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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)
+
  | [[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)
+
  | [[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 Picture Book (Cod.Guelf.78.2 Aug.2º)|Cod.Guelf.78.2 Aug.2º]] (ca. 1465-80)
 
  | [[Paulus Kal Fechtbuch (Cgm 1507)|Cgm 1507]] (ca.1470)
 
  | [[Paulus Kal Fechtbuch (Cgm 1507)|Cgm 1507]] (ca.1470)
 
  | [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s)
 
  | [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s)
  | [[Codex Speyer (MS M.I.29)|MS M.I.29]] (1491)
+
  | [[Codex Speyer (MS M.I.29)|MS M..29]] (1491)
 
  | [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|MS Dresd.C.487]] (ca. 1504-19)
 
  | [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|MS Dresd.C.487]] (ca. 1504-19)
  | [[Goliath Fechtbuch (MS Germ.Quart.2020)|MS Germ.Quart.2020]] (1510-20)
+
  | [[Goliath Fechtbuch (MS Germ.Quart.2020)|MS Germ.quart. 2020]] (1535-40)
 
  | [[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|MS 26-232]] (1512)
 
  | [[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|MS 26-232]] (1512)
 
  | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] (1523)
 
  | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] (1523)
  | [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]] (1523)
+
  | [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod..6.2º.2]] (1523)
 
  | [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichsstadt Nr. 82]] (1553)
 
  | [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichsstadt Nr. 82]] (1553)
 
  | [[Lienhart Sollinger Fechtbuch (Cgm 3712)|Cgm 3712]] (1556)
 
  | [[Lienhart Sollinger Fechtbuch (Cgm 3712)|Cgm 3712]] (1556)
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| wiktenauer compilation by=[[Michael Chidester]]
 
| wiktenauer compilation by=[[Michael Chidester]]
 
| translations          = {{collapsible list
 
| translations          = {{collapsible list
  | {{French translation|http://ardamhe.free.fr/biblio/Tetraptyque.pdf|1}}
+
  | {{French translation|http://www.ffamhe.fr/sources/Tetraptyque.pdf|1}}
  | {{German translation|http://www.hammaborg.de/en/transkriptionen/peter_von_danzig/index.php|1}}
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  | {{German translation|http://www.hammaborg.de/de/transkriptionen/peter_von_danzig/index.php|1}}
 
  | {{Hungarian translation|Johannes Liechtenauer/Hungarian|2}}
 
  | {{Hungarian translation|Johannes Liechtenauer/Hungarian|2}}
  | {{Slovenian translation|http://scholapugnatoria.si/?page_id{{=}}267|1}}
+
  | {{Slovenian translation|http://www.scholapugnatoria.si/clanki/merkversen-po-ringecku-von-danzigu/|1}}
 
  | {{Spanish translation|http://www.aveh.eu/documentos/EdadMedia/TETRAPTICOV.pdf|1}}
 
  | {{Spanish translation|http://www.aveh.eu/documentos/EdadMedia/TETRAPTICOV.pdf|1}}
 
}}
 
}}
 
| below                =  
 
| below                =  
 
}}
 
}}
'''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.
+
'''Johannes Liechtenauer''' (Hans Lichtenauer, Lichtnawer) was a [[century::15th century]] [[nationality::German]] [[fencing master]]. 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>
+
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.
+
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.
+
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 Liechtenauer'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]]).
+
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 [[Pseudo-Hans Döbringer]], which contains almost twice as many verses as any other; however, given that the additional verses tend to either be 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 [[H. 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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   | width = 480em
 
}}
 
}}
 
<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>
+
! <p>{{rating|A|Featured 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 Version]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>Transcribed 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 Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed 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 Version]] (1459){{edit index|Talhoffer Fechtbuch (MS Thott.290.2º)}}<br/>Transcribed 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 Picture Book (Cod.Guelf.78.2 Aug.2º)|Wolfenbüttel Ⅰ Version]] (ca. 1465-80){{edit index|Wolfenbüttel Picture Book (Cod.Guelf.78.2 Aug.2º)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Paulus Kal Fechtbuch (Cgm 1507)|Munich I Transcription]] (ca. 1470){{edit index|Paulus Kal Fechtbuch (Cgm 1507)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Paulus Kal Fechtbuch (Cgm 1507)|Munich Ⅰ Version]] (ca. 1470){{edit index|Paulus Kal Fechtbuch (Cgm 1507)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Version]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Transcription]] A (ca. 1504-19){{edit index|Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Version]] A (ca. 1504-19){{edit index|Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Transcription]] B (ca. 1504-19){{edit index|Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Version]] B (ca. 1504-19){{edit index|Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)}}<br/>Transcribed 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 [[Grzegorz Żabiński]]</p>
+
! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Version]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>Transcribed by [[Grzegorz Żabiński]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich II Transcription]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/>by [[Filip Lampart]] and [[Martin Fabian]]</p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Ⅱ Version]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/>Transcribed by [[Filip Lampart]] and [[Martin Fabian]]</p>
! <p>[[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg I Transcription]] (1523){{edit index|Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg Ⅰ Version]] (1523){{edit index|Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow Transcription]] (1533){{edit index|Gregor Erhart Fechtbuch (MS E.1939.65.354)}}<br/></p>
+
! <p>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow Version]] (1533){{edit index|Gregor Erhart Fechtbuch (MS E.1939.65.354)}}<br/></p>
! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg II Transcription]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>by [[Werner Ueberschär]]</p>
+
! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Ⅱ Version]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>Transcribed by [[Werner Ueberschär]]</p>
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich III Transcription]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p><br/>
+
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Ⅲ Version]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p><br/>
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel II Transcription]] (ca. 1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/>by [[Kevin Maurer]]</p>
+
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Ⅱ Version]] (ca. 1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/>Transcribed by [[Kevin Maurer]]</p>
 
<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>
+
| <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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| <p><br/></p>
 
| <p><br/></p>
  
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|1|lbl=IIIr}}
+
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|1|lbl=Ⅲr}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 223: Line 223:
 
{{section|Page:MS Chart.A.558 018r.jpg|3|lbl=-|p=1}} {{section|Page:MS Chart.A.558 018v.jpg|1|lbl=18v|p=1}}
 
{{section|Page:MS Chart.A.558 018r.jpg|3|lbl=-|p=1}} {{section|Page:MS Chart.A.558 018v.jpg|1|lbl=18v|p=1}}
 
| {{section|Page:Cod.44.A.8 003v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 003v.jpg|2|lbl=-}}
| {{section|Page:Ms.Thott.290.2º 002r.jpg|1|lbl=2r}}
+
| {{section|Page:MS Thott.290.2º 002r.jpg|1|lbl=2r}}
 
| <p><br/><br/></p>
 
| <p><br/><br/></p>
  
Line 261: Line 261:
 
|  
 
|  
 
{{section|Page:Cod.44.A.8 003v.jpg|3|lbl=-|p=1}} {{section|Page:Cod.44.A.8 004r.jpg|1|lbl=4r|p=1}}
 
{{section|Page:Cod.44.A.8 003v.jpg|3|lbl=-|p=1}} {{section|Page:Cod.44.A.8 004r.jpg|1|lbl=4r|p=1}}
| {{section|Page:Ms.Thott.290.2º 002v.jpg|1|lbl=2v}}
+
| {{section|Page:MS Thott.290.2º 002v.jpg|1|lbl=2v}}
 
| <p><br/><br/></p>
 
| <p><br/><br/></p>
  
Line 278: Line 278:
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 048r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 048r.jpg|2|lbl=-}}
<section end="Hauptstücke"/><section begin="Zornhaw"/>
+
<section end="Hauptstücke"/><section begin="Zornhaw"/><section begin="Krieg"/>
 
|-  
 
|-  
 
| <p>{{red|b=1|The Wrath Stroke}}</p>
 
| <p>{{red|b=1|The Wrath Stroke}}</p>
Line 298: Line 298:
 
| <small>31</small>
 
| <small>31</small>
 
| Instantly, and Before and After.<br/>&emsp;Your War should not be in haste.
 
| Instantly, and Before and After.<br/>&emsp;Your War should not be in haste.
|}
 
| {{section|Page:MS Chart.A.558 018v.jpg|3|lbl=-}}
 
| {{section|Page:Cod.44.A.8 004r.jpg|2|lbl=-}}
 
| {{section|Page:Ms.Thott.290.2º 002v.jpg|2|lbl=-}}
 
| <p><br/></p>
 
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|4|lbl=-}}
 
| <p><br/></p>
 
 
<p><br/>{{paget|Page:Cgm 1507|59r|jpg|p=1}}<br/><br/>{{paget|Page:Cgm 1507|59v|jpg|p=1}}<br/><br/>{{paget|Page:Cgm 1507|60r|jpg|p=1}} {{paget|Page:Cgm 1507|60v|jpg|p=1}}</p>
 
| {{section|Page:MS KK5126 104v.jpg|5|lbl=-}}
 
|
 
{{section|Page:MS Dresd.C.487 004v.png|3|lbl=-|p=1}}<br/>{{section|Page:MS Dresd.C.487 005r.png|1|lbl=05r|p=1}}
 
| <p><br/></p>
 
 
{{section|Page:MS Dresd.C.487 055v.png|3|lbl=55v|p=1}} {{section|Page:MS Dresd.C.487 056r.png|1|lbl=56r|p=1}}
 
| {{section|Page:MS Germ.Quart.2020 001v.jpg|3|lbl=-}}
 
 
{{section|Page:MS Germ.Quart.2020 002r.jpg|1|lbl=02r}}
 
| {{section|Page:Cgm 3711 43r.jpg|3|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 42br.jpg|3|lbl=-}}
 
|
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 015r.jpg|1|lbl=15r}}
 
|
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 048r.jpg|3|lbl=-}}
 
<section end="Zornhaw"/><section begin="Krieg"/>
 
|-
 
| <p>{{red|b=1|''The War''}}</p>
 
 
{| class="zettel"
 
 
|-  
 
|-  
 
| <small>32</small>
 
| <small>32</small>
Line 341: Line 311:
 
| In all encounters,<br/>&emsp;if you want to fool the masters.
 
| In all encounters,<br/>&emsp;if you want to fool the masters.
 
|}
 
|}
| {{section|Page:MS Chart.A.558 018v.jpg|4|lbl=-}}
+
|  
 +
{{section|Page:MS Chart.A.558 018v.jpg|3|lbl=-|p=1}}<br/>{{section|Page:MS Chart.A.558 018v.jpg|4|lbl=-|p=1}}
 +
|
 +
{{section|Page:Cod.44.A.8 004r.jpg|2|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 004r.jpg|3|lbl=-|p=1}}
 +
|
 +
{{section|Page:MS Thott.290.2º 002v.jpg|2|lbl=-|p=1}}<br/>{{section|Page:MS Thott.290.2º 002v.jpg|3|lbl=-|p=1}}
 
| <p><br/></p>
 
| <p><br/></p>
  
{{section|Page:Cod.44.A.8 004r.jpg|3|lbl=-}}
+
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|4|lbl=-|p=1}}<br/>{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|5|lbl=-|p=1}}
 
| <p><br/></p>
 
| <p><br/></p>
  
{{section|Page:Ms.Thott.290.2º 002v.jpg|3|lbl=-}}
+
<br/>{{paget|Page:Cgm 1507|59r|jpg|p=1}}<br/><br/>{{paget|Page:Cgm 1507|59v|jpg|p=1}}<br/><br/>{{paget|Page:Cgm 1507|60r|jpg|p=1}} {{paget|Page:Cgm 1507|60v|jpg|p=1|p=1}}
| <p><br/></p>
+
|
 
+
{{section|Page:MS KK5126 104v.jpg|5|lbl=-|p=1}}<br/>{{section|Page:MS KK5126 104v.jpg|6|lbl=-|p=1}}
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|5|lbl=-}}
 
 
|  
 
|  
 +
{{section|Page:MS Dresd.C.487 004v.png|3|lbl=-|p=1}}<br/>{{section|Page:MS Dresd.C.487 005r.png|1|lbl=05r|p=1}}<br/>{{section|Page:MS Dresd.C.487 005r.png|2|lbl=-|p=1}}
 
| <p><br/></p>
 
| <p><br/></p>
  
{{section|Page:MS KK5126 104v.jpg|6|lbl=-}}
+
{{section|Page:MS Dresd.C.487 055v.png|3|lbl=55v|p=1}} {{section|Page:MS Dresd.C.487 056r.png|1|lbl=56r|p=1}}<br/><br/><br/><br/><br/>{{section|Page:MS Dresd.C.487 056r.png|2|lbl=-|p=1}}
| <p><br/></p>
+
| {{section|Page:MS Germ.Quart.2020 001v.jpg|3|lbl=-}}
  
{{section|Page:MS Dresd.C.487 005r.png|2|lbl=-}}
+
{{section|Page:MS Germ.Quart.2020 002r.jpg|1|lbl=02r|p=1}}<br/>{{section|Page:MS Germ.Quart.2020 002r.jpg|2|lbl=-|p=1}}
| <p><br/></p>
+
|  
 
+
{{section|Page:Cgm 3711 43r.jpg|3|lbl=-|p=1}}<br/>{{section|Page:Cgm 3711 43r.jpg|4|lbl=-|p=1}} {{section|Page:Cgm 3711 43v.jpg|1|lbl=43v|p=1}}
<p><br/><br/>{{section|Page:MS Dresd.C.487 056r.png|2|lbl=-|p=1}}</p>
+
|  
| <p><br/></p>
+
{{section|Page:Cod.I.6.2º.2 42br.jpg|3|lbl=-|p=1}}<br/>{{section|Page:Cod.I.6.2º.2 42br.jpg|4|lbl=-|p=1}}
 
+
|
{{section|Page:MS Germ.Quart.2020 002r.jpg|2|lbl=-}}
+
|
| <p><br/></p>
+
{{section|Page:Reichsstadt "Schätze" Nr. 82 015r.jpg|1|lbl=15r|p=1}}<br/>{{section|Page:Reichsstadt "Schätze" Nr. 82 015r.jpg|2|lbl=-|p=1}}
 
 
{{section|Page:Cgm 3711 43r.jpg|4|lbl=-|p=1}} {{section|Page:Cgm 3711 43v.jpg|1|lbl=43v|p=1}}
 
| <p><br/></p>
 
 
 
{{section|Page:Cod.I.6.2º.2 42br.jpg|4|lbl=-}}
 
 
|  
 
|  
| <p><br/></p>
 
 
{{section|Page:Reichsstadt "Schätze" Nr. 82 015r.jpg|2|lbl=-}}
 
 
|  
 
|  
| <p><br/></p>
+
{{section|Page:Cod.Guelf.38.21 Aug.2º 048r.jpg|3|lbl=-|p=1}}<br/>{{section|Page:Cod.Guelf.38.21 Aug.2º 048r.jpg|4|lbl=-|p=1}}
 
+
<section begin="Blossen"/>
{{section|Page:Cod.Guelf.38.21 Aug.2º 048r.jpg|4|lbl=-}}
 
<section end="Krieg"/><section begin="Blossen"/>
 
 
|-  
 
|-  
 
| <p>{{red|b=1|The Four Openings}}</p>
 
| <p>{{red|b=1|The Four Openings}}</p>
Line 392: Line 357:
 
| {{section|Page:MS Chart.A.558 019r.jpg|1|lbl=19r}}
 
| {{section|Page:MS Chart.A.558 019r.jpg|1|lbl=19r}}
 
| {{section|Page:Cod.44.A.8 004r.jpg|4|lbl=-}}
 
| {{section|Page:Cod.44.A.8 004r.jpg|4|lbl=-}}
| {{section|Page:Ms.Thott.290.2º 003r.jpg|1|lbl=3r}}
+
| {{section|Page:MS Thott.290.2º 003r.jpg|1|lbl=3r}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 433: Line 398:
 
| {{section|Page:MS Chart.A.558 019r.jpg|2|lbl=-}}
 
| {{section|Page:MS Chart.A.558 019r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 004r.jpg|5|lbl=-}}
 
| {{section|Page:Cod.44.A.8 004r.jpg|5|lbl=-}}
| {{section|Page:Ms.Thott.290.2º 003r.jpg|2|lbl=-}}
+
| {{section|Page:MS Thott.290.2º 003r.jpg|2|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 485: Line 450:
 
|  
 
|  
 
{{section|Page:Cod.44.A.8 004r.jpg|6|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 004v.jpg|1|lbl=4v|p=1}}
 
{{section|Page:Cod.44.A.8 004r.jpg|6|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 004v.jpg|1|lbl=4v|p=1}}
| {{section|Page:Ms.Thott.290.2º 003r.jpg|3|lbl=-}}
+
| {{section|Page:MS Thott.290.2º 003r.jpg|3|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 547: Line 512:
 
{{section|Page:Cod.44.A.8 004v.jpg|2|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 004v.jpg|3|lbl=-|p=1}}
 
{{section|Page:Cod.44.A.8 004v.jpg|2|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 004v.jpg|3|lbl=-|p=1}}
 
|  
 
|  
{{section|Page:Ms.Thott.290.2º 003v.jpg|1|lbl=3v|p=1}}<br/>{{section|Page:Ms.Thott.290.2º 003v.jpg|2|lbl=-|p=1}}
+
{{section|Page:MS Thott.290.2º 003v.jpg|1|lbl=3v|p=1}}<br/>{{section|Page:MS Thott.290.2º 003v.jpg|2|lbl=-|p=1}}
 
| <p><br/><br/></p>
 
| <p><br/><br/></p>
  
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|9|lbl=-|p=1}}<br/>{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|1|lbl=IIIv|p=1}}<br/>{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|2|lbl=-|p=1}}
+
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|9|lbl=-|p=1}}<br/>{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|1|lbl=Ⅲv|p=1}}<br/>{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|2|lbl=-|p=1}}
 
| <p><br/><br/></p>
 
| <p><br/><br/></p>
  
Line 560: Line 525:
 
| <p><br/><br/></p>
 
| <p><br/><br/></p>
  
{{section|Page:MS Dresd.C.487 056v.png|2|lbl=-|p=1}}<br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/>{{section|Page:MS Dresd.C.487 056v.png|3|lbl=-|p=1}}
+
{{section|Page:MS Dresd.C.487 056v.png|2|lbl=-|p=1}}<br/><br/><br/><br/><br/><br/><br/><br/><br/>{{section|Page:MS Dresd.C.487 056v.png|3|lbl=-|p=1}}
 
|  
 
|  
 
{{section|Page:MS Germ.Quart.2020 003r.jpg|2|lbl=-|p=1}}<br/>{{section|Page:MS Germ.Quart.2020 003r.jpg|3|lbl=-|p=1}}<br/>{{section|Page:MS Germ.Quart.2020 003v.jpg|1|lbl=03v|p=1}}
 
{{section|Page:MS Germ.Quart.2020 003r.jpg|2|lbl=-|p=1}}<br/>{{section|Page:MS Germ.Quart.2020 003r.jpg|3|lbl=-|p=1}}<br/>{{section|Page:MS Germ.Quart.2020 003v.jpg|1|lbl=03v|p=1}}
Line 597: Line 562:
 
| {{section|Page:Cod.44.A.8 004v.jpg|4|lbl=-}}
 
| {{section|Page:Cod.44.A.8 004v.jpg|4|lbl=-}}
 
|  
 
|  
{{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>
+
{{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>
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 638: Line 603:
 
|  
 
|  
 
{{section|Page:Cod.44.A.8 004v.jpg|5|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 005r.jpg|1|lbl=5r|p=1}}
 
{{section|Page:Cod.44.A.8 004v.jpg|5|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 005r.jpg|1|lbl=5r|p=1}}
| {{section|Page:Ms.Thott.290.2º 004r.jpg|2|lbl=-}}
+
| {{section|Page:MS Thott.290.2º 004r.jpg|2|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 675: Line 640:
 
| {{section|Page:MS Chart.A.558 019v.jpg|3|lbl=-}}
 
| {{section|Page:MS Chart.A.558 019v.jpg|3|lbl=-}}
 
| {{section|Page:Cod.44.A.8 005r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 005r.jpg|2|lbl=-}}
| {{section|Page:Ms.Thott.290.2º 004r.jpg|3|lbl=-}}
+
| {{section|Page:MS Thott.290.2º 004r.jpg|3|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 717: Line 682:
 
| {{section|Page:MS Chart.A.558 019v.jpg|4|lbl=-}}
 
| {{section|Page:MS Chart.A.558 019v.jpg|4|lbl=-}}
 
| {{section|Page:Cod.44.A.8 005r.jpg|3|lbl=-}}
 
| {{section|Page:Cod.44.A.8 005r.jpg|3|lbl=-}}
| {{section|Page:Ms.Thott.290.2º 004r.jpg|4|lbl=-}}
+
| {{section|Page:MS Thott.290.2º 004r.jpg|4|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 760: Line 725:
 
| {{section|Page:MS Chart.A.558 019v.jpg|5|lbl=-}}
 
| {{section|Page:MS Chart.A.558 019v.jpg|5|lbl=-}}
 
| {{section|Page:Cod.44.A.8 005r.jpg|4|lbl=-}}
 
| {{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>
  
Line 766: Line 731:
 
| <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=-}}
Line 774: Line 739:
 
|  
 
|  
 
{{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=-}}
 
|  
 
|  
Line 798: Line 763:
 
|  
 
|  
 
{{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 801:
 
{{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 832:
 
| {{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 869:
 
| {{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 900:
 
| {{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 935:
 
| {{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 969:
  
 
{{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 1,000:
 
| {{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 1,036:
 
| {{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 1,087:
 
| {{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 1,106:
  
 
|-  
 
|-  
| 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 1,127:
 
{{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|Featured Translation (from the Rome)}}<br/>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 Version]] (1400s){{edit index|Pol Hausbuch (MS 3227a)}}<br/>Transcribed 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 Version]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>Transcribed 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>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed 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>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Ⅰ Version]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>Transcribed 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 Version]] (1491){{edit index|Codex Speyer (MS M.I.29)}}<br/>Transcribed 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>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Version]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>Transcribed 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>
+
! <p>[[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna Ⅱ Version]] (1512){{edit index|Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna Transcription II]] (1512){{edit index|Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Ⅱ Version]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>Transcribed by [[Werner Ueberschär]]</p>
! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg II Transcription]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>by [[Werner Ueberschär]]</p>
+
! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Version]] (1570-71){{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Transcription]] (1570-71){{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>by [[Dierk Hagedorn]]</p>
 
  
 
|-  
 
|-  
 
| {{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}}
|
 
 
| {{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 1,215:
 
|}
 
|}
 
| {{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 1,264: Line 1,226:
 
|-  
 
|-  
 
|  
 
|  
{| class="zettel"
+
| {{paget|Page:MS 3227a|53v|jpg}}
|-  
+
|
| <small>6</small>
+
|
| If it changes<br/>&emsp;So that the sword is used against the sword
+
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
{| class="zettel"
 +
|-  
 +
| <small>6</small>
 +
| If it changes<br/>&emsp;So that the sword is used against the sword
  
 
|-  
 
|-  
Line 1,279: Line 1,253:
 
|}
 
|}
 
| {{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 1,296:
 
|}
 
|}
 
| {{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 1,308:
 
|  
 
|  
 
| {{section|Page:MS 3227a 55r.jpg|3|lbl=-}}
 
| {{section|Page:MS 3227a 55r.jpg|3|lbl=-}}
|
 
 
|  
 
|  
 
|  
 
|  
Line 1,349: Line 1,320:
 
|  
 
|  
 
| {{section|Page:MS 3227a 55r.jpg|4|lbl=-}}
 
| {{section|Page:MS 3227a 55r.jpg|4|lbl=-}}
|
 
 
|  
 
|  
 
|  
 
|  
Line 1,362: Line 1,332:
 
|  
 
|  
 
| {{section|Page:MS 3227a 55r.jpg|5|lbl=-}}
 
| {{section|Page:MS 3227a 55r.jpg|5|lbl=-}}
|
 
 
|  
 
|  
 
|  
 
|  
Line 1,397: Line 1,366:
 
|}
 
|}
 
| {{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 1,409:
 
|}
 
|}
 
| {{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 1,434:
 
|}
 
|}
 
| {{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 1,460:
 
|}
 
|}
 
| {{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 1,499:
 
|}
 
|}
 
| {{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 1,510:
  
 
|-  
 
|-  
|  
+
| 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 1,537:
 
{{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|Featured Translation (from the Rome)}}<br/>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 Version]] (1400s){{edit index|Pol Hausbuch (MS 3227a)}}<br/>Transcribed 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 Version]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>Transcribed 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>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed 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>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Ⅰ Version]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>Transcribed 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 Version]] (1491){{edit index|Codex Speyer (MS M.I.29)}}<br/>Transcribed 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>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Version]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>Transcribed by [[Michael Chidester]]</p>
! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Transcription]] (1510-20){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/></p>
+
! <p>[[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna Ⅱ Version]] (1512){{edit index|Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna Transcription II]] (1512){{edit index|Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Ⅱ Version]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>Transcribed by [[Werner Ueberschär]]</p>
! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg II Transcription]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>by [[Werner Ueberschär]]</p>
+
! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Version]] (1570-71){{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Transcription]] (1570-71){{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>by [[Dierk Hagedorn]]</p>
 
  
 
|-  
 
|-  
 
| <p>{{red|b=1|Here begins the Art with the Short Sword in Dueling, of Master Johannes Liechtenauer, God have mercy on him,}}</p>
 
| <p>{{red|b=1|Here begins the Art with the Short Sword in Dueling, of Master Johannes Liechtenauer, God have mercy on him,}}</p>
 +
 +
<p><br/></p>
  
 
{| class="zettel"
 
{| class="zettel"
Line 1,620: Line 1,581:
 
|}
 
|}
 
| <p><br/><br/></p>
 
| <p><br/><br/></p>
 +
 +
<p><br/></p>
  
 
{{paget|Page:MS 3227a|60r|jpg|p=1}}
 
{{paget|Page:MS 3227a|60r|jpg|p=1}}
|
 
 
| {{section|Page:MS Chart.A.558 048v.jpg|1|lbl=48v}}
 
| {{section|Page:MS Chart.A.558 048v.jpg|1|lbl=48v}}
 
| {{section|Page:Cod.44.A.8 008v.jpg|1|lbl=08v}}
 
| {{section|Page:Cod.44.A.8 008v.jpg|1|lbl=08v}}
 
| {{section|Page:MS KK5126 105v.jpg|10|lbl=105v}}
 
| {{section|Page:MS KK5126 105v.jpg|10|lbl=105v}}
 
|  
 
|  
| {{paget|Page:MS Germ.Quart.2020|199r|jpg}}
+
|  
 
+
{{paget|Page:MS Germ.Quart.2020|199r|jpg|p=1}} {{section|Page:MS Germ.Quart.2020 199v.jpg|1|lbl=199v|p=1}}
{{section|Page:MS Germ.Quart.2020 199v.jpg|1|lbl=199v}}
 
 
|  
 
|  
 
|  
 
|  
Line 1,650: Line 1,611:
 
|}
 
|}
 
| {{paget|Page:MS 3227a|61v|jpg}}
 
| {{paget|Page:MS 3227a|61v|jpg}}
|
 
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 1,657: Line 1,617:
 
| {{section|Page:MS KK5126 105v.jpg|11|lbl=105v}}
 
| {{section|Page:MS KK5126 105v.jpg|11|lbl=105v}}
 
| {{section|Page:MS M.I.29 129r.jpg|1|lbl=129r}}
 
| {{section|Page:MS M.I.29 129r.jpg|1|lbl=129r}}
| {{section|Page:MS Germ.Quart.2020 199v.jpg|3|lbl=-}}
+
|  
 +
{{section|Page:MS Germ.Quart.2020 199v.jpg|2|lbl=-|p=1}}<br/>{{section|Page:MS Germ.Quart.2020 200r.jpg|1|lbl=200r|p=1}}
 
| {{section|Page:MS 26-232 100v.png|4|lbl=100v}}
 
| {{section|Page:MS 26-232 100v.png|4|lbl=100v}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 019r.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 019r.jpg|2|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
  
{{section|Page:MS Var.82 074v.png|2|lbl=74v|p=1}} {{section|Page:MS Var.82 075r.png|1|lbl=75r|p=1}}
+
{{section|Page:MS Var.82 074v.png|5|lbl=74v|p=1}} {{section|Page:MS Var.82 075r.png|1|lbl=75r|p=1}}
  
 
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| {{paget|Page:MS 3227a|59v|jpg}}
 
| {{paget|Page:MS 3227a|59v|jpg}}
|
 
 
| {{section|Page:MS Chart.A.558 048v.jpg|3|lbl=-}}
 
| {{section|Page:MS Chart.A.558 048v.jpg|3|lbl=-}}
 
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| {{section|Page:Cod.44.A.8 008v.jpg|3|lbl=-}}
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|  
 
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{{section|Page:MS M.I.29 129r.jpg|2|lbl=-|p=1}}<br/>{{section|Page:MS M.I.29 129v.jpg|1|lbl=129v|p=1}}
 
{{section|Page:MS M.I.29 129r.jpg|2|lbl=-|p=1}}<br/>{{section|Page:MS M.I.29 129v.jpg|1|lbl=129v|p=1}}
| {{paget|Page:MS Germ.Quart.2020|200v|jpg}}
+
|  
 +
{{section|Page:MS Germ.Quart.2020 200r.jpg|2|lbl=-|p=1}} {{section|Page:MS Germ.Quart.2020 200v.jpg|1|lbl=200v|p=1}}
 
| {{section|Page:MS 26-232 100v.png|5|lbl=100v}}
 
| {{section|Page:MS 26-232 100v.png|5|lbl=100v}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 019r.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 019r.jpg|3|lbl=-}}
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|  
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| class="noline" |  
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 1,741: Line 1,702:
 
| The forward foot<br/>&emsp;With striking you must protect.
 
| The forward foot<br/>&emsp;With striking you must protect.
 
|}
 
|}
| {{paget|Page:MS 3227a|60v|jpg}}
+
| class="noline" | {{paget|Page:MS 3227a|60v|jpg}}
| {{paget|Page:MS 3227a|29v|jpg}}
+
| class="noline" | {{section|Page:MS Chart.A.558 048v.jpg|4|lbl=-}}
| {{section|Page:MS Chart.A.558 048v.jpg|4|lbl=-}}
+
| class="noline" |  
|  
 
 
{{section|Page:Cod.44.A.8 008v.jpg|4|lbl=-|p=1}} {{paget|Page:Cod.44.A.8|009r|jpg|1|lbl=09r|p=1}}
 
{{section|Page:Cod.44.A.8 008v.jpg|4|lbl=-|p=1}} {{paget|Page:Cod.44.A.8|009r|jpg|1|lbl=09r|p=1}}
|  
+
| class="noline" |  
 
{{section|Page:MS KK5126 105v.jpg|13|lbl=-|p=1}} {{section|Page:MS KK5126 106r.jpg|1|lbl=106r|p=1}}
 
{{section|Page:MS KK5126 105v.jpg|13|lbl=-|p=1}} {{section|Page:MS KK5126 106r.jpg|1|lbl=106r|p=1}}
|  
+
| class="noline" |  
 
{{section|Page:MS M.I.29 129v.jpg|2|lbl=-|p=1}}<br/>{{section|Page:MS M.I.29 130r.jpg|1|lbl=130r|p=1}}
 
{{section|Page:MS M.I.29 129v.jpg|2|lbl=-|p=1}}<br/>{{section|Page:MS M.I.29 130r.jpg|1|lbl=130r|p=1}}
| {{paget|Page:MS Germ.Quart.2020|201r|jpg}}
+
| class="noline" |
| {{section|Page:MS 26-232 100v.png|6|lbl=-}}
+
{{section|Page:MS Germ.Quart.2020 200v.jpg|2|lbl=-|p=1}} {{section|Page:MS Germ.Quart.2020 201r.jpg|1|lbl=201r|p=1}}
|  
+
| class="noline" | {{section|Page:MS 26-232 100v.png|6|lbl=-}}
 +
| class="noline" |  
 
{{section|Page:Reichsstadt "Schätze" Nr. 82 019r.jpg|4|lbl=-|p=1}}<br/>{{section|Page:Reichsstadt "Schätze" Nr. 82 019v.jpg|1|lbl=-|p=1}}
 
{{section|Page:Reichsstadt "Schätze" Nr. 82 019r.jpg|4|lbl=-|p=1}}<br/>{{section|Page:Reichsstadt "Schätze" Nr. 82 019v.jpg|1|lbl=-|p=1}}
| {{section|Page:MS Var.82 075r.png|3|lbl=-}}
+
| class="noline" | {{section|Page:MS Var.82 075r.png|3|lbl=-}}
 
 
|-
 
|
 
| {{paget|Page:MS 3227a|53v|jpg}}
 
|
 
|
 
|
 
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|
 
|
 
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|
 
  
 
|}
 
|}
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   | width = 210em
 
   | width = 210em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images<br/>from the [[Codex Danzig (Cod.44.A.8)|Codex 44.A.8]]</p>
+
! <p>Images<br/>from the [[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]]</p>
! <p>{{rating|A|Translation (from the Rome)}}<br/>by [[Christian Tobler]]</p>
+
! <p>{{rating|A|Featured 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 Version]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>Transcribed 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 Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed 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 Version]] (1508){{edit index|Glasgow Fechtbuch (MS E.1939.65.341)}}<br/>Transcribed 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 Version]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>Transcribed by [[Per Magnus Haaland]]</p>
! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg II Transcription]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>by [[Werner Ueberschär]]</p>
+
! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Ⅱ Version]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>Transcribed by [[Werner Ueberschär]]</p>
  
 
|-  
 
|-  
Line 1,910: Line 1,858:
  
 
|-  
 
|-  
| rowspan="14" | [[File:Cod.44.A.8 8r.jpg|300px|center]]
+
| class="noline" rowspan="14" | [[File:Cod.44.A.8 8r.jpg|300px|center]]
 
| <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>
 
| {{section|Page:MS Chart.A.558 023r.jpg|1|lbl=23r}}
 
| {{section|Page:MS Chart.A.558 023r.jpg|1|lbl=23r}}
Line 2,015: Line 1,963:
  
 
|-  
 
|-  
| <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>
+
| 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>
|  
+
| class="noline" |  
| {{section|Page:Cod.44.A.8 008r.jpg|14|lbl=08r}}
+
| class="noline" | {{section|Page:Cod.44.A.8 008r.jpg|14|lbl=08r}}
|  
+
| class="noline" |  
|  
+
| class="noline" |  
| {{section|Page:Reichsstadt "Schätze" Nr. 82 018v.jpg|14|lbl=-}}
+
| class="noline" | {{section|Page:Reichsstadt "Schätze" Nr. 82 018v.jpg|14|lbl=-}}
  
 
|}
 
|}
Line 2,036: Line 1,984:
 
{{sourcebox
 
{{sourcebox
 
| work        = Translation
 
| work        = Translation
| authors    = [[Christian Tobler]]
+
| authors    = [[translator::Christian Tobler]]
 
| source link = http://www.freelanceacademypress.com/insaintgeorgesname.aspx
 
| source link = http://www.freelanceacademypress.com/insaintgeorgesname.aspx
 
| source title= ''In Saint George's Name: An Anthology of Medieval German Fighting Arts''
 
| source title= ''In Saint George's Name: An Anthology of Medieval German Fighting Arts''
Line 2,049: Line 1,997:
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Codex Danzig (Cod.44.A.8)|Rome Transcription]]
+
  | 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)]]
+
  | source title= [[Index:Starhemberg Fechtbuch (Cod.44.A.8)]]
 
  | license    = copyrighted
 
  | license    = copyrighted
 
}}
 
}}
Line 2,063: Line 2,011:
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
| work        = [[Wolfenbüttel Sketchbook (Cod.Guelf.78.2 Aug.2º)|Wolfenbüttel I Transcription]]
+
| work        = [[Wolfenbüttel Picture Book (Cod.Guelf.78.2 Aug.2º)|Wolfenbüttel Transcription]]
 
| authors    = [[Dierk Hagedorn]]
 
| authors    = [[Dierk Hagedorn]]
 
| source link =  
 
| source link =  
| source title= [[Index:Wolfenbüttel Sketchbook (Cod.Guelf.78.2 Aug.2º)]]
+
| source title= [[Index:Wolfenbüttel Picture Book (Cod.Guelf.78.2 Aug.2º)]]
 
| license    = copyrighted
 
| license    = copyrighted
 
}}
 
}}
Line 2,077: Line 2,025:
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Paulus Kal Fechtbuch (Cgm 1507)|Munich I Transcription]]
+
  | work        = [[Paulus Kal Fechtbuch (Cgm 1507)|Munich Transcription]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | source link =  
 
  | source link =  
Line 2,105: Line 2,053:
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich II Transcription]]
+
  | work        = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Transcription]]
 
  | authors    = [[Filip Lampart]], [[Martin Fabian]]
 
  | authors    = [[Filip Lampart]], [[Martin Fabian]]
  | source link = http://fecht-kunst.eu/files/wilhalm_prepis.pdf
+
  | source link =  
  | source title= Fecht-Kunst
+
  | source title= [[Index:Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)]]
 
  | license    = copyrighted
 
  | license    = copyrighted
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg I Transcription]]
+
  | work        = [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg Transcription]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)]]
+
  | source title= [[Index:Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)]]
 
  | license    = copyrighted
 
  | license    = copyrighted
 
}}
 
}}
Line 2,126: Line 2,074:
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg II Transcription]]
+
  | work        = [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Transcription]]
 
  | authors    = [[Werner Ueberschär]]
 
  | authors    = [[Werner Ueberschär]]
 
  | source link =  
 
  | source link =  
Line 2,133: Line 2,081:
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich III Transcription]]
+
  | work        = [[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Transcription]]
 
  | authors    =  
 
  | authors    =  
 
  | source link =  
 
  | source link =  
Line 2,140: Line 2,088:
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel II Transcription]]
+
  | work        = [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Transcription]]
 
  | authors    = [[Kevin Maurer]]
 
  | authors    = [[Kevin Maurer]]
 
  | source link =  
 
  | source link =  
Line 2,148: Line 2,096:
  
 
{{sourcebox
 
{{sourcebox
  | work        = [[Nuremberg Hausbuch (MS 3227a)|Nuremberg Transcription]]
+
  | work        = [[Pol Hausbuch (MS 3227a)|Nuremberg Transcription]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Nuremberg Hausbuch (MS 3227a)]]
+
  | source title= [[Index:Pol Hausbuch (MS 3227a)]]
 
  | license    = copyrighted
 
  | license    = copyrighted
 
}}
 
}}
Line 2,162: Line 2,110:
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna Transcription II]]
+
  | work        = [[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna Transcription ]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | source link =  
 
  | source link =  
Line 2,169: Line 2,117:
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
| work        = [[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow II Transcription]]
+
| work        = [[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow Transcription]]
 
| authors    = [[Dierk Hagedorn]]
 
| authors    = [[Dierk Hagedorn]]
 
| source link =  
 
| source link =  
Line 2,182: Line 2,130:
 
== Additional Resources ==
 
== Additional Resources ==
  
* [[Hans-Peter Hils|Hils, Hans-Peter]] (in German). ''Meister Johann Liechtenauers Kunst des langen Schwertes''. P. Lang, 1985. ISBN 978-38-204812-9-7
+
* ''Alte Armature und Ringkunst: The Royal Danish Library Ms. Thott 290 2º''. Ed. [[Michael Chidester]]. Somerville, MA: [[HEMA Bookshelf]], 2020. ISBN 978-1-953683-04-5
 +
* ''Kunst und Zettel im Messer: Bavarian State Library Cgm 582''. Ed. [[Michael Chidester]]. Somerville, MA: [[HEMA Bookshelf]], 2021. ISBN 978-1-953683-16-8
 +
* Alderson, Keith. “Arts and Crafts of War: ''die Kunst des Schwerts'' in its Manuscript Context”. ''Can The Bones Come to Life? Insights from Reconstruction, Reenactment, and Re-creation'' '''1''': 24-29. Wheaton, IL: [[Freelance Academy Press]], 2014. ISBN 978-1-937439-13-2
 +
* Bauer, Matthias Johannes. ''“Der Alten Fechter gründtliche Kunst” &ndash; Das Frankfurter oder Egenolffsche Fechtbuch. Untersuchung und Edition''. Coll. Geschichtswissenschaften 37. München: Utz Verlag, 2016. ISBN 978-3-8316-4559-6
 +
* Bergner, U. and J. Giessauf. ''Würgegriff und Mordschlag. Die Fecht- und Ringlehre des Hans Czynner (1538)''. Graz: Akademische Druck- u. Verlagsanstalt, 2006. ISBN 978-3-201-01855-5
 +
* Burkart, Eric. “The Autograph of an Erudite Martial Artist: A Close Reading of Nuremberg, Germanisches Nationalmuseum, Hs. 3227a”. ''Late Medieval and Early Modern Fight Books. Transmission and Tradition of Martial Arts in Europe'': 451-480. Ed. Daniel Jaquet, et al. Leiden/Boston: Brill, 2016. ISBN 978-9004312418
 +
* [[Stephen Cheney|Cheney, Stephen]]. ''Ringeck &middot; Danzig &middot; Lew Longsword''. Self-published, 2020. ISBN 978-8649845441
 +
* [[Michael Chidester|Chidester, Michael]]. ''The Long Sword Gloss of GNM Manuscript 3227a.'' Somerville, MA: [[HEMA Bookshelf]], 2021. ISBN 978-1-953683-13-7
 +
* [[Michael Chidester|Chidester, Michael]] and [[Dierk Hagedorn|Hagedorn, Dierk]]. ''“The Foundation and Core of All the Arts of Fighting”: The Long Sword Gloss of GNM Manuscript 3227a.'' Somerville, MA: [[HEMA Bookshelf]], 2021. ISBN 978-1-953683-05-2
 +
* [[Dierk Hagedorn|Hagedorn, Dierk]]. ''Albrecht Dürer. Das Fechtbuch.'' VS Books, 2021. ISBN 9783932077500
 +
* [[Dierk Hagedorn|Hagedorn, Dierk]]. ''Jude Lew: Das Fechtbuch.'' VS-Books, 2017. ISBN 978-3-932077-46-3
 +
* [[Dierk Hagedorn|Hagedorn, Dierk]], with [[Helen Hagedorn|Helen]] and [[Henri Hagedorn]]. ''Renaissance Combat. Jörg Wilhalm's Fightbook, 1522-1523.'' Greenhill Books, 2021. ISBN 9781784386566
 +
* [[Dierk Hagedorn|Hagedorn, Dierk]] and [[Christian Henry Tobler]]. ''The Peter von Danzig Fight Book''. [[Freelance Academy Press]], 2021. ISBN 978-1-937439-53-8
 +
* [[Gustav Hergsell|Hergsell, Gustav]], and [[Hans Talhoffer]]. ''[http://jfgilles.perso.sfr.fr/escrime/bibliotheque/talhoffer_gotha/index.html Livre d'escrime de Talhoffer (codex Gotha) de l'an 1443]''. Prague: Chez L'Auteur, 1893.
 +
* [[Gustav Hergsell|Hergsell, Gustav]], and [[Hans Talhoffer]]. {{Google books|-3oVAAAAYAAJ|Talhoffers Fechtbuch (Gothaer Codex) aus dem Jahre 1443: gerichtliche und andere Zweikämpfe darstellend}}. Prague: Selbstverlag, 1889.
 +
* [[Hans-Peter Hils|Hils, Hans-Peter]]. ''Meister Johann Liechtenauers Kunst des langen Schwertes''. P. Lang, 1985. ISBN 978-38-204812-9-7
 +
* [[Jeffrey Hull|Hull, Jeffrey]], with [[Monika Maziarz]] and [[Grzegorz Żabiński]]. ''[http://www.academia.edu/1035644/Knightly_Dueling_the_Fighting_Arts_of_German_Chivalry Knightly Dueling: The Fighting Arts of German Chivalry]''. Boulder, CO: [[Paladin Press]], 2007. ISBN 1-58160-674-4
 +
* Jaquet, Daniel. “The collection of Lew the Jew in the lineage of German Fight Books corpus”. ''[[Acta Periodica Duellatorum]]'' '''5'''(1):151–191. April 2017. {{doi|10.1515/apd-2017-0004}}.
 +
* Jaquet, Daniel; [[Bartłomiej Walczak]]. “Liegnitzer, Hundsfeld or Lew? The question of authorship of popular Medieval fighting teachings”. ''[[Acta Periodica Duellatorum]]'' '''2'''(1): 105-148. 2014. {{doi|10.1515/apd-2015-0015}}
 +
* Kellett, Rachel E. “'... Vnnd schuß im vnder dem schwert den ort lang ein zu der brust': The Placement and Consequences of Sword-blows in Sigmund Ringeck's Fifteenth-Century Fencing Manual”. ''Wounds and wound repair in Medieval culture'': 128-150. Ed. Larissa Tracy and Kelly DeVries. Leiden: Brill, 2015. {{doi|10.1163/9789004306455_007}}
 +
* [[Johannes Lecküchner|Lecküchner, Johannes]]. ''The Art of Swordsmanship by Hans Lecküchner''. Trans. by [[Jeffrey L. Forgeng]]. Boydell Press, 2015. ISBN 978-1-78327-028-6
 +
* [[David Lindholm|Lindholm, David]] and Peter Svard. ''Sigmund Ringeck's Knightly Art of the Longsword''. Boulder, CO: [[Paladin Press]], 2003. ISBN 978-1-58160-410-8
 +
* Lindholm, David and Peter Svard. ''Sigmund Ringeck's Knightly Arts of Combat''. Boulder, CO: [[Paladin Press]], 2006. ISBN 978-1-58160-499-3
 +
* [[Harrison Ridgeway|R., Harry]]. ''Peter von Danzig''. Self-published, 2019. ISBN 978-0-36-870245-7
 +
* [[Christian Henry Tobler|Tobler, Christian Henry]]. ''Captain of the Guild: Master Peter Falkner's Art of Knightly Defense''. Wheaton, IL: [[Freelance Academy Press]], 2011. ISBN 978-0-9825911-1-6
 
* [[Christian Henry Tobler|Tobler, Christian Henry]]. ''In Saint George's Name: An Anthology of Medieval German Fighting Arts''. Wheaton, IL: [[Freelance Academy Press]], 2010. ISBN 978-0-9825911-1-6
 
* [[Christian Henry Tobler|Tobler, Christian Henry]]. ''In Saint George's Name: An Anthology of Medieval German Fighting Arts''. Wheaton, IL: [[Freelance Academy Press]], 2010. ISBN 978-0-9825911-1-6
* [[Christian Henry Tobler|Tobler, Christian Henry]]. ''In Service of the Duke: The 15th Century Fighting Treatise of Paulus Kal''. Highland Village, TX: [[Chivalry Bookshelf]], 2006. ISBN 978-1-891448-25-6
+
* [[Christian Henry Tobler|Tobler, Christian Henry]]. ''Secrets of German Medieval Swordsmanship''. Highland Village, TX: [[Chivalry Bookshelf]], 2001. ISBN 1-891448-07-2
* [[Christian Henry Tobler|Tobler, Christian Henry]]. ''Secrets of German Medieval Swordsmanship''. Highland Village, TX: Chivalry Bookshelf, 2001. ISBN 1-891448-07-2
+
* Verelst, Karin. "Finding a Way through the Labyrinth: Some Methodological Remarks on Critically Editing the Fight Book Corpus". ''Late Medieval and Early Modern Fight Books. Transmission and Tradition of Martial Arts in Europe'': 117-188. Ed.  Daniel Jaquet, Karin Verelst, and Timothy Dawson. History of Warfare 112. Leiden/Boston: Brill, 2016. {{doi|10.1163/9789004324725_008}}
* [[Jeffrey Hull|Hull, Jeffrey]], with [[Monika Maziarz|Maziarz, Monika]] and [[Grzegorz Żabiński|Żabiński, Grzegorz]]. ''[http://www.academia.edu/1035644/Knightly_Dueling_the_Fighting_Arts_of_German_Chivalry Knightly Dueling: The Fighting Arts of German Chivalry]''. Boulder, CO: [[Paladin Press]], 2007. ISBN 978-1581606744
+
* [[Ondrej Vodicka|Vodička, Ondřej]]. “Origin of the oldest German Fencing Manual Compilation (GNM Hs. 3227a)”. ''Waffen- und Kostümkunde'' '''61'''(1): 87-108, 2019.
* [[Martin Wierschin|Wierschin, Martin]] (in German). ''Meister Johann Liechtenauers Kunst des Fechtens''. Muunich: C. H. Beck, 1965.
+
* [[Jay Acutt|Wallhausen, James]]. ''Knightly Martial Arts: An Introduction to Medieval Combat Systems''. Self-published, 2010. ISBN 978-1-4457-3736-2
* [[Grzegorz Żabiński|Żabiński, Grzegorz]]. ''The Longsword Teachings of Master Liechtenauer. The Early Sixteenth Century Swordsmanship Comments in the "Goliath" Manuscript.'' Poland: [[Adam Marshall]], 2010. ISBN 978-83-7611-662-4
+
* [[Rainer Welle|Welle, Rainer]]. ''Albrecht Dürer und seine Kunst des Zweikampfes : auf den Spuren der Handschrift 26232 in der Albertina Wien''. Kumberg: Sublilium Schaffer, Verlag für Geschichte, Kunst & Buchkultur, 2021. ISBN 9783950500806
* [[Grzegorz Żabiński|Żabiński, Grzegorz]]. "Unarmored Longsword Combat by Master Liechtenauer via Priest Döbringer." ''Masters of Medieval and Renaissance Martial Arts''. Ed. Jeffrey Hull. Boulder, CO: Paladin Press, 2008. ISBN 978-1-58160-668-3
+
* [[Rainer Welle|Welle, Rainer]]. “Ein unvollendetes Meisterwerk der Fecht- und Ringkampfliteratur des 16. Jahrhunderts sucht seinen Autor : der Landshuter Holzschneider und Maler Georg Lemberger als Fecht- und Ringbuchillustrator?” ''Codices manuscripti & impressi.'' Supplementum 12. Purkersdorf: Verlag Brüder Hollinek, 2017.
* ''[http://www.archive.org/details/anzeigerfurkunde01germ Anzeiger für Kunde der deutschen Vorzeit]'' (in German). Nuremberg: [[Germanisches Nationalmuseum|Verlag der Artistisch-literarischen Anstalt des Germanischen Museums]], 1854.
+
* [[Martin Wierschin|Wierschin, Martin]]. ''Meister Johann Liechtenauers Kunst des Fechtens''. München: Beck, 1965.
 +
* [[Grzegorz Żabiński|Żabiński, Grzegorz]]. ''The Longsword Teachings of Master Liechtenauer. The Early Sixteenth Century Swordsmanship Comments in the “Goliath” Manuscript.'' Poland: [[Adam Marshall]], 2010. ISBN 978-83-7611-662-4
 +
* [[Grzegorz Żabiński|Żabiński, Grzegorz]]. “Unarmored Longsword Combat by Master Liechtenauer via Priest Döbringer.''Masters of Medieval and Renaissance Martial Arts'': 59-116. Ed. Jeffrey Hull. Boulder, CO: [[Paladin Press]], 2008. ISBN 978-1-58160-668-3
  
 
== References ==
 
== References ==
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[[Category:Longsword]]
 
[[Category:Longsword]]
 
[[Category:Mounted Fencing]]
 
[[Category:Mounted Fencing]]
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[[Category:New format]]

Revision as of 19:40, 18 April 2022

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 15th century German fencing master. 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 Liechtenauer'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 Pseudo-Hans Döbringer, which contains almost twice as many verses as any other; however, given that the additional verses tend to either be 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 H. 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

  • Alte Armature und Ringkunst: The Royal Danish Library Ms. Thott 290 2º. Ed. Michael Chidester. Somerville, MA: HEMA Bookshelf, 2020. ISBN 978-1-953683-04-5
  • Kunst und Zettel im Messer: Bavarian State Library Cgm 582. Ed. Michael Chidester. Somerville, MA: HEMA Bookshelf, 2021. ISBN 978-1-953683-16-8
  • Alderson, Keith. “Arts and Crafts of War: die Kunst des Schwerts in its Manuscript Context”. Can The Bones Come to Life? Insights from Reconstruction, Reenactment, and Re-creation 1: 24-29. Wheaton, IL: Freelance Academy Press, 2014. ISBN 978-1-937439-13-2
  • Bauer, Matthias Johannes. “Der Alten Fechter gründtliche Kunst” – Das Frankfurter oder Egenolffsche Fechtbuch. Untersuchung und Edition. Coll. Geschichtswissenschaften 37. München: Utz Verlag, 2016. ISBN 978-3-8316-4559-6
  • Bergner, U. and J. Giessauf. Würgegriff und Mordschlag. Die Fecht- und Ringlehre des Hans Czynner (1538). Graz: Akademische Druck- u. Verlagsanstalt, 2006. ISBN 978-3-201-01855-5
  • Burkart, Eric. “The Autograph of an Erudite Martial Artist: A Close Reading of Nuremberg, Germanisches Nationalmuseum, Hs. 3227a”. Late Medieval and Early Modern Fight Books. Transmission and Tradition of Martial Arts in Europe: 451-480. Ed. Daniel Jaquet, et al. Leiden/Boston: Brill, 2016. ISBN 978-9004312418
  • Cheney, Stephen. Ringeck · Danzig · Lew Longsword. Self-published, 2020. ISBN 978-8649845441
  • Chidester, Michael. The Long Sword Gloss of GNM Manuscript 3227a. Somerville, MA: HEMA Bookshelf, 2021. ISBN 978-1-953683-13-7
  • Chidester, Michael and Hagedorn, Dierk. “The Foundation and Core of All the Arts of Fighting”: The Long Sword Gloss of GNM Manuscript 3227a. Somerville, MA: HEMA Bookshelf, 2021. ISBN 978-1-953683-05-2
  • Hagedorn, Dierk. Albrecht Dürer. Das Fechtbuch. VS Books, 2021. ISBN 9783932077500
  • Hagedorn, Dierk. Jude Lew: Das Fechtbuch. VS-Books, 2017. ISBN 978-3-932077-46-3
  • Hagedorn, Dierk, with Helen and Henri Hagedorn. Renaissance Combat. Jörg Wilhalm's Fightbook, 1522-1523. Greenhill Books, 2021. ISBN 9781784386566
  • Hagedorn, Dierk and Christian Henry Tobler. The Peter von Danzig Fight Book. Freelance Academy Press, 2021. ISBN 978-1-937439-53-8
  • Hergsell, Gustav, and Hans Talhoffer. Livre d'escrime de Talhoffer (codex Gotha) de l'an 1443. Prague: Chez L'Auteur, 1893.
  • Hergsell, Gustav, and Hans Talhoffer. Talhoffers Fechtbuch (Gothaer Codex) aus dem Jahre 1443: gerichtliche und andere Zweikämpfe darstellend. Prague: Selbstverlag, 1889.
  • Hils, Hans-Peter. Meister Johann Liechtenauers Kunst des langen Schwertes. P. Lang, 1985. ISBN 978-38-204812-9-7
  • Hull, Jeffrey, with Monika Maziarz and Grzegorz Żabiński. Knightly Dueling: The Fighting Arts of German Chivalry. Boulder, CO: Paladin Press, 2007. ISBN 1-58160-674-4
  • Jaquet, Daniel. “The collection of Lew the Jew in the lineage of German Fight Books corpus”. Acta Periodica Duellatorum 5(1):151–191. April 2017. doi:10.1515/apd-2017-0004.
  • Jaquet, Daniel; Bartłomiej Walczak. “Liegnitzer, Hundsfeld or Lew? The question of authorship of popular Medieval fighting teachings”. Acta Periodica Duellatorum 2(1): 105-148. 2014. doi:10.1515/apd-2015-0015
  • Kellett, Rachel E. “'... Vnnd schuß im vnder dem schwert den ort lang ein zu der brust': The Placement and Consequences of Sword-blows in Sigmund Ringeck's Fifteenth-Century Fencing Manual”. Wounds and wound repair in Medieval culture: 128-150. Ed. Larissa Tracy and Kelly DeVries. Leiden: Brill, 2015. doi:10.1163/9789004306455_007
  • Lecküchner, Johannes. The Art of Swordsmanship by Hans Lecküchner. Trans. by Jeffrey L. Forgeng. Boydell Press, 2015. ISBN 978-1-78327-028-6
  • Lindholm, David and Peter Svard. Sigmund Ringeck's Knightly Art of the Longsword. Boulder, CO: Paladin Press, 2003. ISBN 978-1-58160-410-8
  • Lindholm, David and Peter Svard. Sigmund Ringeck's Knightly Arts of Combat. Boulder, CO: Paladin Press, 2006. ISBN 978-1-58160-499-3
  • R., Harry. Peter von Danzig. Self-published, 2019. ISBN 978-0-36-870245-7
  • Tobler, Christian Henry. Captain of the Guild: Master Peter Falkner's Art of Knightly Defense. Wheaton, IL: Freelance Academy Press, 2011. ISBN 978-0-9825911-1-6
  • Tobler, Christian Henry. In Saint George's Name: An Anthology of Medieval German Fighting Arts. Wheaton, IL: Freelance Academy Press, 2010. ISBN 978-0-9825911-1-6
  • Tobler, Christian Henry. Secrets of German Medieval Swordsmanship. Highland Village, TX: Chivalry Bookshelf, 2001. ISBN 1-891448-07-2
  • Verelst, Karin. "Finding a Way through the Labyrinth: Some Methodological Remarks on Critically Editing the Fight Book Corpus". Late Medieval and Early Modern Fight Books. Transmission and Tradition of Martial Arts in Europe: 117-188. Ed. Daniel Jaquet, Karin Verelst, and Timothy Dawson. History of Warfare 112. Leiden/Boston: Brill, 2016. doi:10.1163/9789004324725_008
  • Vodička, Ondřej. “Origin of the oldest German Fencing Manual Compilation (GNM Hs. 3227a)”. Waffen- und Kostümkunde 61(1): 87-108, 2019.
  • Wallhausen, James. Knightly Martial Arts: An Introduction to Medieval Combat Systems. Self-published, 2010. ISBN 978-1-4457-3736-2
  • Welle, Rainer. Albrecht Dürer und seine Kunst des Zweikampfes : auf den Spuren der Handschrift 26232 in der Albertina Wien. Kumberg: Sublilium Schaffer, Verlag für Geschichte, Kunst & Buchkultur, 2021. ISBN 9783950500806
  • Welle, Rainer. “Ein unvollendetes Meisterwerk der Fecht- und Ringkampfliteratur des 16. Jahrhunderts sucht seinen Autor : der Landshuter Holzschneider und Maler Georg Lemberger als Fecht- und Ringbuchillustrator?” Codices manuscripti & impressi. Supplementum 12. Purkersdorf: Verlag Brüder Hollinek, 2017.
  • Wierschin, Martin. Meister Johann Liechtenauers Kunst des Fechtens. München: Beck, 1965.
  • Żabiński, Grzegorz. The Longsword Teachings of Master Liechtenauer. The Early Sixteenth Century Swordsmanship Comments in the “Goliath” Manuscript. Poland: Adam Marshall, 2010. ISBN 978-83-7611-662-4
  • Żabiński, Grzegorz. “Unarmored Longsword Combat by Master Liechtenauer via Priest Döbringer.” Masters of Medieval and Renaissance Martial Arts: 59-116. Ed. Jeffrey Hull. Boulder, CO: Paladin Press, 2008. ISBN 978-1-58160-668-3

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.