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 Swiss, however, paid no attention to these changes; the world
around them might alter, but they would hold fast to the tactics of
their ancestors. At first, indeed, their arms were still crowned with
success: they were seen in Italy, as in more northern lands, to ‘march
with ten or fifteen thousand pikemen against any number of horse, and
to win a general opinion of their excellence from the many remarkable
services they performed[95].’ They enjoyed for a time supreme
importance, and left their mark on the military history of every nation
of central and southern Europe. But it was impossible that a single
stereotyped tactical method, applied by men destitute of any broad and
scientific knowledge of the art of war, should continue to assert an
undisputed ascendancy. The victories of the Swiss set every officer of
capacity and versatile talent searching for an efficient way of dealing
with the onset of the phalanx. Such a search was rendered comparatively
easy by the fact that the old feudal cavalry and the worthless mediæval
infantry were being rapidly replaced by disciplined troops, men capable
of keeping cool and collected even before the desperate rush of the
Confederate pikemen. The standing army of Charles of Burgundy had been
rendered inefficient by its want of homogeneity and cohesion, as well
as by the bad generalship of its leader. The standing armies which
fought in Italy thirty years later were very different bodies. Although
still raised from among various nations, they were united by the bonds
of old comradeship, of _esprit de corps_, of professional pride, or
of confidence in some favourite general. The Swiss had therefore to
face troops of a far higher military value than they had ever before
encountered.
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