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Difference between revisions of "Jörg Wilhalm Hutter"

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! id="thin" | <p>Images<br/>from the Archetype</p>
 
! id="thin" | <p>Images<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>{{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]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)}}<br/>by [[Dierk Hagedorn]]</p>
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|-  
 
|-  
 
| [[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>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 rich one has neither art nor knowledge, he wastes his possessions and goods, and has nothing left.</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 strong one has neither art nor courage, he gains neither possessions nor goods. What good is his strength to him then?</p>
|
+
 
<p>Here stand three persons: a rich one, a strong one and a weak one.</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>
<p>When the rich one has neither art nor knowledge, he wastes his possessions and goods,
 
and has nothing left.</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>When the weak one has art and knowledge that he uses thoughtfully, he can use those to gain
 
great honour and goods.
 
 
|  
 
|  
 
| {{paget|Page:Cgm 3711|59r|jpg}}
 
| {{paget|Page:Cgm 3711|59r|jpg}}
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|-  
 
|-  
 
| [[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>
| <p> Help (me) Lord (with) your eternal World; help (my body) here, and the Soul over there. </p>
 
 
|
 
|
 
| {{paget|Page:Cgm 3711|59v|jpg}}
 
| {{paget|Page:Cgm 3711|59v|jpg}}
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|-  
 
|-  
 
| [[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>
| <p> 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}}
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|-  
 
|-  
 
| [[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>
| <p> 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}}
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|-  
 
|-  
 
| [[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>
| '''This is the first guard and stance'''
 
Note: If you want to teach someone how to fight, then note to who 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 (see) if he is righteous or not.
 
  
If he is righteous, then teach him the true art, let him use a heavy harness so that he may be usefull in earnest (fighting).
+
<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>
 
 
If he has chainmail, 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>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}}
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|-  
 
|-  
 
| [[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>
| '''The second piece'''
+
 
Note the other two stances or guards, as was written before.  
+
<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>
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.
 
 
| {{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}}
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|-  
 
|-  
 
| [[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>
| '''The third piece'''
+
 
Note: The third piece is called the sixth guard. When someone  
+
<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>
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 beautifull work to be done from there.
 
 
| {{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}}
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|-  
 
|-  
 
| [[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>
| '''The fourth piece is called the Contact'''
+
 
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>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}}
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|-  
 
|-  
 
| [[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>
| '''The fifth is called throwing'''
+
 
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  
+
<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>
contact as it is painted above; and position yourself well.
 
 
| {{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}}
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|-  
 
|-  
 
| [[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>
| '''The sixth is the contact'''
+
 
Note: When one ignores the high thrust (as it is drawn above) and thrusts to your back foot,
+
<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>
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.
 
  
 
| {{paget|Page:Cod.I.6.2º.3|04v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|04v|png}}
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|-  
 
|-  
 
| [[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>
| '''The seventh is called the Murder-strike'''
+
 
Note: When you notice that (he wants to perform) the third contact or pinning onto
+
<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.
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 (of him).
 
  
 
| {{paget|Page:Cod.I.6.2º.3|05r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|05r|png}}
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|-  
 
|-  
 
| [[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>
| '''The eight is called the Contact'''
+
 
Note: When one strikes to your head, or wants to do so, then go up with your sword
+
<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>
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.  
 
  
 
| {{paget|Page:Cod.I.6.2º.3|05v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|05v|png}}
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|-  
 
|-  
 
| [[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>
| '''The ninth: Overwrenching'''
 
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>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}}
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|-  
 
|-  
 
| [[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>
| '''The tenth piece'''
 
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>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}}
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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] </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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| [[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] </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}}
 
| {{paget|Page:Cgm 3711|66v|jpg}}
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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] </p>
|
 
 
| {{paget|Page:Cod.I.6.2º.3|08r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|08r|png}}
 
| {{paget|Page:Cgm 3711|67r|jpg}}
 
| {{paget|Page:Cgm 3711|67r|jpg}}
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| [[File:Cod.I.6.2º.3 08v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 08v.png|300px|center]]
 
| <p>[18] </p>
 
| <p>[18] </p>
|
 
 
| {{paget|Page:Cod.I.6.2º.3|08v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|08v|png}}
 
| {{paget|Page:Cgm 3711|67v|jpg}}
 
| {{paget|Page:Cgm 3711|67v|jpg}}
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| [[File:Cod.I.6.2º.3 09r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 09r.png|300px|center]]
 
| <p>[19] </p>
 
| <p>[19] </p>
|
 
 
| {{paget|Page:Cod.I.6.2º.3|09r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|09r|png}}
 
| {{paget|Page:Cgm 3711|68r|jpg}}
 
| {{paget|Page:Cgm 3711|68r|jpg}}
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| [[File:Cod.I.6.2º.3 09v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 09v.png|300px|center]]
 
| <p>[20] </p>
 
| <p>[20] </p>
|
 
 
| {{paget|Page:Cod.I.6.2º.3|09v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|09v|png}}
 
| {{paget|Page:Cgm 3711|68v|jpg}}
 
| {{paget|Page:Cgm 3711|68v|jpg}}
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| [[File:Cod.I.6.2º.3 10r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 10r.png|300px|center]]
 
| <p>[21] </p>
 
| <p>[21] </p>
|
 
 
| {{paget|Page:Cod.I.6.2º.3|10r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|10r|png}}
 
| {{paget|Page:Cgm 3711|69r|jpg}}
 
| {{paget|Page:Cgm 3711|69r|jpg}}
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| [[File:Cod.I.6.2º.3 10v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 10v.png|300px|center]]
 
| <p>[22] </p>
 
| <p>[22] </p>
|
 
 
| {{paget|Page:Cod.I.6.2º.3|10v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|10v|png}}
 
| {{paget|Page:Cgm 3711|69v|jpg}}
 
| {{paget|Page:Cgm 3711|69v|jpg}}
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| [[File:Cod.I.6.2º.3 11r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 11r.png|300px|center]]
 
| <p>[23] </p>
 
| <p>[23] </p>
|
 
 
| {{paget|Page:Cod.I.6.2º.3|11r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|11r|png}}
 
| {{paget|Page:Cgm 3711|70r|jpg}}
 
| {{paget|Page:Cgm 3711|70r|jpg}}
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| [[File:Cod.I.6.2º.3 11v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 11v.png|300px|center]]
 
| <p>[24] </p>
 
| <p>[24] </p>
|
 
 
| {{paget|Page:Cod.I.6.2º.3|11v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|11v|png}}
 
| {{paget|Page:Cgm 3711|70v|jpg}}
 
| {{paget|Page:Cgm 3711|70v|jpg}}
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| [[File:Cod.I.6.2º.3 12r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 12r.png|300px|center]]
 
| <p>[25] </p>
 
| <p>[25] </p>
|
 
 
| {{paget|Page:Cod.I.6.2º.3|12r|png}}
 
| {{paget|Page:Cod.I.6.2º.3|12r|png}}
 
| {{paget|Page:Cgm 3711|71r|jpg}}
 
| {{paget|Page:Cgm 3711|71r|jpg}}
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| [[File:Cod.I.6.2º.3 12v.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 12v.png|300px|center]]
 
| <p>[26] </p>
 
| <p>[26] </p>
|
 
 
| {{paget|Page:Cod.I.6.2º.3|12v|png}}
 
| {{paget|Page:Cod.I.6.2º.3|12v|png}}
 
| {{paget|Page:Cgm 3711|71v|jpg}}
 
| {{paget|Page:Cgm 3711|71v|jpg}}
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|-  
 
|-  
 
! id="thin" | <p>Images<br/>from the Archetype</p>
 
! id="thin" | <p>Images<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]] (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 Version I]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/></p>

Revision as of 19:51, 12 February 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. 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.