Originally contracted by wealthy Italian city states to protect their assets during a time of ceaseless warring, many condottieri of the Italian peninsula became famous for their wealth, venality and amorality during the 14th and 15th centuries. Some even came to rule cities themselves. Lavishly illustrated with contemporary depictions and original artwork, this title examines the complex military organization, recruitment, training and weaponry of the Condottieri. With insight into their origins and motivations, the author, Dr David Murphy, brings together the social, political and military history of these powerful and unscrupulous men who managed to influence Italian society and warfare for over two centuries.
Originally contracted by wealthy Italian city states to protect their assets during a time of ceaseless warring, many condottieri of the Italian peninsula became famous for their wealth, venality and amorality during the 14th and 15th centuries. Some even came to rule cities themselves. Lavishly illustrated with contemporary depictions and original artwork, this title examines the complex military organization, recruitment, training and weaponry of the Condottieri. With insight into their origins and motivations, the author, Dr David Murphy, brings together the social, political and military history of these powerful and unscrupulous men who managed to influence Italian society and warfare for over two centuries.
A highly illustrated account of the defeat of the English Kingdom in France at the battles of Formigny (1450) and Castillon (1453). Despite the great English victories at Crécy, Poitiers and Agincourt, the French eventually triumphed in the Hundred Years War. This book examines the last campaign of the war, covering the great battles at Formigny in 1450 and Castillon in 1453, both of which hold an interesting place in military history. The battle of Fornigny saw French cavalry defeat English archers in a reverse of those earlier English victories, while Castillon became the first great success for gunpowder artillery in fixed positions. Alongside battlescene maps and illustrations, David Nicolle explains how the seemingly unmartial King Charles VII of France all but drove the English into the sea, succeeding where so many of his predecessors had failed.
John Hawkwood was fourteenth-century Italy's most notorious and successful soldier. A man known for cleverness and daring, he was the most feared mercenary in Renaissance Italy. Born in England, Hawkood began his career in France during the Hundred Years' War and crossed into Italy with the famed White Company in 1361. From that time until his death in 1394, Hawkwood fought throughout the peninsula as a captain of armies in times of war and as a commander of marauding bands during times of peace. He achieved international fame, and his acquaintances included such prominent people as Geoffrey Chaucer, Catherine of Siena, Jean Froissart, and Francis Petrarch. City-states constantly tried to outbid each other for his services, for which he received money, land, and in the case of Florence, citizenship -- a most unusual honor for an Englishman. When Hawkwood died, the Florentines buried him with great ceremony in their cathedral, an honor denied their greatest poet, Dante. His final resting place, however, is disputed. Historian William Caferro's ambitious account of Hawkwood is both a biography and a study of warfare and statecraft. Caferro has mined more than twenty archives in England and Italy, creating an authoritative portrait of Hawkwood as an extraordinary military leader, if not always an admirable human being. Caferro's Hawkwood possessed a talent for dissimulation and craft both on the battlefield and at the negotiating table, and, ironically, managed to gain a reputation for "honesty" while beating his Italian hosts at their own game of duplicity and manipulation. In addition to a thorough account of Hawkwood's life and career, Caferro's study offers a fundamental reassessment of the Italian military situation and of the mercenary system. Hawkwood's career is treated not in isolation but firmly within the context of Italian society, against the backdrop of unfolding crises: famine, plague, popular unrest, and religious schism. Indeed, Hawkwood's life and career offer a unique vantage point from which we can study the economic, social, and political impacts of war. -- John France
Medieval Italy was characterized by regular warfare among its numerous city-states, as well as internal strife within comunes as aristocratic factions fought each other for domination of the cities' governments. In this context, Italian warfare developed quickly, with the crossbow playing a key role in improving the armour technology of the Italian city militias that used them. This book traces the evolution of the Italian militiaman, providing a comprehensive view of all aspects of the late medieval Italian city militias, from the weaponry, attitudes and social backgrounds of their members, to the political context that made such formations necessary.
Michael MallettÕs classic study of Renaissance warfare in Italy is as relevant today as it was when it was first published a generation ago. His lucid account of the age of the condottieri - the mercenary captains of fortune - and of the soldiers who fought under them is set in the wider context of the Italian society of the time and of the warring city-states who employed them. A fascinating picture emerges of the mercenaries themselves, of their commanders and their campaigns, but also of the way in which war was organized and practiced in the Renaissance world. The book concentrates on the fifteenth century, a confused period of turbulence and transition when standing armies were formed in Italy and more modern types of military organization took hold across Europe. But it also looks back to the middle ages and the fourteenth century, and forward to the Italian wars of the sixteenth century when foreign armies disputed the European balance of power on Italian soil. Michael MallettÕs pioneering study, which embodies much scholarly research into this neglected, often misunderstood subject, is essential reading for any one who is keen to understand the history of warfare in the late medieval period and the Renaissance.
The 15th century was a time of change for knighthood. Knights no longer fought for their lords in return for land, since the feudal summons had long before given way to a system of contracts. Moreover, many knights now preferred the role of landowner, man-about-town or parliamentary representative. However, this was also the age of the knight in plate armour, of the battle of Agincourt and the conquests of Henry V, and of the Wars of the Roses, the bloody internecine struggle that tore medieval England apart. In this title Christopher Gravett describes the life of a 15th century knight, his equipment and experiences from his earliest days as a squire through to his experiences on the battlefields of England and France.
The Italian Renaissance marked a period of political and military turmoil. Many regional wars were fought between the states ruled by Milan, Venice, Genoa, Florence, the Papacy, Siena and Naples. For more than 50 years starting in 1494, major foreign powers also exploited these divisions to invade Italy; both France and Spain made temporary alliances with city states to further their ambitions, and early in the 16th century the Emperor Charles V sent armies from his German realms to support the Spanish. These wars coincided with the growth of disciplined infantry – carrying not only polearms and crossbows but also handguns – which proved capable of challenging the previously dominant armoured knights. The widespread use of mercenaries ushered in the early development of the 'pike and shot' era that succeeded the 'High Middle Ages'. During this period costumes, armour and weapons varied greatly due to their national origins and to the evolution of tactics and technology. This masterfully illustrated study offers a fascinating insight into the many armies which fought in Italy during this turbulent period, explaining not only their arms and equipment, but also their structure and successes and failures on the battlefield.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
