A deed done over and over again: two dynasties after Amenhotep, Ramses III smites the Libyans (from The Epigraphic Survey (eds.), Medinet Habu, Volume 1: Earlier Historical Records of Ramses III. Oriental Institute Publications 8. Plate 18 c/o the generous Oriental Institute https://oi.uchicago.edu/research/publications/oriental-institute-publications-oip )
While I do not think that many Bronze Age or Classical bows were as powerful as the longbows from the Mary Rose or the hornbows from the Tokapi Palace, I can think of one or two exceptions. Today I would like to give one which I recently stumbled over while reviewing an article by Pierre Briant. As often happens, reading this passage again revealed something which I had not remembered.
The Great Sphinx Stele tells the following story of Pharaoh Amenhotep II of the New Kingdom:
He also came to do the following … Entering his northern garden, he found erected for him four targets of Asiatic copper, of one palm in thickness, with a distance of twenty cubits between one post and the next. Then his Majesty appeared on the chariot like Mont in his might (aka. Montu, a warlike god). He drew his bow while holding four arrows together in his fist. Then he rode northward shooting at them, like Mont in his panoply, each arrow coming out of the back of its target while he attacked the next post. It was a deed never yet done, never yet heard reported: shooting an arrow at a target of copper, so that it came out of it and dropped to the ground.
Andrea M. Gnirs, “Ancient Egypt,” in Kurt Raaflaub and Nathan Rosenstein eds., War and Society in the Ancient and Medieval Worlds (Cambridge MA, 1999) p. 84 citing the Great Sphinx Stele of Amenhotep II in Miriam Lichtheim, Ancient Egyptian Literature: A Book of Readings. Volume 2. Berkeley and Los Angeles: University of California Press, 1976) pp. 41, 42.
Tobias Capwell, The Real Fighting Stuff: Arms and Armour at the Glasgow Museums (Glasgow City Council: Glasgow, 2007) ISBN 978-0-902752-82-5
Dr. Tobias “Toby” Capwell, jouster and curator with a PhD in fifteenth-century armour, is taking preorders for his forthcoming book on knightly armour in late medieval England. In honour of that, I thought I would post on the only one of his publications which I have been able to read, a book for beginners on arms and armour at the Glasgow museums.
A student reading in his room, as painted in Paris circa 1420. British Library Royal MS 20 B XX. Cropped from an image in the Catalogue of Illuminated Manuscripts which has been released under a Creative Commons CCO 1.0 Universal Public Domain Dedication.
One of my academic interests is knightly combat in late medieval Europe as described in four manuscripts by Fiore dei Liberi dating to the beginning of the fifteenth century. Fiore’s works, and those of his contemporaries in more northerly lands, give us a unique chance to understand how the weapons and armour racked in museums were meant to be used. They at the very least give anyone interested in how ancient people fought food for thought.
This series of posts is inspired by the Greek scholar Plutarch, who wrote an antiquarian essay asking why the Romans practiced some curious customs. Plutarch was wise enough to give questions not answers, and that will be my policy in these posts as well.
Fiore’s teachings have a clear philosophy of combat and a clear structure, with longer sections which teach the core of the art and shorter sections which develop a single principle in detail, add some techniques which are useful for a particular weapon, or just demonstrate that his art can be used with whatever tools are to hand. He provides adequate instruction on unarmed combat, although enthusiasts sometimes complain that he does not address wrestling on the ground and that his stances are not very good for standing and exchanging kicks and punches. He provides very thorough instruction on fighting with a weapon in one hand and with short or long weapons in both hands. But he has very little advice on fighting with two weapons such as sword and buckler or lance and shield. Why not?
My library lacks photos of east Roman archers, but they and the Avars influenced peoples in western Europe, so how about this ninth-century picture from folio 32v of the Stuttgart Psalter in the Württembergische Landesbibliothek http://digital.wlb-stuttgart.de/purl/bsz307047059
In the fifth and sixth centuries CE, the Greek-speaking Romans systematically copied the military methods of the Huns and Avars who were ravaging Europe. One effect of this was that Roman soldiers and scholars began to write treatises on archery, and when Arabs and Turks conquered their lands they also adopted the practice of writing about archery. Because a certain YouTube video by a trick shooter (to which I will only link indirectly) has been making the rounds, I thought that it would be a good idea to post a passage from the only one of these treatises which I have to hand. This is the Strategikon of the Emperor Maurice, written within a decade or so of the year 600 (I quote from page 11 of G.T. Dennis’ translation).
The library of Stift Wilten, Innsbruck, in October 2014 I have been blogging for a year and a third now, and I seem to have about twenty weekly readers. I have more or less kept my plans to post once a week on something loosely related to the ancient world and the martial side of... Continue reading: What Would You Like to Read This Year?
On the Internet as in a cavalry fight, there are too many things flashing in front of your face. Unknown painting of an incident in the Thirty Years’ War, Heeresgeschichtliche Museum, Wien. A village in France has preserved the bedroom of a young officer who died in the First World War Wardle, Higham, and Kromer,... Continue reading: Link Dump
A good many historians have complained to their readers that their predecessors were DOING IT WRONG. Few of them have done so with the sonorous rhetoric with which Scipione Ammirato in the sixteenth century dismissed Machiavelli’s History of Florence: In sum he mistakes the years, changes the names, alters the facts, confounds the causes, expands,... Continue reading: The Academic Dis, Sixteenth-Century Style
A student reading in his room, as painted in Paris circa 1420. British Library Royal MS 20 B XX. Cropped from an image in the Catalogue of Illuminated Manuscripts which has been released under a Creative Commons CCO 1.0 Universal Public Domain Dedication.
One of my academic interests is knightly combat in late medieval Europe as described in four manuscripts by Fiore dei Liberi dating to the beginning of the fifteenth century. Fiore’s works, and those of his contemporaries in more northerly lands, give us a unique chance to understand how the weapons and armour racked in museums were meant to be used. They at the very least give anyone interested in how ancient people fought food for thought.This series of posts is inspired by the Greek scholar Plutarch, who wrote an antiquarian essay asking why the Romans practiced some curious customs. Plutarch was wise enough to give questions not answers, and that will be my policy in these posts as well.
Blows, steps, and guards make up the vocabulary of an early European martial art. While Fiore describes these things more clearly than his contemporaries did, his words still leave some ambiguity.
Guy Windsor, Mastering the Art of Arms, Volume 2: The Medieval Longsword (School of European Swordsmanship: Helsinki, 2014) (link to author’s online store)
Sometimes reviewers are tempted to review the book which they wish was sitting in front of them, rather than the book which actually is there. This is not a discussion of possible interpretations, their strengths and weaknesses, and why the author prefers the one which he does. Instead, it is an experienced teacher’s best attempt to teach Fiore’s art to people today from scratch, and it does that very well if somewhat narrowly.
A student reading in his room, as painted in Paris circa 1420. British Library Royal MS 20 B XX. Cropped from an image in the Catalogue of Illuminated Manuscripts which has been released under a Creative Commons CCO 1.0 Universal Public Domain Dedication.
One of my academic interests is knightly combat in late medieval Europe as described in four manuscripts by Fiore dei Liberi dating to the beginning of the fifteenth century. Fiore’s works, and those of his contemporaries in more northerly lands, give us a unique chance to understand how the weapons and armour racked in museums were meant to be used. They at the very least give anyone interested in how ancient people fought food for thought.
This series of posts is inspired by the Greek scholar Plutarch, who wrote an antiquarian essay asking why the Romans practiced some curious customs. Plutarch was wise enough to give questions not answers, and that will be my policy in these posts as well.
One of the most common verbs in Fiore’s works is “to enter” (Italian entrare or intrare). Translators often translate the Italian word with its English cognate, but I have never felt that I understand every use. Tom Leoni speaks of three types of expression which a translator must handle: those which are purely technical, those which are part of ordinary speech, and those which have both a common meaning and a technical one. Phrases like “to enter into the zogho stretto” fall into his third category, the most difficult to translate. Fiore also wrote in verse, and poetry usually allows a wider range of words, meanings, and expressions than prose. Being away from my books, I have used Wiktenauer to compile some examples of usage:
