Sigmund ain Ringeck/Sandbox

Select one or more fencing styles using the checkboxes below to view the associated treatises.

The number in brackets at the beginning of each translation box is a paragraph number assigned by Wiktenauer; clicking it will take you to the translation page. The numbers in brackets in the transcriptions with an "r" or "v" are manuscript folio numbers; clicking them will take you to original page scan with the transcription alongside for comparison. If you want to sort a column by number, click the black triangles in the table headers.

Whenever the Glasgow version mentions an illustration, the scan is included in the illustration column whether it has a picture or not. The Rostock version has no illustrations at all in this section, so it is not pictured when it mentions them.

Long sword
Illustrations Glasgow Version	Translations Draft Translation (2022) by Christian Trosclair Featured Translation (all versions) (2015) by Christian Trosclair Draft Translation (Dresden only) (2010) by Keith Farrell Incomplete Translation (Dresden only) (1999-03) by Jörg Bellinghausen and David Rawlings	Transcriptions Attributed to Sigmund Ainring: Dresden Version (1504-19) by Dierk Hagedorn Glasgow Version (1508) by Dierk Hagedorn Rostock Version (1570) by Dierk Hagedorn Unattributed: Salzburg Version (1491) by Dierk Hagedorn Augsburg Version (1553) by Werner Ueberschär
Short sword
Illustrations None	Translations Draft Translation (Dresden, Rostock, and Vienna only) (2024) by Ramsés Castro Incomplete Translation (Dresden only) (2003) by David Rawlings Incomplete Translation (Dresden only) (1999) by Jörg Bellinghausen	Transcriptions Unattributed: Dresden Version (1504-19) by Dierk Hagedorn Nuremberg Version (1500s) (Untranscribed) Vienna Version (1500s) by Dierk Hagedorn Rostock Version (1570) by Dierk Hagedorn
Mounted fencing
Illustrations Glasgow Version	Translations Draft Translation (Glasgow only) (2020) by Stephen Cheney	Transcriptions Unattributed: Dresden Version (1504-19) by Dierk Hagedorn Glasgow Version (1508) by Dierk Hagedorn

Illustrations	Draft Translation (2022) by Christian Trosclair	Featured Translation (2015) by Christian Trosclair	Draft Translation (Dresden only) (2011) by Keith Farrell	Incomplete Translation (Dresden only) (2003) by David Rawlings	Incomplete Translation (Dresden only) (2001) by Jörg Bellinghausen	Salzburg Version (1491)  Transcribed by Dierk Hagedorn	Dresden Version (1504-19)  Transcribed by Dierk Hagedorn	Glasgow Version (1508)  Transcribed by Dierk Hagedorn	Vienna Version (1512)  Transcribed by Dierk Hagedorn	Augsburg Version (1553)  Transcribed by Werner Ueberschär	Rostock Version (1570)  Transcribed by Dierk Hagedorn
	[1] Here begins the interpretation of the recital. In this, the knightly art of the long sword lay written; which Johannes Liechtenauer, may God be merciful to him, who was known to be a high master of the art, had composed and created. he had allowed it to be written in veiled and misleading words, for the reason that the art should not become common. And Master Sigmund ein Ringeck, fencing master to the highborn prince and noble Lord Albrecht, Pfalzgraf of Rhein and Herzog of Bavaria had these very veiled and misleading words glossed and interpreted as lay written here in this little book, so that any fencer that can otherwise fight can fully absorb and understand it.	[1] Here begins the interpretation of the Recital In this, the knightly art of the long sword lies written, which Johannes Liechtenauer, who was a great master in the art, composed and created. By the grace of god he had let the Recital be written with obscure and disguised words, so that the art shall not become common. And so Master Sigmund ein Ringeck, at the selfsame time known as fencing master to the highborn prince and noble Lord Albrecht, Pfalzgraf of the Rhine and Herzog of Bavaria, had these same obscure and disguised words of the Recital glossed and interpreted as lay written and pictured here in this little book, so that any one fencer who can otherwise fight properly may well go through and understand.	[1] Here begins the explanation of the epitome. In which lies recorded the knightly art of the longsword, composed and formed by Johannes Liechtenauer, who was a great master in the art, may God be merciful to him. He wrote the markverses with deep and hidden words, so that the art would not be widely known. And these deep and hidden words have been by Master Sigmund ain Ringeck, fencing master to the highborn prince and noble Lord Albrecht, Count Palatine of Rhine and Duke of Bavaria, recorded and explained in this little book which now follows, so that every fighter who otherwise can fight, shall be able to take these and understand them.	[1] This is the beginning of the interpretation of the Knightly Art of the Langenschwert, written down in rhymes by the grand Fechtmeister of the Medieval German school, Johannes Liechtenauer. He recorded his teachings in secret words, so that the art may not be commonly spread. These secret phrasings were later interpreted and commented on in a book by Sigmund Ringeck, at the time Fechtmeister of Albrecht, Count Palatine of Rhine and Duke of Bavaria.		[10v] Hie hept sich an die vßlegu~g der zedel In der geschriben stett die Ritterlich kunst des langes schwerts Die gedicht vnd gemacht hat Johannes lichtenawer der ain grosser maiste~ in der kunst gewesen ist dem gott genedig sÿ der hatt die zedel laußen schrÿbe~ mitt verborgen vñ verdeckte~ worten Daru~b dz die kunst nitt gemain solt werde~ Vnd die selbige~ v°borgneñ vñ verdeckte wort hatt maister [11r] Sigmund ain ringeck der zÿt des hochgeborne~ fürsten vñ herreñ herñ aulbrecht pfalczgrauen bÿ Rin vñ herczog in baÿern schirmaiste~ Glosieret vñ außgelegt alß hie in disem biechlin her nach geschrÿben stät dz sÿ ain ÿede~ fechter wol verömen vnd vestan mag der da ande~st fechten kan etc~   ~	[22r] Merck die zettl / dar in geschribñ stett / die kunst des langen schwerch die Johannes liechtñawen hat lassen schreiben mit verporgen vnd verdachtñ wortñ / die w selbigñ wort hat Maist~ Sigmund Emring verklert vnd aus gelegt / als In diessem puech geschribñ stett vnd gemalt / vnd hat das gethon daru~b daz fu~rstñ vnd herrñ Ritter vnd knecht den die kunst zu gehõrt dester grosser lieb darzu habñ su~llen Anno dm~ 1508
	[2] The foreword of the recital. 1 Young knight learn  To have love for god, honor women 2 So that you expand your honor.  Practice Knighthood and learn 3 Art that decorates you  And in war exalts you with honor. 4 Use the good grips of wrestling,  Lance, spear, sword, and messer 5 Like a man  And render them useless in other's hands. 6 Attack suddenly and storm in,  Keep rolling, engage or let pass. 7 Thus the intellectuals hate him,  Yet this one sees glories. 8 Hold yourself to this:  All art has a time and place.	[2] The foreword of the Recital 1 Young knight, learn;  Loveth god; furthermore honor women 2 Thus cultivate your honor.  Practice chivalry and learn 3 Art which decorates you [and]  In combat exalts with honor. 4 Wrestling's good fetters,  Lance, spear, sword, and Messer 5 Manfully put to good use  And make useless in other's hands. 6 Hew therein, charge there;  Rush onwards, hit or let drive. 7 Those maturing in this wisdom,  This one sees praises. 8 Hold yourself to this:  All art has length and measure.	[2] Foreword to the epitome. 1 Young knight, learn  to always honour women, and love God, 2 so increase your honour.  Practice chivalry and learn 3 arts which improve you  and in the battle bring honour. 4 Wrestle well, understand the lance,  spear and sword and use the knife 5 like a man. 6 Cut fiercely!  Storm forwards: Hit or miss; 7 The well-experienced hate that  which seeks to cut them. 8 This you shall understand:  all arts have length and measure.	[2]		Die vor red der zedel ~ Jungk ritter lere Got liebhaben fröwen ia ere so wöchse dein are ere Kunst die dich ziert In kriegen zu° ern hoffiert [11v] Ringes gütt fesset Glefen sper schwert vnd messer / manlich bederben Haw drin hart dar Rausch hin triff ode~ las farñ daß in die wÿsen / hassen den man sicht brÿsen Daruff dich fasse / alle kunst haben lenge vñ masse ~~~  ·:·~
	[3] This is the text of many good common lessons of the long sword 9 If you wish to examine the art,  Go left and right with cutting 10 And left with right  That is, if you desire to fence strongly. Gloss. Note this is the first lesson of the long sword: In which you shall learn to make the cuts properly from both sides, that is, if you otherwise wish to fence strongly and correctly. Look at it like this: When you wish to cut from the right side, then see to it that your left foot stands forward. If you then make a descending cut from the right side, then accompany the cut with the right foot. If you do not do that, then the cut is spurious and incorrect, because your right foot remains behind. Therefore the cut is too short and can not posses its correct path downward to the correct other side in front of the left foot.	[3] This is the text of many good common lessons of the long sword 9 If you wish to examine the art,  Go left and right with hewing 10 And left with right  that is, if you desire to fence strongly. Gloss. Note, this is the first lesson of the long sword: That you shall learn to hew the hews properly from both sides, that is, if you otherwise wish to fence strongly and correctly. Understand it thusly: When you wish to hew from the right side, so see that your left foot stands forward. If you then hew the over-hew from the right side, so follow-after the hew with the right foot. If you do not do that, then the hew is false and incorrect, because your right foot remains there behind. Therefore the hew is too short and may not attain its correct path below to the correct other side in front of the left foot.	[3] Many good general lessons about the longsword. 9 If you would like to see skill,  see that you go to the left then right with the cuts. 10 And left with right,  if you want to fight strongly. Glosa. This is the longsword's first lesson; that you shall learn to cut properly from both sides, so that you can fight strongly and correctly. When you want to cut from the right side, stand with your left foot forwards; and when you want to cut from the left side, stand with your right foot forwards. If you cut with an Oberhau from the right side, follow after the cut with your right foot. If you do not do this then the cut is poor and insincere, because your right side lingers behind. Then the cut becomes too short and cannot follow the correct arc down towards the other side, in front of the left foot.	[3]  Note: This is the first tenet of the long sword: learn to strike blows equally well from both sides if you want to learn to fence well. Note: If you want to strike from the (your) right side, make sure, your left foot is forward (at the beginning); if you want to strike from the left side, the right foot must be forward. If you strike an Oberhau from the right side then, follow the blow with your right foot. If you do not the blow is wrong and ineffective, because your right side stays behind. Because of this the blow will fall short and cannot travel in its proper arc towards the left side.		Das ist der text von vil gu°tter gemainer lere des langen schwerts Willtu kunst schowen Sich linck gen vñ recht mitt hawen Vñ linck mitt rechtem / ist dz du starck gerst fechten :· Glosa Merck dz ist die erst lere des [12r] langes schwercz dz du die hew võ baÿden sÿtten recht solt lernen hawen Ist dz du annders starck vñ gerecht fechten wilt Dz ver nÿm allso Wenn du wilt howe~ von der rechten sÿtten So sich dz dein k lincker fu°ß vor stee Vñ wenn du wilt howe~ võ der lincken sÿtten so sich dz dein rechter fu°ß vor stee Haw Häustu dann den ober haw° von der rechten sÿtten so folg dem haw nach mitt dem rechten fu°ß tu°st du dz nicht / so ist der how falsch vnd vngerecht wann dein [12v] rechte sÿten pleibpt dahinden Daru~ ist der haw zu° kurcz vñ mag sein rechten gang vndersich zu° der rechten sÿten andere~ sÿtten vor dem lincken fu°ß nicht gehaben
	[4] The same when you cut from the left side and [you] do not accompany the cut with the left foot. Thus the cut is also spurious. Therefore make sure from whichever side you cut, that you accompany the cut with the same foot, so that you can conduct all your plays with strength and all other cuts shall be hewn like this as well.	[4] The same when you hew from the left side and [you] do not follow-after the hew with the left foot, thus the hew is also false. Therefore note, from whichever side you hew, that you follow-after with the same foot, so you may conduct all your plays with strength and all other hews shall be hewn thusly as well.	[4] Similarly the cut is incorrect if you strike from the left side and do not follow after the cut with the left foot. So mark well, from which side you strike, that the foot follows after the cut. In this manner you can perform all of your techniques correctly and with strength. And in the same way should all the other cuts be performed.	[4] If you strike from the left side and you do not follow the blow, it too is wrong,. That is why no matter from which side you are striking follow the blow with the same foot. So you will succeed in all techniques. This is how you shall strike all blows.		Des glÿchen wenn du haw°st von der lyncken sÿtten vnd dem haw nicht nachfolgest mitt dem lincken fu°ß so ist der haw° och falsch Daru~ so merck von welcher sÿtten du haust / dz du mitt dem selbige~n fu°ß haw° nachfolgest so magstu mitt sterck alle dein stuck gerecht trÿbeñ Vnnd also süllen alle andere hew° [13r] och gehawen werden ~:·
	[5] Again, the text about a lesson 11 Whoever chases after cuts  They permit themselves little opportunity for art. 12 Cut from close proximity whatever you wish  No change gets past your shield 13 To the head, to the body  Do not omit the stingers 14 With the entire body  Fence whatever you desire to conduct with strength. Gloss. When you come to the opponent with the initiation of fencing, you should not watch nor await their cut as they conduct it against you. Because all fencers that look out and wait upon the opponent's cut and wish to do nothing else than parry, they allow themselves little opportunity from art because they often become struck with it.	[5] Again, the text about a lesson 11 Whoever chases after hews,  They allow themselves to hardly enjoy the art. 12 Hew nearby, whatever you wish:  No change comes in your shield; 13 To the head, to the body,  Do not omit the fleshwounds. 14 With the entire body fence  Whatever you desire to conduct strongly. Gloss. Note, this is when you come to him with the onset: you shall not focus nor wait upon his hew as he conducts it against you. Because all fencers who focus and wait upon another's hew and wish to do nothing else than displace, they permit such art little joy because they often become struck with it.	[5] A further lesson 11 He who goes after the cut,  receives little joy from his skills. 12 Cut closely, then do what you want  so he cannot to change-through your defence. 13 Strike to the head, to the body,  do not refrain from swift strikes. 14 Fence with the whole body  if you want do this with strength. Glosa. When you come against him in Zufechten you shall not await his attack, and neither shall you wait to see what he is thinking about doing to you. All fencers who are hesitant and wait for the incoming attack, and do nothing other than to ward it away, they gain very little joy from this sort of practice because they are often beaten.	[5]  When you are closing to an opponent, do not watch his blows and do not wait for what he might use against you. Because all fencers, who just wait for their opponents blows and do not do anything else than warding them off, do not succeed very often. They are defeated very often.		Der text aber võ aine~ lere Wer nach gat haw°en / der darff sich kunst wenig fröwen Haw nachent waß du wilt kain wechsel kumpt in dein schilt Zu° koppff zu° lÿbe / die zeck nicht vermÿde / mitt ganczem lÿb ficht waß du strarck gerst zu° trÿben :· Glosa Wenn du mitt dem zu°fechten zu° im kumpst so solt du vff sein hew nicht sechen noch warten wie er die gegen dir trÿbt wann alle fechte~ die do sechen vñ warten vff aines anderen hew Vnnd wellend anderß nichtß nicht~ thon [13v] dañ verseczen die durffen sich söllicher kunst wenig fröwen wann sÿ werden do bÿ offt geschlagen
	[6] Another. You shall note that everything that you wish to fence with, conduct that with the entire strength of the body and with that, cut in from close at the head and at the body, so they can not disengage in front of your point and with that cut, in the binding of the swords, you shall not omit the stingers to the nearest opening. That will be delineated hereafter in the five cuts and in other plays.	[6] Item. You shall note that every thing which you wish to fence, conduct it with the entire strength of the body; and cleave him in with that nearby to the head and to the body, so he may not change-through in front of your point; and with that hew, in the binding of the swords you shall not omit the fleshwounds to the nearest opening (which will be delineated hereafter in the five hews and in other plays).	[6] Always fight with the strength of the whole body! Cut close into him, to the head and to the body, so he cannot change-through in front of your point. And when the cut ends up in the bind you shall not hesitate but shall quickly and fluently make attacks against the nearest opening, using the five strikes and other techniques that will be described later.	[6] Note: Always fence using all of your strength! When you're close, strike at his head and at his body, so he may not be able to change through (Durchwechseln) in front of your point. After the blow, from the bind, strike light blows at his next opening, as is described in the section about different blows and other techniques.		Item du solt mercken alles dz du fechten wilt dz trüb mitt ganczer störck deines lÿbs Vnnd haw im do mitt nahent ein zu° kopff vñ zu° lÿb so mag er vor dinem ort nicht durch wechslen Vñ mitt dem haw° solt du im den anbinden des schwerts der zek zeckru°re nicht vermyden zu° der nächsten blöß di dir hernach in den fünff hewen vnd in anderen stucken vßgericht [14r] werden ~~ :·
	[7] Again, a lesson. 15 Hear what is bad.  Do not fence lefty from above if you are a righty 16 And if you are lefty,  In the right [you] are also severely hindered. Note the gloss. The lesson hits upon two people, one left and one right. The first cut, understand it like this: When you come to the opponent with the initiation of fencing, if you subsequently judge and decide to strike the opponent, then do not hew the first cut from the left side. Because it is weak and with it, cannot not hold fast when one binds strongly against it. Therefore cut [from] the right side, so you may work strongly with art. Whatever you wish.	[7] Again, a lesson 15 Hear what is bad for that:  Do not fence from above left if you are right, 16 And if you are left,  In the right [you] are also severely hindered. Gloss. Note, this lesson hits upon two people, one left and one right, and understand it thusly: When you come to him with the onset, if you then judge and decide to strike the opponent, then do not hew the first hew from the left side. Because it is weak and with that, may not hold against when one binds strongly upon it. Therefore hew [from] the right side, so you may work strongly with art (whatever you wish).	[7] Another lesson. 15 Hear what is bad,  do not fence from the left if you are right-handed, 16 and if you are left-handed,  you are weak from the right. Glosa. This lesson applies to two types of people: those who are left-handed and those who are right-handed. When you come against him in Zufechten, if you are right-handed and want to strike him, you must not throw your first cut from your left side. That is because this is weak and cannot bring strength to bear if he binds the strong of his blade against you. Therefore, cut from your right side, so you can be strong and skillful in the bind and can do as you will.	[7]  Note: This tenet is addressed to left-handers and right-handers. If you are a right-handed fencer and you are closing to an opponent and you think you can hit him, do not strike the first blow from the (your) left side. Because you are weak there and you cannot resist, if he binds strongly against your blade. Because of this, strike from the right side, you can work strongly "Am Schwert" ("on the sword") and you can use all techniques you like.		aber ain lere Höre waß du schlecht ist / ficht nitt oben linck / so du recht bist Vñ ob du linck bist Im rechte~ auch ser hinckest ·: Glosa Mörck die lere trifft an zwu° personen aine~ lincken vnd ain grechten / vñ mainest den man zu° schlagen So haw° den ersten haw° Das vernÿm also.  Wann du mitt zu° fechten zu° im kumpst Bist du dann gerecht vñ mainest den man zu° schlachen So haw den erste~ haw° nicht von der lingen sÿtten Wann der ist schwach vnd magst damitt nicht [14v] wider gehalten wann man dir starck daruff bindt Darum so haw der rechten sÿtten / so magst du starck am schwert mitt kunst arbaÿten waß du wilt
	[8] The same is if you are lefty. Then do not cut from the right side as well, because the art is quite awkward [when] a lefty drives from the right side. It is also the same [of] a righty from the left side.	[8] The same is if you are left. So likewise do not hew from the right side, because the art is quite awkward [when] a lefty conducts from the right side. It is also the same [of] a righty from the left side.	[8] Similarly, if you are left handed, do not cut from the right, because the art is pointless when a left-hander tries to fence from the right side. Likewise this statement applies to a right-hander fencing from the left side.	[8] So, if you are left-handed, do not strike from the right side, since left-handers are usually not used to strike effectively from the right side and vice versa.		Des gelichen Bist du linck so haw° och nitt von der rechtt~ wenn die kunst ist gar wild aine~ lincken ze triben von der rechten sÿtten Des glich ist es och aine~ rechten von der lincken sÿtten ~
	[9] This is the text and learn a lesson about before and after. 17 Before and After, the two things  Are the singular origin of the entire art. 18 Weak and strong  Indes, note them with this word 19 So that you may learn  To work and ward with art. 20 Whoever frightens easily  Never learns to fence. Gloss. Note this is so that you shall fully understand the before and the after before any confrontations. Because the two things have one origin that gives rise to the entire art of fencing. Look at it like this: The before, this is so that you shall always come forth with a cut or with a thrust to the opponent's opening the moment before they do the same to you so that they must parry you. Then work swiftly with your sword in front of you from one opening to the other within the parry. So they can not come with their plays before your work. But if they rush in on you, then come before with the wrestling.	[9] This is the text and a lesson about before and after 17 Before and after, the two things  Are the one origin of all art. 18 Weak and strong,  In-the-moment; with that mark the word. 19 Thus, you may learn  To work and ward with art. 20 If you frighten easily,  Never learn any fencing. Gloss. Note, this is that before anything, you shall understand the before and the after well, because these two things have one origin which gives rise the entire art of fencing. Understand it thusly: The before, this is so that you shall always come forth with a hew or with a thrust to his opening before the moment he comes with his [strike] to yours. Thus he must displace you. Then work swiftly in the displacement in front of you with the sword from one opening to the other, so he may not come before your work with his plays. But if he runs-in to you, then come forth with the wrestling.	[9] A lesson about "Before" and "After". 17 "Before" and "After", these two things,  all other skills spring from these. 18 "Weak" and "Strong",  "Instantly", mark well these words. 19 So you can learn  to work skillfully and defend yourself. 20 If you become gentle and timid,  you will never learn anything about fencing. Glosa. Mark well that more than anything else you must understand "Before" and "After", because these two concepts are the grounding from which all fencing comes. Mark also: "Before" means that you shall always perform a strike or thrust against his openings, before he does the same to you. Then he must defend against you! And work deftly both in the defence and in moving your sword from one opening to another, so he cannot have the chance to perform his own techniques between yours. But if he rushes in close to you, deal with him through wrestling.	[9]  Note: Above all other things, you must understand the principles of "before" (Vor) and "after" (Nach), because the entire art of fencing is based upon it. "Before" means, preempting him with a blow or a thrust against an opening before he can hit you, so he must defend/displace (Versetzen). So, be flexible in your defence and aim with your sword at one opening after the other, so he cannot get through with his own techniques. But, if he rushes in, start wrestling.		Daß ist der text vñ lere ain lere von vor und nach Vor vñ nach die zwaÿ dinck / sÿnd aller kunst ain vrsprimg Schwöch vñ störck /In/des/ daß wort domitt mörck So magst [15r] du leren mitt kunst arbaiten vñ wereñ Er schrickstu gern / kain fechten nim~er lern gelerñ ·: Glosa Merck dz ist dz du vor allen sachen wol solt verston daß vor und daß nach / wann die zwaÿ ding sind ain vrspru~g do alle kunst des fechtenß außgät Daß vernÿm also Daß for das vor daß ist dz du all weg solt vorkum~en mitt aine~ haw° ode~ mitt aine~ sch stich Im zu° der blöß Ee wann er dir zu der deinen so mu°ß er dir verseczen / so arbaÿt in der versachung behentlich für dich mitt dem schwert [15v] von ainer be blöß zu° der andere~ so mag er vor deiner arbaÿt zu° seine~ stucken nicht kom~en Aber laufft er dir ein eÿnn So kom~e fo vor mitt dem ringen ~~~≈~~~~~~~
	[10] Here note that which is called the after. Note. If you can not come into the before, then wait upon the after. These are the breaks of all plays that they conduct upon you. Look at it like this: When the opponent comes before such that you must parry them, swiftly work Indes to the nearest opening during the parry, so that you hit them the moment before they accomplish their play.	[10] Here note that which is called the after Note, if you may not come in the before, then wait upon the after. These are the breaks of all plays which he conducts upon you. Understand it thusly: When he comes-before such that you must displace him, so swiftly work in-the-moment with the displacement to the nearest opening, so you hit him the moment before he accomplishes his play.	[10] Mark, that which is called "After". Mark, that if you cannot come in the "Before", wait for the "After". This will defeat all techniques that he does against you. When he comes at you so that you must defend yourself against him, so work deftly "in the Instant" with your defence against his nearest opening, so strike him before he can finish his technique.	[10] "After" means: If you do not succeed with the "before", wait for the "after". These are the defenses against all techniques he uses against you. So, if you have to displace him, make the displacement "simultaneously" (Indes) and from the bind, strike immediately at his nearest opening.		Hie mörck was da haÿsst daß nach Mörck magstu zu° dem vor nitt kom~en So wart uff dz nach dz sÿnd die brüch uff allen stu°ck die er vff dich trÿbt Das vernÿm also Wann er vorkumpt daß du ihm verseczen mu°st So arbait mitt der versäczung / Indes behentlich für dich zu° der nächsten blöß So triffestdu in ee Wann [16r] er sein stuck verbringtt
	[11] Thus you have seized the before and they remain after. You shall also note in the before and after how you shall work with the word Indes according to the weak and according to the strong of their sword. And understand it like this: From the hilt of the sword up until the middle of the blade the sword has its strength. With that you may resist when someone binds you against it. And farther from the middle up until the point, it has it's weak which can not cannot resist. And when you understand these things properly, you can correctly work with art and with that protect yourself and furthermore teach princes and lords so that they may properly remain steadfast using the same art in in play and in earnest, but if you frighten easily, you should not learn the art of fencing because a heart drained of blood does no good when it becomes rattled by any art.	[11] Thus you have seized the before and he remains after. You shall also note in the before and after how you shall work with the word "in-the-moment", according to the weak and according to the strong of his sword, and understand it thusly: The sword has its strength from the hilt of the sword up until the middle of the blade; with that you may resist when someone binds you thereupon. And farther, from the middle up until the point, has its weak which cannot resist. And when you understand these things properly, you may properly work with art, and with it protect yourself and furthermore teach princes and lords so that they may properly remain steadfast with the same art, in play and in earnest; but if you fear easily, you should not learn the art of fencing, because a fragile discouraged heart, it does no good when it becomes struck by any art.	[11] Thus you win the "Before" and he is left in the "After". You shall also know how you can use "the Instant" against his "weak" and "strong" parts of the sword. From the hilt of the sword to the blade's centre the sword is "strong", and with this you can meet against his blade when you bind against it. And further, from the middle to the point the sword is "weak", which should not be brought against his blade. And when you really understand these things you can work skillfully and defend yourself well, and later teach princes and lords, so that they with these same skills can protect themselves well in play and earnest. But if you become frightened easily you should not learn fighting arts, because a weak and frightened heart—it does not help you—it defeats all of your skills.	[11] So you win the "before" and he remains in the "after". Also, you should – during the "before" and "after" – notice "simultaneously" (Indes) how you can "work" against the strong or the weak of his sword. This means: The strong of the sword reaches from the crossguard to the middle of the blade, with it, you can hold opposed, if somebody binds against it. The weak reaches from the middle of the blade to the point. Here you cannot hold opposed. If you firmly understand this, you can "work" and defend yourself very well. Princes and Lords learn to survive with this art, in earnest and in play. But if you are fearful, then you should not learn to fence. Because a despondent heart will always be defeated, regardless of all skill.		Also gewinstu aber dz f vor Vñ er blÿpt nach Auch soltu in dem vor vñ nach mörcken wie du mitt wort /in des/ arbaitten solt nach der schwech vnd nach der störck seines schwertß Vnd das vernÿm Also Von dem gehulcze des schwerts by biß in die mitten der clingen Hatt dz schwert fin sin störcke dar mitt du wol magst wide~ gehalten wann man dir dar an bindt Vñ fürbaß von der mitt biß an den ort hat es sein schwöch da magst nitt nicht wider [16v] gehalten Vñ wenn du die ding recht verstest So magstu mitt kunst wol arbaitten vñ dich darmitt wören vñ fürbaß lerne~ fürsten vñ her~eñ dz sÿ mitt der selbige~ kunst wol mügen besten In schim~pff vñ in ernst Aber erschrckstu gern so saltu die kunst des fechtens nitt lerne~ Wann ain blöds verzags hercz dz tu°t kain gu°t wann es wirt bÿ aller kunst geschlagen ~  ~  ~
	[12] The text of the five cuts 21 Learn five cuts  From the right hand, whoever invests in these, 22 We swear to them  To gladly pay them back in skills. Note the recital sets down five concealed cuts. Many masters of the sword do not know to say that you should not learn to make other cuts, when from the right side, against those that position themselves against you in defense. And if you select one cut from the five cuts, then one can connect during the first strike. Whoever can break that without their harm, will be avowed by the masters of the recital such that their art shall become better rewarded than any other fencer that cannot fence against these five cuts. And how you shall hew the five cuts, you find that in the same five cuts written hereafter.	[12] This is the text of the five hews 21 Learn five hews  From the right hand against the defense. 22 We happily consign them  To the rewards in the Arts. Gloss. Note, the Recital sets down five obscure hews. Many masters of the sword do know nothing to say about this: that you should not learn to make other hews, when from the right side, against those who arrange themselves against you in defense. And if you select one hew from the five hews, then one must hit with the first strike. Whoever can break that without their harm will be praised by the masters of the Recital, because his art shall be praised better than another fencer who cannot fence the five hews against it. (And how you shall hew the five hews, you find that written hereafter in the same five hews.)	[12] The Five cuts. 21 Learn five cuts from the right hand.  He who can defend himself with these, 22 he should be praised,  his skill rewards him well. Glosa. Mark well, the teaching verses present five secret cuts, which many swordmasters do not know to speak about. You will learn not to strike any other cuts when you come from the right side against one who stands against you in defence. And try if you can to hit an opponent with the first strike using one of these five cuts. The one who can counter with these against an opponent without being hurt will be praised by the master of the markverses, and his skill shall reward him more than another fencer who cannot fence with the five cuts. And how you shall throw the five cuts you will find hereafter recorded in the verses that talk about these same five cuts.	[12]		Der text võ den fünf hewen Fünff hew° lere von der [17r] rechten hand Wer dz wäre dem wir geloben / in kunsten gern zu° lonen ~:· Merck die zedel seczt fünff verborgne hew° Da von vil maiste~ des schwerts nicht wissen zuo zu° sagen Die soltu anders nicht lerne~ hawen wann võ der rechten sÿtten gege~ dem der sich gegen dir stöllet zu° der were Vñ versu°ch öb du mitt aine~ haw vsß den fünffen den man mitt dem ersten schlag mügest treffen Wer dir die brechenn kan on seine~ schaden / so wirt im gelopt Von dem maiste~ der zedeln daß im siner kunst [17v] bas gelonet soll werde~ dann aine~ andern fechtern der wÿde~ die funff hew nicht fechten kann Vñ wie du die fünff hew howen solt / dz fündest du in den selbigen funff hewen her nach geschriben /
	[13] This is the text of the plays of the recital 23 Wrathcut Crook and Cross,  If the Eye Cocker keeps with the Parter, 24 The Fool parries.  Pursuing, Overrunning, places the attack 25 Disengage, Suddenly withdraw,  Rush through, cut off, press the hands 26 Tilt and Turn to uncover with  Slash, catch, sweep, stab to clash with Note the gloss. Here the proper principal plays of the art of the long sword are named as each are specifically titled with their names that you can better understand them. They are seventeen in number and begin with the five cuts	[13] This is the [text] of the plays of the Recital 23 Wrath-hew, crooked, thwart  Has squinter with parter 24 Fool displaces  Following-after, run-over 25 Set the hew, change-through, yank  Run-through, cut-off, press the hands 26 Hang and with openings  Strike, catch, sweep, thrust with blows. Gloss. Note, here the proper principal-plays of the art of the long sword are named, as all are specifically titled with their names so that you can better understand them. They are seventeen in number, and it begins with the five hews.	[13] The techniques of the markverses. 23 Wrath strike, crooked strike, crosswise,  squinting, with Parting 24 breaking the Fool,  follow after, go over, 25 cut, change through, twitch,  rush in, slice, press the hands, 26 hanging guard, and with openings,  strike, catch, sweep and thrust with the point. Glosa. Here are listed the correct and most important techniques in fighting with the longsword, they are named specifically so that you may understand them better. They are seventeen in number and begin with the five cuts.	[13] Overview of The Fighting Techniques Note: these are the names of the main techniques of the art of the long sword, whose names are chosen in such a way that you may understand them better. There are seventeen techniques and they start with the five strikes.		Das ist der võ den stucken de~ zedeln Zorn haw · krump · zwerch hat Schiller / mitt schaittler Alber verseczt / nachraÿsen Vberlauff hav haw seczet Durch wechsel zuck durch lauff abschnide / hende dn druck / heng vñ mitt blössen schlach vach streÿch sch stich mitt stossen ~·:·~ Glosa [18r] Mörck hie werden genampt die rechten haüptstucke der kunst deß langen schwerts wie ÿettlichs besunde~ haist mit dem namen / daß du die dester baß ver sten kündest Der ist sibenzechen an der zal Vnd heben sich an den funff hewen an / ~~ Item num nun mörck der erst haw haist der zorn haw Der ander der krump haw Der drit der zwer haw Der viert der schill haw Der funfft der schaittel/haw Der sechst daß sind die vier
	[14] Another. Now note the first cut called the wrath-cut The second the crooked cut The third the crosswise cut The fourth the cockeyed cut The fifth the scalp-cut The sixth this is the four guards The seventh the four parries The eighth Pursuing The ninth the overrunnings The tenth the displacements The eleventh disengaging The twelfth yanking back The thirteenth the rush throughs The fourteenth the cut offs The fifteenth the hand presses The sixteenth the hangings The seventeenth this is the winds	[14] Item. Now note the first hew called the wrath-hew The second the crooked-hew The third the thwart-hew The fourth the squint-hew The fifth the scalp-hew The sixth they are the four guards The seventh the four displacements The eighth the following-after The ninth the running-over The tenth the setting-aside The eleventh the changing-through The twelfth the yanking The thirteenth the running-through The fourteenth the cutting-off The fifteenth the hand-pressing The sixteenth the hanging The seventeenth they are the windings	[14] The first cut is called the wrath strike, the second is the crooked strike, the third is the crosswise strike, the fourth is the squinting strike, the fifth is the parting strike, the sixth: these are the four guards, the seventh is the four displacements, the eighth is travelling after, the ninth is the over reaching, the tenth is the setting aside, the eleventh is changing through, the twelfth is the twitching, the thirteenth is the running through, the fourteenth is the cutting], the fifteenth is the hand pressing, the sixteenth is the hanging, the seventeenth: this is the windings.	[14] 1. The first strike is the strike of wrath (Zornhau) 2. The second one is the "crooked strike" (Krumphau) 3. The third one is the Zwerchhau 4. The fourth one is the squinting strike (Schielhau) 5. And the fifth one is the "parting strike" (Scheitelhau) 6. Sixth there are the four basic guards 7. Seventh there are the four techniques of displacement (Versetzen) 8. Eighth there is the Nachreissen ("Traveling after") 9. Ninth there is the Overrunning (Ueberlaufen) 10. Tenth there is the setting aside (Absetzen) 11. Number eleven is the changing through (Durchwechseln) 12. The twitching (Zucken) 13. The running through (Durchlaufen) 14. The cutting off (Abschneiden) 15. The pressing of the hands 16. The "Hanging" 17. And finally there is the Winding		[18v] hütten Das sÿbent die vier verseczen Das acht die nachraisen Das neindt die überlauffen Das J zechend die abseczen Daß aÿlfft daß durchwechßlen Das zwülfft daß zucken Daß drÿzehend die durchläuffen :/ daß vierzehend die abschnÿden : daß funffzehend die hend trucken Daß sechzehend die hengen Daß sibenzehend · daß sind die winden
	[15] And how you shall uncover with the hanging and winding and how you shall conduct all the forenamed plays, you find that all written hereafter.	[15] And how you shall uncover with the hanging and winding, and how you shall conduct all the forenamed plays, you find that entirely written hereafter.	[15] And how you will perform the hanging and windings, and how you shall perform all these named techniques, all this you will find written hereafter.	[15]		Vnnd wie du dich mitt den heng~ und winden enplösen solt Vnd wie du alle vorgenampte stuck trÿben solt daß vindestu alles her nach geschriben ~  ~ ~ ~ :·
	[16] This is the wrath-cut with its plays 27 Whoever cuts at you from above,  The wrath-cut point threatens them Gloss. Look at it like this: When one cuts in from above from their right side, you also cut in a wrath-cut strongly from your right shoulder with them using your long edge. If they are subsequently soft against the sword, then shoot the point in forward long at their face and threaten to stab them.	[16] This is the wrath-hew with its plays 27 Whoever hews over you,  The wrath-hew point threatens him. Gloss. Understand it thusly: When one cleaves-in above from his right side, so also cleave-in a wrath-hew with him, with the long edge strongly from your right shoulder. If he is then soft upon the sword, so shoot-in the point forward long to his face and threaten to stab him (as stands done hereafter next to this).	[16] Do the Zornhau with these techniques. 27 That which cuts from above,  the Zornhau threatens him with the point. Glosa. When someone cuts against you from above from their right side, so cut with a strong Zornhau (wrath strike) with the long edge from your right shoulder. If he is weak in the bind, thrust in with the point along his blade to his face, and threaten to stab him.	[16] The Fighting Techniques: The Strike of Wrath and the Winding Note: When your adversary strikes at you from his right side with a strike from above (Oberhau), then hit with a strike of wrath from your right shoulder against it. Strike with your true edge and in your strong. When he is weak at the sword then, thrust into his face along his blade.		[19r] Das ist der zorn haw° mitt sinen stucken ~ Wer dir ober haw°et Zor haw ort im dröwet ·: Glosa Daß vernÿm also Wann dir ainer von siner rechten sÿtten oben oben [!] ein hawet so haw ainen zorn haw mitt der langen schnide~ och von diner rechte~ achslen mitt im starck ein Ist der dann waich am schwert / so schüß Im den ort für sich lang ein zu° dem gesicht Vnnd träw im zu° stechen ·~·:·~·
	[17] Yet another play from the wrath-cut 28 If they become aware of it,  Then take off above without concern Gloss. When you shoot the point in during the wrath-cut, then if they become aware of the point and parry the thrust with strength, then drag your sword upwards up off away from theirs and cut in again at their head from above on the other side against their sword.	[17] Again a play from the wrath-hew 28 If he becomes aware of it,  So take-off above without driving. Gloss. This is when you shoot-in the point with the wrath-hew (as stands done before next to this): if he then becomes aware of the point and displaces the thrust with strength, so back-off your sword up above from his and cleave-in again above to the other side on his sword to his head (as stands done here).	[17] Another technique from the Zornhau. 28 If he recognises this,  so lift off above without danger. Glosa. When you thrust after a Zornhau and he becomes aware of the point and strongly defends against the thrust, twitch your sword up, over and away from his sword and cut him on the other side of his sword up into his head.	[17]  When you thrust against his face from the strike of wrath and he notices this and displaces the thrust with strength, pull your sword upwards, away from his. And then strike to the head from the other side, also along his blade.		Aber ain stuck vß dem zorn haw° Wirt er es gewar So nÿms [19v] oben ab an far :· Glosa Wann du mitt dem zorn haw den ort ein schüst wirt er dann deß orts gewar vñ verseczt den stich mit störcke So ruck dein schwert übersich oben ab von dem sinen Vñ haw im zu° der andren sÿtten an sine~ schwert wider oben ein zuo dem kopffe ~~
	[18] Yet another play from the wrath-cut 29 Be strong in turn  And thrust. If they see it, take it again[sic] Gloss. When you cut in with the wrath-cut, if the opponent parries it and remains strong against the sword with it, then be strong again against them against their sword and rise up with the strong of your sword into the weak of their sword and wind your hilt forwards in front of your head against their sword and then stab them in the face from above.	[18] Again a play from the wrath-hew 29 Be stronger back  And thrust. If he sees it, take it down Gloss. Note, this is when you cleave-in with the wrath-hew (as stands done before next to this): if he displaces it, and with that remains strongly upon the sword, so be strong back against him upon the sword, and drive up with the strong of your sword into the weak of his sword, and wind your hilt forward in front of your head upon the sword, and so thrust him high to the face (as stands pictured here).	[18] Another technique from the Zornhau. 29 Become stronger against  and thrust! If he marks this, take it below. Glosa. When you cut in against him with a Zornhau and he defends himself and holds backs, strong against you in the bind, so become strong again against him in the bind and push up with the "strong" of the sword against the "weak" of his sword, and wind your hilt high in front of your head, and thrust down from above into his face.	[18]  When you strike a strike of wrath and he displaces it and remains strong at the sword, hold strongly against it. With the strong of your sword, slide up to the weak (schwech) of his blade, wind the hilt in front of your head while remaining on the sword (am schwert) and thrust into his face from above.		Aber ein stuck vß de~ zornhaw° Biß störcker wider / vnd sch stich sicht erß so nÿm es wider ·: Glosa Wenn du im mitt dem zornhaw° Inhaw°st verseczt er dir daß vñ pleibt dir damitt [20r] starck am schwert So bÿß gen im wider starck am schwert Vñ far uff mit der störck dines schwerts in die schwöchi sines schwerts vnd wind am schwert de din gehülcz f~ vorne~ für dein hopt haupt vñ so stich in oben zu° dem gesichte ~
	[19] Yet another play from the wrath-cut When you thrust-in from above during the winding, as was before, if the opponent then rises up with their hands and parries the high thrust with their hilt, then remain standing like that in the winding and set the point down between their arms and the breast.	[19] Again a play from the wrath-hew When you thrust-in high with the winding (as stands pictured before), if he then goes up with the hands and displaces the high thrust with the hilt, so also remain standing in the winding and set the point down between his arms and the chest (as stands pictured here below).	[19] Another technique from the Zornhau. When you use the winding against him and thrust down from above—as mentioned already—and he pushes up high with the hands and uses the hilt to defend against your upper thrust, so stand in the winding and thrust your point downwards between his arms and chest.	[19]  When you thrust from the Winding as described and he displaces the thrust by lifting up his arms and his hilt, stay in the Winding and take the Ort (point or thrust) down between his arms and breast.		Aber ain stuck vß dem zornhaw° Wann du Im mitt dem winden oben ein stichst / alß vor stett / fört er den hoch vff mitt den henden vñ versetzt mitt dem gehülcze den obern sttich stich so plÿb alst also sten in dem winden vnd setz im den ort [20v] niden zwischen sinen armen vñ der brust ~ ~~
	[20] A break against the taking off Note. When you bind with someone strongly against their sword, then if they drag their sword upwards up off away from your sword and cuts in again from above at your head on the other side against your sword to your head, then bind strongly with the long edge from high towards their head.	[20] A break against the taking-off Note, when you bind with someone strongly on his sword, if he then draws his sword from your sword up above and cleaves-in again on the sword above to the other side toward your head, so wind-in strongly with the long edge high to his head.	[20] A counter to the taking-away. When you bind strongly against him and he twitches away his sword up and over your sword and in the bind cuts against you on the other side of your sword to your head, so bind (strike) strongly with the long edge in against his head.	[20]  Note: When you engage at the sword ("binden") with strength and your adversary pulls his sword upwards and strikes at your head from the other side, then bind strongly with the true edge and strike him on the head.		Ain bruch wide~ daß abneme~ Mörck wenn du mitt ainem starck am schwert bindest Ruckt er dan sein schwert übersich oben abe von dine~ schwert vñ haw~t dir zu° der andere~ sÿtten am schwert wider eÿn zuo dem kopffe So bind starck mitt der langen schnÿden Im oben eÿn zu° dem kopffe ~~
	[21] Here note a good lesson. 30 Note this precisely:  Cut, thrust, guard; soft or hard, 31 Indes and before after[sic]  Without rush, your war is not hasty. 32 Whoever hunts the war  Above, will be exposed below. Gloss. This is what you shall quite precisely note when one with a cut or with a thrust or otherwise binds against your sword: whether they are soft or hard upon the sword. And when you have sensed this, you shall know Indes which is the best: whether you rush upon them with the before or with the after. But you shall not allow yourself to be too hasty with your war with your onrush. For the war is nothing other than the windings upon the sword.	[21] Here note a good lesson 30 Note this precisely:  Cut, thrust, leaguer; soft or hard, 31 In-the-moment and drive-after[sic]  Without hurry. Do not rush your war: 32 Whoever's war aims  Above, they become ashamed below. Gloss. This is what you shall quite precisely note: when one binds on your sword (with a hew or with a thrust or otherwise), [note] whether he is soft or hard upon the sword. And when you have sensed this, so you shall know in-the-moment which is the best for you: whether you work upon him with the before or with the after. But with that you shall allow yourself to be without hurry [and] not too rushed with the war, because the war is nothing other than the windings upon the sword.	[21] A good lesson. 30 Note to train this:  cut, thrusts, guards—soft and hard. 31 "Instant" and "Before", "After" without hurry.  Do not seek close combat prematurely. 32 Those who aim for close combat  before they are ready, are cut down. Glosa. When one binds against your sword with a cut or thrust or anything else, you must find out whether he is soft or hard in the bind. And when you find this, you will "Instantly" know what is best to do, to attack him with "Before" or "After". But in the attack you shall not be too hasty to go into close combat, because close combat is nothing other than the windings in the bind.	[21]  You must notice immediately, if someone is weak or strong at the sword if he binds at your sword with a strike or a thrust. If you have noticed that, you shall know simultaneously, if it is better to fight him in the "before" (Nach) or the "after" (Vor). But don’t engage rashly in close-combat (Krieg), this is nothing else than Winding (Winden) at the sword.		Hie mörck ain gu°tte lere Das öben mörck / Haw stich leger waÿch oder hört In des vñ fär nach / on hurt dein krieg sich [21r] nicht gäch Weß der krieg ri riempt oben nÿder wirt er beschämpt ·: Glosa Daß ist dz du gar eben mörcken solt wann du dir aine~ mitt ainem haw~ oder mit aine~ stich oder sunst an din schwert bintt bindet ob er am schwert waich oder hört ist vñ wenn du das enpfunden hast So solt du /In das/ wissen welchses dir am beste~ sÿ ob du mitt dem vor oder mitt dem nach an in hurten solt Abe~ du solt dir mitt dem an hurten nicht zu° gauch laussen sÿn mitt dem krieg wenn der krieg ist nicht anders dann die winden am [21v] schwert
	[22] Another. Conduct the war like this: When you cut in with the wrath-cut, then as soon as the opponent parries, rise sufficiently up with your arms and twist your point into the upper opening. Then if they parry the thrust, keep staying in the winding and stab the lower opening with your point. Then if they chase the sword further by parrying, then pass through below their sword with your point and hang your point in from above into the other opening of their right side. In this way they become ashamed above and below if you can otherwise conduct the passage correctly.	[22] Item. Deploy the war thusly: When you cleave-in with the wrath-hew, then as soon as he displaces, drive up with the arms and wind-in the point upon the sword to the upper opening. If he then displaces the thrust, so keep staying in the winding and stab the low opening with the point. If he then further follows-after the sword with the displacements, then drive-through with the point below his sword and hang-in the point above to the other opening of his right side. Thus he becomes ashamed above and below, because you can otherwise conduct the techniques correctly.	[22] Perform close combat like this: when you cut against him with a Zornhau, when he defends himself quickly, you shall go up in an orderly fashion with the arms and wind against his sword with your point in against the upper opening. If he defends against this thrust, stand in the winding and thrust with the point into the lower openings. If he follows further after the sword in self defence, go under his sword with the point through to the other side and hang your point over in against the other opening on his right side. In this way he will be cut down in close combat both above and below, because you (unlike he) can perform the movements correctly.	[22] In close-combat you should do the following: if you strike him with the strike of Wrath and he displaces it, lift up your arms and, at the sword, wind the point to the upper opening. When he displaces (Versetzen) the thrust, stay in the winding and thrust to the lower opening. If he follows your sword in the displacement (Versatzung), lead your point through under his sword (disengage under – "durchführen") and thrust to the other opening on his right side. This is how you can defeat him in close-combat.		Item den krieg trÿb also Wam [!] du Im mitt dem zorn haw~ In haw~est Alß bald er dann verseczt so far wol vff mitt den armen vñ wind im den ort am schwert ein zu° der obern blöß verseczt er denn den stich So blÿb sten in de~ winden vñ stich mitt dem ort die vnder blöß folgt er dann fürbaß mitt der versaczu~ge dem ss schwert nach so far mitt dem ort vnde~ sÿn schwert durch vñ heng im den ort oben ein zu° de~ andere~ blöß sine~ rechten sÿtten Also wirt er mitt dem krieg oben vñ vnden beschämpt Ist daß du die ge/ [22r] fört andrest recht kanst trÿben ~
	[23] How one shall properly find cuts and thrusts in all windings 33 In all winding  Learn to properly find cut, thrust. 34 You shall also with that gauge,  cut, thrust or slice 35 In all encounters  Of the masters, if you wish to dishonor them. Gloss. This is how you shall properly find cut, thrust and slice in all windings. So when you wind, you shall immediately gauge which of the three is best to conduct. So that you do not cut when you should thrust, and not slice when you should cut, and should not thrust when you should slice. And note when someone parries the one, that you hit them with the other. So if one parries your thrust, then conduct the cut. If someone rushes in, then conduct the under-slice into their arm. Note [this] in all collisions and bindings of the sword, if you wish to confound the masters that sets themselves against you.	[23] How one shall properly find hews and thrusts in all winding 33 In all winding,  Learn to properly find hew, thrust. 34 You shall also, with  Testing, hew, thrust, or cut 35 In all hits  If you wish to confound the masters. Gloss. This is how you shall properly find hew, thrust, and cut in all winding: so when you wind, you shall immediately test which of the three is best to conduct: the hew, or thrust, or cut. Thus, you do not hew when you should thrust, nor cut when you should hew, nor thrust when you should cut. And note, when someone displaces the one, that you hit them with the other. So if one displaces your thrust, then conduct the hew. If someone runs-in, then conduct the under-cut into their arm. Remember this in all hits and bindings of the sword, if you wish to confound the masters who set themselves against you.	[23] How one in all windings shall find correct cuts and thrusts. 33 In all windings  learn correctly to find the cut and the thrust. 34 You shall also test  with cut, thrust or slice, 35 in all fights  if you want to beat the masters. Glosa. That is to say that you should in all windings find the correct cut, thrust or slice in this manner: when you wind, you shall become immediately aware of which the three will work best for you to use. This is so that you do not cut when you should thrust, and that you do not slice when you should cut, and so that you do not thrust when you should slice. And mark: when your opponent defends against the one, you should strike with the other. Also: if one defends against your thrust then use the cut. If he rushes in towards you, use the lower slice against his arm. Remember this in all fights and binds with the sword, if you want to defeat the masters who set themselves against you.	[23]		Wie man In allen winden hew° stich recht vinden sol ~ In allen winden hew stich recht lern finden Auch soltdu mit brüch brüffen / hew stich oder schnitt In allen treffen den maistern wilt du sÿ effen ·: Glosa Daß ist daß du in allen winden hew stich vñ schnitt recht finden solt Also wenn du windest dz du da mitt zu° handt solt brüffen weches dir vnder den de drÿen daß best sÿ zu° triben al also dz du nicht hav~est wann du steche~ solt vñ nit schnidest wañ du hawen solt vñ nicht stechest [22v] wann du schniden solt Vñ mörck wan man dir der aÿnes verseczt dz du in mitt dem andern treffest Also / versecz man dir den stich so trÿb treÿb den haw° Laufft man dir eÿnn so treÿb den vndern schnitt In sin arm des morck in allen treffen vñ anbinden der schwert wilt du anderst die maister effen die sich wider dich seczen ~~ : ~ :·
	[24] About the four openings 36 Know to target the four openings;  Thus you strike wisely. 37 Go upon all  Without doubt how he bares. Gloss. You shall here note the four openings on the opponent that you should always fence to. The first opening is the right side, the second is the left side above the girdle of the opponent. The other two are also the right and the left sides below the girdle. Precisely observe the openings in the onset with which they uncover themselves against you. Artfully target these without danger with the shooting in of the long point, with pursuing and otherwise with all techniques and and do not heed them as they bare against you with their techniques. Thus, you fence wisely and from this strike strikes that are excellent and with this do not allow them to come to their plays.	[24] About the four openings 36 Know to target the four openings;  Thus you strike wisely. 37 Go upon all  Without doubt how he bares. Gloss. You shall here note the four openings on the man which you shall always fence to. The first opening is the right side; the second is the left side above the girdle of the man. The other two are also the right and the left sides below the girdle. In the onset, precisely observe the openings with which he uncovers himself against you. Artfully target the same without danger with the shooting-in of the long point and with following-after, and also with the winding upon the sword, and otherwise with all techniques, and do not pay attention to how he bares against you with his techniques. So you fence wisely and from that make attacks which are excellent, and with those do not allow him to come to his plays.	[24] The four openings. 36 Learn four openings,  aim to strike these with safety, 37 without any risk,  without doubt about what he can do. Glosa. Here you will learn about people's four openings, against which you will always fence. The first opening is on the right sight, the second on the left side, above the man's belt. The other two are likewise on the right and left sides under the belt. Always pay attention to the openings in Zufechten. His openings you shall skillfully seek without danger: with thrusts with the the outstretched point, with travelling after and with all other techniques. And do not pay heed to what he tries to do with his techniques against you, but fence with belief and throw strikes that are excellent and that do not allow him to come at you with his own techniques.	[24]  These are the four openings you should aim at in combat. The first opening is the right side, the second opening is the left side above the belt. The other openings are the right and left side below the belt. Already pay attention to the openings when you are closing in, aim at the ones he (your adversary) exposes. Thrust with the "long point" (Langer Ort), use the "traveling after" (Nachreissen) and all other opportunities. Don’t pay attention to what he’s up to, fence securely and you’ll hit so outstandingly, that he’ll not be able to get through with his own techniques.	[17r] Item du solt wissen welche ploß der man gegen dir entplost der selben ploß reme künlichen an var mit ÿn schissen des langen ortz vnd mit noch riessen vnd mit winden am schwertt [17v] vnd auch süns mit namen allen gefertenn vnd acht nicht wie er mit sinen gefertem gegen dir gebare so schlechstu In gewisß ~	Von den vier blossen Vier bloß wisse / rem so schlechstu gewisse an alle for / on zwifel wie er gebar ·: Glosa Hie soltu morcken die vier blossen an dem man da du all wegen zu° fechten [23r] solt Die erst bloß ist die recht sÿtt seÿtt die ander ist die link seÿtt oberhalben der girtel deß manß Die ander zwuo sind och die recht vnd die linck seÿtten vnderhalben der girtel Der blossen nÿm eben war in dem zu°fechten mitt welcher er sich gege~ dir enblösse der selbigen reme künstlichen on far mitt einschiessen des langen orts mit nachraisen vñ sunst mit allen geförten vñ acht nitt wie er mit sÿne~ geförten gegen dir bar gebar So vichtest du gewisß vnnd schlechst schlege daruß die do treffenlich sind vnd lau laust in domitt zu° seine~ stucken nitt komen ~~~ :  ~
	[25] The text and the gloss about the doubling and about the mutating. How they break the four openings. 38 If you wish estimate for yourself how  To artfully break the four openings 39 Double above  Mutate right below 40 I say to you truthfully  No one defends themselves without danger 41 If you have properly understood this,  They can scarcely come to blows, etc. Gloss. This is for when you wish to set yourself up against the opponent in such a way that you will break the four openings with art. Conduct the doubling to the upper openings against the strong of their sword and the mutating to the other openings. For I say to you truthfully, that they cannot defend themselves from that and can neither come to strikes nor to thrusts.	[25] The text and the gloss about the doubling and about the mutating: how they break the four openings. 38 If you wish to reckon yourself,  Artfully break the four openings: 39 Double above,  Mutate right below. 40 I say to you truthfully:  No master defends themselves without danger. 41 If you have understood this properly,  He may hardly come to blows. Gloss. This is when you wish to reckon yourself upon another such that you wish to break the four openings with art: so conduct the doubling to the upper openings against the strong of his sword, and the mutating to the other opening. Thus I say to you truthfully that he cannot defend himself from that, and may neither come to strikes nor to thrusts.	[25] Explanation of doubling and mutating: how these break the four openings. 38 If you would like to find revenge,  skillfully break up the four openings: 39 double over,  mutate below correctly. 40 Certainly I say this:  no master defends himself without risk. 41 If you have understood this,  he can hardly come to blows. Glosa. When you would like to skillfully break up the four openings for him, use the doubling against the upper openings and the mutating against the other openings. Certainly I say to you that he cannot defend himself against this, and can succeed with neither cut nor thrust.	[25] Mutieren and Duplieren against the four openings: If you want to break one of the four openings by force, then "Dupliere" at the upper opening, against the Starke (strong) of his sword, and then "Mutiere" to another opening. Against this, he cannot defend himself and he will not be able to either strike or thrust.		[23v] Der text vnd die gloß von de~ dupliern vnd von dem mutierñ Wie die brechen die vier blossen ~~ Wilt du rechen Die vier blossen künstlich brechen Oben duplir / vnden recht mutier Ich sag dir für war / sich scu schücz kain maiste~ an far Haustu es recht vernom~en zu° schlage mag er klain kom~en ·: Glosa Daß ist Wann du dich an eine~ rechen wilt also / dz du im die vier blossen mitt kunst wilt brechen d So trÿb dz dupliern zu° der oberen bo blössen gen de~ störcki seines schwerts vñ daß mutiern zu° der anderen blösß [24r] So sag ich dir für war daß er sich dar von nitt schüczen kan vnd mag weder zu° schlachen noch zu° stechen komen ~
	[26] The doubling Another. When you cut in from above with the wrath cut or otherwise, if the opponent parries you with strength, then 'Indes' shove your sword's pommel under your right arm with your left hand and against their sword with crossed hands, strike the opponent across their mouth from behind their sword's blade between the sword and the opponent or else strike them on their head with this play.	[26] The doubling Item. Note, when you cleave-in with the wrath-hew (or otherwise high), if he displaces you with strength, then in-the-moment shove your sword's pommel under your right arm with the left hand, and strike him through the maw, with crossed hands, upon the sword behind his sword's blade (between the sword and the man); or strike him with the play upon the head.	[26] Doubling When you cut in with a Zornhau or another Oberhau and he defends himself strongly, so "Instantly" thrust your pommel in under your right arm with your left hand, and cut him in the bind over the face with crossed hands, between the sword and the man. Or cut him with the sword in the head.	[26] Duplieren: When you strike a strike of wrath (Zornhau) or any other Oberhau and he displaces it with strength, with the left hand, immediately thrust the pommel of your sword under your right arm. With crossed hands, behind his blade and in between the blade and his body, strike him diagonally through the face. Or strike him on the head.		Daß dupliern Item wann du in mitt dem zorn haw° / oder sunst oben eÿn haw~st verseczt er dir mit stöck So stos /In des/ deines schwerts knopff vnder deine~ rechte~ arm mitt der lincken hand vñ schlach in mitt gecruczten henden am schwert hinder sines schwerts cli klingen zwischen de~ schwert Vñ dem mann vff durch daß maul Oder schlach im mit dem stück vff den kopff ~
	[27] Note the mutating Conduct the mutating like this: When you bind them against their sword with a descending cut or otherwise, then wind the short edge against their sword and rise sufficiently up with your arms and hang your sword's blade over their sword to the outside and thrust to their lower opening. This works on both sides.	[27] Note the mutating Deploy the mutating thusly: When you bind him with the over-hew (or otherwise on the sword), then wind the short edge upon his sword and drive well up with the arms, and wind your sword's blade outside above his sword and thrust him to the low openings, and this conducts to both sides.	[27] Mutating When you bind against his sword with an Oberhau or something similar, so wind the short edge against his sword and go up in an orderly fashion with the arms; and hang your sword blade over his sword on the outside and thrust into him through the lower openings. This can be done on both sides.	[27] Mutieren: If you bind against his sword, with an Oberhau or otherwise, wind the short edge at his sword, raise your arms and thrust at the lower opening from the outside along his blade. You can use that from both sides.		Mörck daß mutiern [24v] Daß mutiern treÿb also. Wenn du im mitt dem obern haw° ode~ sunst an daß schwert bindest So winde die kun kurcze~ schnide~ an sin schwert vñ far wol vff mit den armen vñ heng im dein schwerczs ? clingen vssen über sein schwert vñ stich v im zu° der vndern blösse vñ dz trÿb zu° baÿden sÿtten ~
	[28] The crooked cut with its plays 42 Crook up swiftly  Throw the point onto the hands Gloss. This is how you shall cut crooked to the hands and conduct the play like this: When the opponent cuts at an opening from your right side with either rising or descending cuts, spring away from their cut with your right foot, all the way to their left side, facing them and strike them with crossed arms with the point upon the hands. And also conduct this play against them when they stand against you in the guard of the ox.	[28] The crooked-hew with its plays 42 Crook on swiftly,  Throw the point upon the hands. Gloss. This is how you shall hew crooked to the hands, and conduct the play thusly: When he hews from your right side to the opening with over- or under-hews, spring away from the hew with the right foot against him well to his left side, and strike him with crossed arms with the point upon his hands. And also conduct this play against him when he stands against you in the guard of the oxen.	[28] Do the Krumphau (crooked strike) with these techniques. 42 Strike the Krumphau deftly,  cast the point towards the hands. Glosa. This is how you shall strike the Krumphau against the hands. When he cuts from his right side against an opening with an Oberhau or Underhau, take a spring away from the strike with your right foot, far out to his left side; and cut with crossed arms with the point to the hands. And even try this technique against him when he stands against you in the Ox guard.	[28]  The "Krumphau": This is how you should strike the Krumphau at the hands. When he attacks you from his right side with an Oberhau or Unterhau, jump out of the strike with your right foot towards his left side and with crossed hands strike against his hands using the point.	[18v] daß ist wie du krumpt solt haulben zu den henden Daß stuck tribe also wan er dir von diner rechten siten mit dem ober haulb oder vnter haulb zu haulbett so spring vß dem haulb mit dem rechten fus gegen ym woll vff sin lincke siten vnd schlag in mit vß gestreckten armen mit dem vff sin hende	Der krumphaw° mitt sine~ stüken stucken Krump vff behende / wirff den ort vff die hende ·: Glosa Daß ist wie du krump solt haw°en zu° den henden vñ daß stuck trÿb also wenn er dir von deine~ recht~ sÿtten mitt aine~ obern ode~ vndern haw~ zu° der blöss haw~et So [25r] spring vsß dem haw° mitt dinem recht~ fu°ß gege~ im wol vff sin Lincke sÿtten vñ schlach in mit gecrüczenten arme~ mitt dem ort vff die hende vñ dz stuck trÿb och gem [!] im wenn er gen dir stätt staut In der hüt deß ochsen ~
	[29] Yet another play from the crooked cut 43 Crook. Whoever fully commits  Disrupts many cuts with stepping. Gloss. This is how you shall displace the descending cut with the crooked cut. Conduct the play like this: When the opponent cuts in from above from their right side to the opening, step to their left side with your right foot and fall across their sword in the barrier guard with your point to the ground. Conduct this on both sides. You can also strike them on the head from the displacement.	[29] Again a play from the crooked-hew 43 Crook whoever sets well  With stepping, he sunders many hews. Gloss. This is how you shall offset the over-hew with the crooked-hew; conduct the play thusly: When he cleaves-in above from his right side to the opening, so step with the right foot to his left side [and fall] over his sword, with the point upon the earth in the barrier-guard. Deploy this to both sides. You may also strike him to the head from the setting-aside.	[29] Another technique from the Krumphau. 43 He who uses the Krumphau well  with a step, he is able to defend against cuts. Glosa. This is how you shall set aside all Oberhau attacks with the Krumphau. When he cuts in from above against your openings from his right side, step with your right foot out to his left side and throw your blade across his sword with the point to the ground in the Barrier guard. Test this on both sides. And from this setting aside you can cut him in the head.	[29]  This is how you can Absetzen ("set aside") the cuts from above with the Krumphau: If he attacks you from his right side with an Oberhau, step towards his left side with your right foot and put your point in the Schrankhut. Practice this from both sides. From the setting aside you can strike him on the head.		Aber ain stuck vß dem krumphaw° Krump wer wol seczet mitt schrÿtten er vil hew~ leczet ~·: Glosa Daß ist wie du mitt dem komp krump haw° die obern häw abseczen solt daß stuck trÿb also Wann er dir von sÿme sine~ rechten sÿtten oben ein hawet zu° der blosß so schrÿt mitt dem rechten fu°ß vff sÿn lincke sÿten v~ber sin schwert / mit dem ort [25v] vff die erden In die schranckhüte dz trÿb zu° baÿden sÿtten Och magstu In vß dem abseczen vff dz haupt schlachen ~
	[30] Yet another play from the crooked cut. 44 Hew crooked to the flats of  The masters if you wish to weaken them. Gloss. This is for when you wish to weaken a master. Conduct the play like this: When the opponent cuts in from their right side, cut crooked against their cut atop their sword with crossed hands.	[30] Again a play from the crooked-hew 44 Hew crooked to the flats of  The masters if you wish to weaken them. Gloss. This is when you wish to weaken a master, so conduct the play thusly: When he cleaves-in from his right side, so hew crooked with crossed hands against his hew onto his sword.	[30] Another technique from the Krumphau. 44 Cut crookedly against the flat side  of the masters, if you want to weaken them. Glosa. When you want to weak a master, use this technique: when he cuts in against you from above from his right side, strike crookedly with crossed hands against his cut above the sword.	[30]  If you want to weaken a master, then while he strikes an Oberhau from his right side strike a Krumphau with crossed hands against his sword.		Aber ain stuck vsß dem krumhaw° Haw krump zu° den flechen / den maistern wiltu sÿ schwechen :· Glosa Daß ist Wenn du aine~ maiste~ schwechen wilt So trÿb dz stuck also weñ er dir oben einhawt võ sine~ rechten sÿtten So haw~ kru~ mit gekreucztem gekrentzten hende~ gege~ sime sine~ haw vff sin schwert ~
	[31] Yet another play from the crooked cut 45 When it sparks above  So stand aside, that I will laud. Gloss. This is for when you cut atop the opponent's sword with the crooked cut, strike immediately back up from their sword with your short edge or wind the short edge against their sword during the crooked cut and thrust into their breast.	[31] Again a play from the crooked-hew 45 When it sparks above  So stand aside, that I will laud. Gloss. This is when you hew onto his sword with the crooked-hew: so strike-in again quickly with the short edge up-over from the sword to his head, or with the crooked-hew wind the short edge upon his sword and thrust him to the chest.	[31] Another technique from the Krumphau. 45 When it comes from above  stand back, this I shall praise. Glosa. When you cut a Krumphau onto his sword, so cut immediately back up from the sword with the short edge, in and down from above onto his head. Or wind the Krumphau with the short edge against his sword and thrust into his breast.	[31]  When you strike him with the Krumphau against his sword, from the sword immediately strike upwards against his head with the short edge. Or after the Krumphau wind the short edge at his sword and thrust him into the breast.		Aber ain stuck vß dem krumhaw° Wenn es kluczt oben / so stand ab dz will ich loben ·: Glosa Dast ist wenn du im mitt dem krumphaw~ vff sin schwert hawst So schlache vom schwert mitt de~ kurczen schnide~ [26r] bald wider vff / im oben ein zu° dem kopff Oder windt Im mitt dem krumphaw° die kurczen schnÿden an sin schwert vñ stich im zu° der brust ~ ~
	[32] Yet another play from the crooked cut 46 Don't crook, cut short  Disengage and with that expose them Gloss. This is for when the opponent wishes to cut in from above from their right shoulder. So you act as if you will bind against their sword with the crooked cut and shorten and pass through under their sword with your point and wind your hilt over your head to your right side and thrust into their face.	[32] Again a play from the crooked-hew 46 Do not crooked[-hew]; short-hew,  With that seek the changing-through. Gloss. This is when he wishes to cleave-in above from his right shoulder: so you act as if you will bind onto his sword with the crooked-hew, and [then] short-hew and drive-through under his sword with the point, and wind your hilt to your right side above your head and thrust him to the face (as stands pictured here), and this play breaks it.	[32] Another technique from the Krumphau. 46 Do not Krump, cut short,  then see changing-through. Glosa. When he wants to cut in from his right shoulder, pretend that you want to bind against his sword with a Krumphau. Cut short; and go through with the point under his sword and wind your hilt to your right side over your head, and stab him in the face.	[32]  When he strikes an Oberhau from his right shoulder, pretend as if you are going to bind against his sword with a Krumphau. But let your strike fall short, lead your point trough under his sword and wind your hilt over your head and to your right side. Then thrust him in the face.		Aber ain stuck vß dem krumphaw° Krum nicht kurcz haw° / durch wechsel dar mitt schow :· Glosa Das ist wenn er dir von siner rechten achseln oben ein will howen So tu° alß ob du mitt dem krumphaw° an sin schwert wöllest binden Vnnd kurcz vnd far mitt dem ort vnde~ sn sine~ schwert durch vnd wind vff din rechte sÿttenn dein gehülcz über din höppt vnd stich im zu° dem gesicht ~ ~
	[33]	[33] Again a break against the crooked-hew Note, when you shoot-in the point under his sword into his chest (as written before and stands pictured), if he then presses your sword downwards to the earth with the crooked-hew, then wind against your right side and drive well up over your head with the arms, and set the point above onto his chest (as is pictured hereafter). If he displaces that, then remain standing thusly with the hilt before the head and work swiftly with the point from one opening to the other. This is called the noble war. With that, you confound him so completely that he does not know where he shall remain before you.	[33]	[33]	[20v] Item ein bruch wider den krümpt haulb so du im den ortt vnter sin schwertt in schuest zu siner brust druck er dan mit dem krümpt haulb din schwertt vnter sich zu der andern erden so wind gegen siner rechten siten vnd far mit dem arm woll vff vber dem hauptt vnd setz im den ortt oben an sin brust versetz er dir dz so pleib also stett mit dem gehultz vor dem hauptt vnd arbeitt behendeglich mit dem ort von eÿner plos zu der andern dz [21r] heist der krieg do mit verirrest In so gar dz er nit weiß wo er sich hutten soll ~
	[34] Note how one shall break the crooked cut. 47 Whoever foils you crooked,  The noble war confounds them 48 That they do not truthfully knows  Where they are without danger. Gloss. This is for when you initiate a cut from your right side, from above or below. Then if the opponent cuts crooked onto your sword also from their right side with crossed arms and displaces your cut with it, then remain with the your sword strongly against theirs and shoot the point in long into their breast under their sword.	[34] Note how one shall break the crooked-hew 47 Whoever foils you crooked,  The noble war confounds them 48 That they do not truthfully know  Where they are without danger. Gloss. This is when you begin to hew him from your right side, above or below: if he then also hews crooked onto your sword from his right side with crossed arms, and with that deflects your hew, so remain with the your sword strongly upon his and shoot-in the point long under his sword to the chest.	[34] How one should counter the Krumphau. 47 Krumps that foil you;  the Noble War confuses him, 48 so that he truthfully  does not know where he shall be without danger. Glosa. When you cut against him from above or from below, from your right side; if he also cuts crookedly from him right side with crossed arms to your sword and thus foils your strike, so bind strongly with your sword. And shoot your point against his breast under the long edge of his sword.	[34]  This is how you can break the Krumphau: If you attack him from your right side with an Oberhau and he displaces this with a Krumphau with crossed hands from his right side, then strongly hold your sword against his. And "shoot" (thrust) the point at his breast with your arms extended.		Mörck wie man den krumphaw° brechen sol ~ [26v] Krump wer dich Irret / der edel krieg in verwü°ret Daß er fürwar nicht waÿst :wo er sÿ one far :· Glosa Daß ist Wann du im von diner rechten sÿtten ober ode~ vnden zu° haw~est Hawt er dann och von sÿner rechten sÿtten mit gekreutzen armen krump vff din schwert Vñ verir°et dir do mitt dein hew~ So blÿb mitt dine~ schwert starck an dem sine~ Vnnd schüß im vnde~ dem schwert den ort lang ein zu° der brust etc~
	[35] Another break for the crooked cut Note. When you cut in from above from your right side, then if the opponent cuts crooked with crossed arms atop your sword from their right side as well and with that presses you down to the ground, then wind towards your right side and rise all the way up over your head with your arms and set your point against their breast from above. Gloss. If they parry this, then remain standing as are you are with your hilt in front of your head and work swiftly with your point from one opening to the other. This is called the noble war. With it you confound the opponent so completely that they do not know where they shall keep away from you with certainty.	[35] Another break above the crooked-hew Note when you cleave-in above from your right side, if he also then comes upon your sword from his right side with crossed arms, and with that presses that downwards against the earth, then wind against your right side and drive well up over your head with the arms, and set your point above onto his chest. If he displaces that, then remain standing thusly with the hilt before your head and work swiftly with the point from one opening to the other. This is called the noble war. With that, you confound him so completely that he does not know where he shall remain before you with certainty.	[35] Another counter against the Krumphau. When you cut in against him from above from your right side and he also cuts crookedly from his right side with crossed arms onto your sword and thus presses it down towards the ground, wind towards your right side; go with your arms up over your head. And thrust with your point from above against his breast. If he defends himself against this, stand with your hilt in front of your head, and work deftly with the point from one opening to the other, this is called "the Noble War." With this you will confuse him so totally that truthfully he will not know where he will find himself.	[35]  Another defense against the Krumphau: If you attack him from your right side with an Oberhau and he displaces (Versatzung) this with a Krumphau with crossed hands from his right side and if he pushes your sword to the ground, then wind towards your right side, raise your arms over your head and thrust at his breast from above. If he displaces that, stand as you are, with the hilt in front of your head and nimbly work with the point from one opening to the other. This is called the "noble war" and with this you’ll confuse him so much, that he will not know how to defend himself against your attacks.		Ain andern brüch über den krumphaw° ~~ Mörck wenn du im von diner rechten sÿtten oben ein hawst Hawt er deñ och võ sine~ recht~ sÿtten mit gekrenczten armen  komp [27r] Vff dein schwert vnd drückt dir das da mit vnder sich gen der erden So wind ge deiner rechten syte~ vnd far mit den arme~ wol vff v~ber dein hau°pt vnd secze Im dein ort obe~ an dei die brust Glosa Versetzt er dir das so plÿb also sten mit dem gehu~lcz vo° dem hau~pt vnd arbait behendtlich mit dem ort von aine~ bloß zu° der andere~ Das hayset der edel krig Da mit verwirstü In so gar Das er nit waysst wo er vor dir blibe~ sol fur war
	[36] The crosswise cut with its plays 49 The cross seizes  Whatever arrives from the roof Gloss. Note the crosswise cut breaks all cuts that will have been hewn from above down. Conduct the cut like this: When the opponent cuts in at your head from above, spring away from their cut to their left side with your right foot, facing them and in your springing turn your sword forwards with the hilt high in front of your head such that your thumb comes under and strike them with the short edge to their left side such that you catch their cut in your hilt and hit them in the head.	[36] The thwart-hew with its plays 49 The thwart takes away  Whatever approaches from-the-roof. Gloss. Note, the thwart-hew breaks all hews which are hewn from above down; conduct the hew thusly: Stand with the left foot forwards and hold your sword on your right shoulder, and when he cleaves-in [an] over[-hew] to your head, so spring well with the right foot against him from the hew to his left side, and in the springing turn your sword with the hilt high in front of your head, such that your thumb comes under, and strike him with the short edge to his left side such that you catch his hew in your hilt, and hit him in the head (as is pictured here).	[36] Do the Zwerchau (crosswise strike) with these techniques. 49 The Zwerchau takes away  that which comes from above. Glosa. The Zwerchau counters all strikes that cut down from above. When he cuts in from above against your head, spring with the right foot against him away from the cut, out to his left side. And as you spring turn your sword—with the hilt high in front of your head, so that your thumb comes under—and cut him with the short edge against his left side. So you catch his strike with your hilt and strike him in the head.	[36] The Zwerchhau The Zwerchhau counters all downward strikes made from above. Do it like this: If he strikes an Oberhau at your head, "jump" (make a large, explosive step) to his left side with your right foot, while you jump, turn your sword, so that your hilt is high in front of your head and your thumb is down (on the flat of the blade) and strike at his left side with your short edge. So you catch his strike with your hilt and hit him simultaneously on the head.		Der zwerhaw° mit sine~ stucken Zwerch benÿmp was võ tag her kümpt Glosa Merck de~ zwerhaw bricht alle hew die võ oben nÿder gehawe~ werde~ vnd den haw trÿb also We~ er dir oben In hawet zu° dem kopf So spring mit dem rechte~ fu°ß [27v] gen Im vß dem hawe Vff Sin lincken sytten vnd im springen verwent din schwert mit de~ gehu~ltz houch vor deine~ haupt das din dou~m vnnde~ kome vmd [!] schlach In mit der kurtze~ schnide~ zu° siner lincken sytten So vaschdü sine~ haw In din gehu~ltz vnd triffest In zu° dem kopff ~~
	[37] A play from the crosswise cut 50 Cross with the strong  With that note the work Gloss. This is how you shall work from the crosswise cut using the strong and do it like this: When you initiate a cut using the crosswise cut, remember that you wind against the strong of their sword with yours. then if the opponent holds it strongly at bay, then from against their sword strike them on their head with crossed arms from behind their sword's edge as is made here or slice them across their mouth with this play.	[37] A play from the thwart-hew 50 Thwart with the strong  With that note the work. Gloss. This is how you shall work with the strong from the thwart, and do it thusly: When you begin to hew him with the thwart, so remember that you wind strongly with the strong of your sword upon his. If he then holds strong against, so strike to the head with crossed arms, upon the sword behind his sword's edge (as is done here), or cut him with the play through the maw.	[37] A technique from the Zwerchau. 50 Zwerch with the "strong";  mark well your work with this. Glosa. This is how you shall work with the "strong" from the Zwerchau. When you cut against him with the Zwerchau, think that you shall strike powerfully with the sword's "strong" against his. Hold him thus strongly in the bind then cut with crossed arms behind his sword blade, from above against the head, or cut him with the sword to the face.	[37]  This is how you can work with the stark (strong) from the Zwerch: If you strike with the Zwerch, pay attention to strike strongly with the strong of your sword against his blade. If he strongly holds against it, strike him - at the sword - on the head behind his blade with your hands crossed. Or cut him trough the face.		[27v] Ain stuck vß dem zwerhaw° Zwer mit der stoerck den arbait do mit moerck Glosa Das ist wie dü mit der stoerck auss der zwer arbaite~ solt vnd dem thu°n also / we~ dü Im mit der zwer zu° hauest So gedenck das dü Im mit der zwer sterck deines schwerts starck In das Sin Helt den er starck wyder So schlach In am schwert mit gekrütte~ gekru~czte~ arme~ hinder seines schwertz klinge~ vff den kopff [28r] oder schnÿd In mit dem stuck dürch das mau°l ~~
	[38] Yet another play from the crosswise cut Note. When you bind against their sword with the strong of your sword from the crosswise cut, then if the opponent holds it strongly at bay,, then shove their sword away from you, down to your right side using your hilt and immediately strike back around with the crosswise cut at their head to their right side.	[38] Again a play from the thwart-hew Note, when you bind out of the thwart with the strong of your sword upon his sword, if he then holds strongly against [it], so shove his sword from you downward to your right side with your hilt (as is pictured here), and strike back-around quickly with the thwart against his right side to his head.	[38] Another technique from the Zwerchau. When you bind against his sword from the Zwerchau with your sword's "Strong"; hold him strongly, then push his sword away from you with your hilt, down and out to your right side, and strike immediately round with the Zwerchau against his right side, against the head.	[38]  When you bind at his sword with the strong of your sword with the Zwerch and he strongly holds against it, push down his sword to your right side with your hilt. And immediately strike again with the Zwerch to the right side of his head.
	[39] Yet another play from the crosswise cut Another. When you bind against their sword with the crosswise cut, then if they are weak against the sword, lay the short edge against their neck on their right side and spring behind their left foot with your right and drag them over it with your sword.	[39] Again a play from the thwart-hew Item. When you bind onto his sword with the thwart, if he is then Soft upon the sword, so lay the short edge to his right side upon the neck, and spring with the right foot behind his left, and back him over that with the sword.	[39] Another technique from the Zwerchau. When you bind against his sword with the Zwerchau, if he is weak in the bind, so lay the short edge against the right side of his neck and spring with the right foot behind his left; and pull him over it with the sword.	[39]  If you bind against his sword with the Zwerch and he is "soft" at the sword, place the short edge at the right side of his neck, jump behind his left foot with your right foot and tear him over with the sword.		Aber/ain stuck vß dem zwerhaw° Itm~ wan dü Im mit der zwer an sin schwert bindest Ist da er waich am schwert So leg Im die kurtze~ schnÿde~ zu° seine~ rechte~ sytten an den halß vnd spring mit dem rechte~ fu°ß hinder seine~ lincke~ vnd ru~cke In mit dem schwert daru~ber ~etc~
	[40] Another play Another. When you bind against their sword with the crosswise cut, if they are subsequently weak against the sword, then press their sword down with your crosswise cut and position your short edge out forward against their neck from behind their arms.	[40] Another play Item. When you bind onto his sword with the thwart, if he is then Soft upon the sword, so press his sword down with the thwart and lay the short edge afore behind his arms on his neck.	[40] Another technique When you bind against his sword with the Zwerchau, if he is weak in the bind, so press down on his sword with the Zwerchau; and lay the short edge behind his arms in front of his neck.	[40]  If you bind against his sword with the Zwerch and he is "soft" at the sword, push his sword down with the Zwerch and lay the short edge at his throat.		Ain ander stuck [28v] Itm~ wen dü Im mit der zwer an sin schwert bindest Ist er dan waich am schwert So truck mit der zwer sin schwert nÿde° vnd leg Im die kurtze~ schnÿde~ hinde~ sinen arme~ vorne~ an den halß
	[41] Item. If the opponent takes you by your neck on your right side, then let your sword go with your right hand and shove their sword away from your neck with your right and step across to their right side with your left foot in front of both their feet and drive over both their arms, up by their hilt with your left arm and driving them forwards in a dance or stab them down between the legs in the groin.	[41] Item. If he takes you by the neck from the right side, then drop your left hand from your sword and Press his sword from your neck with your right and step across with your left foot to his right side in front of his feet and enter with your left arm above both of his arms near the hilt and direct him to dance or stab him below between the legs to the maker.	[41]	[41]	[22v] Item nÿmpt dich eyner by dem hals zu diner rechten siten so loß din schwertt vß diner lincken hant vnd stos mit der rechten sin schwertt von dinem hals vnd schrit mit dinem lincken fus gegen siner rechten siten fur sin beide fus vnd far mit dinem lincken arm vber sin beide arm nohe by dem gehultz vnd fur in zu dem tantz oder stich im vnten zwuschen dinem beynen zu dem gemechtt ~
	[42] Here note the break against the upper crosswise cut Note. When you bind the opponent from your right side with a descending cut or otherwise against their sword, then if they strike around to the other side using the crosswise cut, then come forth under their sword against their neck with the crosswise cut as well, as is pictured hereafter next to this, such that they strike themselves the same way with your sword.	[42] Here note the break against the upper thwart-hew Item. Note, when you bind him from your right side with an over-hew (or otherwise on his sword), if he then strikes-around with the thwart to the other side, so come forward as well with the thwart-hew under his sword on his neck (as stands pictured hereafter next to this), such that he strikes himself the same with your sword.	[42] A counter against the upper Zwerchau When you bind against his sword from the right side with an Oberhau or similar attack, if he strikes round with the Zwerchau against your other side, do the same back to him, throw a Zwerchau under his sword against his neck.	[42] A defense against the upper Zwerch: When you bind at his sword with an Oberhau or another strike from your right side and he strikes with the Zwerch at your other (left) side, forestall this with a Zwerch to his neck under his sword.	[21v] Item ein bruch wider den zwerch ober haulb so du Im von diner rechten siten mit eynen ober haulb an sin schwertt bindest schlecht er mit der zwierch vmb sich so küm auch vor mit dem zwerch haulb vnter sin schwertt an den hals ~	ain bruch wider den obern zwerhaw° Itm~ wã dü Im võ deiner rechte~ sytte~ mit aine~ obere~ haw / ode~ sunst an sin schwert bindest Schlecht er dan mit der zwer vmb dir zu° der andere~ sytten so kom vor au~ch mit der zwerch vnder sin schwert Im an den halß ~~	[01r] Hie merck den pruch der wider den õbern twer haw Merck wen du im von deiner reichtn seittñ mit ainem ober haw oder sunst an sein schwert pindest / schlecht er dan mit der twer vmb / dir zu der andern seittñ / so kum vor auch mit der twer vndter seinem schwert im an den hals / als am nãchstn hernach gemalt stett / so schlecht er sich selber mit deinem schwert /
	[43] Here note the break against the low cross strike Note when you bind against their sword from your right side, then if the opponent strikes from the sword around to the other opening of your right side using the crosswise cut, then remain with your hilt above your head and turn your sword's edge downward against their cut and thrust to their lower opening, as is pictured hereafter next to this.	[43] Here note the break against the low thwart-strike Note, when you bind [against] him on his sword with the over-hew from your right side, if he then strikes-around from the sword with the thwart to the other opening of your right side, so remain with your hilt above your head and turn your sword's edge downward against his hew and thrust him to the lower opening (as stands pictured hereafter next to this).	[43]	[43]			[01v] Hie merck den pruch wider die vnderñ twer schleg / Merck / wen du im von deiner rechtñ seittñ an sein schwert pindest / schlecht er dan vom schwert vmb mit der twer dir zu der andern plõs deiner rechtñ seittñ / so pleib mit deinem gehiltz vber deinem haubt / vnd verwendt dein schwertz kling vndter sich gegen seinem haw / vnd stich im zu der vndtern plõs / als am nachstñ hernach gemalt stet /
	[44] How one shall strike with the cross to the four openings 51 Cross to the plow  Yoke hard to the ox Gloss. This is how you shall strike to the four openings in one entry using the crosswise cut. Look at it like this: When you come to the opponent with the initiation of fencing, note: when it is suitable, spring toward them and strike them to the lower opening of their left side with the crosswise cut. This is called striking to the plow.	[44] This is the text and the gloss: How one shall strike with the thwart to the four openings 51 Thwart to the plow,  Join hard to the oxen. Gloss. This is how one shall strike going-to with the thwart to all four openings; understand it thusly: When you come to him with the onset, so note when it is just right, so spring towards him and strike him with the thwart to the lower opening of his left side (as stands pictured next to this). This is called "striking to the plow".	[44] How one shall strike against the four openings with the Zwerchau. 51 Zwerch against the plough,  and strike powerfully against the ox. Glosa. This is how you shall strike against the four openings with the Zwerchau when you go against someone. When you come against him in Zufechten; when it becomes suitable for you, spring against him and cut with the Zwerchau against the lower opening on his left side. This is called "to strike against the plough".	[44]  This is how you can strike to the four openings with the Zwerch: When you close in with your adversary with the "Zufechten", at the right moment, jump towards him and strike with the Zwerch to the lower opening of his left side. This is called "striking towards the plow" ("zum Pflug schlagen").		Wie man zu° den vier blossen mitt der zwer schlache~ soll Zwer zu° dem pflu°g / zu° de~ ochsen hart gefu°ge Glosa das ist wie dü In aine~ zu° gang [29r] mit der zwer zu° den vier blossen schlagen solt Das vernÿm also Wã dü mit dem zu°fechte~ zu° Im kompst So merck wan es dir eben ist So spring zu° Im vnd schlag In mit der zwer zu° der vndere~ bloß siner lincken sytte~ Das hayst zu° dem pflu°g geschlagen ~	[02r] Das ist der text vnd die glõß wie man mit der twer zu den vier plõssn schlachen sol / Twer zu dem pflueg / zu dem ochsen hat gefueg / Glosa / das ist wie du in ainem zu gang mit der twer zu allen vier plõsn schlachen solt / das vernym also / wen du mit dem zu fechtn zu im kumbst / So merck wen es dir eben ist so spring zu im / vnd schlag im mit der twer zu der vndterñ plõs seiner lincken seittñ / als am nechstn gemalt stet / das haist zu dem pflug geschlagen /
	[45] Yet another play from the crosswise cut When you have struck to the lower opening with the crosswise cut, immediately strike up to the other side at their head in from above using the crosswise cut. This is called striking to the ox and then swiftly strike further, again and again one cross strike to the ox and the another to the plow crosswise from one side to the other and with this make a descending cut in from above at their head and with that withdraw yourself.	[45] Again a play from the thwart-hew Note, when you have struck with the thwart to the lower opening (as stands pictured before next to this), so quickly strike up above with the thwart to the other side to his head. This is called "striking to the oxen". And then furthermore swiftly strike a thwart-strike to the oxen and the another to the plow crosswise from one side to the other, and with that cleave-in an over-hew above to the head, and with that withdraw yourself.	[45] Another technique from the Zwerchau. When you have cut against the lower opening with the Zwerchau, so strike immediately with the Zwerchau against the other side upwards into the head. This is called "to strike against the ox". And continue to strike quickly a Zwerchau against the ochs and another against the plough, crosswise from one side to the other. And cut him after with an Oberhau in against the head and thus draw yourself back from him.	[45]  When you have attacked the lower opening with the Zwerch, immediately strike another Zwerch to the other side, at his head. This is called "striking towards the ox" ("zum Ochsen schlagen"). And then strike swiftly alternating the Zwerch towards the plow and the ox, crosswise from one side to the other. Then you can disengage from him with an Oberhau to the head.		Aber ain stuck vß dem zwerhaw° Wen dü Im mit der zwer zu° der vndere~ bloß geschlagen hast so schlag bald vff mit der zwer Im zu° der andere~ sytten oben In zu° dem kopff das haisst zu de~ ochse~ geschlage~ vnd schlach denn fürbas behendtlich ainen zwerch schlag zu° dem ochse~ vnd den andere~ zu° dem pflug cru~czwÿß võ ainer sytte~ zu der andere~ vnd haw Im do mit aine~ obere~ haw obe~ ein zu° dem kopffe vnd zu~ch dich damit ab ~	[02v] Aber ein stuck auß dem twer haw / Merck / wen du im mit der twer zu der vndterñ plõss geschlagen hast / als vor am nãchstn gemalt stet / so schlag pald auff mit der twer im zu der anderñ seittñ oben ein zu dem kopf / das haist zu dem ochssen geschlagen / vnd schlag den fu~rbas behentlich albeg ainen twer schlag zu dem ochsn / vnd den andern zu dem pflu~eg / creu~tz weis von ainer seittñ zu der andern / vnd haw im ein ober haw oben ein zu dem kopf / vnd zeuch dich damit ab /
	[46]  52 Whoever crosses themselves well  Threatens the head by springing. Gloss. This is so that you are to spring sufficiently to the side of the opponent with each and every cross strike so that if you wish to strike them, you can fully connect with their head and be aware that in your springing, you are to be fully covered up above with your hilt in front of your head.	[46] This is the text and a teaching thereof 52 Whoever thwarts themselves well  With springing threatens the head. Gloss. This is how you shall properly spring-out to the side of him with each and every thwart-strike, so that if you wish to strike him you may hit well to his head, and be aware that you are fully covered above in the spring with your hilt in front of your head.	[46]  52 He who Zwerches well with a spring, threatens the head. Glosa. That is to say, that in all of your Zwerchau strikes you shall take a proper spring out to the side where you want to strike him. So you can strike him well in the head. And see to it in the spring that you are properly protected from above with your hilt above and in front of your head.	[46]  When you strike the Zwerch, you shall always jump to his flank, namely towards the side on which you want to hit him. So you can hit his head. And pay attention that you cover the front of your head with the hilt while jumping.		[29v] Waß sich wol zwerch mit springe~ dem haupt geferet Glosa das ist das dü mit ainem yden zwerschlage wol vß solt springe~ Im vff die sytte~ / do dü Im zu° schlage~ wylt so mag stü In wol treffe~ zu° siene~ haupt vnd wart das dü In dem spru~ng oben vor dine~ haupt mit diene~ gehu~ltze~ vol bedeck sÿest	[03r] Das ist der text vnd ein ler dau~on Was sich wol twer / mit springen dem haubt gefert / Glosa das ist / das du mit einem yeden twer schlag wol auß solst springen / Im auff die seittñ do du im zu schlagen wild / So magstu in wol zu dem haubt treffen / vnd wart das du in dem oben / vor deinem haupt mit dem gehiltz wol bedeckest seiest /
	[47] This is the text and the gloss of yet another play from the crosswise cut and is called the failer. 53 Whoever credibly executes the failer  They wound according to desire from below Gloss. Note all fencers that like to parry will be mislead and struck by the failer. Conduct the play like this: When you come to the opponent with the initiation of fencing, act as if you will strike at their head with a free crosswise cut on their left side and snatch your sword away during the cut and strike to the lower opening of their right side using the crosswise cut, as is pictured just after to this. In this way the opponent is triggered and struck below according to desire.	[47] This is the text and the gloss of yet another play from the thwart-hew, and is called the failer 53 Whoever directs the failer well  From below, he hits according to desire. Gloss. Note, this is with the failer all fencers who willingly displace become mislead and struck. Deploy the play thusly: When you come to him with the onset, so act as if you will strike with a free over-hew to his left side to the head, and steal-away your sword with the hew and strike him with the thwart to the lower opening of his right side or left (as stands pictured hereafter next to this). Thus is he contacted and struck below according to [your] desire.	[47] A further technique from the Zwerchau, and it is called the feint (Feler). 53 He who does a good feint,  strikes from below how he wishes. Glosa. With the feint all fencers who quickly leap to the defence are mislead and defeated. When you come against him in Zufechten, pretend that you want to cut him with perhaps an Oberhau to his left side. In this manner you can strike him underneath however you want and defeat him.	[47] The "Fault" (Feint): All fencers who rely on displacing are deceived and defeated with the fault. When you close with him, feint any Oberhau to his left side. From there (when he wants to displace it) you can easily hit another opening.		Hie nach mörck aber ain stuck vß der zwer vñ das haÿsset der feler Feler wer wol furet von vnde~ nach wunsch er ruret Glosa Das ist mit dem feler werde~ alle fechter die da gern fersetze~ ver fyrt vnd geschlache~ das stuck trib also Wã du mit dem zu° fechte~ zu° Im kompst So thu° alß ob dü In mit aine~ fryen ober haw zu° siner lincke~ sÿtte~ So ist er vnnde~ nach [30r] wu°nsch geru~ret vnd geschlage~	[03v] Das ist der text vnd die gloß aber ains stucks auß dem twerhaw vnd haist der feler / Feler wer wol fu~ret / von vndten nach wunsch erru~ret / Glosa Merck mit dem feler werñ alle vechter die da geren versetzn verfu~rt vnd geschlagen / das stuck treib also / wen du mit dem zu vechtn zu im kumbst / So thue als du mit eine~ freien twerhaw zu seiner lincken seittñ zu dem kopf wellest schlagen vnd verzugk mit dem haw dein schwert vnd schlag im mit der twer zu der vndterñ plõs / seiner rechtñ seittñ / als am nachstñ da hernach gemalt stet / So ist er vndten nach wunsch geru~rt vnd geschlagen /
	[48] Yet another play from the crosswise cut and this is called the inverter 54 The inverter constrains.  The one who slips across also wrestles with it. 55 Take the elbow surely  Spring into their stance. Gloss. Note you shall conduct this play like so: When you bind against the opponent's sword with a rising or descending cut, invert your sword such that your thumb comes under and thrust at their face from above. In this way, you constrain them such that they must parry and in their act of parrying, seize their right elbow with your left hand and spring in front of their right foot with your left and shove them over it. Or rush through using the inverter and wrestle as you will find hereafter in the slipping through.	[48] This is the text and the gloss of yet another play from the thwart-hew, and this is called the inverter 54 The Inverter overwhelms,  Running-through with wrestling as well; 55 The elbow wisely take  Spring to him in the scales. Gloss. Note, you shall also conduct the play when you bind on his sword with an under- or over-hew. So invert your sword such that your thumb comes-under and thrust him above to the face. So you overwhelm him such that he must displace, and in the displacement, seize his right elbow with your left hand and spring with the left foot in front of his right, and shove him over (as stands pictured hereafter next to this). Or run-through with the inverter and wrestle, as you will find written hereafter	[48] Another technique from the Zwerchau, and it is called the turner (Verkehrer). 54 The turner subdues,  runs through and grapples. 55 Take the elbow certainly,  spring against him in the movement. Glosa. When you bind against his sword with an Oberhau or Underhau, turn your sword so that your thumb comes underneath, and thrust him down from above into the face. In this way you force him to defend himself. And in the defence, grip his right elbow with your left hand and spring with your left foot in front of his right, and stab him over it. Or use the turner to rush through and grapple, in the same way that you will be told for running through.	[48] The "Verkehrer": If you bind at your adversaries sword with an Oberhau or an Unterhau, turn your sword so that your thumb is down and thrust to his face from above. So you force him to displace the thrust. While he displaces, grab his right elbow with your left hand, place your left leg in front of his right leg and toss him over.		aber ain stuck vsß dem zwerhaw° vnd daß haÿsst der verkerer ~~ Verkerer zwinget durch laeffe~ au~ch mit ringet den elenbogen gewisse nÿm spring Im In die wage Glosa Merck das stu~ck soltü also trÿbere~ wen dü In mit aine~ vnde~ oder oben haw an sin schwert bindest So verker dein schwert das din dou~me vnde kome vnd stich Im obe~ In zu° de~ gesichte So zwingstu In das er dir versetze~ mu°ß Vnd In der verseczung begriff mit de~ lincken hand sin rechte~ eleboge~ vnd spring mit dem lincken fu°sse für sine~ rechte~ vnd stosß In also dariber / Oder lauff In mit dem verkerrer durch vnd ringe / alß dü In dem durch lauffen her nach wirst finde~	[04r] Das ist der text vnd die glos aber ains stucks aus dem twerhaw das haist der verkerer / Verkerere zwinget durch lauffer auch mit ringet / den elpogen / gewis nÿm spring im in die wage~ / Glosa / Merck das stuck solt du treiben also / Wen du im mit ainem vndter oder ober haw an sein schwert pindest / so verker dein schwert das dein dawm vndten kum vnd stich im oben ein zu dem gesicht / So zwingst du in das er dir versetzn mu°ß / vnd in der versatzung Begreiff mit der lincken hand sein rechten elpogen / vnd spring mit dem lincken / fues fu~r sein rechten / vnd stos in also daru~ber / als am nãchsten da hernach gemalt stet / oder lauff im mit dem verkerer durch vnd ring / als du in dem durchlauffen hernach geschriben wirst vinden /
	[49] Yet another play from the failer 56 Double the failer  If they make contact, make the slice with it Gloss. Note this is called the double failer. For the reason that one shall conduct a double misdirection in one sortie. Conduct the first like this: When you come to the opponent with the initiation of fencing, spring toward them with your right foot and act as if you will strike at their head with a cross strike to their left side and snatch your strike away hitting their head on their right side.	[49] This is the text and the gloss of a failer 56 Fail twice;  If one hits then make the cut with [it]. Gloss. Note, this is called the double failer for the reason that one shall conduct a double misleading in one onset. Deploy the first thusly: When you come to him with the onset, so spring with the right foot against him and act as if you will strike with a thwart-strike to his left side to his head, and [then] steal-away the strike and strike in to his right side onto his head (as stands pictured hereafter next to this).	[49] Another technique from the feint. 56 Feint twofold,  strike him, thus do the cut. Glosa. This is called the double feint, because in the Zufechten you shall be misleading two times. Do the first like this: when you come against him in Zufechten, take a spring with the foot against him and pretend that you will cut with a Zwerchau against the left side of his head. And change the direction of the cut, to the right side of his head.	[49] The Double Feint: Here, you must deceive him twice while closing in. When you come close to him with the Zuefechten, jump towards him with the left foot and feint a Zwerch to the left side of the head. But then turn the blow over and strike to the right side of his head.		[30v] Aber ain stuck von aine~ feler Feler zwÿfach trifft mã den schnit mit macht Glosa Merck das haysst der zwÿfach feler darümbe das mã In aine~ zu° fechte~ zwaÿerlaÿ ferfÿrung daru~ß trÿbe~ sol die erste~ tryb also we~ dü mit dem zu° fechte~ zu° Im kompst So spring mit dem fu°ß ge~ Im vnd thu°n alß dü Im mit aine~ zwer schlage~ zu° siner lincken sÿtten zu° dem kopff schlage~ welest vnd ferzu~ck den schlag Im zu° siner rechte~ sÿtten an de~ kopff ~~	[04v] Das ist der text vnd die glos aber von ainem feler Veler zwifach / trifft man den schnit mit macht Glosa Merck das haist der zwifach veler / daru~b das man in ainem zu vechtñ zwayerlay verfu~rung darauß treiben sol / die erst treib also / wen du mit dem zu vechtñ zu im kumbst / so spring mit dem rechtñ fu~es gegen im vnd thue als du im mit einem zwerschlag zu seiner lincken zu dem kopf schlagen welst / vnd verzuck den schlag vnd schlag in zu seiner rechtn seittn an den kopf / als am nãchstn da hernach gemalt stett /
	[50] Yet another play from the failer 57 Double further  Step in left and do not be lazy Gloss. This is for when you have struck at the opponent's head on their right side with your first misdirection as was just pictured. Then take the slice into their arms from below and immediately strike back around to the right side of their head and with that from crossed arms pass over their sword with the short edge and spring left, that is to your left side and slice them with the long edge through the jaw.	[50] This is the text and the gloss of yet another play from the failer 57 Double it further;  Stride-in left and be not lazy. Gloss. This is when you have struck the first misleading to his right side to his head (as stands pictured before next to this): so with that take the cut under his arms and strike quickly back-around to the left side to his head, and drive over his sword with the short edge from crossed arms, and spring left (that is, to your left side), and cut him with the long edge through the maw (as is there pictured).	[50] Another technique from the feint. 57 Continue doubly with this,  step to the left and do not be slow. Glosa. That is to say, when you have struck to the right side of his head with the first misleading—about which has just been written—so strike immediately round to the other side of the head, and go with the short edge with outstretched crossed arms over his sword: and "Imlincke", that is to say on the left side, and cut in with the long edge over the face.	[50]  If you have attacked him on the right side of the head as described, strike immediately at the same spot. Then go over his sword with the short edge and your hands not crossed, jump to your left side and cut through his face with the long edge.		Aber ain stuck vß dem feler Zwyfach es fyrbas schryt In lunck vnd biß nit laß Glosa Das ist wã dü Im mit der erste~ verfÿrunge zu° siner rechten sytte~ zu° dem kepff geschlage~ [31r] hau~st / alß am neste~ gemelt ist So schlach bald wyderu~mb Im zu° der rechte~ sytte~ zu° dem kopff vnd far mit der kurtze~ schnÿde~ mit auß gecru~tzten arme~ v~ber sin schwert vnd spring Imlincke das ist auff dein lincke~ sÿtte~ vnd schnyd In mit der lange~ schnÿde~ durch das maul ~~	[05r] Das ist der text vnd glos aber ains stucks aus dem feler / Zwifach es fu~rbaß / schreit ein linck vnd pis nit laß Glosa / Das ist wen du in mit der erstñ verfu~ru~g zu seiner rechtñ seittñ zu dem kopf geschlagen hast / als vor am nachstn gemalt stet so nym damit den schnit vndten in sein arm~ / vnd schlag pald widerumb im zu der lincken seittñ zu dem kopf / vnd far mit der kurtzn schneid auß gekreutznt arme~ vber sein schwert vnd spring im linck das ist auf sein lincke seitt / vnd schneid in mit der langen schneid durch das maul / als da gemalt stet /