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Difference between revisions of "Jörg Wilhalm Hutter"

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| '''[9v]''' Those are also two openings
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Those are the other two openings to the other side, therefore deceive and note on as the whole, and whoever takes the openings below, they will be shamed above near the ears. Gloss note weak and strong.
 
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| '''[39v]''' Das sind auch zwu blöss
 
| '''[39v]''' Das sind auch zwu blöss
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| '''[10r]''' This is the crooked cut on the right side change.
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:He stands in the over-cut.
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This is the justification for the crooked cut: cut crooked on nimbly, throw the point on the hands, cut crooked to the flats if you want to weaken the masters. Don’t cut crooked, cut short, with it show your change through, or use if you want to wrestle, and step to him in the triangle. Gloss note.
 
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| '''[40r]''' Das ist der krumphaw auff der Rechtñ seiten wechsel
 
| '''[40r]''' Das ist der krumphaw auff der Rechtñ seiten wechsel
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| [[File:Cgm 3711 10v.jpg|200px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_60]]
 
| [[File:Cgm 3711 10v.jpg|200px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_60]]
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| '''[10v]''' He stands in the over-cut
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:This is the crooked cut from the left side
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That is, cut crooked on nimbly. Whoever parries well with striding, he sets many cuts awry . Cut crooked to the flats if you want to weaken the master. When it sparks above, thus stand away, that I want to praise. Strike crooked and not short cut, with it show the change through. Cut crooked whoever errs you, the noble war confuses him.
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''Inserted page, back''
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''[In a 19th Century hand]''
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''Pg. 41 was attached between 15 and 16''
 
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| '''[40v]''' Der statt im oberhaw
 
| '''[40v]''' Der statt im oberhaw
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| [[File:Cgm 3711 11r.jpg|200px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_61]]
 
| [[File:Cgm 3711 11r.jpg|200px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_61]]
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| '''[11r]''' This is how one should break the four openings. The first: He hits in with the opening in the side. Then break the second: Be to him and hit in behind on his head.
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:He hits the second opening in his right side.
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This is opening breaking, and you want to reckon yourself, artfully break the four openings, you double above, rightly mutate below. I say to you truthfully, no man protects himself without danger, if you have heard, he may come to hit nobody. That I have heard. Gloss note.
 
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| '''[8r]''' Das ist wie man die vier blöss brechen sol der ein der schlecht in mit blöss in die seitten so bricht der ander sÿ Im vnd schlöcht in hinden auff sein kopff
 
| '''[8r]''' Das ist wie man die vier blöss brechen sol der ein der schlecht in mit blöss in die seitten so bricht der ander sÿ Im vnd schlöcht in hinden auff sein kopff
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| [[File:Cod.I.6.2º.2 08v.jpg|200px|center]]
 
| [[File:Cod.I.6.2º.2 08v.jpg|200px|center]]
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| '''[11v]''' There breaks this, the opening on the other side, and is also the opening breaking.
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:He hits to the second opening into his left side.
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This is the opening breaking on the other side, and break as you see pictured. You must also double above, and mutate correctly below. Note: The opening breaking should stand pictured in front  before the crooked cut.
 
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| '''[8v]''' Da bricht diser die blöss auff der andern Seitten vnd ist auch die blöss brechen
 
| '''[8v]''' Da bricht diser die blöss auff der andern Seitten vnd ist auch die blöss brechen
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| [[File:Cgm 3711 12r.jpg|200px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_63]]
 
| [[File:Cgm 3711 12r.jpg|200px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_63]]
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| '''[12r]''' The guard from the day.
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:The fool.
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Note: These are two guards, and this is the guard from the day. He has his sword facing upwards, and the other has his sword facing downwards beside the left foot. This is the fool and is also called the iron gate. Then it is four guards. Ox and plow, those are also two guards. Gloss note.
 
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| '''[14r]''' Die hutt vom tag
 
| '''[14r]''' Die hutt vom tag
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| '''[12v]''' Skull cut.
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:A position, or the iron gate.
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Note: That is from the crown, etc. and then he raises the sword facing upwards. He stands in the skull cut, and the other in a position, and when he hits away from the roof, thus the other takes the crown all right . Gloss note.
 
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| '''[14v]''' Schaitelhaw
 
| '''[14v]''' Schaitelhaw
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| '''[13r]''' This is the thwart cut.
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:He stands in the over-cut.
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This is the thwart, it takes away what comes from the day, then thwart with the strong, with it note your work. The thwart to plow, join hard to the ox, and who themselves well thwarts, with jumping threatens your head, and whoever directs the failer on from below  two times aims as he wishes. Gloss note.
 
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| '''[7r]''' Das ist der zwerchhaw
 
| '''[7r]''' Das ist der zwerchhaw

Revision as of 14:23, 5 November 2016

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] His writings clearly show that he stood in the tradition of the grand master Johannes Liechtenauer.

Hutter's treatise appears in four manuscripts written between 1522 and 1523. It covers the three core subjects of the core Liechtenauer tradition, unarmored longsword fencing and armored dueling on horse and on foot; while the longsword material consists largely of a slightly garbled rendering of Liechtenauer's verse, the armored material shows more originality. The oldest of Hutter's manuscripts, Codex I.6.4º.5, consists only of titled illustrations of armored fencing and mounted fencing; for this reason, Hils assumed it was the draftbook used to develop the others.[citation needed] This draftbook, along with the completed Codex I.6.2º.3, were created in 1522. In 1523, Hutter created an accompanying longsword treatise, preserved in the Codex I.6.2º.2. (This was also accompanied by Nicolaüs Augsburger's 1489 longsword treatise, without attribution.)

Some time after this, all of Hutter's works, as well as a brief series of new uncaptioned illustrations possibly drawn from the MS Cl. 23842, 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 might be a presentation copy prepared for a fan of his prior works.

Hutter's longsword treatise was copied by scultor Gregor Erhart into a manuscript in 1533, which was later acquired by Lienhart Sollinger and used as a source for his Cgm 3712. The Codex I.6.2º.2 was acquired by Paulus Hector Mair in 1544, the Codex I.6.4º.5 in 1552, the MS E.1939.65.354 in 1560, and the Codex I.6.2º.3 in 1561. The second was used as the primary source for his writings on armored and mounted fencing; due to its lack of text, he inserted his own descriptions of the devices—descriptions which diverge noticeably from Hutter's own explanations in the Codex I.6.2º.3.

Treatise

Additional Resources

References