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MSCR. Dresden. 487: "I Nitt globß"

The signature of the fencing master Sigmund Ringeck MSCR. Dresden. C 487 , early on the 16th Century, dated Lichtenauer teachings contains the long sword and to fight and horse fencing, more pieces to the long sword, a sword and buckler teaching (presumably from Legnica) and a very large rings part.

find in these many pieces of the rings, a location that is particularly noteworthy because the employee payroll clerk thought his surprise or dismay at the technique to express brings, by (directly into the text) to the end of the piece with ink, the words "I globß Nitt writes.

MSCR. Dresden. 487, 67v, Saxon State and University Library, and the words "I Nitt globß" at the end of the piece goes on and painted over

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parallels between fencing and dancing from sources of the late 16th Century

in his essay "Parallels between fencing and dancing in late sixteenth century treatises "to the question of the similarities between the fencing and dancing in the late 16th Century exist.

He distinguishes his essay for three areas in which Overlap between the fencing and dancing seem possible. For the first, these are shared technical terms, the second general movement styles or other styles that appear in both arts and are characteristic of a particular culture or nation, and third generally accepted rules and methods for describing movements.

Some of the results of the article will be presented briefly below.
seem
First fencing and dancing in principle to have much in common. Both are very demanding, and motor demand from practitioners especially at the beginning unusual and sometimes unnatural movements, the first with the progress Mastery of the relevant art to be understood and perfected. Properties as the feeling of the correct distance and timing, body balance and skill required of both arts equally.

There are also examples of this was a fencing also a dance teacher. Giovanni Ambrosio Valcheria, a Milanese, briefed the son of the Count of Savoy in both disciplines, and Giovanni Battista Varade also led Milan to a school for fencing and dancing in Milan and Rome. Of the two, but there are no written records.

If one looks at the sources this time, there are explicit similarities rather rare, but some clues arise yet. Similarities in the terminology found in the footfall of the double-step ("zwifache trit", the fencing master Joachim Meyer), who also dancers of that time was familiar, and in the principle of contra tempo (the fencing teacher Fabris and others and the dance teacher Negri). A common teaching aspect is the description of figures and movements and resulting sequences at Di Grassi, the Negri and Caroso in similar form for dance use. The fencing master Henry de Sainct Didier uses numbered footfall in his books to describe processes. This form is, however, there shall in no dance book of this period (until the 19th century) and very sparsely in only a few English sources. A total contrast is the case with the illustrated many books, fencing and dance floors of fencing and dance halls. This shows in both cases, an area of floor tiles in perspective (sometimes plain, sometimes embellished way of ornament). This type of representation was likely to orientation and classification of movements.

In conclusion: A very important training for dance teachers Caroso is in his work when he points to the different shapes, like the sword dancing is to be worn properly.

the full article "Parallel between fencing and dancing in the late sixteenth century treatises "(pdf) read

Brazilian: Charlotte Nc

From the memories of Louise Seidler: a look at a fencing hall

Caroline Louise Seidler was a German painter. She came on May 15, 1786 in Jena, the daughter of University equerry Seidel to the world. your teacher for painting Frederick Doell (Gotha), were Jacob Wilhelm Roux (Jena, incidentally, son of the Jena fencing master Heinrich Friedrich Roux)., Gerhard von Kügelgen (Dresden) and Johann Peter and Robert Langer (Munich) traveled to Italy and lived after her return in 1823 as court painter and art teacher until her death in 1866 in Weimar.

from their memoirs, we get the same out on one of the first pages a quick look at a fencing hall in the last decade 18th Century. She describes how she moved to domestic discord in her fifth year at the instigation of the mother to her grandmother. This falls short time later in financial trouble and needs help from the Duchess Anna Amalia, who is the grandmother and the young Louise Seidler accommodation in a former monastery.

"In this building were connected with my earliest memories [...] The dark, mysterious exterior of our antique monastery always pulled me in particular, not less remarkable for my children's mind was who he was. Long corridors connected the rooms, which led to her grandmother even a stone spiral staircase!

This monastery also houses a fencing hall, Louise Seidler gets occasionally seen.

"from the plaster room this serious, very dignified and formal woman (meaning grandmother, author's note) I was using a Schiebefensterchens the view into a wide hall, which served the students to the fencing floor. The walls of it were decorated with large portraits of old, long-lost rotten men in costume;. it was the portraits of former academic fencing master stiff they looked down on the noisy bustle of a younger generation to their feet, which blithely thirds and fourths, or encountered a wooden horse vaulting, which stood in the middle of the room. "

is on the same fencing at other times, she recalls, from students Schiller's" Robbers "listed.

From:
Goethe painter: the memoirs of Louise Seidler. Edited by Sylke merchant. Aufbau Taschenbuch Verlag, 2003.

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Johann Andreas Schmidt - a fencing master of the early 18th Century

Johann Andreas Schmidt in his fencing hall in Nuremberg 1713th In the background, students can practice fencing, vaulting and wrestling. From: "body-Beshir Mende and foes defiance bidder fencing art", 8 Art.lib.III, 76, Thuringian University and State Library

Johann Andreas Schmidt was a fencing master of the early 18th Century. The art of fencing, he should have learned, among other things to break in Johann Georg Amsterdamm . Later he taught himself then as a fencing master in Nuremberg, then in Hildburghausen, in Bayreuth, again in Nuremberg, Stuttgart and finally in Tübingen, where he also died.

In Nuremberg, he was as free by the city of Nuremberg ordered fencing and retreat master his lessons. He taught there, the citizens and patricians, and their sons in the art of fencing. He also had some barons, who were traveling for a time in Nuremberg, to its customers. During his tenure at Bayreuth in 1721 he was master of fencing margravial pages at the court of Georg Wilhelm von Brandenburg-Bayreuth. About his teaching activities in the former residence of Hildburghausen as well as his employment in Stuttgart (1728 or 1729) and in the university town of Tübingen is no more than the aforementioned known.

Johann Andreas Schmidt's major work is a book about the fencing to edge and blow, and the vaulting and wrestling. It is titled "Body-Beshir Mende and foes defiance bidder fencing art; Or challenge to light and accurate statement on impact and cutting neatly and safely; addition to a Curieuse lessons from vaulting gestellet rings and / Clearly and thoroughly described and / Darzu associated with clean / subscribed to the action / Kupffer in the light. " 1713 the book in Nuremberg by Johann Christoph Weigel was moved. At least six times since it was launched again in 1780 on two occasions (in Nuremberg and Leipzig).

The Nuremberg scholar-Lexicon (Part 7) provides us with some anecdotes from the life of Johann Andreas Schmidt.

In 1712 he reportedly because of a bet by 10 ducats six strong farmers from a pub in Hagenhausen (a district of Altdorf, near Nuremberg) thrashed out. That he is armed only been with a stick.

was also rumored to him that if he struck with the knuckles of his fist on an oak table, it lagged behind the ankle imprints of his own.

The last story is about his attitude as a page fencing master in Bayreuth in 1721. The Frankish Principality of Bayreuth was ruled at the time of Georg Wilhelm von Brandenburg-Bayreuth (1678-1726). That had participated in the English war, and returned from the ravaged (critically injured in the battle of Landau) and decorated using high (three-time Field Marshal in Franconia, Poland and the Reich) back. In his home throughout his Bayreuth promoted Georg Wilhelm Life a variety of construction activities. So he did during his reign the suburb of St. Georgen, build the castles of Emperor hammer and Their Garden, the Hermitage and Chateau Neustädtlein. In that Georg Wilhelm von Brandenburg-Bayreuth, who was also a war veteran and patron of the arts, Johann Andreas Schmidt fought in 1721 in the vestibule of the royal hall to the sample with two fencing masters and disarmed in the fighting each of the two several times by Ligaden. Then he got from the enthusiastic Marquis immediately replace fencing master as a page with a salary of 1,000 guilders.

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A new beginning

I come here today to share with you something, which this year has started for me.

had 3 years ago I painted in the study of the zodiac and the 12 holy nights, a picture which I had later here set.

Actually I had this morning only planned to draw an animal circle of virtues as specified in Robert Powell in ' Cosmic Dance of the Zodiac .

But after I finished, had seemed like the whole thing still empty, still not quite finished, yet extensible, so I have the picture from 3 years ago there are now added in a changed form.

And now the whole thing looks like this:



This image can now be much more present and available than it was in the first.
Unfortunately, you can see the qualities in the individual zodiac signs here in the photo
.

only once as an example of the assignments of the five-star:

Aries: Devotion (right foot) but not exaggerated as subservience (left hand)
with
confidence (left foot ) but not exaggerated as arrogance (right hand)
will
sacrifice power. then

When I wanted to look in "flower of life" Part 2, I construct the eye may be correct and not just draw, I found this:



(Source: " Flower of Life "Part 2, S.300) shows

it as akurrat the Pyramids of Giza, along with the now destroyed Giza complex located on a spiral. This spiral there that has its origin not in the center of the zodiac. In this respect I'm still not arrived, then, and the journey can always go further.

also Originally there has yet to be another exactly opposite spiral that led out into the desert.

Another picture, on which will be shown a way how the "male" and "female" are spiral unite, which provided Volume 1 of "Flower of Life" .



(Source: "Flower of Life" Part 1, p. 223)


it for today.
all I have not currently express.