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Difference between revisions of "Jörg Wilhalm Hutter"

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| [[File:Cod.I.6.2º.2 19v.jpg|200px|center]]
 
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| '''[19v]''' This is another play from the squinter. Squint to the point and take the neck without contest, and thereby thus note, and learn art that you yourself have become accustomed to . Gloss note.
 
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| '''[19v]''' Das ist ein ander stuckh von dem schilcher schilch zu dem ortt vnd nim den halss one forcht vnd dabey so merckh vnd lern kunst das du dich dar auß kundest Rechtñ gloss merckh
 
| '''[19v]''' Das ist ein ander stuckh von dem schilcher schilch zu dem ortt vnd nim den halss one forcht vnd dabey so merckh vnd lern kunst das du dich dar auß kundest Rechtñ gloss merckh
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| '''[20r]''' He stands hitting in the above parry.
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:This is the squinter which breaks what a buffalo hits or stabs.
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The squinter breaks what a buffalo hits or stabs. Whoever drives to change, is robbed of it with the squinter. If he squints at you short, to your change-through prevailed against him. Squint to the point and take the neck without contest, squint to the top of the head nimbly if you want to strive and find beauty. 
 
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| '''[16r]''' Der stett schlechts in der ober versatzung
 
| '''[16r]''' Der stett schlechts in der ober versatzung
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| [[File:Cod.I.6.2º.2 16v.jpg|200px|center]]
 
| [[File:Cod.I.6.2º.2 16v.jpg|200px|center]]
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| '''[20v]''' He stands hitting in the above parry.
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:This is the squinter.
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The squinter is a danger to the face. With its turn, the chest is quickly threatened. What comes from him, the crown takes away. The slice through the crown, thus you break hard and beautifully. Push the strike, withdraw with a slice. In all things, let us crisply make.
 
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| '''[16v]''' Der statt schlechtz in der ober versatzung
 
| '''[16v]''' Der statt schlechtz in der ober versatzung
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| '''[21r]''' That is a squint to the point and take the neck without contest, and thereto strong into the scale.
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:Thus he says: “there are very many breaks there again, it still hereafter comes”
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This is from the squinter. Squint to the point and take the neck without contest and stand  into the scales and hold solidly to yourself, and if you want to go away from him, then wind out to him and away. Gloss note.
 
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| '''[17r]''' Das ist schilch zu dem ortt vnd nim den hals one forcht vnd darzu starck in der wag
 
| '''[17r]''' Das ist schilch zu dem ortt vnd nim den hals one forcht vnd darzu starck in der wag
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| '''[21v]''' He hits above over
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:He has the neck without contest
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This is also from the squinter, and is a break from it, as you see it pictured, and realize still more plays are that it breaks, and realize precisely how it  threatens. Gloss note.
 
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| '''[17v]''' Der schlecht oben vber
 
| '''[17v]''' Der schlecht oben vber
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| '''[22r]''' This is the skull cut
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:This is the squinter
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This is the justification for the skull cut. This is squinter with skuller, the face is threatened. With its turn, the chest quickly threatened, and what comes from him, the crown, all right. Gloss mark.
 
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| '''[24r]''' Das ist der schaitelhaw
 
| '''[24r]''' Das ist der schaitelhaw

Revision as of 14:57, 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