Arms and Armour or the Greeks

Arms & Armor of the Greeks is a clearly and concisely written book, which fulfils its purpose very well. Snodgrass provides an adequate and entertaining look at the equipment of a Greek soldier, however, the book is intended for historians and masochistic college students. Snodgrass makes continuous literary references (particularly to the Iliad) and sites battles as examples without explaining their outcome or tactics. To a person without proper schooling in Greek history, the book is as useful as a book on the intricacies of object oriented programming would be to someone who had only superficial knowledge of Windows„· or a book on major to minor chords in fugues would be to someone who listened exclusively to rap music. Though the book is not terribly complicated, it is useless to anyone who cannot put it in context. Although Snodgrass presents all of his points in chronological order, however, within the chapters, and sub-sections are disorganized. A chapter might explain the evolution of helmets, then the use of a particular type of shield, then horse armor, and then go back to helmets. The chapters are mildly schizophrenic, though it may have been unwieldy to discuss each piece of armor in a separate chapter. Helmets should be discussed together, swords should be discussed together, and so on. Much of the information in the book is based on assumptions from literature. Weapons and armor may be unearthed but they do not provide enough facts to warrant a definite thesis on their use. Snodgrass must rely on historians like Thucydides who wrote with a particular bias or may have recalled things incorrectly. Given this disability, Snodgrass maintains a fair amount of objectivity. Thankfully, Snodgrass does not fall into the trap of applying modern tactical theory to ancient warfare as in The Roman Army at War by Adrian K. Goldsworthy, The Medieval Knight by Stephen Turnbull, or the footnotes on almost any translation of The Art of War by Sun Tzu. In the chapter regarding Mycenae, Snodgrass is forced to draw almost exclusively on the artifacts found in the shaft graves or tholos tombs. Tablets written in Linear B serve more as inventory lists for the noble houses and little can be learned from them pertaining to the use of the equipment. Works by Homer were written at the end of the Greek Dark Age (approx. 800BC) and reflect the tribal society of the time rather than the strict hierarchy of Mycenae that they are supposed to. Even with his dearth of sources, Snodgrass manages to create workable theories as to the use of the equipment found from that era. Snodgrass does an excellent job of explaining the evolution of arms and armor in ancient and classical Greece. Every point he makes has at least one collaborating source (usually fairly obscure) and appears valid. The evidence is presented in a clear and chronological method that allows the reader to easily transition from one type of equipment to the next. With the exception

Arms and Armour of the Greeks is a wonderful work of scholarship, combining sometimes-scarce archaeological evidence with historical texts and ancient artwork to provide a compelling chronology of the arms of the ancient Aegean. Intended mainly for college students and other scholars, Snodgrass has nonetheless presented the information in such a fashion as to make it good reading for the interested layman. He begins with an introduction to the difficulties encountered in researching and writing on this topic, such as the dearth of direct evidence, not to mention the problems associated with accurately identifying what little there is. He then launches into a brief discussion of the archaeological methods used in the study of the subject, from excavation to correlation with ancient texts. Snodgrass has organized the book usefully and logically, flowing chronologically from the Mycenaeans in the sixteenth century BCE through the Hellenistic Period of Alexander the Great and his successors 1200 years later. Chapter One starts off with the excavations of the Shaft Graves at Mycenae, and the rich finds discovered there by Schliemann (15). This sets up a recurring theme in the book, as much of the archaeological evidence seems to be excavated from the graves of warriors, especially the nobles. He then takes the reader to the rest of the Aegean a century or so later, still at the height of Mycenaean power. This includes an interesting discussion on the relationship and influence of the Cretans and the people of the mainland. This is where Snodgrass comes into his own, using ancient texts and artwork to try and get a glimpse of the equipment in use at the time. Quotes from the Iliad lend a sense of continuity to the discussions, as they are included in several places throughout the book. After the fall of the Mycenaean civilization, there was a period known as The Dark Age (35). Snodgrass notes that there are no examples of the art of writing from approximately 1200 to 750 BCE (35). He qualifies this, however, by saying that, although finished later in the eighth century, the Homeric Epics, the Iliad and Odyssey, incorporate many earlier elements (35). Snodgrass here brings up the argument over how historically accurate the Iliad is, stating that although much of the armor and weapons may be described with less than complete accuracy, there is some consistency. This is demonstrated by the statement, "In Homer, swords and spearheads are without exception said to be of bronze when the metal is specified" (37). While his descriptions of the weapons and armor, some coming from direct evidence, others educated speculation, are informative, they tend to be a little dry. An interesting aside, however, are his ongoing discussions of the importance of the bow, from its popularity on Crete to the Classical Athenian' and Spartan's almost total deprecation and avoidance of this useful weapon. Snodgrass now comes to