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    A 15th C Illustrated Manual of Sword Fighting and Close-Quarter Combat

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    A 15th C Illustrated Manual of Sword Fighting and Close-Quarter Combat

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    © All Rights Reserved
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    Download as pdf
    105 views161 pages

    Medieval Combat, A 15th C Illustrated Manual of Sword Fighting and Close-Quarter Combat - Hans Talhoffer

    Uploaded by

    trollforge
    A 15th C Illustrated Manual of Sword Fighting and Close-Quarter Combat

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    © All Rights Reserved
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    Hans Talhoffer MEDIEVAL COMBAT A Fifteenth-Century Illustrated Manual of Swordfighting and Close-Quarter Combat Translated and Edited by Mark Rector Hans Talhoffer Hans Talhoffer MEDIEVAL COMBAT strated Manual of Quarter Combat A Fifteenth-Century Swordfighting and Clos Translated and Edited by Mark Rector Foreword by John Clements Greenhill Books, London Stackpole Books, Pennsylvania ae CONTE! Foreword by John Clements 7 Introduction by Mark Rector 9 lechuncsburg, PA 1705, USA IEVAL COMBAT plates L Long Sword 1-67 Tl. Armoured Combat in the Lists with Spear and Sword 68-73 II. Long Sword IV. Pole-Axe V. Shield and Wooden Mace VI. Shield and Sword Shield Phroated Hooking Shield 165-169 ton copyright © Greenhill Boks, 200 “Tathotter, Medieval combat: ice cen Dagger 170-189 X. Wrestling 190-221 XI, Messer (long knife’) 223-230 XII, Sword and Buckler 231-239 XII, One aguinst Two 240-241 XIV. Fight between a Man and a Woman 242-250 et oe nd XY. Sword Fight on Horseback 251-260 and edited by Mark Rector XVI. Hand-to-Hand Fight on Horseback 261-264 XVIL Fight on Horseback with Lance and Sword 265-266 XVIIL Fight on Horseback against the Crossbow 267-270 fehing—tarope—Eacy worse Notes to Plate Captions 201 Appendix: Swabian text 27 Prin a bound in Bibliography 318 in by Creative Print and Design (Wales, Ebbw Ve Aknowledgements 319 FOREWORD ‘A MODERN RENAISSANCE IN MEDIEVAL MARTIAL ARTS "Today the term ‘martial arts’ is usually assumed to be synonymous with ting art’. This for misrepresenting medieval fighting. The medieval war ‘often reduced to the myth that combatants merely crudely bludgeoned one another or hacked and slashed savagely, Yet well established, high developed an systematic and e of Hans Talhoffer. first produced in 1443, was reproduced many times throughout the century. Here now isthe first English-language edition of the defi this Fechimestr (literal the Grand Fechimeister Hans Liechtenauer, reveals an array of great-sword and two-handed sword and buckler moves, d His manual reveals a range of both rudimentary and advanced techniques and provides a firm foundation on which co begin exploration is of medieval masters of defence. he accordingly taught an integrated art. He was greatly concerned 5 MepuEval. comma and learning of his ‘were known he could be vulnerable, and a master alter his death, and even then ‘groups of practitioners, Whether your Complete guide bok or fighting om encourage the reader's own prac ders etvenes of European warriors 35 crate Like many others, for Years practising Taholfer's techngues. Th followed his advice with tel weapons and been Tong but f ongoing and new insights continually appear, there i no value and legitimacy of hi caching, is exciting that we are urrenty sing a renasan marl culture ay research and study of fighting art now undergocs something of 8 re imate methods tive games and role-playing pursu greater appreciation for the sophistication and effecivenes and Renaissance fights has emerged. A new generaion of serious practitioners and researchers is approaching the subject not as escapist fantasy or entertainment, not just a5 theatrical display, but asthe study of a true martial at. Earnest practice of the weaponry is increasing in popula many works of appreciation of | thods of medieval and Renaissance today as students rediscover the fence. A renewed interest in and INTRODUCTION English translation of Master Hans Talhofier’s ‘Book’, from the year 1467, one of the most influential drawn fencing manuals of the fifteenth century. Tlhoffer (20-1490) was master of arms to the Swabian knight Leutold von tory of Count Eberhardt the Bearded of W Saxe- Coburg-Gotha, ant into German, ‘publishing his version in Prague in 1887, “Hergsell describes Talhoffer's manuscript in his introduction: jons themselves are not always Personal combat training was a MEDIEVAL conta Sabin (wich an Be found in the Ape panded in s to remain true to the origital te ns understandable to the modern tng to too much modern or medieval fencing jargon, hoffer’s Fechthuch are not included: 127 (an almost ih barely dings otnes showing ashe ght inal ‘Talhoffer’s book may be divided into two er suits, greased with pg fat, and armed with a selection, ‘of wooden maces, swords, and spiked and hooked shields. Thes rarely “first blood? affairs, but duels to the death, One of the most curious episodes Talhoffer illustrates is judicial duel between a man and a woman, prohibited, upon pain of Fr, fom stepping ut of Fever, steady himself with hand on the edge of hep wrRoDUCTION " ly peasant scenes and simil le-axe, dagger, sword din Germany during the Mic ig th century. This is the German Kunst des Fechten, the ‘at of fighting” ‘Tue GERMAN ART oF FIGHTING Princes and Lords learn to survive wit you are fearful, then you should no ill apays be defeated, regardies of a ss art, in earnest and in play. But if ur to fence, because a despondent heart il Middle Ages was a conglomeration of small princi gues, towns, and each other for advantage and privilege. Warf Renegade noblemen preyed upon. dense German forests. ‘Tradesmen and artisans in the larger fencing societies, which undertook the training and li ‘The two most famous of these societies, the Marxbri cwvalry and an infantry levy of commoners trained on regular neighbouring powers? ‘The inherently that no distinction was made mn of the German martial at to Johannes Liechtenauer, who lived during the fourteenth cent 2 MEDIEVAL CoMer the mysteries of armed combat and. the by obscuring his true ‘meaning. Afier his death, his pupile began writing down his methods to the seventeenth century by the that swept over Europe ided into armoured, urarmoured and tng, all of which are represented by Talhoffer. His manuscript «series of drawings on the use of the long sword before moving ‘on to other weapons. Medieval swordplay was not the h blade, ring of steel aff films and on the stage. Medieval swords were amazing! anced, weighing between only t¥o to four pounds. Comt and the ability to judge and manip ing and distany enhance the sword’s inherent cutting and thrusting capab were supplemented with techniques for grappling, wrestling, kicking and as disarming him by seizing his weapon. Principle of the German ar of fighting to attack and In other words, every attack contains a defence and 16a counter-attack, AN OVERVIEW OF MEDIEVAL GERMAN SWORDFIGHTING Holding the Sword The sword is held with the right hand close to the cross guard, The left and rests below the right, and controls the levering actions of the sword. n cop the figshaped pomnel for more to increase the power of thrusts. The ‘sword is held for the most part with the edges up and down, perpendicular to the ground, Stance The vordsman faces his opponent squat with his hips and torso parallel to him, and his legs slightly bent. He may stand with ether leg slightly forward, Footwork ‘The footwork iss simple and direct as walking. The fighter seps naturally INTRODUCTION 8 and back, from side to side and diagonal 1c to circle his opponent. Footwork is used to mai re accomp: mn one leg distance, by a step, ws are made most often with the ‘true’ ed edge, the upper edge povwerful cuts from the shoulders and body, medium cuts from the ‘and harassing cuts made from the wrists and hands. Footwork is ;, which Talhoffer addresses in plate 9 with the left to right.’ This is a jue of the hips may help deliver it successfully. the right, che swordsman must step forward with the left foot as the cut lands.* ‘Thrusts Itis surprising how many thrusts Talhoffer shows, as the medieval sword is, thought of as primarily a cutting weapon. However, itis evident from this ‘manuscript that the German art of fighting placed a heavy emphasis on actions along the opposing blade resulting in thrusts. As with the cuts, thrusts come from above and below. Thrusts are most often aimed at the two low the ribeage, on the right lower ‘openings oF tar and eft ide ofthe body (plates 6 and 1) ‘wo upper openings, on the right of ribcage, Other targets include the wrist, the fet, the thighs and the face. Guards Talhoffer ‘a number of guards, wards or stances, each with a rac ‘mnemonic name. Ths, ‘guard (plate 36), and the ‘fire-poker’ (plate 39). cstions of defence. Rather, they are moments ‘and thrusts begin or end. The guards are other, and should be thought of as positions back at a 45-degree angle and from which cuts may be made tom tach, or from the roo. Attack and Counter=Attack ‘As mentioned above, the primary tactical principle of the German art of fighting is that for every atack there isa counter Attacks are met with counter-cuts and thrusts that set weapon to force a way through the enemy's guard. Counter attacks m: combined with avoidance, grappling, wrestling and disarms to render the ‘opponent defenceless. Avoidance ‘The frst means of defence open to the swordsman is to avoid the attack: to bbe where the sword is no of distance. However, cutting sword moves ‘of percussion, a few inches below the point hands. Therefore a more effective technique for avoidance sto close the distance by stepping toward the opponent, moving stright in or diagonally to cither side, and counter-attacking, grappling, or making s disarm, Setting Aside Attacks may be versetzen. Similar that deflects the o ‘or by redirecting advantage over him. Talhoffer ne blade on blade blocks. Hs setting asi and lead naturally into counter-attack. intered by setting Binds and Weak vs Strong ‘Talhoffer illustrates many techniques that come from a bind or erossing of the swords with opposition (plates 2932, among others). Once the swords are bound or crossed, a deadly game of leverage begins, The sword is “weak” near the pot 1° near the hands, 9a swordsman his opponent's blade the strong part of his sword to ‘weak part of his enemy's sword. There are also weak and strong forces iTRODLETION 1s of opposition. In a bind, the swordsman may apply a weak force to his trong force and allow the enemy steel to pass through the Half-Sword ‘The hal-sword techniques were originally devised for fight hand-held weapon. You axe, setting aside techniques ‘The German art of fightin lirect and effective. It has only fone object: the swift demise ‘TALHOFFER’S ARSENAL. Long Sword (lates 1-67, 74-8) ‘The long sword, war sword, hand-and-a-half sword, or bastard sword is the chief weapon of Talhoffer’s arsenal, and the fundamental techniques for its use may be applied to every other weapon in his book. The long sword is between four and four-and-a-half feet in length with a sharply tapered double-edged blade of diamond pr 6 MEDIEVAL. ConenaT the entire ind for strong ommel or to employ ‘opponent’ defences, "ight with Spear and Long Sword id) and. displaying their weapons, with their attendants beside them and their coffins before them. ‘The spear is used as the primary weapon, with the ‘sword held in reserve forthe coup de gre. Pole-Axe (plates 79-103) ‘The pole-axe is most commonly used in armoured fighting, and is specifically designed as an ‘armour-breaker’, ‘unarmoured fight ‘to hook and drag the opponent the long, blade-lik spike ‘on top is used to make killing thrusts. Although the pole-ax> is primarily a {knightly weapon, the techniques for its use ae equally applicable bladed halberd, ‘the weapon of choice for the axe- idable pi and German Landsknechte. ‘wood, possibly covered image of the cross. It is used both defensively and offensively to deflect blows and hammer into the opponent's shield to create openings, as well as to stab the spikes. wir shields. When fighting according to the Swabian law, they employ the long sword, INTRODUCTION ” four protruding hooks at ingy pulling and etabbing the adversary. Like has a sharply-spiked central pole which may bbe used to impale the opponent. Dagger (plates 170-89) ‘The dagger is the ultimate weapon of last resort, ‘Tlhoffer shows the semely Jong, triangular blade and a grip ip and bottom to protect the hand. The dagger commonly carried weapon of medieval Germany. ith the off-hand to create lo the dagger arm and the off-hand, and grappling. sgger, blocking with the weapons, or borrows his wrestling techniques from Ott, an earlier wrestling master to the Habsburg Dukes of Austria"! 223-30) @ ‘The messer, or ‘long knife’, has a shor, single-edged blade with a simple lade is slightly curved and che last few inches of the edge are sharp. It is carried in one hand, with the modern sabre fencing, The messer resembles the ancient saxe falchion, the Italian storta, the Bohemian dusak (@ wooden training weapon used in Germany cross hilt. The clipped back or 18 MEDIEVAL COMBAT: shows techniques for one man fighting against ‘Combat between a Man and a Woman (plates 242-50) ‘The fight between a man and a woman, as described above (pp. 10-1 another jue in which the man i placed up to his waist ina pit and armed with a large wooden mace. The woman is free to move around him fon the ground, and is armed with a three- oF four-pound stone knotted. into along vei Mounted, {plates 251 ‘The final series of plates shows methods of mounted combat with the long ‘sword, long sword against the lance, lance against crossbow, md mounted. hand-to-hand fighting. For THE MODERN READER ‘The Western martial heritage, encompass each wit new generation of fencer il pr world are devoting time and study to reviving European arms a living martial art. Forgotten and neglected ancient fencing manuals are being dusted off and used by modern swordsmen and women to apply historically accurate techniques to train and fence with edged and pole ‘weapons long dismissed from the ar Talhoffer's Fach drawing the elegant intr etmopuction » ‘be thought of as flash-cards to prompt the memory, and may be rearranged For che stage and film fight combatant or choreograph offers an exciting vocabulary of moves, actions and weapons, many of safely They ‘Whether it was Talhofler himself or some anonymous Swabian scribe, the artist took painstaking care to give each of the figures life and expression, ‘We are treated to images of everyday dress, with doublet, codpiece, hose, a ind equestrian equipage. al people ness of the sncer and stage com the German Middle Ages, I will have achieved my goal ‘Mark Rector 2000 efrsFchbuch au dem Jere 07, Prague, 188) ‘by Mark Rector 2» MEDIEVAL. Conr st Britin was made in 1818 by an accused and he escaped the itt, The next veer, ‘he lw permitng jaca! duels, (From Andem Stenmecs, The sll, ZthofesFchbuh aus dm Fare 1467, Prague 88. ‘Sigmund Ringeck, Fecha (440), Tasltion by Jeg Belnghnusen, © Gustav Hers, Tahir kick aus dem Jere 167, Prague, 187 7. FR, Du Boulay, Germany the Later Milled til Ary No, 6 No.3, 1997 recs combatants employing a rgh-hand lad throughout his book. I the ‘is uncomfortable managing th techniques a mirror image ‘he left hand nearest the cos guard and ung th ndamenal clement ofthe German ar of fighting femain the sane WO. EWEC. Oman, History f the Art of Hr nthe Mile Aes, 1924, 19 MEDIEVAL COMBAT LONG SWORD:! PLATES 1-67 ‘The swordsman on the left cuts from above. ‘The swordsman on the right cuts from below. Plate 1 ‘The swordsman. on the left attacks with a Plunging “cut” His counter is) with ashifting Plate 2 ‘The swordsman on the lft menace opponent with the thrist of wrath! The Swordsman onthe Tight counters the thrust with ut fom above Plate 3 ‘The swordsman on the left throwsa long thrust of wrath. His opponent counters by making a crosswise thrust. Plate + ‘ie swordsman on he exposed cut from above (Con tak or rm "he oo). Tis opponent Counfersthe atoek wih slash tothe thea Plate 5 Plate 7 “A. placement, or t0 get there firs” ‘The coming blow arrives Plate 8 This is the stron way t0_ fight going Ieft to right? Plate 9 ‘The swordsman on the left makes an open or exposed thrust. The swordsman on the right springs his sword at his opponent, throwing it uuddenly outward while ‘maintaining hold of the ymmnel with his left wand. Plate 10 From a bind or crossing of the swords,” the Sond om he et Shoves his “opponent aay by grasping him tehind: the elbow (see plate 32). Plate 1 Plate 12 Two thrusts from above. The two lower openings. or targets (see note 8). Plate 14 “The swordsman on the right count ‘opponent's a ERs his opponents : ht Plate 15 ‘The swordsman on the right stands in the iron gate guard.!! His opponent attacks above the iron gate guard. Plate 16 The swordsman on the right eats from above wth the false or back ge. His opponent Counters by making 4 slashing cut to. his Opponent’ arms Plate 17 Ls ° € . - Plate 18 Plate 19 ‘The swordsman on the right completes the crooked cut Plate 20 ‘The swordsman. on the eft ata towards ‘opponents lower opening {Hfe "Swordsman nthe right counters by. slicing Into the attack from above Plate 21 Plate 24 2 “The swordsman on the left steps forward at the “hall-sword and traps_his opponent's tes Plate 26 The swordsman on the left stands with his point ee to thrust is opponent counters by cutting over the point to the lel Plate 27 ‘The swordsman on the left steps quickly into a half-sword thrust to counter his opponent's ccut from above, Plate 28 Against a bind rush in, grapple and throw {your opponent, Plate 29 Another forceful grapple against the bind.! Plate 30 From bind, the swords- ‘man on the right steps (quickly. forward with a ddownsard thrust. Plate 31 From a bind, the swords- man on the left shoves his opponent away by grasping him behind the elbaw (see plate 11). Plate 32 3 ‘The murder-stroke.? Plate 33 A. wrestling throw following a murder- stroke. C Plate 34 The svordaman on, the lef steps qui into a hall to counter his opponent’s ‘cut from above Plate 35 The, svorduman, ge the eft steps quicky forward ‘into half Sword thrust from the squinting guard. Plate 36 A throw, following the ‘man. on the far right has hooked his, oppo- nent’s blade with the cross of his own hilt, and means to wrench the sword away from Plate 37 “The swordsman on the tat thrusts at his Opponents face withthe seme of his 880, Raving wrenched his cppotent’s Bade away ftom him, Plate 38 ‘The brentschirn, or the bind with the shortened Plate 39 An action countering the “bind with. the Shortened sword (ht appears thatthe Shordsman on the left Babout, to. cut his ‘opponent’ blade away from him) Plate 40 ‘The swordsman on the right leans in with his left elbow from, the brentschiiren, or bind with the Shortened sword, to counter his fopponent’s. reversed- sword attack Plate 41 Aggressive half-sword stances for thrusting from above and below. Plate 42 Crowding in, t9 the Work, oF in-fighting, with the half sword. Plate 43 ‘The swordsman on the right stabs his ‘opponent's wrist. Plate 44 ‘The swordsman on the left stabs his ‘opponent’s foot Plate 45 right moves out of the Se eens Kae with the hil of his Plate 46 ‘The swordsman on the right makes a_ false miurder-stroke, and cuts his opponent on the thigh. Plate 47 ‘The swordsman on the right moves out of the bind to wrench the hilt of his sword into his ‘opponent's throat. Plate 48 ‘The swordsmen have seized cach other's blades. Plate 49 ‘The combatant on the left captures his ‘opponent's sword. Plate 50 Shifting the sword. Plate 51 ‘The swordsman on the right thrusts with his pommel Yo, ich is pponent’s blade wil iP hilt and wrench it ava from him. Plate 52 ‘The swordsman on the left sets aside his opponent’s murder stroke and wrenches his pommel, into his ‘opponent's throat.2 Plate 53 ‘The swordsman on the left’ makes an entanglement from the brentschiren or the bind with the short- ened sword, resulting in a thrust to his ‘opponent's chest Plate 54 Having had his sword seizedy che swordsman on the right throws Bout Sond end opponent away. from hse and means to finish him "off by exuppling him Plate 55 ‘The combatant on the righ avoids his oppo ‘murder-stroke by turning away Plate 56 Having avoided the murderstroke, th comin on the nah counters by. grappling, ind throwing his opponent Plate 57 After making the murder- swordsman on avoids his oppo- nent’s thrust and hooks hhim behind the neck with the cross of his sword to ‘wrench him tothe ground. Plate 58 Having seized his oppo- nent’s blade, the swords- ‘man on the left slides his ‘own blade along’ it (bracing himself with his right foot on the small of his opponent's back). Plate 59 From the brentschirn or the bind with the shortened sword, the swordsman on’ the right locks his oppo- nent’s blade and prepares to throw him, Plate 60 The high and_low- reversed all-sword stances for making and warding stabsand cuts Plate 61 cord capture 2 a Plate 63 ‘The swordsman on the right charges in upon his opponent and grips Plate 64 ‘The throw is achieved Plate 65 The swordsman on the right ‘sets aside his ‘opponent's thrust and Wrenches. his sword hil into his opponent's arm. Plate 66 Th snd on he Fight steps forward at the hall-svord toward his "opponent and thrasts hm in the face with the pommel of his word Plate 67 I, ARMOURED COMBAT IN THE LISTS WITH SPEAR AND SWORD: PLATES 68-73 An armoured com- Plate 68 Both combatants sit in the lists awaiting, the commencement of the ‘by combat. Each his attendant and_his ore him. Plate 69 As the trial begin, the eoaibesat on te ht repares to throw his 7 combatant on the Tele stands on guard to, receive his Spponents ack, Plate 70 ‘The combatant on the left throws his. spear. ‘The combatant on the right sets it aside, using his sword and spear together Plate 71 ‘The combatant on the right charges in with a murder-stroke. The Combatant on the left prepares to set aside the blow. Plate 72 ‘The _ murder-stroke lands on the defender’s, sword. ‘The combatant on the left, will now thrust _to his oppo~ nent’ face. Plate 73 UI. LONG SWORD: PLATES 74-78 ‘The swordsman on the right steps forward to throw his opponent over his thigh Plate 74 ‘To counter an open swordsman on, sets it aside at half-sword, then lunges forward to grapple and throw his ‘opponent. the ri the Plate 75 Attack and counter attack Plate 76 From left to right; A desperate stabbing attack, — The proper Stance to receive such an attack. — This swordsman, is ready to fight This an advantageous, stance fora disarmed man. Plate 77 “The pair on the lef wrestle for control of 5 right has set aside his ppgnents blow and finishes him off Plate 78 ‘The two combatants bind their pole-axes, Plate 79 ‘The cata on the right disengages from the bind a tra to his opponents belly with the butt of his ole-axe, rendering im defenceles Plate 80 ‘The combatant on the left. prepares to strike from above. The com- batant on the right trails his. pole-axe "behind Himself, intending to set aside the oncoming blow and expose his opponent to counter-attad Plate 81 ‘The combatant on the right sete aside his Opponents strike from shove and completes i counterattack iy thrusting the top spike of is pole-axe into his enemy flank Plate 82 The combatant on the left. strikes with the false (back) edge. The ‘combatant on the right, sets aside the blow and wrenches his opponent behind the knee. Plate 83 From a bind, the two combatants fall to the round and wrestle he combatant on top has his opponent in the Shnave hold’, with his right arm around his Sey throat ands Fight knee presaing into fh enemy e belly. . = ‘The combatant on the right stakes from above. ‘The combatant Gn the left binds the pole-axes, discards his Sr weapon and host with his opponent to trapple and drow him Plate 87 ‘The combatant on the left strikes from above. ‘The combatant on the right counters by set- ting aside the blow with the shaft of his ‘weapon, Plate 88 ‘The combatant on the right steps forward and completes his counter attack with a blow from above, Plate 89 ‘The combatant on the ife strikes at his oppo- rnent’s feet, The com- bpatant on the right sets aside the blow with the shaft of his weapon and ares {0 counter Plate 90 After set iow the combatant on the Fight strikes his oppo nent on the neck and Rooks him with the spike of his pole-ave 10 wrench “bimm t0" the aside the fic hs feet, Plate 91 ‘The combatant on the right thrusts at his opponent. The ‘combatant on the left sets aside the thrust and hooks his enemy behind the neck to wrench him to the ground. Plate 92 ‘The combatant on the left counter-attacks by ‘grappling for his oppo- rents weapon, Plate 93 “The combatant on the lef hs oui atack by grasping his opponent “about” the neck and throwing him Over his thigh From a bind, the com- Baran om the ght traps. his opponent behind the elbow and shoves him away Plate 95 ton the smpletely ‘The co left tun around to counter the attack described above. Plate 9 ‘The beginning of a new fight. The com- batants are poised to threaten with both blows and thrusts, Plate 97 A bind-behind. Plate 99 The combatant on the stanee to inst_ blows from above. The com- batant on the right will strike from above with all his might. Plate 100 ‘The comb: left sets aside his oppo nent’s stroke and thrusts into his belly Plate 101 The combatant on the oppor combate ‘on the right thrusts at his opponent and strikes his pole-ave at his neck, hooking him to pull him onto his back Plate 102 The combatant on top finishes off his oppo- rent by stabbing him in the throat with his dagger. Plate 103 V, SHIELD AND WOODEN MACE: PLATES 104-26 ‘The two combatants stand in their guards with shields and wooden maces, according to the Frankish law. God grant them good fortune. Plate 104 The combatant on the leftis not afraid, knowin he ean cover himself wit his shield. The combatant fon the right stands forth to the hazard. Plate 105 ‘The combatant on the right binds his oppo- hent’s shield to create an opening. The com- inane onthe left i exposed to attack and fears a thrust with the shield-spike. Plate 108 ‘The combatant om the right finishes his oppo- nent off with a thrust to the belly with his shield spike. Plate 109 ‘ie combstane onthe let Licks. his oppo nent’ shield, pivoting ito create ah pening for attack. ‘The com= batant onthe right Drepares to throw his mace in defence Plate 110 “The combatant on the lett thrusts from above wvith his shield. "The Sombatane on the ight ponent’ shield to find an opening near hhis enemy’s heart Plate IIL Plate 112 Both combatants charge around each to a seek an oj sd Sct Eh Plate 113 ‘The combatant on the left strikes his “oppo= nent’s shield from one of his hands and looks for an’ opening into whieh to thrust. The Combatant on the right a defends "himself by trapping and. setting aside his “opponent's Shiela with hy arm, Plate 114 Having been set aside, the combatant on the left eeturns his shield for another thr am unprotected, thrust.” Plate 115, Plate 116 Plate 117 From the bind, the combatant on the left yd is shield, (thrusts his of in the thigh swith his shield-spike, Plate 118 ‘The combatant on the left awaits his oppo- nent in a strong guard, ‘The combatant on the fis own to pull it behind himself Plate 119 ‘The combate op, the right ‘pivots his shield, Tocking i vith that of his opponent, and stiles at his adversary’ head with e combatant throws his fight arm out, grasping ‘ver his opponents right Sem, and” should now drop his shield, step forward, strike his adver- Plate 122 The attack described above is completed. Plate 123, Plate 124 Plate 125 ‘The combatants come away from their shields to strike each other with their maces. The men’s blow, grasp him bythe arm snd trikes hm “1o. death, The combat with maces is atanend Plate 126 The combatants stand forth according to the Swabian lay, like those that fight at Fall, armed with Tong swords and Plate 128 ‘The same action as bet ved from the Plate 131 Plate 132 drops his shield and ‘grasps his opponent by the elbow, tums him ound, and thrusts him through the neck. Plate 137 shield to create an ‘opening for attack, Plate 138 Th camino the Fight resis opponent ino a fated aack and then counters with a thrust to the neck. He really fooled me with that one! Plate 139 From a bind, the Gombe om ih disengage, grasping his sword and. shield together to thrust from abung ‘The. combatant ‘on pre ents. bis. adverary From bringing his shel around Plate 140 WY Plate 141 Using. his shield to fon the left is totally exposed, Plate 143 ‘The, combatant en makes crane cut ar his exposed oppo- nent and chops off Rishand Plate M44 ‘The combatant on. the sight throws his shield at ‘opponent and shoves himanay, forcing him 0 crouch, so he may hew him upon his head and back. ‘The combatant on the left ees fo bind and wrench his opponent with his sword and shield together. The combatant on the right attack, dropping his shield, and! epning forth to hew bis oppo ment upon the back of the neck Plate 148 ‘The combatant on the left angles his shield in from above. The com- batant_ on the right shouldbe able to see 1 inside of his oppo- nent’s shield and ought to thrust crosswise, Plate 149 ‘The combatant on the right hammers at his opponent with his shield in order to dis- arm him. ‘The com ihatant on the left remains standing and is able to” counter by thrusting through his opponent from below: Plate 150 VII. SHIELD: PLATES 151-64 ‘The combatant on the right strikes his “oppo- nent with hiv shied ‘The combatant on the left counters by grasping his opponent about the neck and throwing him tnd his shield Plate 151 The attack described above is complete Plate 152 “The combatant on the left. binds his shield between his opponent and his opponent's shield, | and” hooks techind his adversary’s foot to wrench him, “The combatant on the nghe ree 100 late must suffer the "con- sequenes, Plate 153 From a bind, one may ‘wrench either high or low on either side. Plate 154 Going high is as good as going low. However, from the high bind of the ombatant on the righty is opponent may grasp the point of the shield and wrench it away from him, Plate 135 From the action deseribed above, if the combatant doesn't let goof his shield, ittmust lead to wrestling Plate 156 fad bee a hs ghia "hs hs wand and. grasps ponent bythe elbo rnd. shoves. him ‘avay irom’ himself, turning him aroun Plate 157 ‘The combatant on the left op However, the combatant oon the right turnsall the ‘way around and thrusts his shield-spike into his adversary, completing the attack and counter. Plate 158 he comtantam the charges and seeps behind ‘pone engaging hin ih fuurd: He must beware SF being thrown. The combatant on the right fooehes the charge nd mest throw is adver Sry or disarm him Plate 159 “The combatant previ- ously on the right, now om the ket” ouiers his opponent with a throw as. described above! He finishes him Off with a thrust to the throat with his shield= foie Plate 160 Both combatants stand in their guards, ready to strike with the inverted ind. Plate 161 ‘The combatant on the Strong part of his ppo- pens hick” Mark is. struggle closely Each combatant wanis toffee hansell from the binds so" that he may attack bis" opponent ischind his shield and disarm him Plate 162 ‘he combatant on the left gets the strong of his shield upon the weak of his opponent's shield and may thrust at him or weench him, ‘The combatant on the Tost hi (his ability leverage) and will be pulled down, Plate 163 ‘The combatant on the gpponen y ug his shicld-sptke. Plate 164 VIII. THROATED HOOKING SHIELD: PLATES 165-9 “The combatant on the left deliberately exposes Himself to atacand thst bow the weak rot hi oopenents Shield to Hook his dversarys_foot and Src Te amb dangers, however, tbecause the combatant onthe right can stl sack ro above Plate 165 Here are to aggressive guards. From’ these Stances one may charge in to disarm and over ome one's opponent anu dora grat Gea of fhandsome! work with the shield. ‘The com tatant on the Tight ants che outcome Plate 166 The combatant on the ttt fa deleted opponent's low an thrusts "up into his shield to strike at his neck. The combatant on the right tries t0 bind the shields. Go t0 the next page to ee the ‘completed attack, Plate 167 The combatant on the right disengages. an spins his shield 1 hook its “opponent. behind the neck and drag bi tothe ground, com Pleting the attack Ueseribed above Plate 168 ‘The shield fight is at an end. God deliver us from all worry. Plate 169 (XYDAGGER®” PLATES 170289 Now we te up the usvalll From eft to fight the fis fighter second fighter sts aside the wa and us geen away from himself (tapping his ‘opponents dagger and tebting it-out of his hand), The third fighter stabs from above “The fourth fighter thrusts from below to set aside theblow and counter Plate 170 ‘ied wih hes deer Sab iom abetee'The eats Plate 171 fic i fatis stnd from the left stabs from above, his oppo- and then strikes or ac tata ate otal the stab with the ee see rao em Soe ere Plate 172 The fighter on the far left counters his 0 nents stab from al by eatching the stab with his left arm, Seizing him with his dagget_between the fege and drawing him upward. to throw. him snvay from himself. The fighter second from the Fight counters his oppo- pets sab rr above Setting it aside wit his, right arm. and wringing his own dag- ger around his attack ers arm to trap him nd throw. him’ away from himsel Plate 173 ‘The fighter on the far left was entangled by his “opponent, but countered by stepping ‘out and reversing the hold. "The fighter_on the far right stabs from above, His opponent tntangles isn with the scissors-hold.*! Plate 174 ‘To counter his of rents stab from above, the fighter on the far left, catches. the stab with his right arm, twists it down, try is opponent's. right arm with is left am, pivots and throws his ethan On the igh round. On the right, the counter and throw are completed Plate 175 ‘As soon as his oppo- ‘ent stabs from above, the fighter second from the left moves his right arm ago the ay rasps his. opponent’. Tight arm with his let hand upon the elbow and. presses him away, However, as shown with the pron the right, his Sppnent an pt get 2 grip beneath his and "throw him over dont his back Plate 176 ‘The fighter on the far left sets aside his ponent’ tab from above with his right arm and counter- ‘thrusts into his attack- c's belly. The fighter second from the right has put his adversary in the scissors-hold, and should now attack either the arm or the throat Plate 177 The fighter om the far leit canmery the sab from above by tapoiy she sal fis elt nad gepng wah fie sigh hand ‘under his opponent’ right arma to, throw Hs ickwards The fighter second from the sight tropes opponents stab from above nith fas right arm, pivots thro hi round Ns opponents meek and chron hn over his hip Plate 178 ‘The fighter on the fa left counters the stal from above by catchin and trapping it with ht yancatnand rep iS opponent's dagge atm at the elbow wit his felt hand and press jag dow on the how In'the pair on the night we see the. counter move the attacker tums completely around and throws. the defender over his hip, Plate 179 ‘The fighter on the far left counters a thrust from below by string is opponents thrusting arm with his right ist and. thrusting into_his adversary's belly. "The pair on the right are at sn impasse Plate 180 ‘The fighter on the far left counters the stab from below by striking iCaay with is ight hand and gra s left arm around his opponent's, neck and Stepping forward. to throw him. The fighter second from the right counters the stab rom low by trapping it with both hands. He Should pivor and break his adversary’s arm ‘over is left shoulder. Plate 181 ‘The fighter on the far left breaks his adver- sary’s arm over his left shoulder, as described above. The fighter on the far right makes a Shield against stabs from atove and tow gripping his dagger ith both fands. Plate 182 “The fighter on the fir leftrakes a shield with his dagger to ward his opponents ot from ibbve" His “opponent ounters by ewisting his ‘laguer around etween hadnerar’s arom fe now has leverage 10 throw or ‘diate his. duveray, a8 we can see in dhe patron the right Plate 183 “The fighter on the far TEftertge his opponent sith the sisors hod The fighter second from the right has his opponent ia sisors” hold around the neck The fighter on the far right wil counter by throwing his adversary Plate 184 The fighter on the far left blocks his oppo nent’s stab from above wath a dager hl lowever, his oppo pent iach yan fat, and he cha the attack toa. stab below the stil. The fgher on the far right tho makes a bygh dagger shield against his opponent's | stab fromabove Fisadere ary counters by grap pling both his arms ad throwing him Plate 185 “The fighter on the fir IEF counters his oppo. nents nto hore by eating ace the thrust with hs right arm On the right ve Se the come oe pice ae rapes is opponent’ Cagger sm ovata gee on dager hind hs cppeaety toee grim, Plate 186 The fighter on the far let eatches. his oppo- or nent’s stab with a 7 scissors-hold. The fight ce second from the right Stans om guard, His opponent on. the far Tight, hides his. dagger behind his back 10 confuse his adversary, and may attack with ‘either hand Plate 187 “The fighter on the far left counters. his opponcats sb fom above by setting aside the low. wath i et arm and grappling his aera low the thigh with bis right arm to throw him, The par fn the ght ‘The Master CLahotfer) has. himself" overseen this work Plate 188, ‘The fight left counters theta from_above by, settin AC aside, with his tel arm and grappling his Opponent about. the neck with his. right arm and choking him to the ground, right he finishes ‘opponent off by stab- ting him in the neck. Plate 189 X, WRESTLING:® PLATES 190-221 ‘The pair on the left repare to. wrestle he fighter second from the right sets his opponent's from above with Plate 190 ‘The pair on the let are in a clinch, each with fone arm on top and one arm below. The wre acon ro the right has slippe Bis ead throvg he opponent's arms an TRS him, Plate 191 ‘The fighter second from the left throws his right arm over his ‘opponent's right el and. grasps under his right knee and throws him over. The fighter second from the right isin a bad position and to throw him over his thigh. Plate 192 {he wrestler om the fr left traps ‘his. oppo~ nent’s arm to break it The wrestler onthe far right carries his op 's this Plate 193 ‘The wrestler on the far left gets his opponent in ahold and throws him over ‘his thigh The wrestler” second from the right steps behind his opponent, sips him by the waist Sind dhroat, and throws hhim backward over thigh, Plate 194 Plate 195 Plate 196 ‘The wrestler on the far left counters his adver- sary’s attempt to pass throu ‘wrestler second from the right counters, the pas throug by quely voting and grappling Ris adversary sbout the neck and between the legs. Plate 197 ‘The wrestler second fromthe fet hook his opponents le to throw fine On the tight, the hook is countered with 2 blow with the arm Plate 198 “The wrestler on the far oppontate drawing it. taropgh the fork of his own gs to throw him, “The wrestler on the far Tight counters the hold from behind. by step- pin aca ih is pot terwcen hi ade ary’ lees to grap his Spponents thigh and thw kim Plate 199 ‘The pair on the left are in a hoist from behind, ‘To. counter it, grasp your opponent’ by the hair and pull him over your shoulder. The pair fn the right are ina Tock. If you m by ‘over the back. Plate 200 On the left, when your ‘opponent gets you ina Holt to horst you with both of his aris under yours, grasp his, face ‘with both hands and Shove him away” unt he releases ‘you. ‘The wrestler second. from the righ allows himself to be gripped around the “neck and then throws his opponent Plate 201 Qn the let the wrestler throws his opponent by hooking his leg with his own. On the right, the throw is completed Plate 202 ‘The wrestler on the far left has his opponent ina lock and throws hi his hip. The th in the same loan ounters by ripping his opponent felow ‘the’ thigh to throw hin Plate 203, “The ese onthe far left steps behind his Stal teow him. ii the right, the Sich ta went second from te ight gone to eweep hs opponeee's fot trom eben Plate 204 ‘The wrestler second from the left hoists his opponent up to spin him around. ‘This. is Galle “dizzy-wrestling’ The wrestler second from the right grasps is opponent by the throat. with both hands to shake him Plate 205 ‘On the left we see that it ig difficult to hoist an opponent when he is horizontal. On the right ig an arm lock, as with the dagger. Plate 206 Plate 207 ‘The wrestler on the far left tried to pass through, bat is opponent cou ters by grasping him around the waist and pressing him down. The ‘wrestler on the far right ‘counters a throat hold by patting hig opponent in an arm loc Plate 209 ‘The wrestler on the far Teft kicks his opponent in the thigh. The wrestler ‘on the far right grapples his opponent over shoulder and between the legs to hoist and throw him, Plate 210 ‘The wrestler second from the left seizes his opponent by the, collar and. trips him with his right foot. On the right, the throw is completed Plate 211 ‘The wrestler second from the left hoists his ‘opponent’s arm to trap it between his opponent's legs. On the right, the attack is completed. Plate 212 “The wrestler on the far left traps his_oppo- nent’s arm. the right, he compl threat to throw. him Plate 213, ‘The wrestler on the far d right holds both, Plate 214 ‘The wrestler on the far fet counters dro ld. by_ grasping. his Sppenen onthe lb, Stepping. toward. him, and throwing him over his thigh. ‘The wrestler second from the right Steps behind his adver- sary, placing his. left arm’ upon his throat, and throwing him back” ward over his thigh Plate 215 The par onthe lef are inva log hook On the fight, fo ‘counter the i ook, ‘easy peur apbenent tore oe shoulder and. throw fem ove our Plate 216 ‘This plate illustrates two ways to counter the leg hook or the throw over the hip. Plate 217 ‘The wrestler on the left completes his counter against the leg hook ‘The wrestler ‘on the right pivots to counter the leg hook and throws his opponent backward over the hip. Plate 218 “The wrestler on the far left. breaks free of a throat Erp On the right he locks his oppo: nnent’s arm behind him and throws. him over his thigh Plate 219 ‘The wrestler on the fae grapples hs ponent ad throws im over hs hip The wrestlers om the right ome to grips at the same time, but the wrestler on the far Tight rexches over his opponent's right arm with his elbow and traps him behind his thigh to throw him, Plate 220 ‘The throw mentioned above is completed. To Counter the leg hook, trap Your opponent. in’ the hollow oF the knee with your knee (this technique €or illustrated). Plate 221 XT. MESSER: PLATES 223-30 Here they fight with messers” God help thet The swordsman othe. left cus from shone sworn onthe right is going to set side his oppo- fen tole bye Soe etonsly opvan into it from below Plate 223, ‘The swordsman on the left completes his cut. ‘The swordsman on the right sets aside the cut and steps in to grapple his opponent. Plate 224 ‘The swordsman on the right envelops an locks his “opponents Sword ttm and cuts Him acrsr dhe Bex completing the afta Sd ounter-attack Plate 225 ‘The swordsman on the left cuts from above, ‘The swordsman on the right sets the cut aside with a turned-around hand ‘and wil step forward and_wrencl his blade around to the other side Plate 226 ‘The swordsman on the right has stepped for- ward and wrenched his blade around his op, nent’s blade and pushes his adversary away by the elbow. Plate 227 ‘The swordsman on the his opponent’ ‘The swordsman on the right "sets the. blow tide by cutting into it Strongly. from. below, and in doing #0 hews off his adversary’s hand, Plate 228 ‘The swordsman on the right steps in and strikes his opponent to death. Plate 229 ‘The swordsman on the gh cuts from above lf set ee the it nents sword. arm, thrusting him in" che guts with his mesver. Plate 230 XII. SWORD AND BUCKLER: PLATES 231-39 ‘The swordsmen ae in two open. stances wit the sword and buekler. Plate 231 ‘The swordsman on the fight cuts from above The swordsman on the left sets aside the cut with the sword. and bicker together, His next move should be to trapple his opponent Plate 232 “The swordsman on the left cuts from above, s0 the swordsman on the Fight st the ate ind grapples and locks his sword arm vith his buckier arm and cus his opponent. across the head Plate 233, ‘The swordan om the lettset aside his oppo- nents cut from above, shoves him ava, and i going to wrench his ade around for a counterattack Plate 234 ‘The swordsman on the left shoves his opponent away with his buekler on his elbow and. finishes the ‘counterattack. by thrusting across himself into his adversary’s back Plate 235 ‘The swordsman on the left makes: another cut from above. The swords- man on the right sets aside the cut with both sword and buckler, and rushes into his opponent, Plate 236 ‘The swordsman on the right has rushed in and sgrappled and locked his opponent's sword arm, and thrust into him Plate 237, ‘The swordsman on the right thrusts at his opponent, The swords- ‘man on the left stands ready to receive a thrust? Plate 238 As the swordsman on the right thrusts, the swordsman on the left uns him in the fore~ arm. ‘The cut from above is. also good against the thrust. Plate 239 XIII. ONE AGAINST TWO: PLATES 240-1 ‘he sword in the centre is im the proper Stance 10" fight. two “Opponents atthe same time, Both attackers ut from above. The Combatant on the left cuts fist and. the Swordsman “inthe centre sets aside his blow with’ a" turned= acouind hand and ill pivot to" cut the centre keeps his. and buckler in his left hand to protect his back. Plate 240 ‘The swordsman in the entre pivots and cuts js adversary on the right across the head. He must pivot again and hew down the remaining attacker. Plate 241 XIV. FIGHT BETWEEN A MAN AND A WOMAN:* PLATES 242-50 ‘These are the opening positions forthe judi Gia duel ‘between a ‘man “and a. woman. ‘Theman mie stand in a pit up to his waist, armed with 8 wooden mace. “The woman Stands above im on the ound with our or. five-pound stone tied in her vel Plate 242 “The woman swings fe one a hem fet the vel wr around his arm to pul ier down to himsel Plate 243, ‘The man pulls the woman toward the pit and throws himself on top of her to strangle Plate 244 The woman breaks free of the man’s hold and gets her arm around his neck to strangle him. Plate 245 “The woman has grasped the: man's head fom behind to pull him out OF the pit onto his back tnd strangle him Plate 246 ‘The man pulls the woman to ‘him and throws her into the pit. Plate 247 ‘The woman moves in to strike the man with her stone. But she steps in too close and the man grasps her by the leg to throw her to the ground. Plate 248 ‘The woman winds her veil around the man’s throat to strangle him, bbut the man strikes her in the chest with his Plate 249 ‘The woman has the man locked. in a hold by the neck and the groin_and pulls him bout of the pit Plate 250 XV. SWORD FIGHT ON HORSEBACK: PLATES 251-60 ‘The horseman on the right charges in to make cut of wrath see note 45). The horseman on the left will counter his ‘opponent's cut with a thrust Plate 251 ‘The horseman on the right cuts from above. ‘The horseman on the left sets aside the cut with a cut from below with a tumed-around Plate 252 “he horseman on the right completes. the Sequence deseribed above by, wrenching fis svord around to fut his opponent on the lee Plate 253 The horseman on the Fight cuts rom above Charging in the swords” tran on the let catches Tis opponents cut and fst hy sword ano hit face Plate 254 ‘The horseman on the h Plate 255, Plate 256 is Plate 287 jorseman on the Plate 258 Plate 259 XVI HAND-TO-HAND FIGHT ON HORSEBACK: PLAYES 261-4 ‘The horseman on the left falls upon his oppo- nent, completing the attack described above. Plate 260 ‘The horseman on the right wrestles his oppo rent and gets him in a hold under his arm. Plate 261 ‘The horseman on the Teh counters the bold desesibed above and erapples his opponent about the neck Plate 262 ‘The horseman on the right has taken, hold of the reins of his oppo- nents horse and charges forward to throw both horse and man, Plate 263, The horsemen have each other in an arm-lock Plate 264

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