ARROW SHAFTS FROM VENETIAN CRETE

                                        ARROW SHAFTS FROM VENETIAN CRETE  IN  

                                                                 

                                    THE NATIONAL HISTORICAL MUSEUM OF ATHENS

                                                                           

                                                                

In the centre of Athens, in Stadiou and Kolokotroni street is a beautiful museum - the “National Historical”, and amongst other historical artefacts there, is a small display of arrow shafts and arrow points from  Venetian occupied Crete. (Photographs 1 & 2 )

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3. Detail

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The Venetian occupation of Crete ranges from 1205 - 1669. This article is not about the history of this occupation - something that one can very easily find in history books and on the net - but mainly about the excellently preserved findings which I believe  are quite rare in Greece.

It is necessary to mention that Crete has a great historical tradition  with archery. From ancient to medieval times Cretan archers fought on their own ground but also as mercenaries. They were famous for their archery skills and as fighters they could cope with any hardship. The most well known Cretan archers are  from the town of Sphakia, and David Brewer in his excellent book titled “Greece, the Hidden Centuries” gives, I think, a fair description of these men.

…..The men of Sphakia were formidable fighters, and remained so, showing the same qualities outstandingly against the Germans in the 1940s. The Venetians held them in high regard, and in 1602 the Venetian provveditor-general wrote of them: “ They surpass all the other inhabitants in these parts. This is not only because they are manly in appearance, competent and agile with muscular bodies, robust, proud, daring and courteous in manner. What most distinguishes them is their keenness of spirit, their greatness of soul, and their unrivalled ability to handle arms, whether bow or musket, in which they are exceptional. That ultimately is why they are without doubt the most daring, the most virile and the noblest of the men on this island  “…..

Very proudly presented here  by  Cesare Vecellio - c. 1530 – c. 1601 lithograph “Sphakianos archer” (Photograph 3)

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Between 1645 - 1669, the Venetians in Crete fought with the Turks  in what now is called “The Cretan War’ or “War of Candia”. That was the fifth  Ottoman-Venetian War and resulted in the occupation of Crete  by the Ottomans (1669-1898).

So, back to our arrows. 

What we see here is approximately 30” shafts but it is difficult to be accurate because of the evident damage. They are tapered at both ends and with bulbous type of knocks and look quite thick in the middle, perhaps around 3/8” (9.5mm to 10 mm). From the length and weight I can say that they are not the famous Turkish flight arrows, but by also  looking at  the collection of arrow points, I can say with some confidence that they are common war arrows. Most amusingly is that the string (sinew?, silk?, cotton?) that holds the feathers still survives, but no information is given of its nature.

The museum has no information about the actual weight of the arrow points, which  are typically of the type used by the Turks. In Turkey, museums there have many surviving good examples of these arrows with points and of course bows from that era. Some very good examples are in the Topkapi museum in Istanbul and in Photograph 4 from my visit to the museum of Amasya/Anatolia in 2013.

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Recently, one evening I was lucky to be present in the company of Turkish re-enactor archers at the beautiful seaside  of the Black Sea, and one of them arrived with a bag of arrow points, similar to those in our photographs, claiming that they were exact copies of originals used by Seljuk Turks. He told me they were 150 grains in weight, but that also 180 to 200 grains were common.

The Turkish archer told me that this particular design of arrowhead is very nasty because if you try to pull the arrow from human flesh the arrow point will remain in the body, and in addition if you pull the arrow from any surface that is embedded in it will do the same, and in that way the possibility of re-using the arrow in the battle by the enemy is minimised. Common knowledge for many but I was impressed by the enthusiasm of my fellow archer explaining to me the mechanics of death.

Looking at the length of the shafts and arrow points from 150 to 200 grains, an average estimation of 600 to 800 grains arrow weight is possible. That possibly means bows around and up to 80 lbs and even stronger. 

Now, this is all hypothetical because the type of wood that the shaft is made from is not known. Looking at the grain structure means it could be any of a few types, and here I am asking for the opinion of experts to help in the identification of the wood if they can - please  contact me.

Another point is the bulbous type of arrow knock. (Photograph 3). I cannot say with certainty what kind of arrow release is used with these arrows, but it cannot be the three or two fingered Mediterranean release or the long-bow style because the arrow knocks should be thinly  tapered and straight for the smoothest possible arrow release. (Photograph 6)

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Thumb ring is the possible use here - the classic Turkish arrow release,  and it looks that what we have in the museum in Athens are arrows used by Turks against the Venetians in the 1645-1669 war or any other previously.

Looking at the lithograph of Cesare Vecellio of the Sphakianos archer - the only reference we have (of which I know), we see that the Cretan archer is using a bio-composite large bow that looks powerful, of a classic Asian design and with very impressive sized arrows with large fletchings which indicates heavy arrows. The arrows don’t look tapered but I am sure they must have been since parallel arrow shafts are a modern design. At the same time the smooth knock possibly indicates that the archer is using the Mediterranean arrow release, something that was common with central and west european archery practices.

I have also to bring to the reader’s attention that there are some other exhibits inside the cabinets, equally interesting. The metal spikes which are known for anti-calvary practices, the label on the side reads that they were also used against enemy ships.  I guess that by catapulting  the spikes on to enemy ship decks, they would injure the barefooted feet of the sailors something which was common practice amongst sailors in order to have maximum grip on the decks, masts, and ropes of the ship.

There are many questions  and the facts not very clear, but I can say with some certainty that the arrows in the National Historical museum in Athens were used by the Turkish archers or  are of the type that the Turks were using in Venetian Crete. 

If your travels bring you to Athens, please visit the museum, see by yourself and enjoy something that I think is very rare in Greece.

I would like to express my gratitude to Stefanos Skarmintzos and Effi Kastelloriou for the co-operation and supply of the photographs for this article.

CONTRIBUTORS

*Stefanos Skarmintzos, is an independent researcher in historical studies and leading authority in Greece on experimental archeology from the Bronze to Medieval era. He has contributed his research to many periodicals, digital media, books and historical societies. He has lectured at Universities and festivals of experimental archeology and taken part in numerous TV programs. 

He is an instructor on ancient Hellenic fighting techniques (phalanx) and recently is researching and practising Medieval swordsmanship.

Stefanos Skarmintzos MA in War History / U.K.

* Effi Kastelloriou is an Athletics Instructor and Line Judge for S.E.G.A.S. (State Athletic Association). Based on the beautiful island of Rhodes, she is also an excellent photographer and part of our research team for our historical studies. Her images have been extremely useful in this article and without them our work would not have come to fruition.  

BIBLIOGRAPHY

DAVID RREWER : Greece, the Hidden Centuries / Turkish Rule from the Fall of Constantinople to Greek Independence - 2010.

COPYRIGHT : GREX LUPORUM.

Please do not reproduce without permission.

SEAXES, HUNTING & WAR BOWS

SEAXES, HUNTING & WARBOWS 

-On a December day I found myself in the middle of a college green demonstrating to a large number of students the medieval English Warbow. 

The morning  had been organised by Mike Everest of ‘Portals to the Past’, comprising of  three 50 minute  talks to students on ‘Saxon/Norman hunting archery’ and the ‘English Warbow’ in the 100 years war.

Dressed in full gear as an 15th century Azincourt archer on one of the coldest days of the year with considerable chill factor, I was thinking more about the students - many without coats - that came to witness “the man that makes holes in a steel sheet with arrows”. 

It did not go badly, on the contrary, it was a successful  demonstration thanks to Mike’s moral support  and the students cheering me with every arrow finding it’s target as if it was the national English football team scoring a goal. 

To my great satisfaction after the demonstration and looking at the target where the arrows had penetrated the metal sheet I noticed something for the first time.

Now I would like to make it clear that what I am about to say  is not anything new, but I am writing for the benefit of the students who may like to know what I think happens when the arrow strikes armour, but also this is the very first time that I have visual and physical evidence of this action.

The bow I used was a  100 lbs at 32” but I am sure that I shot the arrow much shorter - closer to 30” i.e. around 90 lbs. The wood was stiff to pull due to the cold and fingers  a little painful. The metal sheet was 1.2mm thick and to my luck painted red. It was part of a warehouse door. 

From the 9 arrows I shot, 6 found the target at 20m distance, and somehow saved my reputation on the day. All the arrows were 29.5” to 30.5” long, 1/2” to 3/8” taper, 7.5” x 3 goose feathers, some ash, some poplar shafts and weights between 950 - 1100 grains (15.43 grains = 1 gram). All had hand forged bodkins around 3.5” long. I have found that short bodkins and variations of the  No 10 type arrowheads are the most successful in demonstrations of this kind.

Now 1.2 mm steel plate is not the thickness of  breast plate armour, but there are many areas in armour where the metal is thinner and very vulnerable to war arrows, especially at 20 - 40 m distances.  For educational purposes and to show the difference between target archery and the use of the  warbow the above specs are adequate.

I have shot arrows at metal sheets before  but this is the very first time that I shot at a bright painted red metal sheet and what I noticed looking carefully at the holes on the steel were 1/3  circular scratching marks around the hole. (Photo 1 )

Photo 1

When I positioned  the arrow back in the hole I also noticed that some red paint marks on the bodkin  were quite a distance from the actual metal sheet.  ( Photo 2 ) 

                                                                             

                                                                    Photo 2

I know theoretically from ballistics studies that as the arrow strikes it has a fast spin and the penetration in the metal works like a hammer drill i.e. the arrow spins and pushes  whilst at the same time the metal sheet is trying to push it back. The arrow wins the battle until all it’s kinetic energy is exhausted and finally the metal pushes it back a short distance from it’s original point of penetration.  

In Photo 1 you see evidence of the spinning left on the red surface as the metal caved in and in Photo 2 we see how much the arrow has been forced back by the metal’s resistance when it bounced back. I have to make quite clear that the arrow went in straight and totally vertical to the target.

I have made 2 illustrations to explain as much as possible what the evidence tells me. To have a painted metal surface was an accidental choice that proved to be very informative. (Illustations 1 and 2 )

Illustration 1 & 2

                                                             Illustrations 1 & 2

In the first illustration ( 1 ) we see the impact of the arrow as it spins. It forces with hammer drill action (Force A) the metal sheet until it locks and stops leaving its diamond shape mark on the metal. In the second illustration( 2 ) the metal bounces back  ( B ) and forces the arrow out of the hole and in this case to around 3/8” .  The red marks left on the bodkin are at the same level as the scratch marks are where the arrow finally rested. 

PS. The bodkin that made the hole is of a diamond shape (Photo 3) and has been used for at least three years. The tip is a bit damaged from an older strike.

Photo 3

© GREX LUPORUM

THE ANGELS OF MONS

THE ANGELS OF MONS

by

10th Essex Regiment Great War Living History Group & Grex Luporum.

Photograph by : © Mike South

A fun photoshoot Yiorgos, Mike, Ed and I did recently to recreate the legend of The Angels of Mons, sometimes called The Bowmen of Mons. There are various different versions of the story around but the gist of it is that in 1914 while the British Army were retreating from Mons, an army of spectral bowmen from the battle of Agincourt appeared, killed a bunch of German soldiers with a volley of arrows and then disappeared having saved some British troops. In some versions they're angels, in others they're lead by St George himself. Hopefully we'll be able to get more of both groups together for a larger shoot some time.

Shot with a Kodak No 2 Folding Brownie Model A (1905), using Ilford FP4 film. Thanks to Yiorgos for developing the film.

Yiorgos and Ed are with GREX LUPORUM, Mike and I are with the 10th Essex Regiment Great War Living History Group.

With a Kodak No 2 Folding Brownie Model A (1905), using Ilford FP4 film

Digital file.

Digital file.

ANGELS OF MONS - https://en.wikipedia.org/wiki/Angels_of_Mons

ASHMOLEAN MUSEUM - OXFORD

ASHMOLEAN MUSEUM - OXFORD 

Some artefacts from the small medieval collection.

Arrow heads, iron. 1200 -1400 CE

13. Buckles. copper alloy. 1275-1425 CE

14. Buckle plate, copper alloy. 1250-1400 CE

15. Brooch, copper alloy. 1250-1400 CE

16. Buckle, copper alloy. 1250-1400 CE

17. Brooch, copper alloy. 1250-1350 CE

Brooch, copper alloy and card replicas of both sides. 1300-1400 CE

Chaddesley Corbett, Worcestershire. On the obverse are heraldic images including lions passant and fliers-de-lis. These represent a number of families, including the Dispensers and Plantagenets, and the royal arms of England and France. On the pin and the frame's reverse is a religious Latin inscription of the Hail Mary prayer and the names of Magi - Jaspar, Melchior and Baslthazar.

31. Cross pendant, copper alloy. 1350-1450 CE, England.

32-37. Brooches, copper alloy and glass, copper alloy, silver, silver gilt. 1250-1400 CE, London, Scarborough.

Sword, iron. 1350-1450 CE. Baydon, Wiltshire.

60-61. Daggers, iron. 1500-1700 CE, Oddington Grange and Bicester, Oxfordshire.

Horseman's gauntlet, leather. 1500-1600 CE, unprovenanced.

Floor tiles, ceramic. 1300-1400 CE, Godstow, Oxfordshire. Reconstruction.

Tile, clay. 1250-1500 CE, Eynsham Addey, Oxfordshire.

10. Rounded drinking cup, Rhenish stoneware. 1480-1610 CE. Three Cups Inn site, Queen Street, Oxford.

11. Jug, Brill/Boarstall ware, 1350-1450 CE. Three Cups Inn site, Queen Street, Oxford.

Funeral pall, cloth -of-gold, velvet and metal thread 1504 or 1505 CE, England and Italy. This funeral pall, or hearse cloth, was used at memorial services for King Henry VII held at the University Church of St Mary the Virgin, Oxford. The Tudor rose represents the unification of the Houses of Lancaster and York, while the portcullis symbolises the Beaufont family, through which Henry claimed his right to the throne.

© GREX LUPORUM

All rights reserved. No part of the text and photographs within the text may be reproduced, stored in a retrieval system, or transmitted, in any form or by electronic means or otherwise, without the prior permission of the publisher.

MUSEE DE CRECY / FRANCE

MUSEE DE CRECY / FRANCE

A small museum at Crecy that commemorates the battle of 1346 and other periods of history.

Here is a collection of artefacts exhibited at the museum.

The battlefield.

The position of the old mill.

Model of the battle with different theories of how the battle conducted.

The latest theory of the battle - 2004

Scabbled stonework.

The beginning of the natural ditch at the battlefield.

© GREX LUPORUM

All rights reserved. No part of the text and photographs within the text may be reproduced, stored in a retrieval system, or transmitted, in any form or by electronic means or otherwise, without the prior permission of the publisher.