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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>
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{| class="zettel"
 
+
|-
<p>hereafter what you strike crisply on.</p>
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| <small>9</small>
 +
| If you want to behold the art,<br/>then to left and right with hews
 +
|-
 +
| <small>10</small>
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| and left with right<br/>is what you strongly desire to fence.
 +
|-
 +
| <small>11</small>
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| Whoever goes after with hews<br/>allow their art little joy.
 +
|-
 +
| <small>12</small>
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| Hew nearing what you want,<br/>no change-through comes to your shield.
 +
|-
 +
| <small>13</small>
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| To head, to body,<br/>don’t abandon the fencing,
 +
|-
 +
| <small>14</small>
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| with the whole body fence,<br/>what you desire to drive strongly,
 +
|-
 +
| <small>15</small>
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| 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>
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{| class="zettel"
 +
|-
 +
| <small>15</small>
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| Don’t fence above on the left if you are right handed,
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|-
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| <small>16</small>
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| and if you are left handed<br/>and in the right also severely hindered.
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|-
 +
| <small>17</small>
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| Before and after, the two things<br/>are the origin of all art.
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|-
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| <small>18</small>
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| Weak and strong,<br/>indes, wait, with that note your work.
 +
|-
 +
| <small>19</small>
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| 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>
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{| class="zettel"
 
+
|-
 +
| <small>27</small>
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| whoever hews you from above,<br/>that you penetrate him with the wrath point
 +
|-
 +
| <small>28</small>
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| and if he becomes aware,<br/>then take it away above without risk,
 +
|-
 +
| <small>29</small>
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| and be strong here again,<br/>wind, hew, and stab, if he sees it, then take it low.
 +
|-
 +
| <small>30</small>
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| 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>
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{| class="zettel"
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|-
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| <small>32</small>
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| Whoever’s war aims above,<br/>he will be shamed from above low.
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|-
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| <small>31</small>
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| Indes, before and after,<br/>don’t be quick to your war,
  
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|-
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| <small>&mdash;</small>
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| Understand this in all things<br/>if you want to make the war.
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|}
 
<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>
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{| class="zettel"
 +
|-
 +
| <small>33</small>
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| in all windings,<br/>hew and stab
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|-
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| <small>&mdash;</small>
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| swords, run-over<br/>sword, wind out
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|-
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| <small>35</small>
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| in all exchanges<br/>if you want to fool the masters
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|}
  
 
<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>
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{| class="zettel"
 +
|-
 +
| <small>34</small>
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| You shall also<br/>hew, stab, slice below with need
 +
|-
 +
| <small>35</small>
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| 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}}

Revision as of 22:08, 17 January 2018

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 a version of the pseudo-Peter von Danzig gloss that 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; this is itself a heavily-abridged copy of branch C of the gloss, found in its complete form only 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. With a good intention/forethought
  16. Disappears into the margin.
  17. The rest of the paragraph is cut off.
  18. 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 MS 1825, fol. 5v, MS Chart.A.558, fol. 2r, and Ms.XIX.17-3, fol. 2r.
  19. Word disappears into margin.
  20. Matthias Lexer's Mittelhochdeutsch Handwoerterbuch defines 'sippen' as 'verwant sein mit einem (dat.)'
  21. unleserliche Notiz zweier Wörter am unteren Seitenrand
  22. The last word disappears partly in trimming.
  23. 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.
  24. I omitted the translation of 'in Seim helm' in order to make the translation easier to read.
  25. The rest of the text is badly damaged at the bottom, disappears in the trimming and is not decipherable.
  26. The text disappears in trimming and is not decipherable.
  27. The rest of the text disappears in trimming and is not decipherable.
  28. The text disappears in trimming and is not decipherable.
  29. The text disappears in trimming.
  30. The rest of the text disappears in trimming and is not decipherable.
  31. The text disappears in trimming and is not decipherable.
  32. The text disappears in trimming and is not decipherable.
  33. The text disappears in trimming and is not decipherable.
  34. The rest of the text disappears in trimming and is not decipherable.
  35. In a second hand.
  36. In a third hand.
  37. In a different hand.
  38. In a different hand.
  39. korrigiert aus »mich«
  40. korrigiert aus »tengke«
  41. Notiz Mairs
  42. Notiz Mairs
  43. 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.