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{{infobox writer
 
{{infobox writer
| name                = [[name::Jörg Wilhalm Hutter]]
+
| name                = [[name::Jörg Wilhalm]]
| image                = File:Jörg Wilhalm Hutter.png
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| image                = File:Jörg Wilhalm.png
 
| imagesize            = 250px
 
| imagesize            = 250px
 
| caption              =  
 
| caption              =  
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  | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Cod. I.6.4º.5]] (1522)
 
  | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Cod. I.6.4º.5]] (1522)
 
  | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Cod. I.6.2º.3]] (1522)
 
  | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Cod. I.6.2º.3]] (1522)
  | [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod. I.6.2º.2]] (1523)
+
  | [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod. I.6.2º.2]] (1523)
 
}}
 
}}
 
| manuscript(s)        = {{collapsible list
 
| manuscript(s)        = {{collapsible list
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}}
 
}}
 
| awards              =  
 
| awards              =  
| signature            = [[File:Jörg Wilhalm Hutter sig.jpg|170px]]
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| signature            =  
 
| website              =  
 
| website              =  
 
| below                =  
 
| below                =  
 
}}
 
}}
{{foreignchar|Joerg Wilhalm Hutter|ö}}
+
{{foreignchar|Joerg Wilhalm|ö}}
'''Jörg Wilhalm Hutter''' was a [[century::16th century]] [[nationality::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.{{cn}}
+
'''Jörg Wilhalm''' was a [[century::16th century]] [[nationality::German]] [[fencing master]]. He refers to himself as a hatter (''Hutter''), a fact that is confirmed in the tax records of Augsburg, Germany in 1501, 1504, and 1516.{{cn}}
  
 
== Manuscripts ==
 
== Manuscripts ==
  
Four works are commonly attributed to Hutter: on unarmored [[long sword]] fencing in the tradition of [[Johannes Liechtenauer]], on [[armored fencing|armored]] and [[mounted fencing|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 [[Cluny Fechtbuch (Cl. 23842)|MS Cl. 23842]] from the 1480s-90s and is accompanied by an excerpt of Branch C of the pseudo-Peter von Danzig gloss which [[Gregor Erhart]] attributes to one [[Nicolaüs]] and dates to 1489.<ref>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]], folio [[Page:MS E.1939.65.354 189r.jpg|189r]]; the complete text of Branch C is only given in [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s).</ref>  
+
Four works are commonly attributed to Wilhalm: on unarmored [[long sword]] fencing in the tradition of [[Johannes Liechtenauer]], on [[armored fencing|armored]] and [[mounted fencing|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 Wilhalm 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 [[Cluny Fechtbuch (Cl. 23842)|MS Cl. 23842]] from the 1480s-90s and is accompanied by an excerpt of Branch C of the pseudo-Peter von Danzig gloss which [[Gregor Erhart]] attributes to one [[Nicolaüs]] and dates to 1489.<ref>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]], folio [[Page:MS E.1939.65.354 189r.jpg|189r]]; the complete text of Branch C is only given in [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s).</ref>  
  
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, [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Cod.I.6.4º.5]],<ref>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.</ref> 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 [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|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.{{cn}} In 1523, Hutter seems to have created an accompanying long sword treatise, preserved in the [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]].
+
There are three extant manuscripts of Wilhalm'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 Wilhalm's manuscripts, [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Cod.I.6.4º.5]],<ref>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.</ref> 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 [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|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.{{cn}} In 1523, Wilhalm seems to have created an accompanying long sword treatise, preserved in the [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|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 [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|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 [[Page:Cgm 3711 11r.jpg|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 [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]] in 1533, though it's currently unclear which source he based it on.
+
Some time soon after this, all three of Wilhalm's prior works, along a new series of 32 uncaptioned illustrations of dueling, were compiled into the [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|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 [[Page:Cgm 3711 11r.jpg|folio 11r]]. It's currently unclear whether Wilhalm 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. Wilhalm's long sword treatise was also copied by sculptor Gregor Erhart into the [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|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 [[Lienhart Sollinger Fechtbuch (Cgm 3712)|Cgm 3712]] (1556) and [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|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.
+
Most copies of Wilhalm's treatises were eventually acquired by Freifechter and collector Lienhart Sollinger. Cgm 3711 was a source for his [[Lienhart Sollinger Fechtbuch (Cgm 3712)|Cgm 3712]] (1556) and [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|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. Wilhalm'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 Wilhalm's own explanations.
  
A final set of two copies of Hutter's work, including [[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Cod.Guelf.1.6.3 Aug.2º]] and [[Reit und Turnierbuch (MS KK5247)|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, jousting, and tournaments. 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. A [[Reit und Turnierbuch (MS 23.279)|third manuscript]] of Schemel's work also exists, copied from the MS KK5247 in 1838, but such a late work has little to contribute to any analysis of the tradition.
+
A final set of two copies of Wilhalm's work, [[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Cod.Guelf.1.6.3 Aug.2º]] and [[Reit und Turnierbuch (MS KK5247)|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, jousting, and tournaments. These manuscripts contain Wilhalm's original text (unlike Mair's version), but the elaborate artwork includes details from multiple prior versions of Wilhalm's work, suggesting that Schemel's source manuscript may remain to be discovered. A [[Reit und Turnierbuch (MS 23.279)|third manuscript]] of Schemel's work also exists, copied from the MS KK5247 in 1838, but such a late work has little to contribute to any analysis of the tradition.
  
 
== Treatise ==
 
== Treatise ==
 +
 +
In order to compress these tables and avoid empty columns, the Glasgow version of the long sword section and the draftbook for the short sword and mounted fencing sections appear in the same column (since they don't overlap). The three additional versions of the short sword and mounted fencing appear at the far side of those tables. The section containing uncaptioned plays only appears in three manuscripts, so the others are all omitted.
  
 
{{master begin
 
{{master begin
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! <p>Illustrations<br/>from the Archetype</p>
 
! <p>Illustrations<br/>from the Archetype</p>
 
! <p>{{rating|C|Draft Translation (from the Munich)}}<br/>by [[User:Stephen Cheney|Stephen Cheney]]</p>
 
! <p>{{rating|C|Draft Translation (from the Munich)}}<br/>by [[User:Stephen Cheney|Stephen Cheney]]</p>
! <p>[[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Archetype Transcription]] (1523){{edit index|Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Archetype]] (1523){{edit index|Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich I Transcription]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/>by [[Kendra&nbsp;Brown]], [[Rebecca&nbsp;Garber]], [[Don&nbsp;Kindsvatter]], [[Mark&nbsp;Millman]], [[Amy&nbsp;West]]</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/>Transcribed by [[Kendra&nbsp;Brown]], [[Rebecca&nbsp;Garber]], [[Don&nbsp;Kindsvatter]], [[Mark&nbsp;Millman]], [[Amy&nbsp;West]]</p>
! <p>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow Transcription]] (1533){{edit index|Gregor Erhart Fechtbuch (MS E.1939.65.354)}}</p>
+
! <p>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow Version]] (1533){{edit index|Gregor Erhart Fechtbuch (MS E.1939.65.354)}}</p>
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich II Transcription]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}</p>
+
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version Ⅱ]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}</p>
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel I Transcription]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/>by [[Kevin Maurer]]</p>
+
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version Ⅰ]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/>Transcribed by [[Kevin Maurer]]</p>
 
<section end="credits1"/>
 
<section end="credits1"/>
 
|-  
 
|-  
 
|  
 
|  
| <p>[1] Young knight learn, to have love for god and honor women. Speak to women well and be valiant, so that one shall hear you and also be available thereto. Do not let yourself be deceived by one’s tricks, go with courage to he who does injustice to you, and set your sense to a sincere principle, and to this end learn valiant chivalry, yet practice pinching and jesting with joy. Throw the stones, shoving staves, fencing and wrestling, dancing and jumping, stabbing and jousting, with that should one seem to curry favor with women, yet fencing wants to have pinching and jesting. The heart which easily frightens there, no fencing shall he learn, why whoever loses the art from the sword, he goes hazy, and also makes large sweeps, those softly warped hearts, therefore one hears very many stories, that the hopeless often will be hit, and is a righteous sense that a truth with fencing will be reached and art has not learned. Of that complaint, I myself Jörg Wilhalm Hutter from Augspurg open and ridicule.</p>
+
| <p>[1] Young knight learn, to have love for god and honor women. Speak to women well and be valiant, so that one shall hear you and also be available thereto. Do not let yourself be deceived by one’s tricks, go with courage to he who does injustice to you, and set your sense to a sincere principle, and to this end learn valiant chivalry, yet practice pinching and jesting with joy. Throw the stones, shoving staves, fencing and wrestling, dancing and jumping, stabbing and jousting, with that should one seem to curry favor with women, yet fencing wants to have pinching and jesting. The heart which easily frightens there, no fencing shall he learn, why whoever loses the art from the sword, he goes hazy, and also makes large sweeps, those softly warped hearts, therefore one hears very many stories, that the hopeless often will be hit, and is a righteous sense that a truth with fencing will be reached and art has not learned. Of that complaint, I myself Jörg Wilhalm from Augspurg open and ridicule.</p>
 
|  
 
|  
 
| {{paget|Page:Cgm 3711|01r|jpg}}
 
| {{paget|Page:Cgm 3711|01r|jpg}}
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|-  
 
|-  
| [[File:Cgm 3711 2r.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_43]]
+
| [[File:Cgm 3711 2r.jpg|300px|center]]
 
| <p>[2] Whoever wants to hew upon you,<br/>you shall parry it with joy,<br/>and when you have parried,<br/>thus all of his hews are destroyed.</p>
 
| <p>[2] Whoever wants to hew upon you,<br/>you shall parry it with joy,<br/>and when you have parried,<br/>thus all of his hews are destroyed.</p>
  
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|-  
 
|-  
| [[File:Cgm 3711 2v.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_44]]
+
| [[File:Cgm 3711 2v.jpg|300px|center]]
 
| <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>
  
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|-  
 
|-  
| [[File:Cgm 3711 7v.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_54]]
+
| [[File:Cgm 3711 7v.jpg|300px|center]]
 
| <p>[13] Those are points in the war</p>
 
| <p>[13] Those are points in the war</p>
  
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<p>This is about the crooked hew, the direction:</p>
 
<p>This is about the crooked hew, the direction:</p>
 
+
{| class="zettel"
<p>Crook on nimbly,<br/>throw the point upon the hands.<br/>Hew crooked to the flats<br/>if you want to weaken the masters.<br/>Don’t hew crooked, hew short,<br/>with it show your change through,</p>
+
|-
 
+
| <small>42</small>
 +
| Crook on nimbly,<br/>throw the point upon the hands.
 +
|-
 +
| <small>44</small>
 +
| Hew crooked to the flats<br/>if you want to weaken the masters.
 +
|-
 +
| <small>46</small>
 +
| Don’t hew crooked, hew short,<br/>with it show your change through,
 +
|}
 
<p>or use if you want to wrestle, and step to him in the triangle. Gloss note.</p>
 
<p>or use if you want to wrestle, and step to him in the triangle. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|40r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|40r|jpg}}
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|-  
 
|-  
| [[File:Cgm 3711 10v.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_60]]
+
| [[File:Cgm 3711 10v.jpg|300px|center]]
 
| <p>[19] He stands in the over hew</p>
 
| <p>[19] He stands in the over hew</p>
  
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<p>That is, crook on nimbly.</p>
 
<p>That is, crook on nimbly.</p>
 
+
{| class="zettel"
<p>Whoever parries well<br/>with striding, he destroys many hews.<br/>Hew crooked to the flats<br/>if you want to weaken the masters.<br/>When it sparks above,<br/>stand away, that I want to praise.<br/>Strike crooked and not short hew,<br/>with it show the change through.<br/>Hew crooked whoever errs you,<br/>the noble war confuses him.</p>
+
|-
 +
| <small>43</small>
 +
| Whoever parries well<br/>with striding, he destroys many hews.
 +
|-
 +
| <small>44</small>
 +
| Hew crooked to the flats<br/>if you want to weaken the masters.
 +
|-
 +
| <small>45</small>
 +
| When it sparks above,<br/>stand away, that I want to praise.
 +
|-
 +
| <small>46</small>
 +
| Strike crooked and not short hew,<br/>with it show the change through.
 +
|-
 +
| <small>48</small>
 +
| Hew crooked whoever errs you,<br/>the noble war confuses him.
 +
|}
 
| {{paget|Page:Cod.I.6.2º.2|40v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|40v|jpg}}
 
| {{paget|Page:Cgm 3711|10v|jpg}}
 
| {{paget|Page:Cgm 3711|10v|jpg}}
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|-  
 
|-  
| [[File:Cgm 3711 11r.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_61]]
+
| [[File:Cgm 3711 11r.jpg|300px|center]]
 
| <p>[20] This is how one shall break in the four openings: He hits him with opening to the side, thus the other breaks it to him and hits him behind onto his head</p>
 
| <p>[20] This is how one shall break in the four openings: He hits him with opening to the side, thus the other breaks it to him and hits him behind onto his head</p>
  
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<p>This is to break openings,</p>
 
<p>This is to break openings,</p>
  
<p>and you want to reckon yourself,<br/>artfully break the four openings,<br/>you double above,<br/>rightly mutate below.<br/>I say to you truthfully,<br/>no man protects himself without danger.<br/>If you have heard,<br/>he may come to hit nobody.</p>
+
{| class="zettel"
 
+
|-
 +
| <small>38</small>
 +
| and you want to reckon yourself,<br/>artfully break the four openings,
 +
|-
 +
| <small>39</small>
 +
| you double above,<br/>rightly mutate below.
 +
|-
 +
| <small>40</small>
 +
| I say to you truthfully,<br/>no man protects himself without danger.
 +
|-
 +
| <small>41</small>
 +
| If you have heard,<br/>he may come to hit nobody.
 +
|}
 
<p>That I have heard. Gloss note.</p>
 
<p>That I have heard. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|08r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|08r|jpg}}
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     --><section end="Krumphaw"/>
 
     --><section end="Krumphaw"/>
 
|-  
 
|-  
| [[File:Cgm 3711 12r.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_63]]
+
| [[File:Cgm 3711 12r.jpg|300px|center]]
 
| <p>[22] The guard from the day</p>
 
| <p>[22] The guard from the day</p>
  
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:He stands in the over hew
 
:He stands in the over hew
 
+
{| class="zettel"
<p>This is the thwart, it takes<br/>what comes from the day,<br/>then thwart with the strong,<br/>with it note your work.<br/>The thwart to plow,<br/>join hard to the ox,<br/>and who thwarts themselves well,<br/>with jumping threatens your head,</p>
+
|-
 
+
| <small>49</small>
 +
| This is the thwart, it takes<br/>what comes from the day,
 +
|-
 +
| <small>50</small>
 +
| then thwart with the strong,<br/>with it note your work.
 +
|-
 +
| <small>51</small>
 +
| The thwart to plow,<br/>join hard to the ox,
 +
|-
 +
| <small>52</small>
 +
| and who thwarts themselves well,<br/>with jumping threatens your head,</p>
 +
|}
 
<p>and whoever directs the failer on from below two times aims as he wishes. Gloss note.</p>
 
<p>and whoever directs the failer on from below two times aims as he wishes. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|07r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|07r|jpg}}
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| <p>[27] He stands in the guard from day and raises as much as he likes</p>
 
| <p>[27] He stands in the guard from day and raises as much as he likes</p>
  
:He speaks thusly: “Whatever thwarts itself well, moves to the head with jumping.” This is the play
+
:He speaks thusly: “Whatever thwarts itself well, moves to the head with jumping.”<ref>Verse 52</ref> This is the play
  
 
<p>This is also a play from the thwart: Whatever thwarts itself well moves to the head with jumping from one side to the other, is also one that is better than that, therefore hear. Gloss note.</p>
 
<p>This is also a play from the thwart: Whatever thwarts itself well moves to the head with jumping from one side to the other, is also one that is better than that, therefore hear. Gloss note.</p>
Line 662: Line 710:
  
 
:This is the squinter which breaks in what a buffalo hits or stabs
 
:This is the squinter which breaks in what a buffalo hits or stabs
 
+
{| class="zettel"
<p>The squinter breaks in<br/>what a buffalo hits or stabs.<br/>Whoever drives to change,<br/>is robbed of it with the squinter.<br/>If he squints at you short,<br/>to your change-through prevailed against him.<br/>Squint to the point<br/>and take the neck without apprehension,<br/>squint to the upper head nimbly<br/>if you want to strive and find beauty.</p>
+
|-
 +
| <small>58</small>
 +
| The squinter breaks in<br/>what a buffalo hits or stabs.
 +
|-
 +
| <small>59</small>
 +
| Whoever drives to change,<br/>is robbed of it with the squinter.
 +
|-
 +
| <small>60</small>
 +
| If he squints at you short,<br/>to your change-through prevailed against him.
 +
|-
 +
| <small>61</small>
 +
| Squint to the point<br/>and take the neck without apprehension,
 +
|-
 +
| <small>62</small>
 +
| squint to the upper head nimbly<br/>if you want to strive and find beauty.
 +
|}
 
| {{paget|Page:Cod.I.6.2º.2|16r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|16r|jpg}}
 
| {{paget|Page:Cgm 3711|20r|jpg}}
 
| {{paget|Page:Cgm 3711|20r|jpg}}
Line 675: Line 738:
  
 
:This is the squinter
 
:This is the squinter
 
+
{| class="zettel"
<p>The squinter<br/>is a danger to the face.<br/>With its turn,<br/>the chest is quickly threatened.<br/>What comes from him,<br/>the crown takes away.<br/>The slice through the crown,<br/>thus you break hard and beautifully.<br/>Press the strike,<br/>withdraw with a slice.</p>
+
|-
 
+
| <small>63</small>
 +
| The squinter<br/>is a danger to the face.
 +
|-
 +
| <small>64</small>
 +
| With its turn,<br/>the chest is quickly threatened.
 +
|-
 +
| <small>65</small>
 +
| What comes from him,<br/>the crown takes away.
 +
|-
 +
| <small>66</small>
 +
| The slice through the crown,<br/>thus you break hard and beautifully.
 +
|-
 +
| <small>67</small>
 +
| Press the strike,<br/>withdraw with a slice.
 +
|}
 
<p>In all things, let us make crisply.</p>
 
<p>In all things, let us make crisply.</p>
 
| {{paget|Page:Cod.I.6.2º.2|16v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|16v|jpg}}
Line 744: Line 821:
  
 
<p>This is about the four positions, and also always a position and a parry from it.</p>
 
<p>This is about the four positions, and also always a position and a parry from it.</p>
 
+
{| class="zettel"
<p>The four positions alone,<br/>hold from them, it says, and flee the common.<br/>Ox and plow, fool<br/>from the day is well his right.</p>
+
|-
 +
| <small>68</small>
 +
| The four positions alone,<br/>hold from them, it says, and flee the common.
 +
|-
 +
| <small>69</small>
 +
| Ox and plow, fool<br/>from the day is well his right.
 +
|}
 
| {{paget|Page:Cod.I.6.2º.2|25r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|25r|jpg}}
 
| {{paget|Page:Cgm 3711|23r|jpg}}
 
| {{paget|Page:Cgm 3711|23r|jpg}}
Line 775: Line 858:
  
 
:This is also a position
 
:This is also a position
 
+
{| class="zettel"
<p>This is about the four parries,<br/>which severely injure the positions,<br/>yet beware of parries,<br/>if it happens to you necessary,</p>
+
|-
 
+
| <small>70</small>
 +
| This is about the four parries,<br/>which severely injure the positions,
 +
|-
 +
| <small>71</small>
 +
| yet beware of parries,<br/>if it happens to you necessary,
 +
|}
 
<p>it hurts you, and be crisp and come before. If you have heard, he may come to no art. Gloss note.</p>
 
<p>it hurts you, and be crisp and come before. If you have heard, he may come to no art. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|25v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|25v|jpg}}
Line 805: Line 893:
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.2 31r.jpg|300px|center]]
 
| [[File:Cod.I.6.2º.2 31r.jpg|300px|center]]
| <p>[50] This is about the pursuit.<br/>Learn twofold in the scale,<br/>and take two from it,<br/>and your work begins from it,<br/>and test your movements,<br/>whether they are soft or hard,<br/>learn the same.<br/>Indes, that word slices severely.<br/>Pursue twofold,<br/>thus you take the old slice with power</p>
+
| <p>[50] </p>
 
+
{| class="zettel"
<p>and pay attention. Gloss note.</p>
+
|-
| {{paget|Page:Cod.I.6.2º.2|31r|jpg}}
+
| <small>75</small>
| {{paget|Page:Cgm 3711|26r|jpg}}
+
| This is about the pursuit.<br/>Learn twofold in the scale,
 +
|-
 +
| <small>76</small>
 +
| and take two from it,<br/>and your work begins from it,
 +
|-
 +
| <small>77</small>
 +
| and test your movements,<br/>whether they are soft or hard,
 +
|-
 +
| <small>78</small>
 +
| learn the same.<br/>Indes, that word slices severely.
 +
|-
 +
| <small>79</small>
 +
| Pursue twofold,<br/>thus you take the old slice with power
 +
|}
 +
<p>and pay attention. Gloss note.</p>
 +
| {{paget|Page:Cod.I.6.2º.2|31r|jpg}}
 +
| {{paget|Page:Cgm 3711|26r|jpg}}
 
| {{paget|Page:MS E.1939.65.354|49v|jpg}}
 
| {{paget|Page:MS E.1939.65.354|49v|jpg}}
 
| {{paget|page:Cgm 3712|120r|jpg}}
 
| {{paget|page:Cgm 3712|120r|jpg}}
Line 835: Line 939:
 
| [[File:Cod.I.6.2º.2 32v.jpg|300px|center]]
 
| [[File:Cod.I.6.2º.2 32v.jpg|300px|center]]
 
| <p>[53] This is also about the run over, and that is an inward run over,</p>
 
| <p>[53] This is also about the run over, and that is an inward run over,</p>
 
+
{| class="zettel"
<p>and whoever aims below,<br/>and when one runs over you, then you will be shamed,<br/>and if it sparks above,<br/>then set it aside, that I will praise.<br/>Make your work<br/>soft or hard and press that twofold</p>
+
|-
 
+
| <small>80</small>
 +
| and whoever aims below,<br/>and when one runs over you, then you will be shamed,
 +
|-
 +
| <small>81</small>
 +
| and if it sparks above,<br/>then set it aside, that I will praise.
 +
|-
 +
| <small>82</small>
 +
| Make your work<br/>soft or hard and press that twofold</p>
 +
|}
 
<p>as you wish. Gloss mark.</p>
 
<p>as you wish. Gloss mark.</p>
 
| {{paget|Page:Cod.I.6.2º.2|32v|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|32v|jpg}}
Line 864: Line 976:
  
 
|-  
 
|-  
| [[File:Cgm 3711 29r.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_97]]
+
| [[File:Cgm 3711 29r.jpg|300px|center]]
 
| <p>[56] This is about the set aside. Whoever hews away at you from roof, set his hew away with the sword with the short edge. If he is soft, then let your pommel go around and hit him with the thwart. But if he is hard, then don’t hit and take and turn him at his sword and work. Gloss note as it stands pictured below.</p>
 
| <p>[56] This is about the set aside. Whoever hews away at you from roof, set his hew away with the sword with the short edge. If he is soft, then let your pommel go around and hit him with the thwart. But if he is hard, then don’t hit and take and turn him at his sword and work. Gloss note as it stands pictured below.</p>
 
| {{paget|Page:Cod.I.6.2º.2|34r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|34r|jpg}}
Line 914: Line 1,026:
  
 
:A long point
 
:A long point
 
+
{| class="zettel"
<p>This is whoever wants to set-aside,<br/>hew, stab, quickly injure,<br/>and whoever wants to stab onto you,<br/>thus look that your point hits and his breaks,<br/>hits from both sides<br/>if you want to step.</p>
+
|-
 
+
| <small>83</small>
 +
| This is whoever wants to set-aside,<br/>hew, stab, quickly injure,
 +
|-
 +
| <small>84</small>
 +
| and whoever wants to stab onto you,<br/>thus look that your point hits and his breaks,
 +
|-
 +
| <small>85</small>
 +
| hits from both sides<br/>if you want to step.
 +
|}
 
<p>That is also as a set aside. Gloss note.</p>
 
<p>That is also as a set aside. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|36r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|36r|jpg}}
Line 1,027: Line 1,147:
  
 
|-  
 
|-  
| [[File:Cgm 3711 37r.jpg|300px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_113]]
+
| [[File:Cgm 3711 37r.jpg|300px|center]]
 
| <p>[72] Item: This is another hanging on the other side. He does it with the short sword and raises the point that faces downward, as you see it pictured above, and are the two hangings, two good parries to all things. Gloss note.</p>
 
| <p>[72] Item: This is another hanging on the other side. He does it with the short sword and raises the point that faces downward, as you see it pictured above, and are the two hangings, two good parries to all things. Gloss note.</p>
 
| {{paget|Page:Cod.I.6.2º.2|21r|jpg}}
 
| {{paget|Page:Cod.I.6.2º.2|21r|jpg}}
Line 1,140: Line 1,260:
 
{{master begin
 
{{master begin
 
  | title = Short Sword
 
  | title = Short Sword
  | width = 330em
+
  | width = 300em
 
}}
 
}}
 
{| class="master"
 
{| class="master"
Line 1,146: Line 1,266:
 
! <p>Illustrations<br/>from the Archetype</p>
 
! <p>Illustrations<br/>from the Archetype</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 Transcription]] (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/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich I Transcription]] (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>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Draftbook Transcription]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Draftbook]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich II Transcription]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
+
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version Ⅱ]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel I Transcription]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
+
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version Ⅰ]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
! <p>[[Reit und Turnierbuch (MS KK5247)|Vienna Transcription]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<br/></p>
+
! <p>[[Reit und Turnierbuch (MS KK5247)|Vienna Version]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<br/></p>
! <p>[[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel II Transcription]] (ca. 1600){{edit index|Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)}}<br/></p>
+
! <p>[[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel Version Ⅱ]] (ca. 1600){{edit index|Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)}}<br/></p>
! <p>[[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Wolfenbüttel III Transcription]] (ca. 1600){{edit index|Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)}}</p>
+
! <p>[[Reit und Turnierbuch (MS 23.279)|New York Version]] (1838){{edit index|Reit und Turnierbuch (MS 23.279)}}<br/></p>
! <p>[[Reit und Turnierbuch (MS 23.279)|New York Transcription]] (1838){{edit index|Reit und Turnierbuch (MS 23.279)}}<br/></p>
 
  
 
|-  
 
|-  
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| {{paget|Page:Cod.I.6.4º.5|Ir|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|Ir|jpg}}
 
| {{paget|Page:Cgm 3712|156r|jpg}}
 
| {{paget|Page:Cgm 3712|156r|jpg}}
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|  
 
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| {{paget|Page:Cod.I.6.4º.5|Iv|jpg}}
 
| {{paget|Page:Cod.I.6.4º.5|Iv|jpg}}
 
| {{paget|Page:Cgm 3712|156v|jpg}}
 
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| {{paget|Page:KK5247|086r|jpg}}
 
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|  
 
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| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|089v|png}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|089v|png}}
 
|  
 
|  
|
 
 
 
|-  
 
|-  
 
| [[File:Cod.I.6.2º.3 02r.png|300px|center]]
 
| [[File:Cod.I.6.2º.3 02r.png|300px|center]]
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| {{paget|Page:KK5247|088r|jpg}}
 
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| {{paget|Page:KK5247|088v|jpg}}
 
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| {{paget|Page:KK5247|089r|jpg}}
 
| {{paget|Page:KK5247|089r|jpg}}
 
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| {{paget|Page:KK5247|089v|jpg}}
 
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| {{paget|Page:KK5247|090r|jpg}}
 
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| {{paget|Page:KK5247|090v|jpg}}
 
| {{paget|Page:KK5247|090v|jpg}}
 
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| {{paget|Page:KK5247|091r|jpg}}
 
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| {{paget|Page:KK5247|092r|jpg}}
 
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{{paget|Page:Cod.Guelf.1.6.3 Aug.2º|113v|png}}
 
{{paget|Page:Cod.Guelf.1.6.3 Aug.2º|113v|png}}
| class="noline" |
 
 
| class="noline" |  
 
| class="noline" |  
  
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{{master begin
 
{{master begin
 
  | title = Mounted Fencing
 
  | title = Mounted Fencing
  | width = 330em
+
  | width = 300em
 
}}
 
}}
 
{| class="master"
 
{| class="master"
Line 1,873: Line 1,940:
 
! <p>Illustrations<br/>from the Archetype</p>
 
! <p>Illustrations<br/>from the Archetype</p>
 
! <p>{{rating}}</p>
 
! <p>{{rating}}</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.2º.3)|Archetype Transcription]] (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/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich I Transcription]] (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>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Draftbook Transcription]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Draftbook]] (1522){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich II Transcription]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
+
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version Ⅱ]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel I Transcription]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
+
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version Ⅰ]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
! <p>[[Reit und Turnierbuch (MS KK5247)|Vienna Transcription]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<br/></p>
+
! <p>[[Reit und Turnierbuch (MS KK5247)|Vienna Version]] (ca. 1600){{edit index|Reit und Turnierbuch (MS KK5247)}}<br/></p>
! <p>[[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel II Transcription]] (ca. 1600){{edit index|Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)}}<br/></p>
+
! <p>[[Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)|Wolfenbüttel Version Ⅱ]] (ca. 1600){{edit index|Confectbuch von Abrichtung vollständiges Turnierbuch (Cod.Guelf.1.6.3 Aug.2º)}}<br/></p>
! <p>[[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Wolfenbüttel III Transcription]] (ca. 1600){{edit index|Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)}}</p>
+
! <p>[[Reit und Turnierbuch (MS 23.279)|New York Version]] (1838){{edit index|Reit und Turnierbuch (MS 23.279)}}<br/></p>
! <p>[[Reit und Turnierbuch (MS 23.279)|New York Transcription]] (1838){{edit index|Reit und Turnierbuch (MS 23.279)}}<br/></p>
 
  
 
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| {{paget|Page:KK5247|168v|jpg|lbl=168v9r}}
 
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| {{paget|Page:KK5247|174v|jpg|lbl=174v5r}}
 
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| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|176v|png|lbl=176v7r}}
 
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| {{paget|Page:KK5247|185v|jpg|lbl=185v6r}}
 
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| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|188v|png|lbl=188v9r}}
 
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| {{paget|Page:KK5247|187v|jpg|lbl=187v8r}}
 
| {{paget|Page:KK5247|187v|jpg|lbl=187v8r}}
 
| {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|190v|png|lbl=190v1r}}
 
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<p>''[An analogous illustration is present on [[Page:Cod.Guelf.1.6.3 Aug.2º 192v.png|folia 192v-193r]], but the text is that of the equivalent play in [[Antonius Rast]].]''</p>
 
<p>''[An analogous illustration is present on [[Page:Cod.Guelf.1.6.3 Aug.2º 192v.png|folia 192v-193r]], but the text is that of the equivalent play in [[Antonius Rast]].]''</p>
|
 
 
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| class="noline" | {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|194v|png|lbl=194v5r}}
 
| class="noline" | {{paget|Page:Cod.Guelf.1.6.3 Aug.2º|194v|png|lbl=194v5r}}
 
| class="noline" |  
 
| class="noline" |  
| class="noline" |
+
 
 +
 
 +
 
  
 
|}
 
|}
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! <p>Illustrations<br/></p>
 
! <p>Illustrations<br/></p>
 
! <p>{{rating|B}}<br/>by [[Michael Chidester]]</p>
 
! <p>{{rating|B}}<br/>by [[Michael Chidester]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich I Transcription]] (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>
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich II Transcription]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
+
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version Ⅱ]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel I Transcription]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
+
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version Ⅰ]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/></p>
  
 
|-  
 
|-  
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<section begin="sourcebox"/>{{sourcebox header}}
 
<section begin="sourcebox"/>{{sourcebox header}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]] Illustrations
+
  | work        = [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]] Illustrations
 
  | authors    = [[Universitätsbibliothek Augsburg]]
 
  | authors    = [[Universitätsbibliothek Augsburg]]
 
  | source link = http://www.nbn-resolving.de/urn:nbn:de:bvb:384-uba002003-5
 
  | source link = http://www.nbn-resolving.de/urn:nbn:de:bvb:384-uba002003-5
 
  | source title= Universitätsbibliothek Augsburg
 
  | source title= Universitätsbibliothek Augsburg
  | license    = permission
+
  | license    = public domain
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
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  | source link = http://www.nbn-resolving.de/urn:nbn:de:bvb:384-uba002006-0
 
  | source link = http://www.nbn-resolving.de/urn:nbn:de:bvb:384-uba002006-0
 
  | source title= Universitätsbibliothek Augsburg
 
  | source title= Universitätsbibliothek Augsburg
  | license    = permission
+
  | license    = public domain
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
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  | source link = http://daten.digitale-sammlungen.de/bsb00064546/image_1
 
  | source link = http://daten.digitale-sammlungen.de/bsb00064546/image_1
 
  | source title= Bayerische Staatsbibliothek
 
  | source title= Bayerische Staatsbibliothek
  | license    = permission
+
  | license    = noncommercial
 +
}}
 +
{{sourcebox
 +
| work        = Translation (long sword)
 +
| authors    = [[translator::Stephen Cheney]]
 +
| source link =
 +
| source title= Wiktenauer
 +
| license    = noncommercial
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = Translation (sword)
+
  | work        = Translation (short sword)
  | authors    = [[Stephen Cheney]]
+
  | authors    = [[translator::Robert Kraaijeveld]]
 
  | source link =  
 
  | source link =  
 
  | source title= Wiktenauer
 
  | source title= Wiktenauer
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}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Archetype B]]
+
  | work        = [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Archetype B]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)]]
+
  | source title= [[Index:Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)]]
 
  | license    = copyrighted
 
  | license    = copyrighted
 
}}
 
}}
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}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)|Wolfenbüttel Version III]]
+
  | work        = [[Reit und Turnierbuch (MS 23.279)|New York Version]]
 
  | authors    =  
 
  | authors    =  
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Unterschiedliche die Dressur und Aufzäumung der Pferde erläuternde Zeichnungen (Cod.Guelf.79.2 Aug.2º)]]
+
  | source title= [[Index:Reit und Turnierbuch (MS 23.279)]]
 
  | license    =  
 
  | license    =  
 
}}
 
}}
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== Additional Resources ==
 
== Additional Resources ==
  
 
+
{{bibliography}}
  
 
== References ==
 
== References ==
  
 
{{reflist|2}}
 
{{reflist|2}}
{{DEFAULTSORT: Wilhalm Hutter, Jörg}}
+
{{DEFAULTSORT: Wilhalm, Jörg}}
 
{{Liechtenauer tradition}}
 
{{Liechtenauer tradition}}
 
__FORCETOC__
 
__FORCETOC__
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[[Category:Armored Fencing]]
 
[[Category:Armored Fencing]]
 +
[[Category:Dagger]]
 
[[Category:Longshield]]
 
[[Category:Longshield]]
 
[[Category:Longsword]]
 
[[Category:Longsword]]
 
[[Category:Man vs. Woman]]
 
[[Category:Man vs. Woman]]
 
[[Category:Mounted Fencing]]
 
[[Category:Mounted Fencing]]
[[Category:Navaja]]
 
  
 
[[Category:New format]]
 
[[Category:New format]]
 +
[[Category:Modular display candidate]]

Latest revision as of 20:17, 30 November 2023

Jörg Wilhalm
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

Jörg Wilhalm was a 16th century German fencing master. He refers to himself as a hatter (Hutter), 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 Wilhalm: 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 Wilhalm 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 an excerpt of Branch C of the pseudo-Peter von Danzig gloss which Gregor Erhart attributes to one Nicolaüs and dates to 1489.[1]

There are three extant manuscripts of Wilhalm'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 Wilhalm'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, Wilhalm 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 Wilhalm'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 Wilhalm 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. Wilhalm'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 Wilhalm'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. Wilhalm'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 Wilhalm's own explanations.

A final set of two copies of Wilhalm's work, Cod.Guelf.1.6.3 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, jousting, and tournaments. These manuscripts contain Wilhalm's original text (unlike Mair's version), but the elaborate artwork includes details from multiple prior versions of Wilhalm's work, suggesting that Schemel's source manuscript may remain to be discovered. A third manuscript of Schemel's work also exists, copied from the MS KK5247 in 1838, but such a late work has little to contribute to any analysis of the tradition.

Treatise

In order to compress these tables and avoid empty columns, the Glasgow version of the long sword section and the draftbook for the short sword and mounted fencing sections appear in the same column (since they don't overlap). The three additional versions of the short sword and mounted fencing appear at the far side of those tables. The section containing uncaptioned plays only appears in three manuscripts, so the others are all omitted.

Additional Resources

The following is a list of publications containing scans, transcriptions, and translations relevant to this article, as well as published peer-reviewed research.

References

  1. MS E.1939.65.354, folio 189r; the complete text of Branch C is only given 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. Verse 52
  8. Treibn?
  9. Meaning as though armored
  10. At the end of the first line “zwiuach” is written with an “h” which is a scribal error.
  11. Note: different hand
  12. Same hand as previous.
  13. Change in scribe's hand?
  14. schnidt
  15. Change in hand
  16. Disappears into the margin.
  17. The rest of the paragraph is cut off.
  18. Word disappears into margin.
  19. Matthias Lexer's Mittelhochdeutsch Handwoerterbuch defines 'sippen' as 'verwant sein mit einem (dat.)'
  20. unleserliche Notiz zweier Wörter am unteren Seitenrand
  21. The last word disappears partly in trimming.
  22. 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.
  23. I omitted the translation of 'in Seim helm' in order to make the translation easier to read.
  24. The rest of the text is badly damaged at the bottom, disappears in the trimming and is not decipherable.
  25. The text disappears in trimming and is not decipherable.
  26. The rest of the text disappears in trimming and is not decipherable.
  27. The text disappears in trimming and is not decipherable.
  28. The text disappears in trimming.
  29. The rest of 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 text disappears in trimming and is not decipherable.
  33. The rest of the text disappears in trimming and is not decipherable.
  34. In a second hand.
  35. In a third hand.
  36. In a different hand.
  37. In a different hand.
  38. korrigiert aus »mich«
  39. korrigiert aus »tengke«
  40. Notiz Mairs
  41. Notiz Mairs
  42. 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.