right, now you have attacked out of the change with two traverse strikes to each side over against the other. This you take now from the first part to this attack. Forward you will step on to Middle work, then bring yourself to the other part thus, if he slashes from your sword over to the other side, then move after him with a cut against his arm, hit with the strong of your blade, or with your hilt in a jerk away from you, just as he still threatens from the thrust, and still has not yet reached you, then drive to rush out with crossed arms and slash him with the short edge over his right arm to his head; and so that when he reaches you from the thrust, but where he stops you and sweeps away through displacing, then let your sword fly off again, and traverse to his left ear while you step away with your left foot; or where he doesn’t go off or slash around, but stays with the cut or long edge outward, then loop your sword so that your half edge comes at his, ride his sword thus on your right side, but just then let it clip off into the air, so that your hands come together again crosswise high over your head, to then slash him as before, as he reaches from the ride with the short edge over his head, step back following with the left foot, and strike a high traversing middle strike with the long edge from your right to his half, and just as it glides, then pull off to your right with a high strike. Thus you see now how there’s always one part after the other, the application and ordering through must be conceived and executed together, which makes up an entire part of Fencing. Lastly mark here also that the entire engagement can be completed in two or three strikes, where you rush to engage in the first strike, and with the second strike off again and in this strike commit either to the first or last meeting, which needs to be undertaken correctly, or you will lead on there to a third strike. Namely engage with the first, follow after with a second, but when the proper time such must be shown, that you have something worth saying, then mark how one speaks such that you will learn yourself, after which you will learn all other parts in fencing and here on retain your lessons with diligence.</p>
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| class="noline" | <p>Thus you understand that the third part of fencing is nothing other than the right Practice, as was reported above, the first two Lead parts in fencing, which will be taught though Practice, where you change at every opportunity, namely in the first Lead Part with the stances and strikes, flowing off, changing through, flying off, and letting miss. That such strikes can be trapped with displacement and clearing, likewise in the second Lead Part, displacement, teach the Practice of how you displace, follow after him, cut, punch, etc. Therewith you will end the strikes that he sends to you, or at the least prevent them from reaching their intended destination. And that is the sum of all Practice, namely that you firstly engage your opposing fencer through the stances, with manly strikes and without damage to your target, by showing cunning and agile misleading as can be shown, and after you then engage him to break through with the obligatory or similar handwork, from which you either securely withdraw at your pleasure, or where he must retreat from you and you follow ahead after him. Since going forward such Practice will be needed and extended in many arts to be the same both in name and in fencing, as you found fully described before here in the handwork chapter, I will now drive further to describe fencing from the stances.</p>
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| <p>Thus you understand that the third part of fencing is nothing other than the right Practice, as was reported above, the first two Lead parts in fencing, which will be taught though Practice, where you change at every opportunity, namely in the first Lead Part with the stances and strikes, flowing off, changing through, flying off, and letting miss. That such strikes can be trapped with displacement and clearing, likewise in the second Lead Part, displacement, teach the Practice of how you displace, follow after him, cut, punch, etc. Therewith you will end the strikes that he sends to you, or at the least prevent them from reaching their intended destination. And that is the sum of all Practice, namely that you firstly engage your opposing fencer through the stances, with manly strikes and without damage to your target, by showing cunning and agile misleading as can be shown, and after you then engage him to break through with the obligatory or similar handwork, from which you either securely withdraw at your pleasure, or where he must retreat from you and you follow ahead after him. Since going forward such Practice will be needed and extended in many arts to be the same both in name and in fencing, as you found fully described before here in the handwork chapter, I will now drive further to describe fencing from the stances.</p>
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| class="noline" | <p>When he will almost run in at you<br/>Drive him from you with your point,<br/>But if he has run in on you,<br/>With gripping, wrestling, you shall be the first,<br/>Pay heed indeed to forte and foible,<br/>Meanwhile, the openings he makes open,<br/>Also step rightly in the Vor and Nach.<br/>Note diligently the correct time<br/>And do not be quick to be scared.</p>
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| <p>When he will almost run in at you<br/>Drive him from you with your point,<br/>But if he has run in on you,<br/>With gripping, wrestling, you shall be the first,<br/>Pay heed indeed to forte and foible,<br/>Meanwhile, the openings he makes open,<br/>Also step rightly in the Vor and Nach.<br/>Note diligently the correct time<br/>And do not be quick to be scared.</p>
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<p>Drive again through his staff as before, once, twice, and when he makes the slightest mistake, then fall through below his staff, and quickly tear out his staff downward from your right toward your left, and let your staff go around your head, and strike long with one hand. But before I finish with this weapon, I will also run over and go through the others, because without it these three weapons fence from one ground.</p>
 
<p>Drive again through his staff as before, once, twice, and when he makes the slightest mistake, then fall through below his staff, and quickly tear out his staff downward from your right toward your left, and let your staff go around your head, and strike long with one hand. But before I finish with this weapon, I will also run over and go through the others, because without it these three weapons fence from one ground.</p>
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Latest revision as of 21:43, 15 June 2025

Joachim Meyer
Born August(?) 1537
Basel, Germany
Died February 1571 (aged 33)
Schwerin, Germany
Spouse(s) Appolonia Ruhlman
Occupation
Citizenship Strasbourg
Patron
  • Georg Johann Ⅰ
  • Otto von Solms
  • Johann Casimir
  • Johann Albrecht
Movement Freifechter
Influences
Influenced
Genres Fencing manual
Language Early New High German
Notable work(s) Gründtliche Beschreibung der... Kunst des
Fechtens
(1570)
Manuscript(s)
First printed
english edition
Forgeng, 2006
Concordance by Michael Chidester
Translations
Signature Joachim Meyer sig.jpg

Joachim Meyer (〰 16 Aug 1537, † Feb 1571)[1] was a 16th century German cutler, Freifechter, and fencing master. He was the last major figure in the tradition of the German grand master Johannes Liechtenauer, and in the later years of his life he devised at least four distinct fencing manuals. Meyer's writings incorporate both the traditional Germanic technical syllabus and contemporary systems that he encountered in his travels, including Italian rapier fencing. In addition to his fencing practice, Meyer was a Burgher, master cutler, and eventual officer of the local Smith's Guild.[2]

Meyer was born in Basel,[3] where he presumably apprenticed as a cutler. Records show that by 4 June 1560 he had settled in Strasbourg, where he married Appolonia Ruhlman (Ruelman)[4] and was granted the rank of master cutler. His interests had already moved beyond smithing, however, and in 1561, Meyer's petition to the City Council of Strasbourg for the right to hold a Fechtschule was granted. He would repeat this in 1563, 1566, 1567 and 1568;[5] the 1568 petition is the first extant record in which he identifies himself as a fencing master.

Meyer probably wrote his first manuscript (MS Bibl. 2465) in 1561 for Georg Johann Ⅰ, Count Palatine of Veldenz,[6] and his second (MS A.4º.2) some time between 1560 and 1568 for Otto (later Count of Solms-Sonnewalde).[7] Both of these manuscripts contain a series of lessons on training with long sword, dusack, and rapier; the 1561 also covers dagger, polearms, and armored fencing. His third manuscript (MS Var.82), produced in the 1560s, is of a decidedly different nature. Like many fencing manuscripts from the previous century, it is an anthology of treatises by a number of prominent German masters including Sigmund ain Ringeck, pseudo-Peter von Danzig, and Martin Syber, and also includes a brief outline by Meyer himself on a system of rapier fencing based on German Messer teachings and the teachings of Stephen Heinrich, Count of Eberstein.

Finally, on 24 February 1570, Meyer completed an enormous treatise entitled Gründtliche Beschreibung, der freyen Ritterlichen unnd Adelichen kunst des Fechtens, in allerley gebreuchlichen Wehren, mit vil schönen und nützlichen Figuren gezieret und fürgestellet ("A Foundational Description of the Free, Chivalric, and Noble Art of Fencing, Showing Various Customary Defenses, Affected and Put Forth with Many Handsome and Useful Drawings"); it was dedicated to Johann Casimir, Count Palatine of Simmern,[6] and illustrated at the workshop of Hans Christoff Stimmer. It contains all of the weapons of the 1561 and '68 manuscripts apart from fencing in armor, and dramatically expands his teachings on each.

Unfortunately, Meyer's writing and publication efforts incurred significant debts (about 300 crowns), which Meyer pledged to repay by Christmas of 1571.[4] Late in 1570, Meyer accepted the position of Fechtmeister to Duke Johann Albrecht of Mecklenburg at his court in Schwerin. There Meyer hoped to sell his book for a better price than was offered locally (30 florins). Meyer sent his books ahead to Schwerin, and left from Strasbourg on 4 January 1571 after receiving his pay. He traveled the 800 miles to Schwerin in the middle of a harsh winter, arriving at the court on 10 February 1571. Two weeks later, on 24 February, Joachim Meyer died. The cause of his death is unknown, possibly disease or pneumonia.[5]

Antoni Rulman, Appolonia’s brother, became her legal guardian after Joachim’s death. On 15 May 1571, he had a letter written by the secretary of the Strasbourg city chamber and sent to the Duke of Mecklenburg stating that Antoni was now the widow Meyer’s guardian; it politely reminded the Duke who Joachim Meyer was, Meyer’s publishing efforts and considerable debt, requested that the Duke send Meyer’s personal affects and his books to Appolonia, and attempted to sell some (if not all) of the books to the Duke.[4]

Appolonia remarried in April 1572 to another cutler named Hans Kuele, bestowing upon him the status of Burgher and Meyer's substantial debts. Joachim Meyer and Hans Kuele are both mentioned in the minutes of Cutlers' Guild archives; Kuele may have made an impression if we can judge that fact by the number of times he is mentioned. It is believed that Appolonia and either her husband or her brother were involved with the second printing of his book in 1600. According to other sources, it was reprinted yet again in 1610 and in 1660.[8][9]

Contents

Treatises

Joachim Meyer's writings are preserved in three manuscripts prepared in the 1560s: the 1561 MS Bibl. 2465 (Munich), dedicated to Georg Johannes von Veldenz; the 1563-68 MS A.4º.2 (Lund), dedicated to Otto von Solms; and the MS Var. 82 (Rostock), which includes notes on the teachings of Stephan Heinrich von Eberstein and which Meyer may have still been working at the time of his death in 1571. The former two manuscripts are substantially similar in text and organization, and it seems clear that the Munich was the basis for the much shorter Lund.

Dwarfing these works is the massive book he published in 1570 entitled Gründtliche Beschreibung der ...Kunst des Fechtens ("A Foundational Description of the... Art of Fencing"), dedicated to Johann Kasimir von Pfalz-Simmern. Meyer's writings purport to teach the entire art of fencing, something that he claimed had never been done before, and encompass a wide variety of teachings from disparate sources and traditions. To achieve this goal, Meyer seems to have constructed his treatises as a series of progressive lessons, describing a process for learning to fence rather than merely outlining the underlying theory or listing the techniques. In keeping with this, he illustrates his techniques with depictions of fencers in courtyards using training weapons such as two-handed foils, wooden dusacks, and rapiers with ball tips.

The first section of Meyer's teachings is devoted to the long sword (the sword in two hands), the traditional centerpiece of the Liechtenauer tradition which Meyer describes as the foundational weapon of his system, and this section devotes the most space to fundamentals like stance and footwork. His long sword system draws upon the teachings of Freifechter Andre Paurenfeyndt (via Christian Egenolff's reprint) and Liechtenauer glossators Sigmund ain Ringeck and Lew, as well as using terminology otherwise unique to the brief Recital of Martin Syber. Not content merely to compile these teachings as his contemporary Paulus Hector Mair was doing, Meyer sought to update—even reinvent—them in various ways to fit the martial climate of the late sixteenth century, including adapting many techniques to accommodate the increased weight and momentum of a greatsword and modifying others to use beats with the flat and winding slices in place of thrusts to comply with street-fighting laws in German cities (and the rules of the Fechtschule).

The second section is designed to address newer weapons gaining traction in German lands, the dusack and the rapier, and thereby find places for them in the German tradition. His early Munich and Lund manuscripts present a more summarized syllabus of techniques for these weapons, while his printed book goes into greater depth and is structured more in the fashion of lesson plans.[10] Meyer's dusack system, designed for the broad-bladed sabers that spread into German lands from Eastern Europe in the 16th century,[11] combines the old Messer teachings of Johannes Lecküchner and the dusack teachings of Andre Paurenfeyndt with other unknown systems (some have speculated that they might include early Polish or Hungarian saber systems). His rapier system, designed for the lighter single-hand swords spreading north from Iberian and Italian lands, seems again to be a hybrid creation, integrating both the core teachings of the 15th century thrust-centruc Liechtenauer tradition as well as components that are characteristic of the various regional Mediterranean fencing systems (including, perhaps, teachings derived from the treatise of Achille Marozzo). Interestingly, Meyer's rapier teachings in the Rostock seem to represent an attempt to unify these two weapon systems, outlining a method for rapier fencing that includes key elements of his dusack teachings; it is unclear why this method did not appear in his book, but given the dates it may be that they represent his final musings on the weapon, written in the time between the completion of his book in 1570 and his death a year later.

The third section is omitted from the Lund manuscript but present in the Munich and the 1570, and covers dagger, wrestling, and various pole weapons; to this, the Munich adds a short section on armored fencing. His dagger teachings, designed primarily for urban self-defense, seem to be based in part on the writings of Bolognese master Achille Marozzo,[12] but also include much unique content of unknown origin (perhaps the anonymous dagger teachings in his Rostock manuscript). His staff material makes up the bulk of this section, beginning with the short staff, which, like Paurenfeyndt, he uses as a training tool for various pole weapons (and possibly also the greatsword), and then moving on to the halberd before ending with the long staff (representing the pike). As with the dagger, the sources Meyer based his staff teachings on are largely unknown.

To view the sword, dusack, and rapier teachings of the Munich and Lund manuscripts side-by-side and study the overlaps and differences, see Joachim Meyer/Manuscript Comparison.

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Additional Resources

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

References

  1. For Meyer's baptism, see Liam Clark, Joachim Meyer's Family Revealed, Evergreen Fencing, 2024. Meyer's death was reported to Johann Albrecht von Mecklenburg on 24 Feb, so it likely occured a few days prior to that; see Olivier Dupuis, "Joachim Meyer, escrimeur libre, bourgeois de Strasbourg (1537 ? - 1571)", Maîtres et techniques de combat, Dijon: AEDEH, 2006.
  2. Naumann, Robert. Serapeum. Vol. 5. T.O. Weigel, 1844. pp 53-59.
  3. According to his wedding certificate.
  4. Jump up to: 4.0 4.1 4.2 Olivier Dupuis, "Joachim Meyer, escrimeur libre, bourgeois de Strasbourg (1537 ? - 1571)", Maîtres et techniques de combat, Dijon: AEDEH, 2006.
  5. Jump up to: 5.0 5.1 Van Slambrouck, Christopher. "The Life and Work of Joachim Meyer". Meyer Frei Fechter Guild, 2010. Retrieved 29 January 2010.
  6. Jump up to: 6.0 6.1 Though as a prince of the Wittelsbach dynasty, he was addressed by the loftiest titles held by the family: Count Palatine of the Rhine and Duke of Bavaria.
  7. Norling, Roger. "The history of Joachim Meyer’s fencing treatise to Otto von Solms". Hroarr.com, 2012. Retrieved 14 February 2015.
  8. Schaer, Alfred. Die altdeutschen fechter und spielleute: Ein beitrag zur deutschen culturgeschichte. K.J. Trübner, 1901. p 76.
  9. Pollock, W. H., Grove, F. C., and Prévost, C. Fencing. London and Bombay: Longmans, Green, and co, 1897. pp 267-268.
  10. Roberts, James. "System vs Syllabus: Meyer’s 1560 and 1570 sidesword texts". Hroarr.com, 2014. Retrieved 14 February 2015.
  11. Roger Norling. "The Dussack - a weapon of war". Hroarr.com, 2012. Retrieved 6 October 2015.
  12. Norling, Roger. "Meyer and Marozzo dagger comparison". Hroarr.com, 2012. Retrieved 15 February 2015.
  13. Up to this point, the text matches the Lund manuscript, folia 6r to 7r.
  14. Note: this translation could be interpreted to mean “so that your half edge slides downward [presumably on his blade], hitting his right shoulder”. Meyer used the words mit Glitschen = to slither, to slide, to glide, to move with sliding.
  15. A number in the margin refers to the illustration in page number 13.
  16. The text starts matching the Lund manuscript again here (beginning on folio 7v), continuing until the Figures.
  17. Note: The Lund also mentions “the figure above” yet that figure does not appear in the Lund! Here it does, and it could be a representation of Meyer himself?
  18. The "l" appears to be written over another letter, perhaps a "b".
  19. Note: here I have included this line for clarity from Dr. Forgeng’s 1568 Lund translation: “Therefore every fighter shall know as has been said above, for when two good fighters come together, whoever thinks quicker triumphs quicker.”
  20. Note: the image shows the opponent on the left in Barrier Guard with point to the ground, hence Meyer’s advice to “take his blade away from the ground”.
  21. Jump up to: 21.0 21.1 21.2 21.3 Torn page on left.
  22. Jump up to: 22.0 22.1 Torn page on right.
  23. To help illuminate the connections to Liechtenauer's teachings, I've added the verse numbers used in the Johannes Liechtenauer article and the various glosses to Kevin's translation. I've also added a few footnotes, and included my initials to distinguish them from Kevin's notes. Note all the verses in this section are found in Christian Egenolff's 1531 edition of Andre Paurenfeyndt's treatise—except the "First Rhyme", verses 17-20. ~Michael Chidester
  24. Note: the interpretation here is a generalized summary found in the 1570 at Ⅰ.45v—46r
  25. These two lines are a paraphrase of verse 77 of Liechtenauer's Zedel. ~MCC
  26. This rhyming section is reminiscent of the eight-line Indes poem found in several of the 15th century glosses (despite not being part of Liechtenauer's Zedel), but only the last two lines are the same. ~MCC
  27. This rhyme found in Egenolph's 1531 Frankfurt edition of Pauernfeindt, page 4v.
  28. Unclear.
  29. This rhyme found in Egenolph's 1531 Frankfurt edition of Pauernfeindt, page 7r.
  30. Note: gesechen = may be gesehen ENHG
  31. Unclear.
  32. This is a reference to Liechtenauer verses 56 and 79. ~MCC
  33. Liechtenauer verse 57. ~MCC
  34. This is the fourth of Paurnfeyndt's Twelve Rules for the Beginner Fencer, found on page 4r of Egenolff 1531. This is particularly odd because the first line comes from Egenolff, but the second line seems to be from Liechtenauer verse 11, which the rule was based on. The version in the fourth rule is Der darff sich kunst nit frewen. ~MCC
  35. The above text appears somewhat synonymous with pages 44-45 of the Lund Dussack section, except that in the Lund Meyer says there are 12 cuts and yet here he says there are 16.
  36. This text also appears in the Lund pg 45, yet there Meyer gave an alternate name to the Watch guard as Luginslandt, here he does not mention Luginslandt. Additionally, Meyer does not include the Blind Cut in the Lund, yet here he does and it also appears in 1570 Dussack. In addition, here Meyer names the Slice and the Bow as guards. Yet in the 1560 he lists them with the guards but says they are the two parrys. Here he gives a separate paragraph about these two.
  37. Above text also appears in Lund 47v.1.
  38. The translation for this paragraph is incomplete. The missing part says something like "thus trap his hand as is drawn here, step behind him, and". ~MCC
  39. Lund 57v.1 Zornhau.
  40. The first paragraph “A good attack from the Steer” is synonymous in the 1560 57v.2. Last two paragraphs here are not found there.
  41. Unclear.
  42. Found in Lund 60v.1.
  43. Abrauschen = to shoot off.
  44. The second rule omits this sentence found in the Lund, “so that your Dussack comes onto your left shoulder”, and rather Meyer says here, “lift simultaneously your body together with the Dussack to your left side”. Then the Lund synonymously says “turn your body well after your Dussack upon your left side”.
  45. These two paragraphs found in Lund 61v.1 and 62r.1; with above noted differences.
  46. The 4th rule and other paragraph synonymous with Lund 62r.2, 62r.3
  47. The Counter to the Bow is synonymous with Lund 62v.1, except that here Meyer added the target of striking besides his parry to the face, ad also changed last line to read: “This technique often works as has been shown previously in the Bow”, while in the Lund he says “This technique often works as has been shown previously in the Bow and Change.” So he omitted the word Wechsel or Changer here.
  48. It refers to the picture set at the page with the number 31.
  49. Found in Lund 63r.1 63r.2 63r.3.
  50. Above paragraph “Breaking in over the Bow” is found in Lund 63v.1. Here Meyer added schenkel (thigh), also he added another line to the next; “zum gesicht das dein versatzung hoch pleibt” The third paragraph here is not found in the Lund.
  51. First paragraph here found as last and separate para in 63v.1 Lund. Meyer changed words here on the last line of the second paragraph from hand to haft, “so that your haft remains high”.
  52. Durcken Zug = this may mean Turkish Cut. A slice using a drawing motion, usually with a curved blade.
  53. Kniebugen = crook of knee, bend of knee.
  54. These descriptions differ in wording from the Lund.
  55. Apicem id from Latin: Apex Cut or a Scalp Cut; as also used in the Lund.
  56. Possible translation of anckell: “back of head”, as the image clearly shows a strike there.
  57. Curious typographical sign.
  58. Note: The first paragraph of Two Constrainers appears in Lund 55v.1, but it does not include second paragraph found here from left steer.
  59. This paragraph is from Lund 56r.1, but is titled there: "a Good Stuck from the Constrainer"; here Meyer calls it an “Example”.
  60. The Rose Cut's first paragraph above is found in the Lund 56r.2, but the 2nd paragraph here is not found in Lund.
  61. Feler hau description here is mostly synonymous with the Lund 50r.1, but here Meyer ends with “how it is reported in the Boch hau”, which is not found in the Lund.
  62. Synonymous with Lund 56v.3.
  63. Synonymous with Lund 57r.1.
  64. Synonymous with Lund 57r.2.
  65. Unclear.
  66. Arbeit im einlauffen from Lund 60r.2; last 3 lines do not appear in Lund. Item etc.
  67. The isolated “s” seems a mistake and not the beginning of an unfinished word.
  68. The Drivings also appear in Lund 64v.1 – 65r.1.
  69. Note this line is missing from 6th driving here, but found in Lund 65r.1: sonderlich einem starcken zum schlachtschwert, "particularly for someone who is strong with a Battlesword".
  70. Note: The handwriting appears closer together with less spacing between sentences and words, so that maybe the author had a lot to share and yet was bound to limit the page space used? Appears Crammed together more.
  71. Unclear.
  72. Unclear.
  73. This paragraph here is from Lund 76v.1.
  74. These paragraphs found in Lund 77v.1 and 78v.1. These paragraphs found in Lund Rapier prior to this poem: Drei Lauffende Stich auss dem linken Pflug von einer seitten.
  75. Paragraph found in Lund 78v.2.
  76. From Lund 79r.1.
  77. Unclear.
  78. Gleich einer Rinder = like a Rinde or Looping technique.
  79. Found in Lund 81v.2, 82r.1, and 82r.2; changed Last line of first para 81v.2, added “den undern in obern”, the lower into the upper. 82r.1 paragraph title ox and plow different: den ochsen und pflug ineinander stechen to new Den ochsen und pflug zusamen stechen. The Ox and Plow thrusting into one another, changed to Thrusting the Ox and Plow together.
  80. This paragraph found in Lund pg 81 but without para title as above and no image. Angehest changed to mogest; several other changes with word additions. Part of paragraph titled: A Deceiving.
  81. Jump up to: 81.0 81.1 81.2 81.3 81.4 81.5 81.6 Section of translation missing. ~MCC
  82. Handwriting appears to change here, first use of umlauted a and also the lower case g are different here, overall may be a new penman. Definitely a different person's handwriting!
  83. Second and third paragraphs here are from Lund 72v.1, 72v.2 and titled there as Change.
  84. Note: This is found in Lund 73v.3.
  85. Sprungsweise translates to “by leaping” “by skipping” drei schrit = 3 steps.
  86. In the last Stuck, Meyer actually gives units of measurement i.e., 3 schrit, a shritt is an obsolete unit of measurement roughly equal to 75 cm or 29.5 inches, so that 3 schritt would equal roughly 90 inches or 7.5 feet. Meyer also uses 2 shoe lengths, and then actually uses the word Klaffter which was: “derived from the span of a man's outstretched arms and was traditionally about 1.80 meters or 5.9 feet” (Wikipedia).
  87. Unclear.
  88. Unclear.
  89. Kelen = throat, Ancken = back of neck/head.
  90. Uchsen = armpit (grimms), Koll = Head.
  91. Ancken = back of head/neck.
  92. Offenern Schulen- this word is synonymous with the Fechtschulen, “Offenen” basically means public or Open schools. See Wassmansdorff, many original examples.
  93. Genick=neck, fingerlössen=finger severing, Mauss=ball of the hand below thumb.. Schlöff=may be Swiss variation of schläfe or temple.
  94. Ceci fait suite à la page de gauche
  95. Jump up to: 95.0 95.1 95.2 orig. dolchen; all instances of "dagger" in this document are dolchen excepy when footnoted.
  96. orig. ararmschirleinn
  97. orig. stichen, "thrust"/"stab" (context dependent); instances of stabbing that use other verbs will be footnoted.
  98. orig. Armschiene - seemingly a part of the armour
  99. orig. geordinirtt
  100. orig. schießen; see here
  101. orig. findt
  102. orig. spis
  103. orig. schwertt
  104. orig. sebell
  105. Jump up to: 105.0 105.1 orig. kempff degen; it can mean either “combat sword” or “combat dagger” (Source 1, Source 2). See here for a painting with kempffdegen in its caption
  106. Jump up to: 106.0 106.1 orig. Anngreiffen; "attacking" or "grappling"; cf. angreifen
  107. orig. zimlich
  108. alt. "endure"
  109. Ittem has many potential meanings: "further", "likewise", "the same as", and also simply as a means of 'bullet-pointing' numerous items. I've found that "likewise" works as an apt translation most of the time, but for clarity I will leave it untranslated. See this article.
  110. orig. noch eines Idenn woll gefalen
  111. orig. Reren; cf. Rohre/Röhre
  112. orig. lest
  113. orig. Schranckenn
  114. orig. dringen/thringen; refers to pressing one's point into an opponent['s armour/mail], cf. modern sense of "pushing through a crowd". See this glossary for more information
  115. orig. donerschlag; a strike with the hilt of the longsword while holding the blade
  116. orig. vnnd las Inn vorverthobenn; messy ink makes it difficult to transcribe; possible alt. "and read above beforehand"
  117. A blunt strike, as opposed to a cut or slice. See here.
  118. orig. versezen; alt. "parrying"
  119. Unclear.
  120. orig. ansezen; most likely means "pinned", "planted" (in the sense of placing your weapon or hand against an opponent, in a grappling sense); alt. "attacking" (cf. modern ansetzen). See this glossary for more information
  121. orig. erlang
  122. see nachreissen
  123. Jump up to: 123.0 123.1 123.2 123.3 123.4 123.5 123.6 orig. stehenn; often coupled with ansezen in this section; alt. "stand against"
  124. orig. uchsen
  125. orig. Gelenck. Refers to joints in armour, but also body parts - in the context of armoured fencing, it is most likely referring to the joints in the armour
  126. orig. greifest
  127. Jump up to: 127.0 127.1 127.2 127.3 orig. brich
  128. orig. anbrichen
  129. Jump up to: 129.00 129.01 129.02 129.03 129.04 129.05 129.06 129.07 129.08 129.09 129.10 129.11 orig. stos
  130. orig. goch
  131. Jump up to: 131.0 131.1 131.2 131.3 131.4 131.5 131.6 orig. schlag
  132. Jump up to: 132.0 132.1 132.2 see absetzen
  133. orig. drissel; cf. thrissel
  134. orig. schlag dein beidt vnder dein Recht achsell. From interpretation, the word schlag here doesn't make much sense: it's possible that beidt was intended to be said or written as bindt, as in "put your grip under your right shoulder".
  135. orig. Achsell
  136. Jump up to: 136.0 136.1 see Ringen
  137. Jump up to: 137.0 137.1 see arbeiten
  138. Jump up to: 138.0 138.1 138.2 138.3 138.4 138.5 orig. streich, cf. schlag
  139. Jump up to: 139.0 139.1 139.2 139.3 139.4 139.5 139.6 139.7 orig. inndes
  140. alt. "attacks"
  141. orig. last Er dür die seitten
  142. Jump up to: 142.0 142.1 orig. Ring; alt. lists
  143. orig. vergesezsten
  144. Jump up to: 144.0 144.1 144.2 see abzucken
  145. orig. fies
  146. Jump up to: 146.0 146.1 see gleich
  147. unclear transcription; possibly nim, ergo "take the weight"
  148. Unclear.
  149. orig. zwerchs
  150. Jump up to: 150.0 150.1 orig. degen; see kempffdegen
  151. orig. hawen. A cut or slice, as opposed to a blunt strike. See see here.
  152. Jump up to: 152.0 152.1 152.2 orig. bickell; most likely referring to the artificial, "mason's hammer", pickaxe shape of the crossguard in armoured fencing
  153. orig. klos
  154. orig. Stuck
  155. orig. knefftiglich, interpreted as krefftiglich
  156. orig. verfelen - described earlier in 1561 as a feint whereby you wait for your opponent to react to a strike, then change the direction of the strike
  157. orig. entgehenn
  158. orig. faren/auffaren; cf. fahren
  159. originally transcribed as knefftiglich, but krefftiglich (lit. "powerfully") seems more likely, in my opinion
  160. orig. gerecht; possible mistranscription/misspelling of gemecht, lit. "groin" or "genitals"
  161. Jump up to: 161.0 161.1 161.2 orig. las dein bindt fahren, lit. "let your grip drive"; alt. "release your grip and drive"
  162. Possibly "hauberk"(?).
  163. Jump up to: 163.0 163.1 orig. ausnemen; alt. "take out [the blade with a parry]"; "deflect"(?)
  164. orig. verzoblen; cf. verzögern
  165. lit. oben hutt; contrast Oberhutt
  166. orig. heutt; possible verb form of hutt
  167. orig. überwegest
  168. Jump up to: 168.0 168.1 orig. schlagen. Probably means "place" in this context.
  169. orig. sez; no accompanying adposition but I assume he means ansezen
  170. listen
  171. orig. Bundtschlag, lit. "grip strike"
  172. orig. fertt
  173. orig. wie nechst
  174. orig. oder Aber fus gesicht, lit. or but foot face, possible alt. "or his foot or face"
  175. orig. wendt
  176. orig. Reüb
  177. orig. geschmidt, lit. smithed. Possibly misspelling of Geschmeidt, which means "jewellery" - perhaps slang for gemecht ("genitals)".
  178. orig. steßen
  179. orig. abgewünnen
  180. Note that he uses the word degen but seems to refer to the aforementioned "threefold" dagger, which he referred to using the word dolchen.
  181. orig. feder
  182. orig. spietzen
  183. Reference in the left margin to picture on page 61.
  184. orig. auf dz schlos am Rucken; alt. "clasp of the back"
  185. orig. Wappenrock
  186. Unclear whether die refers to the dagger or the heart, here
  187. orig. kurz halbenn; alt. "short edge"
  188. orig. concordiren
  189. This word overwrites an initial die.
  190. The first 10 lines of this paragraph are shorter of 30% than the last four, as if there is a left place here for a picture or a diagram.
  191. After this word the two words es fert were cancelled.
  192. The second letter looks a bit like a “b” but it is nonsense. It can be also considered like a small capital “e”.
  193. The first letter corrected from “w” by cancelling the first bow of the letter.
  194. The first letter could also read as an “l", but “b” seems more probable here.
  195. The first letter corrected from “b” by overwriting.
  196. The ink is a bit blurred, particularly in the beginning of the word which results in an ambiguous reading; stucken would be more plausible in this context but does not fit with the appearance of the first couple of letters at all.
  197. The writer first wrote hawst but the “s” has been cancelled afterwards.
  198. Recte: und.
  199. The writer first wrote arms but the final “s” has been cancelled afterwards.
  200. The letter “s” has ben cancelled just before the word den.
  201. Above the letter “i” a large circle is drawn as it is used to mark the letter “u”.
  202. Doubling of the word seitten, considered as a mistake and corrected here as the first finished a line.
  203. Setzen has been written afterwards just under ver- and looks like a catchword; however, the following page does not start with the same word. It could be a mistake of the scribe.
  204. An abbreviation sign at the end of the word tends to signify that it should be expanded to hawen, but it has been cancelled.
  205. The “h” is writen above a “e”.
  206. Unclear reading. The word has been corrected, possibly from zu, which, however, cannot be definitely affirmed.
  207. The words und oder after this word are cancelled.
  208. At this place is a sign that commonly indicates a line break or an end of a paragraph. Here, however, the following text continues in the same line.
  209. The first letter appears to be a cancelled “t”; however the reading remains ambiguous.
  210. The end of this word, sicht is inserted below the line at the right, like a catchword. However, the following written page, fol. 23r, does not start with the same word. Could be a mistake by the scribe or a clue for a missing page.
  211. After this word a large circle is drawn and its only meaning seems to complete the line to the right and avoid a big default in the right alignment.
  212. The letter “d” is cancelled just before the “b” of this word.
  213. The initial letter “b” is written above another letter, maybe a “g”.
  214. This first two letters are written above the letter “k”.
  215. A letter “b” or “l” has been written after this word but has ben cancelled.
  216. The first letter seems to superscribe an initial “I”.
  217. The writer firstly wrote an “m” as a final letter and subsequently cancelled the last leg to get an “n”.
  218. The final letter “t” is written above the line, in replacement for a previously cancelled letter.
  219. This word is written above a previous one, which is unreadable now.
  220. The first letters are difficult to make out due to a (water?) damage.
  221. The first letter of this word has been written above another, now illegible one.
  222. A letter “h” was written in the second position to begin with but cancelled afterwards.
  223. The first letter is curiously composed, but seems to have been readen as a "v".
  224. The second letter has been canceled and corrected by "o" above the line.
  225. The original text is derholhalben derhalben, which seems to be an unnecessary repetition.
  226. Doubling of the word handt, a probable mistake as the first is written a the end of the line. Same mistake as 17r.
  227. Doubling of the words den andern, probable mistake, only it is conserved here.
  228. A lone letter "h" is writen here, perhaps a beginning for “hew”, which was finally written after the digit “4”. Corrected in this edition.
  229. This sentence can be found in the printed book: « und merck wann du zur rechten undern Blöß schlechst, es sey flech, lang oder kurtz » (plate XXIXv from the 1570 edition)
  230. The third letter “h” was cancelled by overwriting it with an “l”.
  231. The letter “a” is crossed out in the beginning of the word.
  232. The first letter was first written in lower case but was corrected with an upper-case letter.
  233. Unclear reading. It appears as if the scribe first intended to write “halber” but noticed his error in the middle of the word. The reverse may be true also.
  234. The "R." has been inserted at the end of the line afterwards.
  235. Right of this place a large blank space remains until the end of the line.
  236. The written put a "n" between sch and enckel and canceled it.
  237. Linck and seitten are reversed in the manuscript but superscribed with “1” and “2” respectively in order to indicate the correct order.
  238. Corrected from Im, the first stroke of the “m” has been cancelled.
  239. Spitz uber- is clearly copied twice, this is probably an eye-skip.
  240. Correction done on sticht by canceling the last letter.
  241. This entire paragraph is justified on the right by a vertical line, unique in the manuscript.
  242. Corrected on Ⅲ.47v.
  243. Corrected on Ⅲ.47v.
  244. The "st" ligature is inverted.
  245. Typo, should be "wolt, könne".
  246. Originally printed "abzutzest", but corrected on Ⅲ.47v.
  247. Originally printed "verhauren", but corrected on Ⅲ.47v.
  248. The "t" is inverted.
  249. Ⅲ.47v indicates that this was printed "erbangen" and needed to be corrected to "erlangen", but that's not true in any copy available for consult.
  250. Originally printed "mim", but corrected on Ⅲ.47v.
  251. Originally printed "Higur", but corrected on Ⅲ.47v.
  252. Originally printed "Fellen", but corrected on Ⅲ.47v.
  253. Originally printed "gem" (with an inverted g), but corrected on Ⅲ.47v.
  254. Originally printed "allo", but corrected on Ⅲ.47v.
  255. Originally printed "Atm", but corrected on Ⅲ.47v.
  256. The first 't' is inverted.
  257. Terminal 'e' is inverted.
  258. Originally printed "bleiden", but corrected on Ⅲ.47v.
  259. Originally printed "klnie", but corrected on Ⅲ.47v.
  260. Originally printed "duch", but corrected on Ⅲ.47v.
  261. The second "e" is inverted.
  262. Originally printed "fein", but corrected on Ⅲ.47v.
  263. Originally printed "behendig ich", but corrected on Ⅲ.47v.
  264. Misnumbered 87r.
  265. Jump up to: 265.00 265.01 265.02 265.03 265.04 265.05 265.06 265.07 265.08 265.09 265.10 265.11 265.12 265.13 265.14 265.15 265.16 265.17 265.18 265.19 265.20 265.21 265.22 265.23 265.24 265.25 265.26 265.27 265.28 265.29 265.30 265.31 indes
  266. palm up
  267. Illegible deletion.
  268. oberhauw
  269. ‘right’ is originally written, ‘left’ is written above it
  270. short edge
  271. “Degen”, lit. dagger, could either refer to a sword or dagger.
  272. short edge
  273. Unleserliche Streichung. Illegible deletion.
  274. Unleserliche gestrichen Einfügung oberhalb der Zeile. Crossed out illegible insertion above the line.
  275. Die Schlaufe des »h« trägt ein Diärese. The loop of the “h” carries a diaeresis.
  276. Korrigiert aus »mitelhauw«. Corrected from “mitelhauw”.
  277. Leicht unleserlich. Slightly illegible.
  278. Überschriebens »vom«. Overwritten “vom”.
  279. Inserted by means of a special mark.
  280. Word inserted next to the text.
  281. Inserted nest to the text.
  282. Zwei Worte am Seitenrand nachgetragen. Two words inserted at the margin.
  283. Wort am Seitenrand nachgetragen. Word inserted at the margin.