 Lignitzer's Sword & Buckler Teachings
By Keith P. Myers
ARMA - DC Metro
ARMA is proud to present an excellent in depth analysis by Keith Myers of some of
the most useful Medieval sword and buckler material. Following the analysis Keith offers
some very useful illustrated examples.
Introduction:
The
following material is meant to be an introductory reconstruction of what sword and buckler
technique may have been like in the comprehensive 15th century fighting method
of Johannes Liechtenauer. Liechtenauer formed
a “tradition” that continued on and evolved through several generations in late
medieval Germany. His method was truly a
“system” that used a set of principles and applied a similar body mechanic to
multiple types of weapons.
 The main resource utilized for this
reconstruction are the sequences of sword & buckler movements attributed to Andre
Lignitzer. Lignitzer’s material is a
description of six different series of attack and defense combinations. These exercises or “set-plays” clearly
utilize concepts and terminology common to the “Liechtenauer tradition” of
German fencing. They are found almost word
for word repeatedly in numerous Fechtbücher (fencing manuals) such as Sigmund
Ringeck’s “Commentaries” of c. 1440 and Peter von Danzig’s Fechtbuch
of c. 1452.
For this
particular work I have chosen to use Peter von Danzig’s material as my source for
Lignitzer, since it names him specifically as the originator of these techniques. Other resources utilized were illustrations from
the 1459 and 1467 editions of Hans Talhoffer’s work as well as those from Paulus
Kal’s Fechtbuch of c.1462 or c.1482. Several
references are also made to a manuscript known as the MS I.33 or the “Tower
Fechtbuch.” This is the oldest known
Western martial arts manual and dates to the late 13th century. It is a German work devoted entirely to fighting
with sword & buckler. It predates
Liechtenauer (c.1389), and is therefore not considered as part of the “Liechtenauer
Tradition.” But, as will be seen, there
are enough commonalties to suggest that Liechtenauer or Lignitzer may have drawn upon an
existing sword and buckler method descended from the material in the I.33 (or “one
thirty-three”). Regardless, the I.33
does provide us with an existing reference that sheds some light upon the sword and
buckler fencing we are examining.
Positions
or “Leger” with the Sword & Buckler:
The fighting
postures or guards are not described in Lignitzer’s set-plays. But most of these are illustrated, though not
named, in editions of Talhoffer’s Fechtbüch. Since
what we are describing here is part of the Liechtenauer tradition, we will employ the
names commonly applied to the similar and more familiar Longsword guards. Some of the stances are implied, since we do not
have illustrations of them at this time. But they make perfect sense as variations of the
same things seen elsewhere in Liechtenauer’s system.
 1. Pflug
(the plow):
This is the defensive position that is known
in the I.33 as “half-shield.” Stand
with right foot forward, sword held in front at waist level with point aimed at the
opponent’s face, buckler held edge-on at the left side of the sword hand. When performed as a lower winding from the bind,
this is essentially the same as the “lower hanger” with the Longsword.
2. Wild Boar:
 This is actually a guard from the
I.33. But it can be seen as a variation of
Pflug that would be a natural starting position for many of the thrusting attacks
illustrated in the 1467 Talhoffer. Stand with
the left foot forward, sword held back by the right hip level to the ground and pointing
towards the opponent, buckler held extended out in front.
This essentially “hides” the sword behind the buckler.
3. Ochs (the ox):
This has two variations with the
sword and buckler. The first is what
Lignitzer describes as Zweien Schilten or
“paired shields.” It results when
you wind at the opponent’s sword with both your sword and buckler at the same time,
and is the equivalent of the “upper hanger” when winding with the Longsword. Stand with the right foot forward, sword held to
the left side with long edge up and point aimed at the opponent, buckler hand held against
the back of the sword hand.
 For the other side, stand with left
leg forward, sword held to the right with long edge up and point aimed at the opponent,
buckler hand held against the palm of the sword hand.
The other version is held only on the right side.
It is more of an actual “ready position.”
Stand with left leg forward, sword held to the right with hilt back by the shoulder
and point aimed at the opponent, buckler held extended out in front. Similar to the “Wild Boar” described
above, but rotating the sword upward rather than holding it at the waist.
4. Vom Tag / Zornhut (from the roof / guard of wrath):
This is one of the primary positions
from which an attack is launched. Stand with
the left leg forward, sword held near the right shoulder, buckler held extended out in
front. If the point of your sword is aimed
straight up, or nearly so, then this is Vom Tag. If
you allow the blade to slope back over your right shoulder so that the point is aimed
downwards, then this is Zornhut.
 5. Alber
(the fool):
This guard is a natural counterpart to the same guard
with the Longsword.
It is found in the I.33 as Langerort
or “low longpoint.”
Stand with the right leg forward, sword held extended
out in front and angled down at 45 degrees between the legs,
buckler held edge-on to the left side of the sword hand.
6. Nebenhut
(the near guard):
This is another of the primary
positions from which an attack is launched. It
has a left side and a right side version that differ in their execution. The left side Nebenhut is found in the I.33 as the
“underarm” guard. Stand with the
right foot forward, sword held under the left armpit with the point directed behind you,
buckler held just in front of the right elbow. The
right side Nebenhut is found in the I.33 as the “tail” guard, though Talhoffer
shows it a little differently. Stand with the
left foot forward, sword held near the right hip with point angled forward and downward at
about 45 degrees, buckler held extended out in front.
Note that in Talhoffer’s version the point is forward rather than being
angled to the rear as one finds in the I.33 and with the Longsword Nebenhut. This takes stress off of the wrist and positions
the sword better for a thrusting counter while still allowing all of the motions available
from the point rearwards version.
7. Schranckhut (barrier guard):
The closest
Longsword analog to this sword and buckler position seems to be the Schranckhut as
described by Sigmund Ringeck. As the name
implies, this guard forms a defensive “barrier” in front of you. It comes in two
variations. Stand with either foot forward,
sword held out in front at about chin level with the point aimed forward and downward at
about 45 degrees, buckler held against the back of the sword hand on the left side. This is the position shown in the I.33 as the Krucke or “crook.” Just as the Nebenhut and the Schranckhut with the
Longsword are closely related in Ringeck’s Commentaries, this version of the
Schranckhut with sword and buckler is closely related to the left side Nebenhut. The second variation has you standing the same
way, but with your sword held across your left forearm on the outside just behind the
buckler. This is similar to the guard known
as the “fiddlebow” in the I.33, which angles the sword upward rather than
downward. This second variation is one that
can be transitioned into very readily from Pflug after a little practice.
Strikes with the Sword:
As in the
rest of Liechtenauer’s system, an Oberhau
refers to a downward strike from above, an Unterhau
refers to an upward strike from below, and a Mittlehau
to a horizontal strike parallel to the ground.
Exercises
or “set-plays” of Lignitzer as described in Peter von Danzig’s Fechtbuch of
c.1452:
Hie heben sich an die stuck mit dem puckler Sie masiter Andre
Lignitzer gesage hat her nach gescreiben.
Here begins the techniques with the
buckler that the Master Andre Lignitzer has been said to have written as follows:
Set-play #1: Oberhau:
Das
erst stuck mit dem puckler aus dem oberhaw. Rezek
wenn du den oberhaw treibst zu dem mann, So seg mit dem knopf dem swert inwendig auf
deinem puckler zu deinem daumen und stich im von unden auf zu seinem gesicht und wind
gegen seinem swert und lasu uber schnappen.
The first technique with the buckler from the Oberhau...when you
drive the Oberhau towards the opponent, stay with the pommel of your sword inside of your
buckler at your thumb and thrust him from the outside to his face and wind against his
sword and let it snap over.
Comment:
Lignitzer’s
first technique illustrates an important principle that is also a major feature of the
I.33. He advises us to “stay with the
pommel of your sword inside of your buckler at your thumb.” When launching a strike of your own, your sword
and buckler hands should “track together” so that the buckler provides
protection for the hands and forearms. Failing to do this leaves one very vulnerable to a
counter-cut to the forearm during the strike. While
Lignitzer mentions this only once, it is a principle that should be adhered to when
performing any of the strikes described in the subsequent set-plays. Another important feature of this technique,
though not noted in Lignitzer’s text, is that of using the buckler to trap the
opponent’s arms while striking him. This
is known in the I.33 as a Schiltslac or
“shield knock.” It is also
illustrated in the 1459 and 1467 editions of Talhoffer’s Fechtbuch as well as Paulus
Kal’s of c. 1462/82, so it is not out-of-line to assume that it was part of
Lignitzer’s first set-play as well.
Set-play #2: Unterhau:
Das
annder stuck
Item: aus dem underhaw wenn er die oben zwhaut, So wind gegen
ym auf dem linke seitten gegen deinem schilt, So stestu yn zweien schilten, So wind denn
auf dem rechte seiten ploss und greif ym nach dem maul.
Wert er die dass und hebt den schilt auff. So nym das linck pein. Das get zu paiden seitten.
The
other/next technique:
Item:
From the Unterhau, he takes the Ober
Zweihau, So wind against him on the left side against your shield, thus you stand in
“paired shields.” Then wind at the
unprotected right side and catch him in the face. He
defends that and holds his shield up, so take the left leg.
This goes at both sides.
Comment:
The
second set-play also brings out an important principle.
Lignitzer tells us that to meet an overhead blow,
“wind against him on the left side against your shield.”
He gives this basic idea or technique a name…Zweien
Schilten or “paired shields.”
He also notes that this “goes at both sides”
(presumably meaning it can be used on the left or right).
The main principle with the “paired shields”
is to couple or “pair” the buckler with the sword
when performing the typical “winding” techniques
that one learns with the Longsword.
The buckler is one “shield”, the sword
another…hence “paired shields”, each bracing
the other. What
results is essentially a sword and buckler version of the
Ochs or “upper hanger” positions that are seen
with the Longsword.
This can be done on either side, just as Ochs is
performed on either side. It is unclear what is meant by an Oben Zwhaut. Here it
is interpreted as a sort of
“paired oberhau” in the sense that the
opponent has split his sword and buckler in order to block
the Unterhau and launch his own Oberhau at the same time.
Set-play #3: Wechselhau:
Das dreitt stuck:
Item: aus dem
puckler aus dem wechelhaw streich von der lincken seitten aus dem puckler vast ubersich in
sein swert und haw im den von der lincken seittn zu dem haupt und wind plos und stos ym
nach dem maul hebt er mit schilt und mit swert und wert das, So haw mit der langen schneid
im nach dem rechten pein. Das get auch zu
paiden seitten.
The third
technique:
Item: from the
buckler from the Wechselhau (“changing
cut”): strike upon the left side for the buckler nearly over it to his sword and cut
him then upon the left side to the head, and wind uncovered and thrust him in the face. He lifts with shield and sword to defend that,
thus cut him with the Langen Schneid
(“long” or forward edge) to the right leg.
This also goes to both sides.
Comment:
The Wechselhau or “changing cut” is also a
little unclear. It would obviously seem to be
a cut that starts towards one target but changes its course mid-way in order to strike an
alternate target. This seems to be what
Lignitzer is describing when he says to “strike upon the left side for the buckler nearly over it to his sword and cut him then upon the left side to the head.” The problem with this is that it departs from
Lignitzer’s pattern in the other set-plays. In
each of the other examples he names the initial cut, but does not bother to actually
describe it. But an actual Wechselhau was very likely any kind of strike that started towards one target
and then veered off to strike another. Therefore
it may have been necessary for Lignitzer to describe exactly what kind of Wechselhau he had in mind. So we have chosen to accept the first part of this
set-play as the actual “changing cut.” The
follow-on from there would then be much like what is found in set-play #2. Another consideration is that in German longsword
teaching, the Wechselhau, “changing
cut” or “changer”, can refer to an action where an attack that is
parried/deflected is suddenly changed into a cut against another target.
Set-play #4: Mittelhau:
Das
vierd stuck
Item: aus dem mittelhaw mach die zwer zu paiden seitten und
den schaitlar mit der langen schneid und stich im unden zu seinem gemacht.
The fourth
technique:
Item: from the
Mittlehau make the Zwerch to both sides and the Scheitelhau with the Langen Schneid (“long edge”) and thrust
from beneath to his groin.
Comment:
The
principle taught here is that of fighting in the Vor
(“before” time) and forcing the opponent to fight in the Nach (“after” time). Four strikes are launched in rapid succession that
do not allow the opponent time to react or counter. He
is forced to play “catch up” and try to defend against each strike individually. It is only a matter of time before one of them
will land. This is an important concept in
the Liechtenauer tradition. Seize the
initiative and overwhelm the opponent. If you
find yourself fighting in the Nach, then change
the timing and get back the initiative as soon as possible.
The timid “counter-fighter” is going to lose when it comes to
weapons as dangerous as these. It is unclear
what is meant by a schaitlar in the original
text. But given the context and flow of the
technique, it is assumed that it is a Scheitelhau
or vertical strike to the top of the head as found in Longsword teaching. In Longsword fencing the Zwerch (“Thwart Blow”) is a horizontal or
“cross cut”. It can be a horizontal-strike to displace downward attacks.
Set-play #5: Sturzhau:
Das funft stuck
Item: aus dem sturtzhaw tue sam dir im zu der lincken seitten
uber sein schilt wilt stechen und var mit
dein ort unden durch und stich ym inwendig seines schildes und wind inndes auf dein lincke
seitten wert er die/dir das, So nym sein
rechtes pain mit der langen schneid.
The fifth
technique:
Item: from
the Sturzhau (“plunging cut”), make as
if you will stab him to the left side over his shield, and move with your point under and
through to thrust him inside his shield, and wind simultaneously from your left side. He defends this, so take his right leg with the
long edge.
Comment:
Once
again we have a technique named that is unclear, and this
time Lignitzer does not provide a description.
Based on the name, obviously something is “plunging.”
If we assume this refers to the point, then what
is suggested is an overhand cut with the false edge, with
the point “plunging” over and behind the opponent’s
sword hand or buckler.
This is supported by a Longsword illustration in
the 1467 Talhoffer (plate #2).
If “plunging” refers to the sword as a
whole, then what is suggested is a technique that is also
found in the I.33.
In this case a “Sturzhau” may be a downward
cut with the true edge intended to “plunge” between
the opponent’s sword hand and buckler hand to
separate them from each other and create an opening (and
probably removing one of his thumbs in the process). Since the I.33 manuscript is not
within the Liechtenauer “tradition”, we have chosen
to use the first interpretation of the Sturzhau.
Set-play #6: Halbschwert:
Das
sechst stuck
Item: nym dein
kling zu dem puckler in dein lincke hant und wind gegen ym als mit dem halben swert .
Haist er oder sticht er dir oben zu dem gesicht oder unden nach dem pain. So lass dein rechte hant varen von dem pint und
vorser ym dass mit schilt und mit swert und greiff denn mit deiner rechten hant auf sein
rechte seitten nach dem schilt wol undersich und dre in auf dein rechte seitten. So hastu ym den schilt genomen.
 The sixth technique:
Item: take your blade along with the buckler in your left
hand and wind against him consequently with the Halbschwert
(“halfsword”). He lifts up or
thrusts to you over at the face or under after the leg, so let your right hand move from
the bind and displace this with shield and sword and grab then with your right hand from
his right side after the shield well beneath it and twist up to your right side. Thus have you taken the shield.
Comment:
The last of Lignitzer’s set-plays illustrates the difference
between half-swording with the sword and buckler compared to half-swording with the
Longsword. The idea behind half-swording is
to threaten the opponent with the point of your sword, almost as if it were a spear or to
press and trap him with the edge and hit with the pommel.
If you grasp the blade in the typical reverse grip fashion as you would with
the Longsword (thumb towards the hilt), you will find that as you lift your point to
threaten the opponent your buckler will be facing towards you rather than towards the
opponent –exposing your hand and resulting in your buckler being rendered useless for
defense. However, if you grasp the blade in
the opposite fashion (thumb towards the point), when you lift the point to threaten the
opponent you will find that your buckler still provides protection. This particular set-play is illustrated in Paulus
Kal’s Fechtbuch, with a variation shown in one edition of Jörg Wilhalm’s’
Fechtbuch of c.1540. Kal’s version shows a grip with the “thumb towards the
point”. It also shows the final step of
using the opponent’s own buckler as a weapon after you have taken it from him.
Hans
Talhoffer’s Set-plays:
Set-play #1: Ubergreiffen (“grabbing from above” or “over
gripping’):
Variation A:
Stand in Pflug. He attacks with a high Oberhau to your left side. Rotate the sword towards you around the buckler as
you lift both arms such that you end in a high Schranckhut
with the blade across your forearm to intercept his blow.
Wrap your buckler arm around his arm from above to trap it as you strike
with a downward vertical cut to his forehead. Strike
through with your cut and withdraw the hilt to your right hip, keeping the point aimed at
this abdomen. Finish him with a thrust to his
midsection.
Variation B:
Stand in the left Nebenhut.
He attacks as before. Lift both
arms up to meet his blow so that you end in a high Schranckhut
with the buckler against the back of your sword hand.
Wrap from above to trap his arms as before as you withdraw your sword
bringing the hilt to your right hip. Finish
him with a thrust to his midsection.
Comment:
This is a common sword and buckler technique found in the I.33,
Talhoffer, and Paulus Kal. Similar moves appear with buckler and bastard sword in an
anonymous Fechtbuch manuscript of c. 1500 (Lib. Pic. A. 83, Staadsbibliothek, Berlin).
Set-play #2: Schilthau
(the “shield strike”):
Stand in
Pflug. He attacks with a high backhand
Oberhau to your right side. Versetz (displace) with the sword by meeting the
strike with the flat of the blade and transitioning into a right Ochs position. At the same time strike his elbow with your
buckler and push him such that he turns away from you exposing his back. Thrust into his right shoulder or his back from
the Ochs position.
Comment:
This
set-play illustrates several important principles. When
standing in Pflug, your buckler is defending your left side and your right side is
therefore vulnerable. When attacked on the
vulnerable right side you must quickly transition into a different guard –in this
case a right Ochs. This method of flowing
between the Pflug and Ochs positions is also an important transition when working with the
Longsword. This technique also illustrates
displacing/parrying by meeting his blow on the flat of your blade as you are transitioning
into the Ochs position. This spreads out the
force of impact and reduces the “blade on blade” (i.e., edge) contact thereby
allowing a quicker riposte. This set-play
also illustrates the principle of Indes or
acting simultaneously. As you are parrying
his blow, you are also striking his arm and turning him with your buckler. This leaves him open for a thrust from the Ochs
position.
Set-play #3: Uberschneiden
(“cutting from above”):
Stand in Vom
Tag, the opponent is in Wild Boar. As he
steps forward with a straight thrust to your mid-section, pass back and deflect his blade
to your left with your buckler. At the same
time strike straight down to his forearm just behind the wrist.
Comment:
This set-play illustrates that even a fighter that keeps his
buckler in place can be vulnerable. By
deflecting his thrust you encourage him to over-extend.
If he is standing with right foot forward, then he can extend his sword arm
further than his buckler arm. In an
over-extended position a gap is left behind the sword hand and in front of the buckler. This is where your counter-cut from above should
be aimed. Of course, a fighter that is sloppy
and does not keep his buckler in place leaves his whole forearm open as a target! This concept also appears in Longsword fencing as
the principle of Uberlauffen.
Set-play #4: Uberschnappen (snapping over):
Stand in Vom Tag. As the opponent strikes with an oberhau from his right, meet it with a
left Ochs with both sword and buckler so that you are winding against his blade at the
left side. Quickly pass forward as you let your sword "snap over" so
that you hook the pommel of your sword across his wrist from the outside. Let
your sword continue its downward momentum to strike the opponent across his right neck and
shoulder. It is advisable to keep your buckler low and directed to your right
side during the strike to be in position should he drop his sword towards your right
flank.
Comment:
This last offering is based on a combination of illustrations from both Talhoffer and
Paulus Kal. It is very similar to Lignitzer's first set-play. It
is also related to the previous technique in that it features winding at the opponent's
sword, in this case in the "zweien schilten" or "paired shields"
position. This winding position can occur anytime your own strike
is countered and your sword ends up in contact with the opponent's sword in the
"bind." The "uberschnappen" motion can also be preceded by
a thrust to the face from the left Ochs position. If this is displaced by the
opponent momentum is added to your subsequent strike.
Parting
Comments:
Use
these nine set-play exercises as a foundation to explore
and develop the use of the formidable Medieval sword and
buckler. Become
familiar with them and then change them by inserting different
attacks, counters or variations of footwork.
Apply the principles that you learn with the longsword,
and even experiment with adapting longsword techniques to
the sword and buckler.
While we have limited information about how sword
and buckler was done in the Liechtenauer tradition, by following
these guidelines we can expand upon and develop what we
do know and still be confident that we are using period
technique. It
should also be pointed out that use of the Fechtmesser (large fighting knife) in the Liechtenauer system appears
to be closely related to the sword and buckler methods.
Often the techniques illustrated in the Fechtbücher
appear identical to these sword and buckler moves but with
the buckler omitted.
Therefore, this material can also be used as a “jumping
off point” for the study of the Fechtmesser.
Go here to see examples of
Lignitzer's Set Plays
Postscript
The
German martial art founded by Johannes Liechtenauer in the late 14th century
truly is a comprehensive, effective, and cohesive system.
Have fun exploring it! I am
open to any feedback or corrections. You can
contact me at myers4321@aol.com.
Short video clips that correspond to each of these sword & buckler
set-plays can be viewed at http://keith.martialartsman.net/medieval/
Keith Myers has a 20+ year background in martial
arts studies and switched his interests entirely to Western martial arts approximately 3
years ago. He is a Medical Doctor and Doctor of Chiropractic currently serving
in the U.S. Army at Walter Reed Army Medical Center in Washington D.C.
Credits: Thanks to ARMA for providing a home for this
essay, and to John Clements for encouraging my continuing research. Thanks to Bart Walczak of ARMA Poland for
suggesting alternate translations of certain passages.
Thanks to Paul Wagner for sharing his personal notes in the MS I.33 methods. These provided me with a firm foundation on which
to start my assessment of the techniques in this essay.
Thanks also to Claus Drexler for sharing a copy of Paulus Kal’s
Fechtbuch and to David Cvet for originally providing images of Peter von Danzig’s
Fechtbuch. Thanks to Christian Tobler for
his book Secrets of German Medieval Swordsmanship,
which has helped me to better understand the main principles found in Liechtenauer’s
system. Finally, thanks to Scott Campbell, my primary training partner that helped me to
work through these techniques and posed with me for the illustrations in this article. And of course, thanks to my wife Carol, our
photographer.
References:
1. Christian
Tobler. Secrets of German Medieval Swordsmanship.
(translation of Sigmund Ringeck) Chivalry Bookshelf, 2001
2. Mark Rector. Medieval
Combat (translation of the 1467 edition of Hans Talhoffer) Greenhill Books, 2000
3.
Peter von Danzig’s Fechtbuch of 1452. http://www.aemma.org
4. Paulus
Kal’s Fechtbuch (Cgm 1507) c.1462/1482 Personal copy courtesy of Claus Drexler
5. I.33/Tower
Fechtbuch. http://www.thearma.org
6. Personal notes
on the I.33 method shared by Paul Wagner.
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