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'''Paulus Hector Mair''' (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 manuals. He began his civil service as a secretary to the Augsburg City Council; by 1541, Mair was the Augsburg City Treasurer, and in 1545 he also took on the duty of Master of Rations.
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'''Paulus Hector Mair''' (Paulsen Hektor Mair, 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.
  
Mair lead a lavish lifestyle and maintained his political influence with expensive parties and other entertainments for the burghers and patricians of Augsburg. Despite his personal wealth and ample income, Mair spent decades living far beyond his means and taking money from the Augsburg city coffers to cover his expenses. This embezzlement was not discovered until 1579, when a disgruntled assistant reported him to the Augsburg City Council and provoked an audit of his books. Mair was arrested and tried for his crimes, and hanged as a thief at the age of 62.
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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. What is clear is that he was an avid collector of fencing treatises and other literature on military history. Like his contemporary [[Joachim Meÿer]], Mair believed that the Medieval martial arts were being forgotten, which he saw as a tragedy, idealizing the arts of fencing as a civilizing and character-building influence on men. Where Meÿer 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 famed artist [[Jörg Breu|Jörg Breu the Younger]] to create the illustrations for the text,<ref>Breu is not listed in the Augsburg tax registers 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 third and final version ([[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Cod. 10825/10826]]) incorporated both languages.
  
While Mair is not known to have ever certified as a fencing master, he was an avid collector of fencing manuals and other literature on military history, and some portion of his embezzlement was used to fund this hobby. Perhaps most significant of all of his acquisitions was the partially-completed manual of [[Antonius Rast]], a Master of the Longsword and one-time captain of the [[Marxbrüder]] fencing guild. The venerable master died in 1549 without completing it, and Mair ultimately was able to produce the [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichsstadt "Schätze" Nr. 82]] based on his notes. In sum, he purchased over a dozen fencing manuscripts over the course of his life, many of them from fellow collector [[Lienhart Sollinger]] (a [[Freifechter]] who lived in Augsburg for many years). After Mair's death, this collection was sold at auction as part of an attempt to recoup some of the funds Mair had embezzled.
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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 in incomplete when he died in 1549, and Mair ultimately 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:
 
 
Like his contemporary [[Joachim Meyer]], Mair believed that the Medieval martial arts were being forgotten; this was tragic to him, as he viewed the arts of fencing as a civilizing and character-building influence on men. In order to preserve as much of the art as possible, Mair commissioned a massive compendium titled ''Opus Amplissimum de Arte Athletica'' ("The Greatest Work on the Athletic Arts"), and in it he compiled all of the fencing lore that he could access. Some time in the 1540s, he retained famed artist [[Jörg Breu|Jörg Breu the Younger]] to create the illustrations for the text,<ref>Breu is not listed in the Augsburg tax registers 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 the massive two-volume fencing manual were produced, each more ambitious than the last; the first was written in [[Early New High German]], the second in [[New Latin]], and the third incorporated both languages.
 
 
 
Whether viewed as a noble scholar who made the ultimate sacrifice for his art or an ignoble thief who robbed the city that trusted him, 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 uncaptioned treatises in his collection serves to make potentially useful training aids out of what would otherwise be mere curiosities. Finally, in gathering 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 remain in Augsburg to this day.
 
 
 
== Treatise ==
 
 
 
In addition to the three manuscripts that Mair personally commissioned (detailed below), Mair is known to have collected the following during his life:
 
 
 
<h3> Manuscripts </h3>
 
  
 
* [[Talhoffer Fechtbuch (Cod.I.6.2º.1)|Codex I.6.2º.1]] - A copy of one of [[Hans Talhoffer]]'s fencing manuals, possibly the [[Talhoffer Fechtbuch (MS XIX.17-3)|MS XIX.17-3]].
 
* [[Talhoffer Fechtbuch (Cod.I.6.2º.1)|Codex I.6.2º.1]] - A copy of one of [[Hans Talhoffer]]'s fencing manuals, possibly the [[Talhoffer Fechtbuch (MS XIX.17-3)|MS XIX.17-3]].
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* [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Codex I.6.2º.5]] - A compilation of [[Hans Medel]]'s revision of [[Sigmund Schining ein Ringeck]]'s treatise, Medel's own writings, fencing prints by [[Maarten van Heemskerck]], and records of the [[Marxbrüder]] fencing guild.
 
* [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Codex I.6.2º.5]] - A compilation of [[Hans Medel]]'s revision of [[Sigmund Schining ein Ringeck]]'s treatise, Medel's own writings, fencing prints by [[Maarten van Heemskerck]], and records of the [[Marxbrüder]] fencing guild.
 
* [[Codex Wallerstein (Cod.I.6.4º.2)|Codex I.6.4º.2]] - A compilation of two treatises from the [[Nuremberg Group]] and a much older, uncaptioned series of fencing drawings known as pseudo-Gladiatoria.
 
* [[Codex Wallerstein (Cod.I.6.4º.2)|Codex I.6.4º.2]] - A compilation of two treatises from the [[Nuremberg Group]] and a much older, uncaptioned series of fencing drawings known as pseudo-Gladiatoria.
* [[Codex Lew (Cod.I.6.4º.3)|Codex I.6.4º.3]] - A compilation of several treatises from the tradition of [[Johannes Liechtenauer]], possibly compiled by [[Jud Lew]]. (Not verified as being in his collection.)
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* [[Codex Lew (Cod.I.6.4º.3)|Codex I.6.4º.3]] (?) - A compilation of several treatises from the tradition of [[Johannes Liechtenauer]], possibly compiled by [[Jud Lew]]. (Not verified as being in his collection.)
 
* [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Codex I.6.4º.5]] - Jörg Wilhalm Hutter's draftbook.
 
* [[Jörg Wilhalm Hutters kunst zu Augspurg (Cod.I.6.4º.5)|Codex I.6.4º.5]] - Jörg Wilhalm Hutter's draftbook.
 
* [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]] - [[Gregor Erhart]]'s fencing manual. (Formerly Codex I.6.4º.4.)
 
* [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]] - [[Gregor Erhart]]'s fencing manual. (Formerly Codex I.6.4º.4.)
 
* [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichsstadt "Schätze" Nr. 82]] - The expanded and finished version of [[Antonius Rast]]'s fencing notes.
 
* [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichsstadt "Schätze" Nr. 82]] - The expanded and finished version of [[Antonius Rast]]'s fencing notes.
  
<h3> Books </h3>
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He also used several printed books as source material for his compendia, and presumably owned copies, including ''[[Der Altenn Fechter anfengliche kunst (Christian Egenolff)|Der Altenn Fechter anfengliche kunst]]'' (compiled by [[Christian Egenolff]]), ''[[Opera Nova (Achille Marozzo)|Opera Nova]]'' by [[Achille Marozzo]], and ''[[Ringer Kunst (Fabian von Auerswald)|Ringer Kunst]]'' by [[Fabian von Auerswald]].
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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.
  
* ''[[Der Altenn Fechter anfengliche kunst (Christian Egenolff)|Der Altenn Fechter anfengliche kunst]]'', compiled by [[Christian Egenolff]]
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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 uncaptioned treatises 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.
* ''[[Opera Nova (Achille Marozzo)|Opera Nova]]'' by [[Achille Marozzo]]
 
* ''[[Ringer Kunst (Fabian von Auerswald)|Ringer Kunst]]'' by [[Fabian von Auerswald]]
 
  
<h3> Personal Compendiums </h3>
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== Treatise ==
  
Much of Mair's content represents his revision and expansion of the older treatises listed above, including adding descriptive content to uncaptioned images. Where available, these images are displayed for in the left-most column, labeled "Source Images", for comparison purposes. Mair's own illustrations appear in the second image column.
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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 images. Where available, these images are displayed in the left-most column, labeled "Source Images", for comparison purposes. Mair's own illustrations appear in the second image column.
  
 
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Which instruction said king ''Theseus'' took to heart and in consideration of that this knightly art and exercise of fencing in times of peace may be an honourable and manly exercise for the young, but in times of distress and danger may serve and succeed towards the fatherland's honour, advantage and prosperity, he put belief in ''Probas'' and himself together with some of the most noble of his court, undertook it to learn this knightly art of fencing, to which end ''Probas'' was highly assiduous.
 
Which instruction said king ''Theseus'' took to heart and in consideration of that this knightly art and exercise of fencing in times of peace may be an honourable and manly exercise for the young, but in times of distress and danger may serve and succeed towards the fatherland's honour, advantage and prosperity, he put belief in ''Probas'' and himself together with some of the most noble of his court, undertook it to learn this knightly art of fencing, to which end ''Probas'' was highly assiduous.
  
And thus the honourable art of fencing prospered from the cause that each [practitioner] was found that much more competent and able to support the fatherland in its need. Said king ''Theseus'' did build, to considerable cost, many sumptuous houses dedicated for the exercise of this art, in Athens and elsewhere in his realm, which was the beginning of the general [systematic] tuition in fencing. These events under the reign of the Athenian king ''Theseus'', who according to the reckoning of the ''Urspergian''<ref name="Urspergensis">''Chronicon Abbatis Urspergensis'', the Chronicle of Burchard of Ursberg (13th century), printed in Augsburg 1515. </ref> reigned for thirty years, took place and occurred approximately in the year 1224 before the birth of our saviour Jesus Christ, and from this circumstance it follows that this art, which has been founded by kings, and by many of royal and noble kin and blood besides, which served to themselves as a noble exercise and towards honour, advantage and necessity for the fatherland, may well and truly be called a noble and knightly sport.
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And thus the honourable art of fencing prospered from the cause that each [practitioner] was found that much more competent and able to support the fatherland in its need. Said king ''Theseus'' did build, to considerable cost, many sumptuous houses dedicated for the exercise of this art, in Athens and elsewhere in his realm, which was the beginning of the general [systematic] tuition in fencing. These events under the reign of the Athenian king ''Theseus'', who according to the reckoning of the ''Urspergian''<ref name="Urspergensis">''Chronicon Abbatis Urspergensis'', the Chronicle of Burchard of Ursberg (13th century), printed in Augsburg 1515.</ref> reigned for thirty years, took place and occurred approximately in the year 1224 before the birth of our saviour Jesus Christ, and from this circumstance it follows that this art, which has been founded by kings, and by many of royal and noble kin and blood besides, which served to themselves as a noble exercise and towards honour, advantage and necessity for the fatherland, may well and truly be called a noble and knightly sport.
 
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'''Likewise did also''' the royal prophet ''David'' honourably defeat the great duellist and giant ''Goliath''. [Lib i. Regnum.] Also ''Ancheor'' not without extraordinary agility did lay low ''Turnus'' in a duel, and after the Albanians did set their ancestry, glory and reign against the Romans and three strong duellists of Albanian family known as the ''Cruciati'' were chosen to duel three Romans with the name of ''Horace'' the ''Horacii'' on the Roman side with extraordinary agility won the upper hand and slew the ''Cruciati'' and thus subjugating all of Italy. Likewise the German who challenged ''Valerius Corvinus'' to a duel was slain in a knightly deed. ''Manlius Torquatus'' also did kill a German prince in a duel and took off his neck-ring, by this winning great honour for himself and the name of Rome. I will be silent on the duels that were held everywhere in Germany from oldest times. In ancient German writings, kept in Schäbisch Hall, in Kochen[?] and in Würzburg, there are separate duelling rules and many duels were held there. Likewise in Munich on the Iser, Seitz von Althaim and Diepolt Gess in the year 1370 did hold a knightly duel on horseback, in which Seitz von Althaim gained a knightly victory. Likewise in the year 1409 , a knightly duel on foot and in linen shirts behind two shields was held in Augsburg on the Lech on the wine-market between Dieterich Hachsenacker and Wigleo Marschalk, in which duel Marschalk did bravely slay Hachsenacker.<ref name="Year 1409">Mair gives more detail on this judicial duel of 1409 in the second volume. According to this account, the combatants were Wilhelm Marschalk von Dornsberg and Theodor Haschenacker, and the shields of the combatants were preserved in St. Leonard's church outside of the city until the tower of this church was demolished on 3 November 1542.</ref> The duel did have separate laws and statutes in laws, and their ordering and how they should be held is described and clearly set out in city-books everywhere, treatment of which topic, however, in the interest of brevity I will omit here and will describe and explain it elsewhere.
+
'''Likewise did also''' the royal prophet ''David'' honourably defeat the great duellist and giant ''Goliath''. [Lib i. Regnum.] Also ''Ancheor'' not without extraordinary agility did lay low ''Turnus'' in a duel, and after the Albanians did set their ancestry, glory and reign against the Romans and three strong duellists of Albanian family known as the ''Cruciati'' were chosen to duel three Romans with the name of ''Horace'' the ''Horacii'' on the Roman side with extraordinary agility won the upper hand and slew the ''Cruciati'' and thus subjugating all of Italy. Likewise the German who challenged ''Valerius Corvinus'' to a duel was slain in a knightly deed. ''Manlius Torquatus'' also did kill a German prince in a duel and took off his neck-ring, by this winning great honour for himself and the name of Rome. I will be silent on the duels that were held everywhere in Germany from oldest times. In ancient German writings, kept in Schäbisch Hall, in Kochen[?] and in Würzburg, there are separate duelling rules and many duels were held there. Likewise in Munich on the Iser, Seitz von Althaim and Diepolt Gess in the year 1370 did hold a knightly duel on horseback, in which Seitz von Althaim gained a knightly victory. Likewise in the year 1409, a knightly duel on foot and in linen shirts behind two shields was held in Augsburg on the Lech on the wine-market between Dieterich Hachsenacker and Wigleo Marschalk, in which duel Marschalk did bravely slay Hachsenacker.<ref name="Year 1409">Mair gives more detail on this judicial duel of 1409 in the second volume. According to this account, the combatants were Wilhelm Marschalk von Dornsberg and Theodor Haschenacker, and the shields of the combatants were preserved in St. Leonard's church outside of the city until the tower of this church was demolished on 3 November 1542.</ref> The duel did have separate laws and statutes in laws, and their ordering and how they should be held is described and clearly set out in city-books everywhere, treatment of which topic, however, in the interest of brevity I will omit here and will describe and explain it elsewhere.
 
| <p>{{section|Page:MS Dresd.C.93 007r.png|2|lbl=-|p=1}} {{section|Page:MS Dresd.C.93 007v.png|1|lbl=007v|p=1}}</p>
 
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| <p>{{section|Page:MS Dresd.C.93 008r.png|2|lbl=-|p=1}} {{paget|Page:MS Dresd.C.93|008v|png|p=1}} {{section|Page:MS Dresd.C.93 009r.png|1|lbl=009r|p=1}}</p>
 
| <p>{{section|Page:Cod.10825 009av.png|2|lbl=-|p=1}} {{section|Page:Cod.10825 010ar.png|1|lbl=010*r|p=1}}</p>
 
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| <p>{{section|Page:MS Dresd.C.93 009v.png|2|lbl=-|p=1}} {{section|Page:MS Dresd.C.93 010r.png|1|lbl=010r|p=1}}</p>
 
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| <p>{{section|Page:MS Dresd.C.93 011r.png|2|lbl=-|p=1}} {{section|Page:MS Dresd.C.93 011v.png|1|lbl=011v|p=1}}</p>
 
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'''To the''' honour-loving custom of the knightly sport did the Roman emperor ''Henry'', the first of this name, wish to dedicate himself and lend support with all his appetite and desire, so that it would not decay, with the good and timely counsel of his princes and other lords. And he did establish the praiseworthy knightly sport of the tourney in the year 938 with the counsel of his princes and lords, adorned with twelve praiseworthy, honourable and Christian articles, so as to conserve honour, virtue and honesty in the Holy Empire of the German Nation. In this manner that none among the nobility, princes or counts, might participate in the knightly sport of the tourney if they violated the said twelve articles. Whoever did so was made the mockery of all princes, lords and ladies, put on the barriers, denuded of horse, weapons and armour, and publicly proclaimed a villain by the heralds, so that the princes, lords and noblemen were incited to good virtues and avoided many great vices.
 
'''To the''' honour-loving custom of the knightly sport did the Roman emperor ''Henry'', the first of this name, wish to dedicate himself and lend support with all his appetite and desire, so that it would not decay, with the good and timely counsel of his princes and other lords. And he did establish the praiseworthy knightly sport of the tourney in the year 938 with the counsel of his princes and lords, adorned with twelve praiseworthy, honourable and Christian articles, so as to conserve honour, virtue and honesty in the Holy Empire of the German Nation. In this manner that none among the nobility, princes or counts, might participate in the knightly sport of the tourney if they violated the said twelve articles. Whoever did so was made the mockery of all princes, lords and ladies, put on the barriers, denuded of horse, weapons and armour, and publicly proclaimed a villain by the heralds, so that the princes, lords and noblemen were incited to good virtues and avoided many great vices.
 
 
| <p>{{section|Page:MS Dresd.C.93 012r.png|2|lbl=-|p=1}} {{section|Page:MS Dresd.C.93 012v.png|1|lbl=012v|p=1}}</p>
 
| <p>{{section|Page:MS Dresd.C.93 012r.png|2|lbl=-|p=1}} {{section|Page:MS Dresd.C.93 012v.png|1|lbl=012v|p=1}}</p>
 
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| <p>{{section|Page:MS Dresd.C.93 015r.png|2|lbl=-|p=1}} {{section|Page:MS Dresd.C.93 015v.png|1|lbl=015v|p=1}}</p>
 
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+
| <p>Paulus Hector Mair, apparitor of Augsburg.</p>
Paulus Hector Mair, apparitor of Augsburg.
 
 
| {{section|Page:MS Dresd.C.93 016r.png|3|lbl=-}}
 
| {{section|Page:MS Dresd.C.93 016r.png|3|lbl=-}}
 
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| [[file:Mair short staff 19.jpg|300x300px|center]]
 
| [[file:Mair short staff 19.jpg|300x300px|center]]
| '''[19] '''
+
|  
 +
'''[19] '''
 
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| {{section|page:Cod.10825 164r.png|German|lbl=164r}}
 
| {{section|page:Cod.10825 164r.png|German|lbl=164r}}
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| [[file:Mair short staff 20.jpg|300x300px|center]]
 
| [[file:Mair short staff 20.jpg|300x300px|center]]
| '''[20] '''
+
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 +
'''[20] '''
 
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| {{section|page:Cod.10825 164v.png|German|lbl=164v}}
 
| {{section|page:Cod.10825 164v.png|German|lbl=164v}}
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| [[file:Mair short staff 21.jpg|300x300px|center]]
 
| [[file:Mair short staff 21.jpg|300x300px|center]]
| '''[21] '''
+
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 +
'''[21] '''
 
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| {{section|page:Cod.10825 165r.png|German|lbl=165r}}
 
| {{section|page:Cod.10825 165r.png|German|lbl=165r}}
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| [[file:Mair short staff 22.jpg|300x300px|center]]
 
| [[file:Mair short staff 22.jpg|300x300px|center]]
| '''[22] '''
+
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 +
'''[22] '''
 
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| {{section|page:Cod.10825 165v.png|German|lbl=165v}}
 
| {{section|page:Cod.10825 165v.png|German|lbl=165v}}
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{{master begin
 
{{master begin
  | title = [[:Category:Staff Weapons|Long Staff]]
+
  | title = [[:Category:Staff Weapons|Lance/Pike]]
 
  | width = 224em
 
  | width = 224em
 
}}
 
}}
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! <p>Source Images</p>
 
! <p>Source Images</p>
 
! <p>Images<br/>from the [[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden Version]]</p>
 
! <p>Images<br/>from the [[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden Version]]</p>
! <p>{{rating|B}}<br/> by [[Per Magnus Haaland]]</p>!
+
! <p>{{rating|B}}<br/>by [[Per Magnus Haaland]]</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden I Transcription]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (MS Dresd.C.93)}}<br/>by [[Pierre-Henry Bas]]</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden I Transcription]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (MS Dresd.C.93)}}<br/>by [[Pierre-Henry Bas]]</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna I Transcription]] [German] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10825)}}<br/>by [[Dieter Bachmann]]</p>
 
! <p>[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna I Transcription]] [German] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10825)}}<br/>by [[Dieter Bachmann]]</p>
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| colspan="2" | [[file:Mair long staff 11.jpg|700px|center]]
 
| colspan="2" | [[file:Mair long staff 11.jpg|700px|center]]
 
|  
 
|  
'''[11] A parry against a forceful free thrust from the strong(Latin: a parry against a forceful free thrust where the pike is directed to the face) '''  
+
'''[11] A parry against a forceful free thrust from the strong*'''  
  
Perform the device in this manner: stand with your left leg forward, pike held above your head with the right hand on the back end, and the left in the middle, point directed toward the ground. If he then thrusts out of the strong, ie with the point directed to your face, sensing you pressing hard against his pike, and steps forward with his left leg, then parry to the right and left and, lift the front end of your pike, step forward with your right foot, turn your pike through and thrust to his face. If you see him do this to you, then step back with your left foot and, change grip with your right hand on the pike and turn it to your right side, you will parry the attack. Then, leave the bind and thrust to the right side of his face. If he does this, on the other hand, and you are standing with your right leg forward, then quickly turn your pike from his left side you his right and thrust to his groin, and from here you step away from him making sure you do so well away from harm.  
+
Perform the device in this manner: stand with your left leg forward, pike held above your head with the right hand on the back end, and the left in the middle, point directed toward the ground. If he then thrusts out of the strong, ie with the point directed to your face, sensing you pressing hard against his pike, and steps forward with his left leg, then parry to the right and left and, lift the front end of your pike, step forward with your right foot, turn your pike through and thrust to his face. If you see him do this to you, then step back with your left foot and, change grip with your right hand on the pike and turn it to your right side, you will parry the attack. Then, leave the bind and thrust to the right side of his face. If he does this, on the other hand, and you are standing with your right leg forward, then quickly turn your pike from his left side you his right and thrust to his groin, and from here you step away from him making sure you do so well away from harm.
+
 
 +
{{*}} Latin: A parry against a forceful free thrust where the pike is directed to the face.
 
| {{paget|page:MS Dresd.C.93|199r|png}}
 
| {{paget|page:MS Dresd.C.93|199r|png}}
 
| {{section|page:Cod.10825 171r.png|German|lbl=171r}}
 
| {{section|page:Cod.10825 171r.png|German|lbl=171r}}
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| colspan="2" | [[file:Mair long staff 12.jpg|700px|center]]
 
| colspan="2" | [[file:Mair long staff 12.jpg|700px|center]]
 
|  
 
|  
'''[12]A bind followed by a run-in and a throw '''  
+
'''[12] A bind followed by a run-in and a throw '''  
  
 
If you wish to perform this device well: then step with your left foot forward and bind with the weak against your opponent’s right side. Then swiftly change through and thrust him in the left side. If you see him coming at you this way, then parry in the middle of your pike, step forward with your right foot and, raise your arms above your head, and thrust to his face or chest as hard as you can. If he does this, though, then let go of your pik and turn away his pike from your chest with your left hand, step in quickly, and grab the middle of his pike. If your opponent has grabbed hold of your pike in this manner, then let go with your left hand and grab him by the weak point by his right elbow. Then step with your right foot behind both is feet, grab hold with your right hand in the weak point behind his left elbow, cross your arms forcefully, so that you can shoot your head through between them. Then, if you turn this way, you can lift him up on your back without any risk of harm, and carry him away however you like.  
 
If you wish to perform this device well: then step with your left foot forward and bind with the weak against your opponent’s right side. Then swiftly change through and thrust him in the left side. If you see him coming at you this way, then parry in the middle of your pike, step forward with your right foot and, raise your arms above your head, and thrust to his face or chest as hard as you can. If he does this, though, then let go of your pik and turn away his pike from your chest with your left hand, step in quickly, and grab the middle of his pike. If your opponent has grabbed hold of your pike in this manner, then let go with your left hand and grab him by the weak point by his right elbow. Then step with your right foot behind both is feet, grab hold with your right hand in the weak point behind his left elbow, cross your arms forcefully, so that you can shoot your head through between them. Then, if you turn this way, you can lift him up on your back without any risk of harm, and carry him away however you like.  

Revision as of 20:49, 9 January 2015

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
Notable work(s) Opus Amplissimum de Arte
Athletica
Manuscript(s)
First printed
english edition
Knight and Hunt, 2008
Concordance by Michael Chidester
Translations Traduction française
Signature Paulus Hector Mair Sig.png

Paulus Hector Mair (Paulsen Hektor Mair, Paulus Hector 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. What is clear is that he was an avid collector of fencing treatises and other literature on military history. Like his contemporary Joachim Meÿer, Mair believed that the Medieval martial arts were being forgotten, which he saw as a tragedy, idealizing the arts of fencing as a civilizing and character-building influence on men. Where Meÿer 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 famed artist 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 third and final 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 in incomplete when he died in 1549, and Mair ultimately 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 Altenn Fechter anfengliche kunst (compiled 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 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.

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 uncaptioned treatises 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 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 images. Where available, these images are displayed in the left-most column, labeled "Source Images", for comparison purposes. Mair's own illustrations appear in the second image column.

Additional Resources

  • Hunt, Brian. "Paulus Hector Mair: Peasant Staff and Flail." Masters of Medieval and Renaissance Martial Arts. Ed. Jeffrey Hull. Boulder, CO: Paladin Press, 2008. ISBN 978-1-58160-668-3
  • Knight, David James, and Hunt, Brian. The Polearms of Paulus Hector Mair. Boulder, CO: Paladin Press, 2008. ISBN 978-1-58160-644-7

References

  1. Breu is not listed in the Augsburg tax registers in 1542-3; given Mair's youth, he most likely hired Breu between his return in 1544 and his death in 1547.
  2. Hils 1985, pp 197-201.
  3. 3.0 3.1 Chronicon Abbatis Urspergensis, the Chronicle of Burchard of Ursberg (13th century), printed in Augsburg 1515.
  4. The amphitheatre of Fidenae (the modern Borgata Fidena, a suburb of Rome), endowed by a freed slave named Atilius, collapsed in 27 BC under the weight of a large crowd of spectators, apparently due to faults in construction. According to the (likely exaggerated) account by Tacitus (Annales, 4.63), a total of 50,000 people died in the collapse.
  5. wohl Gaius Sallustius Crispus Passienus (starb 47 n. Chr.)
  6. The preceding three paragraphs are missing in the Dresden version.
  7. Gaius Suetonius Tranquillus (ca. 71 – ca. 135), author of De vita Caesarum (ca. AD 120).
  8. Dresden version: four hundred.
  9. Marcus Antonius Gordianus Pius (225 – 244), Marcus Iulius Philippus (ca. 204 - 249)
  10. Claudius Galenus of Pergamum (AD 131 – 201)
  11. This may be in reference to 2 Timothy 2:4, rendered by Luther (1522) as: Niemant streyttet vnnd flicht sich ynn der narung geschefft, auff das er gefalle dem, der yhn zum streytter auffgenomen hat "None who would fight does meddle in the business of sustenance, so that he may please him who employed him as a fighter". Now Luthers narung "sustenance, nutrition, food" offers itself to an interpretation of "gluttony; carnal pleasure", but it translates pragmateiai biou, meaning "the pragmatics of life", i.e. "everyday business". c.f. Tyndale (1526), who has "No man that warreth, entangleth himself with worldly business, and that because he would please him that hath chosen him to be a soldier"; Dresden has "temporal" (zeitlich) rather than "transient" (zergenglich).
  12. This is a reference to Pliny, Nat. Hist. 30.32: "When a freedman of Nero was giving a gladiatorial show at Antium, the public porticoes were covered with paintings, so we are told, containing life-like portraits of all the gladiators and assistants. This portraiture of gladiators has been the highest interest in art for many centuries now, but it was Gaius Terentius who began the practice of having pictures made of gladiatorial shows and exhibited in public; in honour of his grandfather who had adopted him he provided thirty pairs of Gladiators in the Forum for three consecutive days, and exhibited a picture of the matches in the Grove of Diana."
  13. Anacharsis the Scythian, according to Herodotus (4.46, 76 f.) brother of the Scythian king Saulinos; attributed to him are inventions such as the anchor, bellows and pottery wheel. He was slain by his brother after he returned from a journey to Greece and began to advocate Greek culture to his countrymen. He is sometimes counted as one of the Seven Sages of Athens. Among a number of letters attributed to him is one addressed to the Lydian king Croesus.
  14. Johannes Aventinus (Johann Georg Turmair von Abensberg, 1477–1534), historiographer at the Bavarian court.
  15. Gampar is the seventh king in the (fictional) genealogy of the kings of the ancient Germans going back to the Great Flood in Aventinus' Annales (1522). Aventinus gives Gampar's regnal years as 1711–1667 BC.
  16. Eusebius of Caesarea (ca. 275 – 339)
  17. Pittakos of Mitylene (Lesbos), 7th c. BC, one of the Seven Sages. He led the Mitylenians against the Athenians and arranged a duel with Phrynon, an Olympic champion in pankration, by which to settle the war. He defeated Phrynon by trapping him in a net. The greater Ajay met Hector in place of Achilles (Iliad 7.181), the fight lasted the entire day and Hector was lightly wounded, and the heroes then parted with mutual respect. Porus, "king of India" was defeated by Alexander in the battle of Hydaspes in 326 BC. I have so far failed to identify Pyrechmen and Degmemnus.
  18. Mair gives more detail on this judicial duel of 1409 in the second volume. According to this account, the combatants were Wilhelm Marschalk von Dornsberg and Theodor Haschenacker, and the shields of the combatants were preserved in St. Leonard's church outside of the city until the tower of this church was demolished on 3 November 1542.
  19. Regum et imperatorum apophthegmata ("Sayings of kings and emperors") in Plutarch's Moralia.
  20. Vienna: mit schaden "with damage", Dresden: mit schanden "with dishonour/ignominy".
  21. Tacitus' Germania was unknown during the medieval period; rediscovered in 1455, the text was popularized in German humanism only from c. 1500; it is summarized by Aventinus, who is Mair's source, in his Annales ducum Boiariae (1522), the German-language edition of which (Bairische Chronik 1533) was just about ten years old when Mair wrote his text.
  22. pafese read for gafese (i.e. pavese, the infantry shields comparable to the Roman rectangular shields of the early imperial period)
  23. Tuisto is the primeval god of the Germanic peoples according to Tacitus. Aventinus euhemerizes him as the grandson of Noah and first king of the Germans (r. 2214–2038 BC). Herman here is not the historical Arminius, but the fifth king in Aventinus' list (r. 1820–1757 BC), founder of the Herminones or continental Germans.
  24. Mair's source is the Turnierbuch of Georg Rüxner (c. 1490), edited in Augsburg by Marx Würsung (1518). Rüxner describes a series of 36 "imperial tournaments" (Reichs-Turniere) between 938 and 1487, beginning with a legendary tournament held in Magdeburg during what Rüxner makes out as the reign of Henry I the Fowler.
  25. the successive Habsburg emperors Frederick III, Maximilian I and Charles V, spanning the period since the supposed disestablishment of the knightly tournament and the establishment of the Brotherhood of St. Mark or Marxbrüder. The Freifechter denounced by Mair seem to represent an early form of the guild later known as Federfechter (unless the term still has a generic meaning, frei as in "unincorporated").
  26. Schlaraffenland is the German adaptation of Coquaigne (Cucania), first encountered in the 15th century (as schlauraff, schluderaffe) and popularised by Hans Sachs (1558). The name seems to originate as an (unattested) medieval slur meaning "lazy idler", schlu(de)r-affe, lit. "drooping ape".
  27. Ninus: the legendary founder of Nineveh according to Ctesias (Persica, ca. 400 BC); Ctesias' Sardanapolus corresponds to Ashurbanipal (669 - 627 BC); Ctesias is a rather unreliable source by comparison with Herodotus and the Ptolemaic king list; but in any case knowledge on the Assyrian empire was very limited before the decipherment of cuneiform in the 1850s.
  28. Gideon: Judges 7:4-7; David: Psalm 144:1: "Blessed be the LORD my strength, which teacheth my hands to war, and my fingers to fight" (KJV).
  29. 'Long edge' is not listed in ty.
  30. sic : beide
  31. Marginalie unleserlich
  32. ”streck dein leyb und deine armen wol”
  33. sic : seinem ?
  34. The words are marked with numbers above. Probably it is to keep track of word order.
  35. sic : hinndersich
  36. sic : widerumb
  37. sic : seinem
  38. sic : schniten
  39. sic : seinnen ?
  40. 21r
  41. Corrections indicate it should be zu Im hinein
  42. The illustration suggests that this action should be done to your left side, rather than to your right.
  43. "Not the lower point". Why the awkward construction here? Why not say superiorem mucronem (or proper Latin equivalent)?
  44. Literally: put
  45. Literally: pull back the left foot
  46. German: his
  47. German: grab with your left hand from below outside over his right arm
  48. rechten
  49. Barred, or bolted.
  50. Pliers, or fire-tongs.
  51. Wrestlers wear a leather collar? Hmmm...
  52. Comb, carder?
  53. A variant on the o-goshi in judo.
  54. sic : Im mit
  55. »sst« oberhalb der Zeile korrigiert aus »fft«
  56. A technique for putting the opponent down head first with his feet in the air.
  57. Dagger pommel?! I have actually no idea what he is thinking here. My only guess is that it was late on Friday afternoon, and must have mistaken ”kopff” with ”knopff”.
  58. Which is what?
  59. Note: Change of grip required, or the illustration does not match.
  60. Dagger transfer necessary at this point.
  61. Note: person on left side starts with the dagger in the left hand according to the illustration.
  62. Note: push down, not out
  63. Arbait - technical term: work, force, struggle
  64. Vienna and Munich MS Latin: right.
  65. read: locitur
  66. Latin: snatch up.
  67. Note: the illustration shows ice-pick grip.
  68. "You will lick it!" Not pleasant if the dagger is lying on it. Especially in cold weather.
  69. May not represent the changing though described.
  70. Note illustration shows ice-pick grip.
  71. Note: left is corrected from a right. Left is correct.
  72. This seems to imply both parallel action and simultaneity.
  73. Reib - strong twisting, bending, rotating motion.
  74. Image shows left.
  75. From the inner side.
  76. From the Latin text
  77. Correct from underich.
  78. Could also mean immediately
  79. Only in the Latin.
  80. Inn - unclear whether directional or locational.
  81. The one in the left hand?
  82. Only in the Latin.
  83. Possible abbreviation of gegen – geg.
  84. Odd squiggle in the middle—f from previous line?
  85. Scribal error for pungito?
  86. Strange squiggle above the c.
  87. Squiggle – looks like the Munich MS symbol for us?
  88. Error for interim?
  89. Written as “in Clinando”
  90. NB, likely scribal error for “laevam”
  91. Second u has three dots almost like ǜ.
  92. Error for dextrum?
  93. sic : verborgnen