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| {{section|page:Cod.10826 084v.png|Latin|lbl=84v}}
 
| {{section|page:Cod.10826 084v.png|Latin|lbl=84v}}
 
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{| class="floated master"
 
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! <p>Source Images</p>
 
! <p>Images</p>
 
! <p>{{rating|C}}<br/>by [[Per Magnus Haaland]]</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden II Transcription]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (MS Dresd.C.94)}}<br/>by [[Pierre-Henry Bas]]</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna II Transcription]] [German] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10826)}}</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna II Transcription]] [Latin] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10826)}}</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Munich I Transcription]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (Cod.icon. 393 I)}}<br/>by [[Per Magnus Haaland]]</p>
 
! <p>[[Jörg Breu Draftbook (Cod.I.6.2º.4)|Draftbook Transcription]] (1540s){{edit index|Jörg Breu Draftbook (Cod.I.6.2º.4)}}</p>
 
 
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'''Here follows the traverse wrestling techniques'''
 
| {{section|page:MS Dresd.C.94 126v.png|1|lbl=126v}}
 
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| {{section|page:Cod.icon. 393 I 301r.jpg|2|lbl=301r}}
 
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'''The first'''
 
 
When you wrestle with someone with outstreched arms, break free with one arm and reach out towards his leg as if you wanted to pull it towards you, and as he then sees it and pulls back his foot, then reach after his leg with the arm extended, and step with your foot behind him in the traverse, that way you will throw him on his back. This can be done on both sides.
 
| {{section|page:MS Dresd.C.94 126v.png|2|lbl=-}}
 
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&nbsp;
 
 
{{section|page:Cod.icon. 393 I 301r.jpg|3|lbl=-}}
 
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'''The second traverse'''
 
 
Execute the second traverse thus: if you wrestle your opponent with outstreched arms, then quickly break loose with your right, and reach with it under his left arm. Then, step behind his right foot with your right foot, and throw him on his back. This can be done on both sides.
 
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{{section|page:MS Dresd.C.94 126v.png|3|lbl=-|p=1}} {{section|page:MS Dresd.C.94 127r.png|1|lbl=127r|p=1}}
 
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| {{section|page:Cod.icon. 393 I 301r.jpg|4|lbl=-}}
 
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'''The third traverse'''
 
 
Is done thus: when you wrestle with your opponent with outstreched arms (or long arms as we call it), then break free with your right arm and lean forward upon him holding his arms with both your hands, and turn away from him so that you get your opponent on your back, and throw him on his back. This can be done from both sides.
 
| {{section|page:MS Dresd.C.94 127r.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 301v.jpg|1|lbl=301v}}
 
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'''The fourth traverse'''
 
 
The fourth is executed thus: when you wrestle with your opponent with extended arms, then break free with your right arm and pull him around and towards you a little, then step with your right foot behind his right, then put your right elbow under his right arm, you may throw him on his back. This can be done from both sides.
 
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{{section|page:MS Dresd.C.94 127r.png|3|lbl=-|p=1}} {{section|page:MS Dresd.C.94 127v.png|1|lbl=127v|p=1}}\
 
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| {{section|page:Cod.icon. 393 I 301v.jpg|2|lbl=-}}
 
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'''The fifth traverse'''
 
 
Is executed thus: break loose with your right arm and turn around with him a little, and then quickly pull him towards you, and lift your right arm as high as you can, and reach over his right arm around his back adn step behind him with your right foot and sweep him with the knee, then you will throw him on his back.
 
| {{section|page:MS Dresd.C.94 127v.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 301v.jpg|3|lbl=-}}
 
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'''The sixth traverse'''
 
 
Is done thus: free your right arm and go around him a little, and push him away hard. Then quickly pull him towards you, and put your right hand on the outside of his right knee, put your right shoulder on his right arm, lower him down, that way you will throw him on his back. This can be done on both sides.
 
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{{section|page:MS Dresd.C.94 127v.png|3|lbl=-|p=1}} {{section|page:MS Dresd.C.94 128r.png|1|lbl=128r|p=1}}
 
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| {{section|page:Cod.icon. 393 I 302r.jpg|1|lbl=302r}}
 
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'''The seventh traverse'''
 
 
As before, break free with your right arm, and push your opponent away from you forcefully, then quickly pull him towards you, put your right hand on the outside of his right knee and put your right shoulder under his right arm and push him down to the ground, that way you will throw him to the ground.
 
| {{section|page:MS Dresd.C.94 128r.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 302r.jpg|2|lbl=-}}
 
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'''The scales'''
 
 
If someone goes down into the scales and hinders you to do any traverse technique mentioned above, then break free your right arm, and make a lock-hold on his right arm. Then, if you pull him backwards, you will break his arm. Even this can be done on both sides.
 
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{{section|page:MS Dresd.C.94 128r.png|3|lbl=-|p=1}} {{section|page:MS Dresd.C.94 128v.png|1|lbl=128v|p=1}}
 
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| {{section|page:Cod.icon. 393 I 302r.jpg|3|lbl=-}}
 
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'''Another wrestling'''
 
 
When you wrestle with someone and you both hold each other with straight arms, then grab with your left hand on his left wrist, and twist it around, and grab his right elbow with your right hand and step forward with the right foot, you break his arm. This can also be done from the other side.
 
| {{section|page:MS Dresd.C.94 128v.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 302v.jpg|1|lbl=302v}}
 
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'''When wrestling with extended arms'''
 
 
When you wrestle with someone with extended arms, then lower yourself into the scale, and do not let him get under you. If he then tries to grapple after a traverse, then grab his elbow push him from you, and step in front of him with one foot, then you will throw him on face first. This can be executed on both sides as well.
 
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{{section|page:MS Dresd.C.94 128v.png|3|lbl=-}} {{section|page:MS Dresd.C.94 129r.png|1|lbl=129r}}
 
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| {{section|page:Cod.icon. 393 I 302v.jpg|2|lbl=-}}
 
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'''When wrestling with someone who is stronger than you.'''
 
 
When you are wrestling with someone who is strong and is not able to do any good techniques, then make sure as soon as you get free of him, strike with your inward turned arm on his inward turned arm from the outside, and underneath you grip his left leg, that way you break his arm. This can be executed on both sides.
 
| {{section|page:MS Dresd.C.94 129r.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 302v.jpg|3|lbl=-}}
 
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'''Note'''
 
 
If you wrestle someone with outstretched arms and he will not let you do any traverse technique, then break free from him and walk around him a bit, and then push him forcefully and then quickly pull him towards you, and put your head in under his right arm, and reach with your right arm around his right foot and lift him up.
 
| {{section|page:MS Dresd.C.94 129v.png|1|lbl=129v}}
 
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| {{section|page:Cod.icon. 393 I 303r.jpg|1|lbl=303r}}
 
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If anyone has grabbed hold of you as described above, then pull your foot far away from you and lay on top of him and make yourself heavy, while you make sure he cannot reach any of your feet. Then, if you turn around with him you throw him to the ground.
 
| {{section|page:MS Dresd.C.94 129v.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 303r.jpg|2|lbl=-}}
 
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'''Another'''
 
 
If your opponent lays himself on top of you in above mentioned way, then grab around both his arms firmly, turn around behind his back, and extend your legs far, and you will throw him on his back. This technique can be executed on both sides.
 
| {{section|page:MS Dresd.C.94 130r.png|1|lbl=130r}}
 
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| {{section|page:Cod.icon. 393 I 303r.jpg|3|lbl=-}}
 
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'''Another'''
 
 
When your opponent lays himself on top of you so heavily that you cannot free yourself from him, then grab hold around both his arms as hard as you can. Then quickly stoop down and thrust your head into his stomach with all your might, and throw him face first over your back thus.
 
| {{section|page:MS Dresd.C.94 130r.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 303v.jpg|1|lbl=303v}}
 
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'''When wrestling with equal holds'''
 
 
When you wrestle with someone out of equal holds, then lower your self into the scales, but do not close your arms, as you will use them. When your opponent then wants to lift you up with force, then wait until he lower himself down and bends the knee, then sweep it with your own knee from outside, and you will throw him on his back. This can be done on both sides.
 
| {{section|page:MS Dresd.C.94 130v.png|1|lbl=130v}}
 
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| {{section|page:Cod.icon. 393 I 303v.jpg|2|lbl=-}}
 
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'''Knee sweep'''
 
 
If someone has swept your knee as described above, so that you must fall, then make sure to hold firmly with your right arm, and stretch out your leg far underneath, and throw your self forcefully and put the left hand on the ground. That way you will throw your opponent over you. This technique is called withfall, and the third foot, and it can be done on both sides.
 
| {{section|page:MS Dresd.C.94 130v.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 303v.jpg|3|lbl=-}}
 
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'''If you wrestle a strong opponent'''
 
 
If you wrestle with someone strong in equal holds, and he lifts you up hard, then grab behind his chin with your left hand and push him from you. As soon as lets go of you, grab his wrist with your right hand and step forward with your right foot, that way you will throw him as well as break/dislocate his arm. This can be done on both sides.
 
| {{section|page:MS Dresd.C.94 131r.png|1|lbl=131r}}
 
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| {{section|page:Cod.icon. 393 I 304r.jpg|1|lbl=304r}}
 
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'''Another'''
 
 
When your opponent is holding you in the same manner, and has both arms closed together, and is about to step forward, then grab your right hand with your left, and pull it forward, then you break/dislocate his arm. This can be done on both sides.
 
| {{section|page:MS Dresd.C.94 131r.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 304r.jpg|2|lbl=-}}
 
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'''Another wrestling technique'''
 
 
When you are wrestling someone on equal holds, then note that as soon as he wants to pull you towards him or press you, you grab hold of his right arm with both of yours, and put your shoulder under his right arm. If he then wants to pull you over with force, then make sure that you grab hold of one of his legs. This can be done on both sides.
 
| {{section|page:MS Dresd.C.94 131v.png|1|lbl=131v}}
 
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{{section|page:Cod.icon. 393 I 304r.jpg|3|lbl=-|p=1}} {{section|page:Cod.icon. 393 I 304v.jpg|1|lbl=304v|p=1}}
 
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'''What to do if someone is too strong'''
 
 
If your opponent is stronger than you, and is about to lift one of your legs up forcefully, then put your leg around his leg. If someone on the other hand has closed his leg around yours, then lift up his foot and pull it towards you. If you then sweep his free leg with your closed legs, he will fall backwards. This can be done on the other side as well.
 
| {{section|page:MS Dresd.C.94 131v.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 304v.jpg|2|lbl=-}}
 
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'''Worth noting'''
 
 
If you wrestle with someone who is stronger than you, make sure above all that you hook his leg well, and thrust him backwards, and then pull him towards you again, then sweep the leg you hooked, and you will then throw him on his back. This can be done on both sides.
 
| {{section|page:MS Dresd.C.94 132r.png|1|lbl=132r}}
 
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| {{section|page:Cod.icon. 393 I 304v.jpg|3|lbl=-}}
 
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'''About the leg hook'''
 
 
When you wrestle with a strong opponent, and he hooks your leg with force, then pull him towards you as hard as you can with right hand and step with your hooked leg on top of his free foot, and push him away from you above, you will throw him on his face.
 
| {{section|page:MS Dresd.C.94 132r.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 305r.jpg|1|lbl=305r}}
 
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'''Note'''
 
 
If someone has hooked your leg, and grabbed you by your free arm, and wants to throw you, then grab him with your lower arm from behind over his arm and push him forward, then you break his arm and throws him face first. This can be done on both sides.
 
| {{section|page:MS Dresd.C.94 132v.png|1|lbl=132v}}
 
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| {{section|page:Cod.icon. 393 I 305r.jpg|2|lbl=-}}
 
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'''Note'''
 
 
If you see that your opponent wants to bring you out of the leg hook, then quickly stretch out hard on him, step with the same foot before him and twist your hip into his groin and grab him with your left hand behind his leg. That way you will throw him over your back. This can be done from both sides.
 
| {{section|page:MS Dresd.C.94 132v.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 305r.jpg|3|lbl=-}}
 
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'''Another wrestling technique'''
 
 
If your opponent is faster than you and gets both his arm underneath yours and wants to throw you over or press you down, then grab his head with both hands and thrust it up and away from you, that way you will break his neck.
 
| {{section|page:MS Dresd.C.94 132v.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 305v.jpg|1|lbl=305v}}
 
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'''A grip'''
 
 
If your opponent grabs you with his left hand on your collar and with his right hand underneath by the jacket, then grab with your left hand in the wrist on his left hand, turn around and put your right elbow on top if his arm and press him down. That can be done on both sides.
 
| {{section|page:MS Dresd.C.94 133r.png|1|lbl=133r}}
 
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| {{section|page:Cod.icon. 393 I 305v.jpg|2|lbl=-}}
 
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'''Arm breaking technique'''
 
 
If someone lowers his left arm and hinders you from turning around, then grab around his right arm with both your arms from below near by the wrist heave him up, that way you will break his arm. This can be done on both sides.
 
| {{section|page:MS Dresd.C.94 133r.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 305v.jpg|3|lbl=-}}
 
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'''If someone grabs you from behind'''
 
 
If someone embraces you behind the back while you wrestle, then quickly grab him by the hair with both your hands over your head, and throw him over your head. If you want to counter this, then grab hold of both his elbows and pull him backwards or bend your head down as far as you can, so that he cannot reach your hair.
 
| {{section|page:MS Dresd.C.94 133r.png|3|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 306r.jpg|1|lbl=306r}}
 
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'''Note'''
 
 
If someone holds you so firmly that you cannot reach his hair, then hit him in the face, lower yourself down quickly and step with one foot behind him, that way you will throw your opponent on his back. That can be done on both sides.
 
| {{section|page:MS Dresd.C.94 133v.png|1|lbl=133v}}
 
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| {{section|page:Cod.icon. 393 I 306r.jpg|2|lbl=-}}
 
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'''About stepping under'''
 
 
If someone holds you firmly and stands in the scales, and will not allow you to step underneath him, then grab him by one of his fingers, and break it loose. This however must be kept secret and never be used except in dire emergency.
 
| {{section|page:MS Dresd.C.94 133v.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 306r.jpg|3|lbl=-}}
 
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'''If someone grabs around your chest'''
 
 
If someone grabs around your chest in front of you, and has both of his arms under yours, then grab him with one hand in his collar and put one finger in his throat, then he must let go of you, and you can go under him, or throw him on his back.
 
| {{section|page:MS Dresd.C.94 133v.png|3|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 306v.jpg|1|lbl=306v}}
 
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'''Note'''
 
 
If someone has grabbed you by the collar from behind and tries to hold you or stab you, then put your left hand on top of his hand in the wrist(?) and twist it around, put your right elbow on top of his arm and thrust down, then you break his arm. This can be done from both sides.
 
| {{section|page:MS Dresd.C.94 134r.png|1|lbl=134r}}
 
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| {{section|page:Cod.icon. 393 I 306v.jpg|2|lbl=-}}
 
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'''Note'''
 
 
When someone grabs you by the collar then turn to your left, and thrust with your right hand into his elbow and step with your left foot before him, that way you will throw him on his face. This can be done on both sides.
 
| {{section|page:MS Dresd.C.94 134r.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 306v.jpg|3|lbl=-}}
 
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'''Another wrestling technique'''
 
 
When you wrestle with someone and you notice that he is about to punch you, then move both your hands to your belly, and step towards him. When he then tries to hit you in the face, catch the punch with the open palm of your right hand, and advance on him as follows below.
 
| {{section|page:MS Dresd.C.94 134r.png|3|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 307r.jpg|1|lbl=307r}}
 
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'''Note'''
 
 
When you have parried the blow with your right hand, step in deep with your right foot behind his right foot in the traverse, then you will throw him on his back.
 
| {{section|page:MS Dresd.C.94 134v.png|1|lbl=134v}}
 
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| <p><br/></p>
 
 
{{section|page:Cod.icon. 393 I 307r.jpg|2|lbl=-}}
 
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'''Another'''
 
 
When someone tries to punch you in the face, then (parry and catch as before) and strike with your fist outstreched under his collar, and then grab around his leg with your right arm, and you will throw him on his back.
 
| {{section|page:MS Dresd.C.94 134v.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 307r.jpg|3|lbl=-}}
 
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'''Another wrestling technique'''
 
 
When your opponent tries to hit you, then catch the blow with the outside of the hand, and push him backwards with all your might. Then catch with your left hand from underneath around his right arm, and step behind his right foot with your left foot, that way you will throw him on his back and break his arm.
 
| {{section|page:MS Dresd.C.94 134v.png|3|lbl=-}}
 
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{{section|page:Cod.icon. 393 I 307r.jpg|4|lbl=-|p=1}} {{section|page:Cod.icon. 393 I 307v.jpg|1|lbl=307v|p=1}}
 
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'''Grabbing the hair'''
 
 
When someone has grabbed hold of your hair, then grab with your left hand over both of his hands onto the wrist of his right hand and with your right hand underneath on his elbow. Then, if you twist his arm upward, you will get free of him and break his arm.
 
| {{section|page:MS Dresd.C.94 135r.png|1|lbl=135r}}
 
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| {{section|page:Cod.icon. 393 I 307v.jpg|2|lbl=-}}
 
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'''Another'''
 
 
When both of you have grabbed each other by the hair, then grab hold of him as before, and twist his left hand on your right arm, and press down hard, and then hit him in the neck with your left hand.
 
| {{section|page:MS Dresd.C.94 135r.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 307v.jpg|3|lbl=-}}
 
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'''A throw'''
 
 
When someone has taken hold of you in the middle and wants to throw you on your back by headbutting you, then as quickly as you can, take hold of both his shoulders, so that you again can grab him by the collar. Then sweep his leg with your foot, and he will fall over.
 
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{{section|page:MS Dresd.C.94 135r.png|3|lbl=-|p=1}} {{section|page:MS Dresd.C.94 135v.png|1|lbl=135v|p=1}}
 
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| {{section|page:Cod.icon. 393 I 308r.jpg|1|lbl=308r}}
 
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'''A counter to above mentioned technique'''
 
 
If someone has grabbed you the same way, then let go of his waist, and grab him behind the knees, and lift him up, that way you can either as you wish, throw him on his back, over your head, or run away with him.
 
| {{section|page:MS Dresd.C.94 135v.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 308r.jpg|2|lbl=-}}
 
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'''A wrestling throw'''
 
 
Grab him by the left hand with your right, and lift it well, go through with your head, and grab with your left hand in his right knee. Then lift him by the leg on your shoulders, and you will throw him over your back face first.
 
| {{section|page:MS Dresd.C.94 135v.png|3|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 308r.jpg|3|lbl=-}}
 
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'''Another'''
 
 
Grab hold with your left hand onto his right and twist it away from you on your left side, step with your right foot behind his right and grab with your right hand up front on his neck, and throw him over your right hip.
 
| {{section|page:MS Dresd.C.94 136r.png|1|lbl=136r}}
 
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| {{section|page:Cod.icon. 393 I 308v.jpg|1|lbl=308v}}
 
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'''Note'''
 
 
If your opponent has is arms held high when advancing onto you, then run through him with the head under his right arm on his right side. Step in front of his right foot and grab around his waist from behind with your right arm. Lower yourself a little, lift him up on your right hip and throw him behind you.
 
| {{section|page:MS Dresd.C.94 136r.png|2|lbl=-}}
 
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| {{section|page:Cod.icon. 393 I 308v.jpg|2|lbl=-}}
 
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'''What to do with your opponent once you have thrown him'''
 
 
When you have thrown your opponent to the ground, then knee him in the groin and hold both of his arms or his throat and press down, that way you may keep him down.
 
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'''Counter'''
 
 
If you have been thrown to the ground by your opponent, then make sure above all things that your hands are not caught. Quickly, with one hand grab onto his face with the thumb under his chin and the rest of the fingers in his eyes, and press them away as hard as you can, and with the other hand hit him in the bladder. Extend the one leg that is the freest, and pull him towards you again, and he will receive a good hit to the groin as well. With these three moves mentioned here you will break free of him and weaken him as well.
 
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Revision as of 20:57, 8 August 2018

Paulus Hector Mair

"Mair", Cod.icon. 312b f 64r
Born 1517
Augsburg, Germany
Died 10 Dec 1579 (age 62)
Augsburg, Germany
Occupation
  • Civil servant
  • Historian
Movement
Influences
Genres
Language
Manuscript(s)
First printed
english edition
Knight and Hunt, 2008
Concordance by Michael Chidester
Translations Traduction française
Signature Paulus Hector Mair Sig.png

Paulus Hector Mair (Paulsen Hektor Mair, Paulus Hector Meyer; 1517 – 1579) was a 16th century German aristocrat, civil servant, and fencer. He was born in 1517 to a wealthy and influential Augsburg patrician family. In his youth, he likely received training in fencing and grappling from the masters of Augsburg fencing guild, and early on developed a deep fascination with fencing treatises. He began his civil service as a secretary to the Augsburg City Council; by 1541, Mair was the City Treasurer, and in 1545 he also took on the office of Master of Rations.

Mair's martial background is unknown, but as a citizen of a free city he would have had military obligations whenever the city went to war, and as a member of a patrician family he likely served in the cavalry. He was also an avid collector of fencing treatises and other literature on military history. Like his contemporary Joachim Meÿer, Mair believed that the Medieval martial arts were being forgotten, and he saw this as a tragedy, idealizing the arts of fencing as a civilizing and character-building influence on men. Where Meÿer sought to update the traditional fencing systems and apply them to contemporary weapons of war and defense, Mair was more interested in preserving historical teachings intact. Thus, some time in the latter part of the 1540s he commissioned what would become the most extensive compendium of German fencing treatises ever made, a massive two-volume manuscript compiling virtually every fencing treatise he could access. He retained famed artist Jörg Breu the Younger to create the illustrations for the text,[1] and hired two Augsburg fencers to pose for the illustrations.[2] This project was extraordinarily expensive and took at least four years to complete. Ultimately, three copies of this compendium were produced, each more extensive than the last; the first (MSS Dresden C.93/C.94) was written in Early New High German, the second and most artistically ambitious (Cod.icon. 393) in New Latin, and the third and final version (Cod. 10825/10826) incorporated both languages.

Beginning in the 1540s, Mair began purchasing older fencing manuscripts, some from fellow collector Lienhart Sollinger (a Freifechter who lived in Augsburg for many years) and others from auctions. Perhaps most significant of all of his acquisitions was the partially-completed treatise of Antonius Rast, a Master of the Long Sword and three-time captain of the Marxbrüder fencing guild. The venerable master left in incomplete when he died in 1549, and Mair ultimately produced a complete fencing manual (Reichsstadt "Schätze" Nr. 82) based on his notes. Ultimately, he owned over a dozen fencing manuscripts over the course of his life, including the following:

He also used several printed books as source material for his compendia, and presumably owned copies, including Der Altenn Fechter anfengliche kunst (compiled by Christian Egenolff), Opera Nova by Achille Marozzo, and Ringer Kunst by Fabian von Auerswald.

Mair not only spent incredible sums of money on his fencing interests, but generally lead a lavish lifestyle and maintained his political influence with expensive parties and other entertainments for the burghers and patricians of Augsburg. This habit of living far beyond his means for decades exhausted his family's wealth, eventually leading him to sell the Latin version of his fencing manuscript (netting the princely sum of 800 florins) and finally to begin embezzling money from the Augsburg city coffers. This embezzlement was not discovered for many years (or perhaps was overlooked due to the favor his parties garnered), until finally in 1579 a disgruntled assistant reported him to the Augsburg City Council and provoked an audit of his books. Mair was arrested, tried, and hanged as a thief at the age of 62. After Mair's death, his effects (including his library) were sold at auction to recoup some of the funds he had embezzled.

Whether viewed as an unwise scholar who paid the ultimate price for his art or an ignoble thief who violated his city's trust, Mair remains one of the most influential figures in the history of Kunst des Fechtens. By completing the fencing manual of Antonius Rast, Mair gave us valuable insight into the Nuremberg fencing tradition; his own works are impressive on both an artistic and practical level, and his extensive commentary on the uncaptioned treatises in his collection serves to make potentially useful training aids out of what would otherwise be mere curiosities. Finally, in purchasing so many important fencing treatises he succeeded in preserving them for future generations; they were purchased by the fabulously wealthy Fugger family after his death and ultimately passed to the Augsburg University Library, where they remain to this day.

Treatise

Much of Mair's content represents his revision and expansion of the older treatises listed above, including adding descriptive content to uncaptioned images. Where available, these images are displayed in the left-most column, labeled "Source Images", for comparison purposes. Mair's own illustrations appear in the second image column.

The Dresden version contains the fewest devices, and appears therefore to be the original copy. The Munich adds additional plays and sections on top of the Dresden's contents, and the Vienna likewise augments the Munich, suggesting that this is likely order of creation. To give a visual sense of the varying contents, the Dresden illustrations are used wherever possible; the Munich illustrations appear only in those plays that are omitted from the Dresden, and the Vienna in those that are unique to that work. (The exception to this rule is the the grappling section, in which the Munich scans show tighter-fitting clothes and therefore make the techniques easier to follow.)

Additional Resources

  • Hunt, Brian. "Paulus Hector Mair: Peasant Staff and Flail." Masters of Medieval and Renaissance Martial Arts. Ed. Jeffrey Hull. Boulder, CO: Paladin Press, 2008. ISBN 978-1-58160-668-3
  • Knight, David James, and Hunt, Brian. The Polearms of Paulus Hector Mair. Boulder, CO: Paladin Press, 2008. ISBN 978-1-58160-644-7

References

  1. Breu is not listed in the Augsburg tax records in 1542-3; given Mair's youth, he most likely hired Breu between his return in 1544 and his death in 1547.
  2. Hils 1985, pp 197-201.
  3. Further, incidentally.
  4. 4.0 4.1 Chronicon Abbatis Urspergensis, the Chronicle of Burchard of Ursberg (13th century), printed in Augsburg 1515.
  5. The amphitheatre of Fidenae (the modern Borgata Fidena, a suburb of Rome), endowed by a freed slave named Atilius, collapsed in 27 BC under the weight of a large crowd of spectators, apparently due to faults in construction. According to the (likely exaggerated) account by Tacitus (Annales, 4.63), a total of 50,000 people died in the collapse.
  6. wohl Gaius Sallustius Crispus Passienus (starb 47 n. Chr.)
  7. The preceding three paragraphs are missing in the Dresden version.
  8. Gaius Suetonius Tranquillus (ca. 71 – ca. 135), author of De vita Caesarum (ca. AD 120).
  9. Dresden version: four hundred.
  10. Marcus Antonius Gordianus Pius (225 – 244), Marcus Iulius Philippus (ca. 204 - 249)
  11. Claudius Galenus of Pergamum (AD 131 – 201)
  12. This may be in reference to 2 Timothy 2:4, rendered by Luther (1522) as: Niemant streyttet vnnd flicht sich ynn der narung geschefft, auff das er gefalle dem, der yhn zum streytter auffgenomen hat "None who would fight does meddle in the business of sustenance, so that he may please him who employed him as a fighter". Now Luthers narung "sustenance, nutrition, food" offers itself to an interpretation of "gluttony; carnal pleasure", but it translates pragmateiai biou, meaning "the pragmatics of life", i.e. "everyday business". c.f. Tyndale (1526), who has "No man that warreth, entangleth himself with worldly business, and that because he would please him that hath chosen him to be a soldier"; Dresden has "temporal" (zeitlich) rather than "transient" (zergenglich).
  13. This is a reference to Pliny, Nat. Hist. 30.32: "When a freedman of Nero was giving a gladiatorial show at Antium, the public porticoes were covered with paintings, so we are told, containing life-like portraits of all the gladiators and assistants. This portraiture of gladiators has been the highest interest in art for many centuries now, but it was Gaius Terentius who began the practice of having pictures made of gladiatorial shows and exhibited in public; in honour of his grandfather who had adopted him he provided thirty pairs of Gladiators in the Forum for three consecutive days, and exhibited a picture of the matches in the Grove of Diana."
  14. Anacharsis the Scythian, according to Herodotus (4.46, 76 f.) brother of the Scythian king Saulinos; attributed to him are inventions such as the anchor, bellows and pottery wheel. He was slain by his brother after he returned from a journey to Greece and began to advocate Greek culture to his countrymen. He is sometimes counted as one of the Seven Sages of Athens. Among a number of letters attributed to him is one addressed to the Lydian king Croesus.
  15. Johannes Aventinus (Johann Georg Turmair von Abensberg, 1477–1534), historiographer at the Bavarian court.
  16. Gampar is the seventh king in the (fictional) genealogy of the kings of the ancient Germans going back to the Great Flood in Aventinus' Annales (1522). Aventinus gives Gampar's regnal years as 1711–1667 BC.
  17. Eusebius of Caesarea (ca. 275 – 339)
  18. Pittakos of Mitylene (Lesbos), 7th c. BC, one of the Seven Sages. He led the Mitylenians against the Athenians and arranged a duel with Phrynon, an Olympic champion in pankration, by which to settle the war. He defeated Phrynon by trapping him in a net. The greater Ajay met Hector in place of Achilles (Iliad 7.181), the fight lasted the entire day and Hector was lightly wounded, and the heroes then parted with mutual respect. Porus, "king of India" was defeated by Alexander in the battle of Hydaspes in 326 BC. I have so far failed to identify Pyrechmen and Degmemnus.
  19. Mair gives more detail on this judicial duel of 1409 in the second volume. According to this account, the combatants were Wilhelm Marschalk von Dornsberg and Theodor Haschenacker, and the shields of the combatants were preserved in St. Leonard's church outside of the city until the tower of this church was demolished on 3 November 1542.
  20. Regum et imperatorum apophthegmata ("Sayings of kings and emperors") in Plutarch's Moralia.
  21. Vienna: mit schaden "with damage", Dresden: mit schanden "with dishonour/ignominy".
  22. Tacitus' Germania was unknown during the medieval period; rediscovered in 1455, the text was popularized in German humanism only from c. 1500; it is summarized by Aventinus, who is Mair's source, in his Annales ducum Boiariae (1522), the German-language edition of which (Bairische Chronik 1533) was just about ten years old when Mair wrote his text.
  23. pafese read for gafese (i.e. pavese, the infantry shields comparable to the Roman rectangular shields of the early imperial period)
  24. Tuisto is the primeval god of the Germanic peoples according to Tacitus. Aventinus euhemerizes him as the grandson of Noah and first king of the Germans (r. 2214–2038 BC). Herman here is not the historical Arminius, but the fifth king in Aventinus' list (r. 1820–1757 BC), founder of the Herminones or continental Germans.
  25. Mair's source is the Turnierbuch of Georg Rüxner (c. 1490), edited in Augsburg by Marx Würsung (1518). Rüxner describes a series of 36 "imperial tournaments" (Reichs-Turniere) between 938 and 1487, beginning with a legendary tournament held in Magdeburg during what Rüxner makes out as the reign of Henry I the Fowler.
  26. the successive Habsburg emperors Frederick III, Maximilian I and Charles V, spanning the period since the supposed disestablishment of the knightly tournament and the establishment of the Brotherhood of St. Mark or Marxbrüder. The Freifechter denounced by Mair seem to represent an early form of the guild later known as Federfechter (unless the term still has a generic meaning, frei as in "unincorporated").
  27. Schlaraffenland is the German adaptation of Coquaigne (Cucania), first encountered in the 15th century (as schlauraff, schluderaffe) and popularised by Hans Sachs (1558). The name seems to originate as an (unattested) medieval slur meaning "lazy idler", schlu(de)r-affe, lit. "drooping ape".
  28. Ligatura non sequitur.
  29. Non sequitur.
  30. Ninus: the legendary founder of Nineveh according to Ctesias (Persica, ca. 400 BC); Ctesias' Sardanapolus corresponds to Ashurbanipal (669 - 627 BC); Ctesias is a rather unreliable source by comparison with Herodotus and the Ptolemaic king list; but in any case knowledge on the Assyrian empire was very limited before the decipherment of cuneiform in the 1850s.
  31. Gideon: Judges 7:4-7; David: Psalm 144:1: "Blessed be the LORD my strength, which teacheth my hands to war, and my fingers to fight" (KJV).
  32. Mair writes “Kunstfechtbuch”; “art of fencing” would be “Fechtkunst”. It is not clear whether this is just a question of usage or a deliberate difference.
  33. Welsch” refers to neighbouring peoples speaking a romance language, so it could mean French, Italian, Spanish or Romansh.
  34. German rappier, Latin ensibus Hispanis
  35. The Cod. icon. 393 text translates to “Fencing on foot, in which we use round shields and Spanish swords, in the fashion of the Italians, is 56 plays”).
  36. Mair here uses “die Wag” (pl. “Wagen”), which I am assuming refers to “balance scale” (die Waage, pl. Waagen), and by extension the structure providing for the balance. It could also be derived from “wagen” (to dare), but the derivation is not convincing. A derivation from “der Wagen” (cart, carriage) is linguistically not supported. The other two MS do not contain this passage, so a comparison is not possible.
  37. 'Long edge' is not listed in ty.
  38. sic : beide
  39. Marginalie unleserlich
  40. ”streck dein leyb und deine armen wol”
  41. sic : seinem ?
  42. The words are marked with numbers above. Probably it is to keep track of word order.
  43. sic : hinndersich
  44. sic : widerumb
  45. sic : seinem
  46. sic : schniten
  47. sic : seinnen ?
  48. 21r
  49. The illustration suggests that this action should be done to your left side, rather than to your right.
  50. Literally: put
  51. Literally: pull back the left foot
  52. German: his
  53. German: grab with your left hand from below outside over his right arm
  54. rechten
  55. Note: Change of grip required, or the illustration does not match.
  56. Dagger transfer necessary at this point.
  57. Note: person on left side starts with the dagger in the left hand according to the illustration.
  58. Note: push down, not out
  59. Arbait - technical term: work, force, struggle
  60. Vienna and Munich MS Latin: right.
  61. read: locitur
  62. Latin: snatch up.
  63. Note: the illustration shows ice-pick grip.
  64. "You will lick it!" Not pleasant if the dagger is lying on it. Especially in cold weather.
  65. May not represent the changing though described.
  66. Note illustration shows ice-pick grip.
  67. Note: left is corrected from a right. Left is correct.
  68. This seems to imply both parallel action and simultaneity.
  69. Reib - strong twisting, bending, rotating motion.
  70. Image shows left.
  71. From the inner side.
  72. From the Latin text
  73. Correct from underich.
  74. Could also mean immediately
  75. zucken; Latin – to withdraw
  76. Only in the Latin.
  77. Inn - unclear whether directional or locational.
  78. The one in the left hand?
  79. Only in the Latin.
  80. ge..nen/ge..ch?; tibia in Latin
  81. weakness, hardship, trouble, difficulty, vulnerability, out of balance
  82. Possible abbreviation of gegen – geg.
  83. Odd squiggle in the middle—f from previous line?
  84. Scribal error for pungito?
  85. Strange squiggle above the c.
  86. Squiggle – looks like the Munich MS symbol for us?
  87. Error for interim?
  88. Written as “in Clinando”
  89. NB, likely scribal error for “laevam”
  90. Second u has three dots almost like ǜ.
  91. Error for dextrum?
  92. Barred, or bolted.
  93. Pliers, or fire-tongs.
  94. Wrestlers wear a leather collar? Hmmm...
  95. Comb, carder?
  96. A variant on the o-goshi in judo.
  97. sic : Im mit
  98. »sst« oberhalb der Zeile korrigiert aus »fft«
  99. A technique for putting the opponent down head first with his feet in the air.
  100. Dagger pommel?! I have actually no idea what he is thinking here. My only guess is that it was late on Friday afternoon, and must have mistaken ”kopff” with ”knopff”.
  101. 101.0 101.1 Choosing to read this as equivalent to modern German einengen. “Trapped” as a translation for eineinden follows from this choice. Buyer beware.
  102. Corrections indicate it should be zu Im hinein
  103. "Not the lower point". Why the awkward construction here? Why not say superiorem mucronem (or proper Latin equivalent)?
  104. sic : verborgnen