upper langort which is adopted here by the priest as an example to his pupils, and he instructs his pupil to execute this action, viz.
langort, concerning which it should be noted that a stab is executed, by means of which the one in the ward is stabbed in the belly, i.
ic iterum resumitur specificata custodia sacerdotis que nuncupatur Langort vt superius visum est deinde scolaris obsedit eum vt supra quod est halpschilt sed alia exempla subsecuntur vt patet infra
Fifth is a wide open stance (the only one of the series) with the buckler held out straight in front of the body but turned outwards, and the sword held low and far behind the right foot which, again uniquely, is well behind the left foot.
All the fighting is broken down into short sequences of varying length; with each key moment of each sequence clarified by drawings of the protagonists (the priest and his pupil) together with a brief running commentary; and with the opening of each new sequence marked by a cross.
The author works systematically through all the guards: eight sequences initiated by a swordsman adopting the first guard; three initiated by the second; four with third; two with fourth; one with sixth; thirteen with seventh, that is Langort; four with fifth; and another two with fourth.
ota quod tot nucleus artis dimicatorie consistit in illa vltima custodia que nuncupatur langort pretera omnes actus custodiarum siue gladij determinantur in ea i.
As a ward, langort is depicted with lowered sword (1v, 17v ff.).
But here (and also 14r, 16r) langort is a displacement, and it is shown with horizontal sword.
www.freywild.ch /i33/i33aen.html (2381 words)
ARMA South Florida Study Group(Site not responding. Last check: 2007-10-22)
The Secondary guards of Meyer are numbered by him in the Guards chapter as eightfold however this list has 2 extra guards either taken from the missing guards mentioned in one of his lists of the guards or plays in the rear of the book.
Is also used by Meyer to teach the Zornhau, the Langort is the natural end result of a thrust from any of the other 4 thrusting guards (schlussel, pflug, ochs or eisenport).
It can be used effectively to draw the opponents attention to your sword and the handwork of Fehlen (failing or missing) where the sword is removed from one line to another after drawing the opponent's attention to your sword.
Fifth is a wide open stance (the only one of the series) with the buckler held out straight in front of the body but turned outwards, and the sword held low and far behind the right foot which, again uniquely, is well behind the left foot.
All the fighting is broken down into short sequences of varying length; with each key moment of each sequence clarified by drawings of the protagonists (the priest and his pupil) together with a brief running commentary; and with the opening of each new sequence marked by a cross.
The author works systematically through all the guards: eight sequences initiated by a swordsman adopting the first guard; three initiated by the second; four with third; two with fourth; one with sixth; thirteen with seventh, that is Langort; four with fifth; and another two with fourth.
We will examine the use of image composition and presentation of physicality in the manuscript as mnemoic aids, and discuss the application of these concepts to the requirements of presentation in a medieval martial arts text.
We will use the specificata custodia sacerdotis que nuncpatur langort, or "Priest's Special Langort," to employ the principles of the Prima Custodia plays from a position of relative disadvantage: when "lying spent" after a failed attack.
We will use Prima Custodia plays, the Langort plays, the plays of Secunda Custodia and the Priest's "Special Langort" to develop a tactical framework for exploring the fight, assessing the adversary, planning a strategy and developing the specific tactics necessary to survive and win the fight.
I would here also like to point out that this is also how Capo Ferro measures the Misura, from the point to the opponent's body.
And this makes good sense, especially when we consider the Langort, Hengen, Winden etc, the Longsword seems to have been a weapon that utilized a great amount of thrusting and threatening with the point.
Naturally the body matters as well; I do not think that Döbringer was so narrow-minded that he did not consider the fact that we may place the sword in such a way that the point is very far away and thus of little use in determining the Mosse.
To properly perform the Oberhauw begin in Tag then bring your blade down through Langort and end in Olber.
This is the strongest strike beyond all others, for which the ancients named it Straight Strike or Father Strike.
To properly perform the Zornhauw begin in Zornhut then strike out from there into Langort before ending in Wechsel.
www.st-max.org /FechtWeb/strikes.htm (307 words)
I.33 -- Facts, Info, and Encyclopedia article(Site not responding. Last check: 2007-10-22)
'long-point' ((Click link for more info and facts about langort) langort)
(Click link for more info and facts about langort) langort ('long-point', may be either a custodia or an obsessio)
Sporadic dialectal elements in these terms (notably nucken and halpschilt) suggest a location of composition consistent with the reported discovery in a (Click link for more info and facts about franconian) franconian monastery in the wider area of (Click link for more info and facts about Würzburg) Würzburg.
Septem custodie sunt, sub brach incipiende / Humero dextrali datur alter, terna sinistro / Capiti da quartam, da dextro latere quintam / Pectori da sextam, postrema sit tibi langort 1r
Dum ducitur langort, statim liga sub quoque supra.
two gentlemen - you know who you are - in what looked very like langort vs langort.
If I thrust from Ox and you deflect in langort or pflug, there's no way I can angle my sword down into a lower opening, that is unless you're standing in a very strange or stupid posture.
Also, the translation has, "If he follows your sword in the displacement then lead your point under his", not "under his hilt" as per the illustration.
Description: This class will build off the 90 minute Open Class Fundamentals of I.33: The Three Key Plays of Prima Custodia - attendance in that class is required.
We will use those plays, as well as key plays of Secunda Custodia and the Priest's "Special Langort" to develop a tactical framework for exploring the fight, assessing the adversary, planning a strategy and developing the specific tactics necessary to survive and win the fight.
Although we will be very careful with our friends and fellow students in the class, this class will involve tactical exercises that may result in some hard knocks: be prepared!
The short blade allows it to move very quickly, but it really packs a massive punch on the cut.
At the same time, it is a wicked thruster, and the acute tip is not one that I would want to be looking down the wrong end of as my opponent stands in langort (the position where the sword is extended forward).
It didn't take me long to break out the sword and buckler drills.
Comme la séquence 25 traite de la longue pointe spéciale, il est possible d'imaginer que les postures de départ étaient comme suit: l'élève attaque en longue pointe contre le prêtre en langort specificata, d'où le 'hic resumitur langort' du début puisqu’en 22v il traite de l'archet...
1v [Col. a] Notandum quod totus nucleus artis dimicatorie consistit in illa ultima custodia que nuncupatur langort.
Ainsi, on peut dresser une liste de postures polyvalentes/communes : Langort, (Halbschilt), schutze, Uidilpoge, opposé à d’autres, rare ou spécifique au prêtre et à ses disciples : krucke, langort ‘spéciale’, etc.
not the seven custodie, but at least the specificata custodia sacerdotis que nuncupatur langort, the custodia rara and valde bona (29r) and the specificata custodia secunda sacerdotis locata in humero dextro (32r).
Only the nucken is the cleric's -- because it is mentioned in a verse (3v)!
Septem custodie sunt, sub brach incipiende / Humero dextrali datur alter, terna sinistro / Capiti da quartam, da dextro latere quintam / Pectori da sextam, postrema sit tibi langort (1r) -- no rhyme, but the cadence makes it easy to remember
