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Difference between revisions of "Joachim Meyer"

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| <p>Noble high-born Prince, Your Princely Grace, my submissive obedient willing and diligent service is ready at all times, gracious Lord, The ancient scholars have not in vain made the art of fencing famous with all praise and diligence to all and the same enthusiastic princes and lords imagined especially because of the greater part of chivalrous fights and excellent deeds, hence an origin was taken and credibly told, by which many of the most famous minds are so awakened and strengthened that they may be praised and honored for their high observance and administration of war, and will be magnificent, Therefore, up to the present day, the inspired practice and the art of fencing has not fallen to any decline but has retained its old praises and worthiness by all, the youth are instructed in many noble deeds and practices, solely in accordance with all the arts, intact and undamaged, in the old traditional standings, and have become infatuated. But since I have heard and understood how that Your Princely Grace bears no displeasure to such honorable fencing but much more gracious respect to such fighting ''stucken'', and how they are not to be divided, and that as such, their virtues are composed in writing, the same to give Your Grace an easy account of all these ''stucke'', done to keep and retain the much covered arts quite free from defects, in subservience, I shall not spare my diligence, in which, Your Princely Grace, through my submissive means and ways, and as much as I have learned from youth and sought to describe and show here. Which and although it might be a little longer than I myself hoped, and that Your Princely Grace shall forgive and take into account that such multiple works require so much time and effort to write. To this end, it would not be enough that one weapon, two or three is taught and delivered to you, but rather that one stuck is attached to the other like in a chain, one thing after another is noted, and experience is gained, and one weapon is the teacher of another, I have been caused to assemble the entire fencing art, as if it was very proper and I, in consideration, have ascribed this tract to Your Princely Grace as a princely person, and have produced it solely by the limited ''stucken'' of the same, for Your Princely Grace, giving their proper titles and names, how I know and am obliged to do, also in good part so that the teaching can be clearly understood, and brought to this point, that some ''stucken'' are so completely incomprehensible for and to the hand, that I myself may scarcely understand again their same proper titles and reverence, not to mention where the honorific words should remain, so that it might be of use to someone, that thus not intentionally, but rather without obscuring the art, the pieces have been written with general words. I must show that the understanding is clearly taken without any error, even where one can apply a school law, the following may you learn and understand for yourself, but with what effort and work it will be done, an art that must be arranged and learned in practice alone, delivered here in writing for the eyes, and equally beheld as if they were to be practiced with the hands and the whole body. Put to paper and penned, especially those which were previously attempted and understood by few, I submissively give Your Princely Grace a high princely understanding and a graceful submission for your acceptance, from my slight ability to reveal the fencing arts in an understandable way, and to disclose the same in an intelligible manner sparing neither diligence nor effort (although the same content might be unremarkable). However, Your Princely Grace, I am most hopeful that you will graciously accept and embrace such a work as I have done, which has been carried out according to my will and how then such work has verily flowed from a loyal heart to Your Princely Grace in all possible service and in devoted submissiveness, from me as a faithful servant hereby most diligently commanded in graciousness, dated 7 March 1561.
+
| <p>Noble high-born Prince, Your Princely Grace, my submissive obedient willing and diligent service is ready at all times, gracious Lord, The ancient scholars have not in vain made the art of fencing famous with all praise and diligence to all and the same enthusiastic princes and lords imagined especially because of the greater part of chivalrous fights and excellent deeds, hence an origin was taken and credibly told, by which many of the most famous minds are so awakened and strengthened that they may be praised and honored for their high observance and administration of war, and will be magnificent, Therefore, up to the present day, the inspired practice and the art of fencing has not fallen to any decline but has retained its old praises and worthiness by all, the youth are instructed in many noble deeds and practices, solely in accordance with all the arts, intact and undamaged, in the old traditional standings, and have become infatuated. But since I have heard and understood how that Your Princely Grace bears no displeasure to such honorable fencing but much more gracious respect to such fighting ''Stucken'', and how they are not to be divided, and that as such, their virtues are composed in writing, the same to give Your Grace an easy account of all these ''Stucke'', done to keep and retain the much covered arts quite free from defects, in subservience, I shall not spare my diligence, in which, Your Princely Grace, through my submissive means and ways, and as much as I have learned from youth and sought to describe and show here. Which and although it might be a little longer than I myself hoped, and that Your Princely Grace shall forgive and take into account that such multiple works require so much time and effort to write. To this end, it would not be enough that one weapon, two or three is taught and delivered to you, but rather that one stuck is attached to the other like in a chain, one thing after another is noted, and experience is gained, and one weapon is the teacher of another, I have been caused to assemble the entire fencing art, as if it was very proper and I, in consideration, have ascribed this tract to Your Princely Grace as a princely person, and have produced it solely by the limited ''Stucken'' of the same, for Your Princely Grace, giving their proper titles and names, how I know and am obliged to do, also in good part so that the teaching can be clearly understood, and brought to this point, that some ''Stucken'' are so completely incomprehensible for and to the hand, that I myself may scarcely understand again their same proper titles and reverence, not to mention where the honorific words should remain, so that it might be of use to someone, that thus not intentionally, but rather without obscuring the art, the pieces have been written with general words. I must show that the understanding is clearly taken without any error, even where one can apply a school law, the following may you learn and understand for yourself, but with what effort and work it will be done, an art that must be arranged and learned in practice alone, delivered here in writing for the eyes, and equally beheld as if they were to be practiced with the hands and the whole body. Put to paper and penned, especially those which were previously attempted and understood by few, I submissively give Your Princely Grace a high princely understanding and a graceful submission for your acceptance, from my slight ability to reveal the fencing arts in an understandable way, and to disclose the same in an intelligible manner sparing neither diligence nor effort (although the same content might be unremarkable). However, Your Princely Grace, I am most hopeful that you will graciously accept and embrace such a work as I have done, which has been carried out according to my will and how then such work has verily flowed from a loyal heart to Your Princely Grace in all possible service and in devoted submissiveness, from me as a faithful servant hereby most diligently commanded in graciousness, dated 7 March 1561.
 
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{{section|Page:MS Bibl. 2465 IIIr.jpg|2|lbl=IIIr.2|p=1}} {{paget|Page:MS Bibl. 2465|IIIv|jpg|p=1}} {{paget|Page:MS Bibl. 2465|IVr|jpg|p=1}} {{section|Page:MS Bibl. 2465 IVv.jpg|1|lbl=IVv.1|p=1}}
 
{{section|Page:MS Bibl. 2465 IIIr.jpg|2|lbl=IIIr.2|p=1}} {{paget|Page:MS Bibl. 2465|IIIv|jpg|p=1}} {{paget|Page:MS Bibl. 2465|IVr|jpg|p=1}} {{section|Page:MS Bibl. 2465 IVv.jpg|1|lbl=IVv.1|p=1}}
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! <p>Figures</p>
 
! <p>Figures</p>
! <p>{{rating}}</p>
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! <p>{{rating|c}}<br/>by [[Kevin Maurer]]</p>
 
! <p>[[Joachim Meyers Fechtbuch (MS Bibl. 2465)|Munich Version]]{{edit index|Joachim Meyers Fechtbuch (MS Bibl. 2465)}}<br/>Transcribed by [[Olivier Dupuis]]</p>
 
! <p>[[Joachim Meyers Fechtbuch (MS Bibl. 2465)|Munich Version]]{{edit index|Joachim Meyers Fechtbuch (MS Bibl. 2465)}}<br/>Transcribed by [[Olivier Dupuis]]</p>
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|-
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|
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| <p>Firstly will each one of the actions in Fencing be divided into three parts which are particularly good to note. Attacking, following after, withdrawal or ending, then to the first in the onset send your attacks through the Guards and cuts like they follow afterwards here, however to the other parts and the middle work, this will be reprinted with the handworks, and a mixture of convenient cuts. And lastly to the ending, or the withdrawal, how orderly each one will hereafter be diligently written and taught.</p>
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| {{section|Page:MS Bibl. 2465 001r.jpg|1|lbl=1r.1}}
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|-
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|
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| <p>Further, you should note the Before and After, weak and strong. The Before is when you drive with your ''Stücken'' so that he cannot come to his senses, especially by positioning yourself as close as he is, and how he defends before your ''Stücken'' and these same wants to break and bar, with this, he runs off the Before to you. The After is, when you have been rushed upon by your opponent how it is reported above. Thus you should respond ''Indes'' quickly with convenient work, with this, you are strongest on his ''Stücken'', when you go on with your work in the Before, and in this you are crowded so that you must displace him after, thus is a constant changing with the Before and After, now you have it, then he does, but he who does not pay attention to it, he will never learn to fence.</p>
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|
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{{section|Page:MS Bibl. 2465 001r.jpg|2|lbl=1r.2|p=1}} {{section|Page:MS Bibl. 2465 001v.jpg|1|lbl=1v.1|p=1}}
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|-
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| rowspan="2" | [[File:MS Bibl. 2465 001v.jpg|400px|center]]
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| <p>'''Divisions of the sword to the Weak and Strong'''</p>
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<p>The Sword is firstly divided in two parts, namely from the grip to the middle of the blade which is known as the Strong, from the middle to the most forward, is the Weak.</p>
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| {{section|Page:MS Bibl. 2465 001v.jpg|2|lbl=1v.2}}
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|-
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| <p>Item, the sword is further divided in four parts how the figure shows. With the inward part, that is the haft, and (with it) the work with the pommel and cross and haft will be understood, in the next part, thereafter will the work with cutting and pushing and what belongs to the Strong be understood, to the third part of the sword should be noted the alterable work of the Weak and Strong after opportunity and liking. Which alone is extremely weak for you to work properly to the Openings.</p>
 +
| {{section|Page:MS Bibl. 2465 001v.jpg|3|lbl=1v.3}}
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|-
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|
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| <p>'''Hard and Soft'''</p>
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<p>Thus you shall mark in the binding of the swords, as you shall feel if he has become hard or soft in the bind, with the cut. Item; If he is yet again, strong or weak, and is usually more watchful of the weak binding before the strong, how hereafter in the fencing it can be seen.</p>
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| {{section|Page:MS Bibl. 2465 001v.jpg|4|lbl=1v.4}}
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|-
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|
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| <p>In order that the sword fencing and the following ''stuck'' are understandable, I will explain my following ''Zedel'', how I want the words to have understanding, according to the order N (namely) beginning, middle and end.</p>
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| {{section|Page:MS Bibl. 2465 002r.jpg|1|lbl=2r.1}}
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|-
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|
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| <p>'''Zedel'''</p>
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The 4 Main Guards, namely Tag, Fool, Ox, Plow.</p>
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| {{section|Page:MS Bibl. 2465 002r.jpg|2|lbl=2r.2}}
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|-
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|
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| <p>The 8 secondary guards, Longpoint, Iron Door, Hanging point, Speak window, Key, Sideguard, Barrier guard and Wrath guard.</p>
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| {{section|Page:MS Bibl. 2465 002r.jpg|3|lbl=2r.3}}
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|-
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|
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| <p>The 5 Master cuts, Wrath strike, Crooked Strike, Thwart Strike, Scalp strike, Squinter strike.</p>
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| {{section|Page:MS Bibl. 2465 002r.jpg|4|lbl=2r.4}}
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|-
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|
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| <p>The 6 forbidden Cuts, Blind cut, Rebound cut, Short Cut, Joint Cut, Clashing Cut, Winding Cut.</p>
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| {{section|Page:MS Bibl. 2465 002r.jpg|5|lbl=2r.5}}
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|-
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|
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| <p>'''Handworks'''</p>
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<p>Binding on, Remaining, Slicing, Striking around, Chasing after, Snapping around, running off, Doubling, Deceiving, Flitting, Failing, Circle, Looping, Winding, Winding through, Reversing, Changing through, Running over, Setting off, Cutting away, Pulling, Hand pushing, Sliding, Hanging, Barring, Blocking, Wrenching out, Gripping over, Weak pushing.<ref>Up to this point, the text matches the Lund manuscript, folia 6r to 7r.</ref></p>
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| {{section|Page:MS Bibl. 2465 002r.jpg|6|lbl=2r.6}}
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|-
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|
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| <p>'''Of the 4 Guards'''</p>
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<p>First of all, the ancients not only used the 4 guards for good in attacking, but also hid our so-called fencing summarily in them, that namely they had told and intended with all high guards the cuts from above. With the Fool, however, all cuts from below were therefore called Fool, because all things from below are to be regarded as contrary to what comes from above. They have therefore composed their whole fencing in two cuts namely from above and from below so that no cut can be thrown, for it must be from above or from below and even if one cuts a middle or Thwart strike, then that cut still has a common name with the high or low cut, then just as no middle cut can be made, unless it will go somewhat from below or above. So by the ox and the plow they intended the thrust, that is, the upper and lower thrust, which, however, in our present time is not in the fencing for several reasons, I will then save oxen and plow together with the thrusts until the rapier, where I will then extensively cover it.</p>
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| {{section|Page:MS Bibl. 2465 002r.jpg|7|lbl=2r.7}}
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{{section|Page:MS Bibl. 2465 002v.jpg|1|lbl=2v.1}}
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|-
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|
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| <p>But how each Guard is to be made or understood will be recorded in figures.</p>
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| {{section|Page:MS Bibl. 2465 002v.jpg|2|lbl=2v.2}}
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|-
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|
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| <p>'''Wrath cut'''</p>
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<p>Wrath cut is done thus, when you are in ''Zufechten'', then come in the Ox or take the sword onto the right shoulder so that the left foot stands forth, step and cut with the long edge from the right diagonally to his left whether to the head or body.</p>
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| {{section|Page:MS Bibl. 2465 002v.jpg|3|lbl=2v.3}}
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|-
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|
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| <p>'''Crooked Cut'''</p>
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<p>Stand with the left foot forward, hold the sword to the right, if one cuts at your opening from above, then step with your right foot well out from his strike to his left side, and cut crooked ''Indes'' with crossed arms between his sword and head with the long edge to his arm.</p>
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| {{section|Page:MS Bibl. 2465 003r.jpg|1|lbl=3r.1}}
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|-
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|
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| <p>'''Thwart cut'''</p>
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<p>Stand how it is described above and hold the sword to the right like before, if one cuts at you from above then step and cut with the short edge to his strike so that the hands are high and point hangs slightly downwards and the thumb is placed under the shield.</p>
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| {{section|Page:MS Bibl. 2465 003r.jpg|2|lbl=3r.2}}
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|-
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|
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| <p>'''Scalp cut'''</p>
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<p>The scalp cut is a straight cut from above to the head.</p>
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| {{section|Page:MS Bibl. 2465 003r.jpg|3|lbl=3r.3}}
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|-
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|
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| <p>'''Squinter cut'''</p>
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<p>In the ''Zufechten'' come as described before and hold the sword as described before, if one cuts at you then step and cut in with crossed hands from above simultaneously with him like all things from the Crooked cut are told.</p>
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| {{section|Page:MS Bibl. 2465 003r.jpg|4|lbl=3r.4}}
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|-
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|
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| <p>'''Scalper'''</p>
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<p>Is done thusly, stand in the Ox like the figure of the Ox shows and cut from below with the half edge through the scalp line so that the weapon flies upwards into the Roof guard.</p>
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| {{section|Page:MS Bibl. 2465 003v.jpg|1|lbl=3v.1}}
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|-
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|
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| <p>'''Blind cut'''</p>
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<p>In ''Zufechten'' come into the right Plow, instantly step and heave the hands upwards to the hanging on the right side, threaten him to the right with the haft, instantly flick with the flat and crossed hands to his left ear.</p>
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| {{section|Page:MS Bibl. 2465 003v.jpg|2|lbl=3v.2}}
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|-
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|
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| <p>'''Rebound cut'''</p>
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<p>So, in the ''Zufechten'' come into the right Ox, instantly pull the sword around the head step and cut with the inside flat horizontally onto his sword, allow the hands to rebound and strike in again with the flat overhand.</p>
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| {{section|Page:MS Bibl. 2465 003v.jpg|3|lbl=3v.3}}
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|-
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|
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| <p>'''Short Cut'''</p>
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<p>So, stand with the right foot forward in Hanging point, pull upwards and around your head and cut with the short edge from your lower left to his right ear or arm, in the strike your thumb shall face up.</p>
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| {{section|Page:MS Bibl. 2465 003v.jpg|4|lbl=3v.4}}
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| {{section|Page:MS Bibl. 2465 004r.jpg|2|lbl=4r.2}}
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| {{section|Page:MS Bibl. 2465 004r.jpg|3|lbl=4r.3}}
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| {{section|Page:MS Bibl. 2465 004v.jpg|1|lbl=4v.1}}
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| {{section|Page:MS Bibl. 2465 004v.jpg|2|lbl=4v.2}}
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| <p>Secondly one should note the Before and After, Weak and Strong. The Before is when you drive with your ''Stücken'' so that he cannot come to his senses, especially by positioning yourself close, and how he defends before your ''Stücken'' and these same would like to break and bar, with this, he runs off the Before to you.</p>
+
| <p>Secondly one should note the Before and After, Weak and Strong. The Before is when you drive with your ''Stücken'' so that he cannot come to his senses, especially by positioning yourself close, and how he defends before your ''Stücken'' and these same would like to break and bar, with this, he runs off the Before to you. The After is, when you have been rushed upon by your opponent how it is reported next and above. Thus you should respond ''Indes'' quickly with convenient work, with this, you are strongest on his ''Stücken'', when you lay on with your work in the Before, and in this you are crowded so that you must displace him after, thus is a constant changing with the Before and After, now you have it, then he does, But he who does not pay attention to it, he will nonetheless never learn to fence.</p>
 
 
<p>The After is, when you have been rushed upon by your opponent how it is reported next and above. Thus you should respond ''Indes'' quickly with convenient work, with this, you are strongest on his ''Stücken'', when you lay on with your work in the Before, and in this you are crowded so that you must displace him after, thus is a constant changing with the Before and After, now you have it, then he does, But he who does not pay attention to it, he will nonetheless never learn to fence.</p>
 
 
| {{section|Page:MS A.4º.2 06r.jpg|2|lbl=6r.2}}
 
| {{section|Page:MS A.4º.2 06r.jpg|2|lbl=6r.2}}
  
 
|-  
 
|-  
|  
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| rowspan="2" | [[File:MS A.4º.2 06v.jpg|400px|center]]
 
| <p>'''Divisions of the sword to the Weak and Strong'''</p>
 
| <p>'''Divisions of the sword to the Weak and Strong'''</p>
  
<p>The Sword is firstly divided in two parts, namely from the grip to the middle of the blade which is known as the Strong, from the middle to the most forward, is the Weak furthermore is the sword divided in four parts how the figure below this shows.</p>
+
<p>The Sword is firstly divided in two parts, namely from the grip to the middle of the blade which is known as the Strong, from the middle to the most forward, is the Weak.</p>
 
| {{section|Page:MS A.4º.2 06v.jpg|1|lbl=6v.1}}
 
| {{section|Page:MS A.4º.2 06v.jpg|1|lbl=6v.1}}
  
 
|-  
 
|-  
|
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| <p>Furthermore is the sword divided in four parts how the figure below this shows. With the inward part, that is the haft, and [with it] the work with the pommel and cross and haft will be understood, in the next part, thereafter will the work with cutting and pushing and what belongs to the Strong be understood, to the third part of the sword should be noted the alterable work of the Weak and Strong after opportunity and liking. Which alone is extremely weak for you to work properly to the Openings.</p>
| <p>With the inward part, that is the haft, and [with it] the work with the pommel and cross and haft will be understood, in the next part, thereafter will the work with cutting and pushing and what belongs to the Strong be understood, to the third part of the sword should be noted the alterable work of the Weak and Strong after opportunity and liking. Which alone is extremely weak for you to work properly to the Openings.</p>
 
 
| {{section|Page:MS A.4º.2 06v.jpg|2|lbl=6v.2}}
 
| {{section|Page:MS A.4º.2 06v.jpg|2|lbl=6v.2}}
  
 
|-  
 
|-  
| rowspan="3" | [[File:MS A.4º.2 06v.jpg|400px|center]]
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|  
 
| <p>'''Hard and Soft'''</p>
 
| <p>'''Hard and Soft'''</p>
  
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| <p>Item If he is yet again, strong or weak, and is usually more watchful of the weak binding before the strong, how hereafter in the fencing it can be seen.</p>
 
| <p>Item If he is yet again, strong or weak, and is usually more watchful of the weak binding before the strong, how hereafter in the fencing it can be seen.</p>
 
| {{section|Page:MS A.4º.2 06v.jpg|4|lbl=6v.4}}
 
| {{section|Page:MS A.4º.2 06v.jpg|4|lbl=6v.4}}
  
 
|-  
 
|-  
 +
|
 
| <p>With this however the Sword fencing and the following written ''Stuck'' is more understandable thus as I explain my ''Zedel'' according to the rules, as I want the words to have understanding so I have named the order; the Beginning, Middle and End.</p>
 
| <p>With this however the Sword fencing and the following written ''Stuck'' is more understandable thus as I explain my ''Zedel'' according to the rules, as I want the words to have understanding so I have named the order; the Beginning, Middle and End.</p>
 
| {{section|Page:MS A.4º.2 06v.jpg|5|lbl=6v.5}}
 
| {{section|Page:MS A.4º.2 06v.jpg|5|lbl=6v.5}}

Revision as of 02:43, 31 March 2024

Joachim Meyer
Born ca. 1537
Basel, Germany
Died 24 February 1571 (aged 34)
Schwerin, Germany
Spouse(s) Appolonia Ruhlman
Occupation
Citizenship Strasbourg
Patron
  • Georg Johann Ⅰ
  • Heinrich von Eberst
Movement Freifechter
Influences
Influenced
Genres Fencing manual
Language Early New High German
Notable work(s) Gründtliche Beschreibung der... Kunst des
Fechtens
(1570)
Manuscript(s)
First printed
english edition
Forgeng, 2006
Concordance by Michael Chidester
Translations
Signature Joachim Meyer sig.jpg

Joachim Meyer (ca. 1537 - 1571)[1] was a 16th century German cutler, Freifechter, and fencing master. He was the last major figure in the tradition of the German grand master Johannes Liechtenauer, and in the later years of his life he devised at least four distinct and quite extensive fencing manuals. Meyer's writings incorporate both the traditional Germanic technical syllabus and contemporary systems that he encountered in his travels, including Italian rapier fencing. In addition to his fencing practice, Meyer was a Burgher and a master cutler.[2]

Meyer was born in Basel,[3] where he presumably apprenticed as a cutler. He writes in his books that he traveled widely in his youth, most likely a reference to the traditional Walz that journeyman craftsmen were required to take before being eligible for mastery and membership in a guild. Journeymen were often sent to stand watch and participate in town and city militias (a responsibility that would have been amplified for the warlike cutlers' guild), and Meyer learned a great deal about foreign fencing systems during his travels. It's been speculated by some fencing historians that he trained specifically in the Bolognese school of fencing, but this doesn't stand up to closer analysis.[4]

Records show that by 4 June 1560 he had settled in Strasbourg, where he married Appolonia Ruhlman (Ruelman)[1] and was granted the rank of master cutler. His interests had already moved beyond smithing, however, and in 1561, Meyer's petition to the City Council of Strasbourg for the right to hold a Fechtschule was granted. He would repeat this in 1563, 1566, 1567 and 1568;[5] the 1568 petition is the first extant record in which he identifies himself as a fencing master.

Meyer probably wrote his first manuscript (MS Bibl. 2465) in 1561 for Georg Johann Ⅰ, Count Palatine of Veldenz,[6] and his second (MS A.4º.2) in 1568 for Otto (later Count of Solms-Sonnewalde).[7] Both of these manuscripts contain a series of lessons on training with long sword, dusack, and rapier; the 1561 also covers dagger, polearms, and armored fencing. His third manuscript (MS Var.82), written between 1563 and 1571 and containing a dedication at the end to Heinrich, Count of Eberstein, is of a decidedly different nature. Like many fencing manuscripts from the previous century, it is an anthology of treatises by a number of prominent German masters including Sigmund ain Ringeck, pseudo-Peter von Danzig, and Martin Syber, and also includes a brief outline by Meyer himself on a system of rapier fencing based on German Messer teachings.

Finally, on 24 February 1570, Meyer completed an enormous treatise entitled Gründtliche Beschreibung, der freyen Ritterlichen unnd Adelichen kunst des Fechtens, in allerley gebreuchlichen Wehren, mit vil schönen und nützlichen Figuren gezieret und fürgestellet ("A Thorough Description of the Free, Chivalric, and Noble Art of Fencing, Showing Various Customary Defenses, Affected and Put Forth with Many Handsome and Useful Drawings"); it was dedicated to Johann Casimir, Count Palatine of Simmern,[6] and illustrated at the workshop of Tobias Stimmer.[8] It contains all of the weapons of the 1561 and '68 manuscripts apart from fencing in armor, and dramatically expands his teachings on each.

Unfortunately, Meyer's writing and publication efforts incurred significant debts (about 300 crowns), which Meyer pledged to repay by Christmas of 1571.[1] Late in 1570, Meyer accepted the position of Fechtmeister to Duke Johann Albrecht of Mecklenburg at his court in Schwerin. There Meyer hoped to sell his book for a better price than was offered locally (30 florins). Meyer sent his books ahead to Schwerin, and left from Strasbourg on 4 January 1571 after receiving his pay. He traveled the 800 miles to Schwerin in the middle of a harsh winter, arriving at the court on 10 February 1571. Two weeks later, on 24 February, Joachim Meyer died. The cause of his death is unknown, possibly disease or pneumonia.[5]

Antoni Rulman, Appolonia’s brother, became her legal guardian after Joachim’s death. On 15 May 1571, he had a letter written by the secretary of the Strasbourg city chamber and sent to the Duke of Mecklenburg stating that Antoni was now the widow Meyer’s guardian; it politely reminded the Duke who Joachim Meyer was, Meyer’s publishing efforts and considerable debt, requested that the Duke send Meyer’s personal affects and his books to Appolonia, and attempted to sell some (if not all) of the books to the Duke.[1]

Appolonia remarried in April 1572 to another cutler named Hans Kuele, bestowing upon him the status of Burgher and Meyer's substantial debts. Joachim Meyer and Hans Kuele are both mentioned in the minutes of Cutlers' Guild archives; Kuele may have made an impression if we can judge that fact by the number of times he is mentioned. It is believed that Appolonia and either her husband or her brother were involved with the second printing of his book in 1600. According to other sources, it was reprinted yet again in 1610 and in 1660.[9][10]

Contents

Treatises

Joachim Meyer's writings are preserved in three manuscripts prepared in the 1560s: the 1561 MS Bibl. 2465 (Munich), dedicated to Georg Johannes von Veldenz; the 1563-68 MS A.4º.2 (Lund), dedicated to Otto von Solms; and the MS Var. 82 (Rostock), including notes on teachings from Stephan Heinrich von Eberstein and which Meyer may have still been working at the time of his death in 1571. Dwarfing these works is the massive book he published in 1570 entitled Gründtliche Beschreibung der ...Kunst des Fechtens ("A Thorough Description of the... Art of Fencing"), dedicated to Johann Kasimir von Pfalz-Simmern. Meyer's writings purport to teach the entire art of fencing, something that he claimed had never been done before, and encompass a wide variety of teachings from disparate sources and traditions. To achieve this goal, Meyer seems to have constructed his treatises as a series of progressive lessons, describing a process for learning to fence rather than merely outlining the underlying theory or listing the techniques. In keeping with this, he illustrates his techniques with depictions of fencers in courtyards using training weapons such as two-handed foils, wooden dusacks, and rapiers with ball tips.

The first section of Meyer's treatise is devoted to the long sword (the sword in two hands), which he describes as the foundational weapon of his system, and this section devotes the most space to fundamentals like stance and footwork. His long sword system draws upon the teachings of Freifechter Andre Paurenfeyndt (via Christian Egenolff's reprint) and Liechtenauer glossators Sigmund ain Ringeck and Lew, as well as using terminology otherwise unique to the brief Recital of Martin Syber. Not content merely to compile these teachings as his contemporary Paulus Hector Mair was doing, Meyer sought to update—even reinvent—them in various ways to fit the martial climate of the late sixteenth century, including adapting many techniques to accommodate the increased momentum of a greatsword and modifying others to use beats with the flat and winding slices in place of thrusts to comply with street-fighting laws in German cities (and the rules of the Fechtschule).

The second section of Meyer's treatises is designed to address new weapons gaining traction in German lands, the dusack and the rapier, and thereby find places for them in the German tradition. His early Lund manuscript presents a more summarized syllabus of techniques for these weapons, while his printed book goes into greater depth and is structured more in the fashion of lesson plans.[11] Meyer's dusack system, designed for the broad proto-sabers that spread into German lands from Eastern Europe in the 16th century,[12] combines the old Messer teachings of Johannes Lecküchner and the dusack teachings of Andre Paurenfeyndt with other unknown systems (some have speculated that they might include early Polish or Hungarian saber systems). His rapier system, designed for the lighter single-hand swords spreading north from Iberian and Italian lands, seems again to be a hybrid creation, integrating both the core teachings of the 15th century Liechtenauer tradition as well as components that are characteristic of the various regional Mediterranean fencing systems (including, perhaps, teachings derived from the treatise of Achille Marozzo). Interestingly, Meyer's rapier teachings in the Rostock seem to represent an attempt to unify these two weapon system, outlining a method for rapier fencing that includes key elements of his dusack teachings; it is unclear why this method did not appear in his book, but given the dates it may be that they represent his last musings on the weapon, written in the time between the completion of his book in 1570 and his death a year later.

The third section of Meyer's treatise is omitted in the Lund manuscript but present in the Munich and the 1570, and covers dagger, wrestling, and various pole weapons; to this, the Munich adds several plays of armored fencing. His dagger teachings, designed primarily for urban self-defense, seem to be based in part on the writings of Bolognese master Achille Marozzo,[13] but also include much unique content of unknown origin (perhaps the anonymous dagger teachings in his Rostock manuscript). His staff material makes up the bulk of this section, beginning with the short staff, which, like Paurenfeyndt, he uses as a training tool for various pole weapons (and possibly also the greatsword), and then moving on to the halberd before ending with the long staff (representing the pike). As with the dagger, the sources Meyer based his staff teachings on are largely unknown.

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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. 1.0 1.1 1.2 1.3 Dupuis, Olivier. Joachim Meyer, escrimeur libre, bourgeois de Strasbourg (1537 ? - 1571). In Maîtres et techniques de combat. Dijon: AEDEH, 2006.
  2. Naumann, Robert. Serapeum. Vol. 5. T.O. Weigel, 1844. pp 53-59.
  3. According to his wedding certificate.
  4. The influence of Achilles Marozzo's printed treatise is, however, apparent in the rapier illustrations of his 1561 manuscript and the dagger plays in his book.
  5. 5.0 5.1 Van Slambrouck, Christopher. "The Life and Work of Joachim Meyer". Meyer Frei Fechter Guild, 2010. Retrieved 29 January 2010.
  6. 6.0 6.1 Though as a prince of the Wittelsbach dynasty, he was addressed by the loftiest titles held by the family: Count Palatine of the Rhine and Duke of Bavaria.
  7. Norling, Roger. "The history of Joachim Meyer’s fencing treatise to Otto von Solms". Hroarr.com, 2012. Retrieved 14 February 2015.
  8. Whose members included Christoph Maurer and Hans Christoffel Stimmer.
  9. Schaer, Alfred. Die altdeutschen fechter und spielleute: Ein beitrag zur deutschen culturgeschichte. K.J. Trübner, 1901. p 76.
  10. Pollock, W. H., Grove, F. C., and Prévost, C. Fencing. London and Bombay: Longmans, Green, and co, 1897. pp 267-268.
  11. Roberts, James. "System vs Syllabus: Meyer’s 1560 and 1570 sidesword texts". Hroarr.com, 2014. Retrieved 14 February 2015.
  12. Roger Norling. "The Dussack - a weapon of war". Hroarr.com, 2012. Retrieved 6 October 2015.
  13. Norling, Roger. "Meyer and Marozzo dagger comparison". Hroarr.com, 2012. Retrieved 15 February 2015.
  14. Up to this point, the text matches the Lund manuscript, folia 6r to 7r.
  15. 15.0 15.1 15.2 orig. dolchen; all instances of "dagger" in this document are dolchen excepy when footnoted.
  16. orig. ararmschirleinn
  17. orig. stichen, "thrust"/"stab" (context dependent); instances of stabbing that use other verbs will be footnoted.
  18. orig. Armschiene - seemingly a part of the armour
  19. orig. geordinirtt
  20. orig. schießen; see here
  21. orig. findt
  22. orig. spis
  23. orig. schwertt
  24. orig. sebell
  25. 25.0 25.1 orig. kempff degen; it can mean either “combat sword” or “combat dagger” (Source 1, Source 2). See here for a painting with kempffdegen in its caption
  26. 26.0 26.1 orig. Anngreiffen; "attacking" or "grappling"; cf. angreifen
  27. orig. zimlich
  28. alt. "endure"
  29. Ittem has many potential meanings: "further", "likewise", "the same as", and also simply as a means of 'bullet-pointing' numerous items. I've found that "likewise" works as an apt translation most of the time, but for clarity I will leave it untranslated. See this article.
  30. orig. noch eines Idenn woll gefalen
  31. orig. Reren; cf. Rohre/Röhre
  32. orig. lest
  33. orig. Schranckenn
  34. orig. dringen/thringen; refers to pressing one's point into an opponent['s armour/mail], cf. modern sense of "pushing through a crowd". See this glossary for more information
  35. orig. donerschlag; a strike with the hilt of the longsword while holding the blade
  36. orig. vnnd las Inn vorverthobenn; messy ink makes it difficult to transcribe; possible alt. "and read above beforehand"
  37. A blunt strike, as opposed to a cut or slice. See here.
  38. orig. versezen; alt. "parrying"
  39. Unclear.
  40. orig. ansezen; most likely means "pinned", "planted" (in the sense of placing your weapon or hand against an opponent, in a grappling sense); alt. "attacking" (cf. modern ansetzen). See this glossary for more information
  41. orig. erlang
  42. see nachreissen
  43. 43.0 43.1 43.2 43.3 43.4 43.5 43.6 orig. stehenn; often coupled with ansezen in this section; alt. "stand against"
  44. orig. uchsen
  45. orig. Gelenck. Refers to joints in armour, but also body parts - in the context of armoured fencing, it is most likely referring to the joints in the armour
  46. orig. greifest
  47. 47.0 47.1 47.2 47.3 orig. brich
  48. orig. anbrichen
  49. 49.00 49.01 49.02 49.03 49.04 49.05 49.06 49.07 49.08 49.09 49.10 49.11 orig. stos
  50. orig. goch
  51. 51.0 51.1 51.2 51.3 51.4 51.5 51.6 orig. schlag
  52. 52.0 52.1 52.2 see absetzen
  53. orig. drissel; cf. thrissel
  54. orig. schlag dein beidt vnder dein Recht achsell. From interpretation, the word schlag here doesn't make much sense: it's possible that beidt was intended to be said or written as bindt, as in "put your grip under your right shoulder".
  55. orig. Achsell
  56. 56.0 56.1 see Ringen
  57. 57.0 57.1 see arbeiten
  58. 58.0 58.1 58.2 58.3 58.4 58.5 orig. streich, cf. schlag
  59. 59.0 59.1 59.2 59.3 59.4 59.5 59.6 59.7 orig. inndes
  60. alt. "attacks"
  61. orig. last Er dür die seitten
  62. 62.0 62.1 orig. Ring; alt. lists
  63. orig. vergesezsten
  64. 64.0 64.1 64.2 see abzucken
  65. orig. fies
  66. 66.0 66.1 see gleich
  67. unclear transcription; possibly nim, ergo "take the weight"
  68. Unclear.
  69. orig. zwerchs
  70. 70.0 70.1 orig. degen; see kempffdegen
  71. orig. hawen. A cut or slice, as opposed to a blunt strike. See see here.
  72. 72.0 72.1 72.2 orig. bickell; most likely referring to the artificial, "mason's hammer", pickaxe shape of the crossguard in armoured fencing
  73. orig. klos
  74. orig. Stuck
  75. orig. knefftiglich, interpreted as krefftiglich
  76. orig. verfelen - described earlier in 1561 as a feint whereby you wait for your opponent to react to a strike, then change the direction of the strike
  77. orig. entgehenn
  78. orig. faren/auffaren; cf. fahren
  79. originally transcribed as knefftiglich, but krefftiglich (lit. "powerfully") seems more likely, in my opinion
  80. orig. gerecht; possible mistranscription/misspelling of gemecht, lit. "groin" or "genitals"
  81. 81.0 81.1 81.2 orig. las dein bindt fahren, lit. "let your grip drive"; alt. "release your grip and drive"
  82. Possibly "hauberk"(?).
  83. 83.0 83.1 orig. ausnemen; alt. "take out [the blade with a parry]"; "deflect"(?)
  84. orig. verzoblen; cf. verzögern
  85. lit. oben hutt; contrast Oberhutt
  86. orig. heutt; possible verb form of hutt
  87. orig. überwegest
  88. 88.0 88.1 orig. schlagen. Probably means "place" in this context.
  89. orig. sez; no accompanying adposition but I assume he means ansezen
  90. listen
  91. orig. Bundtschlag, lit. "grip strike"
  92. orig. fertt
  93. orig. wie nechst
  94. orig. oder Aber fus gesicht, lit. or but foot face, possible alt. "or his foot or face"
  95. orig. wendt
  96. orig. Reüb
  97. orig. geschmidt, lit. smithed. Possibly misspelling of Geschmeidt, which means "jewellery" - perhaps slang for gemecht ("genitals)".
  98. orig. steßen
  99. orig. abgewünnen
  100. Note that he uses the word degen but seems to refer to the aforementioned "threefold" dagger, which he referred to using the word dolchen.
  101. orig. feder
  102. orig. spietzen
  103. Reference in the left margin to picture on page 61.
  104. orig. auf dz schlos am Rucken; alt. "clasp of the back"
  105. orig. Wappenrock
  106. Unclear whether die refers to the dagger or the heart, here
  107. orig. kurz halbenn; alt. "short edge"
  108. orig. concordiren
  109. This word overwrites an initial die.
  110. The first 10 lines of this paragraph are shorter of 30% than the last four, as if there is a left place here for a picture or a diagram.
  111. The second letter looks a bit like a “b” but it is nonsense. It can be also considered like a small capital “e”.
  112. The first letter corrected from “w” by cancelling the first bow of the letter.
  113. The first letter could also read as an “l", but “b” seems more probable here.
  114. The first letter corrected from “b” by overwriting.
  115. The ink is a bit blurred, particularly in the beginning of the word which results in an ambiguous reading; stucken would be more plausible in this context but does not fit with the appearance of the first couple of letters at all.
  116. The writer first wrote hawst but the “s” has been cancelled afterwards.
  117. Recte: und.
  118. The writer first wrote arms but the final “s” has been cancelled afterwards.
  119. The letter “s” has ben cancelled just before the word den.
  120. Above the letter “i” a large circle is drawn as it is used to mark the letter “u”.
  121. Doubling of the word seitten, considered as a mistake and corrected here as the first finished a line.
  122. Setzen has been written afterwards just under ver- and looks like a catchword; however, the following page does not start with the same word. It could be a mistake of the scribe.
  123. An abbreviation sign at the end of the word tends to signify that it should be expanded to hawen, but it has been cancelled.
  124. The “h” is writen above a “e”.
  125. Unclear reading. The word has been corrected, possibly from zu, which, however, cannot be definitely affirmed.
  126. The words und oder after this word are cancelled.
  127. At this place is a sign that commonly indicates a line break or an end of a paragraph. Here, however, the following text continues in the same line.
  128. The first letter appears to be a cancelled “t”; however the reading remains ambiguous.
  129. The end of this word, sicht is inserted below the line at the right, like a catchword. However, the following written page, fol. 23r, does not start with the same word. Could be a mistake by the scribe or a clue for a missing page.
  130. After this word a large circle is drawn and its only meaning seems to complete the line to the right and avoid a big default in the right alignment.
  131. The letter “d” is cancelled just before the “b” of this word.
  132. The initial letter “b” is written above another letter, maybe a “g”.
  133. This first two letters are written above the letter “k”.
  134. A letter “b” or “l” has been written after this word but has ben cancelled.
  135. The first letter seems to superscribe an initial “I”.
  136. The writer firstly wrote an “m” as a final letter and subsequently cancelled the last leg to get an “n”.
  137. The final letter “t” is written above the line, in replacement for a previously cancelled letter.
  138. This word is written above a previous one, which is unreadable now.
  139. The first letters are difficult to make out due to a (water?) damage.
  140. The first letter of this word has been written above another, now illegible one.
  141. A letter “h” was written in the second position to begin with but cancelled afterwards.
  142. The first letter is curiously composed, but seems to have been readen as a "v".
  143. The second letter has been canceled and corrected by "o" above the line.
  144. The original text is derholhalben derhalben, which seems to be an unnecessary repetition.
  145. Doubling of the word handt, a probable mistake as the first is written a the end of the line. Same mistake as 17r.
  146. Doubling of the words den andern, probable mistake, only it is conserved here.
  147. A lone letter "h" is writen here, perhaps a beginning for “hew”, which was finally written after the digit “4”. Corrected in this edition.
  148. This sentence can be found in the printed book: « und merck wann du zur rechten undern Blöß schlechst, es sey flech, lang oder kurtz » (plate XXIXv from the 1570 edition)
  149. The third letter “h” was cancelled by overwriting it with an “l”.
  150. The letter “a” is crossed out in the beginning of the word.
  151. The first letter was first written in lower case but was corrected with an upper-case letter.
  152. Unclear reading. It appears as if the scribe first intended to write “halber” but noticed his error in the middle of the word. The reverse may be true also.
  153. The "R." has been inserted at the end of the line afterwards.
  154. Right of this place a large blank space remains until the end of the line.
  155. The written put a "n" between sch and enckel and canceled it.
  156. Linck and seitten are reversed in the manuscript but superscribed with “1” and “2” respectively in order to indicate the correct order.
  157. Corrected from Im, the first stroke of the “m” has been cancelled.
  158. Spitz uber- is clearly copied twice, this is probably an eye-skip.
  159. Correction done on sticht by canceling the last letter.
  160. This entire paragraph is justified on the right by a vertical line, unique in the manuscript.
  161. Corrected on Ⅲ.47v.
  162. Corrected on Ⅲ.47v.
  163. The "st" ligature is inverted.
  164. Typo, should be "wolt, könne".
  165. Originally printed "abzutzest", but corrected on Ⅲ.47v.
  166. Originally printed "verhauren", but corrected on Ⅲ.47v.
  167. The "t" is inverted.
  168. Ⅲ.47v indicates that this was printed "erbangen" and needed to be corrected to "erlangen", but that's not true in any copy available for consult.
  169. Originally printed "mim", but corrected on Ⅲ.47v.
  170. Originally printed "Higur", but corrected on Ⅲ.47v.
  171. Originally printed "Fellen", but corrected on Ⅲ.47v.
  172. Originally printed "gem" (with an inverted g), but corrected on Ⅲ.47v.
  173. Originally printed "allo", but corrected on Ⅲ.47v.
  174. Originally printed "Atm", but corrected on Ⅲ.47v.
  175. The first 't' is inverted.
  176. Terminal 'e' is inverted.
  177. Originally printed "bleiden", but corrected on Ⅲ.47v.
  178. Originally printed "klnie", but corrected on Ⅲ.47v.
  179. Originally printed "duch", but corrected on Ⅲ.47v.
  180. The second "e" is inverted.
  181. Originally printed "fein", but corrected on Ⅲ.47v.
  182. Originally printed "behendig ich", but corrected on Ⅲ.47v.
  183. Misnumbered 87r.
  184. 184.00 184.01 184.02 184.03 184.04 184.05 184.06 184.07 184.08 184.09 184.10 184.11 184.12 184.13 184.14 184.15 184.16 184.17 184.18 184.19 184.20 184.21 184.22 184.23 184.24 184.25 184.26 184.27 184.28 184.29 184.30 184.31 indes
  185. palm up
  186. Illegible deletion.
  187. oberhauw
  188. ‘right’ is originally written, ‘left’ is written above it
  189. short edge
  190. “Degen”, lit. dagger, could either refer to a sword or dagger.
  191. short edge
  192. Unleserliche Streichung. Illegible deletion.
  193. Unleserliche gestrichen Einfügung oberhalb der Zeile. Crossed out illegible insertion above the line.
  194. Die Schlaufe des »h« trägt ein Diärese. The loop of the “h” carries a diaeresis.
  195. Korrigiert aus »mitelhauw«. Corrected from “mitelhauw”.
  196. Leicht unleserlich. Slightly illegible.
  197. Überschriebens »vom«. Overwritten “vom”.
  198. Inserted by means of a special mark.
  199. Word inserted next to the text.
  200. Inserted nest to the text.
  201. Zwei Worte am Seitenrand nachgetragen. Two words inserted at the margin.
  202. Wort am Seitenrand nachgetragen. Word inserted at the margin.