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Difference between revisions of "Jörg Wilhalm Hutter"

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{{master begin
 
{{master begin
 
  | title = Short Sword
 
  | title = Short Sword
  | width = 300em
+
  | width = 330em
 
}}
 
}}
 
{| class="floated master"
 
{| class="floated master"
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! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version II]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
 
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version II]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
 
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version I]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
 
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version I]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
! <p>[[Reit und Turnierbuch (MS KK5247)|Vienna Version]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<br/></p>
+
! <p>[[Reit und Turnierbuch (MS KK5247)|Vienna Transcription]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<br/></p>
! <p>[[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel Version II]] (ca. 1600){{edit index|Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)}}<br/></p>
+
! <p>[[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel I Transcription]] (ca. 1600){{edit index|Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)}}<br/></p>
! <p>[[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Wolfenbüttel Version III]] (ca. 1600){{edit index|Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)}}<br/></p>
+
! <p>[[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Wolfenbüttel II Transcription]] (ca. 1600){{edit index|Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)}}</p>
 +
! <p>[[Reit und Turnierbuch (MS 23.279)|New York Transcription]] (1838){{edit index|Reit und Turnierbuch (MS 23.279)}}<br/></p>
  
 
|-  
 
|-  
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<p>Note: When one ignores the high thrust (as it is drawn above) and thrusts to your back foot, then fall with your sword, with both your hands onto his sword, and press it down well. By doing this, you free yourself as is written next. Always be sure in your work (as is painted above).</p>
 
<p>Note: When one ignores the high thrust (as it is drawn above) and thrusts to your back foot, then fall with your sword, with both your hands onto his sword, and press it down well. By doing this, you free yourself as is written next. Always be sure in your work (as is painted above).</p>
 
 
| {{paget|Page:Cod.I.6.2º.3|04v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|04v|png}}
 
| {{paget|Page:Cgm 3711|63v|jpg}}
 
| {{paget|Page:Cgm 3711|63v|jpg}}
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<p>Note: When you notice that [he wants to perform] the third contact or pinning onto the foot, then grab your sword by the point and turn the pommel forward. Strike him to his helmet: by doing so he will be stunned<ref>The 'Teutscher Dictionarus' by 'Simon Roten' of 1571 defines 'Temisch' as 'Temisch,Crüncken/weinig/vom wozt Temez tum, das ist wein', and 'Temen' as 'Oberflüssig wein trincken', so I assume being stunned as if drunk is what is implied here.</ref><ref>I omitted the translation of 'in Seim helm' in order to make the translation easier to read.</ref> (as it is painted above). By doing this, you free yourself.</p>
 
<p>Note: When you notice that [he wants to perform] the third contact or pinning onto the foot, then grab your sword by the point and turn the pommel forward. Strike him to his helmet: by doing so he will be stunned<ref>The 'Teutscher Dictionarus' by 'Simon Roten' of 1571 defines 'Temisch' as 'Temisch,Crüncken/weinig/vom wozt Temez tum, das ist wein', and 'Temen' as 'Oberflüssig wein trincken', so I assume being stunned as if drunk is what is implied here.</ref><ref>I omitted the translation of 'in Seim helm' in order to make the translation easier to read.</ref> (as it is painted above). By doing this, you free yourself.</p>
 
 
| {{paget|Page:Cod.I.6.2º.3|05r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|05r|png}}
 
| {{paget|Page:Cgm 3711|64r|jpg}}
 
| {{paget|Page:Cgm 3711|64r|jpg}}
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<p>Note: When one strikes to your head, or wants to do so, then go up with your sword and pin his left elbow with the point. By doing that you have broken his murder-strike. Go well into [his elbow], and push him up (as is painted above).</p>
 
<p>Note: When one strikes to your head, or wants to do so, then go up with your sword and pin his left elbow with the point. By doing that you have broken his murder-strike. Go well into [his elbow], and push him up (as is painted above).</p>
 
 
| {{paget|Page:Cod.I.6.2º.3|05v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|05v|png}}
 
| {{paget|Page:Cgm 3711|64v|jpg}}
 
| {{paget|Page:Cgm 3711|64v|jpg}}
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| <p>[15] '''The eleventh piece'''</p>
 
| <p>[15] '''The eleventh piece'''</p>
  
<p> When you see that he wants to push (with his sword) through both your arms and has taken your strength, then step forward with your left foot, and go upwards with your points towards his face, as is painted above. By doing so, you have broken him.
+
<p> When you see that he wants to push (with his sword) through both your arms and has taken your strength, then step forward with your left foot, and go upwards with your points towards his face, as is painted above. By doing so, you have broken him.</p>
</p>
 
 
| {{paget|Page:Cod.I.6.2º.3|07r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|07r|png}}
 
| {{paget|Page:Cgm 3711|66r|jpg}}
 
| {{paget|Page:Cgm 3711|66r|jpg}}
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<p> When you notice that he is working towards your face, then stand with your right foot forward, and pull your pommel towards you with your right hand, under his left hand. Jerk the sword well towards yourself, as is  
 
<p> When you notice that he is working towards your face, then stand with your right foot forward, and pull your pommel towards you with your right hand, under his left hand. Jerk the sword well towards yourself, as is  
painted above.
+
painted above.</p>
</p>
 
 
| {{paget|Page:Cod.I.6.2º.3|07v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|07v|png}}
 
| {{paget|Page:Cgm 3711|66v|jpg}}
 
| {{paget|Page:Cgm 3711|66v|jpg}}
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| <p>[17] '''The thirteenth piece'''</p>
 
| <p>[17] '''The thirteenth piece'''</p>
  
<p> When you see that one pulls through as was described before, then step forward with your left
+
<p> When you see that one pulls through as was described before, then step forward with your left foot </p>
foot  
 
</p>
 
 
| {{paget|Page:Cod.I.6.2º.3|08r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|08r|png}}
 
| {{paget|Page:Cgm 3711|67r|jpg}}
 
| {{paget|Page:Cgm 3711|67r|jpg}}
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{{master begin
 
{{master begin
 
  | title = Mounted Fencing
 
  | title = Mounted Fencing
  | width = 300em
+
  | width = 330em
 
}}
 
}}
 
{| class="floated master"
 
{| class="floated master"
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! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version II]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
 
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version II]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
 
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version I]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
 
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version I]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
! <p>[[Reit und Turnierbuch (MS KK5247)|Vienna Version]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<br/></p>
+
! <p>[[Reit und Turnierbuch (MS KK5247)|Vienna Transcription]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<br/></p>
! <p>[[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel Version II]] (ca. 1600){{edit index|Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)}}<br/></p>
+
! <p>[[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel I Transcription]] (ca. 1600){{edit index|Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)}}<br/></p>
! <p>[[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Wolfenbüttel Version III]] (ca. 1600){{edit index|Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)}}<br/></p>
+
! <p>[[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Wolfenbüttel II Transcription]] (ca. 1600){{edit index|Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)}}</p>
 +
! <p>[[Reit und Turnierbuch (MS 23.279)|New York Transcription]] (1838){{edit index|Reit und Turnierbuch (MS 23.279)}}<br/></p>
  
 
|-  
 
|-  

Revision as of 23:15, 10 January 2019

Jörg Wilhalm Hutter
Born 15th century
Died 16th century
Occupation
Citizenship Augsburg, Germany
Movement Augsburg tradition
Influences
Influenced
Genres Fencing manual
Language Early New High German
Notable work(s) Jörg Wilhalm Hutters kunst zu
Augspurg
Archetype(s)
Manuscript(s)
Concordance by Michael Chidester
Signature Jörg Wilhalm Hutter sig.jpg

Jörg Wilhalm Hutter was a 16th century German fencing master. In addition to his fencing practice, his surname signifies that he was a hatter by trade, a fact that is confirmed in the tax records of Augsburg, Germany in 1501, 1504, and 1516.[citation needed]

Manuscripts

Four works are commonly attributed to Hutter: on unarmored long sword fencing in the tradition of Johannes Liechtenauer, on armored and mounted dueling that appear to be based on those of the early 15th century (relying on armor designs that were obsolete by the 1520s), and a series of 32 uncaptioned illustrations portraying scenes of judicial combat. However, it is unclear if Hutter authored all of these works or, like Lienhart Sollinger and Paulus Hector Mair after him, merely compiled existing works together and placed his name on them as an owner's mark. The development of the armored dueling treatises can be traced through a draftbook and rough early annotated copy, but the same is not true of the unarmored long sword fencing, which appears to be based on the MS Cl. 23842 from the 1480s-90s and is accompanied by an excerpt of Branch C of the pseudo-Peter von Danzig gloss which Gregor Erhart attributes to one Nicolaüs and dates to 1489.[1]

There are three extant manuscripts of Hutter's treatises created between 1522 and 1523, all now residing in Augsburg (along with most of the rest of Paulus Hector Mair's collection). The apparent oldest of Hutter's manuscripts, Cod.I.6.4º.5,[2] consists of numbered but uncaptioned illustrations of armored dueling on horse and on foot, and is dated to 1522. The same year saw the completion of the Cod.I.6.2º.3, which includes the same illustrations but adds written instructions to the plays; for this reason, Hils assumed the former was the draftbook used to develop the latter.[citation needed] In 1523, Hutter seems to have created an accompanying long sword treatise, preserved in the Cod.I.6.2º.2.

Some time soon after this, all three of Hutter's prior works, along a new series of 32 uncaptioned illustrations of dueling, were compiled into the Cgm 3711. This manuscript has some oddities not found in the others, including carnival costumes on some of the fighters and a pretzel salesman appearing in the illustration on folio 11r. It's currently unclear whether Hutter was involved in the creation of this manuscript or not, but it appears to be a presentation copy of the collected works and includes content unique to each of the three earlier manuscripts. Hutter's long sword treatise was also copied by sculptor Gregor Erhart into the MS E.1939.65.354 in 1533, though it's currently unclear which source he based it on.

Most copies of Hutter's treatises were eventually acquired by Freifechter and collector Lienhart Sollinger. Cgm 3711 was a source for his Cgm 3712 (1556) and Cod.Guelf.38.21 Aug.2º (1588), and the former also seems to have drawn heavily from MS E.1939.65.354. Sollinger, in turn, sold several of these works to Paulus Hector Mair: the Cod.I.6.2º.2 in 1544, the Cod.I.6.4º.5 in 1552, the MS E.1939.65.354 in 1560, and the Cod.I.6.2º.3 in 1561. Hutter's draftbook in particular was apparently used as the primary source for Mair's writings on armored dueling (preserved in three manuscripts in the 1540s and 50s); owing to its lack of text, Mair inserted his own descriptions of the plays—descriptions which diverge noticeably from Hutter's own explanations.

A final set of three copies of Hutter's work, including Cod.Guelf.1.6.3 Aug.2º, Cod.Guelf.79.2 Aug.2º, and MS KK5247, were prepared by Jeremias Schemel von Augsburg at the end of the 16th century as part of a massive compilation of treatises on horsemanship which also included discussion of riding, dressage, and jousting. These manuscripts contain Hutter's original text (unlike Mair's version), but the elaborate artwork includes details from multiple prior versions of Hutter's work, suggesting that Schemel's source manuscript may remain to be discovered.

Treatise

Additional Resources

References

  1. MS E.1939.65.354, folio 189r; the complete text of Branch C is only given in MS KK5126 (1480s).
  2. Generally we refer to manuscripts by their locations for ease of communication, but with three of the ten manuscripts in Augsburg, three in Wolfenbüttel, and two in Munich, that's not really feasible here.
  3. windest
  4. korrigiert aus »halben«
  5. from ehert
  6. loss
  7. Treibn?
  8. Meaning as though armored
  9. At the end of the first line “zwiuach” is written with an “h” which is a scribal error.
  10. Note: different hand
  11. Same hand as previous.
  12. Change in scribe's hand?
  13. schnidt
  14. Change in hand
  15. Disappears into the margin.
  16. The rest of the paragraph is cut off.
  17. Word disappears into margin.
  18. Matthias Lexer's Mittelhochdeutsch Handwoerterbuch defines 'sippen' as 'verwant sein mit einem (dat.)'
  19. unleserliche Notiz zweier Wörter am unteren Seitenrand
  20. The last word disappears partly in trimming.
  21. The 'Teutscher Dictionarus' by 'Simon Roten' of 1571 defines 'Temisch' as 'Temisch,Crüncken/weinig/vom wozt Temez tum, das ist wein', and 'Temen' as 'Oberflüssig wein trincken', so I assume being stunned as if drunk is what is implied here.
  22. I omitted the translation of 'in Seim helm' in order to make the translation easier to read.
  23. The rest of the text is badly damaged at the bottom, disappears in the trimming and is not decipherable.
  24. The text disappears in trimming and is not decipherable.
  25. The rest of the text disappears in trimming and is not decipherable.
  26. The text disappears in trimming and is not decipherable.
  27. The text disappears in trimming.
  28. The rest of the text disappears in trimming and is not decipherable.
  29. The text disappears in trimming and is not decipherable.
  30. The text disappears in trimming and is not decipherable.
  31. The text disappears in trimming and is not decipherable.
  32. The rest of the text disappears in trimming and is not decipherable.
  33. In a second hand.
  34. In a third hand.
  35. In a different hand.
  36. In a different hand.
  37. korrigiert aus »mich«
  38. korrigiert aus »tengke«
  39. Notiz Mairs
  40. Notiz Mairs
  41. At the lower edge are remnants of a line written by another hand, but which is unreadable and lost to a later recutting of the manuscript.