Customer Reviews

Medieval Combat: A Fifteenth-Century Illustrated Manual of Swordfighting and Close-Quarter Combat (Greenhill Military Paperbacks)

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Fightmaster Hans Talhoffer is one of the pivotal figures of German sword arts. Steeped into traditions that are as well documented as they remain inaccessible to full camprehension, his art (and showmanship?) belongs to the few medieval systems that have survived not in one but a few manuscripts.

The 1467 Gotha Codex, probably the artistically accomplished in its execution, was first revived for reproduction and re-publication by the Viennese fencing master Gustav Hergsell, whose transcription and interpretation of the instructions may not have remained without vocal critics, but whose leather-bound 1887 editions (both self-published and, later that year, by Calve) still command prices of between $500 and $900 that are eagerly paid by collectors.

Mark Rector has exercised restraint and competence in his endeavor of making Talhoffer accessible to the Anglophone market. He places the manuscript into its appropriate cultural and combative context that has as much to offer to the history buff as it has to the combative practitioner. His work finds a well deserved place in the literary canon of combative arts source literature.

The quality of the production is solid and well worth the price. This books has earned an unconditional seal of approval! Go buy it now.

In making Talhoffer's fencing book accessible to the world again, Mark Rector has provided us with an important contribution to sword knowledge. Not just for those involved in recreationist swordplay, but for anyone interested in the roots of fencing. Moreover, for many young fencers today realizing that fencing didn't begin with them might be the first step to developing some respect for the art, science, and sport of fencing -- an attribute that is sorely lacking in many sport fencing circles these days. There's a long history here that makes individuals not all that important. Fencing is bigger than the moment, bigger than egos. The traditions, skills, and mindsets span centuries. The information in this book also has applications as a working reference for anyone wishing to hone their theatrical fencing skills along historical lines. And, of course, "Talhoffer" should be of interest to anyone in love with things medieval. As a fencing master of thirty years, the author of "The Encyclopedia of the Sword," "The Art and Science of Fencing," and "The Inner Game of Fencing," and the editor-in-chief of FENCERS QUARTERLY MAGAZINE, I recommend this fascinating book.

Two people are to be thanked for this fine book, Mark Rector, the translator and Hans Talhoffer, the medieval fencing master whose work is shown here for the first time in English.

Talhoffer's fechtbuch is primarily an illustrated work and much interpretation still needs to be done on his combat system. I have personally used this translation in the preparation of a paper on medieval sword and shield techniques. Talhoffer presents a section on the use of an odd shaped shield in judicial duels, giving us our only substantial material on medieval sword and shield combat. An exhaustive examination of medieval illustrations reveals the positions shown in Talhoffer shown over and over. This suggests that despite his strange shield, what Talhoffer was showing in the mid 15th century was nothing new.

This book is useful to people who wish to interpret medieval combat. It contains some editorial comment on the techniques, but this is minimal. Readers should not expect a how-to guide. This is an original fencing treatise, faithfully reproduced. Furthermore the original work was pitched at a fairly advanced level, so don't expect to see the basics. Medieval Combat would work very well in conjunction with Christian Tobler's Secrets of German Medieval Swordsmanship. That book is a translation and interpretation of another treatise from the same tradition. Anyone who reads Tobler and wants more should buy Medieval Combat. Anyone who reads Medieval Combat and finds themselves confused, should buy Tobler's book to give themselves a solid grounding in German medieval swordsmanship.

This book is full of wonderful pictures depicting fighting techniques both unarmed and armed with sword, shields, lucerne hammers, and more. Brief captions accompany each picture but give just a hint about what is happening in the picture. Even with this help it is often unclear. As author notes, most pictures stand alone yet would have benefited from an idea of what combat maneuvers came before and after each picture. So it is often difficult or impossible to visualize what is happening in each picture.

Author's opening remarks are fascinating and the best part of the book but are all too brief. More skilled text is included as chapter notes but I found it clumsy to flip back and forth while viewing diagrams. Still, this was an illuminating book about european martial arts (I guess it really couldn't fail to be because I know little about the topic). I would have enjoyed even more explanations by the author, placed with the diagrams rather than the back of the book.

I recommend leafing through this one before purchasing. I was able to get what I wanted from it in an hour or so. There is little to read in this book and the diagrams give the untrained eye little to study. Judging from the previous positive reviews by professional swordsman types, it seems apparent that this is a book more suited for the expert than those who are simply curious about medieval combat.

A superb English language edition of Hans Talhoffer manual of 1467. A seminal work on the German method of combat in the late middle ages and renaissance, the first of what I hope are a number of these kinds of works produced in the next few years. What an improvement not to have to find a library with a copy of Gustav Hergsell's facsimile of the last century and struggle with the 4 inch think tome, or work with muddy photo copies and rough English translations.

Well produced, the plates seem clearer than those of the German edition from whence these were drawn. Translated from the original Swabian and expanded into notes, from Gustav Hergsell's modern German transcription of the last century that was rife with errors as noted by Dr. Karl Wassmannsdorff. (If you want to check, the Swabian is added in an appendix).

What is need now is someone (Hint! Hint!) to publish a work with all the Liechtenauer's text and glossa (a different manual) to go with these superb drawings.

Hans Talhoffer didn't write for sporting enthusiasts. His techniques were intended to allow a practitioner to walk away from situations where losing meant your death. Mark Rectors' translation, analysis, and commentary complement Talhoffer's centuries old illustrations of the "fine arts" of armed and unarmed combat. This book clearly shows the brutally effective techniques that were used on and off the battlefields of medieval Europe.

Though this review is about the German edition "Talhoffers Fechtbuch", I think it is also true for the English translation. This book is the bible for medieval reenactors and anyone interested in ancient combat techniques. If you think the Asians have invented throwing, kicking and swordfighting then this book will be an eye opener for you. The illustrations are very detailed for a fifteenth century book and the techniques have really been used to kill each other at that time. But beware you need some experience and understanding to follow those pictures. Often you have to guess what happened between them and you should know that some of the techniques can only be done with chain mail gloves or relatively dull swords (e.g. holding it by the blade and hitting with the hilt).

I saw a review copy of Mr. Rector's book, and I was quite favorably impressed. Simply put, he provides the reader with what the cover advertises: a translation of Talhoffer's 15th-century fechtbuch, together with some explanatory notes. The original text is included in an appendix, for those who know medieval Swabian.

Mr. Rector's work will definitely be of use and interest to historical fencers, medieval recreationists, medieval reenactors, stage fencers, martial artists, renaissance faire-goers, and anyone else interested in the subject.

If a Karate-ka writes a book about a kata, only an expert will actually gain much from it. He will recognize the pictures for what they are: refreshers for those who may train every day. This treatise is no different from the much vaunted "Best Karate" by Nakayama, in fact it goes a step further by not covering basic techniques that an entry level martial artist would need, or think they need. This hints at the precept of being a reference manual for very skilled martial artists. You cannot learn a martial art from a book, and this is no exception. But if you are familiar with fighting arts in general this book will show you that organized fighting systems evolved concurrently in Europe and the far east. Here we have "snapshots" taken of certain techniques. Many of the pictures look like they are pulled from the "Bubishi" (so called "bible of karate"). If you are interested in weaponry, buy this book and compare the techniques within to Kendo and fencing. Form follows function, and it is obvious in this book. Enjoy.
If nothing else, it is a fascinaing glimpse into a martial art far more ancient than Shotokan Karate

This book is what got me started learning WMA. I found it at a book store and was initially captivated by the artful illustrations of genuine medieval sword combat. It was like nothing I had ever seen depicted in Hollywood or elsewhere. I was especially baffled by all of the images of fighters holding the sword blade in their bare hands. I took it home to study, with very little success. Even though I poured through the whole book every night for a week, the only technique I was able to 'unlock' was an arm trapping move illustrated in the Messer plates, and that was because the technique had a before and after plate that I could follow. So I put the book down, found myself an actual instructor, and started learning the basics.

I recently opened up 'Medieval Combat' again after roughly six months of training. Now the Longsword techniques illustrated inside are jumping off the pages at me! It's a very exciting feeling.

That being said, only 1/3 of this book actually addresses Longsword combat. The rest of the book deals with a multitude of other medieval combat methods; many of which could be very useful to today's re-enactor, medievalist, WMA practitioner or fight choreographer. Unfortunately, some of the other documented combat methods are so specialized that their use may have truly been lost to antiquity.

There are 270 illustrated plates. 71 of the plates are dedicated to Longsword. Of that, there are only 36 plates that do not include either gripping an opponent's blade, Half-Swording or the `Murder Stroke' technique. (Holding the sword upside down with the blade in both hands so the heavy crossguard acts as a hammer. The technique is meant to crush the opponent's head or catch their sword and disarm them.)

There are 6 plates concerning a Knightly Duel. They illustrate the display of the Knights' banners, equipment and coffins. There are a few interesting illustrations about deflecting a thrown spear with a sword, and finally a re-hashed Murder Stroke technique that was also shown in the Longsword section.

Then there are 23 illustrations for Pole-Axe. Anyone who participates in mass medieval combat re-enactments (SCA etc...) would probably find this section very helpful.

Then we come to the `interesting' part of the book. Talhoffer dedicates 64 plates to the lost medieval practice of Trial by Combat with Dueling Shield. To quote the book...`It is a slightly concave oblong, approximately six-and-a-half feet tall, with a rectangular coffered boss along the longitudinal axis allowing room for the hand to grip a central pole, which is sharply spiked at both ends.' The illustrations are extremely fascinating to look at but very difficult to gain any useful technique from. I imagine that even back in Talhoffer's time most people would not be used to this type of equipment. Trial by Combat did not occur ever day. These plates were meant to help a person stay alive during a very unfamiliar combat situation. It would take a lot of work and study for someone to unlock the skills in these plates.

After the Dueling Shield there are 19 plates concerning technique with the Rondel Dagger; a tapered spike, almost a foot long, which was held with an Ice Pick grip. Although the figures are in plain clothes, the techniques would most likely be used in an armored combat situation.

31 plates are dedicated to Wrestling. I haven't had much experience with Wrestling, but the moves look very similar to the Greco Roman style. I'm willing to bet that a trained modern Wrestler could examine these moves and decipher them with no problem. They may even pick up a few new tricks!

8 illustrations are devoted to the Messer. The Messer was a long knife that nearly all commoners carried with them. It was used as an every day tool but could also function as a formidable weapon. The modern equivalent of a Messer can be found in the Machete.

Next, there are 11 pages concerning Sword and Buckler. There are even a few pages on facing multiple opponents. In these images the person is holding the buckler as well as a dagger in one fist. Un-inspired Hollywood fight choreographers take note!

Talhoffer takes 9 pages of his book to address the bizarre ritual of Trial by Combat between a Man and Woman. To even the playing field the man is equipped with a wooden cudgel and placed in a pit up to his waist. The Woman places a heavy rock in a cloth sash to strangle the man or crush his head. She must either kill her opponent or pull him out of the pit, at which point the man would be executed. Likewise, the man must either dispatch the woman or drag her down into the pit and doom her to execution. If my description of this event sounds absurd, just imagine what the illustrations must look like! It is quite easy to find amusement in this scenario, but the truth is that it was a dead-serious affair. Imagine what it would have been like if a woman was raped and had no male family member who was willing to stand up and defend her honor. It would be her word against her assailant. She would most likely be forced to confront her rapist in a trial to the death. Considering the fact that women were sub-class citizens in Medieval Europe, I find it fascinating that half of Talhoffer's illustrations on this subject show techniques a woman could use to win the fight. Did Talhoffer ever offer his services to prepare a woman for her Trial by Combat?

Finally we have 20 pages devoted to combat while mounted on a horse. Most of the images show two men sword fighting next to each other, although there are a few fascinating plates devoted to how a man on horseback should hold a crossbow to fire back at someone pursuing him and how to prepare for a charging lance attack. It's a pretty sweet technique that includes discharging the crossbow bolt into the charging adversary, deflecting the lance with the arms of the crossbow and then grappling the enemy to the ground as his horse passes by. Again... why hasn't Hollywood borrowed any of these awesome, historically accurate combat techniques to use in their productions?

As I alluded to in the title of this review, I feel that `Medieval Combat' is a book that every WMA enthusiast should eventually get. The reason for my exhaustive explanation of each section was to help a potential customer understand what they are really getting with their purchase. For example, if you are only interested in Longsword combat, you may want to look at some other books first. Since most WMA and SCA organizations outlaw use of the `Mordhau' and have strict limits concerning when and how Half-Swording is allowed in a sparring situation, the amount of immediately applicable Longsword techniques in `Medieval Combat' is actually quite slim. Even so, I would still recommend Medieval Combat as a smart purchase to help expand your WMA library.