The Art of War in the Middle Ages by Charles Oman

From Chainmail to Cannon: Charles Oman Charts the Rise of Medieval Warfare

Charles Oman’s The Art of War in the Middle Ages (originally published in 1885) presents a sweeping examination of military organization, tactics, and strategy from the fall of the Roman Empire to the close of the 15th century. Oman's central thesis is that medieval warfare was not stagnant or barbaric—as 19th-century critics often suggested—but was instead a dynamic and evolving field shaped by socio-political structures, technological innovation, and the persistence of classical military ideas.

Oman divides the book into distinct chronological chapters: from the tribal warfare of the early Germanic kingdoms, through the rise of feudal armies and the dominance of cavalry, to the eventual resurgence of disciplined infantry and the tactical innovations of the Hundred Years’ War. He highlights key military developments such as the Carolingian heavy cavalry, the crusading campaigns, and the transition to gunpowder and professional armies. His focus is not only on battles but also on how political institutions and military necessities mutually influenced the structure of armies.

Sir Charles Oman (1860–1946) was one of Britain’s foremost military historians, renowned for his studies on Napoleonic and medieval warfare. A fellow of All Souls College, Oxford, and later Chichele Professor of Modern History, Oman brought academic rigor and a classicist’s discipline to his research. His use of primary sources—chronicles, battlefield accounts, legal codes, and administrative records—was exceptional for his time, and although later scholarship has revised some of his interpretations, his pioneering methodology laid the groundwork for future studies in military history.

While Oman relies heavily on Western European sources and exhibits a Eurocentric lens, his documentation of military customs and evolution is meticulous. He connects military trends with feudal governance, the economic limitations of lordship, and the ideological fervor of religious warfare—showing how deeply warfare was embedded in the fabric of medieval life.

Oman writes with clarity and intellectual precision, yet his Victorian prose may appear dense to modern readers. His tone is authoritative, his vocabulary scholarly, and his paragraphs long and detail-rich. Nevertheless, he possesses a knack for distilling complex military maneuvers and structural shifts into accessible insights, often using diagrams or descriptions of specific battles to clarify broader points. Readers familiar with academic prose will find his argumentation logically structured and his analysis well-supported.

Where Oman truly excels is in vivid reconstructions—such as the cavalry charges at Hastings or the disciplined English longbow ranks at Agincourt. These scenes are not only instructive but captivating, making abstract concepts tangible.

The book’s greatest strength is its comprehensive treatment of a subject often overlooked or misrepresented. Oman dismantles the myth of the “Dark Ages” as a period of military ignorance, demonstrating instead a continuous thread of strategic adaptation from Rome to the Renaissance. His analysis of the interplay between feudal politics and military organization is particularly illuminating.

However, the book is not without weaknesses. Oman’s treatment of non-European theaters is scant, and his romantic view of chivalry and knightly warfare can obscure the brutality and systemic violence of medieval campaigns. Additionally, some conclusions—such as the uncritical admiration of cavalry dominance or underestimation of peasant militias—have since been challenged by later historians like Philippe Contamine and Kelly DeVries.

Though written over a century ago, The Art of War in the Middle Ages remains a foundational text in medieval military historiography. Its relevance persists in how it shaped both popular and academic understandings of the period’s martial life. Compared to Oman’s later, more exhaustive works—like A History of the Peninsular War—this book is relatively concise and focused, making it a valuable entry point for students and enthusiasts alike.

Modern readers may contrast Oman’s Eurocentric focus with newer scholarship that integrates the Islamic world, the Mongol invasions, and Eastern European developments, but the original impact of his analysis remains undeniable.

Oman’s The Art of War in the Middle Ages achieves its goal with enduring scholarly value: to map the development of medieval military thought and practice with rigor and clarity. While some of its interpretations are dated, its investigative thoroughness, structural lucidity, and vivid narrative render it both informative and engaging. This book is best suited for students of history, military theorists, and informed general readers seeking a detailed look at pre-modern warfare.

Highly recommended as both a classic in the field and a thought-provoking lens on the intersections of war, politics, and society in medieval Europe.

—N3UR4L Reviews

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