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
The front line consists of three ‘banda,’ each drawn up in a line
seven (or occasionally five) deep. These troops are to receive the
first shock. Behind the first line is arranged a second, consisting of
four half-banda, each drawn up ten (or occasionally eight) deep. They
are placed not directly behind the front bands, but in the intervals
between them, so that, if the first line is repulsed, they may fall
back, not on to their comrades, but into the spaces between them.
To produce, however, an impression of solidity in the second line,
a single bandon is divided into three parts, and its men drawn up,
two deep, in the spaces between the four half-banda. These troops,
on seeing the men of the first line beaten back and falling into the
intervals of the second line, are directed to wheel to the rear, and
form a support behind the centre of the array. The main reserve,
however, consists of two half-banda, posted on the flanks of the
second line, but considerably to the rear. It is in line with these
that the retiring bandon, of which we have just spoken, would array
itself. To each flank of the main body was attached a half-bandon, of
225 men; these were called πλαγιοφύλακες {plagiophylakes}, and were
entrusted with the duty of resisting attempts to turn the flanks of the
‘turma.’ Still further out, and if possible under cover, were placed
two other bodies of similar strength; it was their duty to endeavour
to get into the enemy’s rear, or at any rate to disturb his wings by
unexpected assaults: these troops were called Ἔνεδροι {Enedroi}, or
‘lyers-in-wait.’ The commander’s position was normally in the centre of
the second line, where he would be able to obtain a better general idea
of the fight, than if he at once threw himself into the _melée_ at the
head of the foremost squadrons.
This order of battle is deserving of all praise. It provides for that
succession of shocks which is the key to victory in a cavalry combat;
as many as five different attacks would be made on the enemy before all
the impetus of the Byzantine force had been exhausted. The arrangement
of the second line behind the intervals of the first, obviated the
possibility of the whole force being disordered by the repulse of the
first squadrons. The routed troops would have behind them a clear space
in which to rally, not a close line into which they would carry their
disarray. Finally, the charge of the reserve and the detached troops
would be made not on the enemy’s centre, which would be covered by the
remains of the first and second lines, but on to his flank, his most
uncovered and vulnerable point.
Public-domain text, read in full here on John Shaqi.
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