Sigmund ain Ringeck/Sandbox

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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 Salzburg Version (1491) by Dierk Hagedorn Dresden Version (1504-19) by Dierk Hagedorn Glasgow Version (1508) by Dierk Hagedorn Augsburg Version (1553) by Werner Ueberschär Rostock Version (1570) by Dierk Hagedorn
Short sword
Illustrations None	Translations Incomplete Translation (Dresden only) (2003) by David Rawlings Incomplete Translation (Dresden only) (1999) by Jörg Bellinghausen	Transcriptions Dresden Version (1504-19) by Dierk Hagedorn Vienna Version (1512) by Dierk Hagedorn Rostock Version (1570) by Dierk Hagedorn
Mounted fencing
Illustrations Glasgow Version	Translations Draft Translation (Glasgow only) (2020) by Stephen Cheney	Transcriptions 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.		[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.