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Difference between revisions of "Jörg Wilhalm Hutter"

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| subject              =  
 
| subject              =  
 
| movement            = Augsburg tradition
 
| movement            = Augsburg tradition
| notableworks        = ''Jörg Wilhalm Hutters kunst zu<br/>Augspurg''
+
| notableworks        = ''Jörg Wilhalm Hutters kunst zu Augspurg''
 
| archetype            = {{plainlist
 
| archetype            = {{plainlist
 
  | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Cod. I.6.4º.5]] (1522)
 
  | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Cod. I.6.4º.5]] (1522)
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  | [[Maister Liechtenawers Kunstbuech (Cgm 3712)|Cgm 3712]] (1556)
 
  | [[Maister Liechtenawers Kunstbuech (Cgm 3712)|Cgm 3712]] (1556)
 
  | [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Cod.Guelf.38.21 Aug.2º]] (1588)
 
  | [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Cod.Guelf.38.21 Aug.2º]] (1588)
 +
| [[Reit und Turnierbuch (MS KK5247)|MS KK5247]] (ca.&nbsp;1600)
 
  | [[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Cod.Guelf.1.6.3 Aug.2º]] (ca.&nbsp;1600)
 
  | [[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Cod.Guelf.1.6.3 Aug.2º]] (ca.&nbsp;1600)
| [[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Cod.Guelf.79.2 Aug.2º]] (ca.&nbsp;1600)
+
  | [[Reit und Turnierbuch (MS 23.279)|MS 23.279]] (1838)
  | [[Reit und Turnierbuch (MS KK5247)|MS KK5247]] (ca.&nbsp;1600)  
 
 
}}
 
}}
 
| principal manuscript(s)=
 
| principal manuscript(s)=
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| influences          = {{plainlist
 
| influences          = {{plainlist
 
  | [[Johannes Liechtenauer]]
 
  | [[Johannes Liechtenauer]]
  | [[Nicolaüs Augsburger]]
+
  | [[Nicolaüs]]
 
}}
 
}}
 
| influenced          = {{plainlist
 
| influenced          = {{plainlist
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== Manuscripts ==
 
== Manuscripts ==
  
Four works are commonly attributed to Hutter: on unarmored [[long sword]] fencing in the tradition of [[Johannes Liechtenauer]], on [[armored fencing|armored]] and [[mounted fencing|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 [[Cluny Fechtbuch (Cl. 23842)|MS Cl. 23842]] from the 1480s-90s and is accompanied by a version of the [[pseudo-Peter von Danzig]] gloss that [[Gregor Erhart]] attributes to one Nicolaüs and dates to 1489.<ref>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]], folio [[Page:MS E.1939.65.354 189r.jpg|189r]]; this is itself a heavily-abridged copy of branch C of the gloss, found in its complete form only in [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s).</ref>  
+
Four works are commonly attributed to Hutter: on unarmored [[long sword]] fencing in the tradition of [[Johannes Liechtenauer]], on [[armored fencing|armored]] and [[mounted fencing|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 [[Cluny Fechtbuch (Cl. 23842)|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.<ref>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]], folio [[Page:MS E.1939.65.354 189r.jpg|189r]]; the complete text of Branch C is only given in [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s).</ref>  
  
 
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, [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Cod.I.6.4º.5]],<ref>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.</ref> 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 [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|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.{{cn}} In 1523, Hutter seems to have created an accompanying long sword treatise, preserved in the [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]].
 
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, [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Cod.I.6.4º.5]],<ref>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.</ref> 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 [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|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.{{cn}} In 1523, Hutter seems to have created an accompanying long sword treatise, preserved in the [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]].
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Most copies of Hutter's treatises were eventually acquired by Freifechter and collector Lienhart Sollinger. Cgm 3711 was a source for his [[Lienhart Sollinger Fechtbuch (Cgm 3712)|Cgm 3712]] (1556) and [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|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.
 
Most copies of Hutter's treatises were eventually acquired by Freifechter and collector Lienhart Sollinger. Cgm 3711 was a source for his [[Lienhart Sollinger Fechtbuch (Cgm 3712)|Cgm 3712]] (1556) and [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|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 [[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Cod.Guelf.1.6.3 Aug.2º]], [[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Cod.Guelf.79.2 Aug.2º]], and [[Reit und Turnierbuch (MS KK5247)|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.
+
A final set of two copies of Hutter's work, including [[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Cod.Guelf.1.6.3 Aug.2º]] and [[Reit und Turnierbuch (MS KK5247)|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, jousting, and tournaments. 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. A [[Reit und Turnierbuch (MS 23.279)|third manuscript]] of Schemel's work also exists, copied from the MS KK5247 in 1838, but such a late work has little to contribute to any analysis of the tradition.
  
 
== Treatise ==
 
== Treatise ==
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{{master begin
 
{{master begin
 
  | title = Long Sword
 
  | title = Long Sword
  | width = 204em
+
  | width = 210em
 
}}<section begin="credits1"/>
 
}}<section begin="credits1"/>
{| class="floated master" style="clear:right;"
+
{| class="master" style="clear:right;"
 
|-  
 
|-  
! id="thin" | <p>Images<br/>from the Archetype</p>
+
! <p>Illustrations<br/>from the Archetype</p>
 
! <p>{{rating|C|Draft Translation (from the Munich)}}<br/>by [[User:Stephen Cheney|Stephen Cheney]]</p>
 
! <p>{{rating|C|Draft Translation (from the Munich)}}<br/>by [[User:Stephen Cheney|Stephen Cheney]]</p>
! <p>[[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Archetype]] (1523){{edit index|Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Archetype Transcription]] (1523){{edit index|Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>by [[Dierk Hagedorn]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version I]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/>by [[Kendra&nbsp;Brown]], [[Rebecca&nbsp;Garber]], [[Don&nbsp;Kindsvatter]], [[Mark&nbsp;Millman]], [[Amy&nbsp;West]]</p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich I Transcription]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/>by [[Kendra&nbsp;Brown]], [[Rebecca&nbsp;Garber]], [[Don&nbsp;Kindsvatter]], [[Mark&nbsp;Millman]], [[Amy&nbsp;West]]</p>
! <p>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow Version]] (1533){{edit index|Gregor Erhart Fechtbuch (MS E.1939.65.354)}}</p>
+
! <p>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow Transcription]] (1533){{edit index|Gregor Erhart Fechtbuch (MS E.1939.65.354)}}</p>
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version II]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}</p>
+
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich II Transcription]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}</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/>by [[Kevin Maurer]]</p>
+
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel I Transcription]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/>by [[Kevin Maurer]]</p>
 
<section end="credits1"/>
 
<section end="credits1"/>
 
|-  
 
|-  
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:The two both stand to the right in the over hew
 
:The two both stand to the right in the over hew
  
<p>If you want to behold the art,<br/>then to left and right with hews<br/>and left with right<br/>is what you strongly desire to fence.<br/>Whoever goes after with hews<br/>allow their art little joy.<br/>Hew nearing what you want,<br/>no change-through comes to your shield.<br/>To head, to body,<br/>don’t abandon the fencing,<br/>with the whole body fence,<br/>what you desire to drive strongly,</p>
+
{| class="zettel"
 
+
|-
<p>hereafter what you strike crisply on.</p>
+
| <small>9</small>
 +
| If you want to behold the art,<br/>then to left and right with hews
 +
|-
 +
| <small>10</small>
 +
| and left with right<br/>is what you strongly desire to fence.
 +
|-
 +
| <small>11</small>
 +
| Whoever goes after with hews<br/>allow their art little joy.
 +
|-
 +
| <small>12</small>
 +
| Hew nearing what you want,<br/>no change-through comes to your shield.
 +
|-
 +
| <small>13</small>
 +
| To head, to body,<br/>don’t abandon the fencing,
 +
|-
 +
| <small>14</small>
 +
| with the whole body fence,<br/>what you desire to drive strongly,
 +
|-
 +
| <small>15</small>
 +
| hereafter what you strike crisply on.
 +
|}
 
|  
 
|  
 
| {{paget|Page:Cgm 3711|02r|jpg}}
 
| {{paget|Page:Cgm 3711|02r|jpg}}
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| <p>[3] The two both stand on the left in the over hew</p>
 
| <p>[3] The two both stand on the left in the over hew</p>
  
<p>Don’t fence above on the left if you are right handed,<br/>and if you are left handed<br/>and in the right also severely hindered.<br/>Before and after, the two things<br/>are the origin of all art.<br/>Weak and strong,<br/>indes, wait, with that note your work.<br/>Thus may you learn<br/>your work with art, and whoever<br/>frightens easily,<br/>he shall not learn to be a fencer.</p>
+
{| class="zettel"
 +
|-
 +
| <small>15</small>
 +
| Don’t fence above on the left if you are right handed,
 +
|-
 +
| <small>16</small>
 +
| and if you are left handed<br/>and in the right also severely hindered.
 +
|-
 +
| <small>17</small>
 +
| Before and after, the two things<br/>are the origin of all art.
 +
|-
 +
| <small>18</small>
 +
| Weak and strong,<br/>indes, wait, with that note your work.
 +
|-
 +
| <small>19</small>
 +
| Thus may you learn<br/>your work with art,
 +
|-
 +
| <small>20</small>
 +
| and whoever frightens easily,<br/>he shall not learn to be a fencer.
 +
|}
 
|  
 
|  
 
| {{paget|Page:Cgm 3711|02v|jpg}}
 
| {{paget|Page:Cgm 3711|02v|jpg}}
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<p>This is the direction, and note:</p>
 
<p>This is the direction, and note:</p>
  
<p>whoever hews you from above,<br/>that you penetrate him with the wrath point<br/>and if he becomes aware,<br/>then take it away above without risk,<br/>and be strong here again,<br/>wind, hew, and stab, if he sees it, then take it low.<br/>Note this precisely:<br/>hew, stab, weak and strong</p>
+
{| class="zettel"
 
+
|-
 +
| <small>27</small>
 +
| whoever hews you from above,<br/>that you penetrate him with the wrath point
 +
|-
 +
| <small>28</small>
 +
| and if he becomes aware,<br/>then take it away above without risk,
 +
|-
 +
| <small>29</small>
 +
| and be strong here again,<br/>wind, hew, and stab, if he sees it, then take it low.
 +
|-
 +
| <small>30</small>
 +
| Note this precisely:<br/>hew, stab, weak and strong
 +
|}
 
<p>and take it with half failers, but hit in as before and behind.</p>
 
<p>and take it with half failers, but hit in as before and behind.</p>
 
| {{paget|Page:Cod.I.6.2º.2|03r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|03r|jpg}}
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<p>This is the direction about the war:</p>
 
<p>This is the direction about the war:</p>
  
<p>Whoever’s war aims above,<br/>he will be shamed from above low.<br/>Indes, before and after,<br/>don’t be quick to your war,<br/>understand this in all things<br/>if you want to make the war.</p>
+
{| class="zettel"
 +
|-
 +
| <small>32</small>
 +
| Whoever’s war aims above,<br/>he will be shamed from above low.
 +
|-
 +
| <small>31</small>
 +
| Indes, before and after,<br/>don’t be quick to your war,
  
 +
|-
 +
| <small>&mdash;</small>
 +
| Understand this in all things<br/>if you want to make the war.
 +
|}
 
<p>Gloss note.</p>
 
<p>Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|02r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|02r|jpg}}
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<p>This is also about the war, and should also know that</p>
 
<p>This is also about the war, and should also know that</p>
  
<p>in all windings,<br/>hew and stab<br/>swords, run-over<br/>sword, wind out<br/>in all exchanges<br/>if you want to fool the masters</p>
+
{| class="zettel"
 +
|-
 +
| <small>33</small>
 +
| in all windings,<br/>hew and stab
 +
|-
 +
| <small>&mdash;</small>
 +
| swords, run-over<br/>sword, wind out
 +
|-
 +
| <small>35</small>
 +
| in all exchanges<br/>if you want to fool the masters
 +
|}
  
 
<p>because there are very many breaks about them and also to them, realize how one bares with the war. Gloss note.</p>
 
<p>because there are very many breaks about them and also to them, realize how one bares with the war. Gloss note.</p>
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<p>This is another play from the war and a break of the previous play, and is an outer winding that goes: hew or stab, find slices well.</p>
 
<p>This is another play from the war and a break of the previous play, and is an outer winding that goes: hew or stab, find slices well.</p>
  
<p>You shall also<br/>hew, stab, slice below with need<br/>in all exchanges<br/>if you want to fool the master.</p>
+
{| class="zettel"
 +
|-
 +
| <small>34</small>
 +
| You shall also<br/>hew, stab, slice below with need
 +
|-
 +
| <small>35</small>
 +
| in all exchanges<br/>if you want to fool the master.
 +
|}
 
| {{paget|Page:Cod.I.6.2º.2|04r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|04r|jpg}}
 
| {{paget|Page:Cgm 3711|06r|jpg}}
 
| {{paget|Page:Cgm 3711|06r|jpg}}
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<p>This is also about the war:</p>
 
<p>This is also about the war:</p>
  
<p>squint to the point<br/>and take the neck without apprehension.</p>
+
{| class="zettel"
 
+
|-
 +
| <small>61</small>
 +
| Squint to the point<br/>and take the neck without apprehension.
 +
|}
 
<p>You shall also turn crooked and search to and on and test his techniques, whether he is soft or hard in his technique. Gloss note.</p>
 
<p>You shall also turn crooked and search to and on and test his techniques, whether he is soft or hard in his technique. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|05r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|05r|jpg}}
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<p>Here fence to the openings to the head and also to the side.</p>
 
<p>Here fence to the openings to the head and also to the side.</p>
  
<p>Know to aim for the four openings,<br/>thus you will hit wisely without fear,<br/>without all doubt how he bares,<br/>you will be well aware of that.</p>
+
{| class="zettel"
 
+
|-
 +
| <small>36</small>
 +
| Know to aim for the four openings,<br/>thus you will hit wisely without fear,
 +
|-
 +
| <small>37</small>
 +
| without all doubt how he bares,<br/>you will be well aware of that.
 +
|}
 
<p>Also, it comes after at the end hereafter how you shall break the four openings. Gloss note.</p>
 
<p>Also, it comes after at the end hereafter how you shall break the four openings. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|39r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|39r|jpg}}
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| {{paget|Page:Cgm 3711|21r|jpg}}
 
| {{paget|Page:Cgm 3711|21r|jpg}}
 
| {{paget|Page:MS E.1939.65.354|35v|jpg}}
 
| {{paget|Page:MS E.1939.65.354|35v|jpg}}
| {{paget|page:Cgm 3712|116r|jpg}}
+
| {{paget|Page:Cgm 3712|116r|jpg}}
 
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|028r|jpg}}
 
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|028r|jpg}}
  
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| <p>[50] This is about the pursuit.<br/>Learn twofold in the scale,<br/>and take two from it,<br/>and your work begins from it,<br/>and test your movements,<br/>whether they are soft or hard,<br/>learn the same.<br/>Indes, that word slices severely.<br/>Pursue twofold,<br/>thus you take the old slice with power</p>
 
| <p>[50] This is about the pursuit.<br/>Learn twofold in the scale,<br/>and take two from it,<br/>and your work begins from it,<br/>and test your movements,<br/>whether they are soft or hard,<br/>learn the same.<br/>Indes, that word slices severely.<br/>Pursue twofold,<br/>thus you take the old slice with power</p>
  
<p>and have eight. Gloss note.</p>
+
<p>and pay attention. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|31r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|31r|jpg}}
 
| {{paget|Page:Cgm 3711|26r|jpg}}
 
| {{paget|Page:Cgm 3711|26r|jpg}}
Line 851: Line 938:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.2 37r.jpg|300px|center]]
 
| [[File:Cod.I.6.2º.2 37r.jpg|300px|center]]
| <p>[62] This is the first upper slice to the top of the arms and slice away the hardening fast and quickly with your technique and have eight and take the slice with force, and therefore to do, gloss note, as it stands pictured below.</p>
+
| <p>[62] This is the first upper slice to the top of the arms and slice away the hardening fast and quickly with your technique and pay attention and take the slice with force, and therefore to do, gloss note, as it stands pictured below.</p>
 
| {{paget|Page:Cod.I.6.2º.2|37r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|37r|jpg}}
 
| {{paget|Page:Cgm 3711|32r|jpg}}
 
| {{paget|Page:Cgm 3711|32r|jpg}}
Line 956: Line 1,043:
 
| {{paget|Page:Cgm 3711|37v|jpg}}
 
| {{paget|Page:Cgm 3711|37v|jpg}}
 
| {{paget|Page:MS E.1939.65.354|72v|jpg}}
 
| {{paget|Page:MS E.1939.65.354|72v|jpg}}
| {{paget|page:Cgm 3712|131v|jpg}}
+
| {{paget|Page:Cgm 3712|131v|jpg}}
 
|
 
|
  
Line 1,036: Line 1,123:
  
 
|-  
 
|-  
| [[File:Cod.I.6.2º.2 41r.jpg|300px|center]]
+
| class="noline" | [[File:Cod.I.6.2º.2 41r.jpg|300px|center]]
| <p>[82] Item: This is the break onto the crown, there note all right as you see it pictured, and he raises sword upwards, it breaks the crown with the grasping at the sword with the cross, look upon it, because he wrenches the crown away to him. Gloss note.</p>
+
| class="noline" | <p>[82] Item: This is the break onto the crown, there note all right as you see it pictured, and he raises sword upwards, it breaks the crown with the grasping at the sword with the cross, look upon it, because he wrenches the crown away to him. Gloss note.</p>
  
 
<p>Here the long recital has an end, and that god help us nimbly, and the crown is the very last, and is the very best.</p>
 
<p>Here the long recital has an end, and that god help us nimbly, and the crown is the very last, and is the very best.</p>
| {{paget|Page:Cod.I.6.2º.2|41r|jpg}}
+
| class="noline" | {{paget|Page:Cod.I.6.2º.2|41r|jpg}}
| {{paget|Page:Cgm 3711|42r|jpg}}
+
| class="noline" | {{paget|Page:Cgm 3711|42r|jpg}}
| {{paget|Page:MS E.1939.65.354|83v|jpg}}  
+
| class="noline" | {{paget|Page:MS E.1939.65.354|83v|jpg}}  
  
 
{{paget|Page:MS E.1939.65.354|84v|jpg}}
 
{{paget|Page:MS E.1939.65.354|84v|jpg}}
| {{paget|page:Cgm 3712|136r|jpg}}
+
| class="noline" | {{paget|page:Cgm 3712|136r|jpg}}
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|047r|jpg}}
+
| class="noline" | {{paget|Page:Cod.Guelf.38.21 Aug.2º|047r|jpg}}
  
 
|}
 
|}
Line 1,053: Line 1,140:
 
{{master begin
 
{{master begin
 
  | title = Short Sword
 
  | title = Short Sword
  | width = 294em
+
  | width = 330em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <p>Images<br/>from the Archetype</p>
+
! <p>Illustrations<br/>from the Archetype</p>
! <p>{{rating|start}}<br/>by [[Ondřej Vodička]] and [[Michael Chidester]]</p>
+
! <p>{{rating|start}}<br/>by [[Robert Kraaijeveld]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Archetype]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Archetype Transcription]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)}}<br/>by [[Dierk Hagedorn]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version I]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/></p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich I Transcription]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/></p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Draftbook]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Draftbook Transcription]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)}}<br/>by [[Dierk Hagedorn]]</p>
! <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 II Transcription]] (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 I Transcription]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<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>[[Reit und Turnierbuch (MS KK5247)|Vienna Transcription]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<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>[[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel II Transcription]] (ca. 1600){{edit index|Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)}}<br/></p>
! <p>[[Reit und Turnierbuch (MS KK5247)|Vienna Version]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<br/></p>
+
! <p>[[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Wolfenbüttel III 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>
  
 
|-  
 
|-  
 
| [[File:Cod.I.6.4º.5 Ir.jpg|300px|center]]
 
| [[File:Cod.I.6.4º.5 Ir.jpg|300px|center]]
| <p>[1] Here stand three persons, one rich, one strong, one weak.</p>
+
| <p>[1] Here stand three persons: a rich one, a strong one and a weak one.</p>
  
<p>If the rich man has neither art nor knowledge, he wastes his possessions and belongings and has nothing left.</p>
+
<p>When the rich one has neither art nor knowledge, he wastes his possessions and goods, and has nothing left.</p>
  
<p>If the strong man has neither art nor courage, he gains neither possessions nor belongings. What good is his strength to him then?</p>
+
<p>When the strong one has neither art nor courage, he gains neither possessions nor goods. What good is his strength to him then?</p>
  
<p>If the weak man has art and knowledge, he may use them rightly<ref>With a good intention/forethought</ref> and thus he may obtain great honor and possession.</p>
+
<p>When the weak one has art and knowledge that he uses thoughtfully, he can use those to gain great honour and goods.</p>
 
|  
 
|  
 
| {{paget|Page:Cgm 3711|59r|jpg}}
 
| {{paget|Page:Cgm 3711|59r|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|Ir|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|Ir|jpg}}
 
| {{paget|Page:Cgm 3712|156r|jpg}}
 
| {{paget|Page:Cgm 3712|156r|jpg}}
 +
|
 
|  
 
|  
 
|  
 
|  
Line 1,088: Line 1,177:
 
|-  
 
|-  
 
| [[File:Cod.I.6.4º.5 Iv.jpg|300px|center]]
 
| [[File:Cod.I.6.4º.5 Iv.jpg|300px|center]]
| <p>[2] Help [me], Lord, thou Eternal Word; help [the body] here, the soul there.<ref>The statement as given in the treatises of [[Paulus Kal]] and [[Hans Talhoffer]] is "God, thou Eternal Word, help the body here, the soul there". See [[Page:MS 1825 05v.jpg|MS 1825, fol. 5v]], [[Page:MS Chart.A.558 002r.png|MS Chart.A.558, fol. 2r]], and [[Page:Ms.XIX.17-3 02r.png|Ms.XIX.17-3, fol. 2r]].</ref></p>
+
| <p>[2] Help [me] Lord [with] your eternal Word; help [my body] here, and the Soul over there.</p>
|  
+
|
 
| {{paget|Page:Cgm 3711|59v|jpg}}
 
| {{paget|Page:Cgm 3711|59v|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|Iv|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|Iv|jpg}}
 
| {{paget|Page:Cgm 3712|156v|jpg}}
 
| {{paget|Page:Cgm 3712|156v|jpg}}
 +
|
 
|  
 
|  
 
|  
 
|  
Line 1,100: Line 1,190:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 01r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 01r.png|300px|center]]
| <p>[3] Here the master introduces his lord into the list, and thus should he hold himself.</p>
+
| <p>[3] The master leads his Lord into the barriers, this is the way in which he should hold himself.</p>
 
| {{section|Page:Cod.I.6.2º.3 01r.png|2|lbl=01r}}
 
| {{section|Page:Cod.I.6.2º.3 01r.png|2|lbl=01r}}
 
| {{paget|Page:Cgm 3711|60r|jpg}}
 
| {{paget|Page:Cgm 3711|60r|jpg}}
Line 1,106: Line 1,196:
 
| {{paget|Page:Cgm 3712|168r|jpg}}
 
| {{paget|Page:Cgm 3712|168r|jpg}}
 
|  
 
|  
 +
| {{paget|Page:KK5247|086r|jpg}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|089r|png}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|089r|png}}
 
|  
 
|  
Line 1,112: Line 1,203:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 01v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 01v.png|300px|center]]
| <p>[4] </p>
+
| <p>[4] Here the two [combatants] come into the barriers, and [show] how they want to end the fight.</p>
 
| {{paget|Page:Cod.I.6.2º.3|01v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|01v|png}}
 
| {{paget|Page:Cgm 3711|60v|jpg}}
 
| {{paget|Page:Cgm 3711|60v|jpg}}
Line 1,118: Line 1,209:
 
| {{paget|Page:Cgm 3712|168v|jpg}}
 
| {{paget|Page:Cgm 3712|168v|jpg}}
 
|  
 
|  
 +
| {{paget|Page:KK5247|086v|jpg}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|089v|png}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|089v|png}}
 
|  
 
|  
Line 1,124: Line 1,216:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 02r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 02r.png|300px|center]]
| <p>[5] </p>
+
| <p>[5] '''This is the first guard and stance'''</p>
 +
 
 +
<p>Note: If you want to teach someone how to fight, then note to whom he is related,<ref>Matthias Lexer's ''Mittelhochdeutsch Handwoerterbuch'' defines 'sippen' as 'verwant sein mit einem (dat.)'</ref> and whether he has a good heart (so that you can trust him to fight), and if he is righteous or not. If he is righteous, then teach him the true art.</p>
 +
 
 +
<p>Let him use a heavy harness so that he may be useful in earnest [fighting]. If he has chain-mail, then he can use it. When a fight is arranged using the three weapons: The spear, the sword or the dagger, then teach him the two stances or guards that are painted above first, so that he is certain in his stance.</p>
 
| {{paget|Page:Cod.I.6.2º.3|02r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|02r|png}}
 
| {{paget|Page:Cgm 3711|61r|jpg}}
 
| {{paget|Page:Cgm 3711|61r|jpg}}
Line 1,130: Line 1,226:
 
| {{paget|Page:Cgm 3712|172r|jpg}}
 
| {{paget|Page:Cgm 3712|172r|jpg}}
 
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|057r|jpg}}
 
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|057r|jpg}}
 +
| {{paget|Page:KK5247|087r|jpg}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|090r|png}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|090r|png}}
 
|  
 
|  
Line 1,136: Line 1,233:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 02v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 02v.png|300px|center]]
| <p>[6] </p>
+
| <p>[6] '''The second piece'''</p>
 +
 
 +
<p>Note the other two stances or guards (as was written before). Also note that you are sure in your work, and have well thought out how you want to work [against] your opponent, and lower yourself well (as it is painted above).</p>
 
| {{paget|Page:Cod.I.6.2º.3|02v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|02v|png}}
 
| {{paget|Page:Cgm 3711|61v|jpg}}
 
| {{paget|Page:Cgm 3711|61v|jpg}}
Line 1,142: Line 1,241:
 
| {{paget|Page:Cgm 3712|172v|jpg}}
 
| {{paget|Page:Cgm 3712|172v|jpg}}
 
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|057v|jpg}}
 
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|057v|jpg}}
 +
| {{paget|Page:KK5247|087v|jpg}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|090v|png}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|090v|png}}
 
|  
 
|  
Line 1,148: Line 1,248:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 03r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 03r.png|300px|center]]
| <p>[7] </p>
+
| <p>[7] '''The third piece'''</p>
 +
 
 +
<p>Note: The third piece is called the sixth guard. When someone turns his pommel against you and has his sword on his left side, then lower yourself with your point towards the ground against him (as it is painted above). Make sure that you do not let yourself be distracted, as there is very beautiful work to be done from there.</p>
 
| {{paget|Page:Cod.I.6.2º.3|03r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|03r|png}}
 
| {{paget|Page:Cgm 3711|62r|jpg}}
 
| {{paget|Page:Cgm 3711|62r|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|04r|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|04r|jpg}}
 
| {{paget|Page:Cgm 3712|173r|jpg}}
 
| {{paget|Page:Cgm 3712|173r|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|058r|jpg}}
|  
+
| {{paget|Page:KK5247|088r|jpg}}
 +
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|091r|png}}
 
|  
 
|  
 
|  
 
|  
Line 1,160: Line 1,263:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 03v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 03v.png|300px|center]]
| <p>[8] </p>
+
| <p>[8] '''The fourth piece is called the Contact'''</p>
 +
 
 +
<p>Note: When someone works towards you (as was written before), then see if you can come into the contact or pinning onto his front foot. If you hit him, then fall with your chest onto the sword and press it down firmly. By doing so, you stab him down through his foot (as it is painted above). This is the first pinning, or work, in the fight.</p>
 
| {{paget|Page:Cod.I.6.2º.3|03v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|03v|png}}
 
| {{paget|Page:Cgm 3711|62v|jpg}}
 
| {{paget|Page:Cgm 3711|62v|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|04v|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|04v|jpg}}
 
| {{paget|Page:Cgm 3712|173v|jpg}}
 
| {{paget|Page:Cgm 3712|173v|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|058v|jpg}}
|  
+
| {{paget|Page:KK5247|088v|jpg}}
 +
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|091v|png}}
 
|  
 
|  
 
|  
 
|  
Line 1,172: Line 1,278:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 04r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 04r.png|300px|center]]
| <p>[9] </p>
+
| <p>[9] '''The fifth is called throwing'''</p>
 +
 
 +
<p>Note: When you see that one wants to pin your foot (as it is painted before), then go up with your sword, thrust towards his face and place the other foot forward. By doing so you break his contact (as it is painted above), and position yourself well.</p>
 
| {{paget|Page:Cod.I.6.2º.3|04r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|04r|png}}
 
| {{paget|Page:Cgm 3711|63r|jpg}}
 
| {{paget|Page:Cgm 3711|63r|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|05r|jpg|blk=1}}
 
| {{paget|Page:Cod.I.6.4º.5|05r|jpg|blk=1}}
 
| {{paget|Page:Cgm 3712|174r|jpg}}
 
| {{paget|Page:Cgm 3712|174r|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|059r|jpg}}
|  
+
| {{paget|Page:KK5247|089r|jpg}}
 +
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|092r|png}}
 
|  
 
|  
 
|  
 
|  
Line 1,184: Line 1,293:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 04v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 04v.png|300px|center]]
| <p>[10] </p>
+
| <p>[10] '''The sixth is the contact'''</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}}
 
| {{paget|Page:Cod.I.6.4º.5|05v|jpg|blk=1}}
 
| {{paget|Page:Cod.I.6.4º.5|05v|jpg|blk=1}}
 
| {{paget|Page:Cgm 3712|174v|jpg}}
 
| {{paget|Page:Cgm 3712|174v|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|059v|jpg}}
|  
+
| {{paget|Page:KK5247|089v|jpg}}
 +
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|092v|png}}
 
|  
 
|  
 
|  
 
|  
Line 1,196: Line 1,308:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 05r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 05r.png|300px|center]]
| <p>[11] </p>
+
| <p>[11] '''The seventh is called the Murder-strike'''</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}}
 
| {{paget|Page:Cod.I.6.4º.5|06r|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|06r|jpg}}
 
| {{paget|Page:Cgm 3712|175r|jpg}}
 
| {{paget|Page:Cgm 3712|175r|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|060r|jpg}}
|  
+
| {{paget|Page:KK5247|090r|jpg}}
 +
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|093r|png}}
 
|  
 
|  
 
|  
 
|  
Line 1,208: Line 1,323:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 05v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 05v.png|300px|center]]
| <p>[12] </p>
+
| <p>[12] '''The eight is called the Contact'''</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}}
 
| {{paget|Page:Cod.I.6.4º.5|06v|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|06v|jpg}}
 
| {{paget|Page:Cgm 3712|175v|jpg}}
 
| {{paget|Page:Cgm 3712|175v|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|060v|jpg}}
|  
+
| {{paget|Page:KK5247|090v|jpg}}
 +
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|093v|png}}
 
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Line 1,220: Line 1,338:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 06r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 06r.png|300px|center]]
| <p>[13] </p>
+
| <p>[13] '''The ninth: Overwrenching'''</p>
 +
 
 +
<p>Note the ninth [piece of] work: When one has pinned you and wants to shove you backwards, then grab your sword by the hilt with your left hand, and step with your right foot forwards, and wrench to his face with the pommel. By doing so you break his pin and contact (as was painted before). And the work of the break [of that which was painted before] is as is painted here.</p>
 
| {{paget|Page:Cod.I.6.2º.3|06r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|06r|png}}
 
| {{paget|Page:Cgm 3711|65r|jpg}}
 
| {{paget|Page:Cgm 3711|65r|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|07r|jpg|blk=1}}
 
| {{paget|Page:Cod.I.6.4º.5|07r|jpg|blk=1}}
 
| {{paget|Page:Cgm 3712|176r|jpg}}
 
| {{paget|Page:Cgm 3712|176r|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|061r|jpg}}
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+
| {{paget|Page:KK5247|091r|jpg}}
 +
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|094r|png}}
 
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Line 1,232: Line 1,353:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 06v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 06v.png|300px|center]]
| <p>[14] </p>
+
| <p>[14] '''The tenth piece'''</p>
 +
 
 +
<p>Note: When you see that one is working towards your face, then step with your right foot forward, go well up with your sword and shove your sword inside of his sword over his right arm. This is called 'stabbed between both the arms'. Press down well with your left foot forward, so that you can pin his right foot (as is painted above).</p>
 
| {{paget|Page:Cod.I.6.2º.3|06v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|06v|png}}
 
| {{paget|Page:Cgm 3711|65v|jpg}}
 
| {{paget|Page:Cgm 3711|65v|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|07v|jpg|blk=1}}
 
| {{paget|Page:Cod.I.6.4º.5|07v|jpg|blk=1}}
 
| {{paget|Page:Cgm 3712|176v|jpg}}
 
| {{paget|Page:Cgm 3712|176v|jpg}}
|  
+
| {{paget|Page:Cod.Guelf.38.21 Aug.2º|061v|jpg}}
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+
| {{paget|Page:KK5247|091v|jpg}}
 +
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|094v|png}}
 
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|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 07r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 07r.png|300px|center]]
| <p>[15] </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>
 
| {{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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| {{paget|Page:Cod.I.6.4º.5|08r|jpg|blk=1}}
 
| {{paget|Page:Cgm 3712|177r|jpg}}
 
| {{paget|Page:Cgm 3712|177r|jpg}}
|  
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| {{paget|Page:Cod.Guelf.38.21 Aug.2º|062r|jpg}}
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| {{paget|Page:KK5247|092r|jpg}}
 +
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|095r|png}}
 
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|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 07v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 07v.png|300px|center]]
| <p>[16] </p>
+
| <p>[16] '''The twelfth piece'''</p>
 +
 
 +
<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.</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}}
 
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| {{paget|Page:Cgm 3712|177v|jpg}}
 
| {{paget|Page:Cgm 3712|177v|jpg}}
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| {{paget|Page:Cod.Guelf.38.21 Aug.2º|062v|jpg}}
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| {{paget|Page:KK5247|092v|jpg}}
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| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|095v|png}}
 
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|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 08r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 08r.png|300px|center]]
| <p>[17] </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 foot </p>
 
| {{paget|Page:Cod.I.6.2º.3|08r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|08r|png}}
 
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|-  
| [[File:Cod.I.6.2º.3 25r.png|300px|center]]
+
| class="noline" | [[File:Cod.I.6.2º.3 25r.png|300px|center]]
| <p>[51] </p>
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| class="noline" | <p>[51] </p>
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{{master begin
 
{{master begin
 
  | title = Mounted Fencing
 
  | title = Mounted Fencing
  | width = 294em
+
  | width = 330em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <p>Images<br/>from the Archetype</p>
+
! <p>Illustrations<br/>from the Archetype</p>
! <p>{{rating|start}}<br/>by [[Ondřej Vodička]] and [[Michael Chidester]]</p>
+
! <p>{{rating}}</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Archetype]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Archetype Transcription]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)}}<br/>by [[Dierk Hagedorn]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version I]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/></p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich I Transcription]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/></p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Draftbook]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Draftbook Transcription]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)}}<br/>by [[Dierk Hagedorn]]</p>
! <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 II Transcription]] (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 I Transcription]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<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>[[Reit und Turnierbuch (MS KK5247)|Vienna Transcription]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<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>[[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel II Transcription]] (ca. 1600){{edit index|Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)}}<br/></p>
! <p>[[Reit und Turnierbuch (MS KK5247)|Vienna Version]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<br/></p>
+
! <p>[[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Wolfenbüttel III 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>[35]</p>
 
| <p>[35]</p>
 
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| <p><br/></p>
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| <p><br/></p>
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<p>''[An analogous illustration is present on [[Page:Cod.Guelf.1.6.3 Aug.2º 192v.png|folia 192v-193r]], but the text is that of the equivalent play in [[Antonius Rast]].]''</p>
 
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| class="noline" | [[File:Cod.I.6.2º.3 42v.png|300px|center]]
| <p>[36]</p>
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| class="noline" | <p>[36]</p>
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{{master begin
 
{{master begin
 
  | title = Secondary Content
 
  | title = Secondary Content
  | width = 144em
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  | width = 150em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <p>Images<br/></p>
+
! <p>Illustrations<br/></p>
 
! <p>{{rating|B}}<br/>by [[Michael Chidester]]</p>
 
! <p>{{rating|B}}<br/>by [[Michael Chidester]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version I]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/></p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich I Transcription]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/></p>
! <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 II Transcription]] (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]] (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 I Transcription]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
  
 
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<section begin="sourcebox"/>{{sourcebox header}}
 
<section begin="sourcebox"/>{{sourcebox header}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]] Images
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  | work        = [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]] Illustrations
 
  | authors    = [[Universitätsbibliothek Augsburg]]
 
  | authors    = [[Universitätsbibliothek Augsburg]]
 
  | source link = http://www.nbn-resolving.de/urn:nbn:de:bvb:384-uba002003-5
 
  | source link = http://www.nbn-resolving.de/urn:nbn:de:bvb:384-uba002003-5
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}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Cod.I.6.2º.3]] Images
+
  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Cod.I.6.2º.3]] Illustrations
 
  | authors    = [[Universitätsbibliothek Augsburg]]
 
  | authors    = [[Universitätsbibliothek Augsburg]]
 
  | source link = http://www.nbn-resolving.de/urn:nbn:de:bvb:384-uba002006-0
 
  | source link = http://www.nbn-resolving.de/urn:nbn:de:bvb:384-uba002006-0
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}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] Images
+
  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] Illustrations
 
  | authors    = [[Bayerische Staatsbibliothek]]
 
  | authors    = [[Bayerische Staatsbibliothek]]
 
  | source link = http://daten.digitale-sammlungen.de/bsb00064546/image_1
 
  | source link = http://daten.digitale-sammlungen.de/bsb00064546/image_1
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{{sourcebox
 
{{sourcebox
 
  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version I]]
 
  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version I]]
  | authors    = [[Kendra&nbsp;Brown]], [[Rebecca&nbsp;Garber]], [[Don&nbsp;Kindsvatter]], [[Mark&nbsp;Millman]], [[Amy&nbsp;West]]
+
  | authors    = [[Kendra&nbsp;Brown]], [[Rebecca&nbsp;Garber]], [[Don&nbsp;Kindsvatter]], <br/>[[Mark&nbsp;Millman]], [[Amy&nbsp;West]]
 
  | source link =  
 
  | source link =  
 
  | source title= [[Index:Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)]]
 
  | source title= [[Index:Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)]]
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}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel Version II]]
+
  | work        = [[Reit und Turnierbuch (MS KK5247)|Vienna Version]]
 
  | authors    =  
 
  | authors    =  
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)]]
+
  | source title= [[Index:Reit und Turnierbuch (MS KK5247)]]
 
  | license    =  
 
  | license    =  
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Wolfenbüttel Version III]]
+
  | work        = [[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel Version II]]
 
  | authors    =  
 
  | authors    =  
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)]]
+
  | source title= [[Index:Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)]]
 
  | license    =  
 
  | license    =  
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Reit und Turnierbuch (MS KK5247)|Vienna Version]]
+
  | work        = [[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Wolfenbüttel Version III]]
 
  | authors    =  
 
  | authors    =  
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Reit und Turnierbuch (MS KK5247)]]
+
  | source title= [[Index:Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)]]
 
  | license    =  
 
  | license    =  
 
}}
 
}}
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{{reflist|2}}
 
{{reflist|2}}
{{DEFAULTSORT: Hutter, Jörg Wilhalm}}
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{{DEFAULTSORT: Wilhalm Hutter, Jörg}}
 
{{Liechtenauer tradition}}
 
{{Liechtenauer tradition}}
 
__FORCETOC__
 
__FORCETOC__
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[[Category:Longshield]]
 
[[Category:Longshield]]
 
[[Category:Longsword]]
 
[[Category:Longsword]]
[[Category:Marriage Counseling]]
+
[[Category:Man vs. Woman]]
 
[[Category:Mounted Fencing]]
 
[[Category:Mounted Fencing]]
 
[[Category:Navaja]]
 
[[Category:Navaja]]
 +
 +
[[Category:New format]]

Latest revision as of 17:35, 25 November 2020

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 two copies of Hutter's work, including Cod.Guelf.1.6.3 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, jousting, and tournaments. 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. A third manuscript of Schemel's work also exists, copied from the MS KK5247 in 1838, but such a late work has little to contribute to any analysis of the tradition.

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.