This is the contemporary account of Jakob Walter, a Westphalian conscript in Napoleon's Grande Armée. Walter took part in the Emperor's campaigns against Prussia, Austria and finally, the disastrous Russian campaign of 1812. This is what it really meant to "march with the Emperor". This volume is illustrated throughout with the watercolors produced by Albrecht Adam, another German who served in the ranks of Napoleon's armies, who witnessed many of the same scenes as Jakob Walter. Together the text and illustrations provide a powerful primary insight in to the events of 1812 as witnessed by the men who were there. This book is part of the 'Military History From Primary Sources' series, a new military history range compiled and edited by Emmy Award winning author and historian Bob Carruthers. The series draws on primary sources and contemporary documents to provide a new insight into the true nature of warfare. The series consultant is David Mcwhinnie, creator of the award winning PBS series 'Battlefield'.

Adam Zamoyski’s bestselling account of Napoleon’s invasion of Russia and his catastrophic retreat from Moscow, events that had a profound effect on European history.

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.

A military history and reassessment of Napoleon's Russian campaign.

In 1812 Napoleon's magnificent army invaded Russia. Among the half a million men who crossed the border was Albrecht Adam, a former baker, a soldier and, most importantly for us, a military artist of considerable talent. As the army plunged ever deeper into a devastated Russia Adam sketched and painted. In all he produced 77 colour plates of the campaign and they are as fresh and dramatic as the day they were produced. They show troops passing along dusty roads, bewildered civilians, battles and their bloody aftermath, burning towns and unchecked destruction. The memoirs which accompany the plates form a candid text describing the war Adam witnessed. Attached to IV Corps, composed largely of Italians, he was present at all the major actions and saw the conquerors march triumphantly into Moscow. But, from then on, the invading army's fate was sealed and the disastrous outcome of the war meant that the year 1812 would become legendary as one of the darkest chapters in history.

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.