Part 12

ANGLE of the line of defence, is that angle made by the flank, and the line of defence.

ANGLE of the face, is formed by the angle of the face and the line of defence produced till they intersect each other.

ANGLE of the base interior, is the half of the figure, which the interior polygon makes with the radius, when they join each other in the centre; intersecting the centre of the gorges of each bastion.

ANGLE of the base exterior, is an angle formed by lines drawn from the centre of the figure, to the angle of the exterior polygon, cutting the centre of the gorges of each bastion.

ANGLE of the gorge, is that angle formed by the prolongation of the curtains, intersecting each other, in the centre of the gorge, through which the capital line passes.

ANGLE of the ditch, is formed before the centre of the curtain, by the outward line of the ditch.

ANGLE of the mole, is that which is made before the curtain where it is intersected.

Flanked ANGLE. See ANGLE of the bastion.

Saliant ANGLE, ANGLE sortant, Is that angle which points outwards, or towards the country. Such is the angle of the counterscarp before the point of a bastion.

Entering ANGLE, or ANGLE rentrant, An angle pointing inwards, as the saliant angle does outwards. Such is the angle of the counterscarp before the curtain.

ANGLE of the counterscarp, made by two sides of the counterscarp, meeting before the centre of the curtain.

ANGLE at the circumference of a circle, is an angle formed by two chords in the circumference of a circle.

ANGLE of the circumference, is the mixed angle formed by an arch, drawn from one gorge to another.

Re-entering ANGLE. See Entering ANGLE.

ANGLE of the complement of the line of defence, is the angle formed by the intersection of the two complements with each other.

ANGLES of a battalion, are made by the last men at the extremity of the ranks and files.

Front ANGLES, the two last men of the front rank.

Rear ANGLES, the two last men of the rear rank.

Dead ANGLE, is a re-entering angle, consequently not defended.

ANGULAR, in a general sense, denotes something relating to angles, or that hath angles.

ANGON, in ancient military history, was a kind of dart of a moderate length, having an iron bearded head and cheeks; in use about the fifth century. This sort of javelin was much used by the French. The iron head of it resembles a fleur-de-lis; and it is the opinion of some writers, that the old arms of France were not fleurs-de-lis; but the iron point of the angon or javelin of the ancient French.

To ANIMATE, in a military sense, is to encourage, to incite, to add fresh impulse to any body of men who are advancing against an enemy, or to prevent them from shamefully abandoning their colours in critical situations. Soldiers may be encouraged and incited to gallant actions not only by words, but by the looks and gestures of the officers, particularly of their commanding one. It is by the latter alone, indeed, that any of these artificial means should be resorted to; for silence, steadiness, and calmness are the peculiar requisites in the characters of subordinate officers. Whatever their private feelings may be, a superior sense of duty should always prevent them from discovering the slightest symptom of perturbation. The best effects, however, may be sometimes produced by a sort of electrical shock which is communicated to the soldiery: as, when officers, being themselves animate and full of fire, give a sudden and unexpected utterance to their sentiments; make use of some particular expression by which the national ear is captivated, or by a happy waving of the hand, hat, or sword cause the most timid to become careless of danger, and keep up the enthusiasm of the bravest. Many battles, both in ancient and modern times, have taken a sudden turn from the most trivial circumstance of this nature.

The French are very susceptible of this species of animation. During the present war they have furnished several instances of the power of military animation. The success at Lodi, to which Bonaparte owes so much of his reputation, was the consequence of a bold and individual exertion, when he snatched the standard, and personally led the grenadiers across the bridge. A variety of instances might be enumerated wherein words and gestures have had the most happy result. As far back as the days of Cæsar there are examples that stand fresh upon record; and nothing proves more forcibly the influence which a great reputation has upon common minds, than the exclamation which Cæsar used when he was crossing a branch of the sea, between Brundusium and Dyrrachium. He embarked by night in the habit of a slave, and lay on the boards like an ordinary passenger. As they were to sail down the river Annius a violent storm arose, which quite overcame the art of the pilot, who gave orders to put back; but this, Cæsar would not permit, who discovering himself, and taking the astonished pilot by the hand, bade him boldly go on and fear nothing, for, cried he, thou carried Cæsar and Cæsar’s fortune. “Cæsarem vebis fortunamque ejus.”

ANNALS, a species of military history, wherein events are related in the chronological order they happened. They differ from a perfect history, in being only a mere relation of what passes every year, as a journal is of what passes every day.

ANNUNCIADA, an order of military knighthood in Savoy, first instituted by Amadeus I. in the year 1409; their collar was of 15 links, interwoven one with another, and the motto F. E. R. T. signifying fortitudo ejus Rhodum tenuit. Amadeus VIII. changed the image of St. Maurice, patron of Savoy, which hung at the collar, for that of the Virgin Mary; and instead of the motto abovementioned, substituted the words of the angel’s salutation. Now extinct.

ANOLYMPIADES. See OLYMPIAD.

ANSE des Pieces, a French term for the handles of cannon. Those of brass have two--Those of iron seldom any--these handles serve to pass cords, handspikes, or levers, the more easily to move so heavy a body, and are made to represent dolphins, serpents, &c.

ANSPESADE. See LANCE CORPORAL.