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Difference between revisions of "Jörg Wilhalm Hutter"

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| '''[16v]''' This is the thwart in above, also a play.
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This is yet again from the thwart from the above, that you then understand it: That very many come from the thwart, if one seeks it, when it is good makes to all things weak and strong. Gloss note.
 
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| '''[11v]''' Das ist die zwerch oben ein auch ein stuckh
 
| '''[11v]''' Das ist die zwerch oben ein auch ein stuckh
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| '''[17r]''' This is the ox.
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:This is the plow.
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This is the justification for the ox and the plow, the thing and the second thing are an origin of all art. Ox and pflug are justifiably  hard in the war, in all things, with which to make the old slice. Thus you are sure in all things and it may not fail you.
 
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| '''[12r]''' Das ist der ochss
 
| '''[12r]''' Das ist der ochss
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| '''[17v]''' This is the ox.
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:This is the plow.
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This is the other ox and plow and are also justifiably hard in the war. Note: The oxen and plow one should drive from both sides, then they have four windings and four points, that you may use as you wish, when they are also two guards. Gloss note.
 
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| '''[12v]''' Das ist der ochs
 
| '''[12v]''' Das ist der ochs
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| '''[18r]''' He stands armed  [in half sword].
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This is also from the squinter and has thus taken him in the neck. The other, an armed [half sword] play and breaks his play, as you see it pictured. This is also a play, a break. Gloss note.
 
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| '''[18r]''' Der statt gewappet
 
| '''[18r]''' Der statt gewappet
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| '''[18v]''' This is also from the squinter play and break, and there he has the sword on the neck. This is the break and the other the play. Note that as you see it pictured.
 
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| '''[18v]''' Das ist auch von dem schilchr~ stuckh vnd bruch vnd der do hatt das schwertt auff dem halss das ist der bruch vnd das ander das stuckh das merckh wie du es gmalt Sichst
 
| '''[18v]''' Das ist auch von dem schilchr~ stuckh vnd bruch vnd der do hatt das schwertt auff dem halss das ist der bruch vnd das ander das stuckh das merckh wie du es gmalt Sichst
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| '''[19r]''' This is again from the squinter, the break, the run-over, that strongly breaks  the squinter against him, hit or slice and away from there quickly and soon, and therefore is not a play, it is a break from it. Gloss note.
 
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| '''[19r]''' Das ist aber vom schilchr~ der bruch das vber lauffen das bricht im den schilchr~ starckh schlag oder schneid vnd hinweg flux vnd bald vnd darumb ist kain stuckh es ist ain bruch darauff gloss merckh
 
| '''[19r]''' Das ist aber vom schilchr~ der bruch das vber lauffen das bricht im den schilchr~ starckh schlag oder schneid vnd hinweg flux vnd bald vnd darumb ist kain stuckh es ist ain bruch darauff gloss merckh

Revision as of 14:46, 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