The Art of War in the Middle Ages A.D. 378-1515Oman, Charles
History
The Art of War in the Middle Ages A.D. 378-1515
Oman, Charles
Military art and science -- History -- Medieval, 500-1500; Military history, Medieval
It is fortunate that the general characteristics of the period render
its military history comparatively simple. Of strategy there could be
little in an age when men strove to win their ends by hard fighting
rather than by skilful operations or the utilizing of extraneous
advantages. Tactics were stereotyped by the national organizations of
the various peoples. The true interest of the centuries of the early
Middle Ages lies in the gradual evolution of new forms of warlike
efficiency, which end in the establishment of a military class as
the chief factor in war, and the decay among most peoples of the
old system which made the tribe arrayed in arms the normal fighting
force. Intimately connected with this change was an alteration in
arms and equipment, which transformed the outward appearance of war
in a manner not less complete. This period of transition may be
considered to end when, in the eleventh century, the feudal cavalier
established his superiority over all the descriptions of troops which
were pitted against him, from the Magyar horse-archers of the East to
the Anglo-Danish axe-men of the West. The fight of Hastings, the last
attempt made for three centuries by infantry to withstand cavalry,
serves to mark the termination of the epoch.
The Teutonic nation of North-Western Europe did not--like the Goths
and Lombards--owe their victories to the strength of their mail-clad
cavalry. The Franks and Saxons of the sixth and seventh centuries were
still infantry. It would appear that the moors of North Germany and
Schleswig, and the heaths and marshes of Belgium, were less favourable
to the growth of cavalry than the steppes of the Ukraine or the
plains of the Danube valley. The Frank, as pictured to us by Sidonius
Apollinaris, Procopius, and Agathias, still bore a considerable
resemblance to his Sigambrian ancestors. Like them he was destitute of
helmet and body-armour; his shield, however, had become a much more
effective defence than the wicker framework of the first century: it
was a solid oval with a large iron boss and rim. The ‘framea’ had now
been superseded by the ‘angon’--‘a dart neither very long nor very
short, which can be used against the enemy either by grasping it as a
pike or hurling it[16].’ The iron of its head extended far down the
shaft; at its ‘neck’ were two barbs, which made its extraction from a
wound or a pierced shield almost impossible. The ‘francisca,’ however,
was the great weapon of the people from whom it derived its name.
It was a single-bladed battle-axe[17], with a heavy head composed
of a long blade curved on its outer face and deeply hollowed in the
interior. It was carefully weighted, so that it could be used, like an
American tomahawk, for hurling at the enemy. The skill with which the
Franks discharged this weapon, just before closing with the hostile
line, was extraordinary, and its effectiveness made it their favourite
arm. A sword and dagger (’scramasax’) completed the normal equipment of
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