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The Art of War in the Middle Ages

Charles Oman

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The Art of War in the Middle Ages | Charles Oman

The Art of War in the Middle Ages

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licit in declaring that the local commanders ‘are to be careful that the men whom they have to lead to battle are fully equipped: that is, that they possess spear, shield, helm, mail-shirt (‘brunia’), a bow, two bow-strings, and twelve arrows20.’ The Franks had therefore become heavy infantry at the end of the eighth century: in the ninth century they were finally to19 abandon their old tactics, and to entrust all important operations to their cavalry.

This transformation may be said to date from the law of Charles the Bald, providing ‘ut pagenses Franci qui caballos habent, aut habere possunt, cum suis comitibus in hostem pergant.’ Whether merely ratifying an existing state of things, or instituting a new one, this order is eminently characteristic of the period, in which the defence of the country was falling into the hands of its cavalry force alone. Of the causes which led to this consummation the most important was the character of the enemies with whom the Franks had to contend in the ninth and tenth centuries. The Northman in the Western kingdom, the Magyar in the Eastern, were marauders bent on plunder alone, and owing their success to the rapidity of their movements. The hosts of the Vikings were in the habit of seizing horses in the country which they invaded, and then rode up and down the length of the land, always distancing the slowly-moving local levies. The Hungarian horse-archers conducted forays into the heart of Germany, yet succeeded in evading pursuit. For the repression of such inroads infantry was absolutely useless; like the Romans of the fourth century, the Franks, when obliged to stand upon the defensive, had to rely upon their cavalry.

This crisis in the military history of Europe coincided

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