SONGHAMMER - Death Is On The Way

Adventures in the key of awesome.

The Templar Grand Masters For Templar Tuesday

The Templar Grand Masters

Overview and entourage

Within the Templar hierarchy, the Grand Master was absolute ruler of the Order and answerable only to the pope. Although his position was a powerful one, he was still obliged to live by the same Rule of Order that those under him swore to obey. However, the Rule did grant him a fairly extensive entourage:

4 horses
1 Chaplain Brother
1 clerk with 3 horses
1 Sergeant Brother with 2 horses
1 gentleman valet with 1 horse
1 farrier
1 Saracen scribe
1 turcopole
1 cook
2 foot soldiers
1 turcoman
2 knight brothers as companions
Source: The Rule of the Templars Upton Ward p. 39

Base of Operations

From the Order’s foundation in 1119/1120 until the fall of Jerusalem the Grand Master was headquartered in Jerusalem. From 1191 until 1291, he was stationed at Acre and after the loss of the port city in 1291 was stationed on the Island of Cyprus.

List of Grand Masters From 1118 – 1314

While historians generally agree on the names of the men who led the Order over its nearly 200 years of existence, there is considerable disagreement in the dates that some individual Grand Masters held their post. The list below has been compiled from the works of Malcolm Barber.

Hugues de Payens 1119-1136Robert de Craon 1136-1149
Everard des Barres 1149-1152
Bernard de Tremeley 1153-1153
Andrew de Montbard 1154-1156
Bertrand de Blancfort 1156-1159
Philip de Milly (Nablus) 1169-1171
Odo de St Amand 1171-1179
Arnold de Torroja 1181-1184
Gerard de Ridefort 1185-1189
Robert de Sable 1191-1192/3
Gilbert Erail 1194-1200
Philip de Plessis 1201-1209
William de Chartres 1210-1218/9
Peter de Montaigu 1219-1230/2
Armand de Perigord 1232-1244/6
Richard de Bures Not Listed
William de Sonnac 1247-1250 1247-1250
Reginald de Vichiers 1250-1256 1250-1256
Thomas Berard 1256-1273 1256-1273
William de Beaujeu 1273-1291
Theobald Gaudin 1291-1292/3
Jacques de Molay 1293-1314

New type of woodland houses

New style of elvish homes or Druid enclave.

Swordfighting

Sword-fighting: Not What You Think It Is

To borrow a famous line, the problem with most people trying to understanding the true nature of historical sword combat is not that they're ignorant — it's just that they know so much that isn't so.

It's amazing, really, how a subject that so permeates our modern pop culture, and is so ubiquitous, is one which virtually no one any longer has any real world experience in, nor pursues for its original function. As a result, most all our conceptions of sword-fighting get it wrong. The reality of it is not what you think it is.

Some readers will really get offended if you dare to suggest that they don't have an accurate conception of sword-fighting. It's pretty silly, since no one of them relies on this skill for self-preservation, nor makes it their profession. Plus, nearly everyone gets their information and opinions on it from the same essential sources: TV, movies, fantasy literature, video games, cartoons, comic books, dinner-theaters and renn-fairs fight shows. But where do those sources get their notions?

SEXPAND

Almost entirely from experience with sport fencing, Asian martial art styles, and pretentious historical role-playing societies. Yet, all these sources derive their conceptions of it from still earlier ones. And so on and so on. Where then did most of today's ideas on historical sword-fighting originate? When we trace it all back, we find that romantic beliefs about the nature of swordsmanship among knights and cavaliers almost all started with ignorant Victorian-age prejudices.

Fortunately, during the Medieval and Renaissance eras, hundreds of detailed instructional manuals were produced by expert Masters of Defense. These knights and professional instructors in arms wrote and illustrated immense technical treatises and books on their "science of self-defense." Intended to preserve their secrets or instruct their students and patrons, these little-known works, some in excess of six hundred pages, represent time-capsules of the actual fighting systems and proven combative disciplines used at the time. Focused mostly on swordsmanship, these handbooks and study guides reveal highly sophisticated combat teachings. Further, their content and presentation is unmatched by any martial-arts literature from anywhere in the world. And we have dozens of them.

SEXPAND

Only recently in the last decade or so has this extraordinary and all but forgotten material finally come to be properly examined and studied. Reconstruction of these remarkable teachings offers an unparalleled view into how fighting men prepared and trained themselves for duels, street-fights, and battlefield encounters. Their manner of fighting with swords is not the classical Western style we see today, which is largely a contrived 19th-century gentleman's version of a narrow, aristocratic Baroque style. What the surviving sources show us is wholly different from the familiar pop-culture version, as well as being dramatically distinct from what has gone on for years in assorted reenactments and contrived living-history efforts. Rather, Medieval and Renaissance sword fighting was a hell of a lot more violent, brutal, ferocious, and astonishingly effective. The way in which these swords were held, the way they can be maneuvered, and the postures and motions involved, differ substantially from common presumptions and modern-era fencing styles.

SEXPAND

So, you're sword fighting with Medieval and Renaissance blades... How to do so effectively? How do you so authentically? Well, it's is as much a matter of what youdon't do, as what you must do. And in both cases, virtually everything you think you know is wrong.

What we know now about sword-fighting from the documented historical teachings and methods is that in earnest combat: You don't stand still. The sources specifically tell us to be in constant motion. You don't just dance around. The sources specifically tell us to cover and close in. You don't just parry and riposte. The sources specifically tell us not to try to block. You don't attempt to be passive or stay defensive. The sources tell us in particular to be aggressive, audacious, and take the initiative. You don't try to just win the range and timing by sneaking out blows and feints. You seek to displace the adversary's blows with counter-strikes timed in the middle of their action. You don't just hit out wildly, or bash on their weapon. The sources tell us specifically to intercept and stifle their attacks, by binding on their weapon and using body leverage. And you don't try to receive blows of their edge on your own edge in a static fashion — but set them aside with your flat, or better still, counter-hit them with your edge against their flat. And lastly, both thrusting and cutting as well as grappling were always recognized as integral components for wielding all swords and weapons — armored or unarmored, on foot or horseback.

The secret to all this we're told is not difficult and it is not a matter of having a repertoire of techniques nor just good reflexes and coordination with decent conditioning. It's about knowing and applying a handful of key principles. It's about adversarial perception, timing, distance, leverage, and technique, all used in good martial spirit. Thus, European longswords, arming-swords, falchions, and rapiers are gripped and manipulated in vicious ways I guarantee you have never seen the likes of in any cinematic or video game fight scene.

How do I know all this? Because it's my job to know.

I've been studying historical sword combat for over three decades and teaching it professionally for more than ten years. I make my living writing and researching on the subject and operate the world's only private facility dedicated exclusively to the craft. I've taught and presented on it in 15 countries on four continents, written several books, lectured and presented at arms museums and universities around the world, appeared in numerous documentaries, and have published dozens of articles on the topic. I've consulted for the gaming and entertainment industry, demonstrated at academic conferences, and my training program in this field is the most developed and authoritative modern curriculum on the subject available. I've trained with, cut with, sparred with, and handled more kinds of historical European swords than probably anyone else alive today. As a fencing historian and recognized weapons expert, I am the world's leading proponent and foremost authority on the use of historical European arms and armor. I've made study of swords in the Renaissance —their forms, techniques, and wounds —my special focus. It's my life's work, my career, and my passion. I am an accomplished martial artist teaching authentic art of Renaissance fencing following the genuine source teachings. I am no stunt-fighter, costumed performer, nor showman entertainer. I am a swordsman.

So, when I say we know a great deal now about how historical sword fighters actually trained, what equipment they used, what exercises they undertook, what the outcomes were of their efforts at self-protection in single-combats or war, I can speak with conviction and write with confidence. From my vantage point my core assumptions on the topic carry a certain gravitas. There is little speculation or conjecture, no imagined theories or concocted assumptions at work, only sound interpretation and application of real world skills with accurate blades. And the questions I seek answers to are not ones most people would even know to ask.

Despite the many people now claiming to be studying the historical teachings on Medieval and Renaissance swordsmanship, in their practices the majority invariably don't employ the correct postures, don't use the proper movements, don't apply the central tenets, and instead typically reduce it all down to adolescent sword-tagging games. In my own efforts, my senior students and I have achieved near textbook application of what is described in the sources. Tellingly, our form in sparring is identical to our form in drill and exercise while matching that in the sources. By contrast, we regularly witness countless others struggling with basic execution of essential moves, performing techniques too softly and slowly, oblivious to the requisite force and speed intrinsic to the craft, or else excluding crucial moves altogether from their play-fighting contests.

SEXPAND

It goes without saying that popular culture today, including the closet-industry of self-certifying professional stunt fencers whose job it is to fake fights for movies and television, have no real clue as to what actual bladed combat was really like. Why? For the simple reason that to fake it, you first have to know it. You can't effectively pretend to do what you haven't legitimately reconstructed and revived as an authentic fencing method to begin with. When your job is not to accurately restore genuine sword combat teachings as real martial arts, but to instead safely create merely the illusion of fighting, to exaggerate its motions for entertainment with dramatic license, well then, self-defense reality is the least of your concerns. Stage-combatants and theatrical fencers are under no obligation (nor much expectation) to present things realistically, accurately, or martially — and indeed, they haven't now for generations. Besides, what authority is going to argue with them anyway? Certainly not producers, directors, writers, or viewers, who know even less than they do about things. Thus, long bombarded with artificial and convoluted depictions, the public is continually misinformed, the truth of how humans react in close combat is habitually distorted, and the historical reality of sword fighting perpetually misrepresented.

SEXPAND

It's not as if the multitude of disparate opinions and diverse (often mutually exclusive) views about sword fighting out there are all somehow a small part of a larger truth or even anywhere near an emerging consensus. It's more like they represent a near infinite collection of ignorance, faulty cliches, erroneous assumptions, and sheer fantasy mixed with a little actual wisdom.

SEXPAND

When you think about it, men-at-arms and members of fighting guilds or schools of defence in the Medieval and Renaissance eras were people who for most of their adult lives trained with weapons in close combat skills for hours a day and had done so since youth. It's somewhat preposterous then for modern people dabbling in it once a week or so to imagine that after a few years playing with scraps of information they have reached a reasonable facsimile of forgotten arts, rather than some mild-mannered version for recreation. But, this is in fact what is mostly done today — whether those doing so can admit it or not. In many ways, this truth is reflected, tacitly at least, or unconsciously perhaps, in the way people recreationalize it, fantasize it, sportify it, and trivialize it, as opposed to pursuing it out of genuine love for history, heritage, and martial spirit — with all the consummate character, virtue, and athleticism that such a discipline demands.

SEXPAND

Edged weapons are not pretend lightsabers. They're not springy toys or padded sticks. They were lethal tools for dealing death and violence. For such skills, very often the truth is not "somewhere in between" differing views but is a matter of either being right or wrong on the essentials. For in life or death combat, doing something wrong will get you killed. History is often about the big picture, but ultimately insight into it comes down to knowing what individuals actually did. And the reality of sword fighting is far richer and far more fascinating than our much beloved modern fantasy imagines. That's why sword fighting is not what you believe it is.

About the author: A recognized international expert, John Clements is the world's foremost instructor of Medieval and Renaissance fighting arts. Having pursued the craft since 1980, he has been a pioneer in reviving these forgotten martial disciplines and is a major force in the field of historical fencing studies. His writings have been featured in more than a dozen periodicals world-wide and he has appeared in numerous television and film documentaries. As director of ARMA, the Association for Renaissance Martial Arts (www.theARMA.org) he teaches and writes on the subject full-time from his facility outside Atlanta, Georgia. This article originally appeared on ARMA's website.

Ramen Info Graph.

Infographic: We Love Ramen - HackCollege

Dispelling Medieval armor myths (with cool pics)

Dispelling some Medieval armor myths (with cool pics)

This might spring to mind when you think of medieval armor

This is a really awful modern reproduction, this is why people think medieval armour was awkward, restrictive and clumsy.

This is a bit better

Beautifully acid etched 16th century (so post-medieval) armour, but it doesn't exactly look scary, it looks just as clunky and awkward as the first one, this is because armour was made to be worn. It needs to have someone inside it, the person that the armour was made to fit exactly.

Now we're talking!

This is Doctor Tobias Capwell in his custom made armour, based on an effigy from about the 1450s. It is a beautifully tailored second skin designed to protect him while jousting or (with a different helmet) in foot combat. I think this really shows how scary plate armour could be, even unarmed he looks like he could take on an army.

"Medieval armour was clumsy & heavy"

Properly made armour does not restrict movement, armour like this actually has a greater range of movement than the human inside it. I don't know the weight of this actual harness but much more than 30 kg would be very unusual for battlefield armour. You can see the sheer ingenuity used in creating this, and although it is a modern piece it is based exactly on armour from over 500 years ago

"Knights basically battered each other until someone fell down"

There is a history of Western martial arts every bit as rich and sophisticated as that found in the East. This image is from a 15th century manual by Hans Talhoffer, demonstrating the Mordschlag or murderstroke and the counter to it. A sword isn't particularly effective against full plate. the Mordschlag basically used the sword as a hammer, delivering the impact with either the pommel or crossguard.

Here is the Mordschlag being used

This shows both the devastating attacks possible and the strength of the armour; without it there wouldn't be much left of the knight's skull. As it was the man in armour (who was prepared for this attack) almost passed out from the concussive force and couldn't keep fighting. Knights were trained in wrestling, single and two-handed sword, dagger and pole-arms and had elaborate grapples, locks, counters and counters to counters.

This is probably the pinnacle of the medieval armourer's art

This is armour made for King Henry VIII for fighting in foot combat at tournaments. It might seem a bit silly with its steel butt, but take a good look, this is the first time a man could be fully encased in steel plates, even the inside of the elbow is tiny overlapping plates. This is so sophisticated that it was studied by NASA when they were trying to design the first space suits.

To finish, here's a friend of mine hitting someone with a shield.

Thanks to the 12 or so people who will probably look at this!

Edward III and the Battle of Crécy

Richard Barber examines recently unearthed sources to construct a convincing scenario of Edward III’s inspired victory over the French in 1346.

Edward III and the Battle of Crécy | History TodayThe Battle of Crécy in an illumination from 'Les Chroniques de France', c.1350The Genoese crossbowmen halted at the foot of the slope. It had been a long hot day, marching to encounter the English army, which at last was in sight. Giovanni could see a group of men on the hill and to his surprise they were all dismounted. He had expected a mounted army, small perhaps, but very like the French troops coming up behind him, with their splendid steeds and banners. Instead there were rows of men, whose armour did not show whether they were knights or not and whose shields he could not make out at a distance. On either side of the group there were carts, as so often on a battlefield, and he assumed these were simply parked as a rough barrier to prevent an attack from the flank. An easy job, he thought, and it should soon be over, with some booty to take home, particularly as the English had been in the field for weeks and were said to be short of supplies.

The order was given to move forward. The ground was wet from a recent shower and men slipped and stumbled on the chalk, but they went on confidently, knowing that their weapons were the most powerful on the battlefield. Knights feared and disliked the crossbow, but could not do without them: they could break up a defensive formation with their deadly fire, leaving the enemy at the mercy of a cavalry charge.

As the crossbowmen closed on the English, they halted to draw their weapons: with the point of the bow on the ground they put their foot in a kind of stirrup to steady it as they wound the string back to give a massive tension before loading the bolt. But the slipperiness of the ground betrayed them and it was some minutes before they could resume their march. To reload again was going to be very difficult, thought Giovanni.

They were a hundred yards or more short of the range at which they could attack the enemy. They could now see that the carts were not simply on the flanks, but formed a great horseshoe round the whole army, with two wings that came out so that the attackers would be funnelled into a narrow opening. The nearest carts were covered, which surprised Giovanni, but as he puzzled over this the covers were thrown back. Archers using bows of a kind he had never seen before, like large hunting bows, stood up on the carts and began to fire. A hail of arrows, deadly at a much longer range than that of the crossbows, began to fall. The crossbowmen fired back, only to see their bolts fall short. They reloaded, slipping on the chalk again, but the English arrows were finding their mark and the archers could keep up an almost continuous attack. Giovanni turned and fled, only to find that the French behind him, furious at the failure of the Genoese, were shouting ‘Traitors!’ and trying to force them to retreat. Somehow he escaped and when he turned to look back he saw the French cavalry mown down in the trap that the English had set, their horses terrified by strange explosions, which he had never  heard before. Later he learnt that these were from the first guns to be used on a battlefield in Europe.

Eyewitness accounts

This account may read like fiction, but it is based on an extraordinary discovery: a long description of the 1346 Battle of Crécy, written in Rome within ten years of the event, which appears to draw on the experiences of one of the Genoese crossbowmen at Crécy and also on a report on the battle given by a knight in the retinue of King John of Bohemia. Italian merchants maintained a network of correspondents throughout Europe and an eyewitness report of the battle would have been important political news for their business. This was probably the route by which the crossbowman’s experiences found their way back to Italy and they were used by the anonymous author of the chronicle. Even more surprisingly, this account was ignored by historians until five years ago.

Edward III’s victory over the formidable French army at Crécy in 1346 shocked Europe. The French had suffered serious defeats before, as in the Battle of the Golden Spurs against the Flemish at Courtrai in July 1302, and had in turn inflicted a similar defeat on the Flemish at Cassel in 1328. These were both battles of cavalry against infantry, with a mounted army of French knights attacking the pikemen of the Flemish towns, and the tactics were relatively orthodox. Crécy was a contest between two armies, which, on the face of it, were of similar composition: knights supported by infantry. The English had no particular reputation as formidable fighters: their victory over the Scots at Halidon Hill in 1333 was seen as a minor affair and scarcely reported outside the British Isles. The size of the armies was very uneven, with the English severely outnumbered. The English archers had never been involved in a major battle on the Continent before and the slaughter they inflicted on the French nobles was a major sensation.

Yet there is more to Crécy than the use of a new secret weapon. The tactics on the battlefield, particularly the disposition of the archers, have been the subject of endless debate. John Keegan’s The Face of Battle (1976), the classic modern account of the difficulty of determining what happens in the course of a battle, is echoed in the chronicle of Gilles le Muisit, abbot of St Martin at Tournai, writing about the battle five years after the event:

The events of war are uncertain: the conflict is between deadly enemies, with each fighting man intent on conquering rather than being conquered. No one can take account of all those fighting around him, nor can those present form a good judgement of these matters. Only the result of their deeds can be judged. Many men say and record many things about this conflict. On the side of the French king and his men some maintain things that cannot be known for certain. Others, on the part of the English king, also maintain things about which the truth is not known. Because of these disparate opinions I will not enquire after the event about what cannot be proved. Instead I have tried to satisfy the understanding of those who come after me by setting down only those things which I have heard from certain people worthy of belief, even if I cannot be totally sure that they are what happened.

What really happened?

If we are to discover ‘what really happened’ we have to look first at who might have been able to observe the events in more general terms and also at whether there were fixed details, such as the position taken up by the English, which can be found in the comments of a number of witnesses. In terms of the action we can say no more than that the French onslaught seems to have been disordered and impetuous and, therefore, no French witness is likely to have been able to form ‘a good judgment’ of what took place. On the English side, Edward and his commanders would have known exactly how they had drawn up their troops: but the king’s report home about the battle tells us almost nothing, except that there was ‘a small area’ where most of the slaughter took place. The only other people who would have seen the English array clearly and at relatively close range were the Genoese crossbowmen, who advanced confidently, certain that their deadly weapons would rapidly dispatch the dismounted English knights and their infantry.

The anonymous Roman chronicle, where the new account is to be found, is famous for its dramatic account of the republican politics of Rome in the 1350s; the information on Crécy was not of great interest to the Italian historians, who originally edited it. It is a difficult text to analyse. Written by a well-educated author, it is in a broad Roman dialect, but has many aspects of popular oral literature, particularly the repetition of key phrases in the manner of a ballad singer. The content, however, is another matter. The striking aspect of this account is that it is in parts very detailed in a way that would be difficult to invent. To take a single instance: the attack by the crossbowmen failed and another Italian chronicler attributes this to the crossbow strings being wet. He is right about the battle being fought in showery weather, but the Roman chronicle tells us that the rain had made the ground so slippery that the crossbowmen could not draw their bows, because, when they put their foot in the stirrup that had to be planted firmly on the ground so that the string could be wound upwards and tensioned, it was impossible to hold the bow still.

The land at Crécy is chalk, with a thin covering of topsoil and, like all chalk hills, is ‘slick as silk’ after rain. Other aspects of the Roman account are wildly off the mark, but these concern matters which a member of the army would only have known by hearsay. I believe this is one of those moments when, for once, we can actually ‘see’ the reality of medieval battle: a man at arms struggling with his weapon in adverse conditions.

If this is the case, then we need to pay close attention to what the chronicle has to tell us. Until now the battle has largely been described in terms of a chivalric encounter, Edward’s advantage being his use of the archers who had proved so effective in the Scottish wars ten years earlier. The disposition of the archers has been the subject of endless debate and it is only by looking carefully at what the sources say that we can discover the surprising truth. Edward fought the battle from within a fortified laager of carts, a fact that is confirmed by many of the other chroniclers but which has been ignored until now because it did not correspond with the accepted image of chivalric warfare. Indeed, the cart was a notoriously shameful object in chivalric literature: knights were taken in carts to meet their end if they had been condemned to death; Lancelot was held to have been shamed by stepping into a cart in order to rescue Guinevere when his horse had been killed; and Philip VI of France shamed the earls of Salisbury and Suffolk by taking them in a cart to Paris when they were captured near Lille in 1340.

The anonymous Roman chronicler tells us that Edward watched them and knew for certain that he could not escape giving battle:

Considering the number of the French it is not surprising that he was a little afraid. He was doubtful and said aloud: ‘God help me!’ Then, quickly, he surrounded his host with strong iron chains and a number of iron stakes stuck in the ground. This surround was made in the shape of a horseshoe, closed all round except for a larger space behind, like a gateway for the entrance and exit. Then he had deep ditches dug where there were weak points. All the English were set to work. Then this chain was surrounded by carts which they had brought with them. They put one cart beside the next with the shafts up in the air. It looked very like a walled city, with the carts stood in a row. 
Then the king arranged his troops. On the left flank, on the side towards Crécy, there was a little hill. On this was a piece of woodland. The corn was also standing, which had not been harvested. It was September and because it had been very cold, the corn had only just ripened. In the wood and in the cornfield he arranged 10,000 English archers in hiding. Then he placed a barrel of arrows in each cart. He allocated two archers to each barrel. He selected 500 well-equipped horsemen, whose captain was Edward, Prince of Wales, his son. This was the first battalion. Behind them he placed two wings each of 500 knights, one on the right and one on the left. A further 1,000 knights were placed behind them, who were the third battalion. He placed himself at the rear with all the other knights, behind the host and behind the chains. When he had done this he comforted his men and commended himself to God and said: ‘Oh God, defend and help the righteous cause!’ Thus he set out his army, which made a fine array. It was Saturday, September 3rd.

The most reliable account of the tactics of the English battle formation is probably that of Giovanni Villani, the great Florentine chronicler, who undoubtedly used contemporary letters of bankers from Florence as his source. According to him the English defences were centred on a formation of carts and what follows is a reconstruction based on his description.

Reconstructing the battle

First, in the open chalk country of Crécy such an artificial defensive structure would be valuable. The only natural defences mentioned by the chroniclers are a wood on the left flank and hedges. The northern French countryside was different from the terrain of battles such as Halidon Hill, Morlaix (1342) and Poitiers, where formations were determined by the substantial presence of woods and hedges. The contours of the landscape do present some features which were potentially useful. It is reasonably probable that Edward’s position was above the modern village of Crécy, on the ridge which overlooks the valley of the River Maye; and he may well have placed his men so that the one obstacle on this hillside, the steep 16ft-high bank of the Vallée des Clercs, forced the French to attack from a particular direction. No attacking army could cross this obstacle at speed.

In such circumstances Villani’s declaration that ‘they enclosed the army with carts, of which they had plenty, both of their own and from the country’ and his description of the creation of an artificial fortress of carts rings true. The formation would probably have faced more or less due south, at the head of one of the valleys that run up to the ridge from the river. The carts were probably drawn up in a roughly circular formation and may have been two or more deep, chained wheel to wheel judging from the evidence from the battle of Mons-en-Pévèle in 1304 and from the Hussite Wars fought in Bohemia in the 15th century.

Use of carts to provide a fortified encampment to protect the baggage is widely attested in the 13th and 14th centuries and Philip Preston has suggested that the practice of surrounding the army with carts might also have been used when encamping for the night. Certainly there were men with the army who were practised in manoeuvring the four-wheeled carts into an array of some kind and Edward had arrived at the battlefield two days before. He had more than enough time to ride over the ground, select a suitable position and organise the arrangement of the carts. Furthermore, the evidence points to the availability of enough carts to create such a circle. The anonymous Roman chronicler’s assertion that Edward brought 3,000 carts with him on the expedition is definitely too high. As a working figure let us take a recent estimate of a ratio of carts to men of 1:20, giving 700 carts for an army of 14,000 men.

The probable length of each cart when drawn up in formation would be not less than six feet. They were positioned lengthways around the perimeter, with the shafts raised to close the gaps that would otherwise be left between the carts. If the carts were arranged in a double row, this would give a ring 700 yards in circumference, to which we have to add the gap of 100 yards at the entrance. This gives an enclosed area of about 20,000 square yards. The historian Andrew Ayton estimates the total army at around 2,800 men-at-arms, 3,000 mounted archers and 8,000 infantry – about 14,000 men in all. The archers were deployed on the carts, or outside on the wings. Also within the ring were the horses for the men at arms, giving a total of about 11,000 men and 3,000 horses. The only available calculation for the space occupied by a medieval army drawn up in battle formation is for the Swiss army at the battle of Morat in 1476, where 10,000 men are thought to have occupied an area of 3,600 square yards. If we allow an increased space of half a square yard for each man and an estimated two square yards for each horse, this gives a total of 11,500 square yards, leaving adequate room for formation and manoeuvre. These are of necessity theoretical calculations, but they indicate that there is nothing impossible about the idea of the cart fortification with the bulk of the English army inside it. The entrance of 100 yards or less, while open enough to invite the enemy to attempt an attack, would be a death trap, given the covering fire from the archers on the carts. The carts were probably not in an exact square, but in a diamond or circle to provide a better forward line of fire for the archers. The diagram below is a suggestion as to how this might have worked. 

Villani makes it clear that there was a substantial opening in the array, sufficient to allow the passage of numbers of men at arms; equally, this opening created ‘a narrow place’. This imitated artificially a feature found at Halidon Hill, and to a lesser extent at Morlaix and Poitiers, a valley which acted as a narrowing funnel, compressing the attacking force into a front which meant that they could not maintain their formation. Nor were superior numbers a striking advantage under such conditions, as only a relatively small number of men would be engaged at any one time.

Edward added the archers to this defensive formation, which restricted the area of action of his most effective long-range weapon. According to the evidence of Villani and the anonymous Roman chronicler, which is supported in general terms by other chronicles, there were two wings of archers outside the circle. These were concealed, one in an unidentified wood and the other in tall standing corn. The distance between these wings, according to the longbow expert Robert Hardy, should have been no greater than 500 yards to give proper covering fire and the suggested size of the array of carts fits well with this calculation. Furthermore, Edward placed archers on the carts. Villani’s evidence on this is detailed and controversial. It would seem that they were concealed and protected by the canvas of the carts, which would have been supported on wooden hoops (as in an illustration from the Luttrell Psalter of an admittedly luxurious royal travelling wagon). These carts were perhaps placed at an angle to the entrance to the array of carts, so that the crossfire would cover the gap to deadly effect; their supplies of arrows were in barrels on the carts, within easy reach. Furthermore – and this is a speculation – if the front row of carts were empty it would be extremely difficult to reach the archers with a lance if a knight did penetrate to the carts themselves. Men on foot would have to clamber up the wheels to get at them. Later Bohemian battle wagons carried ladders for the occupants to get up and down.

The guns were, according to Villani, positioned beneath the carts. They would have been relatively small, probably the mobile cannons called ‘ribalds’, and such a placing would be perfectly possible. They would probably have been better at causing panic among the horses than actually inflicting serious injury, except at a relatively short range. About a hundred were shipped with the expedition, but Edward did not necessarily deploy them all.

Once the archers were in position, and the men at arms drawn up in battle order within the array, the archers would conceal themselves. From the foot of the hill the approaching French would have seen a small army standing in an array of carts, which looked like the traditional method of guarding the rear of a defensive position. The carts would have served to conceal the true numbers within the ring and would have made the English army seem a tempting target.

As soon as the first French forces came within range the archers on the wings would have stood up and begun their deadly volleys. This was what the Genoese crossbowmen encountered. A commander with some control over his troops would have halted the attack to consider how to deal with the archers. Instead, the uncontrolled French cavalry rode over the crossbowmen, wasting their energy on attacking their own men, and into the second trap, the archers concealed at the entrance under the canvas of the carts.

Even so, the sheer mass of the French cavalry enabled them to force their way into the ‘narrow place’, where the Prince of Wales’ men awaited them. It was in this ‘small area’ that, according to Edward himself, the real slaughter took place. The defensive array and the ambush had done their work and the superior numbers of the French army were no longer an advantage. The battle was not won, however. In the struggle that ensued, the discipline and battle experience of the English were the decisive factors. It is possible that the manoeuvre used at Poitiers ten years later, an encircling movement from the rear of the English army to attack the enemy from an unexpected quarter, may have been employed. There would have been time to disengage a couple of dozen carts once it was clear that the main action was at the front of the array, so the existence of the circle would not have prevented such a manoeuvre.

Edward’s majesty

If we are to accept this reconstruction as a possibility, it would mean that the emphasis of Edward’s military thinking went beyond the creation of an army which was well organised and formed of men who had fought together. It extended to the deployment of the latest technology and a genuine understanding of tactics and of the need for a specific type of site in order to make the most effective use of his archers. When he could not find the terrain that he needed, Edward was prepared to create, by artificial means, the necessary obstacles and constraints that would hinder the enemy.

Recent biographies have rescued Edward III from the image of a classic chivalric monarch and from the neglect of his long rule by historians more interested in the political dramas of the reigns of his father and grandson. It seems dangerous to add yet more reasons to regard Edward III as the greatest of all English medieval monarchs, but the picture that this interpretation paints shows him as an innovator and a tactician who responded to a dangerous situation with inspired thinking.

 

Dungeon Bastard - Class Warfare: Magic User

It take 12 years to craft that "potion of heroism".

Templar Tuesday

Thisd Tuesday we have Seals, Statues and Swords fror the Templars.

 

Walking Dead Awesome art

A zombie horde of awesome art from the Walking Dead art show

A zombie horde of awesome art from the Walking Dead art show

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To celebrate The Walking Dead's season 4 premiere, AMC sponsored an art show at the Hero Complex Gallery in Los Angeles. Over 75 artists participated, and the results are as mind-blowing as any zombie headshot. Here are our favorites, but you can see them all until the show closes on October 26th (meanwhile, you can also buy prints here).

Top image: "My Collection" by JP Valderrama.

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"The Walking Dead" by Grzegorz Domaradzki:

"Daryl" by Brian Ewing:

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"Dead Inside" by Joey Spiotto:

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"Everybody Turns" 2 Piece Set by Adam Pobiak:

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"Maybe you people are better off without me" by Oliver Barrett:

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"Riot" by Miles Tsang:

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"The Long Way Home" by JJ Harrison:

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"I must be the first brother in history to break into prison" by Tim Caballero:

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"The Barn" by Brad Hill:

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"Carl of Duty IV" by Zombie Yeti:

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"Roaring '20's Glenn & Maggie" by Blain Hefner:

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"Daryl" by Jacob McAlister:

[h/t Xombie Dirge]

 

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