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Difference between revisions of "Johannes Liechtenauer"

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| archetype(s)          = Hypothetical
 
| archetype(s)          = Hypothetical
 
| manuscript(s)        = {{collapsible list
 
| manuscript(s)        = {{collapsible list
  | [[Nuremberg Hausbuch (MS 3227a)|MS 3227a]] (ca. 1400s)
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  | [[Pol Hausbuch (MS 3227a)|MS 3227a]] (ca. 1400s)
 
  | [[Talhoffer Fechtbuch (MS Chart.A.558)|MS Chart.A.558]] (1448)
 
  | [[Talhoffer Fechtbuch (MS Chart.A.558)|MS Chart.A.558]] (1448)
  | [[Codex Danzig (Cod.44.A.8)|Cod.44.A.8]] (1452)
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  | [[Starhemberg Fechtbuch (Cod.44.A.8)|Cod.44.A.8]] (1452)
 
  | [[Talhoffer Fechtbuch (MS Thott.290.2º)|MS Thott.290.2º]] (1459)
 
  | [[Talhoffer Fechtbuch (MS Thott.290.2º)|MS Thott.290.2º]] (1459)
 
  | [[Wolfenbüttel Sketchbook (Cod.Guelf.78.2 Aug.2º)|Cod.Guelf.78.2 Aug.2º]] (ca. 1465-80)
 
  | [[Wolfenbüttel Sketchbook (Cod.Guelf.78.2 Aug.2º)|Cod.Guelf.78.2 Aug.2º]] (ca. 1465-80)
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'''Johannes Liechtenauer''' (Hans Lichtenauer, Lichtnawer) was a [[nationality::German]] [[fencing master]] in the 14th or [[century::15th century]]. No direct record of his life or teachings currently exists, and all that we know of both comes from the writings of other masters and scholars. The only account of his life was written by the anonymous author of the [[Nuremberg Hausbuch (MS 3227a)|Nuremberg Hausbuch]], one of the oldest texts in the tradition, who stated that "Master Liechtenauer learnt and mastered the Art in a thorough and rightful way, but he did not invent and put together this Art (as was just stated). Instead, he traveled and searched many countries with the will of learning and mastering this rightful and true Art." He may have been alive at the time of the creation of the fencing treatise contained in the Nuremberg Hausbuch, as that source is the only one to fail to accompany his name with a blessing for the dead.
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'''Johannes Liechtenauer''' (Hans Lichtenauer, Lichtnawer) was a [[nationality::German]] [[fencing master]] in the 14th or [[century::15th century]]. No direct record of his life or teachings currently exists, and all that we know of both comes from the writings of other masters and scholars. The only account of his life was written by the anonymous author of the [[Pol Hausbuch (MS 3227a)|Pol Hausbuch]], one of the oldest texts in the tradition, who stated that "Master Liechtenauer learnt and mastered the Art in a thorough and rightful way, but he did not invent and put together this Art (as was just stated). Instead, he traveled and searched many countries with the will of learning and mastering this rightful and true Art." He may have been alive at the time of the creation of the fencing treatise contained in the Pol Hausbuch, as that source is the only one to fail to accompany his name with a blessing for the dead.
  
 
Liechtenauer was described by many later masters as the "high master" or "grand master" of the art, and a long poem called the ''Zettel'' ("Recital") is generally attributed to him by these masters. Later masters in the tradition often wrote extensive [[gloss]]es (commentaries) on this poem, using it to structure their own martial teachings. Liechtenauer's influence on the German fencing tradition as we currently understand it is almost impossible to overstate. The masters on [[Paulus Kal]]'s roll of the [[Fellowship of Liechtenauer]] were responsible for most of the most significant fencing manuals of the 15th century, and Liechtenauer and his teachings were also the focus of the German fencing guilds that arose in the 15th and 16th centuries, including the [[Marxbrüder]] and the [[Veiterfechter]].
 
Liechtenauer was described by many later masters as the "high master" or "grand master" of the art, and a long poem called the ''Zettel'' ("Recital") is generally attributed to him by these masters. Later masters in the tradition often wrote extensive [[gloss]]es (commentaries) on this poem, using it to structure their own martial teachings. Liechtenauer's influence on the German fencing tradition as we currently understand it is almost impossible to overstate. The masters on [[Paulus Kal]]'s roll of the [[Fellowship of Liechtenauer]] were responsible for most of the most significant fencing manuals of the 15th century, and Liechtenauer and his teachings were also the focus of the German fencing guilds that arose in the 15th and 16th centuries, including the [[Marxbrüder]] and the [[Veiterfechter]].
  
Additional facts have sometimes been presumed about Liechtenauer based on often-problematic premises. The Nuremberg Hausbuch, often erroneously dated to 1389 and presumed to be written by a direct student of Liechtenauer's, has been treated as evidence placing Liechtenauer's career in the mid-1300s.<ref>[[Christian Henry Tobler]]. "Chicken and Eggs: Which Master Came First?" ''In Saint George's Name: An Anthology of Medieval German Fighting Arts''. Wheaton, IL: [[Freelance Academy Press]], 2010. p6</ref> However, given that the Nuremberg Hausbuch may date as late as 1494 and the earliest records of the identifiable members of his tradition appear in the mid 1400s, it seems more probable that Liechtenauer's career occurred toward the beginning of the 15th century. Ignoring the Nuremberg Hausbuch as being of indeterminate date, the oldest version of the Recital that is attributed to Liechtenauer was recorded by [[Hans Talhoffer]] in the [[Talhoffer Fechtbuch (MS Chart.A.558)|MS Chart.A.558]] (ca. 1448), which further supports this timeline.<ref>There is one version of the Recital that predates Talhoffer's, recorded in [[Modus Dimicandi (MS G.B.f.18a)|MS G.B.f.18a]] (ca. 1418-28) and attributed to an [[H. Beringer]]; this also conforms to a 15th century timeline and suggests the possibility that Liechtenauer was himself an inheritor of the teachings contained in the Zettel rather than its original composer (presentations of the Recital that are entirely unattributed exist in other 15th and 16th century manuscripts). Alternatively, the Beringer verse, which includes only portions of the Recital on the Long Sword, may represent just one of the teachings that Liechtenauer received and compiled over the course of the journeys described in 3227a.</ref>
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Additional facts have sometimes been presumed about Liechtenauer based on often-problematic premises. The Pol Hausbuch, often erroneously dated to 1389 and presumed to be written by a direct student of Liechtenauer's, has been treated as evidence placing Liechtenauer's career in the mid-1300s.<ref>[[Christian Henry Tobler]]. "Chicken and Eggs: Which Master Came First?" ''In Saint George's Name: An Anthology of Medieval German Fighting Arts''. Wheaton, IL: [[Freelance Academy Press]], 2010. p6</ref> However, given that the Pol Hausbuch may date as late as 1494 and the earliest records of the identifiable members of his tradition appear in the mid 1400s, it seems more probable that Liechtenauer's career occurred toward the beginning of the 15th century. Ignoring the Pol Hausbuch as being of indeterminate date, the oldest version of the Recital that is attributed to Liechtenauer was recorded by [[Hans Talhoffer]] in the [[Talhoffer Fechtbuch (MS Chart.A.558)|MS Chart.A.558]] (ca. 1448), which further supports this timeline.<ref>There is one version of the Recital that predates Talhoffer's, recorded in [[Modus Dimicandi (MS G.B.f.18a)|MS G.B.f.18a]] (ca. 1418-28) and attributed to an [[H. Beringer]]; this also conforms to a 15th century timeline and suggests the possibility that Liechtenauer was himself an inheritor of the teachings contained in the Zettel rather than its original composer (presentations of the Recital that are entirely unattributed exist in other 15th and 16th century manuscripts). Alternatively, the Beringer verse, which includes only portions of the Recital on the Long Sword, may represent just one of the teachings that Liechtenauer received and compiled over the course of the journeys described in 3227a.</ref>
  
 
== Treatise ==
 
== Treatise ==
  
Liechtenauer's teachings are preserved in a long poem of rhyming couplets called the ''Zettel'' ("Recital"), covering fencing with the "long" or extended sword (i.e. with both hands at one end of the sword), the "short" or withdrawn sword (i.e. with one hand at either end), and on horseback. These "obscure and cryptic words" were designed to prevent the uninitiated from learning the techniques they represented; they also seem to have offered a system of mnemonic devices to those who understood their significance. The Recital was treated as the core of the Art by his students, and masters such as [[Sigmund ain Ringeck]], [[Peter von Danzig zum Ingolstadt]], and [[Jud Lew]] wrote extensive [[gloss]]es that sought to clarify and expand upon these teachings.
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Liechtenauer's teachings are preserved in a long poem of rhyming couplets called the ''Zettel'' ("Recital"), covering fencing with the "long" or extended sword (i.e. with both hands at one end of the sword), the "short" or withdrawn sword (i.e. with one hand at either end), and on horseback. These "obscure and cryptic words" were designed to prevent the uninitiated from learning the techniques they represented; they also seem to have offered a system of mnemonic devices to those who understood their significance. The Recital was treated as the core of the Art by his students, and masters such as [[Sigmund ain Ringeck]], [[Peter von Danzig zum Ingolstadt]], and [[Lew]] wrote extensive [[gloss]]es that sought to clarify and expand upon these teachings.
  
In addition to the verses on mounted fencing, several treatises in the Liechtenauer tradition include a group of twenty-six "figures" (''figuren'')—single line abbreviations of the longer couplets, generally drawn in circles, which seem to sum up the most important points. The precise reason for the existence of these figures remains unknown, as does the reason why there are no equivalents for the armored fencing or unarmored fencing verses. One clue to their significance may be a parallel set of teachings first recorded by [[Andre Paurñfeyndt]] in 1516, called the "Twelve Teachings for the Beginning Fencer".<ref>[[Andre Paurñfeyndt]], et al. [[Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurñfeyndt)|Ergrundung Ritterlicher Kunst der Fechterey]]. [[Hieronymus Vietor]]: Vienna, 1516.</ref> These teachings are also generally abbreviations of longer passages in the long sword, and are similarly repeated in many treatises throughout the 16th century. It may be that the figures are a mnemonic that represent the initial stage of mounted fencing instruction, and that the full verse was taught only afterward.
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In addition to the verses on mounted fencing, several treatises in the Liechtenauer tradition include a group of twenty-six "figures" (''figuren'')—phrases that are shorter than Liechtenauer's couplets and often arranged into the format of a Medieval tree diagram. These figures seem to encode the same teachings as the verses of the mounted fencing, and both are quoted in the mounted glosses. However, figures follow a very different structure than the Zettel does, and seem to present an alternative sequence for studying Liechtneauer's techniques. It is not known why the mounted fencing is the only section of the Recital to receive figures in addition to verse.
  
Seventeen manuscripts contain a presentation of at least one section of the Recital as a distinct (unglossed) section; there are dozens more presentations of the verse as part of one of the several glosses. The longest version of the Recital by far is actually found in one of these glosses, that of the [[Nuremberg Hausbuch (MS 3227a)|Nuremberg Hausbuch]], which contains almost twice as many verses as any other; however, given that the additional verses tend to either consist of repetitions from elsewhere in the Recital or use a very different style from Liechtenauer's work, they are generally treated as additions by the anonymous author or his instructor rather than being part of the original Recital. The other surviving versions of the Recital from all periods show a high degree of consistency in both content and organization, excepting only that attributed to Beringer (which is also included in the writings of [[Hans Folz]]).
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Seventeen manuscripts contain a presentation of at least one section of the Recital as a distinct (unglossed) section; there are dozens more presentations of the verse as part of one of the several glosses. The longest version of the Recital by far is actually found in one of these glosses, that of the [[Pol Hausbuch (MS 3227a)|Pol Hausbuch]], which contains almost twice as many verses as any other; however, given that the additional verses tend to either consist of repetitions from elsewhere in the Recital or use a very different style from Liechtenauer's work, they are generally treated as additions by the anonymous author or his instructor rather than being part of the original Recital. The other surviving versions of the Recital from all periods show a high degree of consistency in both content and organization, excepting only that attributed to Beringer (which is also included in the writings of [[Hans Folz]]).
  
The following concordance tables include only those texts that quote Liechtenauer's Recital in an unglossed form.<ref>The figures are often given as a preamble for the [[gloss]] of [[Jud Lew]], and a fragment of the short sword to the teachings of [[Martin Huntfeltz]], but those instances will not be included below and instead treated as part of those treatises.</ref> Most manuscripts present the Recital as prose, and those have had the text separated out into the original verses to offer a consistent view. For ease of use, this page breaks the general Wiktenauer rule that column format remain consistent across all tables on a page; the sheer number of Liechtenauer sources made this convention entirely unworkable, with more columns empty than filled, so instead the long sword table uses one layout, the mounted and short sword tables use another, and the figures use a third.
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The following concordance tables include only those texts that quote Liechtenauer's Recital in an unglossed form.<ref>The figures are often given as a preamble for the [[gloss]] of [[Lew]], and a fragment of the short sword to the teachings of [[Martin Huntsfeld]], but those instances will not be included below and instead treated as part of those treatises.</ref> Most manuscripts present the Recital as prose, and those have had the text separated out into the original verses to offer a consistent view. For ease of use, this page breaks the general Wiktenauer rule that column format remain consistent across all tables on a page; the sheer number of Liechtenauer sources made this convention entirely unworkable, with more columns empty than filled, so instead the long sword table uses one layout, the mounted and short sword tables use another, and the figures use a third.
  
 
{{master begin
 
{{master begin
 
   | title = Long Sword
 
   | title = Long Sword
   | width = 483em
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}}
 
}}
 
<section begin="credits"/>
 
<section begin="credits"/>
{| class="floated master"
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{| class="master"
 
|-  
 
|-  
! style="width:31em;" | <p>{{rating|A|Featured Translation (from the Rome)}}<br/>Rome Version by [[Christian Tobler]]</p>
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! <p>{{rating|A|Featured Translation (from the Rome)}}<br/>Rome Version by [[Christian Tobler]]</p>
 
! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p>
! <p>[[Codex Danzig (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Codex Danzig (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p>
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! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Talhoffer Fechtbuch (MS Thott.290.2º)|Copenhagen Transcription]] (1459){{edit index|Talhoffer Fechtbuch (MS Thott.290.2º)}}<br/>by [[Dieter Bachmann]]</p>
 
! <p>[[Talhoffer Fechtbuch (MS Thott.290.2º)|Copenhagen Transcription]] (1459){{edit index|Talhoffer Fechtbuch (MS Thott.290.2º)}}<br/>by [[Dieter Bachmann]]</p>
 
! <p>[[Wolfenbüttel Sketchbook (Cod.Guelf.78.2 Aug.2º)|Wolfenbüttel I Transcription]] (ca. 1465-80){{edit index|Wolfenbüttel Sketchbook (Cod.Guelf.78.2 Aug.2º)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Wolfenbüttel Sketchbook (Cod.Guelf.78.2 Aug.2º)|Wolfenbüttel I Transcription]] (ca. 1465-80){{edit index|Wolfenbüttel Sketchbook (Cod.Guelf.78.2 Aug.2º)}}<br/>by [[Dierk Hagedorn]]</p>
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<section end="credits"/>
 
<section end="credits"/>
 
|-  
 
|-  
| <p>{{red|b=1|Here begins the epitome on the knightly art of combat that was composed and created by Johannes Liechtenauer, who was a great master in the art, God have mercy on him;}}</p>
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| <p>{{red|b=1|Here begins the epitome on the knightly art of combat that was composed and created by Johannes Liechtenauer, who was a great master in the art, God have mercy on him;}}<br/><br/></p>
  
 
<p>first with the long sword, then with the lance and sword on horseback, and then with the short sword in armoured combat. Because the art belongs to princes and lords, knights and squires, and they should know and learn this art, he has written of this art in hidden and secret words, so that not everyone will grasp and understand it, as you will find described below. And he has done this on account of frivolous fight masters who mistake the art as trivial, so that such masters will not make his art common or open with people who do not hold the art in respect as is its due.</p>
 
<p>first with the long sword, then with the lance and sword on horseback, and then with the short sword in armoured combat. Because the art belongs to princes and lords, knights and squires, and they should know and learn this art, he has written of this art in hidden and secret words, so that not everyone will grasp and understand it, as you will find described below. And he has done this on account of frivolous fight masters who mistake the art as trivial, so that such masters will not make his art common or open with people who do not hold the art in respect as is its due.</p>
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{{section|Page:Ms.Thott.290.2º 003v.jpg|3|lbl=-|p=1}}<ref>Talhoffer adds an additional couplet: {{section|Page:Ms.Thott.290.2º 004r.jpg|1|lbl=4r|p=1}}</ref>
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{{section|Page:MS Thott.290.2º 003v.jpg|3|lbl=-|p=1}}<ref>Talhoffer adds an additional couplet: {{section|Page:MS Thott.290.2º 004r.jpg|1|lbl=4r|p=1}}</ref>
 
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| <p><br/></p>
 
| <p><br/></p>
  
Line 760: Line 760:
 
| {{section|Page:MS Chart.A.558 019v.jpg|5|lbl=-}}
 
| {{section|Page:MS Chart.A.558 019v.jpg|5|lbl=-}}
 
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| {{section|Page:Cod.44.A.8 005r.jpg|4|lbl=-}}
| {{section|Page:Ms.Thott.290.2º 004v.jpg|1|lbl=4v}}
+
| {{section|Page:MS Thott.290.2º 004v.jpg|1|lbl=4v}}
 
| <p><br/></p>
 
| <p><br/></p>
  
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| <p><br/></p>
 
| <p><br/></p>
  
{{paget|Page:Cgm 1507|65v|jpg|p=1}}<br/>{{paget|Page:Cgm 1507|69r|jpg|p=1}}
+
<br/><br/>{{paget|Page:Cgm 1507|69r|jpg|p=1}}<br/><br/><br/><br/><br/>{{paget|Page:Cgm 1507|65v|jpg|p=1}}
 
| {{section|Page:MS KK5126 105r.jpg|6|lbl=-}}
 
| {{section|Page:MS KK5126 105r.jpg|6|lbl=-}}
 
| {{section|Page:MS Dresd.C.487 007v.png|2|lbl=-}}
 
| {{section|Page:MS Dresd.C.487 007v.png|2|lbl=-}}
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{{section|Page:MS Germ.Quart.2020 004v.jpg|2|lbl=-|p=1}} {{section|Page:MS Germ.Quart.2020 005r.jpg|1|lbl=05r|p=1}}
 
{{section|Page:MS Germ.Quart.2020 004v.jpg|2|lbl=-|p=1}} {{section|Page:MS Germ.Quart.2020 005r.jpg|1|lbl=05r|p=1}}
| {{section|Page:Cgm 3711 44r.jpg|2|lbl=-}}
+
| {{section|Page:Cgm 3711 44r.jpg|6|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 43r.jpg|4|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 43r.jpg|4|lbl=-}}
 
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{{section|Page:Cod.44.A.8 005r.jpg|5|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 005v.jpg|1|lbl=5v|p=1}}
 
{{section|Page:Cod.44.A.8 005r.jpg|5|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 005v.jpg|1|lbl=5v|p=1}}
| {{section|Page:Ms.Thott.290.2º 004v.jpg|2|lbl=-}}
+
| {{section|Page:MS Thott.290.2º 004v.jpg|2|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 836: Line 836:
 
{{section|Page:MS Chart.A.558 020r.jpg|2|lbl=-}}
 
{{section|Page:MS Chart.A.558 020r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 005v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 005v.jpg|2|lbl=-}}
| {{section|Page:Ms.Thott.290.2º 004v.jpg|3|lbl=-}}
+
| {{section|Page:MS Thott.290.2º 004v.jpg|3|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 867: Line 867:
 
| {{section|Page:MS Chart.A.558 020r.jpg|3|lbl=-}}
 
| {{section|Page:MS Chart.A.558 020r.jpg|3|lbl=-}}
 
| {{section|Page:Cod.44.A.8 005v.jpg|3|lbl=-}}
 
| {{section|Page:Cod.44.A.8 005v.jpg|3|lbl=-}}
| {{section|Page:Ms.Thott.290.2º 004v.jpg|4|lbl=-}}
+
| {{section|Page:MS Thott.290.2º 004v.jpg|4|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 904: Line 904:
 
| {{section|Page:Cod.44.A.8 005v.jpg|4|lbl=-}}
 
| {{section|Page:Cod.44.A.8 005v.jpg|4|lbl=-}}
 
|  
 
|  
{{section|Page:Ms.Thott.290.2º 004v.jpg|5|lbl=-|p=1}}<br/>{{section|Page:Ms.Thott.290.2º 005r.jpg|1|lbl=5r|p=1}}
+
{{section|Page:MS Thott.290.2º 004v.jpg|5|lbl=-|p=1}}<br/>{{section|Page:MS Thott.290.2º 005r.jpg|1|lbl=5r|p=1}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 935: Line 935:
 
| {{section|Page:MS Chart.A.558 020r.jpg|5|lbl=-}}
 
| {{section|Page:MS Chart.A.558 020r.jpg|5|lbl=-}}
 
| {{section|Page:Cod.44.A.8 005v.jpg|5|lbl=-}}
 
| {{section|Page:Cod.44.A.8 005v.jpg|5|lbl=-}}
| {{section|Page:Ms.Thott.290.2º 005r.jpg|2|lbl=-}}
+
| {{section|Page:MS Thott.290.2º 005r.jpg|2|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 970: Line 970:
 
| {{section|Page:MS Chart.A.558 020r.jpg|6|lbl=-}}
 
| {{section|Page:MS Chart.A.558 020r.jpg|6|lbl=-}}
 
| {{section|Page:Cod.44.A.8 005v.jpg|6|lbl=-}}
 
| {{section|Page:Cod.44.A.8 005v.jpg|6|lbl=-}}
| {{section|Page:Ms.Thott.290.2º 005r.jpg|3|lbl=-}}
+
| {{section|Page:MS Thott.290.2º 005r.jpg|3|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 1,004: Line 1,004:
  
 
{{section|Page:Cod.44.A.8 006r.jpg|1|lbl=6r}}
 
{{section|Page:Cod.44.A.8 006r.jpg|1|lbl=6r}}
| {{section|Page:Ms.Thott.290.2º 005r.jpg|4|lbl=-}}
+
| {{section|Page:MS Thott.290.2º 005r.jpg|4|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 1,035: Line 1,035:
 
| {{section|Page:MS Chart.A.558 020r.jpg|8|lbl=-}}
 
| {{section|Page:MS Chart.A.558 020r.jpg|8|lbl=-}}
 
| {{section|Page:Cod.44.A.8 006r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 006r.jpg|2|lbl=-}}
| {{section|Page:Ms.Thott.290.2º 005r.jpg|5|lbl=-}}
+
| {{section|Page:MS Thott.290.2º 005r.jpg|5|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 1,071: Line 1,071:
 
| {{section|Page:Cod.44.A.8 006r.jpg|3|lbl=-}}
 
| {{section|Page:Cod.44.A.8 006r.jpg|3|lbl=-}}
 
|  
 
|  
{{section|Page:Ms.Thott.290.2º 005r.jpg|6|lbl=-|p=1}}<br/>{{section|Page:Ms.Thott.290.2º 005v.jpg|1|lbl=5v|p=1}}
+
{{section|Page:MS Thott.290.2º 005r.jpg|6|lbl=-|p=1}}<br/>{{section|Page:MS Thott.290.2º 005v.jpg|1|lbl=5v|p=1}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 1,122: Line 1,122:
 
| {{section|Page:MS Chart.A.558 020v.jpg|2|lbl=-}}
 
| {{section|Page:MS Chart.A.558 020v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 006r.jpg|4|lbl=-}}
 
| {{section|Page:Cod.44.A.8 006r.jpg|4|lbl=-}}
| {{section|Page:Ms.Thott.290.2º 005v.jpg|2|lbl=-}}
+
| {{section|Page:MS Thott.290.2º 005v.jpg|2|lbl=-}}
 
| <p><br/><br/></p>
 
| <p><br/><br/></p>
  
Line 1,141: Line 1,141:
  
 
|-  
 
|-  
| Thus ends Master Liechtenauer's Art of the Long Sword
+
| class="noline" | Thus ends Master Liechtenauer's Art of the Long Sword
|  
+
| class="noline" |  
|  
+
| class="noline" |  
| {{section|Page:Ms.Thott.290.2º 005v.jpg|3|lbl=-}}
+
| class="noline" | {{section|Page:MS Thott.290.2º 005v.jpg|3|lbl=-}}
| {{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|18|lbl=-}}
+
| class="noline" | {{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|18|lbl=-}}
|  
+
| class="noline" |  
|  
+
| class="noline" |  
|  
+
| class="noline" |  
|  
+
| class="noline" |  
| {{section|Page:MS Germ.Quart.2020 007r.jpg|2|lbl=-}}
+
| class="noline" | {{section|Page:MS Germ.Quart.2020 007r.jpg|2|lbl=-}}
| {{section|Page:Cgm 3711 45r.jpg|3|lbl=-}}
+
| class="noline" | {{section|Page:Cgm 3711 45r.jpg|3|lbl=-}}
| {{section|Page:Cod.I.6.2º.2 44r.jpg|2|lbl=-}}
+
| class="noline" | {{section|Page:Cod.I.6.2º.2 44r.jpg|2|lbl=-}}
|  
+
| class="noline" |  
|  
+
| class="noline" |  
|  
+
| class="noline" |  
| {{section|Page:Cod.Guelf.38.21 Aug.2º 049v.jpg|7|lbl=-}}
+
| class="noline" | {{section|Page:Cod.Guelf.38.21 Aug.2º 049v.jpg|7|lbl=-}}
  
 
|}
 
|}
Line 1,162: Line 1,162:
 
{{master begin
 
{{master begin
 
   | title = Mounted Fencing
 
   | title = Mounted Fencing
   | width = 333em
+
   | width = 300em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! style="width:31em;" | <p>{{rating|A}}<br/>Rome Version by [[Christian Tobler]]</p>
+
! <p>{{rating|A}}<br/>Rome Version by [[Christian Tobler]]</p>
! <p>[[Nuremberg Hausbuch (MS 3227a)|Nuremberg Transcription]] A (1400s){{edit index|Nuremberg Hausbuch (MS 3227a)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Pol Hausbuch (MS 3227a)|Nuremberg Transcription]] (1400s){{edit index|Pol Hausbuch (MS 3227a)}}<br/>by [[Dierk Hagedorn]]</p>
! <p>[[Nuremberg Hausbuch (MS 3227a)|Nuremberg Transcription]] B (1400s){{edit index|Nuremberg Hausbuch (MS 3227a)}}<br/>by [[Dierk Hagedorn]]</p>
 
 
! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p>
! <p>[[Codex Danzig (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Codex Danzig (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription I]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription I]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Codex Speyer (MS M.I.29)|Salzburg Transcription]] (1491){{edit index|Codex Speyer (MS M.I.29)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Codex Speyer (MS M.I.29)|Salzburg Transcription]] (1491){{edit index|Codex Speyer (MS M.I.29)}}<br/>by [[Dierk Hagedorn]]</p>
Line 1,181: Line 1,180:
 
| {{red|b=1|This is Master Johannes Liechtenauer’s Fighting on Horseback}}
 
| {{red|b=1|This is Master Johannes Liechtenauer’s Fighting on Horseback}}
 
| {{section|Page:MS 3227a 53r.jpg|1|lbl=53r|p=1}}
 
| {{section|Page:MS 3227a 53r.jpg|1|lbl=53r|p=1}}
|
 
 
| {{section|Page:MS Chart.A.558 021av.jpg|1|lbl=21Av}}
 
| {{section|Page:MS Chart.A.558 021av.jpg|1|lbl=21Av}}
 
| {{section|Page:Cod.44.A.8 006r.jpg|5|lbl=06r}}
 
| {{section|Page:Cod.44.A.8 006r.jpg|5|lbl=06r}}
Line 1,252: Line 1,250:
 
|}
 
|}
 
| {{section|Page:MS 3227a 53r.jpg|2|lbl=-}}
 
| {{section|Page:MS 3227a 53r.jpg|2|lbl=-}}
|
 
 
| {{section|Page:MS Chart.A.558 021av.jpg|2|lbl=-}}
 
| {{section|Page:MS Chart.A.558 021av.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 006v.jpg|1|lbl=06v}}
 
| {{section|Page:Cod.44.A.8 006v.jpg|1|lbl=06v}}
Line 1,260: Line 1,257:
 
|  
 
|  
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 017r.jpg|5|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 017r.jpg|5|lbl=-}}
 +
|
 +
 +
|-
 +
|
 +
| {{paget|Page:MS 3227a|53v|jpg}}
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 
|  
 
|  
  
Line 1,279: Line 1,288:
 
|}
 
|}
 
| {{section|Page:MS 3227a 55r.jpg|1|lbl=55r}}
 
| {{section|Page:MS 3227a 55r.jpg|1|lbl=55r}}
|
 
 
| {{section|Page:MS Chart.A.558 021av.jpg|3|lbl=-}}
 
| {{section|Page:MS Chart.A.558 021av.jpg|3|lbl=-}}
 
| {{section|Page:Cod.44.A.8 006v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 006v.jpg|2|lbl=-}}
Line 1,323: Line 1,331:
 
|}
 
|}
 
| {{section|Page:MS 3227a 55r.jpg|2|lbl=-}}
 
| {{section|Page:MS 3227a 55r.jpg|2|lbl=-}}
|
 
 
| {{section|Page:MS Chart.A.558 021av.jpg|4|lbl=-}}
 
| {{section|Page:MS Chart.A.558 021av.jpg|4|lbl=-}}
 
| {{section|Page:Cod.44.A.8 006v.jpg|3|lbl=-}}
 
| {{section|Page:Cod.44.A.8 006v.jpg|3|lbl=-}}
Line 1,336: Line 1,343:
 
|  
 
|  
 
| {{section|Page:MS 3227a 55r.jpg|3|lbl=-}}
 
| {{section|Page:MS 3227a 55r.jpg|3|lbl=-}}
|
 
 
|  
 
|  
 
|  
 
|  
Line 1,349: Line 1,355:
 
|  
 
|  
 
| {{section|Page:MS 3227a 55r.jpg|4|lbl=-}}
 
| {{section|Page:MS 3227a 55r.jpg|4|lbl=-}}
|
 
 
|  
 
|  
 
|  
 
|  
Line 1,362: Line 1,367:
 
|  
 
|  
 
| {{section|Page:MS 3227a 55r.jpg|5|lbl=-}}
 
| {{section|Page:MS 3227a 55r.jpg|5|lbl=-}}
|
 
 
|  
 
|  
 
|  
 
|  
Line 1,397: Line 1,401:
 
|}
 
|}
 
| {{section|Page:MS 3227a 57v.jpg|1|lbl=57v}}
 
| {{section|Page:MS 3227a 57v.jpg|1|lbl=57v}}
|
 
 
| {{section|Page:MS Chart.A.558 021av.jpg|5|lbl=-}}
 
| {{section|Page:MS Chart.A.558 021av.jpg|5|lbl=-}}
 
| {{section|Page:Cod.44.A.8 006v.jpg|4|lbl=-}}
 
| {{section|Page:Cod.44.A.8 006v.jpg|4|lbl=-}}
Line 1,441: Line 1,444:
 
|}
 
|}
 
| {{section|Page:MS 3227a 58r.jpg|1|lbl=58r}}
 
| {{section|Page:MS 3227a 58r.jpg|1|lbl=58r}}
|
 
 
| {{section|Page:MS Chart.A.558 021av.jpg|6|lbl=-}}
 
| {{section|Page:MS Chart.A.558 021av.jpg|6|lbl=-}}
 
|  
 
|  
Line 1,467: Line 1,469:
 
|}
 
|}
 
| {{section|Page:MS 3227a 58v.jpg|1|lbl=58v}}
 
| {{section|Page:MS 3227a 58v.jpg|1|lbl=58v}}
|
 
 
| {{section|Page:MS Chart.A.558 021av.jpg|7|lbl=-}}
 
| {{section|Page:MS Chart.A.558 021av.jpg|7|lbl=-}}
 
| {{section|Page:Cod.44.A.8 007r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 007r.jpg|2|lbl=-}}
Line 1,494: Line 1,495:
 
|}
 
|}
 
| {{section|Page:MS 3227a 58v.jpg|2|lbl=-}}
 
| {{section|Page:MS 3227a 58v.jpg|2|lbl=-}}
|
 
 
|  
 
|  
 
{{section|Page:MS Chart.A.558 021av.jpg|8|lbl=-|p=1}} {{section|Page:MS Chart.A.558 022r.jpg|1|lbl=22r|p=1}}
 
{{section|Page:MS Chart.A.558 021av.jpg|8|lbl=-|p=1}} {{section|Page:MS Chart.A.558 022r.jpg|1|lbl=22r|p=1}}
Line 1,534: Line 1,534:
 
|}
 
|}
 
| {{section|Page:MS 3227a 59r.jpg|1|lbl=59r}}
 
| {{section|Page:MS 3227a 59r.jpg|1|lbl=59r}}
|
 
 
| {{section|Page:MS Chart.A.558 022r.jpg|2|lbl=-}}
 
| {{section|Page:MS Chart.A.558 022r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 007r.jpg|4|lbl=-}}
 
| {{section|Page:Cod.44.A.8 007r.jpg|4|lbl=-}}
Line 1,546: Line 1,545:
  
 
|-  
 
|-  
|  
+
| class="noline" |  
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>38</small>
 
| <small>38</small>
 
| If you want to retain yourself<br/>&emsp;From seizing
 
| If you want to retain yourself<br/>&emsp;From seizing
 
 
|-  
 
|-  
 
| <small>39</small>
 
| <small>39</small>
 
| Then take him into custody without wrestling<br/>&emsp;Without any rope
 
| Then take him into custody without wrestling<br/>&emsp;Without any rope
 
 
|-  
 
|-  
 
| <small>40</small>
 
| <small>40</small>
 
| The Before Grip remember<br/>&emsp;This indeed breaks his strength
 
| The Before Grip remember<br/>&emsp;This indeed breaks his strength
 
 
|}
 
|}
| {{section|Page:MS 3227a 59r.jpg|2|lbl=-}}
+
| class="noline" | {{section|Page:MS 3227a 59r.jpg|2|lbl=-}}
|  
+
| class="noline" | {{section|Page:MS Chart.A.558 022r.jpg|3|lbl=-}}
| {{section|Page:MS Chart.A.558 022r.jpg|3|lbl=-}}
+
| class="noline" | {{section|Page:Cod.44.A.8 007r.jpg|5|lbl=-}}
| {{section|Page:Cod.44.A.8 007r.jpg|5|lbl=-}}
+
| class="noline" | {{section|Page:MS KK5126 105v.jpg|9|lbl=-}}
| {{section|Page:MS KK5126 105v.jpg|9|lbl=-}}
+
| class="noline" |  
|  
+
| class="noline" | {{section|Page:MS Germ.Quart.2020 165r.jpg|2|lbl=-}}
| {{section|Page:MS Germ.Quart.2020 165r.jpg|2|lbl=-}}
+
| class="noline" |  
|  
+
| class="noline" | {{section|Page:Reichsstadt "Schätze" Nr. 82 018r.jpg|2|lbl=-}}
| {{section|Page:Reichsstadt "Schätze" Nr. 82 018r.jpg|2|lbl=-}}
+
| class="noline" |  
|  
 
  
 
|}
 
|}
Line 1,577: Line 1,572:
 
{{master begin
 
{{master begin
 
   | title = Short Sword
 
   | title = Short Sword
   | width = 333em
+
   | width = 300em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! style="width:31em;" | <p>{{rating|A}}<br/>Rome Version by [[Christian Tobler]]</p>
+
! <p>{{rating|A}}<br/>Rome Version by [[Christian Tobler]]</p>
! <p>[[Nuremberg Hausbuch (MS 3227a)|Nuremberg Transcription]] A (1400s){{edit index|Nuremberg Hausbuch (MS 3227a)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Pol Hausbuch (MS 3227a)|Nuremberg Transcription]] (1400s){{edit index|Pol Hausbuch (MS 3227a)}}<br/>by [[Dierk Hagedorn]]</p>
! <p>[[Nuremberg Hausbuch (MS 3227a)|Nuremberg Transcription]] B (1400s){{edit index|Nuremberg Hausbuch (MS 3227a)}}<br/>by [[Dierk Hagedorn]]</p>
 
 
! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p>
! <p>[[Codex Danzig (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Codex Danzig (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription I]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription I]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Codex Speyer (MS M.I.29)|Salzburg Transcription]] (1491){{edit index|Codex Speyer (MS M.I.29)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Codex Speyer (MS M.I.29)|Salzburg Transcription]] (1491){{edit index|Codex Speyer (MS M.I.29)}}<br/>by [[Dierk Hagedorn]]</p>
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| The forward foot<br/>&emsp;With striking you must protect.
 
| The forward foot<br/>&emsp;With striking you must protect.
 
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! <p>Images<br/>from the [[Codex Danzig (Cod.44.A.8)|Codex 44.A.8]]</p>
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! <p>{{rating|A|Translation (from the Rome)}}<br/>by [[Christian Tobler]]</p>
 
! <p>{{rating|A|Translation (from the Rome)}}<br/>by [[Christian Tobler]]</p>
 
! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p>
! <p>[[Codex Danzig (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Codex Danzig (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p>
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! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow Transcription]] (1508){{edit index|Glasgow Fechtbuch (MS E.1939.65.341)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow Transcription]] (1508){{edit index|Glasgow Fechtbuch (MS E.1939.65.341)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Transcription]] (1510-20){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Per Magnus Haaland]]</p>
 
! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Transcription]] (1510-20){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Per Magnus Haaland]]</p>
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| <p>{{red|The 14th Figure:}} Turn around again to where the horses hasten.</p>
 
| <p>{{red|The 14th Figure:}} Turn around again to where the horses hasten.</p>
 
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| <p>{{red|If you want to grasp, you should not fail to ride beside him. Execute the Sun Pointer to the left sleeve if you want to bend.}}</p>
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| class="noline" | <p>{{red|If you want to grasp, you should not fail to ride beside him. Execute the Sun Pointer to the left sleeve if you want to bend.}}</p>
  
 
<p>Who attacks you with that, grasp over against him and he will be shamed. Press the arm to the head. This grip often robs the saddle.</p>
 
<p>Who attacks you with that, grasp over against him and he will be shamed. Press the arm to the head. This grip often robs the saddle.</p>
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{{sourcebox
 
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  | work        = [[Codex Danzig (Cod.44.A.8)|Rome Transcription]]
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  | work        = [[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Transcription]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Codex Danzig (Cod.44.A.8)]]
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  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich II Transcription]]
 
  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich II Transcription]]
 
  | authors    = [[Filip Lampart]], [[Martin Fabian]]
 
  | authors    = [[Filip Lampart]], [[Martin Fabian]]
  | source link = http://fecht-kunst.eu/files/wilhalm_prepis.pdf
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  | work        = [[Nuremberg Hausbuch (MS 3227a)|Nuremberg Transcription]]
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  | work        = [[Pol Hausbuch (MS 3227a)|Nuremberg Transcription]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | source link =  
 
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[[Category:Longsword]]
 
[[Category:Longsword]]
 
[[Category:Mounted Fencing]]
 
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Revision as of 20:51, 8 November 2020

Die Zettel
The Recital
Johannes Liechtenauer.png
Full Title A Recital on the Chivalric
Art of Fencing
Ascribed to Johannes Liechtenauer
Illustrated by Unknown
Date Fifteenth century (?)
Genre
Language Early New High German
Archetype(s) Hypothetical
Manuscript(s)
First Printed
English Edition
Tobler, 2010
Concordance by Michael Chidester
Translations

Johannes Liechtenauer (Hans Lichtenauer, Lichtnawer) was a German fencing master in the 14th or 15th century. No direct record of his life or teachings currently exists, and all that we know of both comes from the writings of other masters and scholars. The only account of his life was written by the anonymous author of the Pol Hausbuch, one of the oldest texts in the tradition, who stated that "Master Liechtenauer learnt and mastered the Art in a thorough and rightful way, but he did not invent and put together this Art (as was just stated). Instead, he traveled and searched many countries with the will of learning and mastering this rightful and true Art." He may have been alive at the time of the creation of the fencing treatise contained in the Pol Hausbuch, as that source is the only one to fail to accompany his name with a blessing for the dead.

Liechtenauer was described by many later masters as the "high master" or "grand master" of the art, and a long poem called the Zettel ("Recital") is generally attributed to him by these masters. Later masters in the tradition often wrote extensive glosses (commentaries) on this poem, using it to structure their own martial teachings. Liechtenauer's influence on the German fencing tradition as we currently understand it is almost impossible to overstate. The masters on Paulus Kal's roll of the Fellowship of Liechtenauer were responsible for most of the most significant fencing manuals of the 15th century, and Liechtenauer and his teachings were also the focus of the German fencing guilds that arose in the 15th and 16th centuries, including the Marxbrüder and the Veiterfechter.

Additional facts have sometimes been presumed about Liechtenauer based on often-problematic premises. The Pol Hausbuch, often erroneously dated to 1389 and presumed to be written by a direct student of Liechtenauer's, has been treated as evidence placing Liechtenauer's career in the mid-1300s.[1] However, given that the Pol Hausbuch may date as late as 1494 and the earliest records of the identifiable members of his tradition appear in the mid 1400s, it seems more probable that Liechtenauer's career occurred toward the beginning of the 15th century. Ignoring the Pol Hausbuch as being of indeterminate date, the oldest version of the Recital that is attributed to Liechtenauer was recorded by Hans Talhoffer in the MS Chart.A.558 (ca. 1448), which further supports this timeline.[2]

Treatise

Liechtenauer's teachings are preserved in a long poem of rhyming couplets called the Zettel ("Recital"), covering fencing with the "long" or extended sword (i.e. with both hands at one end of the sword), the "short" or withdrawn sword (i.e. with one hand at either end), and on horseback. These "obscure and cryptic words" were designed to prevent the uninitiated from learning the techniques they represented; they also seem to have offered a system of mnemonic devices to those who understood their significance. The Recital was treated as the core of the Art by his students, and masters such as Sigmund ain Ringeck, Peter von Danzig zum Ingolstadt, and Lew wrote extensive glosses that sought to clarify and expand upon these teachings.

In addition to the verses on mounted fencing, several treatises in the Liechtenauer tradition include a group of twenty-six "figures" (figuren)—phrases that are shorter than Liechtenauer's couplets and often arranged into the format of a Medieval tree diagram. These figures seem to encode the same teachings as the verses of the mounted fencing, and both are quoted in the mounted glosses. However, figures follow a very different structure than the Zettel does, and seem to present an alternative sequence for studying Liechtneauer's techniques. It is not known why the mounted fencing is the only section of the Recital to receive figures in addition to verse.

Seventeen manuscripts contain a presentation of at least one section of the Recital as a distinct (unglossed) section; there are dozens more presentations of the verse as part of one of the several glosses. The longest version of the Recital by far is actually found in one of these glosses, that of the Pol Hausbuch, which contains almost twice as many verses as any other; however, given that the additional verses tend to either consist of repetitions from elsewhere in the Recital or use a very different style from Liechtenauer's work, they are generally treated as additions by the anonymous author or his instructor rather than being part of the original Recital. The other surviving versions of the Recital from all periods show a high degree of consistency in both content and organization, excepting only that attributed to Beringer (which is also included in the writings of Hans Folz).

The following concordance tables include only those texts that quote Liechtenauer's Recital in an unglossed form.[3] Most manuscripts present the Recital as prose, and those have had the text separated out into the original verses to offer a consistent view. For ease of use, this page breaks the general Wiktenauer rule that column format remain consistent across all tables on a page; the sheer number of Liechtenauer sources made this convention entirely unworkable, with more columns empty than filled, so instead the long sword table uses one layout, the mounted and short sword tables use another, and the figures use a third.

Additional Resources

References

  1. Christian Henry Tobler. "Chicken and Eggs: Which Master Came First?" In Saint George's Name: An Anthology of Medieval German Fighting Arts. Wheaton, IL: Freelance Academy Press, 2010. p6
  2. There is one version of the Recital that predates Talhoffer's, recorded in MS G.B.f.18a (ca. 1418-28) and attributed to an H. Beringer; this also conforms to a 15th century timeline and suggests the possibility that Liechtenauer was himself an inheritor of the teachings contained in the Zettel rather than its original composer (presentations of the Recital that are entirely unattributed exist in other 15th and 16th century manuscripts). Alternatively, the Beringer verse, which includes only portions of the Recital on the Long Sword, may represent just one of the teachings that Liechtenauer received and compiled over the course of the journeys described in 3227a.
  3. The figures are often given as a preamble for the gloss of Lew, and a fragment of the short sword to the teachings of Martin Huntsfeld, but those instances will not be included below and instead treated as part of those treatises.
  4. The text diverges here, omitting Liechtenauer's couplet and inserting this quatrain instead:
    Dagge swert stãge lãse schon
    Messer bockler has vñ rõken
    Taegñ darde vnd schilt
    Miden allen zu ringe~ uff du wilt
  5. First letter almost illegible.
  6. First letter illegible.
  7. Talhoffer adds the following couplet: "Nun merck aber furbaß / und verstand ouch gar rechte daz".
  8. Text terminates at this point. The leaves with the rest of the text are gone, probably lost.
  9. kam
  10. deinen
  11. faler
  12. Talhoffer breaks up the Haupstucke differently, and inserts the following additional couplet: "überlouffen bind wol an / nit stand luog waß er kan".
  13. Gotha inserts the title Das ist der krieck in this position, but no other version separates it in that way.
  14. Text adds an additional couplet: "hastu es vernomen zu kain / schlag mag er komen".
  15. Text adds an additional couplet: "hast dus vernomen / zu kaim schlag mag er komen".
  16. Text adds an additional couplet: "hastu es vernomen / zu kainen schlag mag er komen."
  17. Talhoffer expands upon Liechtenauer's couplet and adds two additional lines: "und erschrick ab kainem man / stand und sich in ernstlich an".
  18. Text adds an additional line: "das son ich vernomen".
  19. Text adds an additional line: "ha das han ich vernomen".
  20. There is no space between "Dupliere" and "doniden", the "D" was possibly added later.
  21. Text adds an additional line: "dz haw ich vermunen??".
  22. Corrected from »Im«.
  23. The text doubles the title of this section.
  24. 24.0 24.1 Corrected from »Twir«.
  25. haust
  26. Talhoffer adds an additional couplet: [4r] "So machst du in wol betöwben / Die faller in kunst berowben"
  27. Hier hat der Schreiber offensichtlich ein Häkchen vergessen.
  28. should be "dreffen"
  29. This section is followed by one titled "Von durchlauffen ab seczen", which repeat the verse on Absetzen.
  30. Talhoffer adds four additional verses: "und gang nach an den man / stoss mit dem ghiltz schon / wiltu denn nit schallen / so hastu zway eynfallen".
  31. Text adds an additional couplet: "Das schwertt bind / zu der fleche truck in die hend".
  32. Text adds an additional couplet: "Das schwert binden / zu der flech trukh in die hand"
  33. Talhoffer begins this section with two additional verses: "wer dir zestarck welle sin / heng fall im oben eyn".
  34. Text adds an additional couplet: "thutt er sich gegen dir greisen / schlagen das er seisse".
  35. Text adds an additional couplet: "thutt er sich gegen dir greifen / schlagen das er Seise".
  36. Text adds an additional couplet: "thuet er sich gegen dir raisen / schlagen dz er seisse."
  37. ";" in a circle
  38. A guide letter “w” is visible under the “U” (apparently ignored by the rubricator), making the intended word “Wer”.
  39. Hier ist anscheinend dem Schreiber das Leerzeichen verrutscht.