The Art of War in the Middle Ages A.D. 378-1515 — John Shaqi
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
If the minor operations of war were badly understood, strategy--the
higher branch of the military art--was absolutely non-existent. An
invading army moved into hostile territory, not in order to strike at
some great strategical point, but merely to burn and harry the land. As
no organized commissariat existed, the resources of even the richest
districts were soon exhausted, and the invader moved off in search of
subsistence, rather than for any higher aim. It is only towards the end
of the period with which we are dealing that any traces of systematic
arrangements for the provisioning of an army are found. Even these
were for the most part the results of sheer necessity: in attacking a
poor and uncultivated territory, like Wales or Scotland, the English
kings found that they could not live on the country, and were compelled
to take measures to keep their troops from starvation. But a French
or German army, when it entered Flanders or Lombardy, or an English
force in France, trusted, as all facts unite to demonstrate, for its
maintenance to its power of plundering the invaded district[63].
Great battles were, on the whole, infrequent: a fact which appears
strange, when the long-continued wars of the period are taken into
consideration. Whole years of hostilities produced only a few partial
skirmishes: compared with modern campaigns, the general engagements
were incredibly few. Frederick the Great or Napoleon I. fought more
battles in one year than a mediæval commander in ten. The fact would
appear to be that the opposing armies, being guided by no very definite
aims, and invariably neglecting to keep touch of each other by means
of outposts and vedettes, might often miss each other altogether.
When they met it was usually from the existence of some topographical
necessity, of an old Roman road, or a ford or bridge on which all
routes converged. Nothing could show the primitive state of the
military art better than the fact that generals solemnly sent and
accepted challenges to meet in battle at a given place and on a given
day. Without such precautions there was apparently a danger lest the
armies should lose sight of each other, and stray away in different
directions. When maps were non-existent, and geographical knowledge
both scanty and inaccurate, this was no inconceivable event. Even when
two forces were actually in presence, it sometimes required more skill
than the commanders owned to bring on a battle. Bela of Hungary and
Ottokar of Bohemia were in arms in 1252, and both were equally bent on
fighting; but when they sighted each other it was only to find that the
River March was between them. To pass a stream in face of an enemy was
a task far beyond the ability of a thirteenth-century general[64]--
as St. Louis had found, two years earlier, on the banks of the
Achmoum Canal. Accordingly it was reckoned nothing strange when the
Bohemian courteously invited his adversary either to cross the March
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