References
1. Actually, Meyer lists seven ways in the Rappier section, but they can be divided into three groups. Meyer describes them in the following words: “Seven types of parrying are found here, called, setting off (Absetzen), slicing off (Abschneiden), going through (Durchgehn), suppressing (Dempffen), hanging (Verhengen), barring (Sperren), and sending out or away with upright and with hanging blade (Außschlagen mit hangender Kling).” (2.68R).”
2. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.16R) Translation by Dr. Jeffrey L. Forgeng
2. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.32r.2) Translation by Dr. Jeffrey L. Forgeng
3. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.32v.1) Translation by Dr. Jeffrey L. Forgeng
4. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.40r.3) Translation by Dr. Jeffrey L. Forgeng
5. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.43r.2) Translation by Dr. Jeffrey L. Forgeng
6. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.49v.5) Translation by Dr. Jeffrey L. Forgeng
7. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.50r.1) Translation by Dr. Jeffrey L. Forgeng
8. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.16R) Translation by Dr. Jeffrey L. Forgeng
9. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.16R) Translation by Dr. Jeffrey L. Forgeng
10. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.55R) Translation by Dr. Jeffrey L. Forgeng
11. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.15R) Translation by Dr. Jeffrey L. Forgeng
The Onion – Basics of European Longsword: Part 6
by Roger Norling | Dec 6, 2013 | Articles, Meyer Halben Stangen, Meyer longsword, Meyer Rappier, Teaching & training methods, Techniques & interpretation | 0 comments
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Throughout history going all the way back from at least medieval times up until modern military bayonet training a diagram typically depicting four crossing lines with seven or eight directions of cutting or striking have been used. The fact that it has changed little is of course not very surprising as it is tied to human physiology, both that of our opponent and in how we are capable of using our weapons in striking.
This week we will look briefly at this and how we can categorize the various types of cuts and reflect a bit on their forms of applications.
To begin with, early on, the diagram in question appears to be more common in the “Italian” or therefrom inspired fencing treatises. We see it in e.g Fiore dei Liberi (ca1404), Codex Wallerstein (early 1400s), Philippo Vadi (ca1485), Achille Marozzo (1536), the Kölner Fechtbuch (ca1550s), Joachim Meyer (1560/70, 1600, -10, -60), Heinrich von Gunterrodt (1579), Salvator Fabris (1606), Jakob Sutor (1612), Bonaventura Pistofilo (1627),Theodori Verolini (1679) and Francesco Antonio Marcelli (1686).
From Meyer’s von Solms treatise of 1560 or -68. A Rose showing cutting lines and possibly also how to transform via a cut from one stance to another through shortcuts in the centre Rose and the lines of the square.
As can be seen from the list, most examples are Italian or partly influenced by Italian sources, which puts the third and last part of the Codex Wallerstein in an interesting light (1).
The concept of cutting lines was possibly used throughout the fencing traditions we study and the possible links between the Kölner Fechtbuch and theMarxbrüder fencing guild, and with Fechtmeister Joachim Meyer likely being a Freyfechter of the Marxbrüder, we may here perhaps see indications that it was commonly used among this guild as well, at least from the mid 1500s and onwards.
However, these diagrams are rarely shown in the older combat-oriented treatises which only show the actual techniques – Rare, that is, until Meyer’s quite uniquepedagogical efforts at showing not only how to fight, but also how to train fighting and the learning thereof, partly through the use of a whole series of cutting diagrams in his first Von Solms treatise, and simplified in his 1570 treatise.
Continuing, there is also a subgroup, from the mid 16th cent. and onwards, with highly evolved diagrams, at least in part tied to the notion of the Vitruvian Man and the cosmografia del minor mondo or human geometry as related to the design of the Universe and used in architecture, art and more, striving forperfection and harmony through following the example of God’s greatest design; man. This we see examplified by e.g. Camillo Aggrippa (1553) and Gérard Thibault d’Anvers (1628).