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Difference between revisions of "Andre Lignitzer"

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| <p>[1] {{red|b=1|Hereafter stand written the pieces with the buckler}}<ref>The Rome version says: “Here begin the pieces with the buckler that the master Andre Lignitzer has written hereafter”.</ref><br/><br/><br/></p>
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| <p>{{red|b=1|Hereafter stand written the pieces with the buckler}}<ref>The Rome version says: “Here begin the pieces with the buckler that the master Andre Lignitzer has written hereafter”.</ref></p>
 
 
<p>The first piece with the buckler, from the ''Oberhaw'':<ref>''Oberhaw'' could be translated as “downward cut” for ease of use and clarity in English.</ref> when you drive the ''Oberhaw'' to the man, set your sword with the pommel inside your buckler and at your thumb, and thrust in from below up to his face, and turn against his sword and let it snap-over. This goes to both sides.<ref>This instruction is present in the Dresden version, but missing from the Rome version.</ref></p>
 
 
 
 
| {{section|Page:Cod.44.A.8 080r.jpg|1|lbl=80r}}
 
| {{section|Page:Cod.44.A.8 080r.jpg|1|lbl=80r}}
 
| {{section|Page:Cod.I.6.4º.3 084r.jpg|1|lbl=84r}}
 
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| {{section|Page:MS KK5126 127v.jpg|2|lbl=127v}}
 
| {{section|Page:MS KK5126 127v.jpg|2|lbl=127v}}
 
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| '''[54r] {{red|Her nach stond geschriben die stuck mitt dem buckler}}<br/><br/>
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| '''[54r] {{red|Her nach stond geschriben die stuck mitt dem buckler}}'''
Das erst stuck mit dem buckler vß dem oberhaw° wen du den oberhaw trÿbst zu dem mañe So secz mitt dem knopffe din schwert inwendig vff dine~ bückler zu dine~ <del>dawmen</del> dav~men Vñ stich in von vnde~ auff zu sine~ gesichte vñ wind gege~ sine~ schwert vñ lauß überschnappen dz gät zu võ baÿden sÿtten ~
 
 
| '''[105r] Hie heben sich ann die stugk mit dem Bugler die Maister andre lignizer gesazt hat in vj stuck alls hernach gemalt statt'''
 
| '''[105r] Hie heben sich ann die stugk mit dem Bugler die Maister andre lignizer gesazt hat in vj stuck alls hernach gemalt statt'''
Das Erst stuck mit dem pu~gler auß dem oberchaw dreÿbest tzue dem mane So setz mit dem knofp dein Sswertt in wendig auff deinenn pu~gler zue deinem dawmen vnd stich ÿm von vnden auff zue seinem gesicht vnd windt gegen seinem Schwert vnd las vber schnappen das get zue padn seyden
 
 
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| '''[K3r] VECHTEN Im Pucklier oder Rodelñ'''<br/><br/><br/>
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| '''[K3r] VECHTEN Im Pucklier oder Rodelñ'''
Item das erſt ſtuck mit dempucklier aus dem oberhaw / wan du den ober haw treibſt ʒv dem mañ / ſo ſetʒ deinen knopf ynwendig auf den ſchilt cʒu deinem daumñ / vnd ſtich ym von vnden auf ʒu ſeim gſicht / vñ windt gegñ ſeinem ſchwert vnd laß vber ſchnappen daſʒ get ʒu paiden ſeitñ
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| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/62|3|lbl=31r}}
| '''[XXXIr] Fechten im Bucklier oder Rodeln.'''<br/><br/><br/>
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| '''Icy commenche lors ou maintenant la maniere pour jouer a tout le bouclie.'''
Die Erst Regel mit dem Bucklier / auß dem oberhaw. Wann du den oberhaw treibst zu dem man / so setze deinen knopff innwendig auff deinn schilt zu deinem daumen / und stich ihm vonn unden auff zu seinem gsicht / und wind gegen seinem schwerdt / unn laß überschnappen. Das geht zu beden seitten.
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| '''[70v] / Vechtenn Im puckhlier oder Rodellenn /'''
| '''Icy commenche lors ou maintenant la maniere pour jouer a tout le bouclie.'''<br/><br/>
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'''La premiere piece hors le hault debout'''<br>Quant vous frappez le deseur coup apres lhomme, mectez vostre pommeau par dedens sur le bouclie envers le poulx, & boutez par dessoubz au deseur apres son visaige, & tournez contre son espee, & laissez voler, cela va a deux costez
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| '''[70v] / Vechtenn Im puckhlier oder Rodellenn /'''<br/><br/><br/>
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Ittem das Erst stuckh Im mit dem buckhlier / aus dem Oberhaw wan du den oberhaw treibst zu dem man so sez dein knopf / Inwendig auf dein schilt zu deinem daum vnnd stich Im von vnden auff zu seim gsicht vnnd wint gegen seinem schwert vnd las vberschnappenn das get zu baÿden saÿten /
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| <p>[1] '''The first piece with the buckler'''</p>
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<p>From the ''Oberhaw'':<ref>''Oberhaw'' could be translated as “downward cut” for ease of use and clarity in English.</ref> when you drive the ''Oberhaw'' to the man, set your sword with the pommel inside your buckler and at your thumb, and thrust in from below up to his face, and turn against his sword and let it snap-over. This goes to both sides.<ref>This instruction is present in the Dresden version, but missing from the Rome version.</ref></p>
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| {{section|Page:MS KK5126 127v.jpg|3|lbl=-}}
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| Das erst stuck mit dem buckler vß dem oberhaw° wen du den oberhaw trÿbst zu dem mañe So secz mitt dem knopffe din schwert inwendig vff dine~ bückler zu dine~ <del>dawmen</del> dav~men Vñ stich in von vnde~ auff zu sine~ gesichte vñ wind gege~ sine~ schwert vñ lauß überschnappen dz gät zu võ baÿden sÿtten ~
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| Das Erst stuck mit dem pu~gler auß dem oberchaw dreÿbest tzue dem mane So setz mit dem knofp dein Sswertt in wendig auff deinenn pu~gler zue deinem dawmen vnd stich ÿm von vnden auff zue seinem gesicht vnd windt gegen seinem Schwert vnd las vber schnappen das get zue padn seyden
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| Item das erſt ſtuck mit dempucklier
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aus dem oberhaw / wan du den ober haw treibſt ʒv dem mañ / ſo ſetʒ deinen knopf ynwendig auf den ſchilt cʒu deinem daumñ / vnd ſtich ym von vnden auf ʒu ſeim gſicht / vñ windt gegñ ſeinem ſchwert vnd laß vber ſchnappen daſʒ get ʒu paiden ſeitñ
 +
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/62|4|lbl=-}}
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| '''La premiere piece hors le hault debout'''
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Quant vous frappez le deseur coup apres lhomme, mectez vostre pommeau par dedens sur le bouclie envers le poulx, & boutez par dessoubz au deseur apres son visaige, & tournez contre son espee, & laissez voler, cela va a deux costez
 +
| Ittem das Erst stuckh Im mit dem buckhlier /
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aus dem Oberhaw wan du den oberhaw treibst zu dem man so sez dein knopf / Inwendig auf dein schilt zu deinem daum vnnd stich Im von vnden auff zu seim gsicht vnnd wint gegen seinem schwert vnd las vberschnappenn das get zu baÿden saÿten /
  
 
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<p>Item, from the ''Underhaw'':<ref>''Underhaw'' could be translated as “upward cut”. Can be done with the back edge or false edge, and can also be directed either at the man or at the sword. In this stuck, it appears to be a rising action to meet his sword.</ref> when he cuts in at you from above from his right shoulder,<ref>Dresden version specifies from his right shoulder, missing from Rome version.</ref> so turn against him to your left side to your ''schilt'', so that you stand in “two shields”,<ref>The position called the ''schilt'' is one described for longsword in the [[Fechtregeln (MS Best.7020 (W*)150)|Kolner Fechtbuch]] and some of the other ''gemeinfechten'' sources, and is somewhat similar to what Liechtenauer would call an ''Ochs'', although the point can be upward, potentially like quite a high ''Pflug''. With the buckler in the left hand, standing like this in “two shields” with the sword in the ''schilt'' position and the shield covering the right hand, it looks very reminiscent of the ''schutzen'' position in the [[Walpurgis Fechtbuch (MS I.33)|MS I.33]]. Following this line of thinking, the instruction to turn the sword to the right (out of the ''schutzen'') and to reach (slice) through his mouth is very reminiscent of the follow-up action that the MS I.33 recommends from the ''schutzen obsesseo'', and is also similar to what the Liechtenauer ''Zedel'' and glosses refer to as the ''Alten Schnitt''.</ref> then turn uncovered<ref>This instruction to ''wind bloß'' (“turn uncovered”) seems to have the sense of separating your sword and buckler while still pushing with both, keeping the hands more or less in front of the shoulders (as if sitting behind a steering wheel in a car with the hands at the “ten to two” position). The body probably has to move and turn in order to support this action, to keep the hands in front of the body rather than going out to the sides.</ref> to your right side, and reach out to his mouth. If he defends against this and lifts<ref>Dresden has “holds his shield up”, Rome has “lifts his shield up”. Both could mean more or less the same thing, but I prefer “lifts” as an instruction.</ref> his shield up, take the left leg. This goes to both sides.</p>
 
<p>Item, from the ''Underhaw'':<ref>''Underhaw'' could be translated as “upward cut”. Can be done with the back edge or false edge, and can also be directed either at the man or at the sword. In this stuck, it appears to be a rising action to meet his sword.</ref> when he cuts in at you from above from his right shoulder,<ref>Dresden version specifies from his right shoulder, missing from Rome version.</ref> so turn against him to your left side to your ''schilt'', so that you stand in “two shields”,<ref>The position called the ''schilt'' is one described for longsword in the [[Fechtregeln (MS Best.7020 (W*)150)|Kolner Fechtbuch]] and some of the other ''gemeinfechten'' sources, and is somewhat similar to what Liechtenauer would call an ''Ochs'', although the point can be upward, potentially like quite a high ''Pflug''. With the buckler in the left hand, standing like this in “two shields” with the sword in the ''schilt'' position and the shield covering the right hand, it looks very reminiscent of the ''schutzen'' position in the [[Walpurgis Fechtbuch (MS I.33)|MS I.33]]. Following this line of thinking, the instruction to turn the sword to the right (out of the ''schutzen'') and to reach (slice) through his mouth is very reminiscent of the follow-up action that the MS I.33 recommends from the ''schutzen obsesseo'', and is also similar to what the Liechtenauer ''Zedel'' and glosses refer to as the ''Alten Schnitt''.</ref> then turn uncovered<ref>This instruction to ''wind bloß'' (“turn uncovered”) seems to have the sense of separating your sword and buckler while still pushing with both, keeping the hands more or less in front of the shoulders (as if sitting behind a steering wheel in a car with the hands at the “ten to two” position). The body probably has to move and turn in order to support this action, to keep the hands in front of the body rather than going out to the sides.</ref> to your right side, and reach out to his mouth. If he defends against this and lifts<ref>Dresden has “holds his shield up”, Rome has “lifts his shield up”. Both could mean more or less the same thing, but I prefer “lifts” as an instruction.</ref> his shield up, take the left leg. This goes to both sides.</p>
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{{section|Page:Cod.I.6.4º.3 084r.jpg|2|lbl=-|p=1}} {{section|Page:Cod.I.6.4º.3 084v.jpg|1|lbl=84v|p=1}}
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{{section|Page:Cod.I.6.4º.3 084r.jpg|3|lbl=-|p=1}} {{section|Page:Cod.I.6.4º.3 084v.jpg|1|lbl=84v|p=1}}
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| {{section|Page:MS KK5126 127v.jpg|4|lbl=-}}
 
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| {{red|b=1|Daß ander stuck}}
 
| {{red|b=1|Daß ander stuck}}
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| '''DAS Ander ſtuck.'''
 
| '''DAS Ander ſtuck.'''
 
Item auſʒ dem vnterñhaw wen er dir obñ ʒu haut von ſeiner rechtñ achſel ſo wint gegñ ym auf dein lincke ſeittñ gegen deinem ſchilt / ſo ſteſtu in ʒwaien ſchilten vñ wint dan auf dein rechte ſeittñ vnd greif ym nach dem maul / wert er das vñ hebt ſein ſchilt / ſo nim das linck pain das get auch ʒu paiden ſeitten
 
Item auſʒ dem vnterñhaw wen er dir obñ ʒu haut von ſeiner rechtñ achſel ſo wint gegñ ym auf dein lincke ſeittñ gegen deinem ſchilt / ſo ſteſtu in ʒwaien ſchilten vñ wint dan auf dein rechte ſeittñ vnd greif ym nach dem maul / wert er das vñ hebt ſein ſchilt / ſo nim das linck pain das get auch ʒu paiden ſeitten
| '''II.'''
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| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/62|5|lbl=-}}
Auß dem Underhaw. Wann er dir oben zu hawt von seiner rechten achseln / so wind gegen ihm auff dein lincke seitten / gegen deinem schilt / so stehstu in zweyen schilten / unnd wind dann auff dein rechte seitten / und greiff ihm nach dem maul / weret er das / und hebt seinn schilt / so nim das linck beyn / Das geht auch zu beiden deitten.
 
 
| '''La seconde pieche hors le coup par dessoubz'''
 
| '''La seconde pieche hors le coup par dessoubz'''
 
Quant il frappe par deseur apres vous hors les dextres aselles, tournez contre luy sur vostre senestre coste contre vostre bouclie, ainsi serez entre deux boucliez, lors tournez sur le coste dextre & montez apres le visaige sil defend cela & lieue son bouclie, prenez la senestre gambe, cela va aussi a deux costez.
 
Quant il frappe par deseur apres vous hors les dextres aselles, tournez contre luy sur vostre senestre coste contre vostre bouclie, ainsi serez entre deux boucliez, lors tournez sur le coste dextre & montez apres le visaige sil defend cela & lieue son bouclie, prenez la senestre gambe, cela va aussi a deux costez.
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<p>Item, from the buckler, from the ''Wechselhaw'':<ref>''Wechselhaw'' could be translated as “changing cut”, because it goes up and down, side to side.</ref> ''Streÿch''<ref>''Streÿchen'' could be translated as “strikes”, but in this context are specifically those striking actions from below, sweeping up with the short edge, perhaps “streaking” up from the ground to the opponent or to his sword.</ref> firmly upward from the buckler from the left side, into his sword, and then cut in from the left side to the head. And turn uncovered,<ref>The same idea of separating your sword and buckler while still pushing both, keeping the hands more or less in front of the shoulders (as if sitting behind a steering wheel in a car with the hands at the “ten to two” position).</ref> and push<ref>Probably with a thrust, but potentially with any other pushing technique.</ref> in to the mouth. If he lifts with shield and sword, and defends against this, then cut with the long edge to the right leg. This goes to both sides.</p>
 
<p>Item, from the buckler, from the ''Wechselhaw'':<ref>''Wechselhaw'' could be translated as “changing cut”, because it goes up and down, side to side.</ref> ''Streÿch''<ref>''Streÿchen'' could be translated as “strikes”, but in this context are specifically those striking actions from below, sweeping up with the short edge, perhaps “streaking” up from the ground to the opponent or to his sword.</ref> firmly upward from the buckler from the left side, into his sword, and then cut in from the left side to the head. And turn uncovered,<ref>The same idea of separating your sword and buckler while still pushing both, keeping the hands more or less in front of the shoulders (as if sitting behind a steering wheel in a car with the hands at the “ten to two” position).</ref> and push<ref>Probably with a thrust, but potentially with any other pushing technique.</ref> in to the mouth. If he lifts with shield and sword, and defends against this, then cut with the long edge to the right leg. This goes to both sides.</p>
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| {{red|b=1|Daß dritt <del>stuc</del> stuck }}
 
| {{red|b=1|Daß dritt <del>stuc</del> stuck }}
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| '''DAS DRIT STVCK'''
 
| '''DAS DRIT STVCK'''
 
Item aufʒ dem wexelhw ſtreich von der linckñ ſeitten auſʒ dem pucklier vaſt vberſich in ſein ſchwert vñ haw ym dan von der lincken ſeittñ ʒu dem haupt vnd wint ploſʒ vnd ſtoſʒ ym nach dem maul / hebt er mit dem ſchilt vñ ſchwert vñ wert das / ſo haw mit der langñ ſchneid ym nach dem rechtñ pain / daſʒ get auch ʒu paiden ſeitten
 
Item aufʒ dem wexelhw ſtreich von der linckñ ſeitten auſʒ dem pucklier vaſt vberſich in ſein ſchwert vñ haw ym dan von der lincken ſeittñ ʒu dem haupt vnd wint ploſʒ vnd ſtoſʒ ym nach dem maul / hebt er mit dem ſchilt vñ ſchwert vñ wert das / ſo haw mit der langñ ſchneid ym nach dem rechtñ pain / daſʒ get auch ʒu paiden ſeitten
| '''III.'''
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| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/62|6|lbl=-}}
Auß dem Wechselhaw. Streich von der lincken seiten auß dem Bucklier / fast übersich in sein schwerdt / und hawe ihm dann von der lincken seitten zum haupt / und wind bloß / und stoß ihm nach dem maul / hebt er mit dem schilt und schwert / und weret das / haw lang nach seinem rechten beyn / Brauchs zu beden seiten.
 
 
| '''[70] La tierce pieche hors le coup en change'''
 
| '''[70] La tierce pieche hors le coup en change'''
 
Levez du senestre costre hors du bouclie en hault sur son espee et puis frappez du senestre coste apres sa teste, & tournez tout nud, & luy boutez apres son visaige, sil leve a tout le bouclie et lespee: et sil le defend lors frappez a tout le long taillon apres sa droicte gambe, cela va aussi a deux costez
 
Levez du senestre costre hors du bouclie en hault sur son espee et puis frappez du senestre coste apres sa teste, & tournez tout nud, & luy boutez apres son visaige, sil leve a tout le bouclie et lespee: et sil le defend lors frappez a tout le long taillon apres sa droicte gambe, cela va aussi a deux costez
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<p>Item, from the ''Mittelhaw'':<ref>''Mittelhaw'' could be translated as “middle cut”, going across from one side to the other.</ref> make the ''Zwer''<ref>''Zwerch'' could be translated as “across”, in the sense of slanting across from one side to another or slanting across from one height to another, or going diagonally across from one place to another. It also has the sense perhaps of going across something, perhaps slanting across or athwart a boat, or going across your opponent’s blade or leg as opposed to simply coming onto it in whatever fashion. The ''Zwer'' is an example of a ''Mittelhaw'', but it is important to note that the thumb is beneath the blade and the cut is performed with hand high.</ref> to both sides, and the ''Schaittler''<ref>''Schaittler'' could be translated as “parter”, in the sense of being something which parts another thing in two, or dividing something in two.</ref> with the long edge, and thrust in from below to him.</p>
 
<p>Item, from the ''Mittelhaw'':<ref>''Mittelhaw'' could be translated as “middle cut”, going across from one side to the other.</ref> make the ''Zwer''<ref>''Zwerch'' could be translated as “across”, in the sense of slanting across from one side to another or slanting across from one height to another, or going diagonally across from one place to another. It also has the sense perhaps of going across something, perhaps slanting across or athwart a boat, or going across your opponent’s blade or leg as opposed to simply coming onto it in whatever fashion. The ''Zwer'' is an example of a ''Mittelhaw'', but it is important to note that the thumb is beneath the blade and the cut is performed with hand high.</ref> to both sides, and the ''Schaittler''<ref>''Schaittler'' could be translated as “parter”, in the sense of being something which parts another thing in two, or dividing something in two.</ref> with the long edge, and thrust in from below to him.</p>
 
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| {{section|Page:MS KK5126 127v.jpg|6|lbl=-}}
 
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| {{red|b=1|daß vierd stuck}}
 
| {{red|b=1|daß vierd stuck}}
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| '''DAS VIERT STVCK'''
 
| '''DAS VIERT STVCK'''
 
Item auſʒ dem mitterhaw mach die twer ʒu paiden ſeittñ vnd den ſchaitler mit der langñ fchneit vnd ſtich ym vndeu ʒu dem gmecht
 
Item auſʒ dem mitterhaw mach die twer ʒu paiden ſeittñ vnd den ſchaitler mit der langñ fchneit vnd ſtich ym vndeu ʒu dem gmecht
| '''IIII.'''
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Auß dem Mittelhaw. Mach die Zwir zu beden seiten / unn '''[XXXIv]''' den Scheytler mit langer schneid / stich ihm unden zum gmecht.
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{{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/62|7|lbl=-|p=1}} {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/63|1|lbl=31v|p=1}}
 
| '''La quatriesme pieche hors le moyen coup'''
 
| '''La quatriesme pieche hors le moyen coup'''
 
Faictes la deffence a deux costez, & le demy train a tout le long taillon, & luy boutez dessoubz apres les genitaires
 
Faictes la deffence a deux costez, & le demy train a tout le long taillon, & luy boutez dessoubz apres les genitaires
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| <p><br/></p>
 
| <p><br/></p>
  
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| {{red|b=1|Daß funfft <del>fu~n</del> stuck}}
 
| {{red|b=1|Daß funfft <del>fu~n</del> stuck}}
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| '''[K3v] DAS Funfft ſtuck'''
 
| '''[K3v] DAS Funfft ſtuck'''
 
Item auſʒ dem ſchilhav / thu ab du ym cʒu der linckñ ſeittñ vber ſein ſchildt welleſt ſtechñ vnd var mit deinem ort vndñ durch / vnd ſtich ym inwendig ſeines ghileʒ cʒu dem leib vnd indes windt auf dein lincke ſeitñ / wert er daſʒ ſo nim ſein recht pain mit der langñ ſchneid
 
Item auſʒ dem ſchilhav / thu ab du ym cʒu der linckñ ſeittñ vber ſein ſchildt welleſt ſtechñ vnd var mit deinem ort vndñ durch / vnd ſtich ym inwendig ſeines ghileʒ cʒu dem leib vnd indes windt auf dein lincke ſeitñ / wert er daſʒ ſo nim ſein recht pain mit der langñ ſchneid
| '''V.'''
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| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/63|2|lbl=-}}
Auß dem Schilhaw. Thu ob du ihm zu der lincken seitten über seinn schilt wöllest stechen / und far mit deim ort unden durch stich innwendig seins gesichts zum leib / In des wind auff dein lincke seitten / wert ers / so nim sein recht beyn mit langer schneid. 
 
 
| '''La cinquiesme pieche'''
 
| '''La cinquiesme pieche'''
 
Faictes comme si luy vouldriez bouter apres le senestre coste aultre son bouclie, & entrez a tout vostre debout ou pointe par dessoubz parmy, & luy boutez par son visaige apres le ventre, & en cela tournez vous iuz sur vostre senestre coste & sil defende cela, lors prenz sa droicte gambe a tout le long taillon
 
Faictes comme si luy vouldriez bouter apres le senestre coste aultre son bouclie, & entrez a tout vostre debout ou pointe par dessoubz parmy, & luy boutez par son visaige apres le ventre, & en cela tournez vous iuz sur vostre senestre coste & sil defende cela, lors prenz sa droicte gambe a tout le long taillon
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| {{red|b=1|Daß sechst stuckh ~}}
 
| {{red|b=1|Daß sechst stuckh ~}}
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| '''DAS SECHST Stuck'''
 
| '''DAS SECHST Stuck'''
 
Nym dein klingñ cʒu deinem puchlir in dein lincke handt / vñ windt kegñ ym / havt er oder ſticht dir obñ cʒu deinm͂ gſicht / oder vndñ nach deinem pain / ſo laſʒ dem rechte handt vom heft / vnd verſecʒ ym daſʒ mit ſchildt vnd ſchwerdt / vnd greiff mit deiner rechtñ handt auff ſein rechte ſeitten nach ſeim ſchilt / vnd vaſʒ den ſchilt wol vnderſich / vnd dree yn auf dein rechte ſeittñ / ſo haſtu ym den ſchildt gnumen &c.
 
Nym dein klingñ cʒu deinem puchlir in dein lincke handt / vñ windt kegñ ym / havt er oder ſticht dir obñ cʒu deinm͂ gſicht / oder vndñ nach deinem pain / ſo laſʒ dem rechte handt vom heft / vnd verſecʒ ym daſʒ mit ſchildt vnd ſchwerdt / vnd greiff mit deiner rechtñ handt auff ſein rechte ſeitten nach ſeim ſchilt / vnd vaſʒ den ſchilt wol vnderſich / vnd dree yn auf dein rechte ſeittñ / ſo haſtu ym den ſchildt gnumen &c.
| '''VI.'''
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Nim dein klingen zu deinem Bucklir in dein lincke hanndt / wind gegen ihm / Hawet er oder sticht dir oben zu deinem gsicht / oder unden nach deinem beyn / so laß dein rechte handt vom hefft und versetz ihm das mit schilt und schwert / und greiff mit deiner rechten handt auff sein rechte seitten nach seinem schilt / und faß den schilt wol undersich / und drehe ihn auff dein rechte seitten / so hastu ihm den Schilt genommen.
 
 
| '''La sixiesme pieche'''
 
| '''La sixiesme pieche'''
 
Prenez vostre alumelle a vostre bouclie en la senestre main, et defendez contre luy, sil frappe ou boute deseur apres vostre visaige ou dessoubz apres la gambe, ostez vostre main droicte de vostre espee, & le remectez a tout le bouclie & lespee, & prenez a tout vostre droicte main son bouclie bien bas, & lefforcez sur vostre droicte coste & ainsi le luy prendrez.
 
Prenez vostre alumelle a vostre bouclie en la senestre main, et defendez contre luy, sil frappe ou boute deseur apres vostre visaige ou dessoubz apres la gambe, ostez vostre main droicte de vostre espee, & le remectez a tout le bouclie & lespee, & prenez a tout vostre droicte main son bouclie bien bas, & lefforcez sur vostre droicte coste & ainsi le luy prendrez.
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Revision as of 16:18, 18 May 2020

Andre Liegniczer
Born date of birth unknown
Legnica, Poland
Died before 1452
Relative(s) Jacob Liegniczer (brother)
Occupation Fencing master
Movement Fellowship of Liechtenauer
Genres
Language Early New High German
Manuscript(s)
First printed
english edition
Tobler, 2010
Concordance by Michael Chidester
Translations

Andre Liegniczer (Andres Lignitzer) was a late 14th or early 15th century German fencing master. His name might signify that he came from Legnica, Poland. While Liegniczer's precise lifetime is uncertain, he seems to have died some time before the creation of Codex Danzig in 1452.[1] He had a brother named Jacob Liegniczer who was also a fencing master,[2] but there is no record of any treatise Jacob may have authored. The only other fact that can be determined about Liegniczer's life is that his renown as a master was sufficient for Paulus Kal to include him, along with his brother, in his list of members of the Fellowship of Liechtenauer in 1470.[2]

An Andres Juden (Andres the Jew) is mentioned as a master associated with Liechtenauer in Pol Hausbuch,[3] and Codex Speyer contains a guide to converting between long sword and Messer techniques written by a "Magister Andreas",[4] but it is not currently known whether either of these masters is Liegniczer.

Andre Liegniczer is best known for his teachings on sword and buckler, and some variation on this brief treatise is included in many compilation texts in the Liechtenauer tradition. He also authored treatises on fencing with the short sword, dagger, and grappling, though these appear less frequently. Liegniczer's sword and buckler teachings are sometimes attributed to Sigmund ain Ringeck due to their unattributed inclusion in the MS Dresden C.487, but this is clearly incorrect.

Treatises

Note that the Augsburg, Salzburg, and Graz versions of Liegniczer's treatise on short sword fencing are erroneously credited to Martin Huntfeltz, while Huntfeltz' own treatise is credited to Jud Lew.[5]

Additional Resources

References

  1. He is given the traditional blessing on the dead on folio 73r.
  2. 2.0 2.1 The Fellowship of Liechtenauer is recorded in three versions of Paulus Kal's treatise: MS 1825 (1460s), Cgm 1570 (ca. 1470), and MS KK5126 (1480s).
  3. Anonymous. Untitled [manuscript]. MS 3227a. Nuremberg, Germany: Germanisches Nationalmuseum, ca.1389.
  4. von Speyer, Hans. Untitled [manuscript]. MS M.I.29. Salzburg, Austria: Universitätsbibliothek Salzburg, 1491.
  5. Jaquet and Walczak 2014.
  6. play
  7. The Rome version says: “Here begin the pieces with the buckler that the master Andre Lignitzer has written hereafter”.
  8. Oberhaw could be translated as “downward cut” for ease of use and clarity in English.
  9. This instruction is present in the Dresden version, but missing from the Rome version.
  10. Underhaw could be translated as “upward cut”. Can be done with the back edge or false edge, and can also be directed either at the man or at the sword. In this stuck, it appears to be a rising action to meet his sword.
  11. Dresden version specifies from his right shoulder, missing from Rome version.
  12. The position called the schilt is one described for longsword in the Kolner Fechtbuch and some of the other gemeinfechten sources, and is somewhat similar to what Liechtenauer would call an Ochs, although the point can be upward, potentially like quite a high Pflug. With the buckler in the left hand, standing like this in “two shields” with the sword in the schilt position and the shield covering the right hand, it looks very reminiscent of the schutzen position in the MS I.33. Following this line of thinking, the instruction to turn the sword to the right (out of the schutzen) and to reach (slice) through his mouth is very reminiscent of the follow-up action that the MS I.33 recommends from the schutzen obsesseo, and is also similar to what the Liechtenauer Zedel and glosses refer to as the Alten Schnitt.
  13. This instruction to wind bloß (“turn uncovered”) seems to have the sense of separating your sword and buckler while still pushing with both, keeping the hands more or less in front of the shoulders (as if sitting behind a steering wheel in a car with the hands at the “ten to two” position). The body probably has to move and turn in order to support this action, to keep the hands in front of the body rather than going out to the sides.
  14. Dresden has “holds his shield up”, Rome has “lifts his shield up”. Both could mean more or less the same thing, but I prefer “lifts” as an instruction.
  15. Wechselhaw could be translated as “changing cut”, because it goes up and down, side to side.
  16. Streÿchen could be translated as “strikes”, but in this context are specifically those striking actions from below, sweeping up with the short edge, perhaps “streaking” up from the ground to the opponent or to his sword.
  17. The same idea of separating your sword and buckler while still pushing both, keeping the hands more or less in front of the shoulders (as if sitting behind a steering wheel in a car with the hands at the “ten to two” position).
  18. Probably with a thrust, but potentially with any other pushing technique.
  19. Mittelhaw could be translated as “middle cut”, going across from one side to the other.
  20. Zwerch could be translated as “across”, in the sense of slanting across from one side to another or slanting across from one height to another, or going diagonally across from one place to another. It also has the sense perhaps of going across something, perhaps slanting across or athwart a boat, or going across your opponent’s blade or leg as opposed to simply coming onto it in whatever fashion. The Zwer is an example of a Mittelhaw, but it is important to note that the thumb is beneath the blade and the cut is performed with hand high.
  21. Schaittler could be translated as “parter”, in the sense of being something which parts another thing in two, or dividing something in two.
  22. Sturtzhaw could be translated as “dropping cut”, in the sense of a ball dropping back to earth when it has been thrown upward.
  23. The treatise says schilts, plural, meaning that you thrust inside both sword and shield.
  24. Dresden version specifies to the body, missing from Rome version.
  25. If this gloss follows the Liechtenauer method of understanding the five words Vor, Nach, Schwöch, Störck, Indes and their relationship to each other, then we should look to the Blossfechten gloss for the meaning of Indes. However, there is no guarantee that this means exactly the same thing, so the word Indes could just mean “immediately” when removed from its technical context. There does not seem to be as much Winden involved with this sword and buckler treatise as there is in the Blossfechten gloss, although it is still quite possible to perform Winden with shorter blades (look at Leckuchner’s messerfechten, for example), and Lignitzer was a member of the Gessellschaft Lichtenawers and so was probably quite well aware of Liechtenauer’s understanding of the five words and how they relate to fighting.
  26. Although both the Dresden and Rome versions say bind, what they probably mean is the fastening of the hand, or the grip upon the sword.
  27. The instruction to Versetz could mean “to obstruct”.
  28. More correctly, both the Dresden and Rome versions say: “Thus, you have taken the shield from him.” However, the sudden change of tense seems a little abrupt and awkward, so I prefer to maintain the same tense as the rest of the instruction, for stylistic reasons.
  29. There is a further piece of instruction in Goliath: “Pull your left leg far back.”
  30. The instructions in Goliath are more precise: “Go through to your left side under his left armpit while holding his left arm.”
  31. “his” (in Goliath)
  32. “his” (in the Glasgow Fechtbuch)
  33. Goliath’s description is a bit different: “Strike out with your right hand and grab his right butt cheek.”
  34. The Glasgow Fechtbuch has another suggestion: “…or into his eyes.”
  35. “over” (in the Glasgow Fechtbuch)
  36. The instructions in Goliath are clearer: “Step with your right leg outside behind his right leg…”
  37. Goliath goes in more detail here: “…turn to your left side and throw him over your right hip.”
  38. Goliath has a further suggestion: “You can also step with your right thigh to his left thigh during the turn and throw him.”
  39. Korrgiert aus »rechten«.