Alexander the Great and the “Clash” of Ancient Civilizations
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Danish and Norwegian Cavalry and Artillery 1803-1814
revious to this article Danish infantry of the line and light infantry 1803-1814 have been dealt with in three issues of Chakoten – Magazine for the Danish Military PHistorical Society, 2016-2017. The present article serves the Danish and same general dual purpose: to convey precise information on organization, uniforms, armament and equipment and to wel- come the Alan Perry achievement in designing and providing the metal figures and thus further extending the range of the Norwegian Danish-Norwegian units of the army. The Perry figures are increasing in numbers among painters and wargamers – in Denmark also applying stats for, General de Brigade, Black Powder and Sharp Practice 2. Thus the ini- Cavalry and tiative to drafting and presenting this article has been taken by Mr. Ole Thureholm, who has leaned on available knowledge on organization, uniforms, armament and equipment from Mr. Jørgen Larsen and Mr. Hans Chr. Wolter. Artillery Organization of the Cavalry 1802-1814 Between 1791 and 1802 the Danish cavalry became exposed to extensive modernization and reorganization. 1803-1814 The Danish cavalry consisted of The Royal Horse Guard, Part 1 the four heavy cavalry regiments (Rytter regimenter), the three light dragoon regiments (Lette dragonregimenter), The Alan Perry has enlarged his series of Dragoon Regiment, The Hussar Regiment, and the Bosniac metal figures of Danish and Norwegian Squadron (from1808 the Uhlan Squadron). The Horse Guard mustered 2 squadrons each with 4 officers, 5 NCOs, 2 trumpe- troops from the Napoleonic era ters and 60 men. The regiments of the heavy cavalry, the light dragoons and the Dragoon Regiment, had 4 squadrons, each with 5 officers, 12 NCOs, 2 trumpeters and 144 men. -
VU Research Portal
VU Research Portal The impact of empire on market prices in Babylon Pirngruber, R. 2012 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Pirngruber, R. (2012). The impact of empire on market prices in Babylon: in the Late Achaemenid and Seleucid periods, ca. 400 - 140 B.C. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 25. Sep. 2021 THE IMPACT OF EMPIRE ON MARKET PRICES IN BABYLON in the Late Achaemenid and Seleucid periods, ca. 400 – 140 B.C. R. Pirngruber VRIJE UNIVERSITEIT THE IMPACT OF EMPIRE ON MARKET PRICES IN BABYLON in the Late Achaemenid and Seleucid periods, ca. 400 – 140 B.C. ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad Doctor aan de Vrije Universiteit Amsterdam, op gezag van de rector magnificus prof.dr. -
Cause and Affect War Art and Emotion
Canadian Military History Volume 21 Issue 1 Article 5 2015 Cause and Affect War Art and Emotion Laura Brandon Follow this and additional works at: https://scholars.wlu.ca/cmh Part of the Military History Commons Recommended Citation Laura Brandon "Cause and Affect War Art and Emotion." Canadian Military History 21, 1 (2015) This Canadian War Museum is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in Canadian Military History by an authorized editor of Scholars Commons @ Laurier. For more information, please contact [email protected]. : Cause and Affect War Art and Emotion Cause and Affect War Art and Emotion Laura Brandon ine years ago, I completed a which you bring things you know is a well-known Toronto-based Nhistory PhD here at Carleton and have experienced emotionally artist. She began painting military University. My thesis was published and with which through a dialogue subjects in the aftermath of the 1990 in 2006 as Art or Memorial? The with the artwork, its interpreters, to 1991 Gulf War and, 20 years later, Forgotten History of Canada’s War and other viewers you not only military portraiture remains at the Art.1 Influenced by the then relatively enrich your own understanding of heart of her practice. Her approach new memory theories, especially what you already recognize or have combines a certain accuracy of detail those pertaining to monuments as knowledge of emotionally but you born of her interest in historical “sites of memory,” I argued that also contribute to the emotional documentation combined with the through the act of looking, whether understanding of others. -
Read Book the Soldiers
THE SOLDIERS ART PDF, EPUB, EBOOK Anthony Powell | 240 pages | 28 Jun 2005 | Cornerstone | 9780099472476 | English | London, United Kingdom The Soldiers Art PDF Book Army Intelligence Museum U. Collection All. J Mears — show nighttime operations. Battle paintings were increasingly produced for large public buildings, and grew larger than ever before. Matt Kedzierski. Underground Media. Soldier Framed Prints. However such works had more immediate influence in France than in Britain. When they were asked to depict a second multi-nation war after , there was a precedent and format for them to follow. Especially in Northern Europe, small groups of soldiers became a popular subject for paintings and especially prints by many artists, including Urs Graf , who is unusual in that he was a professional Swiss mercenary for many years. The usage of the term "military art" has evolved since the middle of the 19th century. The French began to paint the war only after the war was ended in United States Army history museums. This article includes a list of general references , but it remains largely unverified because it lacks sufficient corresponding inline citations. War art, a significant expression of any culture and its significant legacies, combines artistic and documentary functions to provide a pictorial portrayal of war scenes and show "how war shapes lives. Military art is art with a military subject matter, regardless of its style or medium. The violent tastes of the Anglo-Saxon elite managed to add the Harrowing of Hell , conceived as a raid on Satan's stronghold, led by Christ, to the standard group of scenes for a cycle on the Life of Christ. -
The Crucial Development of Heavy Cavalry Under Herakleios and His Usage of Steppe Nomad Tactics Mark-Anthony Karantabias
The Crucial Development of Heavy Cavalry under Herakleios and His Usage of Steppe Nomad Tactics Mark-Anthony Karantabias The last war between the Eastern Romans and the Sassanids was likely the most important of Late Antiquity, exhausting both sides economically and militarily, decimating the population, and lay- ing waste the land. In Heraclius: Emperor of Byzantium, Walter Kaegi, concludes that the Romaioi1 under Herakleios (575-641) defeated the Sassanian forces with techniques from the section “Dealing with the Persians”2 in the Strategikon, a hand book for field commanders authored by the emperor Maurice (reigned 582-602). Although no direct challenge has been made to this claim, Trombley and Greatrex,3 while inclided to agree with Kaegi’s main thesis, find fault in Kaegi’s interpretation of the source material. The development of the katafraktos stands out as a determining factor in the course of the battles during Herakleios’ colossal counter-attack. Its reforms led to its superiority over its Persian counterpart, the clibonarios. Adoptions of steppe nomad equipment crystallized the Romaioi unit. Stratos4 and Bivar5 make this point, but do not expand their argument in order to explain the victory of the emperor over the Sassanian Empire. The turning point in its improvement seems to have taken 1 The Eastern Romans called themselves by this name. It is the Hellenized version of Romans, the Byzantine label attributed to the surviving East Roman Empire is artificial and is a creation of modern historians. Thus, it is more appropriate to label them by the original version or the Anglicized version of it. -
The Second After the King and Achaemenid Bactria on Classical Sources
The Second after the King and Achaemenid Bactria on Classical Sources MANEL GARCÍA SÁNCHEZ Universidad de Barcelona–CEIPAC* ABSTRACT The government of the Achaemenid Satrapy of Bactria is frequently associated in Classical sources with the Second after the King. Although this relationship did not happen in all the cases of succession to the Achaemenid throne, there is no doubt that the Bactrian government considered it valuable and important both for the stability of the Empire and as a reward for the loser in the succession struggle to the Achaemenid throne. KEYWORDS Achaemenid succession – Achaemenid Bactria – Achaemenid Kingship Crown Princes – porphyrogenesis Beyond the tradition that made of Zoroaster the and harem royal intrigues among the successors King of the Bactrians, Rege Bactrianorum, qui to the throne in the Achaemenid Empire primus dicitur artes magicas invenisse (Justinus (Shahbazi 1993; García Sánchez 2005; 2009, 1.1.9), Classical sources sometimes relate the 155–175). It is in this context where we might Satrapy of Bactria –the Persian Satrapy included find some explicit references to the reward for Sogdiana as well (Briant 1984, 71; Briant 1996, the prince who lost the succession dispute: the 403 s.)– along with the princes of the offer of the government of Bactria as a Achaemenid royal family and especially with compensation for the damage done after not the ruled out prince in the succession, the having been chosen as a successor of the Great second in line to the throne, sometimes King (Sancisi–Weerdenburg 1980, 122–139; appointed in the sources as “the second after the Briant 1984, 69–80). -
The Successors: Alexander's Legacy
The Successors: Alexander’s Legacy November 20-22, 2015 Committee Background Guide The Successors: Alexander’s Legacy 1 Table of Contents Committee Director Welcome Letter ...........................................................................................2 Summons to the Babylon Council ................................................................................................3 The History of Macedon and Alexander ......................................................................................4 The Rise of Macedon and the Reign of Philip II ..........................................................................4 The Persian Empire ......................................................................................................................5 The Wars of Alexander ................................................................................................................5 Alexander’s Plans and Death .......................................................................................................7 Key Topics ......................................................................................................................................8 Succession of the Throne .............................................................................................................8 Partition of the Satrapies ............................................................................................................10 Continuity and Governance ........................................................................................................11 -
Bombard Bombard Cavalry Charge Cavalry Charge
BOMBARD BOMBARD CAVALRY CHARGE CAVALRY CHARGE Issue an order to 4 or fewer Issue an order to 4 or fewer Issue an order to 4 or fewer Issue an order to 4 or fewer CAVALRY units. Ordered cavalry CAVALRY units. Ordered cavalry units battle with 1 additional die units battle with 1 additional die ARTILLERY units. An order unit ARTILLERY units. An order unit may move up to 3 hexes, but may may move up to 3 hexes, but may the entire turn. Heavy cavalry units the entire turn. Heavy cavalry units not battle or may battle with 2 not battle or may battle with 2 may move 3 hexes and still battle. may move 3 hexes and still battle. additional dice. Guard artillery, additional dice. Guard artillery, Guard cavalry, when ordered, battle Guard cavalry, when ordered, battle when ordered, battle with 3 when ordered, battle with 3 with 2 additional dice. Horse with 2 additional dice. Horse additional dice. If you do not have additional dice. If you do not have artillery units may also be ordered. artillery units may also be ordered. If you do not have any cavalry or If you do not have any cavalry or any artillery units, issue an order to any artillery units, issue an order to 1 unit of your choice. 1 unit of your choice. horse artillery units, issue an order horse artillery units, issue an order to 1 unit of your choice. to 1 unit of your choice. COUNTER-ATTACK COUNTER-ATTACK ELAN CAVALRY CHARGE Issue an order to 4 or fewer Issue the same order card that your Issue the same order card that your Roll 1 battle die for each CAVALRY units. -
SPECIAL FEATURES of POLISH CAVALRY in the FALL of 16Th - at the HALF of 17Th CENT
54 УДК 94/99 Pryshchepa Ya.O. SPECIAL FEATURES OF POLISH CAVALRY IN THE FALL OF 16th - AT THE HALF OF 17th CENT. The main difference between Polish cavalry and the traditional European cavalry of current period lays in preserving its predomination role in Polish military art because of the early transformation of knight caal- ry into more effective in 16th-17th centuries Hussar units, however supported in combat by the light caalry units, or Cossacks. Out of the tactical peculiarities of their types of weapon and defense armour, Hussars used to play the role of the main striking force in Polish Commonwealth's soldierhood, and the Cossack units had an auxiliary functions. The main special feature of Polish cavalry and the Polish military art in the fall of 16th - at the half of 17th centuries may be represented as making supplement between the heavy and the light types of cavalry by simultaneous or alternate using of shooting-iron and cold steel weapon in the mount- ed attacks. In comparison with common European military tradition, where the main role in battles though played spearmen and later musketeer infantry units, the Polish cavalry, due to its obvious tactical advan- tages, must have been one of the most fighting efficient troops in European region. The subject of Polish military history and of monwealth's military system. The second rea- the general military history are rather new son, is that Polish cavalry, as the main attack problems for Ukrainian history science. Under force in Polish troops, was the main tactical the century-old ideological stress of Russian enemy of Cossack rebels during the famous empire Ukrainian historians did not have the Ukrainian rebellions in the fall of 16th and all possibilities to broaden their outlook in some the 17th centuries. -
Thoughts on the Role of Cavalry in Medieval Warfare
Acta Periodica Duellatorum 149 Thoughts on the Role of Cavalry in Medieval Warfare Jack Gassmann, Artes Certaminis [email protected] KS Trogen Abstract – This article explores the role of cavalry in medieval warfare starting with it’s origins in the Carolingian age, examining how cavalry was used as a strategic asset within the context of the period on at an operational level, as well as the tactics they were likely to have employed. Due to my interest in both medieval warhorses and mounted combat research into the context and use of medieval cavalry was a natural by-product. Using primary resources such as first-hand accounts and period artwork as well as secondary literature, the article summarizes the findings of my research. Most historians, despite the recognition that field-battles were not the heart and soul of medieval warfare, still judge medieval cavalry by their performance within them. My findings show a much greater concentration on small unit actions, both in armament and organization, with cavalry centred on chevauchées on raiding and subduing castles in swift commando type take and hold missions. The diversity of mounted forces are also examined in the context of the lance and the integration of mounted crossbowmen and bowmen for combined arms tactics. Keywords – cavalry, medieval warfare, strategy, armament, small unit actions 1 INTRODUCTION This paper presents my thoughts and observations on cavalry warfare in the Middle Ages and my views of the dynamics1 at play. This is not a comprehensive work on medieval cavalry, merely the presentation of a different perspective on the operational doctrine of medieval cavalry in the European theatre from 800 to 1500, using treatises on riding and combat, pictorial evidence from period illustrations, surviving accounts, and secondary sources. -
Clad in Steel: the Evolution of Armor and Weapons in Medieval Europe
Clad in Steel: The Evolution of Armor and Weapons in Medieval Europe Jason Gill Honors Thesis Professor Katherine Smith and Professor William Barry 1 The sun rose over Northern France on October 25, 1415 to reveal two armies, one fighting for England, one for France. As the English advanced in good order toward their enemies, the sun at their backs, the steel plate of their knights seemed to shine in the morning light, even as the shafts of their archers cast shadows on the ground. The unprepared French forces hurried to strap on their armor plates and lock their visors into place, hoping these would protect them from the lethal rain their enemies brought against them, and hurried across the sodden field to meet the glistening blades of their foes, even as arrows descended upon them like hail. The slaughter that followed, which has come to be known as the battle of Agincourt, remains one of the most iconic and infamous engagements of the Middle Ages, with archers and knights in shining armor slaughtering each other in the thousands. For many of these soldiers, armor and skill were their only defenses against the assaults of their enemies, so it was fortunate that by the time of Agincourt armor design had become truly impressive. But how did this armor evolve to this point? What pushed armorers to continually improve their designs? And what weapons were brought to bear against it? All are important questions, and all deserve to be treated in depth. The evolution of armor, of course, is a complicated topic. -
Making the Invisible Visible Post-Traumatic Stress Disorder in Military Art in the 20Th & 21St Centuries
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Wilfrid Laurier University Canadian Military History Volume 18 | Issue 3 Article 6 3-27-2015 Making the Invisible Visible Post-Traumatic Stress Disorder in Military Art in the 20th & 21st Centuries Laura Brandon Recommended Citation Laura Brandon (2009) "Making the Invisible Visible Post-Traumatic Stress Disorder in Military Art in the 20th & 21st Centuries," Canadian Military History: Vol. 18: Iss. 3, Article 6. Available at: http://scholars.wlu.ca/cmh/vol18/iss3/6 This Canadian War Museum is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in Canadian Military History by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. : Making the Invisible Visible Post-Traumatic Stress Disorder in Military Art in the 20th & 21st Centuries Making the Invisible Visible Post-Traumatic Stress Disorder in Military Art in the 20th & 21st Centuries Laura Brandon hellshock, combat stress, and A 1678 article is the earliest What is manifestly clear from Spost-traumatic stress disorder, reference to operational stress.1 the symptoms I have listed is that or collectively, operational stress, Author Johannes Hofer observed they are not only varied but also are are among a number of terms we Swiss mercenaries variously symptomatic of other conditions. have applied at various times to affected by dejection, melancholy, You can have, for example, an mental breakdown in wartime. So homesickness, insomnia, weakness, upset stomach from eating tainted how have artists depicted them and lack of appetite, anxiety, fever, and food, break into a cold sweat out of what are the challenges they have heart palpitations.