Jörg Wilhalm/Image comparison

Draft Translation by Stephen Cheney	Archetype (1523)	Munich Version I (1523)	Glasgow Version (1533)	Munich Version II (1556)	Wolfenbüttel Version I (1588)
[2] Whoever wants to hew upon you, you shall parry it with joy, and when you have parried, thus all of his hews are destroyed. The two both stand to the right in the over hew If you want to behold the art, then to left and right with hews and left with right is what you strongly desire to fence. Whoever goes after with hews allow their art little joy. Hew nearing what you want, no change-through comes to your shield. To head, to body, don’t abandon the fencing, with the whole body fence, what you desire to drive strongly, hereafter what you strike crisply on.
[3] The two both stand on the left in the over hew Don’t fence above on the left if you are right handed, and if you are left handed and in the right also severely hindered. Before and after, the two things are the origin of all art. Weak and strong, indes, wait, with that note your work. Thus may you learn your work with art, and whoever frightens easily, he shall not learn to be a fencer.			600px	600px
[4] He stands in the over hew This is the wrath hew from the right shoulder This is about the wrath hew. Whoever hews you from above, take the wrath hew strong on your shoulder and hew in straight, over the parry, and hang and wind with the sword as if you want to thwart, and allow to drop to both sides with half failers and hit him with the long edge to the right ear to the head away.			600px	600px
[5] He stands in the over hew This is the wrath hew from the left shoulder This is the wrath hew on the left side, and take the same from the left shoulder and hew him quickly in long to the head and hang and wind with it, and again use the failers, and hit yet again as stands written before and behind.			600px	600px
[6] This is the wrath point He stands in the over hew This is the direction, and note: whoever hews you from above, that you penetrate him with the wrath point and if he becomes aware, then take it away above without risk, and be strong here again, wind, hew, and stab, if he sees it, then take it low. Note this precisely: hew, stab, weak and strong and take it with half failers, but hit in as before and behind.			600px	600px
[7] He stands in the over hew This is the other wrath point. This is the other wrath point on the other side, take it also thusly: If they indeed both wrath hew from the shoulder, and one must make a stab from a hew, and the hew must be thrown, and take that also quickly away like the above.			600px	600px
[8] Here, fences to the war The two stand in the war This is the direction about the war: Whoever’s war aims above, he will be shamed from above low. Indes, before and after, don’t be quick to your war, understand this in all things if you want to make the war. Gloss note.			600px	600px
[9] This play is in the war This is also about the war, and should also know that in all windings, hew and stab swords, run-over sword, wind out in all exchanges if you want to fool the masters because there are very many breaks about them and also to them, realize how one bares with the war. Gloss note.			600px	600px
[10] This is an outer winding and break from the war This is another play from the war and a break of the previous play, and is an outer winding that goes: hew or stab, find slices well. You shall also hew, stab, slice below with need in all exchanges if you want to fool the master.			600px	600px
[11] This is also about the war This is also about the war: squint to the point and take the neck without apprehension. You shall also turn crooked and search to and on and test his techniques, whether he is soft or hard in his technique. Gloss note.			600px	600px
[12] This is also about the war This is about the war. The direction: Whoever rightly fights one with the sword near the neck, he must turn with a winding through and wind again. That goes well weak and strong below and turn your sword at the neck and jerk the left foot behind you and slice him or the neck. Gloss note.			600px	600px
[13] Those are points in the war Those are the false points in the war. They go forth earnestly, because why they pertain to many passages, in addition, windings below through or wind nimbly above to the top and throw the point onto the hands and invert forcing run through also if you want to wrestle.			600px	600px
[14] This is also about the war This is the war when you strike someone to the right side, then the other takes the war and needs no more from you than to parry your opening with the long edge and thus he shoots to you with the sword above over, and do as you see it pictured.				600px
[15] This is also about the war, a sword taking Gloss note: This is a sword taking and goes from the war, which one takes very slightly away, so that there are yet very many good plays which pertain to the war, and is many things of the war, and therefore you should note very many things.			600px	600px	Page:Cod.Guelf.38.21 Aug.2º|021v.jpg|600px|center]]
[16] Here, fencing to the four openings Those are two openings Here fence to the openings to the head and also to the side. Know to aim for the four openings, thus you will hit wisely without fear, without all doubt how he bares, you will be well aware of that. Also, it comes after at the end hereafter how you shall break the four openings. Gloss note.			600px	600px
[17] Those are also two openings Those are the other two openings to the other side, therefore deceive and note on as the whole, and whoever takes the openings below, they will be shamed above near the ears. Gloss note weak and strong.			600px	600px
[18] This is the crooked hew on the right side change He stands in the over hew This is about the crooked hew, the direction: Crook on nimbly, throw the point upon the hands. Hew crooked to the flats if you want to weaken the masters. Don’t hew crooked, hew short, with it show your change through, or use if you want to wrestle, and step to him in the triangle. Gloss note.			600px	600px
[19] He stands in the over hew This is the crooked hew from the left side That is, crook on nimbly. Whoever parries well with striding, he destroys many hews. Hew crooked to the flats if you want to weaken the masters. When it sparks above, stand away, that I want to praise. Strike crooked and not short hew, with it show the change through. Hew crooked whoever errs you, the noble war confuses him.			600px	600px
[20] This is how one shall break in the four openings: He hits him with opening to the side, thus the other breaks it to him and hits him behind onto his head He hits to the other opening to his right side This is to break openings, and you want to reckon yourself, artfully break the four openings, you double above, rightly mutate below. I say to you truthfully, no man protects himself without danger. If you have heard, he may come to hit nobody. That I have heard. Gloss note.			600px	600px
[21] There this breaks the opening on the other side, and is also to break the openings He hits to the other opening to his left side This is the opening breaking on the other side, and break it as you see pictured. You must also double above, and mutate correctly below. Item: The opening breaking shall stand pictured in front before the crooked hew.			600px	600px
[22] The guard from the day The fool Note: These are two guards, and this is the guard from the day. He has his sword raised upwards, and the other has his sword raised downwards beside the left foot. This is the fool and is also called the iron gate. Then there are four guards. Ox and plow, those are also two guards. Gloss note.			600px	600px
[23] Skull hew A position, or the iron gate Item: This is about the crown, etc. and then he raises the sword upwards. He stands in the skull hew, and the other in a position, and when he hits away from the roof, thus the other takes the crown all right. Gloss note.			600px	600px
[24] This is the thwart hew He stands in the over hew This is the thwart, it takes what comes from the day, then thwart with the strong, with it note your work. The thwart to plow, join hard to the ox, and who thwarts themselves well, with jumping threatens your head, and whoever directs the failer on from below two times aims as he wishes. Gloss note.			600px	600px
[25] This is the thwart on the other side He stands in the over hew This is the thwart on the other side, take it also as on the other side: invert, force, run through, and also wrestle, and in the elbows in the scale and step to the left, and don’t be lazy. You may wrestle in both thwarts. Gloss note.			600px	600px
[26] He breaks the thwart So he strikes the thwart This is the play of how one shall break the thwart: One thwart breaks there, the other with placing upon and with shooting under and with shooting over. You may take the two hangings from it if you want, then they are two hangings, which is very strict for the man. Gloss note.			600px	600px
[27] He stands in the guard from day and raises as much as he likes He speaks thusly: “Whatever thwarts itself well, moves to the head with jumping.” This is the play This is also a play from the thwart: Whatever thwarts itself well moves to the head with jumping from one side to the other, is also one that is better than that, therefore hear. Gloss note.			600px	600px
[28] He lies in the thwart and has taken it with a jump, and shoves his arm away from him This is also about the thwart: One takes that also with a jump, take that as you see it pictured, thereafter comes the break, therefore it itself is then not a play for you, it has a break. Therefore note art, hear it beautifully.			600px	600px
[29] He also stands in the thwart, and he wants to shove away He, however, breaks him and thwarts himself above to the top of his head This is the break against it: You may well quickly take a slice, and away from there so that he may not reach you, then one play breaks the other, and note as well what is good for you.			600px	600px
[30] That is also driven from the thwart with jumping to the head, how he bares with his turn without fear This is also a play: whatever well thwarts itself driving with jumping to the head, and a slice, a stab and ignore and fence at the neck, therefore understand it as you see pictured above. Gloss note.			600px	600px
[31] This is the thwart in above, also a play This is yet again about the thwart from the above, so that you then understand it, that very many come from the thwart, if one searches for it, because it is good to make to all things weak and strong. Gloss note.			600px	600px
[32] This is the ox This is the plow This is about the ox and plow, the direction: The thing and the second thing are an origin of all art. Ox and pflug are justifiably hard in the war, in all things, with which to make the old slice. Thus you are secure in all things and it may not fail you.			600px	600px
[33] This is the ox This is the plow This is the other ox and plow and are also justifiably hard in the war. Item: One shall drive the ox and plow from both sides, then they have four windings and four points which you may use as you wish, because they are also two guards. Gloss note.			600px	600px
[34] He stands armed This is also about the squinter and has his neck, thus the other takes an armored play and breaks his play, as you see it pictured. This is also a play, a break. Gloss note.			600px	600px
[35] This is also about the squinter, play and break, and there he has the sword on the neck. This is the break and the other the play. Note that as you see it pictured.			600px	600px
[36] This is again about the squinter, the break, the run over, that strongly breaks his squinter, hit or slice and away from there quickly and soon, and therefore is not a play, it is a break from it. Gloss note.			600px	600px
[37] This is another play from the squinter. Squint to the point and take the neck without apprehension, and at the same time so note and learn art that you yourself have become accustomed to. Gloss note.			600px	600px
[38] He stands hitting in the above parry This is the squinter which breaks in what a buffalo hits or stabs The squinter breaks in what a buffalo hits or stabs. Whoever drives to change, is robbed of it with the squinter. If he squints at you short, to your change-through prevailed against him. Squint to the point and take the neck without apprehension, squint to the upper head nimbly if you want to strive and find beauty.			600px	600px
[39] He stands hitting in the above parry This is the squinter The squinter is a danger to the face. With its turn, the chest is quickly threatened. What comes from him, the crown takes away. The slice through the crown, thus you break hard and beautifully. Press the strike, withdraw with a slice. In all things, let us make crisply.			600px	600px
[40] That is a squint to the point and take the neck without apprehension, and in addition strong into the scale Thus he says: "They pertain to very many breaks against them, yet they come hereafter." This is from the squinter. Squint to the point and take the neck without apprehension, and stand into the scales and hold solidly to yourself, and if you want to go away from him, then wind out and away from him. Gloss note.			600px	600px
[41] He hits above over He has the neck without apprehension This is also from the squinter, and is a break from it, as you see it pictured, and realize that still more plays are which break it, and realize precisely how he bares. Gloss note.			600px	600px
[42] This is the skull hew This is the squinter This is about the skull hew, the direction: This is squinter with skuller, the face is threatened. With its turn, the chest quickly threatened, and what comes from him, the crown, all right. Gloss note.			600px	600px
[43] This is the short edge Skull hew This is also about the skull hew. It is to know that one shall take the skull hew with three steps and one may take it with a step, then the crown comes from him, that takes away the slice through the crown. Thus you break it hard and beautiful. Press the sweep, withdraw it with slicing. Gloss note.			600px	600px
[44] This is a parry This is a position This is about the four positions, and also always a position and a parry from it. The four positions alone, hold from them, it says, and flee the common. Ox and plow, fool from the day is well his right.			600px	600px
[45] This is also about the positions and is to know that one position breaks the other, and those are two positions, one lies over, the other under. Therefore note this, and hear that the lowest may well go through the above, and went onto his head, and therefore penetrates. Do well, so I shall say it. Gloss note.			600px	600px
[46] This is also about the positions, so that he then shoots on crooked on the position, and shoots to the top of his sword, and is the shooting over, also a position the other breaks. Gloss note.			600px	600px
[47] This is a parry This is also a position This is about the four parries, which severely injure the positions, yet beware of parries, if it happens to you necessary, it hurts you, and be crisp and come before. If you have heard, he may come to no art. Gloss note.			600px	600px
[48] This is again about the four positions, and the parry upon it and shooting over. Those are also positions, note that there below with the strong and long into the scale, and if he wants to execute against you, then you may take a slice if you want to, or may hang, whatever fences best to you. Gloss note.			600px
[49] This is again about the four positions, and from the parry, there note on and watch: those are also two positions, and that is also a position, the shooting-over has, and the positions have an end, and the four parries, they are all side by side, then it is many that it searches. Gloss note.			600px
[50] This is about the pursuit. Learn twofold in the scale, and take two from it, and your work begins from it, and test your movements, whether they are soft or hard, learn the same. Indes, that word slices severely. Pursue twofold, thus you take the old slice with power and have eight. Gloss note.			600px	600px
[51] This is another pursuit. You should take the pursuit on both sides, step long if you want to stride, because the pursuit is several things, and that is the pursuit when one has hit you and wants to go from you or withdraw, then follow after him and defend yourself. Gloss note.			600px	600px
[52] This is about the run over, there note that the run-over is thus: one runs over the other outside with the pommel outward with force, and that is an outer run over, and it is still more, and therefore when one wants to run over you, so raise your sword strong in the height, so he can not run-over you.			600px	600px
[53] This is also about the run over, and that is an inward run over, and whoever aims below, and when one runs over you, then you will be shamed, and if it sparks above, then set it aside, that I will praise. Make your work soft or hard and press that twofold as you wish. Gloss mark.			600px	600px
[54] This is also a run-over, and is armored, and a wrestling goes with it, and therefore note precisely on when he wants to throw him over the left foot and many pertain to the run over, if one wishes to search. Gloss note as it stands precisely pictured.			600px	600px
[55] This is also a run over with the pommel, and a run over armored with wrestling as before, and back him and throw him with it and do as stands pictured above. Gloss note, therefore the runs over.			600px	600px
[56] This is about the set aside. Whoever hews away at you from roof, set his hew away with the sword with the short edge. If he is soft, then let your pommel go around and hit him with the thwart. But if he is hard, then don’t hit and take and turn him at his sword and work. Gloss note as it stands pictured below.			600px	600px
[57] A set aside This is a set-aside on the other side and one takes that also with the short edge like before, and note on the weak and strong, whether he is soft or hard. Gloss note.			600px	600px
[58] A set aside He lies in the long point This is about the set aside. Hew, stab, quickly injure, and the man behind lies in the long point, and the man in front sets him aside with a set-aside.			600px	600px
[59] A set aside A long point This is another set aside, and the man in front sets the point of the other aside. Gloss note.			600px	600px
[60] A set aside A long point This is whoever wants to set-aside, hew, stab, quickly injure, and whoever wants to stab onto you, thus look that your point hits and his breaks, hits from both sides if you want to step. That is also as a set aside. Gloss note.			600px	600px
[61] A set aside A long point This is whoever wants to set aside, hew, stab, crooked, quickly injure, and is also a set aside. Gloss note, as it stands pictured below.			600px	600px
[62] This is the first upper slice to the top of the arms and slice away the hardening fast and quickly with your technique and have eight and take the slice with force, and therefore to do, gloss note, as it stands pictured below.			600px	600px
[63] This is the second upper slice, take it also with the long edge. Gloss note.			600px	600px
[64] This is about the lower slice, the third, there slice away the hardening through both arms. Note that as it stands pictured above, and take that fast and soon away from there. Gloss note.			600px	600px
[65] This is the fourth slice. Take it also as you see in the picture below, and take him strong or soft as you want, and quickly away from there soon, and nimbly so that your slice completes to you. Gloss note.			600px	600px
[66] This is also an upper slice. Take it as you see it pictured above, and slice him away the hardening fast and quickly and away from there so that he does not follow you with the pursuit. Gloss note.			600px	600px
[67] Item: This is the old slice. The man in front drives it, take it thusly, and pull on him below through the right arm strong and long upwards and quickly away from there. Gloss note.			600px	600px
[68] This is the other old slice to the other side. Take it thusly as it stands pictured above, and take it up quickly and behind away from there, so that he does not reach you. Gloss note.			600px	600px
[69] This is about the hand press. The sword presses into the hands, and do this nimbly: turn your sword to flat through the hands. Gloss note.			600px	600px
[70] This is also a hand press. Take it thusly, and note: Take your sword and hit him to the opening and press him from you strong. Gloss note thereon, and realize it how he bares.			600px	600px
[71] This is about the hanging. Two hangings turn out of one hand from the other in all techniques, hew, stab, position, soft or hard with your technique, that is the hanging, which thwarts itself as you see it pictured above. Gloss note, that is a hanging on the one side, understand that precisely.			600px	600px
[72] Item: This is another hanging on the other side. He does it with the short sword and raises the point that faces downward, as you see it pictured above, and are the two hangings, two good parries to all things. Gloss note.			600px	600px
[73] The broken window Item: This is the speaking window, break and joyfully make the stance, and inspect his play. Your thwart with the strong and wind through to him from below and note as you see it pictured above. Gloss note.			600px	600px
[74] A long point This is about the four false points, and is the first, a long point, and they go to both sides. There note that the long point goes to his face, and is good to all things, to make a war with it. Gloss note as you find it pictured precisely.			600px	600px
[75] This is the second secret point, take that as you see it pictured above, it also goes to the face. Therefore note on and search for what is good from it.			600px	600px
[76] This is the third secret point, and is a false point. Note it as it stands pictured above. You may also take the going-through or change through as you want. Take the going-through thusly: go through to him with the point below. Gloss note.			600px	600px
[77] This is the fourth false point. Take it thusly as you see it pictured above, and he gets the sword through to him from the hand, and is also a good point and realize and note on it, as you see it pictured above.			600px	600px
[78] This is again a false point, and a false step. Take it as you see it pictured above, and when he falls onto your sword, wind on with your sword, thus you stand in the long parry. Gloss note.			600px	600px
[79] He stands in the unicorn This is a false point and goes from the speaking window, and take it as you see it pictured above, and is the unicorn. Gloss note.			600px	600px
[80] Item: This is the crown. He holds his sword armed in the hand nicely, and realize it already with the crown, it is good in all scales, to all defenses, and be strong in it or weak as you want. Gloss note.			600px	600px
[81] This is the slice through the crown, and take that all right as you see it pictured, in all things, if you want to make a slice. Gloss note nicely on the slice in the crown.			600px	600px
[82] Item: This is the break onto the crown, there note all right as you see it pictured, and he raises sword upwards, it breaks the crown with the grasping at the sword with the cross, look upon it, because he wrenches the crown away to him. Gloss note. Here the long recital has an end, and that god help us nimbly, and the crown is the very last, and is the very best.

Incomplete Translation by Ondřej Vodička and Michael Chidester	Draftbook (1522)	Munich Version I (1523)	Archetype (1522)	Munich Version II (1556)	Wolfenbüttel Version II (ca. 1600)
[1] Here stand three persons, one rich, one strong, one weak. If the rich man has neither art nor knowledge, he wastes his possessions and belongings and has nothing left. If the strong man has neither art nor courage, he gains neither possessions nor belongings. What good is his strength to him then? If the weak man has art and knowledge, he may use them rightly and thus he may obtain great honor and possession.
[2] Help [me], Lord, thou Eternal Word; help [the body] here, the soul there.
[3] Here the master introduces his lord into the list, and thus should he hold himself.