Shields in Ancient Greek Warfare

The Greek 'Dark Ages' drew to an end as a significant increase in population allowed urbanized culture to be restored, which led to the rise of the city-states (Poleis). These developments ushered in the period of Archaic Greece (800–480 BC). They also restored the capability of organized warfare between these Poleis (as opposed to small-scale raids to acquire livestock and grain, for example). The fractious nature of Ancient Greek society seems to have made continuous conflict on this larger scale inevitable.

Along with the rise of the city-states evolved a new style of warfare: the hoplite phalanx. Hoplites were armored infantrymen, armed with spears and shields. Seen in media, the phalanx was a formation of these soldiers with their shields locked together and spears pointed forward. The Chigi vase, dated to around 650 BC, is the earliest depiction of a hoplite in full battle array. With this evolution in warfare, battles seem to have consisted mostly of the clash of hoplite phalanxes from the city-states in conflict. Since the soldiers were citizens with other occupations, warfare was limited in distance, season and scale. Neither side could afford heavy casualties or sustained campaigns, so conflicts seem to have been resolved by a single set-piece battle.

The hoplite was an infantryman, the central element of warfare in Ancient Greece. The word hoplite (Greek ὁπλίτης, hoplitēs) derives from hoplon (ὅπλον, plural hopla, ὅπλα) meaning a large, round shield, as they were named after their most notable gear. Hoplites were the citizen-soldiers of the Ancient Greek City-states (except Spartans who were professional soldiers). They were primarily armed as spear-men and fought in a phalanx (see below).

Hoplite armor was extremely expensive for the average citizen, so it was commonly passed down from the soldier's father or relative. Alexander’s Macedonian army had spears called sarissas that were 18 feet long, far longer than the 6–9 foot Greek dory. The secondary weapon of a hoplite was the xiphos, a short sword used when the soldier's spear was broken or lost while fighting.

The origins of the hoplite are obscure, and no small matter of contention amongst historians. Traditionally, this has been dated to the 8th century BC, and attributed to Sparta; but more recent views suggest a later date, towards the 7th century BC[citation needed]. Certainly, by approximately 650 BC, as dated by the 'Chigi vase', the 'hoplite revolution' was complete. The major innovation in the development of the hoplite seems to have been the characteristic circular shield (Aspis), roughly 1 m (3.3 ft) in diameter, and made of wood faced with bronze.[2] Although comparatively heavy, the design of this shield was such that it could be supported on the shoulder. More importantly, it permitted the formation of a shield-wall by an army, an impenetrable mass of men and shields. Men were also equipped with metal greaves and also a breastplate made of bronze, leather, or stiff cloth. When this was combined with the primary weapon of the hoplite, 2–3 m (6.6–9.8 ft) long spear (the doru), it gave both offensive and defensive capabilities.

Regardless of where it developed, the model for the hoplite army evidently quickly spread throughout Greece. The persuasive qualities of the phalanx were probably its relative simplicity (allowing its use by a citizen militia), low fatality rate (important for small city-states), and relatively low cost (enough for each hoplite to provide his own equipment).[2] The Phalanx also became a source of political influence because men had to provide their own equipment to be a part of the army.

Their primary technique was called the phalanx, a formation consisting of massed shield wall, which required heavy frontal armor and medium-ranged weapons such as spears. Soldiers were required to provide their own panoply, which could prove expensive, however the lack of any official peace-keeping force meant that most Greek citizens carried weapons as a matter of course for self-defence. Because individuals provided their own equipment, there was considerable diversity in arms and armour among the Hellenistic troops.

The poorest citizens, unable to afford the purchase or upkeep of military equipment, operated on the battlefield as psiloi or peltasts; fast, mobile skirmishing troops.

Weapons that used copper were becoming obsolete at the time. This is because copper was very weak compared to iron and bronze weapons. Iron was plentiful back then and allowed smaller nations in Greece to arm themselves with weapons that were lighter and stronger than copper. Bronze was still used but rare because of how hard it was to find tin. So the weapons of ancient Greece were made of iron and copper. This would help them in the Greco-Persian Wars.

The hoplon was around a meter in diameter, and weighed around 7.3 kg (16 lbs), making it uncomfortable to hold for long periods. Peltasts were armed with wicker shields called pelte, which were much lighter, allowing for greater movement on the battlefield. These were designed to defend against in-coming javelins from opposing peltasts, not necessarily to fend off the thrust of a spear or sword.

Probably the most famous aspis decoration is that of Sparta (Lacedaemon): a capital lambda (Λ), for Lacedaemon, its alternative name (Λακεδαίμων). From the late 5th century BC, Athenian hoplites commonly used the little owl, while the shields of Theban hoplites were sometimes decorated with the club of Heracles or with a sphinx according to later Roman accounts (the writer Statius, Thebaid 7.252) - however the latter is not supported by any contemporary evidence.

The aspis measured at least 0.9 metres (2 ft 11 in) in diameter and weighed about 7.3 kilograms (16 lb), and it was about 25–38 millimetres (0.98–1.50 in) thick. This large shield was made possible partly by its shape, which allowed it to be supported comfortably on the shoulder. The revolutionary part of the shield was, in fact, the grip. Known as an Argive grip, it placed the handle at the edge of the shield and was supported by a leather fastening for the forearm at the center. This allowed hoplites more mobility with the shield, as well as the ability to capitalize on their offensive capabilities and better support the phalanx. The shield rested on a man's shoulders, stretching down to the knees. They were designed for a mass of hoplites to push forward into the opposing army, a move called othismos, and it was their most essential equipment. That the shield was convex made it possible for warriors to use it as a flotation device for crossing rivers, and its large round shape allowed it to be used for hauling the bodies of the dead from the battlefield.

Such shields did not tend to survive the passage of time very well, and only one aspis has survived into modernity with sufficient preservation to allow us to determine the details of its construction: this shield is called the "Bomarzo" or "Vatican" shield, and it is currently located in the Vatican, within the Museo Gregoriano Etrusco. It was discovered in 1830 near Bomarzo in Lazio, central Italy.

Thetis goes to the palace of Vulcan to obtain new arms for her son.

"Thee, welcome, goddess! what occasion calls
(So long a stranger) to these honour'd walls?
'Tis thine, fair Thetis, the command to lay,
And Vulcan's joy and duty to obey."

To whom the mournful mother thus replies:
(The crystal drops stood trembling in her eyes:)
"O Vulcan! say, was ever breast divine
So pierced with sorrows, so o'erwhelm'd as mine?
Of all the goddesses, did Jove prepare
For Thetis only such a weight of care?
I, only I, of all the watery race
By force subjected to a man's embrace,
Who, sinking now with age and sorrow, pays
The mighty fine imposed on length of days.
Sprung from my bed, a godlike hero came,
The bravest sure that ever bore the name;
Like some fair plant beneath my careful hand
He grew, he flourish'd, and he graced the land:
To Troy I sent him! but his native shore
Never, ah never, shall receive him more;
(Even while he lives, he wastes with secret woe;)
Nor I, a goddess, can retard the blow!
Robb'd of the prize the Grecian suffrage gave,
The king of nations forced his royal slave:
For this he grieved; and, till the Greeks oppress'd
Required his arm, he sorrow'd unredress'd.
Large gifts they promise, and their elders send;
In vain--he arms not, but permits his friend
His arms, his steeds, his forces to employ:
He marches, combats, almost conquers Troy:
Then slain by Phoebus (Hector had the name)
At once resigns his armour, life, and fame.
But thou, in pity, by my prayer be won:
Grace with immortal arms this short-lived son,
And to the field in martial pomp restore,
To shine with glory, till he shines no more!"

To her the artist-god: "Thy griefs resign,
Secure, what Vulcan can, is ever thine.
O could I hide him from the Fates, as well,
Or with these hands the cruel stroke repel,
As I shall forge most envied arms, the gaze
Of wondering ages, and the world's amaze!"

Thus having said, the father of the fires
To the black labours of his forge retires.
Soon as he bade them blow, the bellows turn'd
Their iron mouths; and where the furnace burn'd,
Resounding breathed: at once the blast expires,
And twenty forges catch at once the fires;
Just as the god directs, now loud, now low,
They raise a tempest, or they gently blow;
In hissing flames huge silver bars are roll'd,
And stubborn brass, and tin, and solid gold;
Before, deep fix'd, the eternal anvils stand;
The ponderous hammer loads his better hand,
His left with tongs turns the vex'd metal round,
And thick, strong strokes, the doubling vaults rebound.

Then first he form'd the immense and solid shield;
Rich various artifice emblazed the field;
Its utmost verge a threefold circle bound;
A silver chain suspends the massy round;
Five ample plates the broad expanse compose,
And godlike labours on the surface rose.
There shone the image of the master-mind:
There earth, there heaven, there ocean he design'd;
The unwearied sun, the moon completely round;
The starry lights that heaven's high convex crown'd;
The Pleiads, Hyads, with the northern team;
And great Orion's more refulgent beam;
To which, around the axle of the sky,
The Bear, revolving, points his golden eye,
Still shines exalted on the ethereal plain,
Nor bathes his blazing forehead in the main.

Two cities radiant on the shield appear,
The image one of peace, and one of war.
Here sacred pomp and genial feast delight,
And solemn dance, and hymeneal rite;
Along the street the new-made brides are led,
With torches flaming, to the nuptial bed:
The youthful dancers in a circle bound
To the soft flute, and cithern's silver sound:
Through the fair streets the matrons in a row
Stand in their porches, and enjoy the show.

There in the forum swarm a numerous train;
The subject of debate, a townsman slain:
One pleads the fine discharged, which one denied,
And bade the public and the laws decide:
The witness is produced on either hand:
For this, or that, the partial people stand:
The appointed heralds still the noisy bands,
And form a ring, with sceptres in their hands:
On seats of stone, within the sacred place,
The reverend elders nodded o'er the case;
Alternate, each the attesting sceptre took,
And rising solemn, each his sentence spoke
Two golden talents lay amidst, in sight,
The prize of him who best adjudged the right.

Another part (a prospect differing far)(255)
Glow'd with refulgent arms, and horrid war.
Two mighty hosts a leaguer'd town embrace,
And one would pillage, one would burn the place.
Meantime the townsmen, arm'd with silent care,
A secret ambush on the foe prepare:
Their wives, their children, and the watchful band
Of trembling parents, on the turrets stand.
They march; by Pallas and by Mars made bold:
Gold were the gods, their radiant garments gold,
And gold their armour: these the squadron led,
August, divine, superior by the head!
A place for ambush fit they found, and stood,
Cover'd with shields, beside a silver flood.
Two spies at distance lurk, and watchful seem
If sheep or oxen seek the winding stream.
Soon the white flocks proceeded o'er the plains,
And steers slow-moving, and two shepherd swains;
Behind them piping on their reeds they go,
Nor fear an ambush, nor suspect a foe.
In arms the glittering squadron rising round
Rush sudden; hills of slaughter heap the ground;
Whole flocks and herds lie bleeding on the plains,
And, all amidst them, dead, the shepherd swains!
The bellowing oxen the besiegers hear;
They rise, take horse, approach, and meet the war,
They fight, they fall, beside the silver flood;
The waving silver seem'd to blush with blood.
There Tumult, there Contention stood confess'd;
One rear'd a dagger at a captive's breast;
One held a living foe, that freshly bled
With new-made wounds; another dragg'd a dead;
Now here, now there, the carcases they tore:
Fate stalk'd amidst them, grim with human gore.
And the whole war came out, and met the eye;
And each bold figure seem'd to live or die.

A field deep furrow'd next the god design'd,
The third time labour'd by the sweating hind;
The shining shares full many ploughmen guide,
And turn their crooked yokes on every side.
Still as at either end they wheel around,
The master meets them with his goblet crown'd;
The hearty draught rewards, renews their toil,
Then back the turning ploughshares cleave the soil:
Behind, the rising earth in ridges roll'd;
And sable look'd, though form'd of molten gold.

Another field rose high with waving grain;
With bended sickles stand the reaper train:
Here stretched in ranks the levell'd swarths are found,
Sheaves heap'd on sheaves here thicken up the ground.
With sweeping stroke the mowers strow the lands;
The gatherers follow, and collect in bands;
And last the children, in whose arms are borne
(Too short to gripe them) the brown sheaves of corn.
The rustic monarch of the field descries,
With silent glee, the heaps around him rise.
A ready banquet on the turf is laid,
Beneath an ample oak's expanded shade.
The victim ox the sturdy youth prepare;
The reaper's due repast, the woman's care.

Next, ripe in yellow gold, a vineyard shines,
Bent with the ponderous harvest of its vines;
A deeper dye the dangling clusters show,
And curl'd on silver props, in order glow:
A darker metal mix'd intrench'd the place;
And pales of glittering tin the inclosure grace.
To this, one pathway gently winding leads,
Where march a train with baskets on their heads,
(Fair maids and blooming youths,) that smiling bear
The purple product of the autumnal year.
To these a youth awakes the warbling strings,
Whose tender lay the fate of Linus sings;
In measured dance behind him move the train,
Tune soft the voice, and answer to the strain.

Here herds of oxen march, erect and bold,
Rear high their horns, and seem to low in gold,
And speed to meadows on whose sounding shores
A rapid torrent through the rushes roars:
Four golden herdsmen as their guardians stand,
And nine sour dogs complete the rustic band.
Two lions rushing from the wood appear'd;
And seized a bull, the master of the herd:
He roar'd: in vain the dogs, the men withstood;
They tore his flesh, and drank his sable blood.
The dogs (oft cheer'd in vain) desert the prey,
Dread the grim terrors, and at distance bay.

Next this, the eye the art of Vulcan leads
Deep through fair forests, and a length of meads,
And stalls, and folds, and scatter'd cots between;
And fleecy flocks, that whiten all the scene.

A figured dance succeeds; such once was seen
In lofty Gnossus for the Cretan queen,
Form'd by Daedalean art; a comely band
Of youths and maidens, bounding hand in hand.
The maids in soft simars of linen dress'd;
The youths all graceful in the glossy vest:
Of those the locks with flowery wreath inroll'd;
Of these the sides adorn'd with swords of gold,
That glittering gay, from silver belts depend.
Now all at once they rise, at once descend,
With well-taught feet: now shape in oblique ways,
Confusedly regular, the moving maze:
Now forth at once, too swift for sight, they spring,
And undistinguish'd blend the flying ring:
So whirls a wheel, in giddy circle toss'd,
And, rapid as it runs, the single spokes are lost.
The gazing multitudes admire around:
Two active tumblers in the centre bound;
Now high, now low, their pliant limbs they bend:
And general songs the sprightly revel end.

Thus the broad shield complete the artist crown'd
With his last hand, and pour'd the ocean round:
In living silver seem'd the waves to roll,
And beat the buckler's verge, and bound the whole.

This done, whate'er a warrior's use requires
He forged; the cuirass that outshone the fires,
The greaves of ductile tin, the helm impress'd
With various sculpture, and the golden crest.
At Thetis' feet the finished labour lay:
She, as a falcon cuts the aerial way,
Swift from Olympus' snowy summit flies,
And bears the blazing present through the skies.