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'''Paulus Hector Mair''' (Paulsen Hektor Mayr, Paulus Hector Meyer; 1517 – 1579) was a [[century::16th century]] German aristocrat, civil servant, and fencer. He was born in 1517 to a wealthy and influential Augsburg patrician family. In his youth, he likely received training in fencing and grappling from the masters of Augsburg fencing guild, and early on developed a deep fascination with fencing treatises. He began his civil service as a secretary to the Augsburg City Council; by 1541, Mair was the city treasurer, and in 1545 he also took on the office of Master of Rations.
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'''Paulus Hector Mair''' (Paul Hektor Mayr, Meyer; 1517 – 1579) was a [[century::16th century]] German aristocrat, civil servant, and fencer. He was born in 1517 to a wealthy and influential Augsburg patrician family. In his youth, he likely received training in fencing and grappling from the masters of Augsburg fencing guild, and early on developed a deep fascination with fencing treatises. He began his civil service as a secretary to the Augsburg City Council; by 1541, Mair was the city treasurer, and in 1545 he also took on the office of Master of Rations.
  
Mair's martial background is unknown, but as a citizen of a free city he would have had military obligations whenever the city went to war, and as a member of a patrician family he likely served in the cavalry. He was also an avid collector of fencing treatises and other literature on military history. Like his contemporary [[Joachim Meyer]], Mair believed that the Medieval martial arts were being forgotten, and he saw this as a tragedy, idealizing the arts of fencing as a civilizing and character-building influence on men. Where Meyer sought to update the traditional fencing systems and apply them to contemporary weapons of war and defense, Mair was more interested in preserving historical teachings intact. Thus, some time in the latter part of the 1540s he commissioned what would become the most extensive compendium of German fencing treatises ever made, a massive two-volume manuscript compiling virtually every fencing treatise he could access. He retained [[Jörg Breu the Younger]] to create the illustrations for the text,<ref>Breu is not listed in the Augsburg tax records in 1542-3; given Mair's youth, he most likely hired Breu between his return in 1544 and his death in 1547.</ref> and hired two Augsburg fencers to pose for the illustrations.<ref>Hils 1985, pp 197-201.</ref> This project was extraordinarily expensive and took at least four years to complete. Ultimately, three copies of this compendium were produced, each more extensive than the last; the first ([[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|MSS Dresden C.93/C.94]]) was written in [[Early New High German]], the second and most artistically ambitious ([[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Cod.icon. 393]]) in [[New Latin]], and the rougher third version ([[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Cod. 10825/10826]]) incorporated both languages.
+
Mair's martial background is unknown, but as a citizen of a free city he would have had military obligations whenever the city went to war, and as a member of a patrician family he likely served in the cavalry. He was also an avid collector of fencing treatises and other literature on military history. Like his contemporary [[Joachim Meyer]], Mair believed that the Medieval martial arts were being forgotten, and he saw this as a tragedy, idealizing the arts of fencing as a civilizing and character-building influence on men. Where Meyer sought to update the traditional fencing systems and apply them to contemporary weapons of war and defense, Mair was more interested in preserving historical teachings intact. Thus, some time in the latter part of the 1540s he commissioned what would become the most extensive compendium of German fencing treatises ever made, a massive two-volume manuscript compiling virtually every fencing treatise he could access. He retained the workshop of [[Jörg Breu the Younger]] to create the illustrations for the text,<ref>Breu is not listed in the Augsburg tax records in 1542-3; given Mair's youth, he most likely hired Breu between his return in 1544 and his death in 1547.</ref> and hired two Augsburg fencers to pose for the illustrations.<ref>Hils 1985, pp 197-201.</ref> This project was extraordinarily expensive and took at least four years to complete. Ultimately, three copies of this compendium were produced, each more extensive than the last; the first ([[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|MSS Dresden C.93/C.94]]) was written in [[Early New High German]], the second and most artistically ambitious ([[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Cod.icon. 393]]) in [[New Latin]], and the rougher third version ([[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Cod. 10825/10826]]) incorporated both languages.
  
 
Beginning in the 1540s, Mair began purchasing older fencing manuscripts, some from fellow collector [[Lienhart Sollinger]] (a [[Freifechter]] who lived in Augsburg for many years) and others from auctions. Perhaps most significant of all of his acquisitions was the partially-completed treatise of [[Antonius Rast]], a Master of the Long Sword and three-time Captain of the [[Marxbrüder]] fencing guild. The venerable master left it incomplete when he died in 1549, and in 1553 Mair produced a complete fencing manual ([[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichsstadt "Schätze" Nr. 82]]) based on his notes. Ultimately, he owned over a dozen fencing manuscripts over the course of his life, including the following:
 
Beginning in the 1540s, Mair began purchasing older fencing manuscripts, some from fellow collector [[Lienhart Sollinger]] (a [[Freifechter]] who lived in Augsburg for many years) and others from auctions. Perhaps most significant of all of his acquisitions was the partially-completed treatise of [[Antonius Rast]], a Master of the Long Sword and three-time Captain of the [[Marxbrüder]] fencing guild. The venerable master left it incomplete when he died in 1549, and in 1553 Mair produced a complete fencing manual ([[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichsstadt "Schätze" Nr. 82]]) based on his notes. Ultimately, he owned over a dozen fencing manuscripts over the course of his life, including the following:
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He also used several printed books as source material for his compendia, and presumably owned copies, including ''[[Der Allten Fechter gründtliche Kunst (Christian Egenolff)|Der Allten Fechter gründtliche Kunst]]'' (printed by [[Christian Egenolff]]), ''[[Opera Nova (Achille Marozzo)|Opera Nova]]'' by [[Achille Marozzo]], and ''[[Ringer Kunst (Fabian von Auerswald)|Ringer Kunst]]'' by [[Fabian von Auerswald]].  
 
He also used several printed books as source material for his compendia, and presumably owned copies, including ''[[Der Allten Fechter gründtliche Kunst (Christian Egenolff)|Der Allten Fechter gründtliche Kunst]]'' (printed by [[Christian Egenolff]]), ''[[Opera Nova (Achille Marozzo)|Opera Nova]]'' by [[Achille Marozzo]], and ''[[Ringer Kunst (Fabian von Auerswald)|Ringer Kunst]]'' by [[Fabian von Auerswald]].  
  
Mair not only spent incredible sums of money on his fencing interests, but generally lead a lavish lifestyle and maintained his political influence with expensive parties and other entertainments for the burghers and patricians of Augsburg. This habit of living far beyond his means for decades exhausted his family's wealth, eventually leading him to sell the Latin version of his fencing manuscript (netting the princely sum of 800 florins) and finally to begin embezzling money from the Augsburg city coffers. This embezzlement was not discovered for many years (or perhaps was overlooked due to the favor his parties garnered), until finally in 1579 a disgruntled assistant reported him to the Augsburg City Council and provoked an audit of his books. Mair was arrested, tried, and hanged as a thief at the age of 62. After Mair's death, his effects (including his library) were sold at auction to recoup some of the funds he had embezzled.
+
Mair not only spent incredible sums of money on his fencing interests, but generally lead a lavish lifestyle and maintained his political influence with expensive parties and other entertainments for the burghers and patricians of Augsburg. This habit of living far beyond his means for decades exhausted his family's wealth, eventually leading him to sell the Latin version of his fencing manuscript (netting the princely sum of 800 florins) and finally to begin embezzling money from the Augsburg city coffers. This embezzlement was not discovered for many years (or perhaps was overlooked due to the political favor his parties garnered), until finally a disgruntled assistant reported him to the Augsburg City Council in 1579 and provoked an audit of his books. Mair was arrested, tried, and hanged as a thief at the age of 62. After Mair's death, his effects (including his library) were sold at auction to recoup some of the funds he had embezzled.
  
Whether viewed as an unwise scholar who paid the ultimate price for his art or an ignoble thief who violated his city's trust, Mair remains one of the most influential figures in the history of Kunst des Fechtens. By completing the fencing manual of Antonius Rast, Mair gave us valuable insight into the [[Nuremberg Group|Nuremberg fencing tradition]]; his own works are impressive on both an artistic and practical level, and his extensive commentary on the fencing illustrations in his collection serves to make potentially useful training aids out of what would otherwise be mere curiosities. Finally, in purchasing so many important fencing treatises he succeeded in preserving them for future generations; they were purchased by the fabulously wealthy Fugger family after his death and ultimately passed to the [[Universitätsbibliothek Augsburg|Augsburg University Library]], where they remain to this day.
+
Whether viewed as an unwise scholar who paid the ultimate price for his art or an ignoble thief who violated his city's trust, Mair remains one of the most influential figures in the history of Kunst des Fechtens. By completing the fencing manual of Antonius Rast, Mair gave us valuable insight into the [[Nuremberg Group|Nuremberg fencing tradition]]; his own works are impressive on both an artistic and practical level, and his extensive commentary on the fencing illustrations in his collection serves to make potentially useful training aids out of what would otherwise be mere curiosities. Finally, in purchasing so many important fencing treatises he succeeded in preserving them for future generations; they were purchased by the fabulously wealthy Fugger family after his death and eventually passed to the [[Universitätsbibliothek Augsburg|Augsburg University Library]], where they remain to this day.
 
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== Treatise ==
 
== Treatise ==
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Much of Mair's content represents his revision and expansion of the older treatises listed above, including adding descriptive content to uncaptioned illustrations. Where available, these illustrations are displayed in the left-most column, labeled "Source Illustrations", for comparison purposes. Mair's own illustrations appear in the second column, alongside the translation.
 
Much of Mair's content represents his revision and expansion of the older treatises listed above, including adding descriptive content to uncaptioned illustrations. Where available, these illustrations are displayed in the left-most column, labeled "Source Illustrations", for comparison purposes. Mair's own illustrations appear in the second column, alongside the translation.
  
The Dresden version contains the fewest devices and artwork most reminiscent of Breu's style, and appears therefore to be the original copy. The Munich adds additional plays and sections on top of the Dresden's contents, and the Vienna likewise augments the Munich, suggesting that this is likely order of creation; conversely, the Dresden has no unique content, and the only unique plays in the Munich are in the section on jousting. To give a visual sense of this evolution of the work, the Dresden illustrations are used wherever possible; the Munich illustrations appear only in those plays that are omitted from the Dresden, and the Vienna in those that are unique to that work.
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The Dresden version contains the fewest devices and its artwork is most reminiscent of Breu's style, suggesting that it is the first copy produced. The Munich adds additional plays and sections on top of the Dresden's contents and the Vienna likewise augments the Munich, so it appears that this was order of creation; conversely, the Dresden has no unique content, and the only unique plays in the Munich are in the section on jousting. To give a visual sense of this evolution of the work, the Dresden illustrations are used wherever possible; the Munich illustrations appear only in those plays that are omitted from the Dresden, and the Vienna in those that are unique to that work.
  
 
{{master begin
 
{{master begin
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[1] '''The Zornhaw against the Thrust'''
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[1] '''The ''Zornhaw'' against the Thrust'''
  
It happens that you stand with the Zornhaw (Wrath Strike) with the left foot forward. Then follow after with the right and hit him strongly from above to the left side. If he deflects this, then strike nimbly to the next opening.
+
It happens that you stand with the ''Zornhaw'' ("Wrath Strike") with the left foot forward. Then follow after with the right and hit him strongly from above to the left side. If he deflects this, then strike nimbly to the next opening.
  
If he strikes you wrathfully like this, then wind against the Zornhaw in the Hanging Point and let your point properly go forward shooting in (Einschiessen) to the face or chest. If he perceives this thrust, then drive with the sword well up over your head, spring with your right foot to his left side and cut him with the Zwirchhaw (Across Strike) to the head.
+
If he strikes you wrathfully like this, then wind against the Zornhaw in the Hanging Point and let your point properly go forward shooting in to the face or chest. If he perceives this thrust, then drive with the sword well up over your head, spring with your right foot to his left side and cut him with the ''Zwirchhaw'' to the head.
  
If he strikes towards your head like this with the Zwirchhaw with crossed arms, then displace this with your long edge, then immediately yank back your sword (as in illustration) and wind your point from your left side to his face or chest.
+
If he strikes towards your head like this with the Zwirchhaw with crossed arms, then displace this with your long edge, then immediately yank back your sword<ref name="illustration">As in illustration.</ref> and wind your point from your left side to his face or chest.
 
| {{paget|page:MS Dresd.C.93|022r|png}}
 
| {{paget|page:MS Dresd.C.93|022r|png}}
 
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[2] '''The Krumphaw from Both Sides'''
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[2] '''The ''Krumphaw'' from Both Sides'''
  
When you come to the closing with the opponent, set the left foot forward and hold your sword with the point at your right side and remain hence standing in the Krumphaw (Crooked/Off-line strike). If he then strikes you from above to an opening, step outward with your right foot and give him a Krump to his right side and strike him at the nearest opening.
+
When you come to the closing with the opponent, set the left foot forward and hold your sword with the point at your right side and remain hence standing in the ''Krumphaw'' ("Crooked/Off-line strike"). If he then strikes you from above to an opening, step outward with your right foot and give him a ''Krump'' to his right side and strike him at the nearest opening.
  
If he gives you a Krump like this and you stand with your right foot forward likewise in the Krumphaw, then step in with your left leg and displace his strike with your long edge. Then immediately follow outward with the right foot and drop a Krump onto his sword with your short edge and with that cut through his head.
+
If he gives you a ''Krump'' like this and you stand with your right foot forward likewise in the ''Krumphaw'', then step in with your left leg and displace his strike with your long edge. Then immediately follow outward with the right foot and drop a ''Krump'' onto his sword with your short edge and with that cut through his head.
 
| {{paget|page:MS Dresd.C.93|022v|png}}
 
| {{paget|page:MS Dresd.C.93|022v|png}}
 
| {{section|page:Cod.10825 001v.png|German|lbl=001v}}
 
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[3] '''The Zwirchhaw from Both Sides'''
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[3] '''The ''Zwirchhaw'' from Both Sides'''
  
When you come to the closing with the opponent, stand with the right foot forward such that the short edge is wound towards you. Then follow outward with your left leg and strike the Zwirchhaw with crossed arms. If he displaces this, then wind in the weak and strike him long to the upper opening.
+
When you come to the closing with the opponent, stand with the right foot forward such that the short edge is wound towards you. Then follow outward with your left leg and strike the ''Zwirchhaw'' ("Across Strike") with crossed arms. If he displaces this, then wind in the weak and strike him long to the upper opening.
  
If rather you stand with the left foot forward and likewise lie against him in the Zwirch with crossed arms, then follow outward with your right foot and turn your hand so that the flat of the sword stands in front of him and strike with the Zwirch in towards his left ear. If he displaces your Zwirch, then let a double feint pass and strike him to the top of his head on the right side.
+
If rather you stand with the left foot forward and likewise lie against him in the ''Zwirch'' with crossed arms, then follow outward with your right foot and turn your hand so that the flat of the sword stands in front of him and strike with the ''Zwirch'' in towards his left ear. If he displaces your ''Zwirch'', then let a double feint pass and strike him to the top of his head on the right side.
 
| {{paget|page:MS Dresd.C.93|023r|png}}
 
| {{paget|page:MS Dresd.C.93|023r|png}}
 
| {{section|page:Cod.10825 002r.png|German|lbl=002r}}
 
| {{section|page:Cod.10825 002r.png|German|lbl=002r}}
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| [[file:Mair longsword 004.jpg|400x400px|center]]
 
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[4] '''The Schillerhaw (Squinting Strike) from Both Sides'''
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[4] '''The ''Schillerhaw'' ("Squinting Strike") from Both Sides'''
  
 
When you come to the closing with the opponent, set your left leg out in front such that the short edge is wound under. Then step out with your right foot, wind your pommel beneath your right arm and set upon him with the point.
 
When you come to the closing with the opponent, set your left leg out in front such that the short edge is wound under. Then step out with your right foot, wind your pommel beneath your right arm and set upon him with the point.
  
If he sets upon you with the point like this, then displace it and immediately wind in the Zwirch, hang with your sword against the Zwirch on your right side and step out with the left foot. Then wind the point in between his arms such that the short edge stays on top (as in illustration).
+
If he sets upon you with the point like this, then displace it and immediately wind in the ''Zwirch'', hang with your sword against the ''Zwirch'' on your right side and step out with the left foot. Then wind the point in between his arms such that the short edge stays on top.<ref name="illustration"/>
  
 
If he winds his point in between your arms like this, then set this aside with your long edge. With that press downward and let the weak run and strike him with the long edge to his head.
 
If he winds his point in between your arms like this, then set this aside with your long edge. With that press downward and let the weak run and strike him with the long edge to his head.
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| [[file:Mair longsword 005.jpg|400x400px|center]]
 
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[5] '''Schaitlerhaw (Vertex Strike)'''
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[5] '''''Schaitlerhaw'''''
  
Stand with the left leg in front and lift your sword above your head with extended arms (as in illustration). Then spring in towards him with the right foot and strike with the long edge directly to the top of his head. Then sink the point downward to his face or chest.
+
Stand with the left leg in front and lift your sword above your head with extended arms.<ref name="illustration"/> Then spring in towards him with the right foot and strike with the long edge directly to the top of his head. Then sink the point downward to his face or chest.
  
When he then does the Schaitler to you, displace it with the Kron (Crown) such that the point and the hilt of your sword both stand above you.  
+
When he then does the ''Schaitler'' ("Vertex Strike") to you, displace it with the ''Kron'' ("Crown") such that the point and the hilt of your sword both stand above you.  
  
If he then fires out to thrust the point upwards towards you, wind your sword through under his Kron with the edge against his arm and with that cut him over both of his arms.
+
If he then fires out to thrust the point upwards towards you, wind your sword through under his ''Kron'' with the edge against his arm and with that cut him over both of his arms.
  
If he cuts over your arms like this, then step back with your right foot and set his cut aside with the Krumphaw with your short edge and with that cut to his right side.
+
If he cuts over your arms like this, then step back with your right foot and set his cut aside with the ''Krumphaw'' with your short edge and with that cut to his right side.
 
| {{paget|page:MS Dresd.C.93|024r|png}}
 
| {{paget|page:MS Dresd.C.93|024r|png}}
 
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| [[file:Mair longsword 006.jpg|400x400px|center]]
 
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[6] '''The Ochs from Both Sides'''
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[6] '''The ''Ochs'' from Both Sides'''
  
It happens like this in the Ochs (Ox). Stand with the left foot forward and hold your sword with crosswise hands above your head. Then wind and step with your right foot to his right side. If he perceives this Upper Hanger, then strike in the Zwirchhaw with crossed arms.
+
It happens like this in the ''Ochs'' ("Ox"). Stand with the left foot forward and hold your sword with crosswise hands above your head. Then wind and step with your right foot to his right side. If he perceives this Upper Hanger, then strike in the ''Zwirchhaw'' with crossed arms.
  
If he strikes the Zwirch towards you like this, displace it and immediately wind and hang the point towards the face or chest. Then strike in strongly from above to his head. If he displaces this, strike the double feint, then immediately quickly take (the opening) before you from which to work a strike, thrust or cut.  
+
If he strikes the ''Zwirch'' towards you like this, displace it and immediately wind and hang the point towards the face or chest. Then strike in strongly from above to his head. If he displaces this, strike the double feint, then immediately quickly take [the opening] before you from which to work a strike, thrust or cut.  
  
If you then stand with the right foot opposite him and he works quickly at you, then set this aside with doubled cuts on both sides and immediately strike with the Zwirch with crossed arms to the right side of his head. If he displaces the Zwirch with the long edge, then let off and strike with the short edge from above.  
+
If you then stand with the right foot opposite him and he works quickly at you, then set this aside with doubled cuts on both sides and immediately strike with the ''Zwirch'' with crossed arms to the right side of his head. If he displaces the ''Zwirch'' with the long edge, then let off and strike with the short edge from above.  
 
| {{paget|page:MS Dresd.C.93|024v|png}}
 
| {{paget|page:MS Dresd.C.93|024v|png}}
 
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| [[file:Mair longsword 007.jpg|400x400px|center]]
 
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[7] '''The Pflug from Both Sides'''
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[7] '''The ''Pflug'' from Both Sides'''
  
Step in towards the opponent with the right foot and hang the sword at your left side. Then drive up with the hilt over your head, step across with your left leg, and strike the Zwirch. If he perceives the Zwirch and displaces it, then spring across with your right leg and strike to the top of the head.
+
Step in towards the opponent with the right foot and hang the sword at your left side. Then drive up with the hilt over your head, step across with your left leg, and strike the ''Zwirch''. If he perceives the ''Zwirch'' and displaces it, then spring across with your right leg and strike to the top of the head.
  
But if you stand opposite him in the Pflug (Plow) and he does the Schaitlerhaw to you, then wind upwards into the Prechfennster (Speaking Window) so that you are looking out through the arms and your right foot stands forward. Then drop down and strike in with the half edge to the left ear.
+
But if you stand opposite him in the ''Pflug'' ("Plow") and he does the ''Schaitlerhaw'' to you, then wind upwards into the ''Prechfennster'' ("Speaking Window") so that you are looking out through the arms and your right foot stands forward. Then drop down and strike in with the half edge to the left ear.
  
If he strikes you like this, then displace it with your long edge and then immediately wind with your point to his left face or chest. Then let off (Ablassen) with your sword, step with the left foot in front of his right, and strike from above to his head.
+
If he strikes you like this, then displace it with your long edge and then immediately wind with your point to his left face or chest. Then ''let off'' ("Ablassen") with your sword, step with the left foot in front of his right, and strike from above to his head.
 
| {{paget|page:MS Dresd.C.93|025r|png}}
 
| {{paget|page:MS Dresd.C.93|025r|png}}
 
| {{section|page:Cod.10825 004r.png|German|lbl=004r}}
 
| {{section|page:Cod.10825 004r.png|German|lbl=004r}}
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| [[file:Mair longsword 008.jpg|400x400px|center]]
 
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[8] '''The Alber and the Guard Vom Tag'''
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[8] '''The ''Alber'' and the Guard ''Vom Tag'''''
  
Stand with your left foot forward with outstretched arms such that the point is directed at the ground and the short edge is up (Alber/Fool, at left of illustration). Then fly up with your sword with crossed arms in front of your head in the Versazung (Parry Position), step in with your right leg, and shove the point into the left side of his face.
+
Stand with your left foot forward with outstretched arms such that the point is directed at the ground and the short edge is up.<ref>''Alber'', "Fool".</ref><ref name="illustration-left">As in the left side of the illustration.</ref> Then fly up with your sword with crossed arms in front of your head in the ''Versazung'' ("Parry Position"), step in with your right leg, and shove the point into the left side of his face.
  
If you should perceive this thrust and stand with your right foot opposite him in the guard vom Tag (from the Roof, at right side of illustration), then take away the thrust with a Krumphaw and strike with the Zwirch. Then immediately drop down and cut through the face.
+
If you should perceive this thrust and stand with your right foot opposite him in the guard ''vom Tag'' ("from the Roof"),<ref name="illustration-right">As in the right side of the illustration.</ref> then take away the thrust with a ''Krumphaw'' and strike with the ''Zwirch''. Then immediately drop down and cut through the face.
  
 
If you perceive that he intends to cut you like this, then push away his cut with your long edge and immediately wind with your point towards the left side of his face or chest. Then follow with the left foot in front of his right and strike his right forearm.
 
If you perceive that he intends to cut you like this, then push away his cut with your long edge and immediately wind with your point towards the left side of his face or chest. Then follow with the left foot in front of his right and strike his right forearm.
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[9] '''The Strong and Weak with Which to Instantly Note Evenness'''
 
[9] '''The Strong and Weak with Which to Instantly Note Evenness'''
  
You stand with the right foot forward and bind his sword with your Schweche (weak). Then determine whether he is soft or hard at his sword. When he is soft at the sword drop down on his left side, step out with your left leg, and Zuck (yank) all hits you will throw at the opponent.
+
You stand with the right foot forward and bind his sword with your ''Schweche'' ("weak"). Then determine whether he is soft or hard at his sword. When he is soft at the sword drop down on his left side, step out with your left leg, and ''Zuck'' ("yank") all hits you will throw at the opponent.
  
When you stand opposite him likewise in the weak and he does the Zucken (yank) against you, then step back with your right foot and strike a Creizhaw (Crossing Strike) to his right ear. If he displaces your Creizhaw, then drop down and shoot the point double to the face and with that strike his head from above.
+
When you stand opposite him likewise in the weak and he does the ''Zucken'' ("yank") against you, then step back with your right foot and strike a ''Creizhaw'' ("Crossing Strike") to his right ear. If he displaces your ''Creizhaw'', then drop down and shoot the point double to the face and with that strike his head from above.
  
If he hits towards your head like this, then do not displace this. Rather step away from the strike to his right side and Zwirch to his head.
+
If he hits towards your head like this, then do not displace this. Rather step away from the strike to his right side and ''Zwirch'' to his head.
 
| {{paget|page:MS Dresd.C.93|026r|png}}
 
| {{paget|page:MS Dresd.C.93|026r|png}}
 
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| [[file:Mair longsword 010.jpg|400x400px|center]]
 
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[10] '''A Nachraisen (Traveling After) with a Cut'''
+
[10] '''A ''Nachraisen'' ("Traveling After") with a Cut'''
  
You stand with your left foot forward in the Unterhau (Upward Strike) and he adheres to your hands from above (as in illustration). So step outward with your right foot and drop a Krump on him at your left side.
+
You stand with your left foot forward in the ''Unterhau'' ("Upward Strike") and he adheres to your hands from above.<ref name="illustration"/> So step outward with your right foot and drop a ''Krump'' on him at your left side.
  
If he drops a Krump on you and you stand with your left foot forward, then drop down quickly and step out with your right leg. With that strike him from above to the right side of his head. When he displaces this, strike him from below to his left side with your long edge. Then immediately step back and strike him from above a long one to the head. If he travels after, then set the point in his chest. If he sets aside your point, then strike with extended arms back away from him.
+
If he drops a ''Krump'' on you and you stand with your left foot forward, then drop down quickly and step out with your right leg. With that strike him from above to the right side of his head. When he displaces this, strike him from below to his left side with your long edge. Then immediately step back and strike him from above a long one to the head. If he travels after, then set the point in his chest. If he sets aside your point, then strike with extended arms back away from him.
  
 
If he strikes back away from you like this, then travel after him double with cuts and strikes from above and below, whatever he makes you do.
 
If he strikes back away from you like this, then travel after him double with cuts and strikes from above and below, whatever he makes you do.
Line 1,131: Line 1,131:
 
| [[file:Mair longsword 011.jpg|400x400px|center]]
 
| [[file:Mair longsword 011.jpg|400x400px|center]]
 
|  
 
|  
[11] '''Another Nachraisen'''
+
[11] '''Another ''Nachraisen'''''
  
 
When you stand with your left foot forward, step outward with your right foot and strike from your right shoulder with an extended blow to his head.
 
When you stand with your left foot forward, step outward with your right foot and strike from your right shoulder with an extended blow to his head.
Line 1,137: Line 1,137:
 
If he strikes a long one like this to your head and you stand with your left foot forward, then adhere to him with the short edge, step outward with the right foot and wind to his left ear such that the hilt stands in front of your head. Should he perceive the winding and displace it, then hang and pass through with your sword and strike him to the nearest opening.
 
If he strikes a long one like this to your head and you stand with your left foot forward, then adhere to him with the short edge, step outward with the right foot and wind to his left ear such that the hilt stands in front of your head. Should he perceive the winding and displace it, then hang and pass through with your sword and strike him to the nearest opening.
  
If he seeks your opening like this, then strike against him with your long edge and set this aside below and above, extend your trunk and arms well and seek with your point the opening at his face or chest. Then immediately strike a Zwirch to his head with crossed arms.
+
If he seeks your opening like this, then strike against him with your long edge and set this aside below and above, extend your trunk and arms well and seek with your point the opening at his face or chest. Then immediately strike a ''Zwirch'' to his head with crossed arms.
  
If he does the Zwirch towards you like this, then displace it with your long edge and wind the short edge to his left ear. Then yank your right foot back once again and strike to his right ear.
+
If he does the ''Zwirch'' towards you like this, then displace it with your long edge and wind the short edge to his left ear. Then yank your right foot back once again and strike to his right ear.
 
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| {{paget|page:MS Dresd.C.93|027r|png}}
 
| {{section|page:Cod.10825 006r.png|German|lbl=006r}}
 
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| [[file:Mair longsword 012.jpg|400x400px|center]]
 
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[12] '''A Nachraisen with the Hangenden Ort'''
+
[12] '''A ''Nachraisen'' with the ''Hangenden Ort'''''
  
 
Stand with your left foot forward and strike in from your left shoulder to the right side of his head.
 
Stand with your left foot forward and strike in from your left shoulder to the right side of his head.
  
When he then strikes like this towards you and you stand with your right foot forward, drop into the Hangenden Ort (Hanging Point) (as in illustration) and let the weak of your sword pass, then spring in behind his right side and hit to his head. If he displaces this, Doplier (double) high and Muntier (transform) low and set the point on his neck.
+
When he then strikes like this towards you and you stand with your right foot forward, drop into the ''Hangenden Ort'' ("Hanging Point")<ref name="illustration"/> and let the weak of your sword pass, then spring in behind his right side and hit to his head. If he displaces this, ''Doplier'' ("double") high and ''Muntier'' ("transform") low and set the point on his neck.
  
If he sets upon you with his point like this, then push him away with your long edge, follow with your right leg outward and strike from below to his right arm. If he displaces this, then step with your left foot in front of his right and hit him with a double Feler (feint) to the top of his head.
+
If he sets upon you with his point like this, then push him away with your long edge, follow with your right leg outward and strike from below to his right arm. If he displaces this, then step with your left foot in front of his right and hit him with a double ''Feler'' ("feint") to the top of his head.
  
 
If he strikes high towards you like this, then displace him and wind with your short edge at his left ear. Then immediately run off and strike around again to his left side with your long edge.
 
If he strikes high towards you like this, then displace him and wind with your short edge at his left ear. Then immediately run off and strike around again to his left side with your long edge.
Line 1,169: Line 1,169:
 
| [[file:Mair longsword 013.jpg|400x400px|center]]
 
| [[file:Mair longsword 013.jpg|400x400px|center]]
 
|  
 
|  
[13] '''Another Nachraisen'''
+
[13] '''Another ''Nachraisen'''''
  
 
When you stand with your right foot forward hold your sword extended in front of your face such that the short edge stands towards you and step out with your left leg as you wind to his chest. If he displaces the point, then yank back and strike from above to the next opening.
 
When you stand with your right foot forward hold your sword extended in front of your face such that the short edge stands towards you and step out with your left leg as you wind to his chest. If he displaces the point, then yank back and strike from above to the next opening.
  
If he then strikes you like this, set your left foot forward and spring with your right foot well to his left side and drop in with the Creuzhaw. If he displaces this, then step back with your right leg and strike to his left arm.
+
If he then strikes you like this, set your left foot forward and spring with your right foot well to his left side and drop in with the ''Creuzhaw''. If he displaces this, then step back with your right leg and strike to his left arm.
  
If he strikes you like this, then displace this with the Krumphaw such that it adheres on your sword. Then immediately step outward with the right foot and strike high to his head.
+
If he strikes you like this, then displace this with the ''Krumphaw'' such that it adheres on your sword. Then immediately step outward with the right foot and strike high to his head.
  
If he strikes high towards you like this, then set this aside with the Krump with your short edge on your right side, and with that cut into the upper opening.
+
If he strikes high towards you like this, then set this aside with the ''Krump'' with your short edge on your right side, and with that cut into the upper opening.
 
| {{paget|page:MS Dresd.C.93|028r|png}}
 
| {{paget|page:MS Dresd.C.93|028r|png}}
 
| {{section|page:Cod.10825 007r.png|German|lbl=007r}}
 
| {{section|page:Cod.10825 007r.png|German|lbl=007r}}
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| [[file:Mair longsword 014.jpg|400x400px|center]]
 
| [[file:Mair longsword 014.jpg|400x400px|center]]
 
|  
 
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[14] '''A Nachraisen from the Right Side'''
+
[14] '''A ''Nachraisen'' from the Right Side'''
  
You stand with your right foot forward and hold your sword at your chest with the point opposite his face (left side of illustration), then step in with your left leg and guard yourself with crossed arms in the Versazung (Parry/Ready Position). Then step outward with your right foot and strike high to his right side.
+
You stand with your right foot forward and hold your sword at your chest with the point opposite his face,<ref name="illustration-left"/> then step in with your left leg and guard yourself with crossed arms in the ''Versazung'' ("Parry/Ready Position"). Then step outward with your right foot and strike high to his right side.
  
If he strikes high towards you like this and you stand with your right foot forward, the sword on your right side with extended arms to fire amidst the opponent (right side of illustration), then step outward with your left foot and hold the hilt in front of your head such that the point stands to the rear with crossed arms, and strike to his right side. If he displaces this, then travel to his left side with your short edge and then immediately wind upward with the Rose on his sword and strike with the Zwirch with crossed arms to the right side of his head.
+
If he strikes high towards you like this and you stand with your right foot forward, the sword on your right side with extended arms to fire amidst the opponent,<ref name="illustration-right"/> then step outward with your left foot and hold the hilt in front of your head such that the point stands to the rear with crossed arms, and strike to his right side. If he displaces this, then travel to his left side with your short edge and then immediately wind upward with the Rose on his sword and strike with the ''Zwirch'' with crossed arms to the right side of his head.
 
| {{paget|page:MS Dresd.C.93|028v|png}}
 
| {{paget|page:MS Dresd.C.93|028v|png}}
 
| {{section|page:Cod.10825 007v.png|German|lbl=007v}}
 
| {{section|page:Cod.10825 007v.png|German|lbl=007v}}
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| [[file:Mair longsword 015.jpg|400x400px|center]]
 
| [[file:Mair longsword 015.jpg|400x400px|center]]
 
|  
 
|  
[15] '''A High and a Low Nachraisen'''
+
[15] '''A High and a Low ''Nachraisen'''''
  
You stand with your left leg forward and your sword at your right chest with the long edge turned towards the opponent (as in illustration). Step in with your right leg, drop down on his left side and strike him there with your long edge.
+
You stand with your left leg forward and your sword at your right chest with the long edge turned towards the opponent.<ref name="illustration"/> Step in with your right leg, drop down on his left side and strike him there with your long edge.
  
You then stand with the right foot forward, so take away the strike with the half edge, follow outward with the left leg and strike to his right ear. Should he perceive this strike and displace it, wind the Zwirch to his left side and then immediately drop down and strike him again to the left side.
+
You then stand with the right foot forward, so take away the strike with the half edge, follow outward with the left leg and strike to his right ear. Should he perceive this strike and displace it, wind the ''Zwirch'' to his left side and then immediately drop down and strike him again to the left side.
  
 
If he strikes double towards you like this, displace this with your long edge, then immediately step outward with your right leg and cut to his neck with the short edge. With that turn the long edge on him and cut to his head and his body.
 
If he strikes double towards you like this, displace this with your long edge, then immediately step outward with your right leg and cut to his neck with the short edge. With that turn the long edge on him and cut to his head and his body.
Line 1,220: Line 1,220:
 
| [[file:Mair longsword 016.jpg|400x400px|center]]
 
| [[file:Mair longsword 016.jpg|400x400px|center]]
 
|  
 
|  
[16] '''An Uberlauffen (Running Over) with a Sword Capture'''
+
[16] '''An ''Uberlauffen'' ("Running Over") with a Sword Capture'''
  
You do an extended strike while stepping in with the right leg and he likewise strikes in high. Step outward with your left leg, wind your pommel to your right side in over his arm (Uberlauffen) and jerk inward to your right side so that you capture his sword (as in illustration).
+
You do an extended strike while stepping in with the right leg and he likewise strikes in high. Step outward with your left leg, wind your pommel to your right side in over his arm<ref name="Uberlauffen">''Uberlauffen''.</ref> and jerk inward to your right side so that you capture his sword.<ref name="illustration"/>
  
 
If he intends to capture your sword like this, then set your left leg in front of his right, release your sword to him and forcefully and quickly thrust to his left shoulder as you jerk his right leg backwards with your left. Thus you throw him forward onto his face.
 
If he intends to capture your sword like this, then set your left leg in front of his right, release your sword to him and forcefully and quickly thrust to his left shoulder as you jerk his right leg backwards with your left. Thus you throw him forward onto his face.
Line 1,239: Line 1,239:
 
| [[file:Mair longsword 017.jpg|400x400px|center]]
 
| [[file:Mair longsword 017.jpg|400x400px|center]]
 
|  
 
|  
[17] '''An Uberlauffen with a Sword Capture'''
+
[17] '''An ''Uberlauffen'' with a Sword Capture'''
  
 
Step in with the right leg and strike him directly to the head, then follow outward with your left leg and strike to his right side.
 
Step in with the right leg and strike him directly to the head, then follow outward with your left leg and strike to his right side.
  
If he strikes towards you like this, then wind your pommel in over his arm as you pivot to your left side (Uberlauffen), thus you capture his sword (as in illustration).
+
If he strikes towards you like this, then wind your pommel in over his arm as you pivot to your left side,<ref name="Uberlauffen"/> thus you capture his sword.<ref name="illustration"/>
  
 
If he intends to capture your sword like this, then set your right foot in front of his left and quickly throw him. Or set your left hand high upon him and yank the right against you. Thus you lock his arm.
 
If he intends to capture your sword like this, then set your right foot in front of his left and quickly throw him. Or set your left hand high upon him and yank the right against you. Thus you lock his arm.
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| [[file:Mair longsword 018.jpg|400x400px|center]]
 
| [[file:Mair longsword 018.jpg|400x400px|center]]
 
|  
 
|  
[18] '''The Oberhaw with the Sword Capture'''
+
[18] '''The ''Oberhaw'' with the Sword Capture'''
  
 
When you come to the closing with the opponent, set your right leg forward, follow outward with the right leg and strike long to his head.
 
When you come to the closing with the opponent, set your right leg forward, follow outward with the right leg and strike long to his head.
  
If you strikes towards you like this and you stand with your left foot forward, then displace his Oberhaw (Downward Strike), step outward with your right foot or leg and grab inward over his right arm with your left to his hilt (as in illustration). Then travel towards your left side so that his sword is captured.
+
If you strikes towards you like this and you stand with your left foot forward, then displace his ''Oberhaw'' ("Downward Strike"), step outward with your right foot or leg and grab inward over his right arm with your left to his hilt.<ref name="illustration"/> Then travel towards your left side so that his sword is captured.
  
 
If he has captured your sword like this, then set your left hand on his right elbow and the right on his left, and with that shove him away from you.
 
If he has captured your sword like this, then set your left hand on his right elbow and the right on his left, and with that shove him away from you.
Line 1,279: Line 1,279:
 
[19] '''A High and a Low Thrust'''
 
[19] '''A High and a Low Thrust'''
  
Stand with your right foot forward and fire the point at the opponent from your left side to his chest. Should he perceive this thrust and displace it, then wind him the Zwirch with your left leg in, step with the left foot around to your right side and strike to his left ear.
+
Stand with your right foot forward and fire the point at the opponent from your left side to his chest. Should he perceive this thrust and displace it, then wind him the ''Zwirch'' with your left leg in, step with the left foot around to your right side and strike to his left ear.
  
If he strikes towards you like this, then block his Zwirch such that your left foot is forward (as in illustration) and strike high to his head. If he displaces this, then wind the point to his face or chest. Should he perceive this thrust, then wind him the hanging point such that your right foot stands forward and strike with the Zwirch to the left side of his head.
+
If he strikes towards you like this, then block his ''Zwirch'' such that your left foot is forward<ref name="illustration"/> and strike high to his head. If he displaces this, then wind the point to his face or chest. Should he perceive this thrust, then wind him the hanging point such that your right foot stands forward and strike with the ''Zwirch'' to the left side of his head.
  
If he strikes towards you like this, then displace this with the Krumphaw (also matches illustration) and immediately cut to his head.
+
If he strikes towards you like this, then displace this with the ''Krumphaw''<ref>Also matches the illustration.</ref> and immediately cut to his head.
  
If you should perceive a cut like this, then cut at this right side and immediately step back with your right foot and wind the Zwirch to his left ear.
+
If you should perceive a cut like this, then cut at this right side and immediately step back with your right foot and wind the ''Zwirch'' to his left ear.
 
| {{paget|page:MS Dresd.C.93|031r|png}}
 
| {{paget|page:MS Dresd.C.93|031r|png}}
 
| {{section|page:Cod.10825 010r.png|German|lbl=010r}}
 
| {{section|page:Cod.10825 010r.png|German|lbl=010r}}
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| [[file:Mair longsword 020.jpg|400x400px|center]]
 
| [[file:Mair longsword 020.jpg|400x400px|center]]
 
|  
 
|  
[20] '''A High Winding with an Oberhaw'''
+
[20] '''A High Winding with an ''Oberhaw'''''
  
 
Stand with your right foot forward and strike to his upper opening.
 
Stand with your right foot forward and strike to his upper opening.
  
If he strikes against you like this, then displace him and wind the short edge at his right ear (as in illustration). If he displaces this, then wind opposite him in the hanging point and then go against him with a Schaitlerhaw. He displaces this, so drop out of the Schaitler and immediately Krumphaw and cut him through his mouth or wherever you want.
+
If he strikes against you like this, then displace him and wind the short edge at his right ear.<ref name="illustration"/> If he displaces this, then wind opposite him in the hanging point and then go against him with a ''Schaitlerhaw''. He displaces this, so drop out of the ''Schaitler'' and immediately Krumphaw and cut him through his mouth or wherever you want.
  
Should you perceive this cut, then set the Krump on his sword again. With that you have broken his cut and may also cut to his head.
+
Should you perceive this cut, then set the ''Krump'' on his sword again. With that you have broken his cut and may also cut to his head.
  
 
When he has broken your cut like this and cuts towards your head, step back with the left leg and wind the hilt out in front of your head and immediately strike to his right side.
 
When he has broken your cut like this and cuts towards your head, step back with the left leg and wind the hilt out in front of your head and immediately strike to his right side.

Revision as of 15:19, 14 August 2022

Paulus Hector Mair

"Mair", Cod.icon. 312b f 64r
Born 1517
Augsburg, Germany
Died 10 Dec 1579 (age 62)
Augsburg, Germany
Occupation
  • Civil servant
  • Historian
Movement
Influences
Genres
Language
Manuscript(s)
First printed
english edition
Knight and Hunt, 2008
Concordance by Michael Chidester
Translations
Signature Paulus Hector Mair Sig.png

Paulus Hector Mair (Paul Hektor Mayr, Meyer; 1517 – 1579) was a 16th century German aristocrat, civil servant, and fencer. He was born in 1517 to a wealthy and influential Augsburg patrician family. In his youth, he likely received training in fencing and grappling from the masters of Augsburg fencing guild, and early on developed a deep fascination with fencing treatises. He began his civil service as a secretary to the Augsburg City Council; by 1541, Mair was the city treasurer, and in 1545 he also took on the office of Master of Rations.

Mair's martial background is unknown, but as a citizen of a free city he would have had military obligations whenever the city went to war, and as a member of a patrician family he likely served in the cavalry. He was also an avid collector of fencing treatises and other literature on military history. Like his contemporary Joachim Meyer, Mair believed that the Medieval martial arts were being forgotten, and he saw this as a tragedy, idealizing the arts of fencing as a civilizing and character-building influence on men. Where Meyer sought to update the traditional fencing systems and apply them to contemporary weapons of war and defense, Mair was more interested in preserving historical teachings intact. Thus, some time in the latter part of the 1540s he commissioned what would become the most extensive compendium of German fencing treatises ever made, a massive two-volume manuscript compiling virtually every fencing treatise he could access. He retained the workshop of Jörg Breu the Younger to create the illustrations for the text,[1] and hired two Augsburg fencers to pose for the illustrations.[2] This project was extraordinarily expensive and took at least four years to complete. Ultimately, three copies of this compendium were produced, each more extensive than the last; the first (MSS Dresden C.93/C.94) was written in Early New High German, the second and most artistically ambitious (Cod.icon. 393) in New Latin, and the rougher third version (Cod. 10825/10826) incorporated both languages.

Beginning in the 1540s, Mair began purchasing older fencing manuscripts, some from fellow collector Lienhart Sollinger (a Freifechter who lived in Augsburg for many years) and others from auctions. Perhaps most significant of all of his acquisitions was the partially-completed treatise of Antonius Rast, a Master of the Long Sword and three-time Captain of the Marxbrüder fencing guild. The venerable master left it incomplete when he died in 1549, and in 1553 Mair produced a complete fencing manual (Reichsstadt "Schätze" Nr. 82) based on his notes. Ultimately, he owned over a dozen fencing manuscripts over the course of his life, including the following:

He also used several printed books as source material for his compendia, and presumably owned copies, including Der Allten Fechter gründtliche Kunst (printed by Christian Egenolff), Opera Nova by Achille Marozzo, and Ringer Kunst by Fabian von Auerswald.

Mair not only spent incredible sums of money on his fencing interests, but generally lead a lavish lifestyle and maintained his political influence with expensive parties and other entertainments for the burghers and patricians of Augsburg. This habit of living far beyond his means for decades exhausted his family's wealth, eventually leading him to sell the Latin version of his fencing manuscript (netting the princely sum of 800 florins) and finally to begin embezzling money from the Augsburg city coffers. This embezzlement was not discovered for many years (or perhaps was overlooked due to the political favor his parties garnered), until finally a disgruntled assistant reported him to the Augsburg City Council in 1579 and provoked an audit of his books. Mair was arrested, tried, and hanged as a thief at the age of 62. After Mair's death, his effects (including his library) were sold at auction to recoup some of the funds he had embezzled.

Whether viewed as an unwise scholar who paid the ultimate price for his art or an ignoble thief who violated his city's trust, Mair remains one of the most influential figures in the history of Kunst des Fechtens. By completing the fencing manual of Antonius Rast, Mair gave us valuable insight into the Nuremberg fencing tradition; his own works are impressive on both an artistic and practical level, and his extensive commentary on the fencing illustrations in his collection serves to make potentially useful training aids out of what would otherwise be mere curiosities. Finally, in purchasing so many important fencing treatises he succeeded in preserving them for future generations; they were purchased by the fabulously wealthy Fugger family after his death and eventually passed to the Augsburg University Library, where they remain to this day.

Treatise

Much of Mair's content represents his revision and expansion of the older treatises listed above, including adding descriptive content to uncaptioned illustrations. Where available, these illustrations are displayed in the left-most column, labeled "Source Illustrations", for comparison purposes. Mair's own illustrations appear in the second column, alongside the translation.

The Dresden version contains the fewest devices and its artwork is most reminiscent of Breu's style, suggesting that it is the first copy produced. The Munich adds additional plays and sections on top of the Dresden's contents and the Vienna likewise augments the Munich, so it appears that this was order of creation; conversely, the Dresden has no unique content, and the only unique plays in the Munich are in the section on jousting. To give a visual sense of this evolution of the work, the Dresden illustrations are used wherever possible; the Munich illustrations appear only in those plays that are omitted from the Dresden, and the Vienna in those that are unique to that work.