Thursday 14 March 2024

Unofficial report of final action at Liebertwolkwitz

Vive l’empereur! Les braves held firm against the onslaught of the Kaiserlichs!

As expected, the latter threw all that they could at the legions of France, but a stoic defence and well-timed counter-attacks blunted them until they ran out of 'puff’.

Our reporter on the spot, General de Division Simon de l'Èspere-Frédom, sent us his notes and sketches from the battlefield—hastily composed, but beautifully detailed and colourful.

Summary of battlefield status is that the French had stabilised both its left and right flanks after facing threatening cavalry attacks on both sides. In the centre Klenau managed to gain a toe hold in a section of Liebertwolkwitz (Austrian centre right), but was repulsed.

Austrians appeared likely to take the ville with elements from 2 divisions attacking 3 points, but Murat's troops weathered the storm (some punishing artillery fire disordering cavalry + infantry at strategic points).

At the end Klenau had to decide whether to keep pushing or withdraw to fight again another day?

Attached battlefield sketches by the author show progress. 

Austrian initial attack





Victory by elite armoured cavalry with prospect of further exploitation



French lead brigade still holding ground.


Cavalry on Austrian left threaten French right.






Massed Austrian attack takes control of a sector of Liebertwolkwitz.








French counter-attacks re-gained most of lost ground.





The official umpire's report on an entertaining game is awaited eagerly.

Monday 4 March 2024

Mitch's method

Following on from my previous post, Mitch has sent me some notes about his painting method as well as some photos of figures in progress and some beautiful completed ones.

Over to you Mitch.
(captions to his photos by me)

Hi, Mitch here.
As there has been a bit of interest, I thought I might give a description of the method I use, along with some pics.

First I clean up the figures with a pointy hobby blade.
Getting rid of mold lines is more important with this method of painting.  Although they can be semi hidden later.

Next paint the whole figure black. Matt/satin is best as gloss is harder to dry brush on, I think.

When give the figure a heavy dry brush in dark-ish grey.
The best, & cheapest brush for this is a make-up brush.
They were quite cheap at K-mart in a pack.
Otherwise, a big brush of size 6+ is good & quick.
As you no-doubt know old bushes are probably better for this.
Some tools of the trade. Brushes for dry brushing and coke bottle cap for holding the figure.

The trick is to get the right amount of paint on the brush.
I use a piece of paper to wipe the excess off the brush & you can quickly 'refuel' the brush by soaking up the smear on the blotting sheet.
With the fine bushy hairs you can dry brush at high speed, sweeping over the entire figure.
I normally sweep around the figure 2 or 3 times, until I am happy I have highlighted all the detail, but not filled in too much of the black.
Give the figure an hour or so to dry, but overnight is better.
 Figures after dry brushing with the one in the centre still showing its black undercoat.

A closer look at the Prussian cuirassier figure. 

Next, I repeat the dry brushing process with white.
This is a lighter coat, not getting into the deeper recesses but picking up all the highlights & flat surfaces.
Once again, I sweep over at least twice.
There is a line between too much & not enough & you never know until you cross it. :)

After this you should have a sort of greyscale paintjob on the figure.
You can stop the prep process right now, but If you are fussy (like me).  You will come back with a fine white brush & camouflage any little black mold lines or other bits that on one else will notice.
I use cheap hobby acrylics for all this prep.
There are some quite nice ones in tubes, made for artists, & there even cheaper options.

Originally, I experimented with various things to colour-in the figures but quickly discovered pigmented inks.  These gave much stronger colours than normal inks, removing the need to apply, especially lighter colours, more than once.
I became quite adept of mixing up the basic 8 or so colours to get the military shades I wanted.  I have quite a collection of swatches, yellow is by far the most used colour in the mixes, it seems.
But nowadays we have Contrast paints (by GDW) & Speed paints (Army painter).
I am using these for most colours now.
Completed Prussian cuirassiers. These are 1/72 scale, 3D-printed figures.

This time a 1/72 scale Austrian limber by Hat.

It is easy & quick to paint with inks, speed paints also live up to their name.
Not having to keep within the lines so accurately, already having things like backpack straps already picked out & painted plus other things James has mentioned all help.
Cheers
Mitch.

The piéce de résistance: Polish line infantry.  The 6th, I do believe.
Chiefly Strelets figures, apart from the central officer and drummer who are from Italeri.
I was astounded that Mitch had painted the white outline on the backpacks (which are amongst the excellent detail in these Strelets figures). He explained that it was all a bit of a 'cheat' as he had simply filled in the back pack of the dry-brushed figure (with a little bit of touch-up of the white, I presume).

 

Thanks for these notes and lovely photos Mitch. I found it useful and I'm sure that others will too. Or just enjoy the pixies!!

Sunday 3 March 2024

Paint less, rub more

Mitchell you are a genius!

This post is about changes to how I will paint. These 13th Polish hussars, painted under the previous regime, have had the base coat applied and are ready for black wash highlights/details and then varnish. They are about as good as I can do.

I have not been this excited about painting since the first time that I painted figures as a young fella and marvelled at them 'coming to life' with each added colour. So excited in fact that I have felt compelled to stop painting and to post about it.

After Mitch, this fella was the genesis of all this. You see a poorly painted figure (if you can seen anything at all in the top photo thanks to be choosing a textured backdrop!), I see blue that was easy to apply and the first details (crimson) that were easy to pick out.

It came about because of a wonderful discussion that Mitch and I had after the game last weekend, when everyone else had left (except Steve W. who quickly became bored with our conversation and left the room!). It was one of those indulgent, endless discussions that wargamers can have about figures, collections, painting, conversions, uniforms and so forth.

On the subject of painting, and hearing about how many figures I (still) aim to get done before I can paint no more, Mitch suggested, as he has once previously, that I adopt his inking approach. I said that I did not think it was for me. While I love his painting and think his figures look excellent, the brightness of the inks does not suit my eye/bias. Crucially, I asked him to show me exactly what he does. Just as well. I thought that I understood, but it turned out that I did not!

He described the process and then showed me a figure that had been undercoated, dry-brushed grey and then dry-brushed white. After this he simply applies ink to the relevant parts of the uniform, the ink settles in the lower sections, raised sections remain and instant highlights and shading result. Inking is a quick process and one does not have to worry too much about missed bits as they are covered by the shading/lining effect of the undercoat/dry-brushing. There are always a few touch-ups required, of course, to sort out overlaps or crucial missed bits.

It is marvellously simple and ingenious.

You clever painters will no doubt be well aware of this already. "Everyone uses it now," Mitch said, "I should have copyrighted it when I started doing it twenty years ago!" Whatever the veracity if that statement, it is a beaut and elegant method and he has been painting that way for ages. "Still, not for me," I said "as I don't like the colouring of the inks."

Then I slept on it.

I have not changed the way that I paint in over 30 years. I was introduced to the idea of an undercoat, base coat, dry brush technique by Marcus, an artist fellow at the wargame club in Perth. Naturally, he produced absolutely sensational looking figures. Painting figures is an easy bit of colouring in compared with actual painting. I could never emulate him but the approach was one that I really liked.

I have tweaked it a bit over the years, and it now consists of undercoat, base coat, black wash and then highlights (rather than dry brushing). The only real change was when I was made aware of Paynes' grey# as an undercoat in place of black. What a ripper colour it is. Beaut for mixing too; especially skin tones.

I have always painted slowly. My approach, with its double handling does not help this, but I could not see my way past it as it gives a look that I like and enables me to paint to the best of my limited ability.

Thinking further about what Mitch had said and shown me I thought, "What if I add in the dry brushing? This should help to lighten my figures [which tend to be dark, even after highlighting], may make applying the base coat easier, will help with the application of the always fiddly and time-consuming 'white bits' and may even obviate the need for highlighting." Worth a go for sure.

I considered that the Polish cavalry that I am finishing off were to advanced to try it, so I would have to wait until I get to the infantry. I was sorting through the Polish infantry this morning and found a dismounted Polish general that I had missed. Better chuck him in with the cavalry, artillery and generals that I am painting. Hang on. What if I have a go at that dry brushing post-undercoat thing?

Some figures representing the 3rd uhlans, done in the old style. These are towards the end of the base coat stage.

I did, then applied some blue to his coat (even used a bit of ink that I have, just to see) and I liked the effect. So, I slapped on some dry brushed grey and white to figures I have to represent the 9th, 12th, 15th and 16th Polish uhlan regiments that are a bit behind the others in the production line. They still need their blue coats, shabraques and such done (let alone all the other bits). Happy with the aforementioned officer, I duly applied blue to them. Oh yeah. So much easier, looks much better. This is good.

Figures representing the 16th uhlans with grey then white 'rubbed' on.

Figures representing the 9th uhlans with blue plus some details added; new method to left, old to right.

Figures representing the 12th uhlans with blue applied post-dry brushing.

The same figures at left, plus two representing the 15th uhlans to their right, one of whom has some details of the cramoisi facings added.

Thanks Mitch!

The idea of 'tricking the eye' when painting was pointed out to me several years back. The best that I have achieved has been the 'free' black lining that results from undercoating with Payne's grey. This 'new' approach takes this up a notch or three. You only need to paint the main areas. Any missed bits are shaded beautifully by the combination of the Payne's grey, grey and white. The dry brushing 'lifts' the detail making it easier to paint and, in turn, requiring less paint to be applied. 

I am now wishing that I had not progressed so many of my figures to 1/2–7/8ths completed!

I was already feeling reasonably confident that I'd be able to make serious inroads into the masses of figures that I wanna paint, but that confidence has now doubled.

I 'hatched' a new plan (for myself), to the ever-changing order that I reckon I'll paint figures. I have decided to make my next batch a combination of sufficient Polish infantry, Saxons and Austrians to have a go at a game of Raszyn with brigade-scale rules.


L'affaire d'un déjeuner are 'simple rules for games of the black powder period 18th–19th centuries'. They were initially conceived for brigade scale (around 1 000 infantry and 500 cavalry per base) and published in Vae Victis no. 138 over just three pages of the magazine (including photos and tables). They have since been expanded** to four pages of text plus a one-page quick reference sheet and a sheet of some markers (available as a free download to Vae Victis 158) and include suggestions for regimental and even battalion scales. I suspect that brigade remains the 'sweet spot' for such a simple system and that's what I'll be trying in due course. There are reports of several games on 'Borodino's superb Un Soixante-Douze blog.

(**The 'expansion' added more detail to the text, but did not change the rules.)

I am also sufficiently confident of my future production of painted units that I can 'reveal' this:

The situation and the equations

Proportion of figures currently painted 10%

Annual painting output required if have;

• 20 years (unlikely) — 2 965 figures

• 15 years — 3 953 figures

• 10 years — 5 930 figures

Better get me skates on!!


#Addendum—Payne's Grey

Jackson's (UK), the arts supplier, has an article about Payne' s grey on the web blog. I have copied the first few paragraphs below.

Payne’s Grey is made up of a mixture of pigments that combine to make an alternative to black. It is usually very dark in masstone, and reveals very blue undertones when diluted. Payne’s Grey can be found in almost every oil, acrylic and watercolour range – proof of its popularity. This article explores where the colour originated, and how it can be used in the palette.

The History of Payne’s Grey

Payne’s Grey was created by the British painter William Payne. William Payne was born in Exeter, Devon, in 1760 and found acclaim in London as a watercolour tutor. Along with the creation of Payne’s Grey, he is also credited with the technique of splitting a wet brush to make different marks for foliage, and using the side of a dry brush to make rock-like textures in the foreground (perhaps we can think of him as an 18th century Bob Ross?). He was criticised by the ‘serious’ painters of the time for apparently reducing painting to a step-by-step, easy-to-use approach. It should be noted, however, that his mark-making methods were not new. Chinese landscape painters were certainly using these techniques with their brushes in the 15th century, if not long before.

His primary legacy, however, is the colour Payne’s Grey. It is a deep, stormy grey with a distinctly blue undertone. The ‘original’ colour, used by Payne himself, appears to have been a mixture of Prussian Blue (some sources say it was Indigo), Yellow Ochre, and Crimson Lake.

His paintings may not be well-known today, but it’s interesting to reflect on the legacy that this British painter continues to have. The vast majority of watercolour, oil, and acrylic ranges carry Payne’s Grey, evidence of its continued demand. Today, a ready-mixed Payne’s grey varies from range to range, so its hue is not consistent across brands.

Monday 26 February 2024

Trauma, Stress and Liebertwolkwitz as it couldabeen

[This is a long one, so you may wish to skip the rant and background and go directly to the piccies of the game].

Trauma

There are scenes from that travesty of a fil-um Napoleon on you toobe. After he had suffered through it at the cinema, John said that I'd be traumatised if I saw it.  How right that assessment.

I watched the "1812" segment and then "Waterloo".

What the phuck was that?

Where do you begin with your objections and criticism? I know, from the beginning of each scene until the end.

• N and a few mates marching in a long column.

 • Curses! They are cleverly ambushed by some Cossacks with their mortars, doing their best impression of Wes Studi and co. from the 1992 fil-um version of Last of the Mohicans (which messed badly with the book, but is still a most watchable film).

• Naturally you send the heavy cavalry and Guard cav. into the woods to get 'em. It worked for Maximus in Gladiator after all...

• Silly fools, walked straight into a trap and were slaughtered, their bodies strung to the trees, guerrilla war-style; a doff to the Peninsular perhaps?

• Cut to N, in his uniform as a General of the French Republic, leading the famous cavalry charge at Borodino against the Russian guns and infantry (sans redoute).

All completely accurate, sans doute, 'cause Sir Ridley has said it is. 

The 600 000-strong French-allied army crossing the Niemen.
Cossacks attack with mortars.
Ambush of Guard and cuirassiers sent to deal with the Cossacks.
Napoleon charging at Borodino. Note sword in left hand.

By contrast, the French-allied army crossing the Niemen, June 1812 from Sergei Bondarchuk's War and Peace. How good does that look?!

Then, at Waterloo, we begin with some British squares with French cuirassiers swirling around which looks pretty good and a bit of a doffing to Bondarchuk's Waterloo, perhaps? We then see N revving up some line infantry, while the cuirassiers are driven back in disorder to the French lines. The British Guards form a beautiful line, which N directs his infantry to attack while he himself issues the famous order, "Prepare to charge. Charge!" The French infantry line marches towards the aforementioned British before launching into a wild charge, which the British meet with a volley and then counter-charge. Meanwhile N is coming in fast with the cavalry. In response to a request from Uxbridge(?), Wellington issues his famous "Cavalry advance!" order and the Household cavalry walk, then trot, then charge away from the British infantry line on the ridge, behind the redoubt, towards the mêlée. Meanwhile N and his cavalry in the thick of the combat between the French troops and the British guards. Observing N through his telescope, from his position on the ridge, Wellington issues his famous line "No. He can't help himself", before he is alerted by a cry of "Sir! Blucher." Looking to his right he sees a line of Prussian cavalry streaming towards the mêlée and sighs as he says "Thank God." Alarm is sound in the French ranks. N turns, sees the Prussians and then turns his mount to ride off. Fortunately, turning his head just in time to avoid the sniper of the 95th, equipped with telescopic sight, who fires at the defeated Emperor, only to blow a hole in the famous cocked hat. A fellow with side-burns and distinctive Murat looking dark hair issues Ney's line "Come, see how a Marshal of France dies!" The bloody, wild mêlée of infantry and cavalry continues as the Prussian cavalry charge into the French left. The fleeing Napoleon turns his horse and looks towards Wellington, stares for a moment, before saluting him with his sword. "The battle is mine," says the Duke. "There will be an end to the war."

Stills of the scenes from the Waterloo sequence. Note right handed Napoleon.

It gets worse and worse the more pieces of the puzzle that I see.

Telling John about my viewing of the scenes he advised:

I strongly recommend not attempting to view any more scenes unsupervised. Perhaps, someday, we shall fortify our constitutions with a suitable quantity of beverage and approach it as we might a Monty Python film, even though the Python's are far more historically accurate.

Of course a fil-um is art and not meant to be a cinematic version of an historical text. 

Bondarchuk's 1970 Waterloo was an anti-war film which left the audience in no doubt, while presenting a watchable version of the Battle of Waterloo, despite (naturally) still being filled with inaccuracies to the eye of the 'specialist' and having a script that comprised of a series of memorable and enjoyable one-liners that may or may not have ever been uttered over the period of 1796–1815.

Given that, what is this film-maker trying to show to the audience? I can only guess, piecing together the 33 minutes that I have now seen—despite John's wise counsel, I watched the scenes incorporating the siege of Toulon, Coronation and Austerlitz—along with the previously viewed trailers and a few summaries and critiques.

Strangely the sniper shot striking N's hat was the best bit of those 33 minutes of my life that I will not get back. I see it as a fine piece of cinematic symbolism. The English fought against the monstrous 'ogre', to maintain the balance of power in Europe, in line with their national interest. They, along with continental allies, illustrated by the inclusion of Austrian, Russian and Prussian armies on fields of battle shown in the film, won. Yet they could not destroy the legacy and legend of *that* hat, despite sniping at it then and ever since...

What of those largely mystifyingly or hysterically inaccurate battle scenes?

I reckon that Scott realised that he did not have the resources (budget, cinematic time and extras) to produce anything close to Bondarchuk's War and Peace or Waterloo, nor did he wish to simply produce a 21st C version of those classic series/films, so he took a completely different approach.

*Different* is an understatement, but bear with me. N is almost universally accepted to be a military 'genius', or at least grand master of the military 'art'. Scott therefore decided to demonstrate this in a series of allegories and to depict Napoleon as a 'warrior', using scenes recognisable to those from various well-known films that have gone before. Hence we have a bit of Gladiator, Last of the Mohicans, AlexanderBraveheart, Gallipoli, El Cid, The Alamo, Glory, and no doubt others. N is demonstrated as a soldier, general and military strategist across time and space.

I may not be 'on the money' with this, but I reckon I am getting close. Else, Scott's intention was to stick up two fingers to the legion of devotees of the period, whether pro-, anti-, neutral or even nuanced towards the central figure.

Either way, it is artistic licence in spades. Anything that we do on the tabletop will be a more accurate representation. Mind you, I am keen to employ the tactic of a line of infantry supported by a cavalry charge. I will make a figure of N charging on horseback for the purpose.

Stress

I look forward to summer all year and love the hot weather, but it has been a particularly warm one this year. This was especially the case in February when we had three weeks with most days above 37ºC, each with three days in a row between 42ºC and around 47ºC.

Bureau of meteorology records for the York weather station for December 2023 to February 2024
Maximum temperature on our verandah on 8th February. We get 1–2 degrees hotter than the Bureau's York weather station.

This was changing at the end of the week/over the weekend and, by the time I reached Albany on Friday, the cool change had come through and I was looking for a third layer of clothing. Once I got back home mid-morning on Sunday it had reached here too, so I was freezing as the metaphoric mercury climbed to a mere 22ºC.

Cold, cold change

A cool week is forecast for this week with temperatures of only 29 to 33ºC. A bit cool for my liking, but the change is nice and it's heaps more comfortable for our animals. In addition, 'twas great to receive 12 mm of gentle, soaking rain, our first for the year (not unusual) and the only rain since a few millimetres in early November and a sharp, sudden end to the season in mid-September 2023.

Liebertwolkwitz as it couldabeen

Albany was the destination for the long-planned game of Liebertwolkwitz with the Serpentine Group. The weather was a large contributing factor to me, yet again, failing to completely finish painting the figures that I had agreed to bring to the game. That, along with working more than expected, 'commitments' to watch several speedway meetings and not switching rapidly enough to simply painting the actual, limited number of figures that I needed to bring to the game. #Sigh#.

When I got there, I 'sheepishly' pulled them out of the box in which I had transported them, but John and Mitch were really happy that I had brought them, along with some commanders. John even said that, "They are a fine looking body of Polish horse", which made me feel so great. Particularly since they pale against the masterpieces that he and Mitch paint. What a wonderful fella he is!

As always, John and Mitch had provided the vast majority of the figures and planned and set up a magnificent looking game. I, along with four others—Steve R, Steve W and Simon (who had been players at the previous games of Quatre Bras and Salamanca) and Rob (returning member to the group)—were able to simply 'waltz in', open a bev'y, assign commands, make our plans and enjoy the game!

Preparing for action.

Before I move to my report of the game, what was the Battle of Liebertwolkwitz? The entry from David Chandler's Dictionary of The Napoleonic Wars provides a simple, clear summary as he was so adept at doing:

Liebertwolkwitz, action of, 14 October 1813. As the Allied forces converged upon Leipzig, Murat, commanding 32 400 infantry, 9 800 cavalry, and 156 guns (the II, V and VIII Corps and two cavalry corps) engaged the advance guard of the Army of Bohemia to the south of the city. The morning passed in a fluctuating cavalry fight around Wachau and Markleeberg, but at 2:00 P.M. General Klenau attacked Liebertwolkwitz and captured the whole town save the church. That night the Allies evacuated the town. The action thus ended inconclusively, but it is regarded as the greatest cavalry contest of the campaign.

And, indeed of the Napoleonic Wars.

Liebertwolkwitz – Situation at 1130 Hours: October 14, 1813
 (https://www.napoleon-series.org/images/military/maps/1813/liebertwolkwitz1.jpg).
Liebertwolkwitz stylised map.  (https://pushingtinwargames.blogspot.com/p/liebertwolkwitz-1813.html)

The version of battle for the game was taken directly from the Age of Eagles scenario book and is a 'what if' in which all the available troops from both sides take part. Rob, Simon and I were the French-allied side, while John, Steve W. and Steve R. took the Allies. Mitch umpired and enjoyed the 'show'.

The French-allied set-up was largely determined, although we could re-arrange units and occupy the near-by towns.

Right of the French-Allied line, Victor's corps deployed (he is just visible near top left). Cröbern in foreground. Poniatowski's Poles are out of picture further to the left (north-west).
French-Allied right showing Pajol's V Cavalry Corps with Wachau at top left of picture.

The left flank of the lead elements of the Allied army that have moved to the table's edge (Cröbern in foreground). The area of the scenario map represented on the table had needed to be reduced to account for the larger scale of the game/figures.
Two close-ups of the Allied army showing Mitch's Prussian cuirassiers (3D prints and Minifigs) with John's Allied high command behind (above) and Klux's Prussian infantry of Kleist's II Corps (below) that had taken losses from defensive fire.

Close-up of French-Allied left with infantry occupying Liebertwolkwitz just visible at the centre-right. Murat (a figure that I painted in the early '80s) can just be discerned near the top left of the photo. I was just a bit excited to see him on a table again.
Overview of the table from the east. Note the wooded area in the distance occupying most of the western edge. We were concerned as it presented excellent terrain for those Cossack mortars.
Same view taken from behind the French-Allied left rear.
Overview of the French-allied line from the west. Markkleeberg in foreground. 

The great cavalry battle begins. It was first blood to the Peninsular veterans.
Defeated Prussian dragoons just visible in the distance.
A breakthrough onto the Russian hussars,
...saw Milhaud's men driven back without significant loss. This was to be the order of the game. With a set of rules in which the random factor dominates, Rob's generally good rolling was matched by Steve W's poor die rolls so that the French cavalry were able to gain good victories and limited defeats.

The Prince Eugen's Russians attacked Brun's brigade of Dubreton's 4th Division of Victor's Corps in Wachau,
...but were driven back with some loss.

The great cavalry battle continued. 
Rudiger's Prussian heavies headed straight for Albert's artillery of Lauriston's V Corps,
...the latter being fortunate, limbering and retiring behind infantry support (retire result in the mêlée).
Meanwhile, Milhaud's dragoons were taking on all-comers.
At the western end of the table, Steve advanced Kleist's corps steadily,
...while I occupied Markkleeberg with Poniatowski's Poles. Poniatowski had acceded to Murat's request for reinforcements and sent off Krutowski's brigade of uhlans.

Another attack on Wachau was similarly repulsed.

Milhaud's dragoons faced a brigade of Duka's Russian cuirassiers,
... coming off pretty even in the fight.

Artillery fire did what the infantry attacks had not achieved, forcing Brun's brigade out of Wachau.
But, having the initiative, the French were able to re-occupy it.

It was not Cossacks with mortars in the western woods, but a heap of Prussians, in the form of Ziethen's 11th Division.
French reinforcements had arrived as well. Augereau's infantry were sent to support the left (eastern flank), while Pacthod's Young Guard division supported Victor's troops.

Milhaud's dragoons continued on their merry romp.

Surbervie's chasseurs joined in.
Lauriston's artillery finished off Gudowich's cuirassiers.
[We can have explosions from cannon balls, just like the fil-ums.]

Perhaps the tide was turning, as Eugen's men took half of Wachau.
Only to be ejected by a French counter-attack.

Those dragoons were getting bolder and bolder (they were eventually to go too far and be broken by artillery fire).
Surbervie's men got a bit carried away,
...and were lucky to come off with a draw.

The Young Guard (heavily disguised as Middle) were ejected from Wachau.

Considering attack the best form of defence, I sent in Uminski and Tolinski's brigades against Ziethen's troops.
Tolinski's 1st Chasseurs and 3rd Uhlans, with Krutowski's brigade in the distance (fortunately it had been recently returned by the King of Naples).
Uminski's men came off decidedly second best,
...retreating to the rear with half of their saddles emptied.
Krutowski was far more successful,
...forming a guard of the right flank.
Seeing his opportunity, Pirch attacked and took Markkleeberg, eliminating Gabrowski's infantry.
Breaking through and pushing back Malachow's infantry.
Steve's best turn of the game (and his only bit of reasonable die rolls) had the French-allied left looking a bit ordinary.
It did not last. A follow-up attack against Malachow was defeated. The attempted charge by the landwehr against those limbered guns at the bottom right of the photo failed due to a poor manoeuvre roll.
Then, this attack on the Vistula legion was blown away, thanks to a timely '10' for the die roll for defensive fire.

Taking advantage, Tolinski and Krutowski's brigades charged.
Both victorious this time.
Tolinski's men breaking through and finishing off the Silesian uhlans.

Back in the centre, the great cavalry battle had petered out.

Help was arriving for the Allies in the form of Klenau's IV Corps.

Back in the west, the guns that had been largely ineffective to date, suddenly had some deadly effect (mainly in favour of the Poles).
Malachow's infantry was reduced to 'spent' in one whiff of cannon and musketry.
The 9th Landwehr paid dearly for failing to move as ordered.

The 7th Reserve suffered from effective fire as well.
As did Pirch's artillery.

The French allied troops launched general attacks around and west of Wachau, with great success.
Their successful attack (breaking two units of landwehr) leaving their flank 'hanging in the air', the Vistula Legion were fortunate to escape from subsequent artillery fire with only one base lost.

Eugen's Russians had withdrawn south of Wachau and were forced back further.

A counter-attack by one of the Russian's fresh brigades forced back Bertrand's brigade, with little loss to either side.

By now, the great cavalry battle had ceased.

Only Klenau's Austrians remained for the Allies as an effective (and completely fresh) attacking force.


This brought us to the end of eight lively turns (particularly turns 2–8) and of the game since four of the six players had to leave. We remaining two were too fatigued to pick up from the others, even to purely play out the eastern section, which would have involved switching over to someone else's command. Always a tricky thing in my experience.

While borne of necessity, stopping at this point made a lot of sense (to me at least, as a French-allied player!). The Allied forces were too worn to continue their attacks in the centre and west. Naturally, Klenau's fresh Austrians could have tried to force the issue and may likely have taken Liebertwolkwitz, although the French-allied forces had the advantages of a prepared defensive line and the cover of the town. With the power of the one who writes the history, I am happy to formulate the story that the Austrians did not have the ticker to "lose one battle in the morning and win it again in the afternoon". It makes complete sense to me that they would retire from a French-allied army that was in no state to pursue, regroup and prepare for the Battle of the Nations that was to come.

Result

We toted up the victory points for each side which comprised objectives held and losses inflicted.

Allies

Towns (Cröbern and Markkleeberg)

4 points

French-allied bases lost or damaged (2 worn x 1, 4 spent x 2, 2 eliminated x 4, 4 wrecked batteries x 1)

22 points

Total 26 points  

French-Allied

Towns (Wachau and Liebertwolkwitz)

15 points

Allied bases lost or damaged (10 worn x 1, 4 spent x 2, 6 eliminated x 4, 0 wrecked batteries)

42 points

Total 57 points

Reads as a pretty clear French-Allied scenario victory to me.


HUGE thanks again to Mitch and John for organising and setting up the game. Thanks to Mitch and Gwen for hosting us and for their hospitality. Thank you to the other players who made it an enjoyable game and get together—especially to Steve R and Steve W who took so well their repeated poor die rolls and pressed on regardless.

Rules, scale and figures

Age of Eagles 2nd Edition

Figure scale 1:80–90, each stand equivalent to 320 - 360 infantry, 160 - 180 cavalry, a single battery of artillery

Ground scale 1 inch equals 60 yards (double original to allow for 1/72 figures)

Time scale 30 minutes per turn.

Figures 1/72 soft plastic figures from various manufacturers, with a few, true 25 mm Minifigs and Hinchliffe metal figures.

Reference and reading

Chandler, DG (1979) Dictionary of the Napoleonic Wars. MacMillan Publishing Co., New York. p. 249.

Hofschröer, P (1986) The Great Cavalry Battle of Liebertwolkwitz (14th October, 1813). Miniature Wargames 38. http://warfare.ueuo.com/19C/Liebertwolkwitz-ByHofschroer.htm

Pushing Tin (2013) Liebertwolkwitz 1813 https://pushingtinwargames.blogspot.com/p/liebertwolkwitz-1813.html