The Art of War by baron Henri Jomini
page 279 of 570 (48%)
page 279 of 570 (48%)
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The art of building military bridges is a special branch of military
science, which is committed to pontoniers or sappers. It is not from this point of view that I propose to consider the passage of a stream, but as the attack of a military position and as a maneuver. The passage itself is a tactical operation; but the determination of the point of passage may have an important connection with all the operations taking place within the entire theater of the war. The passage of the Rhine by General Moreau in 1800 is an excellent illustration of the truth of this remark. Napoleon, a more skillful strategist than Moreau, desired him to cross at Schaffhausen in order to take Kray's whole army in reverse, to reach Ulm before him, to cut him off from Austria and hurl him back upon the Main. Moreau, who had already a bridge at Basel, preferred passing, with greater convenience to his army, in front of the enemy, to turning his extreme left. The tactical advantages seemed to his mind much more sure than the strategical: he preferred the certainty of a partial success to the risk attending a victory which would have been a decisive one. In the same campaign Napoleon's passage of the Po is another example of the high strategic importance of the choice of the point of crossing. The army of the reserve, after the engagement of the Chiusella, could either march by the left bank of the Po to Turin, or cross the river at Crescentino and march directly to Genoa. Napoleon preferred to cross the Ticino, enter Milan, effect a junction with Moncey who was approaching with twenty thousand men by the Saint-Gothard pass, then to cross the Po at Piacenza, expecting to get before Mélas more certainly in that direction than if he came down too soon upon his line of retreat. The passage of the Danube at Donauwerth and Ingolstadt in 1805 was a very similar operation. The direction chosen for the passage was the prime cause of the destruction of Mack's army. |
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