~ 1 ~

Mair’s German

Longsword 2

Name: ___________________ Scholars of Alcalá 4th Revision

~ 2 ~

Mair’s German Longsword 2

Level 2, 4th Revision

This workbook begins looking at the longsword manual of Paulus Hector Mair. In addition to five plays, this workbook

will include sections on additional guards and the five master strikes. Mair is part of the Nuremberg tradition and

assembled his text in 1542.

This book requires a copy of Mair’s Longsword. Page numbers are offered for the Keith Myers and Lawrence Delaney

translations, which are both freely available.

http://www.hroarr.com/manuals/liechtenauer/mair_longsword.pdf

http://freifechter.com/PHM_Longsword_full.pdf

http://freifechter.com/PHM_Longsword_2.pdf

Prerequisites

This text assumes that you have already completed German Longsword 1 and have read Instructions,

Terminology, and Footwork rev 3.

Contents Lesson 1 – Zornhut, the Wrathful Guard ................................................................................................................................................. 4

Lesson 2 – Hangetort, Hanging Point ......................................................................................................................................................... 7

Lesson 3 – Secret Strikes ............................................................................................................................................................................... 9

Lesson 4 – Play 1, Zornhaw against the Thrust ..................................................................................................................................... 11

Lesson 5 – Core Concepts 1 ...................................................................................................................................................................... 12

Lesson 6 – Krumphauw, the Crooked Cut ............................................................................................................................................. 14

Lesson 7 – Nebenhut – Side Guard .......................................................................................................................................................... 15

Lesson 8 – Play 2, The Krumphaw from Both Sides ............................................................................................................................. 18

Lesson 9 – Play 3, The Zwirchhaw from Both Sides............................................................................................................................. 19

Lesson 10 – Core Concepts 2.................................................................................................................................................................... 20

Lesson 11 – Schielhauw, the Squinting Cut ............................................................................................................................................. 22

Lesson 12 – Play 4, The Schillerhaw (Squinting Strike) from Both Sides ......................................................................................... 23

Lesson 13 – Core Concepts 3.................................................................................................................................................................... 24

Lesson 14 – Mittelhut, the Middle Guard ................................................................................................................................................ 25

Lesson 15 – Scheitelhauw, the Scalp Cut ................................................................................................................................................. 28

Lesson 16 – Kron, the Crown Guard, or Kronhauw, the Crown Cut ............................................................................................ 29

Lesson 17 – Play 5, Schaitlerhaw (Vertex Strike) .................................................................................................................................. 31

Lesson 18 – Play 6, The Ochs from Both Sides ..................................................................................................................................... 32

Lesson 19 – Prechfennster, the Speaking Window ............................................................................................................................... 33

Lesson 20 – Play 7, The Pflug from Both Sides ...................................................................................................................................... 35

~ 3 ~

Lesson 21 – Versazung, the Parry Position ............................................................................................................................................. 36

Lesson 22 – Play 8, The Alber and the Guard Vom Tag ...................................................................................................................... 38

Bibliography ..................................................................................................................................................................................................... 39

Next Steps ....................................................................................................................................................................................................... 39

Additional Instructions When interpreting the plays it is best to consider them one paragraph at a time. Make sure you fully understand the

mechanics of each passage before moving onto the next. Also, be careful about mismatches between the text and the

illustrations. Unless the text explicitly states that it refers to the picture assume that it doesn’t.

Generally speaking the plays alternate between fencers. The translator used paragraph breaks to indicate changes in

view-point.

~ 4 ~

Lesson 1 – Zornhut, the Wrathful Guard

Joachim Meyer

Zornhut is known as such since the stance has a wrathful bearing, as will be shown. Stand with your left foot

forward, hold your sword out from your right shoulder, so that the blade hangs behind you to threaten forward

strikes, and mark this well, that all strikes out from the Guard of the Ochs can be intercepted from Zornhut,

indeed leading from this stance shows unequal bearing from which one can entice onward, whereupon one can

move quickly against the other as needed.

Jakob Sutor

The man on the left is in the stance called the Wrathful Guard: stand with your left foot forward, hold your sword

off your right shoulder so that it hangs behind you ready to strike, take more distance than you would for the Ox

but use it to entice your opponent forward. Attack your opponent from above then step and flatten to strike in a

high traverse cut from your right as he withdraws so that you cut with the half edge to his left ear, close against

further withdrawal, move to your right while transitioning left over his head, step and hit his right ear with

another traverse with the Weak, striking through the middle line.

For the sake of argument, we will say that Right Zornhut is with the sword on the right shoulder.

Jakob Sutor

Joachim Meyer

Jörg Wilhalm Hutter

Guard Analysis In the space below, note the characteristics of the guard. Include any variants you see in the images and/or text,

Guard Variant Lead Foot Stance Width Stance Length Weight Hand Location

~ 5 ~

Right Zornhut

Cuts

H A B

G

C

F E D

Parries

B A H

C

G

D E F

Thrusts

Parries

Above Above

Left

Righ

t

Left

Righ

t

Below

Below

~ 6 ~

Left Zornhut

Cuts

H A B

G

C

F E D

Parries

B A H

C

G

D E F

Thrusts

Parries

Above Above

Left

Righ

t

Left

Righ

t

Below

Below

~ 7 ~

Lesson 2 – Hangetort, Hanging Point

Joachim Meyer

The figure on the right in the same image [F] teaches you how to execute the Hanging Point, except that it does

not show the arms extended enough. Therefore position yourself in this guard thus: stand with your right foot

forward, and hold your weapon with arms extended in front of you such that the blade hangs somewhat down

toward the ground. This posture is quite similar to the Ox, except that in the Ox you hold the arms vertically, but

here they shall be extended forward in front of your face, and you let the sword hang toward the ground, which

is why it is called the Hanging Point.

Sigmund Schining ein Ringeck

Before you come too close to him in Zufechten, set your left foot forwards and hold the point towards him with

outstretched arms towards the face or the chest. If he cuts at you from above and down towards your head, wind

with the sword against his cut and stab him in the face.

Jakob Sutor

Joachim Meyer

Paulus Hector Mair

Guard Analysis In the space below, note the characteristics of the guard. Include any variants you see in the images and/or text,

Guard Variant Lead Foot Stance Width Stance Length Weight Hand Location

~ 8 ~

Hangetort

Cuts

H A B

G

C

F E D

Parries

B A H

C

G

D E F

Thrusts

Parries

Above Above

Left

Righ

t

Left

Righ

t

Below

Below

~ 9 ~

Lesson 3 – Secret Strikes This lesson covers the first two secret strikes of the Liechtenauer tradition. In other German traditions these are part of

a collection of four to seven strikes known as the Meisterhau or master strikes.

Joachim Meyer

Beyond these strikes come the proper Master Strikes, which we shall also name, from which all masterful and

artful moves with the Sword are made and accomplished with varying grips, these are Wrath, Arc, Traverser,

Glancer. and Vertex which are all used when wanting to conclude and complete, and which I will describe to you.

Just as I introduced pre-fencing, so I have clearly spoken and introduced the Strikes to you.

Sigmund Schining ein Ringeck

Mark well, the teaching verses present five secret cuts, which many swordmasters do not know to speak about.

You will learn not to strike any other cuts when you come from the right side against one who stands against you

in defense. And try if you can to hit an opponent with the first strike using one of these five cuts. The one who

can counter with these against an opponent without being hurt will be praised by the master of the markverses,

and his skill shall reward him more than another fencer who cannot fence with the five cuts. And how you shall

throw the five cuts you will find hereafter recorded in the verses that talk about these same five cuts.

Zornhuaw, the Wrath Cut Also spelled zornhau or zornhaw, this is a powerful cut along the line of B.

Joachim Meyer

The Wrath Cut is a diagonal cut from your right shoulder at your opponent’s left ear or through his face and

chest, diagonally through as shown by the two crossed lines that pass through the vertical line. This is the

strongest of all cuts, and embodies all the might and virility of the combatant against his opponent in dueling and

combat; therefore it is also called the Strife Cut [Streithauw] or Father Stroke [Vatterstreich} by the combat

masters of old. Concerning these lines you will find hereafter, etc.

Sigmund Schining ein Ringeck

When someone cuts against you from above from their right side, so cut with a strong Zornhau with the long

edge from your right shoulder. If he is weak in the bind, thrust in with the point along his blade to his face, and

threaten to stab him.

~ 10 ~

Zwerch – Thwart Also spelled zerchhau, zwerhau, or zwirch. Also known as the cross cut.

This cut often, though not always, along the lines of C and G. They can be angled slightly upwards or downwards to

offend the lower or upper openings. When performing these cuts it is important that the right thumb supports the

sword from beneath.

A Zwerch against the right side of the head requires crossed wrists while a Zwerch to the left side of the head has

uncrossed arms.

Joachim Meyer

For the Thwart, conduct yourself thus: in the Onset, position yourself in the Wrath Guard on the right (concerning

which see the previous chapter), that is, set your left foot forward, and hold your sword on your right shoulder, as

if you intended to deliver a Wrath Cut. If your opponent cuts at you from the Day or High, then cut at the same

time as him with the short edge across from below against his cut; hold your quillons up over your head, as a

parrying for your head, and at the same time as the cut, step well to his left side. Thus you parry and hit

simultaneously, as shown by the two figures on the left in Image H.

As you have done this Thwart on the left, so you shall also do it on the right, except that you shall hit with the

long edge against his right.

Sigmund Schining ein Ringeck

The Zwerchau counters all strikes that cut down from above. When he cuts in from above against your head,

spring with the right foot against him away from the cut, out to his left side. And as you spring turn your sword—

with the hilt high in front of your head, so that your thumb comes under—and cut him with the short edge

against his left side. So you catch his strike with your hilt and strike him in the head.

This is how you shall strike against the four openings with the Zwerchau when you go against someone. When

you come against him in Zufechten; when it becomes suitable for you, spring against him and cut with the

Zwerchau against the lower opening on his left side. This is called "to strike against the plough".

When you have cut against the lower opening with the Zwerchau, so strike immediately with the Zwerchau

against the other side upwards into the head. This is called "to strike against the ox". And continue to strike

quickly a Zwerchau against the ochs and another against the plough, crosswise from one side to the other. And

cut him after with an Oberhau in against the head and thus draw yourself back from him.

Joachim Meyer

Sigmund Schining ein Ringeck

~ 11 ~

Lesson 4 – Play 1, Zornhaw against the Thrust

Text Your Interpretation

It happens that you stand with the Zornhaw (Wrath Strike) with the left foot forward. Then follow after with the right and hit him strongly from above to the left side. If he deflects this, then strike nimbly to the next opening.

If he strikes you wrathfully like this, then wind against the Zornhaw in the Hanging Point and let your point properly go forward shooting in (Einschiessen) to the face or chest. If he perceives this thrust, then drive with the sword well up over your head, spring with your right foot to his left side and cut him with the Zwirchhaw (Across Strike) to the head.

If he strikes towards your head like this with the

Zwirchhaw with crossed arms, then displace this with your long edge, then immediately yank back your sword (as in illustration) and wind your point from your left side to his face or chest.

~ 12 ~

Lesson 5 – Core Concepts 1

Indes An important concept in German fencing is indes. Roughly translated it means “instantly”, as in making instant decisions

about a situation. The first moment of indes occurs in the first paragraph, when the fencer using the Zornhaw must

decide where to redirect his attack if the first attack fails.

Joachim Meyer

Many have believed that the word Indes has its origin from the Latin word intus [inside], and indicates the inside

combat, which arises from the windings and similar work; but you will hear now that this is not true.

I leave the meaning of the word intus to the Latinists, but the word Indes is a good German word, and embodies

a serious exhortation to quick judgment, so that one should be constantly swift of mind. For example, if you first

strike to the left, and secondly you see at that moment in opening to the right, then thirdly when you rush at the

opening you have seen, you must pay that good heed where or when what techniques you may come to you, so

that you don’t overcommit to your attack to your opponent’s opening, and receive harm from it. Thus the word

Indes admonishes you to have a sharp lookout, which involves seeing and heeding many things at once. Also you

learn sufficiently from your opponent’s body language, what kinds of techniques he intends to use, and what they

will entail by way of openings, and where they will offer you opportunities. For the while art of combat likes in all

these things that the word Indes admonishes you, as Liechtenauer says.

Sigmund Schining ein Ringeck

You will learn this carefully, and understand, Feeling and the word "Instantly", because these two things go

together and are the highest arts in the fencing.

When one binds the other with the sword, so you will, in the same moment that the swords strike together,

already feel if he has bound soft or hard. And as soon as you have felt this, think of the word "Instantly": that is

to say, that you in the same instant that you feel this, quickly work against the soft and against the hard with the

sword towards the nearest opening. Thus he will be cut down before he understands what is happening.

In all bindings with the sword you shall think of the word "Instantly", because "Instantly" doubles and "Instantly"

mutates, "Instantly" runs through and "Instantly" takes the cut, "Instantly" wrestles, "Instantly" takes the sword

from him, "Instantly" does in the art all that your heart desires. "Instantly" is a sharp word, which cuts all those

fencers who do not know something about the word. And the word "Instantly" is also the key, whereby all fencing

art is unlocked.

Anbinden and Fülen – Binding and Feeling When swords cross they are said to be in the bind. Feeling refers to the ability to understand the type of bind perceiving

its characteristics through the sword. If the swords are barely touching, or not touching at all, the bind is “weak”. If the

blades are pushing into each other then the bind is “strong”.

In the play above, the second fencer uses the handing guard to enter the bind. If his opponent is weak at the bind then

the subsequent thrust will land. If his opponent is strong at the bind and pushes the point off line then second fencer

resorts to the Zwirchhaw.

~ 13 ~

Joachim Meyer

This is when the swords connect with one another. There are two kinds of remaining: the first is when the swords

are held against one another to see what the opponent will execute and where he intends to attack his

adversary. The other happens with striking, when you act as if you were pulling to gather for a stroke, only you

simply flick back around, and come back in with the short edge, where you cut first with the long edge. Note

here the word ‘feeling’, which means testing or perceiving, to find out whether he is hard or soft on your sword

with his bind, etc.

Ablauffen – Running Off Also spelled Ablassen, this is a parry that becomes weak so that your opponent’s sword slides off towards the ground,

freeing your sword to do something else. It is especially effective if your opponent was expected you to use a hard

block. You’ll need in in play 2 when you counter the krumphaw and again in play 7.

Joachim Meyer

This is, from whichever side you bind your opponent’s sword, then reverse your hands as soon as it touches and

let it run off with the short edge down, and meanwhile pull your hilt up in the air for a stroke; and do this on

both sides.

~ 14 ~

Lesson 6 – Krumphauw, the Crooked Cut This is our third secret cut. When working with it keep in mind that it isn’t a beat. If you strike your opponent’s sword

and then immediately leave it you may open yourself to a counter-attack.

Joachim Meyer

This cut is executed thus: stand in the Wrath Guard with your left foot forward; if your opponent cuts at you,

then step with your right foot well out from his stroke toward his left side; cut with the long edge and crossed

hands against his cut, or across on his hands between his head and blade, and let the blade shoot well over his

arm, as can be seen in Image D in the figures on the upper right.

[…]

The Crooked Cuts are executed in many ways, for all cuts that are delivered with crossed hands are called

Crooked Cuts; thus the one Squinter is also reckoned among the Crooked Cuts. It also doesn’t matter whether

they are done with the short or long edge, as long as you hold your hands crosswise.

Hans Talhoffer

The nimble crooked cut. Counter-attack by turning the point against it.

Sigmund Schining ein Ringeck

This is how you shall strike the Krumphau against the hands. When he cuts from his right side against an

opening with an Oberhau or Underhau, take a spring away from the strike with your right foot, far out to his left

side; and cut with crossed arms with the point to the hands. And even try this technique against him when he

stands against you in the Ox guard.

This is how you shall set aside all Oberhau attacks with the Krumphau. When he cuts in from above against your

openings from his right side, step with your right foot out to his left side and throw your blade across his sword

with the point to the ground in the Barrier guard. Test this on both sides. And from this setting aside you can cut

him in the head.

Joachim Meyer

Paulus Hector Mair

Hans Talhoffer

~ 15 ~

Lesson 7 – Nebenhut – Side Guard

Andre Paurñfeyndt

When you fight with one, and are oncoming to him, thus stay with the left foot forward and hold the sword with the

point to the earth, at your right side, so that the long edge stays up, that goes for both sides.

Joachim Meyer

In this guard, position yourself thus: stand with your left foot forward, hold your sword by your right side, with the point

toward the ground, so that the pommel stands upwards, and the short edge toward you.

[...]

From the Close Guard you will fence into the Crooked Strike; as you have been struck to an opening when you hold

yourself in the right Close Guard, then step springing with your right foot to his left well away from his strike, and strike

with crossed hands above and behind his blade to his head, twitch nimbly (where you don’t want to wrench out to your

left) above him with crossed hands and hit strongly with the outward flat from below to his left ear; however where he

won’t strike, then fence such as you will learn from the Middle Guard following this.

Guard Analysis In the space below, note the characteristics of the guard. Include any variants you see in the images and/or text,

Guard Variant Lead Foot Stance Width Stance Length Weight Hand Location

~ 16 ~

Right Nebenhut/Krumphaw

Cuts

H A B

G

C

F E D

Parries

B A H

C G

D E F

Thrusts

Parries

Above Above

Left

Righ

t

Left

Righ

t

Below

Below

~ 17 ~

Left Nebenhut/Krumphaw

Cuts

H A B

G

C

F E D

Parries

B A H

C

G

D E F

Thrusts

Parries

Above Above

Left

Righ

t

Left

Righ

t

Below

Below

~ 18 ~

Lesson 8 – Play 2, The Krumphaw from Both Sides

Text Your Interpretation

When you come to the closing with the opponent, set the left foot forward and hold your sword with the point at your right side and remain hence standing in the Krumphaw (Crooked/Off-line strike). If he then strikes you from above to an opening, step outward with your right foot and give him a Krump to his right side and strike him at the nearest opening.

If he gives you a Krump like this and you stand

with your right foot forward likewise in the Krumphaw, then step in with your left leg and displace his strike with your long edge. Then immediately follow outward with the right foot and drop a Krump onto his sword with your short edge and with that cut through his head.

~ 19 ~

Lesson 9 – Play 3, The Zwirchhaw from Both Sides This play is unusual in that it appears to be told from a single fencer’s point of view.

Text Your Interpretation

When you come to the closing with the opponent, stand with the right foot forward such that the short edge is wound towards you. Then follow outward with your left leg and strike the Zwirchhaw with crossed arms. If he displaces this, then wind in the weak and strike him long to the upper opening.

If rather you stand with the left foot forward and likewise lie against him in the Zwirch with crossed arms, then follow outward with your right foot and turn your hand so that the flat of the sword stands in front of him and strike with the Zwirch in towards his left ear. If he displaces your Zwirch, then let a double feint pass and strike him to the top of his head on the right side.

~ 20 ~

Lesson 10 – Core Concepts 2

Vor – Before The Zwirchhaw is play is based the idea once you have the initiative you keep it by continuously attacking. This isn’t the

only way to maintain the Vor, but it can be quite effective.

Joachim Meyer

It is called Vor when you attack your opponent with your cutting in the first Onset, and further drive on, so that

he cannot come to his undertaking or device, but must restrict himself to parrying so that he may defend himself

from you.

Sigmund Schining ein Ringeck

Mark well that more than anything else you must understand "Before" and "After", because these two concepts

are the grounding from which all fencing comes.

Mark also: "Before" means that you shall always perform a strike or thrust against his openings, before he does

the same to you. Then he must defend against you! And work deftly both in the defence and in moving your

sword from one opening to another, so he cannot have the chance to perform his own techniques between yours.

But if he rushes in close to you, deal with him through wrestling.

Nach – After Conversely, the fencer on the defensive is said to be in the Nach.

Joachim Meyer

Now the Nach is when you are rushed on by your opponent, as has been described before, so that you cannot

carry out your intentions.

Sigmund Schining ein Ringeck

Mark, that if you cannot come in the "Before", wait for the "After". This will defeat all techniques that he does

against you. When he comes at you so that you must defend yourself against him, so work deftly "in the Instant"

with your defense against his nearest opening, so strike him before he can finish his technique. Thus you win the

"Before" and he is left in the "After". You shall also know how you can use "the Instant" against his "weak" and

"strong" parts of the sword.

From the hilt of the sword to the blade's center the sword is "strong", and with this you can meet against his

blade when you bind against it. And further, from the middle to the point the sword is "weak", which should not

be brought against his blade. And when you really understand these things you can work skillfully and defend

yourself well, and later teach princes and lords, so that they with these same skills can protect themselves well in

play and earnest. But if you become frightened easily you should not learn fighting arts, because a weak and

frightened heart—it does not help you—it defeats all of your skills.

Gleich – Simultaneously If neither opponent has the initiative and they both strike at the same time they end up in Gleich. This usually results in

the “parry of two corpses”.

Joachim Meyer

The Gleich is when both you and your opponent execute your cuts at the same time, which is also signified by the

word Indes.

~ 21 ~

Doplieren – Doubling Also spelled duplieren, this is a secondary cut that occurs from the bind after the initial attack fails. You saw an example

of it in the third play, here are two more.

Joachim Meyer

This is to make a cut or technique double in this way: Cut first from your right to his ear; at once when the

swords clash together, push your pommel through under your right arm; go up at the same time with both arms

and strike him with the short edge behind his blade on his head. This handwork is called doubling, because

through it a cut is doubled or executed twice, first with the long edge, then with the short.

Sigmund Schining ein Ringeck

When you cut in with a Zornhau or another Oberhau and he defends himself strongly, so "Instantly" thrust your

pommel in under your right arm with your left hand, and cut him in the bind over the face with crossed hands,

between the sword and the man. Or cut him with the sword in the head.

Fehien – Failing Another technique used in the third play is the Feler (Failer). Care must be used with this technique, as the opponent

may not fall for the feint. Or worse, their parry is a counter-cut that hits you where your sword just was.

Joachim Meyer

Anyone can well deliver a failing attack, but only a well-trained combatant knows how to execute it suitably at the

proper time. Therefore if you wish to deliver a failing stroke advantageously such that you can gather another

from it, then take care when you cut at an opening and your opponent seeks to parry you that you do not let the

cut connect, but run off and cut at another opening. For example:

In the Onset, come into right Wrath, and as soon as you can reach him, then step and cut at his left ear as far

as his sword, but before the cut connects, lift the pommel and let the blade run off by his left side without hitting

and pull it around your head; then cut at his other side outside over his right arm at his head.

Sigmund Schining ein Ringeck

With the feint all fencers who quickly leap to the defense are misled and defeated. When you come against him

in Zufechten, pretend that you want to cut him with perhaps an Oberhau to his left side. In this manner you can

strike him underneath however you want and defeat him.

~ 22 ~

Lesson 11 – Schielhauw, the Squinting Cut This is our fourth secret cut. It is a short edge cut that can be used as a parry or to constrain and control the

opponent’s sword.

Liechtenaeur

The Schielhauw breaks what a buffalo strikes or thrusts. Who threatens to change through, the Schielhauw will

rob him out if it.

Joachim Meyer

The Squinting Cut is also a High Cut, but is so named because it is delivered as if with a bit of a squint. It is done

thus: Position yourself in the guard of the Day or Wrath (concerning which I have spoken in Chapter 3), with your

left foot forward; when he cuts at you, then cut in return, but in the stroke, turn your short edge against his

stroke, and strike in at the same time as your opponent, palm away from his sword; step with your right foot well

to his left side, and with this, nimbly take your head out of the way. Thus you have executed it correctly against

him, and you stand as shown by the large figure on the left in Image G.

Sigmund Schining ein Ringeck

The Schielhauw is a blow which primarily ‘breaks’ the strikes and thrusts of those fencers who rely on only on

their strength. Do it like this: If he attacks you from his right side, strike him from you right side with the short

edge and extended arms against the weak of his sword and hit him on the right shoulder. If he changes through,

thrust him into his breast with your arms extended. You should strike like this, too, if he faces you in the guard of

the plough (Pflug) or if wants to thrust you from below.

Mark well; to strike the Schielhau breaks the long point; and then do this: when he stands against you and holds

the point with outstretched arms towards the face or chest, so stand with the left foot forward and search with

the gaze against the point, and pretend as if you want to strike against the point; and strike powerfully with the

short edge above his sword, and thrust with the point along with the blade against the neck with a step towards

him with the right foot.

Joachim Meyer

Paulus Hector Mair

Sigmund Schining ein

Ringeck

~ 23 ~

Lesson 12 – Play 4, The Schillerhaw (Squinting Strike) from Both Sides

Text Your Interpretation

When you come to the closing with the opponent, set your left leg out in front such that the short edge is wound under. Then step out with your right foot, wind your pommel beneath your right arm and set upon him with the point.

If he sets upon you with the point like this, then displace it and immediately wind in the Zwirch, hang with your sword against the Zwirch on your right side and step out with the left foot. Then wind the point in between his arms such that the short edge stays on top (as in illustration).

If he winds his point in between your arms like this, then set this aside with your long edge. With that press downward and let the weak run and strike him with the long edge to his head.

~ 24 ~

Lesson 13 – Core Concepts 3

Winden – Winding, Turning Winding involves various movements of the blade, especially rotations, without leaving the bind. We saw this in earlier

plays, but in the last one it reaches new levels of importance. While winding can be done with any weapon, the nature of

two-handed weapons makes it particularly effective.

Joachim Meyer

The word ‘winding’ in proper German is Wenden [turning]. This work shall be done thus: when you have bound

from your right against his left on your opponent’s sword, then remain fast in the bind, and turn the foible of your

blade in at his head and back out, yet such that during this you always remain firm on his sword with the bind,

as I have said. It can be seen here in this example:

If someone Cuts at you from the Day, then bind from your right with a Thwart on his sword, and as soon as it

clashes, then push your pommel through under your right arm, and thus turn the short edge in a flick inward at

his head; and in all this remain hard on his sword with the slice. If he sees the flick and parries, or if you can feel

that he is going to fall down from the sword at your opening from above, then jerk the pommel back out from

under your arm upward to your left, and strike back with a short-edge Thwart at his left ear.

Sigmund Schining ein Ringeck

That is to say that you should in all windings find the correct cut, thrust or slice in this manner: when you wind,

you shall become immediately aware of which the three will work best for you to use. This is so that you do not

cut when you should thrust, and that you do not slice when you should cut, and so that you do not thrust when

you should slice. And mark: when your opponent defends against the one, you should strike with the other. Also:

if one defends against your thrust then use the cut. If he rushes in towards you, use the lower slice against his

arm. Remember this in all fights and binds with the sword, if you want to defeat the masters who set themselves

against you.

~ 25 ~

Lesson 14 – Mittelhut, the Middle Guard

Paulus Hector Mair

Guard Analysis In the space below, note the characteristics of the guard. Include any variants you see in the images and/or text,

Guard Variant Lead Foot Stance Width Stance Length Weight Hand Location

~ 26 ~

Right Mittelhut

Cuts

H A B

G

C

F E D

Parries

B A H

C

G

D E F

Thrusts

Parries

Above Above

Left

Righ

t

Left

Righ

t

Below

Below

~ 27 ~

Left Mittelhut

Cuts

H A B

G

C

F E D

Parries

B A H

C

G

D E F

Thrusts

Parries

Above Above

Left

Righ

t

Left

Righ

t

Below

Below

~ 28 ~

Lesson 15 – Scheitelhauw, the Scalp Cut Also spelled Scheidelhau, Schaitlerhaw. Also translated as “parting cut” or “vertex strike”.

This is a vertical strike along the line of A. It is done in a manner so that the hands remain high, no lower than face level.

Liechtenaeur

The parter is a danger for the face.

Sigmund Schining ein Ringeck

The parter is dangerous for the face and the breast. When he stands against you in the fool's guard [Alber], cut

with the long edge from the "long parting" from above and down; and keep the arms high in the cut, and hang

with the point in against the face.

~ 29 ~

Lesson 16 – Kron, the Crown Guard, or Kronhauw, the Crown Cut

Joachim Meyer

This is executed thus: when you stand in the Plow or else lay on up from below from some posture (concerning

which I have spoken in the previous chapter), and your opponent cuts at you from above, then go up with

horizontal quillons and catch his stroke in the air on your shield or quillon bar; and as soon as it clashes, push the

pommel quickly upward and strike him with the short edge behind his blade on his head; thus have you correctly

executed the Crown Cut.

Sigmund Schining ein Ringeck

When you cut in against him from above with the Scheitelhau, if he defends himself with the hilt over his head:

this defense is called the Crown. And with that he can rush in close to you.

Fiore dei Liberi

This is Posta Frontale [Front Posture], called by some masters Posta do Corona [Crown Posture], which is good

for crossing and for the thrust she is also good that if he gives a high thrust she crosses passing out of the way.

And if the thrust is low also she passes out of the way beating the thrust to the ground. Also she can do

something else, that in the placing of a thrust turn with the rear foot and come with a Fendente through the

head and through his arms and she goes Dente do Cengiaro and quickly throw a thrust or two with an increase

of the foot and return with a Fendente to this particular guard.

Fiore dei Liberi

Exiles

Guard Analysis In the space below, note the characteristics of the guard. Include any variants you see in the images and/or text,

Guard Variant Lead Foot Stance Width Stance Length Weight Hand Location

~ 30 ~

Kron

Cuts

H A B

G

C

F E D

Parries

B A H

C

G

D E F

Thrusts

Parries

Above Above

Left

Righ

t

Left

Righ

t

Below

Below

~ 31 ~

Lesson 17 – Play 5, Schaitlerhaw (Vertex Strike)

Text Your Interpretation

Stand with the left leg in front and lift your sword above your head with extended arms (as in illustration). Then spring in towards him with the right foot and strike with the long edge directly to the top of his head. Then sink the point downward to his face or chest.

When he then does the Schaitler to you, displace it with the Kron (Crown) such that the point and the hilt of your sword both stand above you.

If he then fires out to thrust the point upwards towards you, wind your sword through under his Kron with the edge against his arm and with that cut him over both of his arms.

If he cuts over your arms like this, then step back with your right foot and set his cut aside with the Krumphaw with your short edge and with that cut to his right side.

~ 32 ~

Lesson 18 – Play 6, The Ochs from Both Sides

Text Your Interpretation

It happens like this in the Ochs (Ox). Stand with

the left foot forward and hold your sword with crosswise hands above your head. Then wind and step with your right foot to his right side. If he perceives this Upper Hanger, then strike in the Zwirchhaw with crossed arms.

If he strikes the Zwirch towards you like this, displace it and immediately wind and hang the point towards the face or chest. Then strike in strongly from above to his head. If he displaces this, strike the double feint, then immediately quickly take (the opening) before you from which to work a strike, thrust or cut.

If you then stand with the right foot opposite him and he works quickly at you, then set this aside with doubled cuts on both sides and immediately strike with the Zwirch with crossed arms to the right side of his head. If he displaces the Zwirch with the long edge, then let off and strike with the short edge from above.

~ 33 ~

Lesson 19 – Prechfennster, the Speaking Window

Liechtenauer

MS 3227a

If it now happens that you bind with your opponent on purpose or without so you should well stay at the sword

and use the winding. So you can stand happily with relaxed mind and without fear at the sword and see, notice

and wait for what he tries to do next; and what his plan is he intends to execute. And the standing at the sword

is called the Sprechfenster (speaking window) by Liechtenauer. If you now stand at the sword with him, you

should notice and feel his technique, be it soft or hard. And according to this you should act, as it has been

written before.

Paulus Hector Mair

It happens like this in the Prechfennster (Speaking Window): stand with your right foot forward and hold your hilt

in front of your head such that your thumbs are underneath, the point is high on your right side, and you look out

at the opponent between your arms (as in left side of illustration). Drop the sword down on your right side as you

step in with your left foot and strike him powerfully to the head.

Guard Analysis In the space below, note the characteristics of the guard. Include any variants you see in the images and/or text,

Guard Variant Lead Foot Stance Width Stance Length Weight Hand Location

~ 34 ~

Prechfennster

Cuts

H A B

G

C

F E D

Parries

B A H

C

G

D E F

Thrusts

Parries

Above Above

Left

Righ

t

Left

Righ

t

Below

Below

~ 35 ~

Lesson 20 – Play 7, The Pflug from Both Sides

Text Your Interpretation

Step in towards the opponent with the right foot and hang the sword at your left side. Then drive up with the hilt over your head, step across with

your left leg, and strike the Zwirch. If he perceives the Zwirch and displaces it, then spring across with your right leg and strike to the top of the head.

But if you stand opposite him in the Pflug (Plow) and he does the Schaitlerhaw to you, then wind upwards into the Prechfennster (Speaking Window) so that you are looking out through the arms and your right foot stands forward. Then drop down and strike in with the half edge to the left ear.

If he strikes you like this, then displace it with your long edge and then immediately wind with your point to his left face or chest. Then let off (Ablassen) with your sword, step with the left foot in front of his right, and strike from above to his head.

~ 36 ~

Lesson 21 – Versazung, the Parry Position

Paulus Hector Mair

You stand with your left foot forward with arms extended in front of your face such that the point stands

opposite your opponent. Then step outward with your right foot and wind the point into his face.

Guard Analysis In the space below, note the characteristics of the guard. Include any variants you see in the images and/or text,

Guard Variant Lead Foot Stance Width Stance Length Weight Hand Location

~ 37 ~

Versazung

Cuts

H A B

G

C

F E D

Parries

B A H

C

G

D E F

Thrusts

Parries

Above Above

Left

Righ

t

Left

Righ

t

Below

Below

~ 38 ~

Lesson 22 – Play 8, The Alber and the Guard Vom Tag

Text Your Interpretation

Stand with your left foot forward with outstretched arms such that the point is directed at the ground and the short edge is up (Alber/Fool, at left of illustration). Then fly up with your sword with crossed arms in front of your head in the Versazung (Parry Position), step in with your right leg, and shove the point into the left side of his face.

If you should perceive this thrust and stand with your right foot opposite him in the guard vom Tag (from the Roof, at right side of illustration), then take away the thrust with a Krumphaw and strike with the Zwirch. Then immediately drop down and cut through the face.

If you perceive that he intends to cut you like this, then push away his cut with your long edge and immediately wind with your point towards the left side of his face or chest. Then follow with the left foot in front of his right and strike his right forearm.

If he strikes towards your arm like this, displace it with the long edge, step with your left foot in front of his right, and let the weak of your sword run and strike him to the top of his head.

~ 39 ~

Bibliography Cgm 3711, 1523, by Jörg Wilhalm Hutter

Fundamental Description of the Noble and Knightly Art of Fencing, 1570, by Joachim Meyer. Translation by Jeffrey L.

Forgeng and Mike Rasmusson

MS Dresden C 487, circa 1504-1519, by Sigmund Schining ein Ringeck. Translated by Keith Farrell.

MSS Dresden C 93 and C 94, 1542, by Paulus Hector Mair. Translated by Keith Myers and Lawrence Delaney

New Illustrated Fencing Book, 1612, by Jakob Sutor. Translation by schielhau.org.

The Flower of Battle, circa 1400, by Fiore dei Liberi. Translated by Colin Hatcher, the Exiles, and Tom Leoni

Founding of the Chivalric Art of Swordplay, 1516, by Andre Paurñfeyndt. Translated by Kevin Maurer

Next Steps

German Longsword 1

Mair s German Longsword 2

Ringeck s German Longsword 2

Meyer s German Longsword 2

Mair s German Longsword 3