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IntroductionAquick investigation of fifteenth century fight books shows in certain books apotpourri of subjects mixing fencing, alchemy, astrology and onomancy. Withoutpretending to be comprehensive, at least four German manuscripts include thismix of subjects. For example, the manuscript ms 3227a de Nuremberg [M14] containsintercalated passages on magic, alchemy, fencing and a treatise on medicine.[1]The manuscript from Talhoffer composed in 1448 [M13] integrates at its end atext of onomancy aiming to choose the appropriate day of the fight according tothe name of one’s opponent in order to facilitate a victorious outcome. Themanuscript of the Erlangen-Nuremberg university library also contains pagesdealing with astrology and probably with onomancy.[2]&#160; Finally, the manuscript Thott.290.2º fromCopenhagen is composed of a military section, an illustrated fencing sectionand finally an astrological treatise.[3] Thisis not specific to German language document since the first sheets of theEnglish manuscript MS Harley 3542 of the British Library [M16] also consist ofan alchemical treatise before a few pages dedicated to fencing.Lookingmore closely at folio 280v from [M11], it contains a small medallion locatedunder a large crowned knight personifying the sun. In this medallion are twowrestlers and a stone thrower in front of an audience. A handwritten noteaccompanies this medallion: "Also thun der Sonnen kindt", “so do thechildren of the sun”.Children of the Sun in their medallion, M11, fol. 280v.Children of the planetsThetheme of the children of the planets is established during the Middle Agesaround an older substrate, deriving from Antiquity and Arab scholars. Thistheme really belongs in the realm of astrology, the planets in question are thestellar bodies visible to the naked eye (Saturn, Jupiter, Mars, the Sun, Venus,Mercury and the moon) which come to influence beings depending on the time of theirbirth, in association with the calendar (zodiac calendar, date in the weeketc). This influence can vary from affecting physical characteristic (big feet,pale complexion), to temperament (angry, melancholic) and to the affinity forparticular trades or activities. An important feature of this theme is thecommon association of text and images, but also a fluctuation in the symbolismattached to each of these planets.Among these fluctuations, a particular tradition associates the Children of the Sun with wrestling and throwing stones. It seems to settle in the first third of the 15th century, when a poem in German associated each sphere with a fairly precise and consistent symbolism. The poem was modified from one document to another, but was essentially supplemented or shortened rather than distorted. In the same way the associated illustrations maintain a great coherence in the symbolism and the depicted activities from one source to another. However, no specific name is attached to this tradition, which nevertheless clearly stands out within the broad theme of the Children of the Planets.[4] Ifwe dwell on the representations of the Children of the Sun in the manuscriptsand incunabula of the fifteenth and sixteenth centuries, it is particularlyastonishing to note the frequent representation of wrestlers, stone throwers,and to a lesser extent acrobats and fencers.[5] Inthis context, the relationship between these activities and the sun is notobvious, at least for the use of weapons for which one would have expected toassociate it with planet Mars. However, this is not the case, but the case ofthe Children of Mars will be discussed later.Thisrepresentation seems to be a direct illustration of the associated poem; thechildren of the sun would naturally be noble, happy and beautiful (“geluglichedeln und feyn”), pious (“vor mytterntag sie dynert gote vil”) but also woulddevote themselves to the throwing of stone, fencing and wrestling (“Dornoch sieleben wy man wil / Steynstoßen schyrmen ringen”).[6] Theseactivities were popular body exercises in Germanic spaces, at least if weassociate them to finds from literary traditions.[7] When,for example, Hans Waldmann’s brother won prizes in crossbow shooting, wrestlingand stone throwing, tests supposed to have taken place in Strasbourg around1460, there is reason to doubt the reality of this episode, or in any case tosee it as the manifestation of exceptional physical aptitudes, in what resemblesinitiation tests.[8]&#160; Some texts complete this list of activitieswith acrobatics and strength exercises (“Der sunnen lewt sint springerstarcklewt, stainwerffer ringer”).[9]&#160; In any case, the expression “sie leben wy manwil” should be understood as an opposition to labour, to work.UB Heidelberg Cod.Pal.Germ.438 fol. 150r [M2], fol. 150r, vers 1445, (CC-BY-SA).UB Heidelberg Cod.Pal.Germ.832 fol. 100 [M10] fol. 100r. In the right it is possible to see the poem mentioning “Stainstossen schirmen ringen” without these activities being represented (CC-BY-SA).[M6] Engraving by Baccio Baldini from 1460, which takes up the symbolism of the German tradition in two series of engravings from 1460 and 1465, Source: gallica.bnf.fr.Theillustrations therefore echo these passages from the poem, representing theChildren of the Sun in their natural activities, alongside a personification ofthe sun, either in the same illustration or in two separate illustrations. Thesun is personified by a man wearing a tiara or a crown, often holding a sceptreand a book, standing or sitting in a cart, and associated with a lion, this onerecalling the sign of the zodiac with which the sun is associated. In thesection concerning the Children of the Sun, there is often a seated crown princeor king who seems to be witnessing various lively and peaceful games. Physicalactivities seem to be a reminder of the training of nobility, but also theexpression of activities to develop beautiful bodies. Close to the crownedprince musicians can often be found, including generally a harpist, as well as peoplepraying in front of an altar, stone throwers, wrestlers, fencers and acrobats.[10]&#160; It is interesting and curious that severalillustrations include a stick carrier appearing to want to use his stick tojump with it but rarely to throw it. Some illustrations also representcrossbowmen or javelin throwers without ever appearing in the texts. Notably,the people represented are almost always men, with only one exception in alldocuments consulted.Fromone illustration to another, not all of these activities are always represented.The table below presents a small inventory of occurrences of the commonlineaments from 12 manuscripts or incunabula consulted relating to this cycle.Legend: X presence of the pattern, X+ wrestlers having weapon on the ground, P presence of the poem, P- only a partial version, P+ poem extended with the mention of acrobats.Theserepresentations of fencers and wrestlers as stereotypes of the children of thesun is a strong symbol, and obviously quite widespread in Germany. Its repetitionin different media (illuminated manuscripts, incunabula, engravings) over morethan a century shows an undeniable permanence and reception by the society ofthe time. They symbolize bodies in movement in what they are beautiful and pleasant,and this certainly for some time: it is thus possible to locate in theManessische Liederhandschrit, an illuminated manuscript from the earlyfourteenth century,&#160; two representationsof swordsmen with sword and buckler and a stone thrower, alongside otheractivities of the court (music, hunting, tournament), showing the properintegration of these practices with those of courtly activities, at least on arepresentational level.[11]Moreover, the association of the sun and gold with healthy activity,cheerfulness, power, pleasure is a shift in values associated more broadly withthe colour yellow. This change took place during in the Middle Ages, leaving onlyto gold the positive symbolic associations of yellow, a colour that essentiallymaintained only the negative symbolic values at the beginning of theRenaissance.[12]Therepresentation is clearly positive, in favour of these practices and we shouldquestion the influence of this symbolism on the thought and mentalities of thetime, particularly to what extent did this positive vision of wrestlers andfencers can have an influence on the production of fight books.Regardingthe representation system, it is possible to note that the wrestlers are allrepresented standing and generally entwined, with arms around the body of theopponent, with the exception of the Splendor Solis where the postures differ:grasping in the hollows arms for the first wrestling couple and seizure of theleg for the other wrestling couple.Fencersare more rarely represented, and when they are, it is usually with two-handedswords, in one case with staves [M9] and another with sword and buckler [M7].In the absence of representation of fencers, weapons are often represented attheir feet, essentially two-handed swords accompanied in a single case withshields [M4]: no dagger, even less armour or horse. The stereotype is clear:the practice of the two-handed sword without armour almost alone symbolizes thefencing of that time, accompanied in a minor way by the stick and the sword andbuckler.Inmany cases, a person holding a stick stands alone, away from the wrestlers.Rather than being interpreted as an acrobat, he can be perceived a singlefencer performing tricks with his stick. In the case of the Italianillustrations [M7 and M8], the stick bearer acts as a referee. On the otherhand, in the Splendor Solis [M12], the meaning may have been lost because thecharacter holds his stick as if he is about to throw it.Curiouslyat the Italian engraver Boldoni’s work [M6], a character seems behind the scenetrying to bend his sword, giving it a curved shape. This depiction may havebeen distorted in the Splendor Solis [M12] where a second couple of fencers areshown behind, holding curved weapons in their hands, in a guard stance similarto those found in fight books.The Children of MarsThetext associated with this planet in [M11] indicates “I thrust, I cut, I hit andfence, hence do also all my heirs ("Ich steche, ich schlahe, ich streitvnd fechte. Also thut auch allern mein geschlechte”). It seems to associate thefighter's values with this planet. But the text of the poem of the cycle of thechildren of the planets differs and shows children of Mars overheated,quarrelsome, angry, thieves, plunderers and quick to war.[13]&#160; And in fact the scenes representing thechildren of Mars are scenes of massacre, destruction, pillage. The separationof the games of wrestling and fencing, linked to the positive values of thesun, and war, at least in this system of values is by no means trivial. It isin itself an answer to the question on the link between fight books and war:German culture of the fifteenth and sixteenth centuries visibly distinguishedbetween fencing and fighting in battle. In fact, in any case according to thevalues translated in the cycle of the Children of the Planets, it is on thecontrary important to keep well separate the arts of war from those ofwrestling or fencing. By further pushing this distinction, it is possible tosay that the first destroys, and the second flourishes. However, it is not sosimple to establish this division because other value systems exist.Other traditions of the Children of the PlanetsItwas mentioned earlier that the specific tradition of the Children of thePlanets which is the subject of this study made up only part of the completecycles dealing with this theme.Germansources thus have other traditions existing at the same time. For example, thems. Thott 290.2° offers a system of values associated with the planets which isfairly close in general terms: the sun makes men well in their bodies, with ablood temperament, that is to say, gay, active, or angry, in all cases, anactive temperament.[14]&#160; This source, however, does not take up thepoem from the main tradition of the children of the planets, nor does it offerany illustration to accompany its text.Amanuscript from Salzburg also offers insights to another tradition, keeping theprinciple of large illustrations filled with symbols. But here the planets areassociated with the ages of life: for instance here the sun is associated withadolescence.[15]&#160; The activities illustrated seem to mainlytake up stereotypes from these ages of life and therefore leave the register ofthe main traditionOutsideGerman spaces, the first large text on the cycle of the Children of the Planetsappears in a work by Christine de Pizan, the epistle of Othea, of which thereare illustrated copies throughout the fifteenth century, in which therepresentation of Children of Planets differs greatly from the main Germantradition. By taking up a manuscript from the very beginning of the century,the sun, or Phebus, sheds light on troubled things and personifies itself inscholars, but absolutely not in the physical games of learning of the nobles.And in parallel, the sons of Mars are depicted in a more positive manner: they areknights accomplished in chivalry that obtain fame and value (“any knight wholoves or follows weapons and make chivalry and renown of value can be calledsons of Mars”).[16]&#160; Note that in this cultural space, it ispossible to find favourable relationships between blood humour and physicalactivity, as in a French text of 1451: blood is inclined by its good comprehensionand its implication in the physical activities (“The blood [...] has a goodsubtle sense and inclination for bodily operations”).[17]Ihave already mentioned the advantage that the discipline of fencing couldderive from such a reputation made for its practice: it is seen in a positive,healthy and favorable way for the bodies and dissociated a priori fromexcessive violence. The dissemination of this thesis, in part thanks to thisastrological tradition, may have contributed to the ultimately late developmentof the Fechtschulen. I do not bring any argument but note in any case that theauspicious period of production of beautiful manuscripts taking up the cycle ofthe Children of the Planets, between 1450 and 1480 corresponds to thebeginnings of these public fencing shows, of which we have not really a tracebefore 1480. These shows would require the authorization of the authorities, butalso the enthusiasm of the public: they could only benefit from a favorableopinion.Possible influences of the Children of the Planets cycle on the world of fencingTheassociation of the sun with fencers probably did not stop at the favourableinfluence in public opinion. It is also possible that the fencers themselves adoptedand integrated this symbolic heritage: the zodiac sign of the lion and thecrown. The first is found associated indirectly with the German fencers in 1487because the first brotherhood of the masters of the sword, created in HolyGerman Empire, chose the patronage of Saint-Mark, symbolized by its wingedlion. The crown is another symbol of the sun is a regularly repeated symbol inthe form of laurel wreath, given to the winner, and taken up in numerousengravings of the sixteenth century, up to the crown surrounding dussacks andrapiers at the frontispiece of the cover page of the book by Joachim Meyerprinted in 1570: on the only upper banner on this page we can distinguish twolaurel wreaths, the crown with swords, and two bushels of arms surmounted byshields and under which two lion heads spit foliage, all symbols related to thesun.Joachim Meyer, Gründtliche Beschreibung der Kunst des Fechtens (Strasbourg: Thiebolt Berger, 1570), frontpiece detail.ConclusionThe estimated influence of concepts from astrology in German Renaissance culture has not been addressed in depth in this present article. However, it is impressive to observe what is now called martial arts and physical activities appear as allegories of children of the sun and thereby represent physical activities favourable to the body. Likewise it is important to note the consistency with which the sons of Mars are devalued, quarrelsome, and go to war.Itwould be interesting to investigate how this tradition spread in Europe. Theexamples already show at least two important Italian sources [M6 and M7] whichshare the same symbolism but without the written tradition. It is clear in any casethat this symbolism was widely picked up from the second half of the sixteenthcentury by Dutch art, both in engravings and tapestries.[18] Itwould be interesting for future studies to focus closely to the parallels inthe form of alchemical discourse and compare it with that of fight books. Thiswill be the subject of a second article.BibliographyManuscripts and primary sources[M1] Heidelberg ms. Cod. Pal. germ. 438, about 1440,fol. 149v-150r &#60;https://doi.org/10.11588/diglit.236&#62;[M2] Berlin Staatsbilbiothek ms. germ. fol. 244, fols. 181r-183v,about 1445, &#60;http://digital.staatsbibliothek-berlin.de/werkansicht/?PPN=PPN785884734&#62;[M3] Kassel, University Library, 2° Ms. astron. 1,about 1445, fols. 69r-70r, &#60;https://orka.bibliothek.uni-kassel.de/viewer/image/1300793634809/142/&#62;[M4] Zurich, Central library, Ms. C 101, fol. 11v, about 1453-70, &#60;10.5076/e-codices-zbz-C0101&#62;[M5] Munich, BSB Cgm 312, vers 1450-1473, fols. 54v-55r,&#60;http://mdz-nbn-resolving.de/urn:nbn:de:bvb:12-bsb00093677-8&#62;[M9] Mittelalterisches Hausbuch, Schloss Wolffegg, about1480, &#60;https://de.wikisource.org/wiki/Mittelalterliches_Hausbuch&#62;[M6] Baldini engraving from 1460, &#60;https://gallica.bnf.fr/ark:/12148/btv1b10022694r&#62;[M7] Este, University Library, alfa.x.2.14, Sphaeraecoelestis et planetarum descriptio, about 1460-70, &#60;http://bibliotecaestense.beniculturali.it/info/img/mss/i-mo-beu-alfa.x.2.14.pdf&#62;[M8] Munich BSB Clm 4394, about 1477, fol. 69r &#60;http://mdz-nbn-resolving.de/urn:nbn:de:bvb:12-bsb00110794-5&#62;[M10] Heidelberg, University Library, Cod. Pal. Germ832, about 1491, &#60;https://digi.ub.uni-heidelberg.de/diglit/cpg832&#62;[M11] Erlangen-Nuremberg MS.B 26 University Library, fol.280v, &#60;https://nbn-resolving.org/urn:nbn:de:bvb:29-bv040674061-7&#62;[M12] Berlin Kupferstichkabinett, Nr.&#160;78 D 3, 1532.[M13] Erfurt/Gotha, University Library, ms.Chart.A.558.&#60;https://nbn-resolving.org/urn:nbn:de:urmel-d010e5c0-48e3-4c36-afdb-ee09b55d647d6&#62;[M14] Nuremberg Ms 3227a,&#60;http://dlib.gnm.de/item/Hs3227a/1&#62;[M15] Copenhagen, Royal Library, ms. Thott.290.2º,&#60;http://www.kb.dk/manus/vmanus/2011/dec/ha/object23662/da/&#62;[M16] London, British Library, MS Harley 3542&#60;http://searcharchives.bl.uk/primo_library/libweb/action/dlDisplay.do?docId=IAMS040-002049374&#38;fn=permalink&#38;vid=IAMS_VU2&#62;[M17] UB Salzburg MIII36 &#60;http://www.ubs.sbg.ac.at/sosa/handschriften/MIII36.htm&#62;[M18] UB Heidelberg Cod Pal. Germ.848, &#60;https://doi.org/10.11588/diglit.2222&#62;[M19] BNF fr. 606, &#60;https://gallica.bnf.fr/ark:/12148/btv1b52000943c&#62;Secondary sourcesBlume Dieter, ‘Children of the Planets: thePopularization of Astrology in the 15th Century’, in Micrologus. Natura, scienze e società medievali. Nature, Sciencesand Medieval Societies. Rivista della Società Internazionale per lo Studio delMedio Evo Latino, vol. 12 (2004), pp. 549-84.Ciboule Robert, ‘Le Livre de saincte meditacion encongnoissance de soy, ed. by André Combes’, in Archives d'histoire doctrinale et littéraire du moyen âge, vol. 8(1933), pp. 176-224.Füssli Hans Heinrich, Johann Waldmann, Ritter,Bürgermeister der Stadt Zürich (Zurich: Orell, Gessner, Füssli et al.1780).Klingner Annett, Die Macht der Sterne. Planetenkinder:ein astrologisches Bildmotiv in Spätmittelalter und Renaissance,&#160; Dissertation zur Erlangung des akademischenGrades doctor philosophiae, Humbolt Universtity of Berlin, 2017. &#60;https://edoc.hu-berlin.de/bitstream/handle/18452/19957/dissertation_klingner_annett.pdf&#62;Kotelmann Ludwig, Gesundheitspflege im Mittelalter.Kulturgeschichtliche Studien nach Predigten des 13., 14. und 15. Jahrhunderts(Salzwasser Verlag, 1890).Pastoureau Michel, Jaune,histoire d’une couleur (Paris&#160;: Seuil, 2019).Schmitz-von Ledebur Katja, Die Planeten und ihre Kinder. Eine Brüsseler Tapisserienserie des 16.Jahrhunderts aus der Sammlung Herzog Albrechts V. in München (Turnhout:Brepols, 2009).[1] To ease of reading, each manuscript or incunabula is referenced byan Mxx-type code referring to its full description in the bibliography.[2] M11, fols. 280r-82v and fols. 283r-84v.[3] M15, fols. 140r-50v.[4] BlumeDieter, Children of the Planets. Klingner, Die Macht der Sterne, especially pp. 55-56.[5] The article«&#160;The Rose and the Pentagram&#160;» from Roger Norling does not dealdirectly with the subject of the Children of the Planets, but offers a largenumber of illustrations of the Children of the Sun from the studied tradition,enough to give you a good overview: https://hroarr.com/article/the-rose-and-the-pentagram/[6] Complete text in Klingner, p. 298.[7] Kotelmann, Gesundheitspflege im Mittelalter, pp.184-85.[8] Füssli, Johann Waldmann, pp. 2-3.[9] Klingner, p. 310.[10] Klingner, Die Macht der Sterne, pp. 22, 130 and192-228.[11] M18, fols.115r, 190v and 204r.[12] Pastoureau, Jaune, pp. 38-45 and 84-109.[13] Klingner, Die Macht der Sterne, p. 21.[14] M15, fols.145v-146r.[15] M17, fols.236r-239r.[16] M19, fols. 7v-7r.[17] Ciboule, Le livre de saincte meditacion, p. 218.[18] For theengravings, see Klingner, Die Macht derSterne, pp. 219-26. For the tapestry see Schmitz-von Ledebur, Die Planeten und ihre Kinder.[cite]