The Byzantine Art Of War

A Complete Overview of One of the Most Important Military Forces in the History of the World The Byzantine Art of War explores the military history of the thousand-year empire of the eastern Mediterranean, Byzantium. Throughout its history the empire faced a multitude of challenges from foreign invaders seeking to plunder its wealth and to occupy its lands, from the deadly Hunnic hordes of Attila, to the Arab armies of Islam, to the western Crusaders bent on carving out a place in the empire or its former lands. In order to survive the Byzantines relied on their army that was for centuries the only standing, professional force in Europe. Leadership provided another key to survival; Byzantine society produced a number of capable strategic thinkers and tacticians--and several brilliant ones. These officers maintained a level of professionalism and organization inherited and adapted from Roman models. The innovations of the Byzantine military reforms of the sixth century included the use of steppe nomad equipment and tactics, the most important of which was the refinement of the Roman mounted archer. Strategy and tactics evolved in the face of victory and defeat; the shock of the Arab conquests led to a sharp decline in the number and quality of imperial forces. By the eighth and ninth centuries Byzantine commanders mastered the art of the small war, waging guerrilla campaigns, raids, and flying column attacks that injured the enemy but avoided the decisive confrontation the empire was no longer capable of winning. A century later they began the most sustained, glorious military expansion of their history. This work further sketches the key campaigns, battles, and sieges that illustrate Byzantine military doctrine, vital changes from one era to another, the composition of forces and the major victories and defeats that defined the territory and material well-being of its citizens. Through a summary of their strategies, tactics, and innovations in the tools of war, the book closes with an analysis of the contributions of this remarkable empire to world military history.

A Complete Overview of One of the Most Important Military Forces in the History of the World The Byzantine Art of War explores the military history of the thousand-year empire of the eastern Mediterranean, Byzantium. Throughout its history the empire faced a multitude of challenges from foreign invaders seeking to plunder its wealth and to occupy its lands, from the deadly Hunnic hordes of Attila, to the Arab armies of Islam, to the western Crusaders bent on carving out a place in the empire or its former lands. In order to survive the Byzantines relied on their army that was for centuries the only standing, professional force in Europe. Leadership provided another key to survival; Byzantine society produced a number of capable strategic thinkers and tacticians--and several brilliant ones. These officers maintained a level of professionalism and organization inherited and adapted from Roman models. The innovations of the Byzantine military reforms of the sixth century included the use of steppe nomad equipment and tactics, the most important of which was the refinement of the Roman mounted archer. Strategy and tactics evolved in the face of victory and defeat; the shock of the Arab conquests led to a sharp decline in the number and quality of imperial forces. By the eighth and ninth centuries Byzantine commanders mastered the art of the small war, waging guerrilla campaigns, raids, and flying column attacks that injured the enemy but avoided the decisive confrontation the empire was no longer capable of winning. A century later they began the most sustained, glorious military expansion of their history. This work further sketches the key campaigns, battles, and sieges that illustrate Byzantine military doctrine, vital changes from one era to another, the composition of forces and the major victories and defeats that defined the territory and material well-being of its citizens. Through a summary of their strategies, tactics, and innovations in the tools of war, the book closes with an analysis of the contributions of this remarkable empire to world military history.

As a veteran campaigner, the Byzantine emperor Maurice (582-602) compiled a unique and influential handbook intended for the field commander. In this first complete English translation, the Strategikon is an invaluable source not only for early Byzantine history but for the general history of the art of war. Describing in detail weaponry and armor, daily life on the march or in camp, clothing, food, medical care, military law, and titles of the Byzantine army of the seventh century, the Strategikon offers insights into the Byzantine military ethos. In language contemporary, down-to-earth, and practical, the text also provides important data for the historian, and even the ethnologist, including eyewitness accounts of the Persians, Slavs, Lombards, and Avars at the frontier of the Empire.

In this book, the distinguished writer Edward N. Luttwak presents the grand strategy of the eastern Roman empire we know as Byzantine, which lasted more than twice as long as the more familiar western Roman empire, eight hundred years by the shortest definition. This extraordinary endurance is all the more remarkable because the Byzantine empire was favored neither by geography nor by military preponderance. Yet it was the western empire that dissolved during the fifth century. The Byzantine empire so greatly outlasted its western counterpart because its rulers were able to adapt strategically to diminished circumstances, by devising new ways of coping with successive enemies. It relied less on military strength and more on persuasion—to recruit allies, dissuade threatening neighbors, and manipulate potential enemies into attacking one another instead. Even when the Byzantines fought—which they often did with great skill—they were less inclined to destroy their enemies than to contain them, for they were aware that today’s enemies could be tomorrow’s allies. Born in the fifth century when the formidable threat of Attila’s Huns were deflected with a minimum of force, Byzantine strategy continued to be refined over the centuries, incidentally leaving for us several fascinating guidebooks to statecraft and war. The Grand Strategy of the Byzantine Empire is a broad, interpretive account of Byzantine strategy, intelligence, and diplomacy over the course of eight centuries that will appeal to scholars, classicists, military history buffs, and professional soldiers.

Warfare, State and Society in the Byzantine World is the first comprehensive study of warfare and the Byzantine world from the sixth to the twelfth century. The book examines Byzantine attitudes to warfare, the effects of war on society and culture, and the relations between the soldiers, their leaders and society. The communications, logistics, resources and manpower capabilities of the Byzantine Empire are explored to set warfare in its geographical as well as historical context. In addition to the strategic and tactical evolution of the army, this book analyses the army in campaign and in battle, and its attitudes to violence in the context of the Byzantine Orthodox Church. The Byzantine Empire has an enduring fascination for all those who study it, and Warfare, State and Society is a colourful study of the central importance of warfare within it.

The Byzantine Culture of War offers a critical approach to the study of military organisation and warfare as fundamental aspects of the East Roman society and culture in Late Antiquity and the Middle Ages.

This book is a comparative study of military practice in Sui-Tang China and the Byzantine Empire between approximately 600 and 700 CE. It covers all aspects of the military art from weapons and battlefield tactics to logistics, campaign organization, military institutions, and the grand strategy of empire. Whilst not neglecting the many differences between the Chinese and Byzantines, this book highlights the striking similarities in their organizational structures, tactical deployments and above all their extremely cautious approach to warfare. It shows that, contrary to the conventional wisdom positing a straightforward Western way of war and an "Oriental" approach characterized by evasion and trickery, the specifics of Byzantine military practice in the seventh century differed very little from what was known in Tang China. It argues that these similarities cannot be explained by diffusion or shared cultural influences, which were limited, but instead by the need to deal with common problems and confront common enemies, in particular the nomadic peoples of the Eurasian steppes. Overall, this book provides compelling evidence that pragmatic needs may have more influence than deep cultural imperatives in determining a society’s "way of war."

Byzantine Art and Renaissance Europe discusses the cultural and artistic interaction between the Byzantine east and western Europe, from the sack of Constantinople by the Fourth Crusade in 1204 to the flourishing of post-Byzantine artistic workshops on Venetian Crete during the fifteenth and sixteenth centuries and the formation of icon collections in Renaissance Italy. The contributors examine the routes by which artistic interaction may have taken place, and explore the reception of Byzantine art in western Europe, analysing why artists and patrons were interested in ideas from the other side of the cultural and religious divide. In the first chapter, Lyn Rodley outlines the development of Byzantine art in the Palaiologan era and its relations with western culture. Hans Bloemsma then re-assesses the influence of Byzantine art on early Italian painting from the point of view of changing demands regarding religious images in Italy. In the first of two chapters on Venetian Crete, Angeliki Lymberopoulou evaluates the impact of the Venetian presence on the production of fresco decorations in regional Byzantine churches on the island. The next chapter, by Diana Newall, continues the exploration of Cretan art manufactured under the Venetians, shifting the focus to the bi-cultural society of the Cretan capital Candia and the rise of the post-Byzantine icon. Kim Woods then addresses the reception of Byzantine icons in western Europe in the late Middle Ages and their role as devotional objects in the Roman Catholic Church. Finally, Rembrandt Duits examines the status of Byzantine icons as collectors’ items in early Renaissance Italy. The inventories of the Medici family and other collectors reveal an appreciation for icons among Italian patrons, which suggests that received notions of Renaissance tastes may be in need of revision. The book thus offers new perspectives and insights and re-positions late and post-Byzantine art in a broader European cultural context.