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Notes on Hergsell's 1889 Publication:

A 19th-century Viennese fencing master, Gustav Hergsell edited and translated Talhoffer's 1459 fechtbuch in 1889. This and his other transcriptions and translation of the original treatise was not with vocal criticism. Hergsell transcribed only portions into modern German, leaving the rest as it were and really didn't regard it as being problematic. His interpretations, both in his illustrations and his text of his work on Talhoffer's 1467 treatise reveal a degree of carelessness and inaccuracies of the period and was highly criticized by Dr. Karl Wassmannsdorff who deconstructed Hergsell's intpretation of Talhoffer's 1467 fechtbuch line-by-line resulting in an entire book on the subject.

What better way to introduce Hergsell's work on the 1459 Talhoffer treatise than to include a translation of the forward (the original forward obtained from the French version of Hergsell's publication) below. Translation provided by Mathieu Gérard Ravignat (Wigwalt).

The Author.

	Section 1: Title page, Forward (Vorrede), Introduction to Talhoffer's Ambras Codex of 1459 This first part of Hergsell's translations of his publication contains the Title page, Forward or Vorrede and his notes on his interpretation and understanding of Talhoffer's 1459 fechtbuch. Click the following to get to specific pages directly in this section: Table of Contents or Inhalt, Text of Talhoffer's Works or Text des werkes and Aufschriften der Tafeln. For the translation of these pages, click one of the following: Title Page Table of Contents Forward Introduction by Hergsell
	XIII. Fights using two handed swords with armour. Pl.1 to 4 Kampfe mit dem langen Schwert in voller Rustung. Tafel 1 bis 4 - 41 The illustrations depict principally 1/2-sword techniques illustrating techniques found in other fechtbuchs and treatises including the mordstreich (murder-stroke - German) and posta breve soprana (guard of the supreme serpent - Italian). The illustrations are reminiscent of other Talhoffer fechtbuchs that depict the armoured combat in the lists described as kämpfe in den schranken mit spiess und schwert in voller rüstung (fight in the lists with spear and sword in full armour).
	XIV. Fights in an enclosure with lance and sword. Pl. 5 to 12 Kampfe in den Schranken mit Spiess und Schwert in voller Rustung. Tafel 5 bis 12 - 42 These particular illustrations are a continuation of the armoured combat in the lists (rüstung). The introduction of the spear along with the sword in the lists is typical of the Talhoffer fechtbuchs.
	XV. Damoiseau (Page/Squire) Kininggsegg. Pl.13 to 42 Junker Konigsegg. Tafel 13 bis 42 - 42 The first of a number of plates depicting more of the armoured combat in the lists, illustrates a squire conducting repairs to the tassets of the combatant, showing repairs to the tassets with thread/thong clearly visible in the illustration. The plates following depict squires/pages assisting the combatants by carrying into the lists, the combatant's equipment, personal banners, and beirs.
	XVI. Dagger. Pl. 43 to 63 Degen. (Dolch). Tefel 43 bis 63 - 48 The series of plates illustrating dagger techniques are depicted with unarmoured combatants - again, consistent with the other versions of the Talhoffer's fechtbuchs. The daggers employed are the typical rondell dagger design.
	XVII. Wrestling. Pl. 64 to 81 Ringen. Tafel 64 bis 81 - 44 Here, classic Talhoffer wrestling ringen are illustrated and which can be found in his other versions of the fechtbuchs. Techniques illustrated include grapples, counters, breaks, throws and locks.

	XVIII. Fighting with lance. Pl. 82 to 90 Spiess. Tafel 82 bis 90 - 45 The lance or spear techniques illustrated share similar attributes with pollaxe techniques described in other fechtbuchs. One illustration of particular interest found on plate "73" depicts clearly, the thrusting of the lance from behind, right through the combatant's rear with the point appearing to have penetrated the combatant's genitalia area. This particular illustration is not found in the other versions of Talhoffer.
	XX. Fighting on horseback with lance. Pl. 92 to 93 and 100 Kampfe zu Ross mit dem Spiess. Tafel 92, 93 und 100 - 45 The mounted lance/spear techniques begins with a page/squire passing to the mounted knight a lance. The rider has his right hand extended giving the appearance of reaching for the lance being handed to him. This illustration is followed by an illustration depicting two armoured riders in the process of passing each other with the butt end of the lance forward by each rider, perhaps as a first pass to ensure that distance is correct or that each combatant is ready to begin the engagement.
	XXI. Fighting on horseback with lance and sword. Pl. 94 to 99 Kampfe zu Ross mit Spiess und Schwert. Tafel 94 bis 99 - 45 The mounted illustrations continue with a pair of combatants approaching each other, one wearing what appears to be a kettle hat riding with couched lance and the combatant on the right not appearing to be wearing armour and who has just released the lance, with the butt end oriented towards his opponent? The next illustration on the right depicts the rider on the left preparing to draw his sword from his scabbard in preparation to engage the rider on the right charging with couched lance.
	XXII. Fighting on horseback with sword. Pl.101 to 105 Kampfe zu Ross mit dem Schwert. Tafel 101 bis 105 - 45 This series of illustrations begins with a pair of mounted armoured combatants, each wearing kettle hats approaching each other, depicted with crossed swords, each holding the sword with the right hand, left hand on the reins. Later, one of the combatants is illustrated wearing a full helm with visor.
	XXIII. Wrestling on Horseback. Pl. 106 to 112 Ringkampfe zu Ross. Tafel 106 bis 112 - 45 In keeping with the Talhoffer tradition, a number of plates depicting mounted grappling begins with a shoulder grip which is assumed to end in a throw off the horse.
	XXIV. Equestrian scenes. Pl. 113 to 114 Scenen aus dem Reitunterricht. Tafel 113 und 114 - 45 These illustrations begin with what appears to be an individual demonstrating the proper manner to mount a horse. The following illustration depicts a pair of mounted riders possibly demonstrating various riding techniques as well as what looks like an illustration of some tack equipment as well.

Translation of the French version of Gustav Hergsell and additional notes contributed by Mathieu Gérard Ravignat (Wigwalt).
Mr. Ravignat is a native speaker of French. Of Belgian and French background but living in Ottawa he has been bilingual all his life. Mr. Ravignat holds a Bachelor of Social Sciences and a Masters in Moral Philosophy from the University of Ottawa. Currently he works as the linguistics officer of the Social Sciences and Humanities Research Council of Canada. His published works include a philosophical translation from French to English. His thesis discussed, among other things the influence of medieval thought on the philosophy of Romanticism in the 18th century. He is the founder of the Stonelion Traditional Chinese Martial Arts Association, teaching traditional Northern Shaolin Kung-Fu with branches in Montreal and Ottawa. He has been an avid martial artist all his life and has a variety of experience in the western martial arts including Greco Roman Wrestling, Boxing and Fencing. He has been an avid student of medieval history for most of his life and is a student of AEMMA.
The author's coat of arms is blazoned: pale, or, sable, charged gueules lion saliant.