Borodino 1812

A highly illustrated account of the battle of Borodino, the most crucial action in Napoleon's 1812 campaign in Russia. The battle of Borodino was one of the greatest encounters in European history, and one of the largest and most sanguinary in the Napoleonic Wars. Following the breakdown of relations between Russia and France, Napoleon assembled a vast Grande Armée drawn from the many states within the French sphere of influence. They crossed the river Neimen and entered Russian territory in June 1812 with the aim of inflicting a sharp defeat on the Tsar's forces and bringing the Russians back into line. In a bloody battle of head-on attacks and desperate counter-attacks in the village of Borodino on 7 September 1812, both sides lost about a third of their men, with the Russians forced to withdraw and abandon Moscow to the French. However, the Grande Armée was harassed by Russian troops all the way back and was destroyed by the retreat. The greatest army Napoleon had ever commanded was reduced to a shadow of frozen, starving fugitives. This title covers the events of Napoleon's disastrous Russian campaign of 1812 in its entirety, with the set-piece battle of Borodino proving the focal point of the book.

In the summer of 1812, having defeated almost every army in Europe, Napoleon finally began is attack on the Russian empire. For ten terrible weeks the Grande Armee swept all before them, and by September they had reached Borodino on the western approaches to Moscow. It was here that the full force of the French and Russian armies finally clashed. What ensued was a battle the Russian commander Kutuzov called the most bloody battle of modern times.

On 7 September 1812 at Borodino, 75 miles west of Moscow, the armies of the Russian and French empires clashed in one of the climactic battles of the Napoleonic Wars. This horrific - and controversial - contest has fascinated historians ever since. The survival of the Russian army after Borodino was a key factor in Napoleon's eventual defeat and the utter destruction of the French army of 1812. In this thought-provoking new study, Napoleonic historian Alexander Mikaberidze reconsiders the 1812 campaign and retells the terrible story of the Borodino battle as it was seen from the Russian point of view. His original and painstakingly researched investigation of this critical episode in Napoleon's invasion of Russia provides the reader with a fresh perspective on the battle and a broader understanding of the underlying reasons for the eventual Russian triumph. This book as just receive second prize by the Literary Committee of the International Napoleonic Society. A total of twelve distinguished works were carefully evaluated and Dr. Mikaberidze’s volume has met the rigorous criteria established by the Committee. The quality of the publication, especially in the area of research, originality, style and analysis, represents a significant contribution to Napoleonic Studies.

The Battle of Borodino resonates with the patriotic soul of Mother Russia. The epic confrontation in September 1812 was the single bloodiest day of the Napoleonic Wars, leaving France's Grande Armée limping to the gates of Moscow and on to catastrophe in snow and ice. Generations later, in October 1941, an equally bitter battle was fought at Borodino. This time Hitler's SS and Panzers came up against elite Siberian troops defending Stalin's Moscow. Remarkably, both conflicts took place in the same woods and gullies that follow the sinuous line of the Koloch River. Borodino Field relates the gruelling experience of the French army in Russia, juxtaposed with the personal accounts, diaries and letters of SS and Panzer soldiers during the Second World War. Acclaimed historian Robert Kershaw draws on previously untapped archives to narrate the odyssey of soldiers who marched along identical tracks and roads on the 1,000-kilometre route to Moscow, and reveals the astonishing parallels and contrasts between two battles fought on Russian terrain over 100 years apart.

A highly illustrated account of the battle of Borodino, the most crucial action in Napoleon's 1812 campaign in Russia. The battle of Borodino was one of the greatest encounters in European history, and one of the largest and most sanguinary in the Napoleonic Wars. Following the breakdown of relations between Russia and France, Napoleon assembled a vast Grande Armée drawn from the many states within the French sphere of influence. They crossed the river Neimen and entered Russian territory in June 1812 with the aim of inflicting a sharp defeat on the Tsar's forces and bringing the Russians back into line. In a bloody battle of head-on attacks and desperate counter-attacks in the village of Borodino on 7 September 1812, both sides lost about a third of their men, with the Russians forced to withdraw and abandon Moscow to the French. However, the Grande Armée was harassed by Russian troops all the way back and was destroyed by the retreat. The greatest army Napoleon had ever commanded was reduced to a shadow of frozen, starving fugitives. This title covers the events of Napoleon's disastrous Russian campaign of 1812 in its entirety, with the set-piece battle of Borodino proving the focal point of the book.

The following pages are not offered to the reader as a history of the invasion of Russia by Napoleon. They are but the statement of the basis of observation on which M. Verestchagin has founded his great series of pictures illustrative of the campaign. These pictures are now to be exhibited in this country, and the painter has naturally desired to show us from what point of view he has approached the study of his subject-one of the greatest subjects in the whole range of history-especially for a Russian artist. The point of view is-inevitably in his case-that of the Realist; and this consideration gives unity to the conception of his whole career and endeavour. He has ever painted war as it is, and therefore in its horrors, as one of its effects, though not necessarily as an effect sought in and for itself. He has tried to be "true" in all his representations of the battle-field. His work may thus be said to constitute a powerful plea in support of the Tsar's Rescript to the Nations in favour of peace. My meaning will be best illustrated by a short sketch of M. Verestchagin and his work, as painter, as soldier, and as traveller.