The first edition of this book was published in 1978 and proved a valuable addition to our collection of Army books. Sadly it has been out-of-print for many years. Now WRG is happy to produce this revised second edition and make it available to wargamers once again. As usual it contains information on the organisation of the various armies, descriptions of the major battles of the period and information on the dress and equipment of the armies illustrated by the usual line drawings. It contains information about the Franks, Hospitallers, Templars, Armenians, Syrians, Seljuks, Fatamids, Ayyubids, Mamluks, Assassins, Byzantines, Georgians, Mongols and Ilkhanids.

Armies of the Dark Ages spans the period from 600 AD to 1066 and describes Byzantine, Sub-Roman, Pictish, Irish, Visigothic, Lombard, Merovingian, Carolingian, Ottonian, Viking, Russian, Slav, Avar, Khazar, Magyar, Bulgar, Pecheneg, Ghuzz, Alan, Armenian, Sassanid, Arab, Andalusian, Near Eastern, Saxon, Norman, Italian and Spanish armies. It examines tactics and strategy, organisation and formations as well as providing a detailed guide to the dress and equipment of the armies of the period. Comprehensive illustrations complement the text and the result is a wealth of information for anyone interested in the warfare of the time. Long out of print, the book has been a source of inspiration to wargamers and academic historians alike. It is reprinted here in its complete 1980 second edition with an updated bibliography.

This is a reprint of the 1989 second edition of this book in our "Armies and Enemies" series. It includes details of armies from Andalusia, Bulgaria, England, Estonia, France, the Holy Roman Empire, Hungary, Ireland, Italy, Morocco, the Ordensstaat of the Teutonic Knights, the Earldom of Orkney, the Papal State, Poland, Prussia, Lithuania, the Low Countries, Kievan Russia, Scandinavia, Scotland, Serbia, Sicily, Spain, Venice, Wales and Wendland.

The history of the Vikings is bloody and eventful, and Viking warriors capture the popular imagination to this day. They made history, establishing the dukedom of Normandy, providing the Byzantine Emperors' bodyguard and landing on the shores of America 500 years before Columbus. Beautifully illustrated with colour photographs and original Osprey artwork, this book presents a new window into their way of life including detailed studies of the Hersir, the raiding warrior of the Viking world, and the legendary Viking longship.

In this worthy addition to the Elite series, Ian Heath transports us to the time of the Vikings examining their epic journeys and the ships they made them in, their methods of warfare - the organisation of their armies and tactics employed, their appearance and equipment and the general history of these fascinating warrior-explorers. His authoritative text is backed by many fine illustrations and photographs including 12 stunning full colour plates by Angus McBride, one of the world's most respected military artists.

The Byzantines had a remarkably sophisticated approach to politics and military strategy. Unlike most of their contemporaries, they learnt very early in their history that winning a battle did not necessarily win a war, and they frequently bought off their enemies with treaties and bribes rather than squander men and materiel in potentially fruitless campaigns. The Byzantine army of the 10th and early 11th centuries, at the height of its power and efficiency, was the best-organised, best-trained, best-equipped and highest-paid in the known world. This splendid book by Ian Heath examines the Byzantine Armies from 886-1118, including the lusty, hard-fighting, hard-drinking 'barbarian' Varangian guard.

In addressing the subject of the representation of Islam in museums, this work undertakes to examine both its production and consumption. The production of representation and the creation of identity are achieved in museums through the medium of the display of material, whilst consumption occurs through the medium of visiting and the meaning made by visitors. In order to evaluate such production displays of Islamic material in museums are the subject of critical analysis. This research has a qualitative element and seeks to tap into the perceptions of museum visitors of current museum displays. Given the role played by museums in the construction of identity the questions underpinning this are firstly, what are the messages they receive about the world of Islam and secondly, what do these displays say about the Islamic world past and present?