Not Just the Longsword: Understanding the Holistic Nature of Liechtenauer’s Art

Selohaar Fechtschule

Christian Henry Tobler – September 2013

Be a good grappler in wrestling; lance, spear, sword and messer handle manfully, and foil them in your opponent’s hands

- Johannes Liechtenauer

Here begins the epitome on the knightly art of combat that was composed and created by Johannes Liechtenauer, who was a great master in the art, God have mercy on him; first with the longsword, then with the lance and sword on horseback, and then with the half-sword in armoured combat.

- Anon. gloss, “Von Danzig” Fechtbuch

[…] then you will indeed be a good master of the sword, and can teach princes and lords so that they may well conduct themselves with true art of the sword in armoured combat and in earnest.

- Anon. gloss, “Von Danzig” Fechtbuch

And know that all grace comes from wrestling and fencing comes essentially and fundamentally from wrestling: first the fencing with the long knife [messer], from which comes fencing with the sword.

- Hs. 3227a

[…] and parry with the upper point so that he helps you with all striking at the side, and this technique works as Hildebrand’s strokes in all encounters with the longsword and also applies to the axe as well as other weapons.

- Anon. poleaxe treatise, KK 5126

Item: do thus to fight with the battleaxe: learn to bind above and below as with the staff.

- Anon. poleaxe treatise, KK 5126

But if you have no weapon in your hands, then strike away with your empty hand as described in the mounted combat.

- Peter von Danzig’s Harnischfechten

Paulus Kal c. 1470

Ain’t no thing but a chicken wing…

The Sun Pointer

Item, if you have come from the mace and shield, then remember the “murder grips”: with the bottom of the feet pressing to the shin and stepping on the knee, grasping the genitals, the wrestling at the hip, the punch to the heart, the arm break, to the neck and the nose, to the eyes, under the ears, or the Sun Pointer. - KK5126, Vienna

The “Unnamed Grip”

Gloss – Note: this wrestling technique is called the Unnamed Grip because not every man should understand it, for with it one brings to naught all the strokes and thrusts of an opponent who is strong without any weapons work, if one grasps correctly with it. Do it thus: note when you come with your left side to his right and he then has drawn his sword or other weapon and wants to strike or thrust to you, then grasp his right hand with your right and jerk it before your chest, and place your body strongly upon it and ride on. Thus you break his arm or he must fall. - Cod. 44 A 8 “Von Danzig Fechtbuch”

<< Kal’s “Unnamed Reverser” – is it related?

An Armoured Tradition

Talhoffer Kal Falkner

An Armoured Tradition You’re more likely to find treatises with armour than without it…

KK 5013 Cod. 11093 Wilhalm

An Armoured Tradition

Here begins the Art of Master Andres, called the Lignitzer, God have mercy on him, of the half-sword in armour against equal knightly weaponry. - Andres Lignitzer’s Harnischfechten

Here begins the art of the half-sword in dueling in harness, from four guards, by Master Martin Huntfeltz, God have mercy on him. - Martin Huntfeltz’s Harnischfechten

Talhoffer Kal Falkner

Armoured mechanics inform everything

Single-handed Winden: Not just good; good for you

Things That Are Different: There are grapples and there are grapples…

Things That Are Different: Of Bows and Shortened Strokes - or –

Which leg leads…and why…and when?

Cultural Context: “This is a throw or an arm break”

The Other Five Strokes

Note what I say: be quick with the staff, winding and lifting, fighting and laying down. Do not forget the plunging down, also do the five strokes, with falling over and from the winding, also learn to find strokes and thrusts. - Peter Falkner

Item: from the Sturzhau [Plunging Stroke]: act as if you’re about to thrust to his left side over his shield, and send your point through underneath, and thrust to him inside his shield. And wind immediately to your left side. If he defends this, then take his right leg with the long edge. - Andres Lignitzer’s Sword and Buckler

Oberhau Unterhau WechselhauMittelhau Sturzhau

Note the fifth technique, from the Sturzhau with the shield. When you go to him then strike and hang with your point to his face. […] - “Gladiatoria”

The Other Five Strokes

Ober haülb ist für stich Vnter haulb schlecht bricht Mittel haulb in die weÿtte Nü lüg was dz bedüte Im wechsell haülb süch die geüche Noch der versatzüng spee Stürtz haülb dar in dü winde~ Wiltü Im dz antlütz ploß finden - Anon. verse

The stroke above is for the thrust The stroke below simply breaks The middle stroke to the width Now look what that means With the change stroke seek the mouth Look to the parry The plunging stroke you therein wind If you want the face exposed to find

1. Two Handed Weapons with the Hands Held Close a. Longsword 2. Two Handed Weapons with the Hands Spread a. Sword in Armour (Halb- or Kurzen Schwert) b. Spear c. Poleaxe/Halberd d. Dueling Shield (used alone) e. Staff 3. Close Quarters Combat a. Wrestling b. Dagger 4. Single-Handed Cutting Weapons a. Messer b. Sword and Buckler

The “Four Food Groups”

5. Mounted Combat!

Well, ok, FIVE!

Study of the other weapons of the Liechtenauer tradition can shed light on the precepts of the whole art. It can also help with our study of the longsword itself. Accurate recreation of the art’s mechanics must account for movement in armour. A “balanced diet” creates a well-rounded historic martial artist.

Conclusion