Heinrich Von Gunterrodt

Heinrich von Gunterrodt

A short treatise on the true principles of combat, written for the most illustrious prince John, duke of Mecklenburg.

Edited by Matthaeus Welack in Witttenberg (1579)

Translated, commented, and explained by Bert Gevaert (Hallebardiers, Brugge) January 2014

Bert Gevaert received a PhD in classical philology (disability in ancient Rome, specifically in the epigrams of Marcus Valerius Martialis), teaches Latin in a secondary school, is lecturer on historical subjects and city guide in Brugge (Belgium).

He started historical fencing in 2007 as a member of the Hallebardiers, also known as the Order of Saint Michael in Brugge. He practices armoured combat, longsword, dussacken and recently (September 2012) also rappier, mainly focussing on authors of the 16th century with a preference for Joachim Meyer and Hector Paulus Mair. In September 2013 he began a wrestling and dagger class for secondary school students, based on Fiore dei Liberi. As an avid competitor, he participated in his first longsword tournament at Arts of Mars (2010), placed second at SwordFish (2011), was king (champion) of his own guild (2011) and obtained a place in the quarter finals at Swordfish (2012).

Besides his work on von Gunterrodt, Bert is currently working on a translation of the longsword section of Hector Paulus Mair (based on the Codex Icon 393). He is also working on a Dutch book on historical European martial arts from the 14th till 17th century and a book on the history of the guild of the Hallebardiers.

Dedicated to John VII http://en.wikipedia.org/wiki/John_VII,_Duke_of_Mecklenburg http://genealogics.org/getperson.php?personID=I00009474&tree=LEO

I would like to thank the following people for their suggestions, historical and juridical commentaries, and proofreading of my translations: Henri Bouillon (Sint Lodewijkscollege) Alwin Goethals (Swarta), Krist Martens (Hallebardiers), Roger Norling (GHFS, HROARR), Jens Peter Keinau (Stahl auf Stahl), Prof. Laurent Waelkens (KULEUVEN) and last but not least Kevin Maurer (MFFG) who informed me about the existence of the text of von Gunterrodt and encouraged me to make this translation.

Further I wish to thank Greg Mele and Christian Tobler for their belief in this project!

Any remarks about this first English translation, can be emailed to bert.gevaert@sint‐lodewijkscollege.be

Timide abstine!

This translation of the printed text of von Gunterrodt is published as an e‐book, the translation of the manuscript (and comparison with the printed text) will be published as a critical edition later in 2014.

The least one can say about Heinrich von Gunterrodt (Henricus a Gunterrodt) is that his life is well‐hidden by the mists of history. We find many different spellings of this noble Saxon family name: Gunterode, Gunterrodt, Guntherod, Guntherode, Gunterod and Gunterrode, and for a long time the family themselves wrote ‘Gunderrode’. They also lent their name to the village Günterrodt near the city of Eichsfeld, mentioned as early as 1209.1 In his own writings Heinrich uses the name ‘Henricus a Gunterrodt’ and ‘Gunterodt’ in his printed text (Wittemberg, 1579),2 but in his written text, he writes his name as ‘Heinricus a Gunterroda’ (MS. Dresd. C. 15, fol. 4 v.).3

The von Gunterrodt family had their own coat of arms: a blue field, emblazoned with a white, crowned owl sitting on a green branch, accompanied by a six pointed star.4

1 Ersch, S., Allgemeine Encyclopädie der Wissenschaften und Kunste (Leipzig, 1878) 114. 2 When I refer to pages of the printed text I use sig., without mentioning (Wittemberg, 1579) unless explicitly stated differently. 3 From here on I omitt MS. Dresd. C. 15, while speaking about the manuscript. I only use fol. to indicate the folio with the relevant text. 4 The translation of the device under the Wappen is: Look, the white night owl of Von Gunterrodt has a star next to it and it sits on a green branch.

Once we deterimine which surname(s) refer to ʺourʺ von Gunterrod, we then have to sort through the names Heinrich and Hans, which occur several times in the familyʹs genealogy. It is very confusing that Heinrich’s father and grandfather share the same name ‘Hans’, but our Heinrich also had a famous nephew Hans Heinrich von Gunterrodt. This nephew wrote in 1643 about our Heinrich, who was his father’s brother and is buried in Padua.5 Besides our author Heinrich, there is another famous Heinrich von Gunterrodt, who was born in 1571 and had a glorious military career ending as the Hofmarschal to the Prince. This Heinrich was the son of our Heinrich’s brother Caspar and not the author of De Veris Principiis, a pity, since, unlike our man there is a great deal of biographical data to find about this famous soldier.

Here is what little we know of our Heinrich von Gunterrodt: he was born in Lengefeld in the year 1557, probably in the family castle of Rauenstein, which the family obtained in 1480. He was the son of Hans von Gunterrodt (1526‐1566) and Elisabeth von der Linda (?‐ 1564). Heinrich was the middle son amongst his four brothers and lived longest.6 As a Junker, a member of the Saxon nobility, he received a very good education and studied Greek and Latin, of which we can find many erudite examples in his work.

At the age of writing his De Veris Principiis he was about 22 years old and had already made some travels to study the art of fighting (fol. 2 v.). Because of the many references to jurisprudence and law found throughout his texts, it is very likely that he studied law, although we do not know if he took any formal degree. In his discussion of duelling, he mentions his Belgian professor Mattheus Wesenbeeck (1531‐1586), who taught at Wittenberg (fol. 70 v.), so it is certain he also studied at this university. He was a close friend to Johannes Herwart of Würtzburg, a girdle maker and famous fencer, who obtained a fencing book from a Franconian monastery when he was a soldier under Markgraf Albert (fol. 17 v.‐18 r.). This is probably the famous Royal Armouries Ms. I:33.7 Another friend was Balthasar Cramonius of Pommern (Poland), who instructed our von Gunterrodt in fencing (fol. 18 r.).

Heinrich von Gunterrodt has left us two texts, one manuscript (MS. Dresd. C. 15) and one text printed in Wittemberg by Mattaeus Welack. The title of the printed text is ‘De veris principiis artis dimicatoriae tractatus brevis ad illustrissimum principem Ioannem ducem Megapolensem’.8 The full title of the manuscript is much longer: ‘Sciomachia et hoplomachia: sive de veris principiis artis dimicatoria liber unus, in quo precipua ad eius artis fundamenta et plenam cognitonem deducentia, ex ipsis fontibus methodice, et additis non paucis typis ac figuris ad oculum quasi demonstrantur’.9 Each text is written in humanistic Latin but with certain words (mainly in the margins) written in German. In the printed text and the manuscript the font of these

5 Ersch, S. (o.c.) 119. 6 Ersch, S. (o.c.) 119. 7 Anglo, S., The Martial Arts of Renaissance Europe (Singapore, 2000) 22 and Forgeng, J., The Medieval Art of Swordmanship: A Facsimile and Translation of Europe’s Oldest Personal Combat Treatise, Royal Armouries MS. I.33 (California, 2000) 5-6. 8 "A short treatise on the true principles of combat, written for the most illustrious prince John, duke of Mecklenburg" 9 "Fighting with and without arms: or the true principles of combat, book one in which the principal fundaments of this art, leading also to the full knowledge of it, are methodically shown more ore less before your eyes, based on the sources itself and with many figures and illustrations." For the word sciomachia, see also note 175.

©2014 Freelance Academy Press, Inc. 5 German words is gothic, but usually humanistic script is used in the manuscript and italic script in the printed text. Von Gunterrodt frequently uses Greek words and sentences, showing his humanistic education. Both texts were published in 1579 and are dedicated to prince Johann VII, duke of Mecklenburg (1558‐1592).

This Johann was a rather unfortunatey choice for a patron, he was the son of Johann Albert I, duke of Mecklenburg‐Güstrow and Schwerin (1525‐1576). When his father died, Johann VII was only eighteen years old and received a regent for nine years, only taking control in his own name in 1585. Johann was probably not fit for the hard politics in his time, suffered from enormous debts and increasing pressure from territorial concessions made to his uncle Christopher. This caused the young duke to commit suicide at 34, a terrible deed in the eyes of the church. To hide the suicide some women were accused of witchcraft, amongst them Catharina Wankelmod, who died from torture and Margarethe Schulze, who was burnt at the stake. As a supporter of Johann VII, Heinrich von Gunterrodt must have followed these events with a solemn interest.

Though there are many similarities between the manuscript and the printed text, one also finds huge differences, some of them seen at first sight, other differences only to be noticed in close reading and comparing both texts. The handwritten manuscript, containing 76 folios, differs from the printed text in containing 74 images, while the printed text, containing 46 pages, only has one image (the Wappen of the von Gunterrodt family). These illustrations are made by the otherwiee unknown artist Louradus Knobloch, whose name we can read on the last image (fol. 62 v.). Most images in the manuscript depict people in fighting positions, but it also presents some geometrical figures and a huge image of a sword and its parts:

‐ geometrical figures (fol. 4 v.; 64 r.; 65 v.; 66 v. and 67 v.; ) ‐ figures of weapons (fol. 30 v.) ‐ fighting people: without arms (fol. 21 v.; 22 r.; 23 r., 24 r.; 24 r.; 25 r.; 25 r.; 26 r.; 26 v.; 27 r. ; 33 v.; 62 r. and 71 v.), with unclear swords (fol. 28 r.; 29 r. ; 29 v.; 68 r.; 68 v.; 71 r. and 34 v. which is the only clear example of fighting with the longsword), with scimitar/dussacken (fol. 32 r.; 32 v.), with long spears (fol. 35 r.; 35 v. and 36 r.), with axes (fol. 37 r.; 37 v.; 38 r.), with the cestra (fol. 38 r. and 39 r.), with daggers (fol. 39 v.; 40 r. and 40 v.), with rappiers (fol. 42 r.; 42 v.; 43 r.; 43 v; 44 v.; 45 r.; 45 v.; 46 r.; 46 r.; 46 v.; 47 v.; 48 v.; 49 r.; 50 r. and 54 r.), with rappiers and main gauches (fol. 51 r.; 51 v.; 52 r.; 52 v. and 53 r.), with rappiers and cloaks (53 v.; 54 v.; 55 r. and 55 v.); with rapier and small shield (fol. 56 r.; 56 v.; 57 r.; 56 r.; 56 v.; 57 r.; 57 v. and 58 r.), with a case of rappiers (fol. 60 r. and 60 v.), with unarmed vs dagger (fol. 62 v.).

The images are sometimes accompanied by extra text in which the author gives explanation on certain techniques. Other extra text in the manuscript is the introduction, which is absent in the printed work. In contrast, the printed text contains poems written by Johann Maior (sig. A1 v.), von Gunterrodt himself (sig. A3 v. ‐A4 v.) and the theologian Heinrich Bolschen (sig. F2 r.).

Looking at some mistakes against the Latin in the manuscript, the well‐polished poems in the printed text and the sketch‐like nature of the drawings, it is my opinion that the

©2014 Freelance Academy Press, Inc. 6 manuscript functioned as a draft for the printed text. I believe the printed text served as an apologia by which von Gunterrodt tried to spread his ideas on the art of combat.

Sadly, Von Gunterrodt has never been taken seriously in the secondary literature on fencing. Usually when people refer to his text, he is primarily mentioned as the first person ever speaking about the famous I:33 manuscript (Sig. C3 v.‐C4 r.).10 This is the only reason Carl Wassmannsdorf dedicates any attention to the printed text of von Gunterrodt, as we can read in his comments added in the binding of the MS I:33: “Offenbar gehen diese Stellen aus dem Codex membr. N° 115 der Herzoglichen Bibliothek zu Gotha, in welchem sich auch der Name Herewart (aus Wirtzburgk) findet – Heidelberg 2. August 1860(…).”11 The other reason fencing historians refer to von Gunterrodt is also not because of the content of his work, but because he himself refers to Joachim Meyer (Sig. C3 r‐v).12

It is our intention to show with this annotated translation that von Gunterrodt deserves to be more than just ‘a historian on fencing’13 or the first person who mentions I:33 and Joachim Meyer. In our opinion he not only made a tremendous effort to show the true principles of combat but also wanted to honor the art of swordsmanship. In his time the use of the sword had declined and was surpassed by guns, a fact also complained about by Joachim Meyer.14 Von Gunterrodt also complains about the so called ‘klopffecher’ who made the art of sword fighting a carnavalesque spectacle. With his work von Gunterrodt sought to show that the art of fencing was a noble art, much more than what other people made of it (even the Marxbrüder and Federfechter fencing guilds) and still useful on the battlefield, in spite of the revolutionary techniques of gunpowder. Unfortunately the fencing manual he probably wanted to write about the art of combat – he calls the manuscript book one, so this suggests he also thought about a more practical, book two ‐ is lost, or perhaps was never written.

We’ll never know, unless someday someone is very lucky to find it a library, on a dusty shelf, neglected and forgotten for so many centuries. Stranger things have happened.15

Bert Gevaert and Kevin Maurer January 2014

10 See note 6. 11 Forgeng (2000) 18-19 (notes of Wassmannsdorf), 154-155 (transcription and translation of this notes) “Clearly these passages come from Codex membr. N° 115 of the Ducal Library of Gotha, in which the name of Herewart of Würzburg can also be found. Heidelberg, 2 August 1860 (…).” 12 Anglo (o.c.) 92 and Forgeng, J., The Art of Combat: A German Martial Arts Treatise of 1570, by Joachim Meyer (London, 2006) 12-13. 13 Anglo (o.c.) 91. 14 Meyer, J., Gründtliche Beschreibung der Kunst des Fechtens (Strassbourg, 1570) sig. A2 r. –A2 v. 15 For example, as this work was being prepared the so-called "lost" second book of Nicoletto Giganti was found, in plain sight, at the Lord Howard de Walden Library at the Wallace Collection in London. It is now readily available as, Pendragon, J. and Terminiello, P., The 'Lost' Second Book of Nicoletto Giganti (1608): A Rapier Fencing Treatise (s.l., 2013).

In this first, full and annotated translation, I have tried to render the text De veris principiis artis dimicatoriae tractatus brevis of Henry of Gunterrodt (Heinrich von Gunterrodt) in modern English as well as possible, trying to stick as closely as possible to the original text. For my translation I used the text found in the Raymond J. Lord Collection (http://www.umass.edu/renaissance/lord/pdfs/Gunterrodt_1579.pdf)

As so many authors of his time, von Gunterrodt takes great care of the stylistic expression of his thoughts, making it sometimes very difficult for a modern translator to put his words in modern, comprehensible phrases. This is why I sometimes had to add extra words to make sentences more clear.

I have also annotated the text with footnotes, which have multiple functions. They consist of:

‐ etymological references ‐ information about the authors von Gunterrodt refers to ‐ historical background information

In the text I have kept the original Latin and Greek names of the authors von Gunterrodt refers to (e.g. Plutarchus not Plutarch). I have translated the titles of their works, but in footnote the original (Latin) title of the work is used.

I have also put the short words which sometimes appear on the left side of the original text, in the margins of my translation. When this text was longer than usual (e.g. consisting of entire phrases), I have added the original text in a footnote. To stay close to the original, I have used a blackletter font (e.g. Rapier) in the main text.

After each page I have added //, to make it easier for a modern reader to refer back to the original pages.

The fire of the body stimulates a person to (omitted: the) movement of the spirit This spirit is overwhelmed by rust in a stagnant body. Thus stimulated limbs grow tired by various kinds of wrestling: A perpetual laziness takes control of lazy bodies. When you have color in your face, you have to maintain the fire in your heart! Make sure you have rules in your movement and care in your steps. For it is necessary for all limbs to show elegance, for brutal movement violates pious eyes. The entertaining art instructs the serious man to (have) a good character and teaches us how the body can be protected against an enemy in front of us. Therefore, you who teach methods of honest wrestling, instruct the power of body and mind!

To the most illustrious Prince and Lord, Sir John, Duke of Mecklenburg,16 Prince of the old family of Henetus,17 Count of Schwerin, Lord of Rostock and Lord of Stargard, his most Clement, I greet you …

A2 It can probably look strange, most illustrious Prince, that in this time I dare to address myself to your majesty, especially on such an unimportant subject. But easily, as I hope, I will justify myself to Your Majesty and I will set myself free from each spot of dubious suspicion in front of my sincere readers. I wanted, you see, that this text of mine – in which I have played a little role ‐‐ would be published in the name of Your Highness. (They will understand my choice) if they understand that I have chosen as patron for this work this hero, who in the practice of wrestling – or the art of combat ‐ has an excellent theoretical and practical knowledge. //

This means, he is provided with skill (of combat). Therefore, it is more necessary that people think of me that I have observed that what is decent, than that I’m accused of writing insignificant things. Instead of fearing jealousy in this part, because I have undertaken a treatise about the art in the face of someone who understands the art, the authority of this person can without any doubt protect my attempt against the words of my opponents.

Further, it was not my intention in this treatise to deal with the system of this art, explained in all parts and aspects. In contrast, I from my part exhibit briefly a mentioning and some very important chapters about the true fundamental essence of this art.

Nor was it within my full authority to bring up all rules, on which the knowledge of the art is solidly founded. Thus I didn’t take away the palm of victory of him, who instructed me in this discipline, nor did I want people to believe of me that I took credit for the knowledge

16 Mecklenburg is a region in the north of Germany, the most important cities are Rostock and Schwerin. Stargard is a smaller city in this area. 17 Henetus was a legendary king, already mentioned in the Aeneis of Vergilius.

Meanwhile, with this plan, I wanted to ensure that the seeds of this art would be sewn, so that other people would be encouraged to obtain a more fruitful benefit from [its study]. When they have a more thorough theory or more outstanding fundamentals of this art, they can bring increase public interest and bring them amongst our midst. In doing so, this noble art, fitting to noble people, could be saved from perishing and could protect itself against people who have no clue of the art. //

Your Excellency will kindly receive these reflections, when he looks at my work, more because these are written in sympathy towards him, than to honor themselves. For these are writings – depending on what they have of importance – which one sees as insignificant, more than they could satisfy the judgment of such a prince. But if they are seen from the point of view of their dignity, then they are absolutely worthy to such a great name! When they are regarded, taking into reckoning my efforts, they will certainly be accepted by you.

Anyway, if Your Excellency would kindly and with open arms accept these rudimentary writings, first steps – so to speak – brought forward by me in the art of combat, then it can happen that I, according to the will of my Master in this art, and with my own efforts, will compose a more perfect and solid work. So I would also put a crown to this work.

All the best, good luck and health!

Edited in Wittenberg, from the Museum, on that day itself on which Christ was born 1579 years before. By taking the nature of a human being, he set us free again for God the Father, by perpetual being and support of the same nature He confirmed that we would be in His perpetual care.

To Your Highness,

Your most humble,

Heinrich von Gunterrodt.

18 Alciatus or Andrea Alciato (1492-1550) was an Italian jurist and author. Von Gunterrodt is here referring to one of the legal works of Alciatus, De Singulari Certamine (1543). In Chapter 31 Quid si is provocetur, cui iure naturali vel civil honor debeatur (What if he is challenged who is owed with honor by natural or civilian right) Alciatus discusses whom one can’t challenge for a duel, e.g. "people to whom we owe honor" – parents, tutors,… Interesting Alciatus writes: eum quoque, a quo quis in armis eruditus fuerit, nefas est in id periculum trahere, cum magistro non minor reverentia quam patri debeatur ("It is also a crime to put this person, by whom one is trained in weapons, into this danger, because reverence is owed not less to a master than to a father.")

NB: Poem written in dactylic hexameter (— U | — U| — U | — U | — u u | — X ) (U = two short (u) syllables which can be replaced by a long syllable)

For noble people, fame comes from their blood, but when they double this with techniques, they surpass every glory of their origin. While what the origin brings, evokes ‐ as a faithful servant ‐ glorious bravery in lots of situations, while it brings its actions in the public to raise its noble family with new virtues and provides an immortal decoration through its deeds, noble blood equals these deeds to the famous Olympus. (But now) Your new glory appears because of this: it makes your arms ready to fight, it slings your strong upper arms in hasty battle, above shoulders and head it jumps towards the shining sword, and from a high position it shakes the agile pine branch. Because of this, HEINRICH, you make it possible for noble people to rise through famous techniques and you also let your own name rise with the starting virtues of your own glory and origin, a name you carry with your own origin and glory. Give your hopes to this pious Muse, give the greatest rewards for honors, because the dominator in arms flourishes gloriously! Cheeks turn red at the first youth, but arms turn full of power, all these things make fast movements possible. Sometimes it is decent to fight with the rapier, or to push a tireless chest against an enemy, and after the signs have been given for the battle to play, then the serious man brings his dignity to a maximum degree, he himself parries the blow. How nice it is to repeat the insults, but heavily he parries all insults. Glorious because of the wound afflicted to him, and when it was possible to go away, he persists against the roaring enemy with anger and hatred, just as with fast moving power and a swift right hand. Such a beautiful gift God gave to the Muses, and he conceded this favor to us, so the genius, ready to fight, can rise in a famous way, so that with famous powers it can flourish by fighting, so that it can be a solace for the Muses, when rough Fate makes people tired, when it pushes them from their place and competes to overcome them with weapons! The care of power is given to princes, the glory is given to the Muses, this comes and it affects your great name to start with it. Oh JOHN, let your name start new undertakings, and you who are prosperous by your virtue, accept with swift foot these works which are very well written, you who are illustrious by the gifts of your spirit, bring your name spontaneous to fame with excellent proof, which will come as a high glory. You are said to be born from the family of HENETUS, you are the light of powerful people, you are the beauty of leaders, fill your family and name with everlasting glory of your house, with virtues and with deeds. For your family the representation given here is exclusive, which strong hands make with deeds into monuments, while with famous deeds hands join their arms in virtue,

©2014 Freelance Academy Press, Inc. 11 and manifold a spear is placed under strong arms to be stabbed. Because of this glory consists from its martial deeds, its power is a reference to an old family. //

Oh glory of the world, for years a model to the memory of its virtue, which the Muse praises forever from the beginning towards everlasting honors in the coming time. As the influence of your origin, the brilliance of your family, the famous gifts of the gods lift you full of glory to stars and heaven, in this way a poem lifts your honor, famous duke, Oh John, because you will praise your family tree through your deeds. You will make it possible that it is for ever more perfect for the Empire, and with bright splendor for ever of your family. For this (family) the new fame of the writings of VON GUNTERRODT flourishes, this fame obtains praise from a strong hand, glory from its mind. It brings proofs of its important virtue, when an extraordinary young and powerful man does military exercises with remarkable wrestling exercises. May glorious preludes of Dukes be glorious fights, and may a fast fight encourage great deeds of divine people towards excellent deeds, by which the names and achievements of God stand high. This my wishes want, this my writings and the weapons of the wrestling school (Palaestra) bring by fate in a happy way, when glorious weapons make sounds through weapons, techniques support famous techniques, these techniques achieve a victory against important people and take all glory from them.

B It is certainly not a surprise that the art of wrestling or combat is the most outstanding of all kinds of fighting which are undertaken to exercise the body. But this art has come to less frequent use, and is even held in contempt amongst the people of Germany20 – though they had in their possession the quality of fortitude. This is because most of the teachers in this art today listen too much – due to their loose way of living and the suspicious behavior of their ignorance – how one needs another Galenus,21who aimed his arrow against the vicious gymnastic arts or the arts of fighting. But in reality some of them refer to the pugilist Heraclides,22 about whom they say that he was capable of eating and drinking an almost enormous amount of food and drink. Not one person could be found who was equal to him in drinking. Other people he invited to have breakfast with, others t