Scholars of Alcalá 3rd Revision

Level 2, 3rd Revision

The first part of this study guide is designed to introduce the three phases of a fight and the concept of a device as
outlined in chapter 9 of The Art of Combat. It then continues with the fundamental skills and cutting patterns found in
chapter 10.

This study guide assumes that you have completed Meyer’s German Longsword level 1.

The primary source for this study guide is Jeffrey L. Forgeng’s The Art of Combat. This is a translation of Meyer’s
Fundamental Description of the Noble and Knightly Art of Fencing, 1570. While we are quoting brief passages, you will
need a copy of the full text to use this study guide.

Ringeck translation by Christian Trosclair and Keith Farrell and is licensed for “any non-profit, educational, or academic
use”.

Additional works cited can be found in the Bibliography.

Chapter 1 – Phases of a Fight .................................................................................................................................................. 3

Chapter 2 – Indes in the Onset ............................................................................................................................................. 11
Chapter 3 – The Middle and End of the Fight ....................................................................................................................... 15
Chapter 4 – A Flexible Device................................................................................................................................................ 20
Chapter 5 – Replaceable Elements ....................................................................................................................................... 25
Index...................................................................................................................................................................................... 32
Bibliography .......................................................................................................................................................................... 32

~2~
In Meyer’s system of fencing a fight consists of three phases.

Now the beginning I call the Zufechten (Onset), where one lays on against the opponent he has before
him.

The middle I call the secondary work or Handtarbeit (Handwork), where one stays against his opponent
in the bind or further in his work and nimbly presses him.

The end I call the Abzug (Withdrawl), which is how the combatant may cut away from his opponent
without harm.

Meyer teaches the phases of a fight using what he calls a “Stüke” or device.

Art of Combat, Book 1, Introduction

A device includes instructions on how to begin an engagement with guards and opening strikes, the handwork that
occurs in the middle, and the safe withdrawal at the end. Meyer primarily intends you to use the devices in fights, but
many of them are also appropriate for use as a solo exercise to build strength and muscle memory.

You shouldn’t view each device as an atomic structure that must be performed completely from start to finish. The
needs of the situation will often require even the most skillful fencer to abort his plans and mix in element from other
devices.

The word stücke could also be translated as play, parts, or elements. But unlike the plays in other manuals, the devices
in Meyer’s text are generally told from single fencer’s perspective. This means information on how to counter a specific
device is rarely explained by him.

Art of Combat, Book 1, Chapter 9.

The next passage shows Meyer’s example of a device with its three parts. The lessons that follow teach the elements
that are needed in order to execute the full device.

In the Onset come into the right Change; take heed as soon as he pulls up his sword for a stroke, and
quickly slash through upward before him, and cut in with a Thwart from your right at the same time as
him; in the cut, step well to his left side. If he sends his cut straight to your head, then you will hit him
with the Thwart on his left ear.

But if you see that he does not cut straight to your head, but turns his Cut with the long edge against
your Thwart to parry, then before it touches, cut quickly with a long Thwart at his right ear; step at the
same time with your left foot well around to his right. Now you have laid on with two Thwart Cuts to
both sides, opposite each other; this you take from the first section of this treatise.

After this Onset, if you wish to proceed further to the Middle-work, then the second section helps you
thus: if he strikes around from your sword to the other side, then chase him with the slice on his arm.
Push him from you with the forte of your blade or with your shield with a jerk; while he is still faltering
from the push and has not yet recovered, then go rapidly up with crossed arms and strike with the short
edge over his right arm at his head, and this (as I have said) before he recovers from the push.
~3~
 Now if he should recover and slip upward to parry, then let your sword fly back away and deliver a
Thwart to his left ear with a back-step on your left foot.

There is a lot of new material here, far too much to fully appreciate individually while still learning the device itself. So
rather than trying to cover everything all at one, we’ll use the devices as a framing story. Over the next few chapters we
are going to introduce new concepts and techniques, study each in isolation, then apply the concept to the example
device.

The changer is a deceptive low guard. By keeping the sword back, your opponent won’t have a good idea of what your
measure (i.e. attack range) is. It can be done from either side.

This guard is executed thus: stand with your right foot forward and hold your weapon with the point or
foible extended toward the ground by your side, so that the short edge faces toward your opponent, as
you can see in the figure in Image D.

Although it is unnecessary to present Wechsel in particular, since in fact all devices can be executed from
this posture more appropriately than any other, I will not omit to present a couple of devices with it, in
which you can observe some particular ingenuity […]

Art of Combat, Book 1, Chapter 11, Change.

~4~
 Feet are in line (blue lines).
 Roughly centered between opponent’s feet (red lines).
 Right foot is forward.
 Right knee is over the toe.
 Left foot is roughly 90 degrees out.
 Left ankle is rolled inward more than what’s needed to line up with the leg.
 Body is almost straight with the back leg.
 Chin is inclined up.
 Both arms are bent.
 Hilt is below the left shoulder.
 Right hand is close to the guard with the thumb up on a quillon.
 Right wrist is in line with arm.
 Left hand is loosely on the pommel.
 Left wrist is bent.
 The long edge (red) is towards the rear.

~5~
To enter this stance, start with the right foot back and the sword in Ochs or Tag. Perform a full Zornhauw (Line 1) with a
step such that the blade travels through Langort and into Left Wechsel (Changer). As before, compare your stance to the
version from the manual with special attention given to the position of the feet, the bend in the knees, and the incline of
the body.

Repeat this exercise, starting in Left Ochs or Tag and using a number 2 cut into Right Wechsel.

Draw your own fencers standing in Wechsel

1. Which attacks do you think can be made from this stance?

2. Do you feel vulnerable in this position? If so, which lines do you feel are going to be the hardest to defend?

Cuts from this guard can be trick as they often require a preparatory action or cutting through another guard. In
particular, you may find yourself going through Nebenhut (Side guard) or Mittelhut (Middle guard). Nebenhut has the
point down and the pommel straight up while Mittelhut directs the point straight backwards. Both allow you to prepare
for a cut without taking a step or exposing the hands.

Experiment with all eight cuts and describe how each one works from this posture on both the left and right side.

2 7 1

6 5

4 8 3

There are two parries from Wechsel that work particularly well. If you are in right Wechsel, you can use the Krumphauw
for attacks to your left side. For attacks to your right side, the guard Hangort (hanging point) if quite effective.
~6~
This illustration is usual because it is incorrect. It gives a general sense of the guard, but Meyer complains that they arms
should be extended more.

When using Langort, one is often tempted to “punch” the opponent’s blade with his hands. To avoid this, make sure you
extend your arms out the left, so that your hands travel away from his sword. Meanwhile your right foot passes towards
your right in order to intercept his blow before it gains full power.

In the level one study guide, we often used the Kronhauw as a parry for the Oberhauw when standing in a low guards.
While it can be effective, the Germans tended to see it as a beginners move that one should outgrow.

Do not rely too much on the Kron,

You will tend to get scorn and shame from it.

An alternative to the Kronhauw is a variation of the Krumphauw. Let’s say you are in right Wechsel and you see the
beginning of an Oberhauw (#7 cut) or steep angled Zornhauw (#1 or 2 cut). Step right, away from the blow, while at the
same time using a Kronhauw to strike the flat of the sword.

Step well with the Krump, if you wish to parry,

the crossing over will do him harm.

You will strengthen yourself by going crooked to his flat,

you shall diligently see that you weaken him.

This will be looked at in depth in a later study guide. For now, just keep it in mind as you work through the parrying
exercise that follows.

Since Meyer says that all devices can be initiated from Wechsel, one could presume that you will often be starting a fight
from that posture. Furthermore, there will be times when the opponent closes faster than you expect and begins his
device before you can begin yours. Therefore, it is important to be able to be able to counter attacks while waiting in
this posture.

~7~
As with the Level 1 study guide, the purpose of these exercises are to learn basic parries. So for now the attacker should
focus on single strikes and not use combinations.

1 7 2

5 6

3 8 4

1 7 2

5 6

3 8 4

The older German masters often had a list of primary or “master strikes”. While this list varied from four to seven
specific techniques, with the Zwerch always included among them.

The Zwerch is on the chief master techniques with the sword; for you shall know, if the Zwerch did not
exist in modern combat, then fully half of it would go out the window; particularly when you are under
the opponent’s sword, when you can no longer attack with long cuts through the cross.

An important feature of the Zwerch is the location of the thumb on the right hand. When performing this technique, the
thumb is placed along the flat so that it can support the sword from below.

~8~
 For the Zwerch (Thwart), conduct yourself thus: in the Zufechten (Onset), position yourself in the Zornhut
(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 Zwerch (Wrath Cut).
If your opponent cuts at you from the Tag (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 Zwerch on the left, so you shall also do it on the right, except that you shall hit
with the long edge against his right.

Start in Tag with the right foot forward. While stepping with the left foot, perform a number 4 cut with the long edge
and the hands held high. As you do this, allow the thumb to slip up so that it is pointed along the flat of the blade. This is
the “long zwerch”.

In the air or against a pell, perform this several times so that you become comfortable with the grip change. As you do
this, make sure the hands remain high or this cut won’t protect you from your opponent’s descending attacks.

The short Zwerch is used to attack the left side. It is essentially a number 3 cut with the short edge. To perform this cut,
keep the right hand stationary. Use the left hand to rotate the sword, with the right thumb acting as the pivot. Step with
the right foot as you perform this cut in the air or to your opponent’s left side.

For this exercise, the agent will start in Tag (Day or High guard) at wide measure with the left foot forward. He will throw
a Zornhau (#1 cut) to the patient’s upper-left opening.
~9~
The patient will invite this attack by standing in Zornhut (Wrath guard) with the left foot forward and the blade resting at
or on the right shoulder.

As soon at the agent begins his attack, the patient will “cut at the same time as him with the short edge across from
below against his cut”, or in other words using a Zwerch. While he does this, the patient needs to step well to the
opponent’s left side with the right foot.

To avoid being hit in the head, keep the hilt high as you make contact. This will also help protect the hands. You can
further protect the hands by sliding then back away from the cross guard by about an inch. You can see this in the close-
ups on page 8.

Art of Combat, Book 1, Chapter 5, Some Useful Advice about Parrying.

While an ascending Zwerch is the most common, this is not the only way you can use this technique. Depending on the
context, a horizontal or descending diagonal Zwerch may be more appropriate.

For this exercise, a pell with a cross beam is preferable. Aim ascending zwerches to the lower right and left openings,
ascending and horizontal zwerches to the upper left and right openings.

~ 10 ~
This chapter begins by introducing a new type of cut called the Zwerch or Thwart. The Zwerch will then be used in
several exercises that teach the concept of Indes. Feints will also be covered.

In earlier German traditions, we usually see the term indes strongly correlated with the word Fühlen meaning feeling.
Specifically, feeling the pressure the opponent exerts through the sword during a bind to determine what he is going to
do next.

Meyer’s definition of Indes is broader.

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.

For the purpose of this exercise, the agent should start one step outside measure with the right foot forward. He will be
passing forward with the left foot while raising the sword into Tag. This should bring him into striking distance with a
Zornhauw accompanied by a passing step with the right foot.

The patient fencer will being in right Wechsel. As the agent steps into measure, the patient slashes upwards with the
short edge into Langort (Longpoint). The patient isn’t performing a true cut, so he doesn’t move his feet. And since he is
not moving his feet, he should complete the slash at the same time the agent reaches the height of his Tag even though
he started later. This is what the English fencing master George Silver refers to as the “time of the hand and foot” vs “the
time of the hand”.

When performing this exercise, it is important to note the difference between presenting a threat and presenting a
danger. If the patient fencer only raises the point to the belly or chest, he is clearly putting the agent into a dangerous
position. The agent, if he notices the point, will have to deal with it in some fashion. But with a low point, he may not
see it. This ignorance of danger usually leads to both fencers being injured.

If instead the patient fencer raises his point so that it is aimed at the face, he is presenting a threat. Most fencers in the
agent’s position are going to hesitate at the sight of this threat, giving the patient an opportunity to make his own
attack. Or if the agent doesn’t hesitate, at least he is more likely to perform a predictable action to alleviate the theat.

Practice this exercise with a partner until you can reliably slash at the same time the agent steps into measure. Try to
also elicit a flinch response from the agent.

~ 11 ~
This exercise is a continuation of the previous one. After the slash, there are two possible reactions for the agent:
hesitate or step offline with a Zornhauw.

 If the agent hesitates, the patient should step forward with a thrust.
 If the agent throws a cut, the patient should step to the agent’s left with a zwerch. Ideally this will parry the
blow and strike the opponent at the same time, but be prepared to thrust or slice if that doesn’t happen.

When you first attempt this exercise, have the patient to request either reaction form the agent. As he becomes more
confident, he should allow the agent to select which reaction to use. The patient, using the concept of Indes or instant
decision-making, needs to respond accordingly.

To make plays and devices easier to follow, we’ll be color-coding important features. Guards are in blue, footwork is in
orange, and actions with the sword in red. Furthermore, the device will be broken into numbered steps. Here is the
example device again, using the new format:

1: In the Onset come into the right Change; take heed as soon as he pulls up his sword for a stroke, and quickly slash
through upward before him,

2: and cut in with a Thwart from your right at the same time as him; in the cut, step well to his left side. If he sends his
cut straight to your head, then you will hit him with the Thwart on his left ear.

Notice how the device doesn’t cover all possible outcomes, but rather omit obvious outcomes such as thrusting after
threatening the face. This is common teaching style across most manuals.

In a historic school-fencing scenario, you don’t want to thrust your training partner in the face. But that doesn’t mean
you don’t have options. In lieu of the thrust, you can use something known as the Kniecheihauw or Wrist Cut.

This is so called from the body part to which it is directed. Do it thus: After the initial Onset, when you
have come under your opponent’s sword with your hands up above your head, and he holds his head
thus between his arms, then cut with Thwart Cuts under his pommel up toward his wrist-bones or wrist-
joints. If he holds his hands too high, then cut with these Thwart Cuts up from below toward the knob of
his elbows; thus it is done.

Perform the example device drill as per exercise 6. But instead of a thrust to the face, step well to the left or right while
throwing a Zwerch to the wrist.

Be careful when performing this drill. Gloves, even reinforced ones, often have little or no protection for the wrist. And a
hard blow to the wrist joint can cause serious and lasting injury that may not be immediately noticeable.

~ 12 ~
The first attack rarely lands so it is important to have a backup plan. A common backup plan in Meyer’s system is the
feint or Fehien. Here we see it described by 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.

Meyer gives us this example of a feint to practice with. So we’ll use this opportunity to learn how to break down a
technique.

In the Onset, come into right Zornhut (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.

1: Start one step out of measure with the right foot forward. Your partner should start in right Ochs or Pflug.

2: As you pass forward with the right foot, slash up so that your sword is either high, as in Tag, or resting on the right
shoulder, as in Zornhut.

3: Pass diagonally right while cutting to the upper left opening using a Zornhauw.

4: As your partner starts to parry, abort the attack by pushing the pommel up so that the point of the sword falls to
your right side.

5: Immediately pass to the opponent’s right side with your left foot. As you do this, throw a Zornhauw (#2 cut) to the
right side of this head. If done correctly, he will not have time to parry this second blow.

This exercise should be performed both against a pell and with a partner.

Going back to the previous exercise, attempt the pair of cuts as before except you allow the first Zornhauw to land
before throwing the second. Note how the contact makes it easier for the opponent to parry the second blow.

In this drill, the agent will begin by throwing a Zornhauw from his right side. The patient will start in any low guard and
defend himself with a Kronhauw.

As soon as it is clear that the Kron is being used, the agent shall abort his original attack (Fehien) and instead step to the
left with a Zwerch to the wrist (Kniecheihauw).

~ 13 ~
 Agent enters Tag
Continuing our example device, we add a feint.

1: In the Onset come into the right Change; take heed as soon as he pulls up
his sword for a stroke, and quickly slash through upward before him,

2: and cut in with a Thwart from your right at the same time as him; in the Patient Slashes into
Langort
cut, step well to his left side. If he sends his cut straight to your head, then
you will hit him with the Thwart on his left ear.

3: But if you see that he does not cut straight to your head, but turns his Cut
with the long edge against your Thwart to parry, then before it touches, cut Patient Thrusts
Hesitates Agent?
quickly with a long Thwart at his right ear; step at the same time with your to Face

left foot well around to his right. Now you have laid on with two Thwart Cuts
to both sides, opposite each other; this you take from the first section of this
Zornhau
treatise.

This gives us an important rule about feints. A feint should be thrown as a

Patient Throws
real attack that, in a moment of Indes, you decide to abort in lieu of a more Right Zwerch
promising opening.

We practice this rule by giving the agent in the example device a second
decision point. The agent may now choose to parry the first Zwerch. If he
does so, the patient should abort that attack before the blades make contact Blow lands Continues
Agent?
on Left Ear Attack
and attack with a second Zwerch to the other side.

Attempts to Parry

Patient Feints, then

throws Left Zwerch

~ 14 ~
In this chapter we shall look at the vor and the nach, slicing, pressing hands, and cutting away.

The guiding philosophy behind the devices is that the fencer wants to obtain and maintain the initiative. This is known as
have the vor.

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.

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.

Conversely, the fencer who is just reacting to his opponent, especially one who waits for the other to attack or is on the
defensive, is in the nach or after.

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.

Mark, that if you cannot come in the "Vor", wait for the "Nach". 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 "Vor" and he is left in the "Nach". You shall also know how you can use
"Indes" against his "weak" and "strong" parts of the sword.

In the context of the example, device, the fencer gains the Vor when he slashes up at the very beginning. After that he is
controlling the fight, with his opponent merely reacting in a predicable fashion. But to maintain the Vor throughout the
entire fight requires understanding a few more techniques.

One such technique is Schneiden or Slicing. In old German fencing, Schneiden is one of the “three wounders”, the three
ways one may injure the opponent. The other two wounders are of course the cut and the thrust.

~ 15 ~
 This is also one of the true core techniques in the handwork; for
when your opponent rushes upon you with quick and swift
devices, you can stop and hinder him with no other technique
better than with the slice, which you should hold in stock for
yourself among all techniques as a particular gem to discover.
Now you must execute the slice thus: After you have caught your
opponent’s sword with the bind, you shall remain there to feel
whether he intends to withdraw from the bind or strike around.
As soon as he strikes around, then pursue him with the long edge
on his arm; push him back from you with your forte or shield, let
your weapon fly, and cut to the nearest opening before he can
recover.

Illustration is from Paulus Hector Mair.

After you perform the second Zwerch in the example device, the opponent may be eager to perform his own attack.
Assuming he has parried your second Zwerch, you can feel the moment he leaves your sword to begin his cut. As he
does this, drop your blade onto his right arm (catching both arms if you can).

Do not wait for him to power up his blow. The purpose of the slice in this context is not to parry an attack but rather to
prevent it from starting in the first place. In this sense, it is a form of Nachreisen. Also, note that as soon at the blade
touches his arm, you must push or pull in order to effect the slice. Merely resting your blade on him isn’t enough.

For this exercise, we add step 4 to the device. Steps 5 and 6 will follow in later exercises in this chapter.

4: If he strikes around from your sword to the other side, then chase him with the slice on his arm.

5: Push him from you with the forte of your blade or with your shield with a jerk;

6: while he is still faltering from the push and has not yet recovered, then go rapidly up with crossed arms and strike
with the short edge over his right arm at his head, and this (as I have said) before he recovers from the push.

An important concept in German fencing is Fülen or Feeling. This literally means to determine what the opponent is
going to do next by feeling his intentions through the sword. We saw this in the exercise above when we noted when
the opponent removed the pressure of his sword on yours as be begun his attack.

After you have sliced the arms, you will want to unbalance him so that he doesn’t
attempt to grapple. A technique known as Hendtrucken or Pressing Hands can be
effective for this.

Art of Combat, Book 1, Chapter 5, Pressing Hands.

Continue the example device, adding in step 5 as described above.

~ 16 ~
In this drill, the agent will begin by throwing a Zornhauw from his right side. The patient will start in any low guard and
defend himself with a Kronhauw.

As soon as the blades touch, the agent will step forward while using his hilt to push his opponent’s hands up high. If
timed correctly, the opponent’s own desire to raise the hands for the Kron will assist in this action.

Fencing masks are not designed to withstand a hard blow from a pommel. Unlike the point and blade of the sword,
there is no flexibility in hilt. So when using the pommel to strike the opponent, stop before it actually touches the mask.
This way if you make a mistake you only touch the mask. Had you intended to touch the mask and misjudged, then you
are likely to dent it or injury its wearer.

Meyer considers the Schielhauw to be the basis for all of the short-edge cuts. Whether he means that literally every
short-edge cuts is a Schielhauw or not is unclear, but there are definitely Schielhauw-like actions throughout the
longsword text.

There are three types of Schielhauw, but for now we are only concerned with the Schielhauw from the right and the
Schielhauw from the left. They differ in that the Schielhauw from the left ends with crossed arms and is therefore also
considered a Krumphauw (Crooked Cut) by Meyer.

Art of Combat, Book 1, Part 3, just before the “Counter Against the Squinter”

The Schielhauw is often taught first as a parry, then as a deception. We’ll cover the deception later in this study guide.

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.

Continue the example device, adding in step 6 as described above. When performing the Schielhauw, make sure you
step well to the opponent’s left so that your attack goes over his right arm. This will make it harder to parry than a strike
down the center.

~ 17 ~
 Although, as they say, to have begun well may in all things practically half acquit you, yet equally on the
other hand poor finish may ruin and bring to nothing everything that was well and properly done up to
that point, as may daily be seen. Now so that it does not befall you in combat, that after you have laid in
so well and soundly pressed after, you end up getting shamed at the last, I will here properly explain to
you how the withdrawal shall take place.

In chapter 6, Meyer goes on to explain the three ways to withdraw depending on whether you want to leave the
engagement first, last, or at the same time as your opponent. The chapter is somewhat theoretical, so Meyer promises
some concert example in the devices.

For the example device, and several devices that follow, Meyer simply instructs the reader to throw a Zwerch while
stepping back. It is important that the Zwerch cross in front of the opponent’s face, as the goal is to make the opponent
not want to follow. Large swings, or blows that go too high or too low, may leave an opening for the opponent to take
advantage of.

Art of Combat, Book 1, Chapter 6, Concerning the Withdrawal

You and your partner shall begin in the lower or upper bind. That is to say, with blades touching and the hilts lower or
higher than the points.

The agent will begin by stepping back, throwing whichever Zwerch he sees fit. If he presents a creditable threat, the drill
ends. If instead he exposes himself during this action, the patient fencer will advance and attempt to take advantage of
the opening.

An important element of this drill is ending in a guard. After the Zwerch, the agent should either stop in Ochs or throw
another protective cut into the guard of his choice.

This exercise concludes the example device. Work from the beginning and perform all seven steps of the device.

1: In the Onset come into the right Change; take heed as soon as he pulls up his sword for a stroke, and quickly slash
through upward before him,

2: and cut in with a Thwart from your right at the same time as him; in the cut, step well to his left side. If he sends his
cut straight to your head, then you will hit him with the Thwart on his left ear.

3: But if you see that he does not cut straight to your head, but turns his Cut with the long edge against your Thwart to
parry, then before it touches, cut quickly with a long Thwart at his right ear; step at the same time with your left foot
well around to his right. Now you have laid on with two Thwart Cuts to both sides, opposite each other; this you take
from the first section of this treatise.

4: If he strikes around from your sword to the other side, then chase him with the slice on his arm.

5: Push him from you with the forte of your blade or with your shield with a jerk;

6: while he is still faltering from the push and has not yet recovered, then go rapidly up with crossed arms and strike
with the short edge over his right arm at his head, and this (as I have said) before he recovers from the push.

7: Now if he should recover and slip upward to parry, then let your sword fly back away and deliver a Thwart to his left
ear with a back-step on your left foot.

~ 18 ~
1. What other ways can you cut away from the Example Device?

Guards do not always look exactly like the illustrations. Nonetheless, it is helpful to know what guard you are in at the
end of each action so that you can determine what your options are. For this exercise, you may need to refer to chapter
6 of the first study guide.

Step Guard
1 Wechsel (Changer)
2
3
4
5
6
7

~ 19 ~
Meyer’s 10th chapter opens with a fairly simple device commonly referred to as the Meyer’s Cross or Meyer’s Square.
We used the middle part of it in the first study guide as a cutting exercise.

A slash in Meyer’s longsword is a rising cut with the short edge, usually through the face. As a parry, it can deflect
downward attacks and thrusts with ease. As a provocation, the point threatens the opponent so that he is encouraged
to leave his posture in a way that can be taken advantage of. And if ignored, the slash can easily mutate into a thrust.

Meyer divides the cuts, or rather the use of the cuts, into three types: the Provoker, the Taker, and the Hitter.

The Provoking Stroke is what I call the cut with which I goad and provoke the opponent to go out of his
advantage and to cut. The Taker is what I call the cut with which I cut away and take out the cuts to
which I have stirred and goaded him. The Hitter is what I call the cut when, after I first goaded him to
strike and, secondly taken out the stroke to which I provoked him, then thirdly I cut quickly to the nearest
opening before he recovers from his parried stroke.

Art of Combat, Book 2, Chapter 6.

Until now we have been working exclusively with passing steps, but that’s not the only way to move. When you want to
close in on your opponent cautiously, it is often better to keep one foot forward.

An increase is simply the act of moving the front foot forward. This can be used to change ones 1
stance or for a quick attack. The length of the advance should be roughly one to two foot-
lengths. A larger step than that risks unbalancing the fencer.
Right
Here we see an increase used as part of a lunge.

Left

The advancing step begins with an increase, and then the rear foot moves forward so that you 2 Right
end with the original distance between the feet.

Left

~ 20 ~
A gathering step is simply moving one foot close to the other. Common uses
include gathering back to dodge an enemy’s blow and gathering forward in Right Left
preparation for a strike.
1

Starting in right Weschel, slash up into Langort without moving your feet.
1
Gather the left foot to the right. As you do this, rotate your sword in a three-
quarter circle, up, back, and then down. In one fluid action, step forward with the Right
Left
left foot while slashing back into Langort.

Repeat this exercise until you can smoothly chain together a series of slashes.
Make sure you only move your front foot while the slash is ascending, as that is your protection as you close in on your
opponent.

This drill can be done alone or with a partner. If done in pair, the partner merely parries. For the sake of brevity, only a
summary of the device is shown below. After performing it a couple of times, carefully read the full text for important
details and refinements.

1: Start in right Weschel and Slash upwards through the face line into Langort.

2: Gather forward, then increase the left foot with a second slash into Langort.

3: Repeat the slash into Langort.

4: Step to the right, cutting a Zornhauw to the opponent’s upper-left opening.

5: Stepping somewhat to the left, cut an Underhauw to the opponent’s lower-right

opening. As you do this, keep the hilt high to protect your head.

6: Next step to the right, cutting an Underhauw to the lower-left opening. Again keep the
hilt high.

7: Again step to the left, this time with a Zornhauw to the upper-right opening.

8: Finally, step back with a Zwerch for your protection.

Steps 4 thru 7 are reflected in the outermost ring in the cutting diagram to the right.

Art of Combat, Book 1, Chapter 10, Pattern 1 (1.27v.1).

Perform the device again, using each of the other three

variations in lieu of steps 4 thru 7.

The purpose of this exercise is to learn to see openings. The

agent will be performing the device while the patient backs
away, changing his guard with each step.

After the 3rd slash, the agent will attack to one of the four openings. The opening he chooses must be one that is left
uncovered by the patient fencer. For example, if the patient fencer is in right Ochs, the agent should start with a cut to
the patient’s lower-left opening.
~ 21 ~
For this exercise, the agent will again begin with slashing up from Weschel. In response to this slash, the patient fencer
will perform one of the following responses:

 Do nothing
 Backup
 Attack the sword

If the patient fencer does nothing, the agent shall convert the slash into a thrust to the face.

If the patient fencer backs up, the agent slashes again and another decision is made.

If the patient attacks the sword to remove the threat it poses, the agent performs a Nachreisen to whichever opening
the patient’s sword just left. For example, if the patient beats the sword downward from his right, the agent will yield to
the blow, step to the agent’s right, and cut the upper-right opening.

After the Nachreisen, the agent will complete the rest of the pattern. Do not forget to cut away with a Zwerch or two for
your safety.

Meyer heavily employs the Kurtze Schneide or short edge in his devices. It is often used for secondary cuts at shorter
ranges where it can find openings that the Lange Schneide or long edge would miss.

To develop skill with the short edge, Meyer instructs the reader to repeat the four patterns from before, but with each
blow in the Cross being performed with the short edge.

Practice this until you can smoothly flow from one short-edge cut to the next. Especially when transitioning from a
Streich (Slashing) to a lower opening to a Schielhauw (Squinter) to an open opening.

Just are you are instructed to strike at all four openings with the Lange Schneide and the Kurtze Schneide, so to must
you learn to strike with the flat. This may seem odd, but there are times where a quick slap with the flat will create the
distraction needed for a cut with an edge. It also provides you with a non-lethal option when needed.

When standing before you opponent in Langort, the inside flat is on your left towards the space between your blade and
his. Conversely, the outside flat is to your right. You may also think of it as the inside flat being to the palm of your right
hand, the outside flat being the back of your hand.

Perform the Cross using the flats of the blade to strike at the four openings.

For this exercise, Meyer tells us to strike the opponent’s left side with the outside flat and his right side with the inside
flat. This cause the long edge to rotate up, offering some protection to the head. When combined with a step, it can also
generate a lot of power.

One of the techniques that relies on the flat is known as the Prellhauw or Rebound Strike. Meyer has two versions, the
single and the double. Both rely on using the flat to “bounce” off the opponent’s weapon and quickly get to the other
side.

Art of Combat, Book 1, Chapter 4, Rebound Cut

~ 22 ~
This drill can be done with a pell or a partner. The original text has been modified for clarity.

1: As your opponent cuts at you from above, intercept his stroke with a Zwerch while stepping to his left.

2: As soon as it clashes, pull the sword around your head and strike with the outside (right) flat at his right ear while
stepping forward with your left foot.

3: Pull it back around your head in the impetus of the rebound; cut with the Zwerch to his left while stepping to the
right.

Note that this is not a complete device. While it has a Zufechten (Onset) and Handtarbeit (Handwork), it does not
contain an Abzug (Withdrawl).

This drill can be done with a pell or a partner. The original text has been modified for clarity.

1: Position yourself in the right Ochs.

2: As soon as your opponent brings his sword into the air to work (i.e. Tag), cut strongly with the inside flat from your
right against his blade.

3: As soon as it clashes or connects, then jerk it upwards and at the same time wrench to the left,

4: and strike quickly outside with the back of your hand, back into the same opening, that is with the outside flat, such
that it has rebounded around and right back in

We’ll see more examples of wrenching in the next chapter.

~ 23 ~
Reference: Book 1, Chapter 10, Pattern 2 (1.28v.1)

This exercise is best performed with a partner, but may also be done with a pell.

There are times when it is obvious that a blow is not going to land. Indes allows you see it about to happen, while die
Practick (the Craft) informs you about what to do next.

The third element, which is call the Craft, which is the art that teaches you, when you realize that your
cuts are futile or useless in one place, how you may quickly pull that cut back before it hits, or allow it to
go past without hitting, and send it to another opening.

There are three patterns that use feints, all based on Meyer’s Cross and its associated device. Multiplied by the four
variations of the latter gives a total of 12 drills to practice. This exercise covers the first variant.

After the initial slash(es), perform the first two cuts as usual. For the third cut, do not let it land but instead immediately
pull it back so that you can perform the fourth cut that much more quickly. Don’t forget to end the device with a Zwerch
to break measure.

Art of Combat, Book 1, Chapter 10, thru 1.29r.1)

Reference: Book 1, Chapter 10, Pattern 3 (1.28v.2)

As with the previous exercise, but the second and third blow thrown as a feint.

Reference: Book 1, Chapter 10, Pattern 4 (1.29r.1)

This version of the exercise requires a partner.

As before, open with a slash. Feint the first two cut in the pattern, then attack the nearest opening.

This term, “attack the nearest opening” occurs frequently in German fencing. The phrase is quite literal; simply attack
whichever of the four openings is not currently being defended and is otherwise closest to the blade.

In the space below, indicate which opening you most frequently target using each of the four variations of Meyer’s
Cross.

Upper-Left/Lower-Left Lower-Left/Upper-Left Upper-Right/Lower-Right Lower-Right/Upper-Right

~ 24 ~
The next set of techniques are meant to be practiced both in isolation and as an alternative for Meyer’s Cross in the
middle of the device from chapter 4.

A core concept is Meyer’s “Craft” is Verfiihren or Deceiving. We already saw one form of deception in the Fehien
(Failing/Feinting). In this chapter we’ll see several more.

This happens when you act as if you intended to lay on to one of your opponent’s openings, but you don’t
do it, and instead deliver the stroke to another opening where you believe you can arrive most
conveniently without harm. And various techniques fall under the category of deceiving, such as the
Squinting Cut with the face, failing, flitting, deceitful glancing, running off, pulling, the Circle, and others.
And various deceptions not only with the sword but also with body language arise here. Thus there are
as many versions of this as there are types and qualities of fighters, for it depends entirely on everyone’s
character and custom in combat: as one fights wrathfully, another circumspectly, this one swift and fast,
that one slowly, so also deceiving takes like form and is so carried out in the work.

Art of Combat, Book 1, Chapter 5

This is an attack or 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 is using a hard block or overly committed attack.

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.

The agent starts in any high guard (Tag, Ochs, Zornhut) with the left foot forward. The patient fencer likewise starts in a
left-foot forward guard.

Using an off-line step, the agent throws a Zornhauw (#1 cut). The patient fencers uses his own Zornhauw to parry the
blow, stepping as necessary. For the sake of the exercise, make this a hard parry.

As soon as contact is made, the agent allows the point to drop to his right such that the patient’s sword slides off. Keep
the hilt at shoulder height for your protection.

As the blade clears, step to the left with a Zornhauw (#2 cut) to the right ear.

Ablauffen often leads to Rinde or looping. This is more elegant, and often more effective, than simply throwing another
Zornhauw to the other side.

There are two sorts of looping, single and double. Single looping is when you pull your sword away from
your opponent’s blade or opening in an arc over your head, and let it fly around in the air so that you
describe a circle. Double looping is when you pull away from his sword so strongly that it runs around
twice in a continuous motion over your head, once to each side. These loopings, both single and double,
are also very useful for deceiving, as you will see and learn more extensively in the section on devices.

~ 25 ~
Reference: Book 1, Chapter 10, Pattern 5 (1.29r.2)

This exercise combines Ablauffen (Running Off) with a Rinde (Looping) into a Schielhauw (Squinter) on the other side.

While a real Ablauffen involves blade contact, it is not strictly necessary when using Rinde. You can often begin an
Ablauffen-like action as soon as you see the opponent start his parry, and then finish the loop without allowing his
sword to make contact. Try it both ways in this exercise.

When you have gathered yourself for the stroke by slashing up as I have already taught, then step and
cut from your right high in at his left ear. As soon as he slips after it, then quickly let your blade drop
beside his left, leading with the short edge, and with this, jerk your pommel and haft up, and cut quickly
with the short edge at his right ear, so that your hands come crosswise in the cut.

Begin with a Streich (Slash) into Langort followed by a Zornhauw to the left ear. Allow this to run off as in exercise 1.

As the blade clears, step to the left with a cross-armed Schielhauw (Squinter) to the right ear. As the point comes around
for the Schielhauw it forms the loop that Meyer described.

After the Schielhauw to his right ear, remember to end the device by cutting away with a Zwerch.

Reference: Book 1, Chapter 10, Pattern 6 (1.29r.3)

For this exercise, there are two Schielhauw. Like a feint, the first one intentionally misses so that the opponent is more
easily hit with the second.

Item, let the first hit hard at his left ear, let the second quickly run past beside his right without hitting, in
the aforementioned manner, and hit deep to his left ear.

Practice this exercise both in isolation and as an element in Meyer’s cross.

The compass step is simply a pair of offline steps that also change the direction you are facing. Floor diagrams such as
the one below by Marozzo would have been used for practicing compass steps.

In Meyer’s text, you may see compass steps expressed in the phrase “step to him with your left foot behind the right” or
“with a back-step on your left foot behind your right”.

1
Start

Right
. 2

Left

~ 26 ~
Throughout most of the Meyer’s Cross exercises, we’ve been “leaving the bind”. That is to say, when the blades clash
you flee to another opening. While this is often the right choice, there are times when staying in the bind is preferable.
When that’s the case, you’ll usually see techniques such as Winden employed to improve one’s leverage.

The word ‘Winden’ (winding) 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.

The passage above refers to two types in Winden. The first, turning the foible of your blade inwards, is often described
by the term reversing. It is called such because you “reverse the bind” by rotating the sword such that the short edge is
against the opponent’s sword. Verkehren is usually followed by Ausreiflen or wrenching.

Reversing is this: bind your opponent’s sword against his left, and as soon as it connects, push your
pommel through under your right arm; at the same time withdraw your head well from his stroke to your
right. Then press his blade or arm down from you with crossed hands so that you trap him such that he
can no longer attack, but you make yourself space to work at will.

Wrenching is a fairly broad term. It can be performed with either the blade or the hilt as needs dictate, but in all cases
involves a sudden jerk or push. Note in the below quote how a wrench with the blade allows for the wrenching with the
hilt.

If you bind an opponent from your right, then reverse your sword in the bind, and wrench to your left
side, such that you both stand close together in the bind. Then try to come at him from below with your
pommel between his arms, and wrench upward. Or if you have caught over his arms from above with
your pommel, or wound in whatever way it might happen, then wrench downward, as you will hear more
fully later in the section on devices.

Art of Combat, Book 1, Chapter 5

Reference: Book 1, Chapter 10, Pattern 7 (1.29v.1)

In this exercise, you will use a compass step to assist with the winding action.

In the first Onset, deliver a long Oberhauw at his left ear; as soon as it clashes, then pull both hands up so
that your pommel is pushed through under your right arm as it goes up, and quickly cut with the long
edge from below also at his left; at the same time, step to him with your left foot behind your right, and
in this cutting come with your haft up over your head.

1: Begin with an Oberhauw, a nearly vertical strike at his left ear while stepping to the right.

2: Push your pommel under your right arm as you compass your left foot behind the right. As you do this, you will
wrench his blade to your left with your short edge, giving you room to work.

~ 27 ~
3: Step further to the right with the right foot, cutting an Underhauw, a rising strike, to his left side.

Repeat using the initial Streich (Slash) and concluding Zwerch as in the Meyer’s Cross.

As mentioned above, you can perform two wrenches in a row. The nature of the second wrench will vary depending on
the height of the opponent’s hands relative to your own.

For this exercise, perform the first two steps as in the previous exercise. Your partner will intentionally parry with his
hands slightly higher or lower than normal.

 If his hands are higher than yours, use your hilt to wrench him upwards as seen in the Hendtrucken (Pressing
Hands) technique, complete with pommel strike.
 If his hands are lower than yours, place the pommel between his hands and wrench down. Releasing your left
hand will make this easier (see illustration below).

Reference: Book 1, Chapter 9 (1.26v.1)

This technique is offered as a variation of the Example Device. It begins with the second Zwerch.

If the opponent is content to stay with the long edge on him, compass the right foot behind the left and reverse your
blade so that you wrench his to your right with your short edge. In this action, your blade will rotate clockwise.

As soon as you see the right side of his head exposed, step with the left foot while rotating the blade counter-clockwise
such that you strike with the short edge with crossed arms. This is not unlike the Schielhauw you used in the primary
version of the Example device.

As before, pass back with the left foot while using a Zwerch to the left ear as your cover.

Reference: Book 1, Chapter 10, Pattern 8 (1.29v.2)

This is similar to the last exercise, except that you begin with the low cut.

Conversely, first deliver a Low Cut at his lower opening with the long edge with a step forward on your
right foot; pull quickly back up by your right and cut the second from above also at his left, with a back-
step on your left foot behind your right toward him as before, such that you stand protected behind your
blade.

~ 28 ~
1: Begin with an an Underhauw, a rising strike, to his left side while stepping to the right.

2: As you compass your left foot behind the right, pull back the point. Leave the hilt in place for your protection. This
will put you in the position not unlike Hangetort (Hanging Point).

3: Step further to the right with the right foot, cutting Oberhauw or Zornhauw.

Reference: Book 1, Chapter 10, Pattern 9 (1.29v.3)

In this exercise both attacks are with the short edge to the upper-left opening.

Item, gather for a high stroke with the long edge from the right at his left, but in the air cross your hands
and strike with the short edge at his left ear, as you can see it in the two figures on the upper left in
Image C. Pull your crossed hands back up, and strike with a Thwart back from below to his left ear.

1: Gather for a high stroke by bringing your sword into Tag.

2: While stepping wide to the right, begin a Zornhauw.

3: Before you complete the step, mutate the cut into a into a crossed-arm Schielhauw, ending in an ochs-like position
as illustrated.

4: Immediately compass the left foot behind the right as you perform the Zwerch from the right.

While the Zerch is aimed at the ear, you may find striking his arms instead. While there is nothing wrong with that,
starting a bit closer will allow you to step past him and increase the likelihood of contacting the ear.

Also known as a Zeckrur (Tag-Hit).

The flick or Tag-Hit is not actually delivered as a cut, but is rather flicked; it is executed in the middle of
combat when one has occasion, namely when you make your weapon snap at your opponent from above
or from either side or from below with the flat or foible of the blade, or flick it in an arc over or under his
blade.

~ 29 ~
Reference: Book 1, Chapter 10, Pattern 10 (1.29v.4)

Meyer offers this as the inverse of the previous exercise.

Conversely, cut the Thwart from below to his left with a step forward, pull quickly up by your right, and in
pulling up, push your pommel through under your right arm, and flick thus with crossed hands back from
your right above in at his left.

1: While stepping wide to the right, throw a rising Zwerch to his left.

2: Step to the right with the left foot as you perform the Schielhauw-like flick with crossed arms to his left.

The footwork is essential here. By placing your left foot on or near the line between your right foot and his left foot, you
create the opening needed to hit is left ear with your Schielhauw. A normal passing step will allow him to easily parry.

Meyer never defines the term Einschiessen (Shooting In), but it seems to be a push cut. Or in other words, a thrusting-
like action that slices the opponent.

Reference: Book 1, Chapter 10, Pattern 11 (1.30r.1)

Note that while the intention of this drill is to demonstrate a push cut, a thrust is equally useful and uses essentially the
same movements.

In the Onset, shoot through before him and strike with the short edge from your left at his right ear, not
with crossed hands, but such that your pommel stands out toward your left. Pull quickly back up toward
your right and cross your hands in the air; strike with crossed hands at his lower right opening from your
left. In all this see that you have stepped out with a double step to his right, with your head well behind
your blade.

1: Begin in right Pflug or Langort.

2: Pass forward with the left foot, pushing a cut to the right ear with the short edge. You will look like the figure on the
right, but with the hilt turned out and the short edge inward at the ear.

3: Gather the right foot while pulling the sword into an Ochs-like position.

4: Step out to the left with a rising Zwerch to his right.

The footwork for this technique must be fluid, especially in the transition between steps 3 and 4. Don’t think of them as
separate actions, but rather one continuous movement with each step blending into the next.

~ 30 ~
Doubling means to attack the same opening twice in a row, often with both the long and short edge. This is effective
because the opponent usually expects you to attack a different opening and thus isn’t prepared.

Reference: Book 1, Chapter 10, Pattern 12 (1.30r.2)

This technique is described twice in Meyer’s longsword section.

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.

When you have bound his sword from your right against his left, then remain hard on his blade; push
your pommel suddenly through under your right arm; remain on his sword, and at once jerk your
pommel back out and wind the short edge outward at his head.

Footwork isn’t specified in either version, so we are going to reuse the compass step from before.

1: Begin with an Oberhauw or Zornhauw while stepping to the right.

2: Push your pommel under your right arm as you compass your left foot behind the right. This reversing and
wrenching will cause your short edge to push on his blade, giving you room to work.

3: Step further to the right with the right foot, pull the pommel back out so that you strike his head with the short edge.
This will resemble a Schielhauw or descending Zwerch.

~ 31 ~
Ablauffen, 25, 26 Kurtze Schneide, 22 Gathering, 21
Abzug, 3, 18, 23 Lange Schneide, 22 Increasing, 20
Ausreissen, 27 Langort, 6, 21 Streich, 20, 22
Changer, 4, 6 Looping, 25 Stücke, 3
Deceiving, 25 Meyer’s Cross, 21 Sturtzhauw, 17
Device, 3 Nach, 15 Taker, 20
Doplieren, 31 Nachreisen, 16, 22 Thwart, 8
Doubling, 31 Opening, 21, 24 Turning, 27
Einschiessen, 30 Prellhauw, 22 Verfuhren, 25
Example Device, 3, 12, 14, 16, 28 Pressing Hands, 16, 28 Verkehren, 27
Failing, 13 Provoker, 20 Vor, 15
Feeling, 16 Rebound Cut, 22 Wechsel, 4, 6
Fehien, 13, 24 Reversing, 27 Wenden, 27
Feint, 13 Rinde, 25 Weschel, 21
Flat Strike, 22 Running Off, 25 Winden, 27, 31
Fülen, 16 Schielhauw, 17, 26, 28, 29, 30, 31 Winding, 27
Handtarbeit, 3, 23 Schneiden, 15 Wrenching, 27
Hendtrucken, 16, 28 Shooting In, 30 Wrist Cut, 12
Hitter, 20 Slashing, 20 Zornhauw, 6
Indes, 11, 24 Slicing, 15 Zufechten, 3, 9, 23
Kniecheihauw, 12, 13 Step Zwerch, 8, 14, 18, 29, 30
Kron, 7, 13, 17 Advancing, 20
Krumphauw, 7, 17 Compass, 26

 Fundamental Description of the Noble and Knightly Art of Fencing, 1570, by Joachim Meyer. Translation by
Jeffrey L. Forgeng
 Untitled, Sigmund Schining ein Ringeck. Translation by Christian Trosclair and Keith Farrell
 Paradoxes of Defense, 1599, by George Silver.
 Untitled, Paulus Hector Mair, circa 1550.

~ 32 ~