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<section end="credits"/>
 
<section end="credits"/>
 
|-  
 
|-  
| <p><ref name="cgm3712">In Cgm 3712, there is no demarcation between the verse and the gloss, and these two paragraphs appear to belong to the verse.</ref>High-hew, Wrath-hew, Wrath point, War-hew, Four openings, Crooked-hew, Thwart-hew, Ox and Plow, Squint-hew, Four Positions, Four Oppositions, Following-after, Passing-over, Setting-aside, Severing, Two hangings, Speaking-window, Crown. The devices of Johannes Liechtenauer’s sword.</p>
+
| <p><ref name="cgm3712">In Hutter, there is no demarcation between the verse and the gloss, and these two paragraphs appear to belong to the verse.</ref>Descending cut<br/>
 +
Wrathcut<br/>
 +
Wrathpoint<br/>
 +
The Warcut<br/>
 +
The Four openings<br/>
 +
Crooked cut<br/>
 +
Cross cut<br/>
 +
Ox and plow<br/>
 +
Cockeyed cut<br/>
 +
Hair cut<br/>
 +
The Four positions<br/>
 +
The Four parries<br/>
 +
The Racing behind<br/>
 +
Overrunning<br/>
 +
Displacing<br/>
 +
Cutting off<br/>
 +
Two Hangers<br/>
 +
The Speaking window<br/>
 +
The Crown</p>
 +
 
 +
<p>The plays of the sword by Johannes Liechtenauer.</p>
 
|  
 
|  
 
|  
 
|  
 
| {{section|Page:Cod.I.6.2º.2 44r.jpg|3|lbl=44r}}
 
| {{section|Page:Cod.I.6.2º.2 44r.jpg|3|lbl=44r}}
 
| {{section|Page:Cgm 3711 45r.jpg|4|lbl=45r}}
 
| {{section|Page:Cgm 3711 45r.jpg|4|lbl=45r}}
| '''[171r]'''
+
| <p><small>[171r]</small> </p>
| '''[66r]'''
+
| <p><small>[66r]</small> </p>
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 049v.jpg|8|lbl=49v}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 049v.jpg|8|lbl=49v}}
  
 
|-  
 
|-  
| <p><ref name="cgm3712"/>'''The 7 Master-hew'''</p>
+
| <p><ref name="cgm3712"/>'''The seven master cuts'''</p>
  
<p>Wrath-hew, Crooked-hew, Half-hew,<ref>Lecküchner (M) 46r, 66v; Cgm 3711 45r; Gunterrodt E1r. Possibly the Verkehrer in the Zwerch plays as noted in Rome</ref> Crossed-hew,<ref>Possibly the Ochs-Pflug transition in the Zwerch plays</ref> Thwart-Changing-hew,<ref>This may be a garbled 'Durchwechselhau'. Namely, a Schielhau or possibly the Ochs/Pflüg Zwerch</ref> Parting-hew, Crown-hew.</p>
+
<p>The Wrathcut<br/>
 +
The Crooked cut<br/>
 +
The Half cut<br/>
 +
The Crosswise cut<br/>
 +
The Cross change cut<br/>
 +
The Hair cut<br/>
 +
The Crown cut</p>
 
|  
 
|  
 
|  
 
|  
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|-  
 
|-  
| <p>This is the text of the three windings: that is a hew, a stab, a slice, a sweep<ref>Seems garbled</ref> and is also the text of the long recital of the long sword of Liechtenauer’s Art and expository gloss.</p>
+
| <p>This is the text about the three winds, that is, a cut, a thrust, a slice, a sweep and it is also the text and expository gloss of the long recital of the the longsword of Liechtenauer's art.</p>
 
|  
 
|  
 
|  
 
|  
 
| {{section|Page:Cod.I.6.2º.2 44v.jpg|1|lbl=44v}}
 
| {{section|Page:Cod.I.6.2º.2 44v.jpg|1|lbl=44v}}
 
| {{section|Page:Cgm 3711 45v.jpg|1|lbl=45v}}
 
| {{section|Page:Cgm 3711 45v.jpg|1|lbl=45v}}
| '''[179r]'''
+
| <p><small>[179r]</small> </p>
 
|   
 
|   
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|1|lbl=50r}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|1|lbl=50r}}
  
 
|-  
 
|-  
|  
+
| <p>Here it begins, the recital of the knightly art of fencing is written herein, which Johannes Liechtenauer, God be merciful to him, who is known to be a high master of the art, had created as lies written hereafter. The first with the long sword, thereafter with the spear on horseback and also with the short sword in battle and it begins in this way…</p>
 
|  
 
|  
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001r.jpg|1|lbl=1r}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001r.jpg|1|lbl=1r}}
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|-  
 
|-  
 
|  
 
|  
 +
{| class="zettel"
 +
|-
 +
| <small>1</small>
 +
| Young knight learn<br/>To have love for god, honor women and maidens
 +
|-
 +
| <small>2</small>
 +
| So that you expand your praise and honor.<br/>Practice Knighthood and learn
 +
|-
 +
| <small>3</small>
 +
| Art that decorates you<br/>And in war exalts you with honor.
 +
|-
 +
| <small>4</small>
 +
| Use the good grips of wrestling,<br/>Lance, spear, sword, and messer
 +
|-
 +
| <small>5</small>
 +
| Like a man<br/>And render them useless in other's hands.
 +
|-
 +
| <small>6</small>
 +
| Attack suddenly and storm in,<br/>Keep rolling, engage or let pass.
 +
|-
 +
| <small>7</small>
 +
| Whoever assaults in these ways,<br/>They see the spoils.
 +
|-
 +
| <small>8</small>
 +
| Hold yourself to this:<br/>All art has a time and place.
 +
|}
 
|  
 
|  
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001r.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001r.jpg|2|lbl=-}}
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|-  
 
|-  
|  
+
| <p><br/></p>
 +
{| class="zettel"
 +
|-
 +
| <small>9</small>
 +
| If you wish to examine the art,<br/>Go left and right with cutting
 +
|-
 +
| <small>10</small>
 +
| And left with right,<br/>That is, if you desire to fence strongly.
 +
|}
 +
<p>Gloss: Note this is the foremost art of the long sword, that above all you should learn to cut correctly. That is, if you wish to otherwise fence strongly and understand it like this. When you stand with the left foot forwards and cut from your right side, if you then do not support the cut with the ingress of your right foot, then this cut is spurious and incorrect. When your right side remains behind, the cut becomes too short thereby and its correct path down to the other side in front of the left foot cannot happen.</p>
 +
 
 +
<p>Or if you stand with the right foot forwards and cut from the left side, if you do not then also support<ref>Vienna: cleave closely behind</ref>the cut with your left foot, then the cut is again spurious<ref>Vienna: completely wrong</ref>. Therefore, see to it that when you cut from the right side that you always support the cut with the right foot. Do the same when you cut from the left side so that your body brings itself correctly into balance with it. In this way, the cuts will be hewn correctly.</p>
 
|  
 
|  
 
{{section|Page:MS KK5126 106r.jpg|2|lbl=-|p=1}} {{section|Page:MS KK5126 106r.jpg|3|lbl=-|p=1}}
 
{{section|Page:MS KK5126 106r.jpg|2|lbl=-|p=1}} {{section|Page:MS KK5126 106r.jpg|3|lbl=-|p=1}}
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|-  
 
|-  
|  
+
| <p>'''This is the text of another lesson'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>11</small>
 +
| Whoever chases after cuts<br/>They permit themselves little opportunity for art.
 +
|}
 +
<p>Gloss. This is: When you come to the opponent with the initiation of fencing, you do not stand still and look upon their cut nor await whatever they fence against you. Know that all fencers that look out and wait upon another's cut and will do nothing other than parry, they allow themselves to quite little opportunity for art, because it is for naught and they become struck for this reason. Therefore, strike and seek the openings.</p>
 +
 
 
| {{section|Page:MS KK5126 106r.jpg|4|lbl=-}}
 
| {{section|Page:MS KK5126 106r.jpg|4|lbl=-}}
 
|  
 
|  
Line 157: Line 227:
  
 
|-  
 
|-  
| <p><ref>Here the [[Paulus Kal Fechtbuch (MS KK5126)|Vienna version]] is similar to [[Pseudo-Peter von Danzig]], whereas the [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsberg version]] doesn't resemble any other gloss.</ref></p>
+
| <p>'''Text. Another lesson'''</p>
  
<p><br/><br/><br/><br/><br/><br/></p>
+
{| class="zettel"
 
+
|-
<p>Understand it like this: When you come to him with the onset, whatever you then wish to fence, do that with the entire strength of your body and with that, hew cleave in close by into his head and into his body and remain with the point in front of his face so that he cannot change through beforehand with the point. If he then displaces with strength and allows his point to go high or to one side and remains low with the hands, then beforehand give him a biter upon the arm. Or if he drives high up with the sword when he parries, then slash him with a free hew below to his body and immediately step back backwards with that, before he comes to his senses, thus he is defeated.</p>
+
| <small>12</small>
 +
| Cut from close proximity whatever you wish<br/>No changer gets past your shield
 +
|-
 +
| <small>13</small>
 +
| To the head, to the body<br/>Do not omit the biters
 +
|-
 +
| <small>14</small>
 +
| With the entire body<br/>Fence whatever you desire to conduct with strength.
 +
|}
 +
<p>Understand that like this. When you arrive at the opponent with the initiation of fencing, then whatever you wish to fence, do that with the entire strength of your body and with that cut in to either their head or to their body from close proximity and remain with your point in front of their face, so they cannot change through before with<ref>Written "with before" in the text, which marks indicating that the words should be reversed.</ref> the point. Then if they parry with strength and allow their point to go up in the air or to one side and remains low with their hands, then give them a flesh wound on their arm or rise up high with your sword when they parry and strike below to their body with a free cut and immediately lunge back from that before they come to their senses. Thus, they are struck.<ref>Augsburg: "Gloss: When you arrive at the opponent, then whatever you wish to fence, drive that with your entire strength. Strike them to the head and to the body from close proximity and remain with your point in front of their face or chest, so that they cannot change through in front of your point. And then if they bind strongly against your sword and rise up high with their sword, then strike below to their body or give them a flesh wound upon their arm before they come to their senses and immediately dart back from that."</p>
 
|  
 
|  
 
{{section|Page:MS KK5126 106r.jpg|5|lbl=-|p=1}} {{section|Page:MS KK5126 106r.jpg|6|lbl=-|p=1}}
 
{{section|Page:MS KK5126 106r.jpg|5|lbl=-|p=1}} {{section|Page:MS KK5126 106r.jpg|6|lbl=-|p=1}}
Line 630: Line 709:
 
| {{section|Page:Cod.I.6.2º.2 45r.jpg|2|lbl=45r}}
 
| {{section|Page:Cod.I.6.2º.2 45r.jpg|2|lbl=45r}}
 
| {{section|Page:Cgm 3711 46r.jpg|2|lbl=-}}
 
| {{section|Page:Cgm 3711 46r.jpg|2|lbl=-}}
| '''[180v]'''
+
| <small>[180v]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|5|lbl=50r}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|5|lbl=50r}}
Line 651: Line 730:
  
 
{{section|Page:Cgm 3711 46r.jpg|3|lbl=-|p=1}} {{section|Page:Cgm 3711 46v.jpg|1|lbl=46v|p=1}}
 
{{section|Page:Cgm 3711 46r.jpg|3|lbl=-|p=1}} {{section|Page:Cgm 3711 46v.jpg|1|lbl=46v|p=1}}
| '''[181r]'''
+
| <small>[181r]</small>
 
|  
 
|  
 
|  
 
|  
Line 683: Line 762:
 
{{section|Page:Cgm 3711 46v.jpg|3|lbl=-|p=1}} {{section|Page:Cgm 3711 47r.jpg|1|lbl=47r|p=1}}
 
{{section|Page:Cgm 3711 46v.jpg|3|lbl=-|p=1}} {{section|Page:Cgm 3711 47r.jpg|1|lbl=47r|p=1}}
 
|  
 
|  
<br/>'''[181v]'''
+
<br/><small>[181v]</small>
| '''[92v]'''
+
| <small>[92v]</small>
 
|  
 
|  
 
<section end="Scheitelhaw"/><section begin="Leger"/>
 
<section end="Scheitelhaw"/><section begin="Leger"/>
Line 700: Line 779:
 
| {{section|Page:Cgm 3711 47r.jpg|2|lbl=-}}
 
| {{section|Page:Cgm 3711 47r.jpg|2|lbl=-}}
 
|  
 
|  
'''[182r]'''
+
<small>[182r]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 051v.jpg|1|lbl=51v}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 051v.jpg|1|lbl=51v}}
Line 726: Line 805:
 
| <p><br/></p>
 
| <p><br/></p>
  
<p><br/><br/><br/>'''[182v]''' </p>
+
<p><br/><br/><br/><small>[182v]</small> </p>
| <p>'''[93r]''' </p>
+
| <p><small>[93r]</small> </p>
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 797: Line 876:
 
| {{section|Page:Cgm 3711 47v.jpg|3|lbl=-}}
 
| {{section|Page:Cgm 3711 47v.jpg|3|lbl=-}}
 
|  
 
|  
<br/><br/>'''[183r]'''
+
<br/><br/><small>[183r]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052r.jpg|7|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052r.jpg|7|lbl=-}}
Line 856: Line 935:
 
{{section|Page:Cgm 3711 47v.jpg|8|lbl=-|p=1}} {{section|Page:Cgm 3711 48r.jpg|1|lbl=48r|p=1}}
 
{{section|Page:Cgm 3711 47v.jpg|8|lbl=-|p=1}} {{section|Page:Cgm 3711 48r.jpg|1|lbl=48r|p=1}}
 
|  
 
|  
<br/><br/>'''[183v]'''
+
<br/><br/><small>[183v]</small>
| '''[93v]'''
+
| <small>[93v]</small>
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052v.jpg|2|lbl=-}}
  
Line 902: Line 981:
 
| {{section|Page:Cod.I.6.2º.2 46v.jpg|4|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 46v.jpg|4|lbl=-}}
 
| {{section|Page:Cgm 3711 48r.jpg|4|lbl=-}}
 
| {{section|Page:Cgm 3711 48r.jpg|4|lbl=-}}
| <br/><br/><br/>'''[184r]'''
+
| <br/><br/><br/><small>[184r]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052v.jpg|5|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052v.jpg|5|lbl=-}}
Line 940: Line 1,019:
 
{{section|Page:Cgm 3711 48v.jpg|1|lbl=48v|p=1}}
 
{{section|Page:Cgm 3711 48v.jpg|1|lbl=48v|p=1}}
 
|  
 
|  
<br/><br/><br/>'''[184v]'''
+
<br/><br/><br/><small>[184v]</small>
| '''[94r]'''
+
| <small>[94r]</small>
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052v.jpg|7|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052v.jpg|7|lbl=-}}
  
Line 967: Line 1,046:
 
| {{section|Page:Cgm 3711 48v.jpg|3|lbl=-}}
 
| {{section|Page:Cgm 3711 48v.jpg|3|lbl=-}}
 
|  
 
|  
<br/><br/><br/><br/>'''[185r]'''
+
<br/><br/><br/><br/><small>[185r]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 053r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 053r.jpg|2|lbl=-}}
Line 983: Line 1,062:
 
{{section|Page:Cgm 3711 48v.jpg|4|lbl=-|p=1}} {{section|Page:Cgm 3711 49r.jpg|1|lbl=49r|p=1}}
 
{{section|Page:Cgm 3711 48v.jpg|4|lbl=-|p=1}} {{section|Page:Cgm 3711 49r.jpg|1|lbl=49r|p=1}}
 
|  
 
|  
| '''[94v]'''
+
| <small>[94v]</small>
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 053r.jpg|3|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 053r.jpg|3|lbl=-}}
  
Line 996: Line 1,075:
 
| {{section|Page:Cgm 3711 49r.jpg|2|lbl=-}}
 
| {{section|Page:Cgm 3711 49r.jpg|2|lbl=-}}
 
|  
 
|  
<br/>'''[185v]'''
+
<br/><small>[185v]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 053r.jpg|4|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 053r.jpg|4|lbl=-}}
Line 1,021: Line 1,100:
 
| {{section|Page:Cgm 3711 49r.jpg|4|lbl=-}}
 
| {{section|Page:Cgm 3711 49r.jpg|4|lbl=-}}
 
| <br/><br/>
 
| <br/><br/>
<br/><br/><br/><br/><br/><br/>'''[186r]'''
+
<br/><br/><br/><br/><br/><br/><small>[186r]</small>
 
|  
 
|  
 
|  
 
|  
Line 1,040: Line 1,119:
 
| <p><br/></p>
 
| <p><br/></p>
  
'''[95r]'''
+
<small>[95r]</small>
 
|  
 
|  
  
Line 1,051: Line 1,130:
 
|  
 
|  
 
{{section|Page:Cgm 3711 49r.jpg|6|lbl=-|p=1}} {{section|Page:Cgm 3711 49v.jpg|1|lbl=49v|p=1}}
 
{{section|Page:Cgm 3711 49r.jpg|6|lbl=-|p=1}} {{section|Page:Cgm 3711 49v.jpg|1|lbl=49v|p=1}}
| <br/><br/><br/><br/><br/><br/><br/>'''[186v]'''
+
| <br/><br/><br/><br/><br/><br/><br/><small>[186v]</small>
 
|  
 
|  
 
|  
 
|  
Line 1,082: Line 1,161:
 
| {{section|Page:Cgm 3711 49v.jpg|3|lbl=-}}
 
| {{section|Page:Cgm 3711 49v.jpg|3|lbl=-}}
 
|  
 
|  
<br/><br/><br/><br/>'''[187r]'''
+
<br/><br/><br/><br/><small>[187r]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 051r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 051r.jpg|2|lbl=-}}
Line 1,111: Line 1,190:
 
| {{section|Page:Cgm 3711 50r.jpg|2|lbl=-}}
 
| {{section|Page:Cgm 3711 50r.jpg|2|lbl=-}}
 
|  
 
|  
'''[187v]'''
+
<small>[187v]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 051r.jpg|4|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 051r.jpg|4|lbl=-}}
Line 1,125: Line 1,204:
 
| {{section|Page:Cod.I.6.2º.2 47v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 47v.jpg|2|lbl=-}}
 
| {{section|Page:Cgm 3711 50r.jpg|3|lbl=-}}
 
| {{section|Page:Cgm 3711 50r.jpg|3|lbl=-}}
| <br/><br/><br/>'''[188r]'''
+
| <br/><br/><br/><small>[188r]</small>
 
|  
 
|  
 
|  
 
|  
Line 1,467: Line 1,546:
 
| {{section|Page:Cod.I.6.2º.2 44v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 44v.jpg|2|lbl=-}}
 
| {{section|Page:Cgm 3711 45v.jpg|2|lbl=-}}
 
| {{section|Page:Cgm 3711 45v.jpg|2|lbl=-}}
| <p><br/><br/><br/><br/><br/>'''[179v]''' </p>
+
| <p><br/><br/><br/><br/><br/><small>[179v]</small> </p>
| <p>'''[91v]''' </p>
+
| <p><small>[91v]</small> </p>
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|2|lbl=50r}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|2|lbl=50r}}
  
Line 1,480: Line 1,559:
 
| {{section|Page:Cod.I.6.2º.2 44v.jpg|3|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 44v.jpg|3|lbl=-}}
 
| {{section|Page:Cgm 3711 45v.jpg|3|lbl=-}}
 
| {{section|Page:Cgm 3711 45v.jpg|3|lbl=-}}
| <p><br/><br/><br/>'''[180r]''' </p>
+
| <p><br/><br/><br/><small>[180r]</small> </p>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|2|lbl=-}}
Line 1,495: Line 1,574:
 
{{section|Page:Cgm 3711 45v.jpg|4|lbl=-|p=1}} {{section|Page:Cgm 3711 46r.jpg|1|lbl=46r|p=1}}
 
{{section|Page:Cgm 3711 45v.jpg|4|lbl=-|p=1}} {{section|Page:Cgm 3711 46r.jpg|1|lbl=46r|p=1}}
 
|  
 
|  
| <p><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/>'''[92r]''' </p>
+
| <p><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><small>[92r]</small> </p>
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|3|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|3|lbl=-}}
  
Line 1,506: Line 1,585:
 
|  
 
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Revision as of 22:51, 20 February 2020

Nicolaüs Augsburger
Died after 1489
Occupation Fencing master
Citizenship Augsburg, Germany
Movement Augsburg tradition
Influences Johannes Liechtenauer
Influenced Jörg Wilhalm Hutter
Genres Fencing manual
Language Early New High German
Archetype(s) Currently lost
Manuscript(s)
Concordance by Michael Chidester

Nicolaüs was a 15th century German fencing master, presumably from Augsburg.[1] Nothing is known about this master outside of his treatise, but he seems to have been an initiate of the tradition of Johannes Liechtenauer (his treatise always appears coupled with a repetition of the grand master's Record). On or around 2 July 1489,[2] he seems to have completed some version of a gloss on fencing with the long sword, apparently based on a the anonymous pseudo-Peter von Danzig gloss of Liechtenauer's Recital.

Stemma

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

Branch A, first attested in the Augsburg version (1450s) and comprising the majority of extant copies, has more plays overall than Branch B but generally shorter descriptions in areas of overlap. It also glosses only Liechtenauer's Recital on long sword and mounted fencing; in lieu of a gloss of Liechtenauer's short sword, it is generally accompanied by the short sword teachings of Andre Liegniczer and Martin Huntfeltz (or, in the case of the 1512 Vienna II, Ringeck's short sword gloss). Branch A is sometimes called the Jud Lew gloss, based on a potential attribution at the end of the mounted gloss in a few copies. Apart from the Augsburg, the other principal text in Branch A is the Salzburg version (1491), which was copied independently[3] and also incorporates twelve paragraphs from Ringeck's gloss and nineteen paragraphs from an unidentified third source. Branch A was redacted by Paulus Hector Mair (three mss., 1540s), Lienhart Sollinger (1556), and Joachim Meyer (1570), which despite being the latest is the cleanest extant version and was likely either copied directly from the original or created by comparing multiple versions to correct their errors. It was also one of the bases for Johannes Lecküchner's gloss on the Messer in the late 1470s.

Branch B, attested first in the Rome version (1452), is found in only four manuscripts; it tends to feature slightly longer descriptions than Branch A, but includes fewer plays overall. Branch B glosses Liechtenauer's entire Recital, including the short sword section, and may therefore be considered more complete than Branch A; it also differs from Branch A in that three of the four known copies are illustrated to some extent, where none in the other branch are. The Krakow version (1535-40) seems to be an incomplete (though extensively illustrated) copy taken from the Rome,[4] while Augsburg II (1564) collects only the six illustrated wrestling plays from the Krakow. Even more anomalous is the Glasgow version (1508), consisting solely of a nearly complete redaction of the short sword gloss (assigning it to Branch B), which is appended to the opening paragraphs of Ringeck's gloss of the same section; since it accompanies Ringeck's long sword and mounted fencing glosses, a possible explanation is that the scribe lacked a complete copy of Ringeck and tried to fill in the deficit with another similar text.

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

Treatise

While all branches were originally presented in a single concordance in the pseudo-Peter von Danzig article, the differences between them are extensive enough that they merit separate consideration. Thus, Branch A has been placed on the page of Jud Lew, Branch B has been retained on the main pseudo-Danzig page, and branch C is presented here.

To allow easier comparison between the two complete versions, Augsburg II is presented in the column next to Vienna, before the earlier fragmentary versions.

Additional Resources

References

  1. His work is only associated with treatises by Aurgsubrg residents.
  2. The date of the Visitation of Mary, the feast day mentioned in the Glasgow version of his treatise.
  3. Both Augsburg and Salzburg contain significant scribal errors of omission that allow us to identify manuscripts copied from them.
  4. Zabinski, pp 82-83
  5. 5.0 5.1 In Hutter, there is no demarcation between the verse and the gloss, and these two paragraphs appear to belong to the verse.
  6. Vienna: cleave closely behind
  7. Vienna: completely wrong
  8. Written "with before" in the text, which marks indicating that the words should be reversed.
  9. leer, scowl, make a secret or subtle glance.
  10. Leer at
  11. Leer
  12. Obviously the writer left out a part here because it starts with the right Plfug and ends with the left.
  13. Versetzen. To parry, transpose.
  14. Ansetzen. to plant or position something in a specific place.
  15. Here the Vienna version is similar to Jud Lew, whereas the Augsberg version resembles Pseudo-Peter von Danzig.
  16. kainer
  17. Korrigiert aus »das«.
  18. closing-in
  19. shifting
  20. curved, hollow, empty, concave, bowed, arched