Principes (Singular: Princeps) were spearmen, and later swordsmen, in the armies of the early Roman Republic. They were men in the prime of their lives who were fairly wealthy, and could afford decent equipment. They were the heavier infantry of the legion who carried large shields and wore good quality armour.

Their usual position was the second battle line. They fought in quincunx formation, supported by light troops. They were eventually done away with after the Marian reforms of 107 BC.

Principes appear to have been born remnants of the old second class of the army under the Etruscan kings when it was reformed by Marcus Furius Camillus. The second class stood in some of the first few ranks of a very large phalanx and were equipped in a similar manner to principes. They would support the heavier first class in the front ranks. It is probable that engagements with the Samnites and a crushing defeat at the hands of the Gallic warlord Brennus, who both used lots of smaller military units rather than a few very large ones, taught the Romans the importance of flexibility and the inadequacy of the phalanx on the rough, hilly ground of central Italy.

David Munrow (12 August 1942 – 15 May 1976) was a British musician and early music historian.

Munrow was born in Birmingham and was the son of Birmingham University dance teacher Hilda Norman Munrow and Albert Davis 'Dave' Munrow, a Birmingham University lecturer and physical education instructor who wrote a book on the subject. David Munrow attended King Edward's School, Birmingham until 1960. He excelled academically.

In 1960 David Munrow went to Peru, teaching English under the British Council student teacher scheme. He returned with Bolivian flutes and other obscure instruments. Studying English at Pembroke College, Cambridge, he noticed a crumhorn on a friend's wall and threw himself into independent study that climaxed in his book Instruments of the Middle Ages and Renaissance (1976). From his starting position as a pianist, singer and bassoonist he taught himself many old instruments. He joined the Royal Shakespeare Company as a bassoonist but soon played instruments of Shakespeare's time. Although he displayed talent on a wide variety of instruments, he had a particular lasting influence as a recorder player. His English style of discreet, controlled expression contrasts to the greater tonal flexibility of the Continental style espoused by the Dutch recorder player Frans Brüggen and others.