wargames soldiers & strategy _issue10

THE MAGAZINE FOR THE DISCERNING WARGAMER #10 • £3.55

● WARHAMMER ANCIENT BATTLES FOR 15 MM● DELENDA EST CARTHAGO!

THE SECOND PUNIC WAR FOR DBM (II)● PLATE COLLECTION● DOSSIER: PAVIA 1525● HOW TO PAINT MINIATURES

BASIC THEORY (I)● AND MORE…

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Portada 10 ingles 17/6/05 14:41 Página 1

Suscripcion caja+figura 17/6/05 13:58 Página 1

Greetings! Here we are again with yet another issue of our particular view of theworld of wargames. The central theme of our magazine this month couldn’t bemore current. The outcome of the Italian Wars established the future distributionof powers in Europe (well, in some ways it was a bit more aggressive than the si-

tuation today…but not by much!). In the absence of constitutions or agricultural policies,what was at stake was the control of Northern Italy. This territory was a key point of geos-trategic importance on the routes between the Mediterranean Sea and Central Europe andone of the economic engines of the time. The Battle of Pavia was so significant that it en-sured Spanish hegemony for at least one century and forced France out of the spotlight.

The Wargames: Soldiers & Strategy team hope you have a great summer. We also hopeyou have the chance to rest up for our next encounter in September when we return to ce-lebrate a relevant anniversary: that of the Battle of Berlin and the end of the Second WorldWar in Europe. See you then!

Wargames Editorial Staff

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Carrasco, Adolfo Ramos, Joaquín Mejía, MiguelAbellán Gutiérrez y El Mercenario.

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The writers thereof are solely liable for these.All rights reserved. Neither all nor part of this publication canbe reproduced, recorded in or transmitted by any informationrecovery system by any means, whether they be mechanical,photochemical, magnetic, electronic, photocopies or any othermethod, without prior written permission from the publisher.Ecological paper – low bleach content

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News & ClassifiedsOur own little forum ..............................................................4Interview with…Mark CopplestoneSome words from the most eccentric modeller in the world ofwargames! ............................................................................6Warhammer Ancient Battles for 15 mmAdapting the rules to other wargame scales ............................8Delenda est Carthago!The Second Punic War for DBM (II) ......................................12Plate Collection1st Silesian Cuirassier Regiment ..........................................20

DOSSIER: PAVIA 1525The Italian WarsThe Road to Pavia................................................................24The Battle of PaviaScenario for Warfare in the Age of Discovery ..........................34Bibliography on PaviaExpand your knowledge on this exciting period ......................42Renaissance MiniaturesThe best brands of wargame figures for this period................46

How to Paint MiniaturesBasic Theory (I) ..................................................................48Scenery Step by StepVegetable Garden, Cobwalls and Stone Walls ........................54The Latest in Miniature SoldiersThe latest wargame figure releases ......................................58PublicationsNew releases from the sector’s main publishers....................60BoardgamesThe most exciting game releases ........................................62Virtual WarHearts of Iron II ..................................................................64

Asociación Española de Editorialesde Publicaciones Periódicas

Contents

Leader

03 Editorial 20 ingles 17/6/05 14:28 Página 3

4

III “2 DE MAYO” SHOWAlcorcón - Madrid (Spain)

This May the “El Último Tercio” association celebrated the “2 deMayo” Simulation and Strategy Show for the third consecutiveyear in the castles of San José de Valderas in Alcorcón, Madrid.It was given the name “2 de Mayo” in honour of the popular re-volt led by the inhabitants of Madrid against the French invasion.These show have become a reference in Spain for the world ofsimulation and strategy with historical and fantasy miniatures.It’s a must for any die-hard fan.

This year, the guys from “El Último Tercio” were lucky to havethe invaluable support of clubs from all parts of Spain. The Land-wehr club from Málaga did an excellent job for the second year ina row. They amazed visitors with their brilliant 4x3m diorama ofthe Battle of Leipzig with more than 7,000 figures. The Alpha-Aresclub from Barcelona came in force. On the one hand, they set upa game of the Battle of Talavera using the “Le Gran Armee” ruleset that was open to the general public. They even used a com-puter during the game! Their historic simulation won the admira-tion of amateur (and expert) onlookers. They also organised a re-presentation of a British assault on a small French fort during theFranco-British wars in XVIII-century Canada. The various clubsfrom Madrid didn’t want to miss out on the fun either. Club Dra-gón organised open games of DBM for amateurs, and club A.M.S.presented an excellent recreation of the Battle of La Albuera in15m using their own magnificent rule set, “Serrez les Ranges”.

The organising club made their presence felt as well. This ti-me round they set up four dioramas. One was a representationof the Battle of Brunete that was backed up with extensive his-toric documentation; this was one of the dioramas that the visi-tors liked the most. Following their naval tradition, they set up adeployment of different naval formations from the Punic Wars.

This diorama had nearly 1,000 period ships in 1:300 scale. Theyalso organised indispensable open games for the Second WorldWar in 20mm using a rule set they designed themselves called“Generales”. Lastly, they gave visitors a touch of entertainmentwith their recreation of the prehistoric period with a smoking vol-cano and all that was based on the set of rules “Settlers”.

But, not all of the dioramas and representations were histo-ric-based. Club Cota de Malla, who collaborated with El ÚltimoTercio in the organization of the event, made us smile and gri-mace with their “MagmaBowl”. It consisted of a Blood Bowl sta-dium on top of lava where the slightest error would fry players toa crisp. Both the youngest and not so young visitors had a blastduring the numerous games that were played.

The contributions from the shops and even the attendeesthemselves also surprised us. Mars Ultor from Valencia captu-red the attention of the youngest onlookers with their “HellishFortress” and their great stadium for Blood Bowl displayed byOciojoven. Librería Atlantica’s presence was more classical. They

encouraged people to put themselves in the shoes of Nelson orChurruca in their Napoleonic naval war demonstrations. As youcan see, it was a fun-packed weekend. There was also a repre-sentation of the shoot-outs from the game “Gangsters” organi-sed by some creative attendees. The table and the players’props and outfits made their recreation of the 1920s in Chicagotruly fabulous.

But, one of the activities that dazzled the public the most wasthe reenactors’ representations. During the entire weekend, or-ganisation members mingled with crowd wearing Napoleonic-erauniforms, those of the Volunteers of Madrid to be exact. Theywould stop to have their photo taken with anyone who asked.The main course was served up by the Historic Recreation As-sociation “I Legio Gemina” from Tarragona. Those present wereastonished by their demonstrations of Roman weapons (madeout of the original material and according to period norms), for-mations, combat methods and even orders given in Latin.

We can’t forget about one of the weekend’s leiv motiv: theTournaments. As usual with fantasy games, the Warhammertournaments attracted a huge crowd of youngsters who came toparticipate in the tournaments and open games or just to seethe magnificent armies and games. “In the Name of Glory”, ba-sed on the rules that share the same name, is the only historicNapoleonic-period tournament currently being developed inSpain. It has attracted strong backing thanks to the sponsorshipof the Spanish company Fantassin. This time around, the firstprize trophy, the Great Imperial Eagle, flew to Barcelona. The lastmatch held in Barcelona was won by a member of “El Último Ter-cio”. But, the latest encounter allowed club “Alpha Ares” to taketheir revenge on them.

Theme games were also represented at this year’s event. Gi-ven the huge number of activities programmed this year, the tur-

NewsNews

04-05 Noticias ingles 23/6/05 14:24 Página 4

nout wasn’t as big as previous years. Even so, open games ofWarcraft and Captain Alatriste were organised and sponsored byDevir. The game that by far was most sought after was Catan. Itpractically monopolised the theme game area the whole wee-kend. Unfortunately, the demand was so high that there weren’tenough monitors or time which meant that some people didn’tget a chance to play.

The second-hand market set up at this year’s event workedperfectly. Many of the visiting fans were able to find that discon-tinued game or figure they thought they would never get theirhands on. There was also a painting workshop where kids couldhave fun and learn to paint figures while the adults were calmlybrowsing about the show or enjoying the open matches.

We can’t leave out all of the professionals that attended. Theturnout was incredible. There were representatives from practicallythe whole sector of simulation and strategy with miniatures. Com-panies that were present either physically or as sponsors include:Fantassin Miniatures, La Flecha Negra, Atlántica Juegos, Mars Ul-tor, Escenografic, FX Alemany, Ociojoven, Generación X, Devir Ibe-ria, Campaign Game Miniatures and Deltaediciones who displayedtheir first release on the market, their game book Borodino. Del-taediciones’ book provides a new way of understanding militaryhistory. Its creative description of the battle is based on a terrainmap with coordinates on which the counters that represent the tro-ops are deployed just as they were in the real battle.

To sum up the event, the visitors, participants and collabora-tors all had a great time in an atmosphere of camaraderie andfun. Both expert gamers and those attending this type of eventfor the first time were captivated by the exceptional area usedfor the activities. Seeing the staff wearing period outfits and theceiling decorated with historic flags from different periods gavethe event a more festive look.

And to wrap up, we must say that the event was such a suc-cess that the organisers had some difficulties. Unfortunatelyand much to their regret, they ended up having to call off gamesand activities that had originally been programmed. There wasso much demand for space and so little available that they hadno choice but to do so. We apologise to anyone that was affec-ted by this.

There are many other things we haven’t touched on, but weunfortunately don’t have enough space to write about everything.That’s why I suggest you come and participate next year. I’m su-re you’ll come back once you’ve experienced it in person.

David BarderasPresident of A.S.H.E “El Último Tercio”

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04-05 Noticias ingles 17/6/05 14:13 Página 5

Mark Copplestone is one of the most popular andrecognised miniature designers and author ofsome of today’s mythical fantasy and historic fi-gure ranges. After working for WargamesFoundry, where he undoubtedly left an unforget-

table mark, Mark decided to devote all of his efforts to deve-loping his own brand, Copplestone Castings. This endeavourhas given him free rein to develop hisenormous talent and reveal his most cre-ative, original and eccentric side. His cu-rrent ranges avoid strict and conventio-nal styles and tend to combine bothhistory and fantasy. His figures havecontributed a breath of fresh air to amarket that can be a bit stale at times.

What inspired your interest in toy sol-diers?The 1960s, when I was growing up,was the great period of film epics,and whenever I went to the cinema tosee one of them I'd go home despe-rate to play the game. That was dif-ficult though - the game and the toysoldiers just didn't exist back then.Running around the back gardenwith my friends shouting "Frontrank fire!" didn't quite have theepic feel I wanted, so instead I'dmake dozens of models from Plasticene modellingclay. I can still remember the "Zulu" range, complete withpins for bayonets. I even have a vague memory of re-fighting"The Wind in the Willows"!

Ever since then I've read a lot of military history (andbought a lot of books), but it's the films that have really in-fluenced the kind of wargames figures I want to make. It'sparticularly pushed me into making as many head variants aspossible, because I want look at a wargames unit and see "lit-

tle men", with individual faces. In my mind it's more like apanning shot in a film than an exercise in modelling a momentin time. It's a very personal thing, but I prefer minor pose va-riations in a unit, rather than the "all action" style.

What was your first contact with this hobby? I think it was "Airfix" magazine that showed me that there we-re grown-ups who loved messing around with little plastic fi-

gures. There were some great articles on converting thesmall range of 1/72nd figures into mo-

re exotic troops, with the aid of ahot needle mounted in a cork, tis-sue paper and Plasticene hardenedwith polystyrene cement, finished offwith a Humbrol gloss enamel paint.Through the adverts I came acrossthe first of the Funcken uniform bo-oks and ordered a little booklet called"Discovering Wargaming".

What led you to take the step from en-thusiast to professional?I'd always carried on reading military his-tory, but for about 10 years I hadn't reallytouched a toy soldier, and then in around1980 I bought the first issue of the new"Miniature Wargames" magazine. Then Ibought a few Minifigs English Civil War mi-niatures. They were quite nice, but notenough variants for me so I bought someMilliput, made my own multi-part models

and then some silicone rubber moulds for drop-casting them. Isaw an advert from Chronicle Miniatures who were looking for asculptor and sent off a few samples. Nick Lund, who ran thecompany, gave me some good advice and I made a set of ruf-fians for him. They went into production and I got paid. Chroni-cle Miniatures were soon swallowed up by Citadel Miniatures,but I carried on doing freelance work for Dixon Miniatures whilstworking as a schoolteacher in the daytime. Trevor Dixon kindlylet me do my own ranges (multiple head variants included) –15mm Marlburians and 25mm Grand Alliance and Legends ofNippon. A few years later, Games Workshop were advertising forsculptors and I got a job with them. Since then, through variousups and downs, it's been my full-time job.

How did you learn to design? Did you have a teacher or areyou self-taught?A lot of it was self-taught, but I did get the chance at GamesWorkshop to talk with and watch a lot of great sculptors. BobNaismith, who was my manager, showed me his technique for

6

As you may have noticed, in thelast issue we published the results

of the Wargames: Soldiers &Strategy survey instead of our

regular interview section. But nowwe are back and we bring you an

interview with Mark Copplestone.

INTERVIEW WITH…MARK COPPLESTONEINTERVIEW WITH…MARK COPPLESTONEINTERVIEW WITH…MARK COPPLESTONE

06-07 Entrevista ingles 17/6/05 12:52 Página 6

things like faces and hands, which I still use, but picked up ideasand ways of approaching design from lots of people there. Afterthat I suppose it's just repetition and experience. For many yearsI've also gone to a weekly life sculpture class, and I suppose thismust have affected my style in some way

What is your modelling techni-que? What process do you fo-llow when designing a figure?Which materials do you use?I still stick to the method I learnedat Games Workshop – a wire stickman stuck into a cork, roughly bul-ked out in putty and then finally builtup area by area. I still use GreenStuff (Duro Kneadatite), though so-metimes I mix it with Sylmasta A+Bputty. The only odd thing I often dois to take the head off a model whenit's finished to see if a different headposition would work better – often itdoes. I sometimes do rough sket-ches to remind myself of possible va-riants and details of equipment, butusually I work surrounded by stacks ofbooks open at relevant pages andthen just wait to see what happens.

How would you define your currentstyle?Clean, characterful and easy-to-paint –I hope.

How has your evolution as a profes-sional been from the time you beganworking with Foundry to the time you founded CopplestoneCastings?The good thing about Foundry was that I was free to make wha-tever ranges I wanted so, for example, I could build up the wholeidea of "Darkest Africa" as a wargaming period. Foundry pulledme back into making historical ranges after years of working onfantasy for Games Workshop, Grenadier and Heartbreaker and I'-ve carried on in same way with Copplestone Castings.

Copplestone Castings offers a wide variety ofranges, including Bolsheviks from the 20’s,gangs of futuristic punks, European pioneersthat explored Africa in the 19th Century, pen-guins, polar bears, dinosaurs and gangstersfrom the times of the Prohibition...It is ob-vious that commercial interests are not whatdrive you when designing your figures. So,what does motivate you to create new ranges?You sound like my bank manager, who is alwayssays things like "Why don't you just make somethingthat people actually want?". Basically I want to makeranges that interest me, and that I hope will intrigue other pe-ople. The Back of Beyond is a good example. It was a coming to-gether of lots of my interests: the Russian Civil War (especially thebizarre story of the Mad Baron), China in the 1920s, the GreatGame (the rivalry between Britain and Russia in Central Asia), Ti-bet and Hugo Pratt's Corto Maltese graphic novels. There werea few films too: "Doctor Zhivago", "The Sand Pebbles, "Lost Ho-rizon", "Seven Years in Tibet" and "High Road to China". When Iread Peter Hopkirk's book "Setting the East Ablaze" I realised itcould all make sense as a single wargames range.

Which is Copplestone Casting’s best-selling range? Which isyour main market, the US or Europe?At the moment the best-selling range is The Back of Beyond,

I really can't see any pattern to sa-les, which in the course of a year arespread across all the ranges. We didlose US customers at one point (pro-bably because of the high value ofthe pound) but they seem to be co-ming back now.

What projects do you have in sto-re for the future? I want to keep all the rangesgoing, but I also want to make anew fantasy range. It's almost 20years since I worked on the Futu-re Warriors and Fantasy Warriorsfor Grenadier, and there's now awhole new style of fantasy, typi-fied by Rackham. I'd at least li-ke to make a few strong, singleminiatures.

Besides being a professionaldesigner, are you still a warga-mer? Which are your favouritegaming rules? I hardly ever actually play a ga-me, though like a lot of warga-mers I'm always planning to. Iscribble away, covering sheetsof paper with points values,

possible army lists and campaignssystems and that's about as far as it goes. Sometimes I ma-ke the terrain – packed away in the loft I have African junglean savannah, as well as Central Asian mountains – but thingsnever quite come together. The last games I played were Dar-kest Africa and WW1, using Chris Peers' rules.

And to conclude, two customary questions: What do youthink the current state of the collector’s and wargame

world is? For customers there's never been more choice –

of period and scale with an huge variety withineach. There are certainly more good sculp-tors around than ever before, and I'm plea-sed to see more of them running their owncompanies.

Lastly, what do you think about our magazi-ne Wargames: Soldiers & Strategy?

It's really good to see a new magazine, espe-cially one that has such good photographs and

high production values.

Thanks for answering our questions! We at Wargames:Soldiers & Strategy wish you the best of luck and hope thatCopplestone Castings continues its success and that you stayas original as you have been up to now.

Wargames staff

7

06-07 Entrevista ingles 17/6/05 12:52 Página 7

ORGANISING ARMIES IN 15MM

The best option is to put your miniatures on 25x25mm standsand to organise them according to the following table:

Type NumberInfantry, Light Infantry ......................................................4Cavalry, Light Cavalry ........................................................2Skirmishers ........................................................................2Personalities............................................................VariableArtillery, Elephants, etc. ....................................................1

For other types of miniature, such as elephants, cha-riots and war machines, use stands that are at least25mm wide and deep enough for the miniature to fit on.(You can use plastic stands sold by Games Workshop andMars Ultor or make them yourself out of the material youprefer).

SKIRMISHERS

Skirmishers or any troops in a loose formation may fight aslong as the stands (not each miniature) are 3cm apart orless.

ORGANISING UNITS

Units must be ma-de out of completestands, i.e. an in-fantry unit witheight soldiers isorganised on twostands, a cavalryunit with eight figu-res is organisedon four stands, etc. It’s best to put the unit’s musician andstandard bearer on the same stand, and the officer on ano-ther one.

PERSONALITIES

Put your personalities on “personality stands” and create asmall diorama or vignette with several miniatures.

A personality stand can have one or two personalities forgaming purposes. For example, it can include the generaland standard bearer of the battle. This is regardless of thenumber of miniatures that are actually on the personalitystand. It acts just like a normal troop stand and takes upthe number of ranks assigned to the troop type it repre-sents. Bear in my mind that if a personality stand repre-sents two personalities, both of them must be on foot ormounted. Personalities mounted on chariots or elephantswill always be unaccompanied.

8

WARHAMMER ANCIENT BATTLES FOR 15MM

WARHAMMER ANCIENT BATTLES FOR 15MM

For many gamers 15mm is the best scale to represent battles with. Although WAB isdesigned for 25mm, it can be adapted to 15mm with a few simple conversions.

For many gamers 15mm is the best scale to represent battles with. Although WAB isdesigned for 25mm, it can be adapted to 15mm with a few simple conversions.

Late Roman legionnaires (V Century) for Fall of the West. The 24-figure unit is four ranksdeep with the last line manned by archers.

08-11 WAB ingles 17/6/05 13:32 Página 8

RANK BONUS

Rank bonuses are applied to ranks of miniatures and notranks of stands.

REMOVING CASUALTIES

You can use markers for casualties or turn the stand 90º to theright to represent one casualty, 180º for two, 270º for three andthen remove the stand for the forth. Even though you can usemarkers, the best thing to do is to remove entire stands.

HAND-TO-HAND COMBAT

Use the stands as a reference during the battle instead of in-dividual miniatures like in 25mm. This way, if a stand comesinto contact with another, all of the figures on the stand thatcan fight are considered to be engaged.

9

All the cavalry miniatures can attack their enemy.

Two units of Saxon thengs for Shieldwall. Both units have 12 figureseach and are 2 ranks deep.

Frankish soldiers from the V Century for Fall of the West. The 24figures are assembled in 4 ranks.


DBM ARMIES IN WAB

Fighting in DBM is based on elements. The width of theseelements is the same but the depth can vary depending onthe number of figures used. Being able to create stands withvarying numbers of figures allows DBM gamers to representthe troops that occupied a similar front in a real battle. Thisis the exact opposite of WAB where one figure representsone or ten men.

To adapt an army based on DBM for gaming WAB, use theelements as stands and group them to form Warhammer unitsjust as we explained above. Points are spent for every figureon the element. Elements of generals and subgenerals beco-me personality stands as described above. It’s very importantthat you use markers for or note down the casualties on eachelement.

Here are some examples: A unit of 16 infantrymen in four ranks.

Unit of 10 skirmishers.

A unit of 12 light infantrymen in 2 ranks skirmishing.

An example of hand-to-hand combat: when a cavalry unit fa-ces a light infantry unit, the elements in contact can fight asusual. If the light infantry are equipped with lances, the se-cond rank can also attack.

10

Roman troops (I Century AD) on DBM bases. The cohort is made up of 24legionnaires and is 4 ranks deep, while the 12 archers form only one rank.

Carthaginian/Hellenistic elephant.


TABLAS

MOVEMENT25 mm 15 mm

Inches cm cm1 2 12 5 33 8 4,54 10 65 12 7.56 15 97 18 10,58 20 12

MOVEMENT REDUCTION25 mm 15 mm

Armour Inches cm cmHeavy Armour

and Shield 1 2 1.5Barding 1 2 1.5

Both 2 5 3

PROJECTILE WEAPONS25 mm 15 mm

Weapon Inches cm cmJavelins and Darts 8 20 12

Short Bow 16 40 24Compound Bow 24 60 36

Longbow 30 75 46Crossbow 30 75 46

Sling 18 45 28Knife or Star 6 15 9Throwing Axe 6 15 9

Ballista 48 120 72Catapult 48 120 72

FLEE AND PURSUE - 25mmFlee, Pursue, Destroy

6’’ / 15cm or less 2D6 / 5D6More than 6’’ / 15cm 3D6 / 8D6

Fire and Flee6’’ / 15cm or less 1D6 / 3D6More than 6’’ / 15cm 2D6 / 5D6

FLEE AND PURSUE - 15 mmFlee, Pursue, Destroy

9cm or less 3D6More than 9cm 5D6

Fire and Flee9cm or less 3D3More than 9cm 3D6

PSYCHOLOGY25 mm 15 mm

Effect Inches cm cmPanicFriendly unit fleeing at the start of the turn. 4 10 6Friendly unit demoralised or destroyed in hand-to-hand combat. 6 15 9Friendly unit destroyed by their pursuers or by shots. 4 10 6Terror 6 15 9General and Battle Standard 12 30 18.5

NOTES

As regards the tables, I’ve included the distances both in inches, asthey are given in the manuals in English, and in centimetres for tho-se of you who are used to fantasy games. The reason for doing thisis to provide you with a quick-conversion chart. All of the distanceshave been calculated multiplying them by 0.6 and using the conver-sion: 1 inch = 2.54cm. I’ve rounded up the distances where neces-sary to make them all consistent.

Troops on the same hill but on opposite sides can’t seeeach other at less than 6cm. In addition, troops located on ahill can see over any obstacle that is lower than the height ofthe hill plus the height of the miniature (1.5cm for this scale).There’s a dead zone with no visibility behind the terrain at thesame height as the hill.

Author: Juan Jesús VegasPhotographs: Anastasio Jiménez

Figures from Essex and Corvus Belli painted by El MercenarioSpecial thanks to “Librería Atlántica”

for coming up with the idea of using 15mm figures

11

XVII-century Reiters/Ironsides forWarhammer: English Civil War.

XVII-century “Tercio” forWarhammer: English Civil War.

It is made up of pikemen inthe centre and musketeers on

the sides.


C ato the Censor, Cato the relentless, would punctuate allof his speeches with this slogan, even if it was in no wayrelated to the subject being debated at the time. Hewould also walk around the Forum with fruits from the Lib-

yan coast exported by Carthage, shouting: “this is grown at two da-y’s journey from the port of Ostia.”

Cato’s dreadful fear of the greatest economic power that existedin Antiquity was justified. After Hannibal’s defeat at Zama (202 BC), the surrender conditions would have destroyed any empire for go-od. But, in fifty years the hard-working descendents of the Phoeni-cians prospered so much that they were able to pay off all of thewar indemnity. However, they made the mistake of showing the Ro-mans that they were even wealthier than they were before the at-tack on Saguntum (218 BC).

One of the conditions imposed by the Romans after the secondwar banned Carthage from fighting against anyone without Rome’spermission, especially if it was one of their allies. Massinissa, theNumidian king, was one of them. Fifty years earlier, Scipio wastriumphant at Zama and the Romans showed their appreciation bytying the hands of their enemies and leaving an undefined borderbetween their territory and Carthage. As a result, Carthage was de-

fenceless against the constant raids led by the Numidian cavalry.After paying off the war indemnity Rome had imposed, the Punicsdecided to defend themselves against Massinissa. It was thenwhen Cato’s indoctrination had its desired effect. The Senate de-clared war on them (149 BC) with the excuse that they had attac-ked a Roman ally. The Punics’ humiliating submission to Rome’sconditions (surrendering children as hostages and handing over alltheir weapons, almost their entire fleet and huge amounts of whe-at) didn’t succeed in keeping the peace. Rome was hungry for war.

Roman continued to provoke the Punics and even demandedthat Carthage be demolished and moved several kilometres inland.Having had enough, the citizens themselves then eliminated theirruling class and prepared to face an inevitable conflict. But, this ti-me they were without Hannibal. The Romans quite effortlessly lan-ded on the African coast. The Punics resisted the siege for three ye-ars even though they knew they had little chance of winning. Finally,in 146 BC, Scipio Emilianus’ legionnaires captured the last buil-dings in Carthage still controlled by the defenders, leaving behind atrail of tens of thousands of dead bodies. The city’s grounds werecompletely razed and covered with salt, but they allowed the city tobe rebuilt inland. The territory was then established as a Roman

12

DELENDA EST CARTHAGO!DELENDA EST CARTHAGO!“And therefore, I conclude that Carthage must be destroyed.” We wrap upour series on scenarios dedicated to the Second Punic War with thefamous motto that helped spark off the Third and final war. The tragicending of this conflict sums up the Romans’ general feeling towards theCarthaginians and their civilization during its entire existence. Thissentiment, however, was mutual.

12-19 Púnicas ingles 17/6/05 13:28 Página 12

province. This is how the Third and final Punicwar ended.

Although Cato died the same year inwhich the war he so much yearned for began,his wishes were fulfilled. This victory, howe-ver, was achieved at the expense of the livesand freedom of more than 500,000 men,wo-men and children killed or reduced to slaveryand at the expense of a rich and cultured ci-vilization that was literally yanked out of theface of the earth along with their mother city.Cato, the unbearable. Cato, the sadist.

By no means is this article attempting todiscredit the Roman civilization or idealiseCarthage’s domination in the territories sheoccupied. There were a lot of Libyan andNumidian uprisings in northern Africa. Ha-milcar Barca and his successors subjuga-ted the people of Hispania with a firm

hand; Hasdrubal, Hamilcar’s son-in-law, was assassinated in221 BC out of revenge for the crucifixion of a Spanish leader na-med Tago . The recruiting and taxation system used by the Pu-nics in Hispania heavily burdened the native inhabitants. So,

when the Romans cleverly assured these natives better condi-tions, many of them happily and gullibly sided with them. Howe-ver, they quickly realised that these were empty promises andthat they had changed masters. In short, all of the ancient civili-

zations committed countless acts of crueltyand abuse against the people under theircontrol. In this case, the Roman world wonthe Punic War and their official history waswritten from a victor’s viewpoint. Conse-quently, their historians overlooked the de-solation on their own Peninsula caused bythe policy of terror employed to prevent theItalic population from joining Hannibal. Theyalso ignored Scipio’s plundering of Cartha-go Nova, justified the devastation of Car-thage and turned a blind eye to the des-truction of Etruria decades before… Romehad undoubtedly enlightened mankind du-ring this period. However, light creates sha-dows whenever it is cast on a hidden inte-rest.

After this brief introduction about the endof the fight for control of the western Medite-rranean, we would like to look at three otherbattles that took place during Hannibal’s ti-mes. Had Carthage’s war efforts been pro-perly directed, history would’ve been radicallychanged.

13

An elephant leads the Carthaginian attack, followed by the Libyan and Phoenician infantry.

The Roman equites, made up of the elite of Rome’s citizens, were always outnumbered by the Carthaginian cavalry.

The Numidian cavalry was one of the keys of the conflict. Fighting for the Carthaginians, theywere essential for Hannibal in his first victories. But, when they changed sides at the end ofthe war the tables turned in Rome’s favour.


P ublius Cornelius Scipio learned from Hannibal that the beststrategy to win a battle was the simplest. He knew that thefluctuating war in Hispania against his enemy would quickly

tip the balance in favour of Rome if he was able to strike the verycore of the Carthaginian colony. Once Carthago Nova was captu-red (209 BC), the rest of Hispania wouldn’t take long to fall. Andthat is exactly what happened.

As soon as he reached the Iberian Peninsula, Scipio roundedup the survivors of the defeats at Castulo and Ilorci that had fledto the north of the River Iberus. The rescued troops were added tothe ranks of Scipio’s reinforcement legions and formed a superbbase of veterans dying to get their revenge. Another 40,000 le-gionnaires were incorporated into this force.

Scipio’s capture of the capital of the Spanish colony wasbrilliant given the audacity, planning and execution of this ex-traordinary feat of arms. In a really short period of time, ap-proximately seven or eight days, Scipio took his troops downthe Mediterranean coast and arrived at the city. This move-ment was possibly supported by their fleet along the coast.The ships could have lightened the legionnaires’ load by trans-

porting all of their supplies. Nobody expected such a bold mo-ve. As a result, the Punic forces were divided up and set ondifferent missions in the southern and central areas of the Pe-ninsula. The city was heavily fortified and was manned by asmall garrison. This force would’ve been enough to defend itif Scipio hadn’t found a ford in a nearby marsh at an unguar-ded section of the wall. He convinced his soldiers that Neptu-ne had shown him a passage across the water in a dream. Hethen launched an attack across the water and was followed byhis men whose morale couldn’t have been higher. Unfortuna-tely for the Carthaginians, this action allowed them to sackthe city after taking it. On the other hand, he did free the in-digenous prisoners held by the Punics and sent them back ho-me to show the Iberian tribes that he was a liberator. Cartha-go Nova was now in the hands of the Romans. The tons ofsilver that were being sent to Africa were now redirected toItaly. Thousands of enemy soldiers had been neutralised. Andthey controlled the most important port of Hispania. The in-itiative was theirs. Rome had found a leader capable of con-fronting Hannibal.

The GameboardThe table represents the walled city of Car-thago Nova, the surrounding area and its tre-mendous bay. The width of the streets (Rd)that cross the BUA corresponds to the dra-wing. The terrain surrounding the city is con-sidered easy. The ford in the marsh equalsthe width of two elements.

Army ListsThe Carthaginian player uses the main listfor Later Carthaginian 275 BC–146 BC, BookII, nº 32. The only options that can be usedare Only before 200 BC (with no El (I) or Nu-midian allies) and Only from 235 BC to 201BC.

The Roman player uses the list for Poly-bian Roman 275 BC–105 BC, Book II, nº 33.The option Only from 202 BC cannot beused. He must have a Spanish allied com-

14

SCENARIO 1: “CARTHAGO NOVA CAPTURED, HISPANIA CONQUERED”

SCENARIO 1: “CARTHAGO NOVA CAPTURED, HISPANIA CONQUERED”

Carthaginian heavy infantry protect the entrance to Carthago Nova.

Roman legionnaires in maniple formation penetrate the Punic defences.


mand from the list for Ancient Spanish 240 BC-20 BC, Book II, nº39 without Exp (O). The only option that can be used is Only Celti-berians.

DeploymentThe Carthaginian player deploys his ground troops within the city.However, no element (except those shown in the picture) can beplaced at less than 600 steps from the area of the wall that theford leads to. The two (compulsory) elements of Art start the ga-me pointing towards the sea. Regardless of the number of gene-rals chosen, six elements of Bg will be placed on the points spe-cified on the gameboard. Only one compulsory naval element ofReg Gal (S) can be deployed as shown in the drawing.

The Roman player deploys his ground troops freely around theoutside of the city. At least three naval elements of Reg Gal (S)with crew are compulsory. All of the ships are positioned with thebow touching the edge of the table.

Special RulesThe Carthaginian player can only deploy 250 army points. After hehas placed all of his elements, the Roman player follows suit. Notype of ambush is allowed.

At the start of turn six, the Punic player throws a die to see if aflank march of a command formed by the remaining 150 armypoints enters. These points represent either of the two forces thatwere operating far from the city and that, at that time, were retur-

ning at a forced march after hearing aboutthe siege. After rolling the 6 needed for aflank march, the die is immediately thrownagain. If the result is an odd number, thismeans the troops that are approaching fromthe centre of the Peninsula will enter in thenext turn on the Roman’s left side. If the re-sult is even, the troops that are coming infrom the south will enter in the next turn onthe Roman’s right side. This force plays withthe usual 400 AP. Their elements don’t fightagainst the section of the wall that the fordleads to; they simply pass by it with the mo-vement.

The port is controlled by the element in-side the city that is closest to it.

The Roman player moves first.

Victory Conditions-The usual conditions are used for both sides.

-Automatic victory for the Punic side if the enemy C-in-C is eli-minated.

-Automatic victory for the Roman player if he sacks all of the ele-ments of Bg.

Some ConsiderationsRome has to play with a Spanish allied command. The reason for thisis that a third of the forces that participated were made up of aroundthe 15,000 natives recruited by Scipio in the area controlled by theRomans north of the River Iberus. Perhaps everyone would’ve heardabout the riches that had been accumulated in such a flourishing city.Many even would’ve had a few scores to settle with their old ally mas-ters. It would be a good idea for the Roman player to fill his force withPs prepared to move easily around a BUA. It also wouldn’t be a badidea to have the possibility of landing troops in the port; the Romanattack was such a surprise that it caught the Carthaginians off guardand with most of their fleet out at sea. On the other hand, the possi-bility of an enemy flank march will prevent the Roman C-in-C from laun-ching an organised attack from a comfortable position outside thecity. Careful with the Bg: greed can break up even the most discipli-ned army, and generals’ command ranges are reduced between thebuildings in the city. In addition to covering their Bg from the enemy’sgreedy sackers, the Punic player has to desperately defend themsel-ves while they wait for their supposed support.

15

Bg

Bg

Bg

Bg

Bg

BgRd

GATE

PF

M

MFord

W W

Art(0)

Art(0)GA(s)

Scenario 1: Carthago Nova

LEGENDWidth: More than the front of 1 elementand less than the front of 2 elements.Width: More than the front of 2 elementsand less than the front of 3 elements.Width: More than the front of 3 elements.BUA

Light Spanish troops, Rome’s allies, advance through the streets of the city spreading chaos.


I n the first series of scenarios, we pointed out that theBattle of Metaurus (207) was the encounter that deci-ded the Second Punic War. It’s funny though that this

battle hasn’t been considered as important as other battlessuch as Trebbia or Trasimene, examples of crushing but in-decisive defeats. The Romans were able to replenish theirranks after these losses. At Cannae, nonetheless, theysent an army three-times the size of those crushed at Treb-bia and Trasimeno to their death. Perhaps it’s because Me-taurus marks the end of Hannibal’s adventure in Italy or be-cause it symbolises disappointment and a complete failureafter a glorious effort. In any case, we’ve unfairly overloo-ked the fact that Hasdrubal Barca also crossed the Alpsand that two Roman generals, Gaius Claudius Nero and Ti-tus Livius Salinator, acted cunningly, using their commonsense, intelligence and strategic expertise. What would’vehappened if Hannibal and his brother had embraced againand had added the troops under his command to another48,000 infantrymen, 8,000 cavalrymen and 15 elephants?These weren’t mere replacement troops sent to fight the ex-hausted Romans; the morale of the invading army would’vereached its peak and it would’ve beenthe definitive drive for the rebellion ofthe Italic towns and possibly for the sie-ge on Rome. However, all of these wis-hes weren’t fulfilled. The harsh realityfacing Hannibal was that he had to bepermanently on the defensive. He knewthat the Senate in his country wouldn’tsend him more reinforcements.

Hasdrubal made his first mistakewhen he sent messengers to inform hisbrother of the route and meeting point.His messengers were intercepted by theRomans. He then went on to make aneven more serious mistake: that of notwanting to give battle when he had noother choice. Salinator didn’t want to at-tack him by himself and just pursued him.But Claudius Nero wasn’t aware of thenew invader’s planned route and he took

some of his troops to meet up with Salinator. Nero left part ofhis army behind to keep an eye on Hannibal, who didn’t reali-se that his adversary was on the move. Once they had joinedforces, the Romans surprised the Punic leader and used theirnumeric superiority to harass his forces. It took Hasdrubal along time to find a ford in the River Metaurus to slip across tothe other side. His enemies attacked him right in the worstmoment when part of his army had crossed and the other waswaiting to cross. Faced with this situation and the fact that hisCeltic soldiers had fled to the camp to get drunk, he was una-ble to deploy in optimum conditions. At this moment, an ago-nizing battle broke out in which the elephants crushed anyonethat got in their way. Despite this, the Iberian soldiers wereable to hold the right wing on a hill. It seemed like they couldstill save the situation when Claudius Nero went around thehill and attacked the Spanish rearguard. From this momenton, the battlefield turned into a bloodbath. Hasdrubal was ki-lled and his most faithful men fell as well. When they saw thatit was all over, they threw themselves into the thick of the figh-ting. The Romans then headed for the Punic camp and proce-eded to finish off the demoralised and drunk Celtic soldiers.

16

SCENARIO 2: METAURUS, THE REAL DECISIVE BATTLE

SCENARIO 2: METAURUS, THE REAL DECISIVE BATTLE

The Carthaginian army is surprised by the Roman legions as they cross the River Metaurus.

The Spanish, Libyan and Phoenician infantry try to contain the Romans while the rest of thetroops finish their retreat.


The GameboardThe River Metaurus is difficult terrain in all of the sectionsit crosses. There is a small ford in the central area that hasthe same width as the front of one element. The hill is con-sidered H(G). The rest of the terrain is flat.

Army ListsThe Carthaginian player uses the main list for Later Cartha-ginian 275 BC–146 BC, Book II, nº 32. The only options thatcan be used are Only before 200 BC (without Numidianallies) and Only from 235 BC to 201 BC.

The Roman player uses the list for Polybian Roman 275BC–105 BC, Book II, nº 33. The option Only from 202 BC can-not be used.

DeploymentThe Punic player deploys with his back to the River Metau-rus. He can only use one compulsory EI (I) that must be pla-ced according to the drawing. He must play with at least 5

elements of Wb (F) and with at least 3elements of each troop type listed inthe chart. All of these troops must beplaced as shown in the drawing. Therest of his troops can be deployed whe-rever he wishes.

The Roman player deploys freely, ex-cept for one cavalry wing made up ofany troops the player wants. This wingmust be positioned on the left under thecommand of the C-in-C.

Special RulesThe Roman player must go around thehill with the cavalry wing mentioned abo-ve and attack the Spanish soldiers frombehind. As explained in the followingpoint, if the Punic player’s element isable to exit along the long edge of theboard using normal movements then itis a victory and not a defeat.


-Automatic victory for the Punic side if he is able to get50% of his elements off his edge of the board.

Some ConsiderationsHasdrubal would’ve won a partial victory if he had beenable to cross the river with most of his men. However, thiswas a tough mission to achieve in such a difficult moment.The elephants were terrified by the Romans. They causedmore damage and disorder among their own ranks thanamong the enemy’s. Despite this, the Punic forces wereable to keep their composure. The decisive moment of thebattle took place when the Roman cavalry easily flanked thehill. This suggests that the rash deployment and crossing ofthe river threw Hannibal’s cavalry into disorder and keptthem from blocking the opening. That’s why the right side ofthe Spanish infantry wasn’t covered by anyone. Their onlyadvantage is that they’re positioned on elevated terrain.

17

The Republican legions, made up of Roman citizens and Italic allies, prepare to win an overwhelming victory.

CV (0)Gauls

Remaining troops – Free Deployment

Ford

River Metaurus

CV (0)PunicsLH (0)

Numidians

Ligurinas

Wb (F)Gauls

C-in-C

El (I)

H (G)

Spanish mercenaries scutariiSpanish mercenaries caetratii

Balearic slingers

Compulsory Cv (O)under the command

of the C-in-C.

HASDRUBAL

NERO AND SALINATOR

Remaining troops –

Free Deployment

Scenario 2:Metaurus


T his is undoubtedly one of the most famous battles of Antiquity.It deserves to be remembered for the expertise with whichboth sides fought, for the uncertainty of its outcome until the

last moment and for the relatively strange circumstances in which itoccurred. First of all, it shouldn’t have taken place at all. Carthage andRome had signed an agreement just before Hannibal returned to Afri-ca. Considering what they had lost, the Carthaginians negotiated avery advantageous treaty. It basically stated that Hispania was underRome’s control and gave Rome hegemony in the entire area. In addi-tion, a relatively reasonable war indemnity and a bearable reductionof her army and fleet were imposed. But, the Senate of Carthage wan-ted to put the finishing touch on the endless series of atrocities com-mitted throughout the 16-year conflict. They refused to comply withthe treaty when they found out that Hannibal had landed. Hannibalhad no choice but to confront his enraged enemy.

He acted according to his amazing tactical skill. During his en-tire life, this same skill allowed him to make the most of the for-ces he had under his command at any moment. He faced twomajor obstacles: his inferiority in cavalry and the limited reliabi-lity of the Carthaginian and Libyan troops he had recently recrui-ted. He decided to deploy the infantry in three lines. In the frontline he positioned relatively light troops: Gauls, Mauritanians, Li-gurians and Balearic slingers; the second line was formed by Lib-yans and Carthaginians; and the third reserve line was strongerand more reliable than the rest and was manned by the Italian,Celtic and Spanish veterans from his previous campaigns. Justlike the Roman hastati, principes and triarii. Hannibal trustedthat his position on a small elevation, the hot weather and thedistance between him and his adversary worked to his advanta-ge. His idea was that the first two battle lines would slow down

the Roman charge and that the last line wouldfinish the exhausted soldiers off. He put hiseighty elephants in front of his troops and sentthem directly into the Roman formation. The ca-valry’s mission was to steer Massinissa’s dan-gerous Numidian cavalry away from their lines.These Roman allies greatly outnumbered Han-nibal’s cavalry.

Hannibal’s masterly deployment was mat-ched by Scipio’s. When he saw the herd of ele-phants charging towards him, he ordered do-zens of trumpets to be sounded in his ranks.Many elephants bolted and charged into theirown troops. The beasts that continued chargingtowards the Roman formation were ineffective.The legionnaires had been positioned and ins-tructed to leave alleys between them throughwhich the elephants could be herded. Oncethey had passed, they would pursue them andfinish them off from behind. Then the Romanscharged the first line that had been scatteredby their own elephants. Despite this, Hanniba-l’s men resisted the Roman assault. They were

18

SCENARIO 3: ZAMA OR THE GLORY OF SCIPIO

SCENARIO 3: ZAMA OR THE GLORY OF SCIPIO

The plain of Zama, at the gates of Carthage, was the scenario chosen for the last battle of the Second Punic War.

Scenario 3:Zama

All the LH

HANNIBAL

{

Free DeploymentFoot Troops and C-in-C

RemainingCavalry

RemainingCavalry

Free DeploymentFoot Troops and C-in-C

NumidianAllied

Command

El (I)

SCIPIO


expecting the immediate support from thefresh troops in the second line, but the Pu-nic and Libyan soldiers refused. The menfrom Hannibal’s front line had to fall back.Upon reaching the second line they unleas-hed their anger on their fellow soldiers. Thelegionnaires took advantage of the quarrelbetween the first- and second-line troopsand drove them back to the third line. But,the Roman troops began to show signs offatigue after the first two charges. Noticingthis, Hannibal saw his opportunity. Ama-zingly, he was able to assemble the sol-diers that had fled and position them onthe ends of the third line. The line then be-gan to curve with the aim of encircling theenemy troops, just as it did at Cannae. Sci-pio was very optimistic at the start of thebattle when he saw the Spanish cavalry flee from the Numidians.His men were euphoric after having driven back the enemy butwere exhausted after the fighting. At this moment, however, Sci-pio watched in despair how his men were falling into a deadlytrap. He realised that his cavalry hadn’t fled but was just dis-tancing the Numidians from the fighting. He immediately tried toprevent the disaster by withdrawing his soldiers from the fightingin good order. This was the decisive moment of the battle. Mas-sinissa’s cavalry returned at that moment and attacked the rearof Hannibal’s troops. Just like at the end of all armed encountersof Antiquity, the skirmishing gave way to a pursuit and then theslaughter. Nearly 20,000 of Hannibal’s soldiers fell on the plainof Zama. In spite of this, he was able to slip away with 5,000 tro-ops. He appeared before the senate of Carthage to declare thathe had lost not only the battle, but also the war. If he had just abit more time, he would’ve been able to announce his victory.

The GameboardThe board represents the plain of Zama. The elevation of the te-rrain that Hannibal’s army was positioned on does not appearbecause it wasn’t even a small hill.

Army ListsThe Carthaginian player uses the main list for Later Carthaginian275 BC–146 BC, Book II, nº 32. They can only use a maximum ofthree elements of Numidian mercenary cavalry Irr LH (O). Theonly option that can be used is Only before 200 BC (except Nu-midian allies and Gallic cavalry). The option Only Hannibal in Afri-ca in 202 BC is compulsory.

The Roman player uses the list for Polybian Roman 275BC–105 BC, Book II, nº 33. The option Only from 202 BC cannot

be used. He must have a Numidian allied command from the Nu-midian or Early Moorish 215 BC-25 AD, Book II, nº 40 lists. Theoption Only Syphax is compulsory… (except elephants).

DeploymentDeploy troops according to the drawing.

Special RulesThe Punic player must line up at least four EI (I). The Numidianallied cavalry must engage with the enemy cavalry that’s locatedin front of them and completely eliminate them before attackingother elements.

The game begins with the elephants charging against theenemy without the support of the other elements. The rest of theCarthaginian foot troops do not move until the Roman legion-naires attack them. The legionnaires must attack these troopsas soon as they get rid of the elephants.


-Automatic victory for either player if the enemy C-in-C is eli-minated.

Some ConsiderationsScipio proved to be one of the greatest military leaders. He knewhow to understand all aspects of the development of the fighting byputting himself in the shoes of the adversary that he had alwaysrespected. In fact, when some of the Roman senators that accom-panied him on the subsequent negotiations demanded that Hanni-bal hand himself over, Scipio said that he would lend his sword toanyone who wanted to go and capture him. He had already tried his

luck once. As regards the deployment for thebattle, it is difficult to simulate the alleys theRomans opened to dodge the elephants withDBM. Instead, you can first set the elephantsagainst light troops, as normally happened.The remaining elements can be deployed fre-ely. Given the characteristics of this set of ru-les, positioning them in line would be coun-terproductive. The elimination, retreat orfleeing of the first two lines will put the last li-ne at risk. The third line, in fact, was the linethat nearly won the battle.

Author: Emilio García GarcíaCollaborator: Emilio García Hidalgo

Figures from Essex and Corvus Belli painted by El Mercenario

After switching sides, Massinissa’s Numidian cavalry would play a key role in Rome’s victory.

A herd of North African and Indian elephants led the Carthaginian attack with the aim of scat-tering Rome’s well-disposed battle line. However, the experienced Roman legionnaires sawthem coming and prevented them from achieving their goal.


Officer

Officer in parade dress Officer Trumpeteer NCO Cuirassier NCO and Trumpeteers

Squadron1 2 3 4

NCO andtroopers

Sword’s strap

Officers and Sergeant-Major

Volunteer Jägers

Kollet

Cartridge boxes

Plate

Officers

Trumpeter

NCO

Cuirassier

Staff Officer Captain

p

Kingdom of Prussia1st Silesian Cuirassier Regiment - 1813

20-22 Infografía 20 ingles 17/6/05 12:55 Página 20

Officer in off-dutydress

Officer in campaign dress

NCO in campaign dress

Cuirassier in campaign dress

Officer in kollet NCO in litewka Jäger in litewka

ain Lieutenant Kollet Litewka NCO andtroopers

Officer in campaing leibrock and

provisional sabraque

Trumpeter in campaign dress

NCO in campaign dress

Cuirassier in campaign dress

Standard

Volunteer Jäger


The 1st Silesian Cuirassier regiment was foundedin 1808 from the old Von Wagenfeld CuirassierRegiment #4 and the remnants of the dissolvedVon Roquette Dragoon Regiment #13. Squadronsone though three came from the Cuirassier Regi-ment and the fourth from the Dragoon Regiment.

The Von Wagenfeld Cuirassier Regiment was not engaged atthe battles of Jena and Auerstaedt in 1806 and thus missedthe disastrous defeat of the Prussians.The newly formed 1st Silesian Cuirassier Regiment had a to-tal strength of four squadrons which comprised 601 horses.In 1813 an additional squadron of Volunteer Jagers was for-med but its strength in July 1813 was only 31 men. They we-

re disbanded in 1814 after the defe-at of Napoleon. The three PrussianCuirassier Regiments were always inthe same brigade during the cam-paigns of 1813 and 1814. They sawaction at the battles of Gross-Goers-chen, Bautzen, Haynau, Dresden,Kulm, Liebertwolkwitz and Leipzig.They fought in France in the wintercampaign of 1914. In 1815 they be-longed to the Prussian Fifth ArmyCorps commanded by GeneralTauentzien, and were thus not enga-ged in the Waterloo campaign.

Uniform:The headdress was a high black le-ather helmet of Russian design withblack horse hair crest. On the left si-de a white and black (silver andblack for officers) national cockadewas fixed under the chin scale boss.The double breasted coat (kollet)was white with an open black collar,black cuffs and black piping at theshoulder straps and turnbacks. Thebuttons are yellow. The riding trou-sers were dark grey and were closedon the outside leg with twenty-fourbuttons. The inner sides of the trou-sers were reinforced with black leat-her. After 1814, the buttons were re-duced to twelve and later the

buttons nearly disappeared. The leather belts were white andon the black pouch was a brass plaque with the Prussian Ea-gle and trophies. The old swords, from before 1806, werestill in use. The brown sword straps had woollen tassels insquadron colours (see plate for sequence). Twenty men ofevery company (there were two companies per squadron) we-re armed with a carbine that was hooked to the pouch belt.The sabraque and pistol holster covers were of black clothwith yellow lace at the border. The grey greatcoat was placedbefore the pistols holders.The NCOs were distinguished by gold lace on the collar andcuffs. Their sabre knots had a mixed white and black tas-sel. Sergeant-Majors (Wachtmeister) used the porte-epeeof the officers. The trumpeters had black swallow nestswith gold lace on their coats and had the NCO’s rank dis-tinctions.

On campaign the men, NCOs andtrumpeters used a simple dark bluecoat (litewka) with black collar andwhite shoulder straps. The NCO’s la-ce was often fixed on the collarthough this was not according to re-gulations. The trumpeters had noswallow nests on their litewka.The officer’s uniform was very simi-lar to the men’s. The Prussian offi-cers’ silver sash with two black stri-pes was worn by all officers. Theepaulettes showed the officer’srank (see plate for details). Thesword strap was mixed silver andblack. The shape of the pistol hol-ders differed from that of the rankand file and the saddle cloth wasdecorated with gold lace. Off dutyand on campaign the officers usedthe simple single breasted leibrock.It was dark blue with black collarsand cuffs. The turnbacks and pipingon the breast were white. The offi-cers used a white leibrock, decora-ted with a gold aguilette on the rightshoulder, for ceremonial occasions.A cocked hat and a light sword wasworn when off duty.The Voluntary Jagers had a shakothat vas normally covered by oilclothto protect it from the elements. Their

uniform wasthat of the senior regiment but in gre-en colour. Thus, the Jagers shouldhave used green coats but most wo-re a simple green litewka. Scaleepaulettes were worn on the shoul-ders with the fields in the black regi-mental colour. Black leather beltsand pouches were worn, the latterwithout decorations. The Jagers werearmed with a dragoon sabre with ablack sabre strap. The distinctions ofthe officers and NCOs were like tho-se in the senior regiment. Trumpe-ter’s distinctions are unknown butwere likely the same as the Cuiras-sier Trumpeters. The sabraque wasof black felt with a red border.

Standard: In 1813 only one standard per regi-ment was in use. The Silesian Cuiras-siers used the old standard of the fifthsquadron of the Old Von WagenfeldCuirassier Regiment #4. It was awar-ded by the Electoral Duke (Kurfuerst)Friedrich Wilhelm in the 18th Century.

Plate: Peter BundeTranslation: Buddy Hoch

Kingdom of Prussia1st Silesian Cuirassier

Regiment 1813

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DOSSIERPAVIA 1525

-The Italian WarsThe Road to Pavia

-The Battle of PaviaScenario for Warfare in the Age of Discovery

-Bibliography on Pavia

-Renaissance Miniatures

23 HYW Portadilla ingles 17/6/05 12:52 Página 23

Actually, this was the beginning of a new phase.During this period of fighting, the Italian statesfell from their dominant position and were pus-hed aside by the two major super powers atthe moment. Spain, represented at this time

by the King of Aragon, Ferdinand the Catholic, was invitedby Pope Julius II to join the Holy League. The main objecti-ve of this coalition was to recover Milan from the King ofFrance and to win back the territories that had been takenfrom the Pope.

This date marked the beginning of Spain’s intervention inNorthern Italy. The Spanish settled and remained in this re-gion for the next two hundred years.

The Vying Forces

The French responded to the threat of the coalition created bythe Pope by mobilising their forces again. At the time, theirforces were considered to be the largest and most fearsomeof Europe.

On the Pope’s side, the best units by far were those sentby Spain. These soldiers had recently defeated the French andforced them out of southern Italy after a tough war. With thisvictory, they consolidated the House of Aragon’s control in theKingdom of Naples.

The two armies were face to face once again at Ravenna.The clash between the two forces was terribly bloody for theperiod. In the end, the French were able to defeat the Spanishand Italian troops thanks to their powerful artillery and theirdreaded heavy cavalry.

The retreat of the Viceroy’s army didn’t end in a disasterthanks to the fact that it was covered by a force of 2,000Spanish troops led by Antonio de Leyva. This contingentformed an immovable phalanx of pikes and arquebusiersthat the French cavalry crashed into. It was here where theyoung and promising French general, Gaston de Foix, losthis life.

This victory soon turned against the French. Now, all of theregion’s great powers joined forces in order to drive the Frenchout of Italy. Switzerland, the Empire, Spain, Venice, the Popeand even England sided against the French and wasted littletime in recovering Milan from them.

The Pope was now able to manoeuvre without any pres-sure. In an attempt to distance himself from the continu-ous menacing protection of the King of Aragon, he made apact with the Empire in November 1512 to divide upVenice. Consequently, this absurd move led the Dux intothe arms of the French. In March 1513, the Dux andFrance signed a new alliance treaty in Blois. Four monthslater and to everyone’s relief, the war-hungry pope, Julius

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THE ITALIAN WARSIn 1511, Louis XII, King of France, backed by the Empire

(Germanic Holy Roman Empire), took control of the Duchy ofMilan. This victory allowed him to consolidate his hegemony in

northern Italy. This seemed to be the end of a long series ofconflicts that had drawn Italy into an almost perpetual war. A war

in which all of the states involved vied for supremacy.

Italian infantry made up of a core of pikemen supported by crossbowmen.

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II, died. He was succeeded by Leo XII, another member ofthe Medici family.

The League of Blois was created and threatened to over-throw the order imposed after the Holy League’s victory theprevious year. This threat was countered with the PerpetualLeague –an alliance that once again brought together the em-peror Maximilian, Ferdinand of Aragon, Henry VIII of England,the Duke of Milan, the Swiss and the Pope.

New French Invasion of Lombardy

Spring 1513: the French cross the Alps once again and invadeLombardy. But, surprisingly this time they are stopped androuted by the Swiss at the Battle of Novara. Without any cav-alry or artillery support, 8,000 Swiss troops carried out a boldnight assault in which they completely crushed the hugeFrench army.

The Venetians were every bit as good. The army of the Per-petual League, led by the Viceroy of Naples, won an over-whelming victory over the French forces at the Battle of Vi-cenza.

Attacked on all fronts, France needed and obtained a truce.This opened up a negotiation period in which anything couldhappen. France and Spain drew closer together. There waseven talk of a possible wedding between Louis XII’s daughterand the young Charles of Hapsburg (the future Charles V).This was too much for the Pope. He feared, with reason, a con-fluence of interests between Ferdinand of Aragon and the kingof France.

Thanks to the Pope’s mediation, Louis XII (53 years old)married Henry VIII’s young sister (16 years old). What seemedlike the beginning of a fruitful relationship between neighboursended up sending the aged king of France to his grave, victimof the life of excess he and his young wife led.

Francis of Angulema, King of France

It was time for the new generation to take over. Francis ofAngulema now came to the throne of France. Young, enthusi-astic and surrounded by a new and high-spirited generation,the king picked up the Italian Wars just where his predeces-sors had left off.

In 1515, a huge French force of around 50,000 mencrossed the Alps and entered Lombardy. Before them lied theSwiss, who had taken control of the duchy of Milan. No oneexcept the king of France was able to drive them out of thisregion. Encouraged by their leader Cardinal Schinner, theSwiss fought courageously at the Battle of Marignano. In theend, however, they were defeated by Francis I in what was hisgreatest military victory.

Now settled in Milan, Francis was glad to see how firstthe death of Ferdinand of Aragon and then that of Maxi-milian of Austria cleared the way for his advance. It wasthe perfect chance to put France at the head of ChristianEurope.

This sparked off a fierce political battle between the youngCharles I of Spain and the King of France for the position asemperor of the Holy Roman Empire which had been left vacantafter the death of Maximilian of Austria. Buying up electoralvotes with Spanish gold, Charles of Hapsburg became CharlesV of Germany. Francis didn’t spare a minute and resumed thefighting on all fronts.

The Campaign of Pavia

The young emperor faced many difficulties. This gave the Kingof France well-founded hopes of obtaining victory. However, hisonly problem was that he had made himself too many ene-mies. In Italy, his army suffered a humiliating defeat at Bicoc-

25


ca at the hands of Spanish and German forces. Soon Francewould take the defensive on all fronts.

The Imperial forces now attempted to invade Francefrom Lombardy. Charles V’s army invaded the region ofProvence.

The attack ended up being a real disaster. They were ableto reach Marseilles, but the siege turned into a nightmare. Ha-rassed and chased during their retreat, they were barely ableto make it back to the duchy of Milan. From this moment on,the Imperial army disbanded and Francis took over the reinsof the operations.

THE BATTLE OF PAVIAThe description of the Battle of Pavia given in this article isbased on some of the Spanish chronicles of the period. It ismainly inspired by the accounts of Friar Juan de Oznayo, whostood at the side of Marquis of Pescara’s arquebusiers duringthe entire battle. Here he witnessed firsthand most of theevents of the battle that we give below.

In 1524, Francis I entered Italy in pursuit of the Imperialarmy that had unsuccessfully invaded Provence. Completely

defeated, the Imperial forces quickly withdrew from the duchyof Milan. In their retreat they left behind a strong garrison inPavia that was going to be used to slow down French move-ments. Meanwhile, Charles V’s army reorganised and pre-pared for the counteroffensive.

After occupying Milan and taking control of the entireDuchy, Francis marched on Pavia and subjected it to a fiercesiege. Inside, the Spaniard Antonio de Leyva resisted the as-sault with a large garrison of around 6,000 Spanish, Italianand German troops. The siege went on for a few months. Thisgave the Imperial forces time to reinforce their ranks and pre-pare for battle. At the same time as the Imperial army re-gained their strength, the French forces dwindled substantial-ly. When Frundsberg’s 12,000 landsknechts reached Italy, theMarquis of Pescara finally took the offensive. He did so beforehis huge army, who had yet to be paid, could split up again ordesert to the enemy.

As they reached the battlefield outside of Pavia, the Im-perial troops fortified their positions to defend themselvesfrom the fearsome French artillery. As the days passed, itbecame clear to the Imperials that it was impossible for

them to give battle to Francis. TheFrench troops were well entrenchedand didn’t have the slightest inten-tion of leaving their positions tofight on the battlefield. An attackagainst this defence would havesimply been suicide.

Faced with the task of finding away to force their enemy out of theirfortifications, the commander inchief of the Imperial army, the Mar-quis of Pescara, decided to make adetour and attack through the hugewalled park of Mirabelllo. The kingof France had set up camp in thepark and certainly didn’t expect theImperial troops to attack from thisside. At midnight on 23 February1525, a large group of sappersfrom the Imperial army began tomake three openings in the front of

Spanish stradiots and genitors prepare for battle. The Imperial cavalry wasmostly light, which contrasted with the heavy French gendarmerie.

Spanish infantry, equipped with two-handed swords or sword and buckler, ready to penetrate theenemy pikes.


the wall that surrounded the park. The openings were farfrom the French positions. They thought that they could sur-prise the French with their sudden appearance on the bat-tlefield. Unfortunately for the Imperials, breaching the parkwall and getting inside was more difficult than they expect-ed. The French had been alerted and had enough time to or-ganise their troops and strategy for the battle. When thefirst Spanish and Italian squares were able to get throughthe wall and enter the park, the French had practically de-ployed for the encounter and had decided the tactic theywere going to use.

At that moment, Francis began to deploy more than 30heavy artillery pieces, plus many more smaller-calibre pieces.This battery was his main tactical weapon against the Imperi-als. Thanks to the technique they had developed, the Frenchwere able to move and aim their heavy artillery relatively quick-ly. That, perhaps, was what most surprised the Marquis ofPescara. He surely expected his adversary’s batteries to stillbe positioned next to Pavia.

The French Camp

Given the circumstances and the lack of time, the Frenchdeployment was a bit haphazard. Their biggest mistakewas their failure to establish a unified battle line. As wewill see below, this shortcoming played a big part in theoutcome of the encounter. Their linewas made up of three different com-bat groups. The most powerful groupwas positioned next to the king.There were 3,600 cavalrymen,among which were the famous gen-darmerie (their knights), around 900men which some of the Spanishchronicles refer to as the old catafracts –the French nobil-ity’s finest whose ranks included more than seventyprinces and great noblemen. In this area, they deployedthe above mentioned artillery, which according to thesources, was commanded by a Gascon -the expert and vet-eran soldier, Galliot de Genouillac. From this position, he

decided to aim the guns crossways after studying the Im-perial’s line of advance.

The king deployed his light cavalry and gendarmerie next tohim. Although perhaps a little too far away then recommend-ed, he deployed a group of some 4,000 German landsknechtsfrom Gueldres under the command of Suffolk (Richard De laPole) and part of the French infantry –some 2,000 Gasconand Béarnaise troops.

The second group that manoeuvred on the far right wasmade up of Fleurange’s Swiss troops. There were between3,000 and 5,000 men in all. These were by far the Frencharmy’s best troops. Their right flank was protected by a corpsof light cavalry, around 500 cavalrymen under the command ofTiercelin.

The third group acted as the rearguard and, at the sametime, maintained the siege on Pavia. They had around 10,000men positioned in various bastions and entrenchments. Theircore was made up of a unit of Swiss led by Montmorency. Ifthere was a need, these troops could reach the battlefieldquickly.

The Imperial Deployment

The Imperial advance column went through the wood that cov-ered most of this part of the park. When the French lines weredetected, the column began to deploy in front of the enemy. At

this moment, Pescara himself led aunit of Spanish troops towards the hillon top of which was the castle ofMirabello. This was a very importanttactical position. From here, he had aclear view of the battlefield and couldalso surprise the French from the sideif they launched an attack.

The Imperial army’s exposed battle line began to suffer theeffects of the devastating fire from Francis’ artillery. The ca-sualties inflicted on the Imperial columns were relatively seri-ous (at the end of the day, they suffered around 600 losses).Caught off guard and helpless, the Imperial troops had to pullback a few metres. They tried to take advantage of the ter-

The chronicler estimated that at one point the arquebusiers fired

between 3,000 and 4,000 projectiles at the compact

landsknecht squares.

German landsknechts, main source of the German mercenaries which made up a large part of the Imperial infantry.


Frundsberg, the loyal German, keptany Spanish arquebusier he came

across just in case. He evenpersonally tied their arms togetherin order to take them to reinforce

his own units of shooters. By doingthis, he was able to get up to 30Spanish arquebusiers who gladlyagreed to stay alongside the old

German that all the Spanish troopsappreciated.


It must be said that there was aconsiderable number of units from

Naples serving in the Spanisharmies. Consequently, it is hard todistinguish between these troops

and the Spanish. Many of their featsof arms either went unnoticed or, asduring this battle, were mistaken for

Spanish deeds.


rain’s uneven ground so as to minimise the damage causedby the French artillery fire as much as possible.

During those initial moments of confusion, Fleurange’stroops, certainly acting according to a predetermined plan, ad-vanced uncontrollably alongside Tiercelin’s light cavalry to-wards the opening through which the Imperial forces had en-tered. If they manoeuvred quickly enough they could surprisePescara’s rear at a time in which his forces were pinned downon the terrain by the sustained fire from the French batteries.As we will see, this was a difficult moment of indecision forthe Imperials.

The First Clashes

Fate would have it the French light cavalry and part of the Swisstroops heading for the breach in the wall ran into the infantry unitfrom Naples that had fallen behind and was still marching throughthis sector. Once again, the discipline and cohesion of the mag-nificent troops in the service of Charles prevented a disaster. AsCaptain Papacoda, commander of the Italian unit, was weighingup the possibility of falling back to a nearby poplar grove to avoidmaking contact with the enemy cavalry, he was reprimanded byone of his second lieutenants: “…the emperor had paid you manyyears for a day like today; and, therefore, your duty is to stay rightwhere you are, if you don’t be certain that you will be the first per-son I jab with my pike”. Obviously, the Italian captain held his po-sition, prepared for the worst. The clash was terrible. The troopsfrom Naples fought bravely but were unable to avoid being anni-hilated. According to the chronicler, this encounter, although itended in an Imperial defeat, prevented the French from advanc-

ing any further. It also exhausted thefighting power of the French cavalry-men, who, despite their victory, musthave suffered a considerable numberof casualties. The only resistance theSwiss came across were the fewpieces of light artillery that the Spanishtroops had situated in that area. TheSpanish began to use this batteryagainst the Swiss, who were beltingtheir usual cry of victory: France,France! They were certain that they hadwon the day’s fighting. And they werequite right. Victims of their leaders’ in-decision in that crucial moment, the Im-perial battle line was still pinned downby Francis’ artillery fire.

The Moment of Truth

The Viceroy of Naples, Lannoy, incommand of the Spanish heavy cav-alry, noticed Fleurange’s advance.Caught up in the confusion, he sentword of this to Pescara –rememberthat Pescara was positioned atMirabello: “the best thing to do was totake cover in the moat of Mirabelloand wait for the rest of the troops tocome; that way, we will be safe fromthe French artillery and able to calmlyassess our possible courses of ac-tion”. When the Marquis of Pescararead the Viceroy’s letter, he sent himthe order to take his cavalry and tocharge immediately against theFrench positions. Meanwhile,Pescara began to retreat. He aban-doned his position at Mirabello andreturned to the centre. He orderedhis cavalrymen to dismount andplaced them next to the infantry.

The Viceroy, in disbelief, sent an-other letter to Pescara recommending that the best thingwould be to withdraw to Mirabello. Once again, Pescara firmlyordered him to attack the French positions. Pescara knew thatthe Viceroy’s idea was completely ridiculous. If they were to re-treat to the moats of Mirabello, they would be quickly sur-rounded by their enemies. After encircling them, they couldreposition their batteries and pound them, if possible, evenmore than they had up to that moment. After sending the or-der, he got on his horse, drew his sword and led his Spanishtroops (among which were 800 arquebusiers) on the advance.His intention was to join forces with the Viceroy and attack theFrench positions together.

Just as Viceroy Lannoy received the order, he saw, much tohis dismay, how the Marquis of Pescara had already begun theoffensive on his own. He didn’t reply. He only made the signof the cross over himself and prepared for what was practi-cally a suicidal charge against the enemy positions.

The Decisive Moment

The Spanish heavy cavalry (around 400 men-at-arms out of1,600 cavalrymen in all) led by the Viceroy of Naples (theFlemish Lannoy), began to trot and to deploy in good order to-wards the French positions with their lances at the ready. Ontheir right they were supported by the squadrons of light cav-alry (500 men) commanded by the Marquis of Civita Saint An-gelo. Enraged, the King of France pushed his artillery to firemore quickly. Before them, the Imperial advance had begun.However, that amazing spectacle was too much for the impa-tient and confident Francis. He decided to stop concentrating

30


on the artillery and to prepare his magnificent cavalry for acounterattack. This was the crucial moment of the battle.

Fleurange held his position at the Imperial rear, while theKing, forgetting about any tactical considerations, decided tocharge against the Spanish. By doing this, the King came be-tween the Spanish troops and his own artillery. As the Frenchbatteries were pounding the ill-fated attackers, they wereforced to cease fire because of the king’s foolish move. Thecommander-in-chief, seeing a heroic and magnificent victoryover his detested enemy within his grasp, gave up his great-est and clearest advantage. The mistake made at Crecy andAzincourt was repeating itself. As we will see, this time it was-n’t the archers, but the even deadlier arquebusiers who end-ed up destroying the proud and arrogant noble cavalry of theKingdom of France.

The French cavalry deployed in four lines for the attack astheir artillery silenced. The gendarmeries forming the front linecharged immediately after. The superior strength of the Frenchmade a swift victory over the weaker Spanish formation verylikely. However, Pescara was fully aware of his possibilities. Hedetached a veteran, captain Quesada, at the head of 200 eliteshooters. They quickly marched towards the flank of the areawhere the French and Imperial troops were fighting.

During the clash between the French gendarmerie and theSpanish heavy cavalry, the Spanish were repelled and quicklydriven back. It wasn’t long before they were pushed back towhere they had started the attack. Here, they began to receivehelp from some of the infantry units. But, it wasn’t enough tohold back the French drive. Francis I was sure that victory washis. However, he didn’t realise that his cavalry didn’t have anyinfantry support until his charge reached the line of the wood.Frundsberg sent a group of landsknechts to protect two com-panies of Spanish arquebusiers led by Alonso de Córdoba andRodrigo de Ripalda. When Francis I was about to react, thesetroops entered the brawl and began to knock down, one afteranother, the King’s brave knights.

Quesada’s arquebusiers, now positioned on the flank ofthe French line, began to open heavy fire on the French unitsin formation behind the fighting and that had yet to enter thebattle. They also concentrated their fire on the French troopsthey could identify in the mêlée. The white crosses Francis I’sknights wore on their uniforms made them easy targets. Theywere also easily distinguished from the white shirts thatPescara ordered the whole army (including the knights) to puton before the battle. Pescara most likely did this to help hisarquebusiers fire more accurately.

To support his cavalry’s assault, Francis ordered the far-offsquares of Suffolk’s German landsknechts to advance on theright flank towards the Spanish infantry.

In the distance, the Marquis of Pescara saw the English-man’s infantry advancing. He tricked his men into believingthat the squares advancing across the plain were in fact Ley-va’s men who had left Pavia to enter the fighting. The 2,500men of the Spanish infantry happily advanced towards whothey thought were their comrades. With this manoeuvrePescara moved away from Frundsberg’s landsknechts thatwere positioned at the Imperial rear and that were gettingready to enter the skirmish to support the Viceroy’s cavalry.

When Pescara’s troops realised that who they were ad-vancing towards was in fact the enemy, they received theorder to halt. Then the large contingent of arquebusiers(600) moved forward, well prepared for the mêlée. Many ofthem had four or five projectiles in their mouth and two orthree lit fuses in their hand in order to charge and fire asquickly as possible. Pescara then told all of his men tokneel down and await the order to rise and attack. Mean-while, Suffolk’s men stopped and closed ranks at the sametime as their vanguard of two hundred shooters and ar-quebusiers advanced a few more metres and opened fireon the Spanish soldiers. Luckily for the Spanish troops,the technique used by the enemy shooters was not very ef-fective. Although it may now seem strange, they fired their

The arquebus, along with the pike, showed its devastating destructive power throughout the battle.


arquebuses, which were supported on rests, without aim-ing. Since the Spanish infantry was squatting, the hail ofprojectiles went over their heads and barely caused anydamage. As usual, the German shooters immediately fellback to take cover behind the pikes while they reloaded.This was the moment Pescara was waiting for. Shouting,“Santiago Spain, get those that are fleeing!” the fighting be-gan. The 600 Spanish arquebusiers stood up at once andbegan to unleash a hail of bullets on the German forma-tions that more or less resisted the assault.

We must point out that the characteristics which madethe Spanish arquebusiers famous during those timeswere their firing capacity (they fired quicker than their ad-versaries) and accuracy. These twocharacteristics together made themthe Spanish army’s main tacticalweapon, and, by far, the deadliestof them all.

They fired so quickly at the Ger-mans that they were soon decimat-ed. Suffolk’s squares began to pullback little by little towards the encampment even withouthaving engaged in hand-to-hand combat. Unfortunately forthe troops from Gueldres, during their bloody retreat theyran into the side of Quesada’s company of arquebusiersthat was returning from the area where they had just mas-sacred the French cavalry. From this position, Quesada’scompany sprayed the Germans with yet another hail ofbullets. This action scattered the German troops and putthem to flight.

THE CAPTURE OF THE KING OF FRANCEFrancis I was in a serious situation. After the initial victori-ous impulse, his cavalrymen were first stopped and thenovercome. The Imperial army had concentrated their land-sknechts, arquebusiers and all of their cavalry on them.

Seeing the withdrawal and that Suffolk’s Franco-German in-fantry was fleeing, the King was in need of the support ofhis infantry. He got the order to attack the Swiss to Fleu-range as best he could. Francis counted on the help ofthese troops in which he had put all of his faith. He thoughtthat they would be able to reduce the tremendous pressurehis knights were resisting. Supposedly, the Imperial forceswould pull back when threatened by Fleurange’s advance to-wards the flank occupied by Pescara. Fleurange had a hardtime getting his squares to move since the Swiss weren’ttoo interested in going back into to the mêlée. But, whenthey finally went back in, they did so with determination.During their movement, they passed by the Imperial posi-

tions occupied by Frundsberg’s land-sknechts. Once the Swiss advancewas within range of the shooterslined up next to the German pike-men, it was pounded by the heavyfire released by the arquebusiersfrom Spain and Naples. The Germanpikes acted as a cover for these

troops, who, in turn, provided cover for the Germans.According to the Spanish chroniclers, the Swiss then ran intoa unit of Italian mercenaries that probably had come to rein-force them. They joined forces and moved together towardsthe position occupied by the Spanish troops. That day, luckwasn’t on the side of the Swiss. To their dismay, as theyneared their camp, they fell into the hands of the vanguard ofSpanish arquebusiers led by Pescara himself.

At this stage, Francis I’s cavalry was practically doomed. Inthe great battle being fought on the plain, the French cavalry-men had been dismounted and killed by the German pikemen,the Spanish infantry and the accurate and repetitive arque-busiers’ fire. The arquebusiers agreed beforehand to finish offall of the French troops they came across while they ad-vanced. Many French nobles who had already surrendered to

At first, the Marquis of Pescaragrabbed a heavy lance to fight with.

But, he found it awkward andimmediately threw it to the ground.In the end, he pulled out his sword.

The gendarmerie, Francis I’s heavy cavalry, was the pride of the army and was made up of the elite of French society.


their opponents were killed cold-bloodedly when the arque-busiers found them.

This attitude was adopted when Pescara informed his menjust before the battle what they were up against. According tothe Marquis, Francis had given the order that no Spanish pris-oners were to be taken. His men were furious and their re-sponse was not surprising: it was to be an all-out war.

After the defeat of Suffolk’s squares, Marquis of Pescara’sSpanish troops reached the positions of the French artillery andwiped out their crews and defenders. The mêlée had broken upthe Spanish formations, but that did not stop them from trudg-ing on to destroy and silence the batteries for good. Now confi-dent, they were completely surprised when Fleurange’s Swisssquares suddenly came out of the thick morning fog. As men-tioned above, the king had given Fleurange the order to advanceon this area. The sudden appearance of these men forced theSpanish to pull back and reorganise quickly. The Spanish troops’confused retreat made the Swiss think that victory was near.But, once the Spanish soldiers had regrouped, they formed anew and devastating line of fire that stopped their enemies intheir tracks. Soon, more and more arquebusiers joined forceswith the vanguard and opened fire on the Swiss. In order to con-tinue their advance, the Swiss waited, with a mixture of disciplineand fear, for the firing to stop. However, the Swiss ended upfalling to pieces. They turned to their right and withdrew from thebattlefield, heading in the direction of the River Tesino.

After the battle was over, Francis I accused the Swiss of be-ing cowards. He said that the Swiss and the deadly and un-ceasing fire from the Spanish arquebusiers were responsiblefor their defeat.

During the battle, the King of France never knew why hisgenerals, the Duke of Alenzon and the Duke of Montmorency–who were in command of the siege on Pavia- hadn’t broughtthe reinforcements that he had surely asked them for.

He would know the answer after he surrendered. Antoniode Leyva, the superb general in command of the garrison un-der siege at Pavia, had carried out a crushing sortie at thefront of his men. The French in that area were totally surprisedby the Spanish men, who proceeded to chase and kill theFrench left, right and centre. Informed of the disaster, Alenzondecided to beat a comfortable retreat with his detachments.The old and experienced Montmorency was unable to savehimself and was killed in the mêlée.

The biggest disaster, however, occurred after Leyva’s forcesdestroyed the pontoon bridge that joined the two banks of theTesino. The thousands of men, mostly Swiss, who were flee-ing from the adversaries, fell into its icy waters.

It was all over. The French camp had been taken, their ar-tillery silenced, their reserves scattered or wiped out andtheir knights practically annihilated after the encounter withthe Imperial infantry. After seeing that Fleurange had beendefeated, Francis I considered the battle lost and tried to es-cape. He was riding practically by himself until his horse wasshot down by an arquebusier. Juan de Urbieta, a mountednobleman from Biscay who formed part of the CatalonianHugo de Moncada’s squadron, placed his sword on Francis’sside and advised him to surrender. The King then recognisedhis defeat.

Shortly after, all of the battle’s main figures showed up -theMarquis of Pescara, the Marquis del Vasto, Lannoy, Bourbon, Alar-cón... They all wanted to see or appear before the King of France.

Francis I had to bear the humiliation of seeing how the tu-nic he was wearing was torn to pieces by the Spanish in-fantrymen that wanted a memento of that memorable day. Onthe battlefields at Pavia, these infantrymen forged by fire andsword the myth of the Spanish army’s invincibility. For morethan one hundred years this army would dominate Europeanbattlefields.

Author and maps: Carlos de la RochaPhotographs: Anastasio Jiménez

Figures from Bicorne and Renegade From the collection of Javier García Cano

Pavia was such a huge defeat for the French army, and morespecifically for their aristocratic heavy cavalry, that it can only becompared to Aguincourt.


On 24 February 1525 between six and eight o’-clock in the morning, Francis I’s hopes of ta-king control of the Duchy of Milan were shatte-red. The account of those two decisive hours israther confusing. When the next day dawned,

the park of Pavia was shrouded in fog. Soon, columns ofsmoke from the blasts of French guns and Imperial arque-buses would also appear. The rumbling of the cannonswould soon be accompanied by the cries of pain of thewounded, the agonizing neighing of dying horses, the roarsof those still on their feet and the clash of thousands ofarms. If battles are chaotic in themselves, then Pavia wasexceptionally frenzied.

There’s another obstacle we come up against when de-signing a scenario based on history. As you have probablyimagined, this is that we all know “what happened” andhave more or less of an idea about the successes and fail-ures of each side, or at least those that the benefit ofhindsight has led us to believe. If we look at, for example,Francis’s charge against the Imperial lines we now knowhe made a mistake. This tactical error masked the Frenchartillery that was battering the Imperial columns. However,if we consider the events according to the information

Francis had to carry out his battle plan, then the decisionhe took makes more sense. Pounded by the guns, the Im-perial columns received the order to retreat through thewood in order to then move towards the Imperial left. Atthe same time, Lannoy’s cavalry and the light horsemen ofCivita Sant Angelo advanced to cover this manoeuvre.Some (Italian or German) arquebusiers also followed theImperial cavalry into the wood. The only thing that the Kingof France could tell from what he could see was that theImperial army was withdrawing and that his artillery was-n’t destroying it quickly enough. This makes Friar Juan deOznayo’s account that the king ordered his artillerymen toincrease their rate of fire logical. Under these circum-stances, a decisive charge would’ve given him the victoryand would’ve destroyed the Imperial army. And if is his in-fantry led by Lorena and Suffolk had been deployed in aposition where they were able to provide support, perhapshe would’ve been right. A joint cavalry and infantry attackcould be devastating even against experienced troops -19years later the French victory at Ceresole (11/04/1544)would prove this.

The last stumbling block is the lack of a set of rules ca-pable of reflecting the flexibility of a battle like Pavia. Most

34

THE BATTLE OF PAVIASCENARIO FOR WARFARE

IN THE AGE OF DISCOVERY

34-40 Escenario Pavía ingles 17/6/05 12:43 Página 34

rules are based on obsolete ideas about warfare at thattime and the effectiveness of Renaissance weapons, not tomention those regarding actual tactics or formations. Per-haps the one that best grasps the dynamic of Renaissancewars –better than a lot of “professional” rule sets, is Span-ish Fury! This set of rules can be downloaded for free fromwww.freewargamesrules.co.ok. Unfortunately, it only coversthe wars in Flanders and the Wars of Religion in France be-tween 1565 and 1595.

However, for this scenario I have opted for a commercialrule set, Warfare in the Age of Discovery, published by Tod Ker-shner and Dale Wood in 1999. It has some interesting ideas,such as the gradual deterioration of the units’ armour gradeto show that soldiers with better armour were deployed in thefront lines and, therefore, were the first casualties. It also us-es an interesting random troop movement system. As anadded extra, WAoD uses the same basing system as DBR.This makes it compatible with the bases you may have pre-pared for DBR.

It comes with several historical orders of battle (Paviaincluded), but, in my opinion, they could be greatly im-proved. For example, in the order of battle for Pavia theSwiss are elite troops, which was not the case for this bat-tle. It is true that Francis I exaggerated the number ofSwiss troops that defected in order to justify the defeat.But, it also true that after the defeats at Marignano in1515 and La Bicocca in 1522, the Swiss were no longerthe elite shock troops that had terrorized Italy since theend of the XV Century. Giving them a higher morale gradethan the landsknechts of the Bande Nera like the authorsdo is not correct.

The scenario only covers the main battle. I have not in-cluded the fighting in the northeast area of the park be-tween Stittlich’s squadrons of landsknechts and Fleu-range’s Swiss and French coustiliers or Leyva’s sortie atPavia against Montmorency’s forces. On the other hand, Ihave taken into account the possibility that the events in

the other areas of the battle would have affected what washappening in the main scenario.

I’ve added a short explanation of what each value meansso that players can adapt the information given for this sce-nario to any other rules they may have.

IMPERIAL ORDER OF BATTLE (MAIN BATTLE)WAoD uses a figure ratio of 1 miniature:25 soldiers. Each turnis equivalent to 20 minutes –although for this scenario turnswill be 15 minutes each. The terrain scale is 1 inch:25 yards–more or less 9 metres per centimetre. The scenario has beenmade for a 120x180cm gaming table.

Imperial Leaders

Leader rating in WAoD is reflected by a numeric value between0 (the worst) and 6 (the best).

The leaders of each division or of the battle are the Mar-quis of Pescara, the Duke of Bourbon and Georg von Fründs-berg. Del Vasto and Lannoy can command –i.e. give leader rat-ings totheir respective detachments, but they must beactivated at the same time as the division of Fründsberg (delVasto) and Bourbon (Lannoy).

Marquis of Pescara Commander-in-Chief Leader Rating 5

Duke of Bourbon Leader Rating 5Marquis del Vasto Leader Rating 3*Georg von Fründsberg Leader Rating 4(5)**Viceroy Lannoy Leader Rating 3***

*The Marquis del Vasto and his detachment can’t move un-til turn 4 or until he has a French unit in his line of sight. Fromthe 4th turn on, he can act as part of Fründsberg’s division.

**For Fründsberg apply the leader rating given in bracketswhen he’s in command of a landsknecht unit in melee against


the landsknechts of the Bande Nera at the service of Franceor against the Swiss. In any other case, apply the normalleader rating.

***He must be deployed as the commander of the Caval-ry lancers.

In WAoD the morale grade for units is determined by anumeric value between 0 (the worst) and 4 (the best). Thetypes of troops’ armour include: Unarmoured, 1/2 Armour,3/4 Armour and Full Armour. These rules assign each unita formation that is described on a table that comes withthe set of rules. The Spanish and landsknecht formationsare very similar: the first stand has arquebusiers, followedby four pike stands placed one directly behind the otherand a stand of halberdiers/swordsmen (landsknechts) or ofskilled swordsmen (Spanish). Even though these formationswere more theoretical than real, I decided to respect themfor gaming purposes.

Duke of Bourbon’s Division

4 units of Landsknechts, Type: Pikes // Morale Grade: 2 witha morale of 3 and 2 with a morale of 2 // Weapons: Pikes/Ar-quebuses // Blood Enemies: the Swiss and the landsknechtsof the Bande Nera // Formation: 6.

Notes for Duke of Bourbon’s Division: It enters after turn 2as reinforcement. See map for the entry zone.

Lannoy’s Detachment

5 units of Men-at-Arms, Type: Shock Cavalry // MoraleGrade: 3 // Armour: Full // Weapons: Light Lance // For-mation 10.

4 units of Light Cavalry/Stradiots or Genitors, Type: LightCavalry // Morale Grade: 2 // Armour: None // Weapons:Light Lance // Formation: 11 // Notes: shields.

Notes for Lannoy’s Detachment: this detachment is acti-vated at the same time as the Duke of Bourbon’s Division. Asfar as the rest is concerned, it acts as an independent divi-sion. Lannoy must always be deployed with a unit of Men-at-Arms.

Marquis of Pescara’s Division

6 units of Spanish Pikes, Type: Pikes // Morale Grade: 1 witha morale of 4, 3 with a morale of 3 and 2 with a morale of 2// Armour: 3/4 // Weapons: Pikes // Formation: 7 //Notes: the stands of arquebusiers must not be includedsince they are deployed separately. See the special notes forthe Division.

2 units of Landsknechts, Type: Pikes // Morale Grade: 3 //Armour: 3/4 // Weapons: Pikes and Arquebuses // Forma-tion: 6 // Blood Enemies: the Swiss and the landsknechts ofthe Bande Nera.

3 Arquebusiers, Type: Missile Infantry // Morale Grade: 3// Armour: None // Weapons: Arquebuses // Formation: 2.See notes.

1 unit of Arquebusiers, Type: Missile Infantry // MoraleGrade: 4 // Armour: none // Weapons: Arquebuses // For-mation: 2.

Special notes for Pescara’s Division: the arquebusiers thathave a morale grade of 3 must always be within 10cm and inthe line of sight of the Spanish pike units in his division. Theunit with a morale grade of 4 can act independently. The unitswith a morale grade of 3 can disregard the penalty for movingthe first time they fire during battle. The unit with a moralegrade of 4 can ignore this penalty for the entire battle.

Georg von Fründsberg’s Division

6 units of Landsknechts, Type: Pikes // Morale Grade: 5 witha morale of 3, 1 with a morale of 2 // Armour: 3/4 //

36


Weapons: Pikes and Arquebuses // Formation: 6 // Blood En-emies: the Swiss and landsknechts of the Bande Nera.

1 additional unit of Arquebusiers, Type: Missile Infantry //Morale Grade: 3 // Armour: none // Weapons: Arquebuses// Formation: 2.

Notes for Fründsberg’s Division: it can enter after turn 2 asreinforcement. See map for the entry zone.

Del Vasto’s Detachment

3 units of Arquebusiers, Type: Missile Infantry // MoraleGrade: 1 with a morale of 4, 2 with a morale of 3 // Armour:none // Weapons: Arquebuses // Formation: 2.

6 units of Italian escopeteros, Type: Skirmish // MoraleGrade: 1 // Armour: none // Weapons: Arquebuses // For-mation: 1.

Special notes for Del Vasto’s detachment: this detachmentis activated along with Fründsberg’s division. But, during the1st and 2nd turn it can’t be activated. After turn 3, it can moveas normal.

FRENCH ORDER OF BATTLE (MAIN BATTLE)

French Leaders

Francis I** Leader Rating 5 (Commander-in-Chief)Count of Suffolk Leader Rating 3Duke of Lorena Leader Rating 2La Pallise Leader Rating*Fleurange Leader Rating 3 (Optional. See notes.)

*La Pallise is considered to be part of Francis’ circle (youdon’t have to include another officer stand). At the beginning

of the activation of the King’s division, throw 1D6. With a re-sult of 4 or + La Pallise will give a +1 to Francis I’s leader rat-ing during the activation. If you roll a 6, La Pallise is consid-ered wounded or dead and no longer affects the game afterthis activation.

**If the unit with Francis I is defeated in a melee or flees,throw 1D6. If a 3 or + is rolled, then the King is consideredcaptured. If a 6 is rolled, a Spanish arquebusier will havekilled him with one deadly shot.

Optional: Fleurange commanded the French division thatwas in Torre del Gallo and that was formed with 4,000 Swissand around 1,000 light cavalry horsemen. After hearing themovements of the Imperials in the northern part of the park,Fleurange decided on his own initiative to move his troops to-wards the Porta Pescarina. But, despite the initial success ofthe French, Stittlich’s landsknechts and the Italians were ableto first pass them and to then put them to flight. What wouldhave happened if this wasn’t the case and Fleurange had ar-rived in time to save Francis and attack the Imperial rearguard?If both players agree, they can represent this what-if situation.The French player can throw 1D6 after the 5th turn of thegame. If he rolls a 6, Fleurange obtained victory and can movehis detachment onto the gaming terrain through any point onthe northern half of the table in the Imperial deployment zone.

Francis I’s Division

6 units of Gendarmeries, Type: Shock Cavalry // MoraleGrade: 4 // Armour: Horse // Weapons: Heavy Lance // For-mation: 10.

12 units of “Archers”, Type: Shock Cavalry // MoraleGrade: 3 // Armour: 3/4 // Weapons: Light Lance. // For-mation: 10.

38


5 units of Stradiots, Type: Light Cavalry // Morale Grade:2 // Armour: 1/2 // Weapons: Light Lance // Formation: 11// Shields

10 pieces of artillery. Civilian artillerymen. TechnicalLevel: 6. They can pivot and shoot without being pe-nalised. 4 pieces are heavy artillery and the rest are medi-um artillery.

Special notes for Francis I’s Division: the king must al-ways be assigned to a unit of Gendarmeries. If there are Im-perial cavalry or arquebusier units in the line of sight andthere are no Imperial pike units in the French cavalry’s lineof sight, the division must advance towards the former andtry to attack the Imperial cavalry.

Designer’s note: the restriction for the pikes may seemstrange, but in 1525 they would have learned that cavalrycouldn’t defeat a pike square by itself. At Pavia, Francis did-n’t know that there were Imperial pike forces in good order–we have seen that he thought that they were retreating. Ifhe had been aware of how close Pescara’s and Bourbon’stroops were, he probably wouldn’t have launched the fate-ful attack.

Lorena’s Division

5 Landsknechts Bande Nera, Type: Pikes // Morale Grade: 1with a morale of 4 and the rest with a morale of 3 // Armour:3/4 // Weapons: Pikes and Arquebuses // Formation: 6 //Blood Enemies: Imperial landsknechts

3 units of Swiss, Type: Pikes // Morale Grade: 3 // Ar-mour: 3/4 // Weapons: Pikes and Arquebuses // Forma-tion: 5 // Blood Enemies: Landsknechts.

Special notes: Lorena’s division moves onto the gamingtable after turn 2. See map for the entry zone.

Suffolk’s Division

4 units of French Pikes, Type: Pikes // Morale Grade: 1 //Armour: 3/4 // Weapons: Pikes // Formation: 4

3 units of Shooters, Type: MissileInfantry // Morale Grade: 1 // Ar-mour: none // Weapons: Arquebus-es // Formation: 2

Special notes: Suffolk’s divisionmoves onto the board after turn 2.See map for the entry zone.

Fleurange’s Detachment

4 units of Swiss, Type: Pikes //Morale Grade: 3 // Armour: 3/4 //Weapons: Pikes // Formation: 4

4 units of Stradiots, Type: LightCavalry // Morale Grade: 2 // Ar-mour: 3/4 // Weapons: Light Lances// Formation: 11

2 units of Mounted Arquebusiers,Type: Missile Cavalry // MoraleGrade: 1 // Armour: none //Weapons: Arquebuses // Formation:11

Special notes for Fleurange’s de-tachment: after the turn in which itenters the gaming table, it is con-sidered to be part of the king’s di-vision.

SPECIAL RULES FORTHE SCENARIO-The scenario lasts 12 turns (from06.00 until 08.45 or until one of thearmies flees).

-Victory: the French win a deci-sive victory if they are able to put

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the Imperial army to flight. They win a marginal victory ifthe Imperial army has at least one more division than theFrench in flight at the end of the battle. Any other result isa marginal victory for the Imperial army, except if KingFrancis is captured or killed. In this case, it is a decisivevictory.

Designer’s note: seeing them coming wouldn’t havehelped the French at all since the Imperials could have gotprovisions to Pavia. This almost surely would have forced theFrench to return to their bases and to lose all of the bene-fits obtained at the campaign of 1524. I haven’t consideredthe possibility of a draw. There wasn’t one. The side thatfailed would’ve at least had to retreat –a withdrawal wasusually a disaster for a XVI-century army. If the French won,Pavia would’ve fallen, most of the Imperial army would’vedisbanded and the Duchy of Milan would’ve augmentedFrancis of Angouleme’s titles –and his coffers.

-Lines of sight: visibility was very bad during the entire bat-tle except in the final moments. To reflect this, any enemy unitmore than 50cm (or 30cm if it’s in wooded terrain) away is outof the line of sight and can’t be attacked or shot at. After turn5, this distance is increased 10cm each turn until turn 8 (notinclusive). From this turn on, there are no restrictions appliedto the lines of sight.

-Initial deployment: see map.-Terrain: all units except for heavy cavalry can cross the

stream without being penalised. If the heavy cavalry crossthe stream, they will lose 1D6cm and will become disorgan-ised. The wood is not very dense and doesn’t affect infantry

or light cavalry movement. Apply the light forest rules to theheavy cavalry.

-Capture/death of Francis I: if Francis is killed or cap-tured, all of the French units on the battlefield that are notfleeing must immediately throw 1D6. If the roll is 3 orgreater, the unit flees immediately. All Imperial units will al-so roll 1D6. If the result is 5 or higher, they can add 1 pointto their morale grade (up to a maximum of 4).

Designer’s note: I know this is a rather artificial way of rep-resenting the effects of the capture of Francis I. In reality, whenhe fell into the hands of the Imperial army, the French had al-ready lost the battle.

CONCLUSIONThe benefit of hindsight is very misleading. For us, theoutcome at Pavia can seem like the natural consequenceof technical superiority and more skilful Imperial com-manding. This is far from the truth. The French had sev-eral chances to defeat the Imperial army. A combinationof luck, courage, boldness and appropriate decisions tak-en in the right moment is what ultimately tipped the bal-ance in favour of the Imperial forces. But, during threehours of terror and chaos, the future of the Hapsburgs inItaly hung by a thread.

Author: Antonio CarrascoPhotographs: Anastasio Jiménez

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Colecciona ingles 17/6/05 13:49 Página 36

Albi de la Cuesta, Julio. DePavía a Rocroi. Los ter-cios de infantería españo-la en los siglos XVI y XVII.Madrid, Balkan Editores,

1999 // This is a very useful refe-rence for those wanting to knowabout the peculiarities of the organi-sation and tactics of the Spanish ter-cios. However, despite the title, thetext doesn’t touch very much on theItalian Wars. Spanish.

Cadenas y Vicent, Vicente de: Laherencia imperial de Carlos V en Italia:El Milanesado. Madrid, Instituto Sala-zar y Castro (CSIC), 1978 // Thisstudy traces the detailed history ofthe Duchy of Milan from its origins toits final acquisition by Emperor Char-les V. As usual in this collection, theauthor’s text is accompanied andsupported by material taken from thelarge number of documents from theperiod. However, these documentsare in Latin and Old Italian which me-ans that they are inaccessible tomost of us. The book has 500 pa-ges, though about 40% of it is sup-port material. This proportion is thesame in the rest of the author’s bo-oks that are given below. Spanish.

Cadenas y Vicent, Vicente de: LaRepública de Siena y su anexión a laCorona de España. Madrid, InstitutoSalazar y Castro (CSIC), 1985 // Af-ter a review of the history of this Ita-lian Republic, this work provides adetailed analysis of the events thatled Sienna to lose its independenceand to fall under the control of theCrown. 170 pages including the addi-tional support material. Spanish.

Cadenas y Vicent, Vicente de: Elprotectorado de Carlos V en Génova:la “condotta” de Andrea Doria. Ma-drid, Instituto Salazar y Castro(CSIC), 1977 // History of Genoathat centres, as the rest of the se-ries, on the end of the XV Centuryand the beginning of the XVI. This isa key book for visualising what took

place during France’s final attempt towin back the territory of Naples andfor understanding the reasons be-hind their tremendous failure. Thisdefeat embittered the final years ofthe life of Francis I and forced Franceto abandon her territorial ambitionsin Milan and Naples forever. 290 pa-ges including the additional supportmaterial. Spanish.

Cadenas y Vicent, Vicente de: Elsaco de Prato: La primera reposiciónde los Médicis en Florencia y la pre-sencia de España en el Milanesado.Madrid, Instituto Salazar y Castro(CSIC), 1982 // One event that arou-sed great interest in its day was thesacking of the city of Prato in Floren-ce by the Holy League’s Hispano-Ger-man troops. One of the objectives ofthis coalition was to put the controlof Florence back in the hands of theMedicis as a favour for Pope Leo X,one more member of this famous,powerful and influential Tuscan fa-mily. 140 pages including the addi-tional support material. Spanish.

Cadenas y Vicent, Vicente de: Elfin de la República Florentina: segun-da reposición de los Médicis en Flo-rencia por los Ejércitos españoles.Madrid, Instituto Salazar y Castro(CSIC), 1976 // The story of what to-ok place before, during and after theMedicis took control of Florence forthe second time thanks to the armyof Charles V. 400 pages including theadditional support material. Spanish.

Cadenas y Vicent, Vicente de: Elsaco de Roma de 1527 por el Ejérci-to de Carlos V. Madrid, Instituto Sa-lazar y Castro (CSIC), 1976 // Thisstudy is set in Italy’s complicated po-litical picture at the end of the XVCentury and the beginning of the XVI.It explains how the extremely Catho-lic king of Spain ended up wagingwar against the Pope and enteringRome in his pursuit. 430 pages in-cluding the additional support mate-rial. Spanish.

42

BIBLIOGRAPHY ON PAVIA

Putting together a list of books on Pavia is not an easy task.Despite the great importance of the battle and the huge number of existing sources, for some inexplicable reason there are few

works devoted to it. That’s why we’ve had to include more general books that at least make some reference to the historic

context, the campaign and the battle of Pavia.

42-44 Bibliografía ingles 17/6/05 12:39 Página 42

Chase, Kenneth. Firearms. A Global History to 1700. Cam-bridge, Cambridge University Press, 2003. // Strictly spea-king, this book doesn’t deal with the Battle of Pavia. None-theless, it’s a good work for understanding the historicalcontext and the reasons why firearms were more successfulthan the more traditional long-distance combat methods. En-glish.

Díaz-Plaja, Fernando: Historia de España en sus docu-mentos. Madrid, Cátedra, 1988 // For this work, the authorhas compiled hundreds of official documents -letters, re-ports, records- of the history of Spain throughout the entirecentury. Very interesting and an indispensable reference.Spanish.

Garnier, Jacques Dictionnaire Perrin des guerres et des ba-tailles d l’histoire de France. Paris, Editions Perrin, 2004. //As its title indicates, this is a general dictionary of the bat-tles and campaigns of the history of France ranging from theCeltic invasions of Italy in 399 BC to the intervention in Ko-sovo in 1998-1999. The period that interests us is coveredin several entries. Apart from the specific entry on Pavia,other interesting entries include those pertaining to the bat-tles of Fornovo (1495) Ravenna (1512) Bicocca (1522) andCerissoles (1544). It also contains descriptions of the Ita-

lian campaigns, from the French intervention in Milan in1494 to the Peace of Ardres (1546) which gave the Frenchcontrol of Savoy as long as they refrained from being invol-ved in Italy’s affairs. The complicated succession of FrancisI and the beginning of the Wars of Religion were decisive inFrance’s agreement to this treaty. French.

Hacket, Francis: Francisco I. Barcelona. Planeta de Agos-tini, 1995 // An old biography first published in Spain in1941. Despite this, it’s still the best and most detailedwork you can find on the life of Francis I, at least in Spa-nish. Spanish.

Hall, Bert S.: Weapons and Warfare in Renaissance Eu-rope. Baltimore, The John Hopkins University Press, 1997// I must confess that this book is among my favourites.It analyses the Battle of Pavia from the viewpoint of the ro-le that firearms played in its development. The author’s vi-sion of what occurred and especially of the defeat of theFrench cavalry seems very accurate to me, especially inthe light of Friar Juan de Oznayo’s account of the battle.However, Hall’s research doesn’t centre on Pavia, but onthe evolution of weapons and their role on the battlefieldin Renaissance Europe with special emphasis on the Ita-lian Wars. English.

43


Kostam, Angus: Pavia 1525. The Climax of the ItalianWars. Oxford, Osprey Publishing, 1996. Campaign Series nº44. // Like all of the books from the Osprey series, this bo-ok has the virtue of providing a concise summary and goodmaps of a battle whose development was especially com-plicated. However, it doesn’t take into account the Spanishaccounts of the battle and the text is written from a Frenchviewpoint. So, it gives the impression that the Spanish Im-perials were mere guests of stone into which the heroiccharges of Francis I and his nobles crashed. Since it’s theonly and most accessible story on the battle, I must re-commend it. English.

Martínez de Campos, C.: España Bélica, s. XVI. Apogeo y pri-meras grietas. Madrid, Aguilar, 1966 // I imagine this collec-tion is out of print. However, you can still find it in some spe-cialised used book stores. Its pages provide a magnificentoverview of the military events that took place during the firsthalf of the XVI Century. Spanish.

Mesa, Eduardo de: Los Tercios en las campañas del Medi-terráneo s. XVI (Italia). Madrid, Almena, 2001 // This book,from the Soldados y Batalla collection, is divided into two mainsections. The first concentrates on the tercios and explainsthe configuration, organisation, tactics, formations, etc. of the

Great Captain’s “proto-tercios”. The second looks at the cam-paigns and includes a section devoted to Pavia. Like the restof the books from this series, it contains excellent colour pla-tes that show soldiers from the period, a very useful guide forminiature painters. Spanish.

Oman, Sir Charles: A History of the Art of War in Sixte-enth Century. London, Greenhill Press, 1991. // This is thereprint of Oman’s 1937 classic…with all that that entails.English.

Tracy, James D.: Emperor Charles V, Impresario of War.Campaign Strategy, International Finance and Domestic Poli-tics. Cambridge, Cambridge University Press, 2002. // An in-teresting analysis of the campaigns of Emperor Charles.This work explains the events that brought about the cam-paigns and is not a straightforward account of the opera-tions. It’s not a book for the general public and may be a bit“heavy” for those of you that only have a superficial interestin the period. In spite of this, I believe its inclusion in this bi-bliography is justified because it’s one of the few accessibleworks that covers the reign of Charles instead of his son’smore popular reign. English.

Authors: Carlos de la Rocha and Antonio Carrasco

44


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This is what has led many wargamers, collectorsor history lovers to form miniature Renaissancearmies. This demand has driven a lot brands toembark on the venture of designing figures for re-creating these armies and of tackling the pro-

blems of creating such a varied and complex range. If we con-sider the Renaissance as being the period more or lessbetween 1450 and 1550, then a lot of these brands don’t justconfine themselves to Western Europe (the Burgundy Wars,War of Granada, the Italian Wars); they also usually have ran-ges for Eastern Europe (Poles, Hungarians, Bohemians) andeven Asia (Ottoman Turks, Persians). However, for this articlewe are going to stick to the ranges that are directly related tothis month’s dossier, the Italian Wars.

28MM We kick off our article with Old Glory 28mm. This importantbrand has by far the most complete range of figures for re-creating this period. In their catalogue we find three main se-ries:

-Landsknechts, which includes landsknechts (light and he-avy pikemen, halberdiers, dopplesoldner, arquebusiers, com-mands and artillery crews), stradiots, gendarmes and Spanish(genitors, bucklers, pikemen, arquebusiers and crossbow-men).

-Swiss & Italian, which has Swiss (light and heavy pikemen,halberdiers, arquebusiers, mounted and foot crossbowmenand commands) and Italians (gendarmes, infantrymen, moun-ted arquebusiers and artillery crews).

-Artillery, which covers five different gun models (culverine,light guns, organ guns, guns-Burgundian carriage and horse-drawn guns).

Figures are consistent with Old Glory’s characteristic style–a nice finish and a wide variety of models with action- andmovement-packed poses. In fact, I believe this range, as awhole, is one of Old Glory’s best and their most attractiveitem. Their figures are sold in bags of 30 foot, 12 mounted or2 guns at a below-average price. www.oldgloryminiatures.com.

Next up is Wargames Foundry. Even though they only offertheir landsknecht range for the Italian Wars, it is spectacular.The flamboyant garments of the period meet the genius oftheir designers, the Perry Brothers, to produce one of themost extraordinary figure ranges ever seen. These miniaturesfollow their creators’ usual style: very fine details, elegant mo-vements and exhaustive historic precision. It’s too bad thoughthat the range only has landsknechts (light and heavy pike-

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MINIATURE BRANDSFOR THE ITALIAN WARS

Although the Renaissance is not one of wargamers’ favouriteperiods, it still has quite a lot followers and companies that design figures for it. The explanation for this is quite simple: no other age has uniforms as spectacular as this one –from

the landsknechts’ colourful slashed garments to the gendarmes’ full armour.

28mm Landsknecht gun crew.Wargames Foundry.

15mm Landsknecht pikemen.Venexia Miniatures.

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men/halberdiers, arquebusiers, artillerymen/guns, com-mands) and gendarmes (commands and troops) and doesn’tinclude other types of troop.

But, we can complement it with the small (but excellent) ElDorado range designed by Mark Copplestone. It includes con-quistadores armed with swords and shields and arquebusesthat we can use as Spanish bucklers and arquebusiers. Thestyle is a bit different to the Perry Brothers’, but, in my opi-nion, they perfectly complement each other.

Foundry miniatures are sold in blisters of 6-8 foot, 3 moun-ted or 1 gun plus 4 artillerymen at an above-average price.The pikemen/halberdier packs don’t come with weapons, butpointed steel rods are sold separately and can be used for pi-kes. www.wargamesfoundry.com

Redoubt Enterprises are very well known for their ThirtyYears War and American Civil War figures, but they also ha-ve other interesting ranges in their catalogue, one of thembeing for the Renaissance. They offer quite a wide variety ofreferences. Their infantry include bucklers, crossbowmen,arquebusiers, officers, swordsmen, halberdiers and landsk-necht pikemen/halberdiers, arquebusiers and crossbow-men. And for mounted troops we find heavy cavalry/gendar-mes, stradiots, Spanish genitors and crossbowmen andmounted arquebusiers. They also supply a wide assortmentof “extras”, including everything from guns and artillerycrews, individual weapons and wagons to vignettes (stor-ming party carrying an assault ladder, a signing on for sol-diers, drunk landsknechts, landsknechts playing cards, sap-per units…) and personalities (generals, Francis I, Charles Vand Henry VIII). Miniatures are sold individually at an avera-ge price. www.redoubtenterprises.com.

Essex Miniatures, which is normally a regular in our 15mmsection, also has an extensive catalogue of 25mm that offersan amazing Renaissance range. There is a wide variety of fi-gures for the Swiss, Burgundians, landsknechts and gendar-mes. They also have a range ofSpanish troops, but these aremore for the middle or end ofthe XVI Century. Essex’s 28mmminiatures are sold individuallyat a slightly below-average pri-ce.www.essexminiatures.co.uk.

15MMOf course, Essex Miniaturescouldn’t miss out on the Re-naissance for 15mm. Two oftheir ranges can be used to re-create the Italian Wars: Medie-val and Early Renaissance(MER) and Renaissance

Landsknecht (RNL). Both ranges comple-ment each other and provide a huge num-ber of references for every type of soldierfrom any nation involved in the conflict:Spanish, French, Italian, German landsk-nechts, Swiss, stradiots, etc. Their figu-res are sold in packs of 8 foot and 4mounted (6 and 3, respectively, if they arecommands) at an average price. You canalso purchase special army packs desig-ned for DBR. www.essexminiatures.co.uk.

Venexia, a high-quality Italian com-pany, has a small range of figures for theRenaissance in their catalogue that theyare in the midst of enlarging. For nowthey have 3 gendarme and 6 landsknechtreferences, including commands, pike-men, halberdiers and arquebusiers. Thefigures are nicely finished and have verydynamic movement. They are sold inpacks of 4 mounted figures and 8 on fo-ot (3 or 4 respectively if they are com-

mands) at a slightly above-average price. They can also bepurchased in unit packs of 12 mounted figures and 24 on fo-ot, including commands and even the flag of the chosen re-giment. www.venexiaminiatures.com.

Going back to the UK, Museum Miniatures offers an inte-resting range of landsknechts/Swiss for the end of the XVCentury and beginning of the XVI. It includes pikemen (light,medium and heavy), halberdiers (light, medium and heavy), ar-quebusiers (firing and reloading), crossbowmen (firing), dop-plesoldner and officers. Their mounted troops include cross-bowmen, arquebusiers, knights and the Emperor Maximilian,Charles V’s grandfather. Lastly, they sell a wide assortment ofequipment: three kinds of guns (light, heavy and organ) withtheir respective artillery crews, wagons and draught animals,mantlets and gabions, civilians, etc. Their figures have beenvery carefully designed and both their style and their size arecompletely compatible with brands like Essex. Their figuresare also sold in packs of 8 foot and 4 mounted at an averageprice. They sell army packs designed especially for DBR too.www.museumminiatures.co.uk.

We could not wrap up this article without mentioning Mi-niature Figurines-Minifigs, one of the most veteran compa-nies of the sector. Their extensive range contains both gene-ric and specific references for Italians, Spanish, French,Swiss and landsknechts. They have quite a large variety of re-ferences, comparable with Essex and other veteran brands.Minifigs allows us to represent any type of troops from thisperiod, including Spanish, French and landsknecht generalsand historical personalities such as Charles V, Francis I orGonzalo Fernández de Córdoba, the Great Captain. They aresold in packs of 8 figures on foot or 4 mounted at an avera-ge price. www.miniaturefigurines.co.uk.


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15mm Landsknecht pikemen, painted and photographied by Jorge Fano. Essex Miniatures.

28mm Landsknecht gun. Redoubt Enterprises.

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In this issue we bring you the first of a miniseries of the-ory articles. Our idea is to give readers regular “instal-ments” that they will be able to collect to make theirown painting guide. We will do our best to explain all ofthe possible techniques out there and to share all of the

experiences we’ve had since we started our step-by-step pain-ting section.

We’ll try to give you the most comprehensive overview ofeverything related to miniature painting. In this month’s arti-cle we’re going to look at materials, styles and techniques. Fu-ture issues will cover topics such as handling different typesof paint, colour palettes, equivalents between differentbrands, terrains for decorating stands, etc.

MATERIALS

Paints

There is quite a big selection when it comes to water- and sol-vent-based paints. I highly recommend acrylics since they arewater-soluble. Even though solvent-based paints cover better,acrylics are the easiest to use and give your figures a morerealistic finish. Plus you can also avoid any rows that might

arise at home because of the awful smell of the solvents.Here are the market’s top manufacturers of acrylic paints:

-Vallejo: this excellent Spanish brand is world renown andis an indispensable reference for any experienced painter.They sell a range of 200 different colours where we can findpractically all of the shades we’ll need. Vallejo offers high-quality paints that cover any surface easily, even when diluted.In general, their paints tend to dry to a matt finish. In my case,Vallejo makes up around 90% of my collection of paints andat least 60% of those that I use on a regular basis.

-Andrea: this brand’s catalogue has fewer colours thanVallejo’s and their paints are not as easy to use. They gen-erally don’t cover as well and must be applied very thick,practically without being diluted at all. But, their main ad-vantage is that their colours have an extra-matt finish.Since I’m a huge fan of matt finishes, I usually use Andreacolours, such as black, dark blue, different shades ofbrown, etc. when the Vallejo equivalent is too glossy. Tomake up for these problems, I often use a combination ofAndrea and Vallejo paints. The resulting mixtures cover welland dry to a matt finish.

-Games Workshop: this company offers a range of paintsthat’s more focused on fantasy miniatures; regardless of this,

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HOW TO PAINT MINIATURESBASIC THEORY (1)

HOW TO PAINT MINIATURESBASIC THEORY (1)

Like in almost everything, a miniature painter is made, not born. Being a good or bad painteris not a question of talent, but of technique and practice. You’ll find the first here in the pages

of Wargames: Soldiers & Strategy, but the second is up to you.

Like in almost everything, a miniature painter is made, not born. Being a good or bad painteris not a question of talent, but of technique and practice. You’ll find the first here in the pages

of Wargames: Soldiers & Strategy, but the second is up to you.

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all types of painters use them. They have an average-sizedrange of paints and their colours generally cover well. Theirshades, however, tend to be a bit extravagant and their fin-ishes, glossy. On the other hand, their range of metalliccolours is outstanding and is superior to any acrylic range Iknow of.

Brushes

The market offers a wide array of brushes for you to choosefrom. You’ll find all types of materials and price ranges. In myopinion, the best (though the most expensive) are sable brus-hes. However, you can also get a holdof some high-quality synthetic brus-hes. Sable brushes tend to have softbristles while the hair on syntheticbrushes is stiffer. As always, the bestis to use the brush that best suitsyour painting habits. As regards size,brushes for painting miniatures ran-ge from “2” (the thickest) to “5/0”(the finest). The sizes I use most are“1” (especially for base colours) and“0” (for highlighting and details),though occasionally I use a “3/0”(for fine details). Besides the tradi-tional brushes, we also have flatbrushes which are especially usefulfor drybushing (see Painting Techni-ques).

Taking good care of your brushesis a must if you want to keep them ingood condition for a long time. Thebest way to do this is to clean them

properly. Normally, all you need to do is put the brush in waterand shake it a bit. But, if you see there is paint still stuck onthe bristles, then you can rest the brush on the side of the jaran gently twist it. Don’t ever clean the brush on the bottom ofthe jar and, of course, never store your brush inside the jar. Todry it, always use toilet paper or paper towels. Never ever userags or any type of cloth.

Others

-Priming: Putting an undercoat on figures is extremely im-portant. This base helps our acrylics cover the figure easilyand prevents the paint from chipping once dry. The colour weuse for priming (usually black or white) will determine whatpainting style we use as we sill see later. Primers can bebought in a pot or as a spray. I recommend sprays becausethey tend to be enamel rather than acrylic paint (whichmeans they adhere better and are more resistant). They arealso easier and quicker to use, they spread evenly on the fig-ure and dry quickly. Like any other spray, you must shake thecan well before using. When applying it, what you want to dois “fire” short bursts at about 30cm from the figure. You al-ways need to hold the can at a right angle and never point-ing down because the nozzle will clog up and begin to drip.

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On our palettes we can add paint on top of other paint that hasalready dried. But, we should remember to clean them from time totime…


The smell of the propellent given off by sprays is very strong,so always use them in a well-ventilated working area (bal-cony, terrace or out the window).

-Varnishes: there are two types of varnish, acrylic or sol-vent-based, and three kinds of finish to choose from: matt, se-mi-gloss or high-gloss. Solvent-based varnishes usually pro-vide better protection and tend to have more of a matt finish.As we will see later, I highly recommend you have at least onetype of varnish at hand.

-Glues: There are quite a few different types of glue outthere to choose from. You should have three of them onhand at your work station: cyanocrylate (“Super Glue”), mul-ti-purpose contact glue and white glue. We will use cyanocry-late, the quickest-drying and “cleanest” out of three, for glu-ing pieces of lead together. This adhesive is very strong andtoxic, so be careful. Once dry (which is practically instantly),the adhesive crystallises between the two pieces whichmeans that any hard blow (e.g. falling on the floor) will makebreak the bond. Contact glue will be more useful for attach-ing figures to the temporary base we’ll use for painting aswell as to the permanent base. After applying it, it’s a goodidea to wait a bit before putting the pieces together. This willoptimise its sticking power. It takes a little while to dry, butthe bond is a lot more solid. The only way to separate thepieces is by cutting the glue. We’ll use white glue (diluted)to attach the sand or artificial grass that will decorate thefigure’s permanent base.

-Supports: Before painting our miniatures, we need toattach them to some kind of support. This will allow us tohold and move the figures as we wish while we’re paintingwithout having to the touch the figure at all. There are twobasic supports we can use: strips of wood or plastic con-tainers (empty painting pots, film canisters, etc.). I recom-mend using wooden strips that are around 30cm long, 2cmwide for 15mm miniatures or 3-4cm for 28mm miniaturesand no more than 1cm tall. This will make them more sta-ble since the width is greater than the height. In my opin-ion, the strips are our best bet if we are going to “mass-produce” figures with similar or identical uniforms. Now, ifwe’re only going to paint one miniature, empty pots aremore appropriate. But, you should experiment and usewhichever is most comfortable for you. For paintingshields, we can convert both systems as follows: if we usewooden strips, we can hammer headless nails in them tostick the shields on; if we opt for empty paint pots, we canglue on a piece of plastic sprue and use the “arms” as tinysupports. We’ll use cyanocrylate to glue the shield to thesupport since it’s cleaner and can be easily removed oncewe’ve finished.

-Painter’s Palette: As obvious as it may seem, having agood palette to put and mix our colours on is very important.You can choose what you like best, anything from plasticplates to professional palettes. I personally use small porce-lain appetizer dishes; they are the perfect size and easy tohandle. Since acrylics turn into a kind of plastic when they dry,we won’t have any problems adding or mixing new paint on topof dry paint.

-Modelling Tools: the last important element you need is anice set of tools. You should have modelling knives, a handdrill with different sized bits and some files. I recommend youalso have tweezers, wire cutters, scissors, etc.

PAINTING STYLES

White or Black Base Coat?

When painting a figure, the first thing we need to decide iswhether to use a white or black primer for the undercoat. Thischoice will determine the painting style we use.

Generally speaking, a black base coat will make the paint-ing process easier. We can use the colour of the base coat forthe lines separating the different areas of the figure, e.g. be-tween the coat and the trousers or between the belts and the

coat. This will give us the same effect as black-lining would(see Painting Techniques). The finish tends to be a tad darkerand contrasts more than a white base coat does. Sometimes,though, this gives us a more realistic end result. The mainproblem with black base coats is that colours don’t go coververy well and we’ll often have to apply several coats of basecolours.

With a white base coat you’ll find that colours go on a loteasier, the finish will be brighter and the colours less saturat-ed. On the other hand, it can also create a bit more work forus. If we want as little contrast as possible we’ll have to black-line the figure to separate the different areas.

Bitumen of Judea

“Bitumen of Judea” is the term used to refer to a simple andvery effective technique that brings together the best as-pects of white and black base coats. First we put a coat ofwhite primer on the figure and then we apply the basecolours. As we just pointed out, this will be easier and quick-er than over a black base coat. Once we’ve finished thisstep, we prepare a mixture of solvent-based matt varnishfrom Marabú, bitumen of Judea and turpentine or mineralspirits on a clean non-porous concave surface (plasticspoons are the best for this).

Bitumen of Judea, the key ingredient of this invention, isvery watery, glossy and extremely dark. Just a few dropsadded to the mix with a brush will do the job.

The Marabú varnish will make up most of the mix; its twocomponents, varnish and solvent, must be mixed well beforeuse. I recommend you stir it with the handle of an old brushinstead of shaking it. The varnish performs several functionsin this mixture: it gives the bitumen more body, helps it ad-here to the surface, and reduces its degree of darkness andbrightness to give us a matt finish. If we want an extra-mattfinish, we can take out some of the solvent before mixing thecomponents of the varnish. By removing a third or fourth ofthe solvent, we’ll increase the proportion of varnish in thecontainer. I recommend doing this when you buy a new con-tainer. Since the varnish weighs more it settles on the bot-tom, perfectly separated from the solvent. If you can’t getyour hands on Marabú varnish, you can use Titan’s “syn-thetic matt varnish” for wood instead.

Lastly, we need to dilute the mixture a bit so that it’s notso thick. To do this, we can add a few drops of turpentine ormineral spirits to it with our brush. After mixing everythingtogether, we should get a very dark brown patina that’s notvery thick.

We must varnish the figure with this patina; apply a gener-ous coat on the entire figure but try to avoid excessive accu-mulations. This will give our figure an “aged” effect and will al-so serve as a black base coat or black-lining since itaccumulates more in the recesses. In other words, it’s a wash(see Painting Techniques) that can be used for any colour.When it has dried, we’ll be able to add highlights to the figureas we normally do.

Remember that both the varnish and the bitumen ofJudea are soluble in solvent. So, it goes without saying thatwe’ll have to clean the brush we use in turpentine to applythe patina.

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Conclusion

A painter’s decision to use one style or another by no meanshas to be definitive. Although each of you will be more com-fortable with a certain style, we should use the style that ismost logical for the figure we’re going to paint. So, if a figurehas dark colours, then I recommend using a black base coat,and if you’re applying light shades, a white base coat is bet-ter. Bear in mind that bitumen of Judea can only be used ontop of a white base coat and is completely useless on darkcolours. It’s very useful when we’re painting with medium orlight shades.

PAINTING TECHNIQUES

Washes

This technique allows you to mark the figure’s crevices and re-cesses instead of accentuating its relief. This concept is sim-ilar to that of the bitumen of Judea. The only difference is thatwe may have to apply different coloured washes on the samefigure depending on the base colours used.

To do this, all you have to do is pick the colour you want touse for the wash (usually shades of brown or black, depend-ing on the base colour we want to darken) and water it downuntil it looks more like coloured water than paint. As you ap-ply it over the selected surface, it will run into the grooves byitself producing a quick and simple contrast. Once it hasdried, it’s a good idea to add some highlights to the figure. Forobvious reasons, this technique is especially useful on veryrough surfaces, such as animal skins, horse manes, coats ofmail, sand, etc.

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Black-lining

The effect achieved with black-lining is similar to that of awash, but is a bit more subtle. Instead of applying watered-down paint, we paint on very fine lines with our brush in orderto accentuate the boundaries between the different areas ofthe figure. Black paint is normally used to for this. We can al-so employ this technique when painting faces to make the fa-cial features stand out, but we’ll need to use brown instead ofblack. This technique is absolutely necessary if we are paint-ing over a white base coat and choose not to use bitumen ofJudea or washes.

Highlights

Even though the aim of all painting techniques is to create“light” areas that contrast with “shaded” areas, we use thistechnique when we’re adding highlights to a surface over a se-

ries of steps, going from dark to light. That is, on a surfacethat we have previously applied the base colour to, we addpaint to the raised areas to give it more volume. To do this,we gradually thin down the base colour to get a contrast be-tween the different “layers” of highlights we want to add. Di-lute the paint however you like and then apply it using accu-rate brushstrokes.

The number of “layers” depends on your preferences. How-ever, I think that one base colour and two highlights is morethan enough for 28mm figures, and the base colour and onehighlight for 15mm figures. In the article dedicated to paintinghorses, we saw that the highlighting technique used is differ-ent. Since they have larger and more or less smooth surfaces,it is a good idea to use one base colour and three highlightsfor 28mm, and the base plus two highlights for 15mm.

Drybrushing

Lastly, we have drybrushing. Although it is a very simple andeffective technique, it should be used sparingly. Drybrush-ing allows us to add highlights on textured surfaces. Oncethe base colour on the surface we want to paint has dried,we water down the same colour on our palette and we soakup the paint with the tip of our brush. But, instead of ap-plying it directly on the figure, first we’ll drag the brush tipover some toilet paper to get rid of most of the paint. This

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way, there will still be paint on thebrush, but it won’t run or drip off.Once the brush is “dry”, we drag itlightly over the chosen surface. Theidea is that the paint remaining inthe brush is applied to the raised ar-eas and not in the crevices orgrooves.

Given the fact that it’s a very quickand simple resource, there are a lotof people who overuse it to paint onall types of surfaces (even faces orcapes). This is not the best idea. Yes,it is an interesting technique, but it’sonly good for rough and textured sur-faces. This makes it perfectly com-patible with washes; while you usethe drybrushing to add highlights, youuse washing for shading. One last tip:drybrushing severely damages brush-es, so I recommend you use old andused ones. Flat brushes are betteryet as they are more resistant andtheir shape is better suited for thistechnique.

Conclusion

As you can see, using one techniquedoesn’t exclude the others. On the

contrary, all of them are perfectly compatible. Their useful-ness will depend on our painting style and what we’re goingto paint. For example, if we’re painting over a black basecoat, black-lining can only be used on the faces, since therest of the figure doesn’t need it. But, if we’re painting with awhite base coat and bitumen of Judea, then we rule out thepossibility of using washes since the patina of varnish and bi-tumen take care of this.

So, the usefulness of all the styles and techniques thatwe’ve described in this article depends on each painter’spreferences and the figure being painted. The fact that wetend to use some more than others doesn’t mean that wehave to rule out the others. You don’t master painting just byperfecting one style or techniques and repeating it over andover again. Your mastery will come once you’ve acquire awide range of resources that you can dip into to confront theinfinite number of situations you come up against when paint-ing miniatures.

TO VARNISH OR NOT TO VARNISH?Once we have finished painting the figure, we must decide ifwe want to varnish it or not. Personally, I’m not a big fan ofvarnishing. I’m afraid to ruin all my hard work of adding finedetails and the matt finish with the varnish. But, varnishingis, in principle, necessary for protecting painted figures, es-pecially if we’re going to use them for gaming.

There’s a wide variety of varnishes, in tins or sprays,acrylic- or solvent-based, matt or gloss, etc. Although I knowgood and experienced painters that use spray varnish, Idon’t like using it. I recommend varnishes in tins, solvent-based if possible, that have, of course, a matt finish. Thethird option is the most professional of them all and is useda lot in modelling: this is to varnish the entire figure with agloss varnish and then, once it’s dry, varnish it again with amatt varnish. According to experts, using this process willgive us a totally matt and even finish.

Well, there you have several options to practise and exper-iment with. As with everything else, choose the one that youlike the most.

Author: El MercenarioPhotographs: Anastasio Jiménez

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Continuing along the same lines as last issue’sarticle, we’re going to show you how to buildtwo more pieces for your gaming table. Thefirst has two different uses: a field, which inthis case is no more than a small vegetablegarden, and a stone wall – an averaged-sized

barrier. It goes without saying that the measurements for the-se two models can be modified to suit your needs or tastes.The garden model contains the elements that you would nor-mally find in a real garden: a piece of land with furrows mar-ked by the ploughs, some plants scattered around and a lowwall to keep farm animals out, that is, of course, excludingthose that fly.

Tall walls were also used to enclose pieces of property and tomake it harder for people to trespass. This type of wall was usedespecially around farms or homes. These walls are made of ado-be or brick and are covered with plaster. On top, a line of tilesare added to protect it from the rain.

GARDEN WITH A LOW STONE WALLMATERIALS AND TOOLSAll you’ll need is two-part epoxy. We could also use woodenstrips to make a small gate for the garden entrance (Photo 1).Our main tool is going to be an old toothbrush, which we’ll useto add texture to the putty.

BUILDING STEPSFirst, what you want to do is to take a piece of paper and a pen-cil and draw the outline of the garden and stonewall (Photo 2).Then we mix the epoxy putty and fill in the area we just drew onthe paper. Wet the putty a bit with your fingers and spread it outwell. Add texture with the toothbrush and let it dry well (Photo 3).

Take a little bit of putty and roll it out until you get longstrips. Then lay them out, evenly spaced, in the garden per-pendicular to each so that they look like the furrows left by theploughs (Photo 4).

With your toothbrush add texture to the putty until it blendsinto the ground (Photo 5).

Take a bit of putty and make small balls that resemble sto-nes. We’ll place these stones around the perimeter of the gar-den. The stones don’t have to be placed perfectly. You shouldvary the height of the wall and add a couple of stones on theground so that it looks more realistic (Photo 6). We can make asmall entrance to the garden with two stones to give the wholething some charm (Photo 7). Following the tips explained in thelast issue of our magazine, you can make a small wooden gate.

To spice the garden up, we’re going to make some plants outof putty. Roll out some more strips of putty (Photo 8) and cutthem into equal-sized pieces. Then flatten them with your fingers(if you wet your fingers with water the putty won’t stick to them)and use a knife to mark lines on them so that they look like le-

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A

VEGETABLE GARDEN,

COBWALLS AND

STONE WALLS

VEGETABLE GARDEN,

COBWALLS AND

STONE WALLS

Countryside landscapes are normally full of average-sizedstone walls used to mark off different pieces of land.These sturdy walls could be used to make parapets and toestablish lines of defence.

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aves (Photo 9). Next, we pick them up and make small bouquets(Photo 10). We carefully place them in the garden on top of thefurrows (Photo 11).

The only thing left to do is to paint it using a sandy colour forthe ground and green shades for the plants (Photo A).

ADOBE OR BRICK WALLMATERIALSWe’ll need grey cardboard (2mm thick) and epoxy putty (Photo12). We’re going to make two pieces –a straight section and ano-ther at a right angle for the corners.

BUILDING STEPSFor the straight side, we cut out a 4x10cm piece of cardboardand we cover it with epoxy putty. Spread it out well with wet fin-gers and give it a bit of texture with the toothbrush (Photo 13).Set it aside until it has dried completely.

On a piece of paper, we draw the base where we’re going to putthis section of the wall (Photo 14). We then put a little bit of putty

around the base and we give it some texture with the toothbrush(Photo 15). We follow the same steps for the corner section. Cutout two 6x4cm pieces of cardboard and cover them with putty. Ma-ke a right angle with them and set them on a piece of paper. Wethen add some putty all around the base for the ground (Photo 17).

To make the tiles on the top of the wall, we roll out a strip ofputty, press it with a piece of wood (Photo 17) and lay it on thewall. We then use our knife to cut lines into the putty to make itresemble tiles. To make it look more realistic, we can lift a fewof the tiles up a tad with the tip of our knife (Photo 18).

Once the putty is dry, remove the paper from the bottom anddecorate it with a sandy colour and white plus shades of greenfor the plants on the base (Photo B).

If we want to use our walls as lines of defence or strongholds,we can make loopholes in the wall that our troops can shoot outof or add a step so they can fire over the top of the wall. We canalso imitate bullet holes and gunpowder marks on the plaster.

Author and Photographs: Adolfo Ramos

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This month we begin yet again with Calpe Miniaturas’ mag-nificent catalogue specialised in the Napoleonic Prussianarmy. Their latest release is an incredible range of hussars.They have three different series: line hussars with their sabreon their shoulder, line hussars charging and leib-husaren, thefamous totenkopf husaren also charging. The miniatures withthe sabre on their shoulders come as one piece, but thosethat are attacking come with the sabre arm unattached sothat you can make your units more dynamic. There are over 40different references in all, more than 10 for each series. Theyalso offer the corresponding jäger volunteers for these serieswhich round off the range. CalpeMiniaturas also offers Peter Bunde’swonderful uniform plates, the sameones we’ve been including in the lastfew issues of Wargames: Soldiers &Strategy. [email protected].

Crusader Miniatures has em-barked on a new 28mm project, Poly-bius’ Republican Roman Army. At themoment, the range is rather small.They only have a couple of referencesof hastatii (with pilum and gladius)and one of triarii, velites, leves, penallegionnaires and legionary com-mands. However, they’ve promised todevelop an extensive catalogue thatwill cover an unexplainable gap in the28mm market of references for thePunic Wars. In spite of the impor-tance of these wars, most compa-nies have overlooked them in theircatalogues. These miniatures followthe style line that their modeller,

Mark Sims, has us used to: fine detail, movement, volume,various poses, etc. www.crusaderminiatures.com.

Andrea Miniatures surprises us once again with their new30mm range devoted to Classic Rome. As of now, we can getour hands on Republican troops (velite, triari, hastati, gener-al) and Late Imperials (legionnaire, auxiliary troops, easternarcher). The style of these figures is similar to the lastNapoleonic range, i.e. figures that are only 30mm tall but arehighly stylised. But, this characteristic makes them incom-patible with any other brand. Their extraordinary detail and lit-tle variety mean that they are more suitable for exhibitions

and classic deployments than forwargaming. Nonetheless, you should def-initely take a look at this range, espe-cially if you’re a collector or fan of the An-cient World. Their figures are sold inbags that come with three figures of thesame type and the general is sold sepa-rately. www.andrea-miniatures.com

One of the most impressive 15mm re-leases for WWII that has come out re-cently is from Flames of War. They offeran excellent gaming system with differentrule and army books as well as a spec-tacular range of miniatures. Their minia-ture catalogue has been enlarged at a fastpace. Every month they release dozens ofnew figures. The guys at Flames of Warare immersed in the Mediterranean the-atre of operations at the moment. Theyhave finished ranges for the Afrika Korpsand the 8th British Army. The latter is be-ing enlarged with an extensive series ofnew releases that cover all the troops of

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Miniature review

We’re back with the low-down on what we think are the mostinteresting figures that have been released over the last two months.This time round our review takes a look at a wide variety of new items,including everything from the magnificent 15mm ranges for WWII fromFlames of War to the spectacular 10mm armies from Old Glory.

Miniature reviewMiniature review

Republican Romans in 28mm. Crusader Miniatures.

Roman general in30mm. Andrea Miniatures.

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the Commonwealth, from Canada, South Africaand India to Australia, New Zealand and Maoris.The Axis’ opponents are on their way. The firstminiatures for the Italian army, bersaglieri troopswith their support weapons, as well as the rulebook (Avanti Savoia!) will be available soon.www.FlamesOfWar.com.

On the 15mm Antiquity front, we have somenew releases from Corvus Belli who are workinghard on completing their current ranges. TheirSpanish range has been enhanced with a footcommand group that includes officers, standard-bearer, musician and a priestess along the lines

of “The Lady of Elche” and two different references ofCeltiberians wearing Iberian outfits and their characteristicblack capes. They have also designed a new reference fortheir Imperial Roman range. In this case, we have legion-naires on winter campaign that are wearing trousers andcapes and are even unshaven! We can’t forget to mentiontheir medieval bombard for the Hundred Years War. This

large-calibre cannon is manned by an officer and threeartillerymen. www.corvusbelli.com.

With the recent publication of the rule set War-master Ancients, we can’t miss out on the magnifi-cent 10mm range from Old Glory. Their small sizemakes it extremely easy to store them or deploy themon the gaming table and to game large battles. Thefact they are small doesn’t take away from their qual-ity or their spectacular appearance when deployed.

On the other hand, their reduced price means that anyonecan afford them. For Warmaster Ancients, designed forgaming with Ancients and Medievals, Old Glory offersranges of Egyptians, Hittites and Assyrians; Macedonians,Persians and Indians; Caesarean, Imperial and Late Ro-mans; Dacians, Sarmatians, Goths, Huns, Parthians andSassanids; Normans and Saxons, etc. Although they ex-ceed the limits of the rules, Old Glory also has excellentand extensive 10mm ranges of Napoleonics, the AmericanCivil War, the American War of Independence, the ColonialWars, the English Civil War, the Spanish War of Succession,etc. www.oldgloryminiatures.com.

And to bring our review to an end, we direct our atten-tion to Mars Ultor, the Spanish fantasy miniature brand.Besides the indispensable foam trays for shipping minia-tures safely, what is most interesting are their plasticbases with DBM dimensions. These bases are thin (1.5cmtall) and rigid. They can support any weight without bend-ing or warping. They are sold in packs of 10 (4x4) or 20(4x3, 4x2 and 4x1.5) at a reasonable price. They also havebases for 28mm with straight edges that are 3cm tall. Thedimensions of these bases correspond to Warhammerwhich means they are very useful for Warhammer Histori-cal. www.marsultor.com.


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Ancient Spanish command group in 15mm. Corvus Belli.

Medieval bombard in 15mm. Corvus Belli.

Plastic bases for DBM. Mars Ultor.

Crusader II tanks and infantry from Montgomer-y’s 8th Army in 15mm. Flames of War.

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Painting Horses:A Modelling ManualPublisher: Andrea PressAuthors: J. Cabos, J. Palomares, J. Caballero Delso and F. Gó-mezLanguages: Spanish and Englishwww.andrea-miniatures.com

Even though this manual focu-ses on figure modelling for54mm and bigger, I find it veryuseful since the ideas given canbe applied to wargame scales. Itoffers detailed information onhow to transform and paint hor-ses with acrylics, oils and evenairbrushing. All the steps areillustrated with superb photo-graphs that help you understandthe explanations. Paperback, 64full-colour pages.

Tenerife 1797La derrota de NelsonGuerreros y Batallas nº19Publisher: AlmenaAuthor: José I. Lago and José M. RodríguezIllustrations: Dionisio CuetoLanguage: Spanishwww.libreria-almena.comIn 1797, an English fleetunder the command of theirmythical admiral Nelson at-tacked Santa Cruz de Tene-rife. In the end they werecrushed by the city’s garri-son. Although he was ableto save his fleet after su-rrendering, this was one ofthe most significant militarydefeats of his career. Pa-perback, 88 pages, 8 colourplates plus maps of theSpanish city’s fortifications.

NumanciaPublisher: Falcata IbéricaAuthor: Fernando Pimentel PardoIllustrations: Julián Ernesto AronLanguage: Spanish

The epic resistance of the Ibe-rian city Numancia was one ofthe greatest challenges the in-vincible Roman legions had toface during the fight for Hispa-nia after the definitive defeat ofCarthage. The central theme ofthis book is Numancia. Howe-ver, the author sets it in a widehistorical context that beginswith the Punic Wars and glidesover the Celtiberian Wars. He ta-kes a close look at specific as-pects such as the structure andorganisation of the Roman le-

gions, the Spanish inhabitants of the plateau, Viriato’s upri-sing, etc. This is a must-have for all Ancient History fans. Pa-perback, 180 pages, 24 colour plates with photographs, mapsand interesting illustrations on the troops involved in the con-flict.

March of the Death’s Head DivisionPublisher: Concord PublicationsAuthor: Paul ThomasIllustrations: Stephen AndrewLanguage: Englishwww.concord-publications.comThe Totenkopf Division wentdown in history as one of theSS’s most fanatical units. Itwas formed after the invasionof Poland and participated inthe campaigns of France1940, Russia (Barbarossa,Demyansk pocket, Kharkov,Kursk, Grodno), Poland 1944and Hungary 1945. They fi-nally surrendered to the Ameri-cans in Austria. Paperback, 52pages, 4 colour plates and146 black-and-white illustra-tions, many of which are beingpublished for the first time.

Blitzkrieg: The German Army 1939-41Publisher: Concord PublicationsAuthor: Gordon RottmanIllustrations: Ron Volstad Language: Englishwww.concord-publications.com

This book provides a detailed lookat 20 scenarios from the first partof WWII. It covers clear examplesof the German blitzkrieg including:Warsaw, Narvik, Somme, Crete, Si-di Rezegh, Sollum, Smolensk, Le-ningrad, etc. All of these actionsdisplay the German’s huge supe-riority. Their combined arms force(infantry, tanks, artillery and airforce) and the effective executionof orders from their highly profes-sional senior staff made them atough opponent. Paperback, 48

pages and 20 colour plates by the excellent illustrator RonVolstad, probably the best as far as WWII is concerned.

The Pacific War CompanionFrom Pearl Harbor to HiroshimaGeneral MilitaryPublisher: Osprey PublishingAuthor: VariousLanguage: Englishwww.ospreypublishing.comFollowing the same style as thepreviously published D-DayCompanion, this book is a com-pendium of different articleswritten by renowned historians.Each chapter of the book co-vers a specific subject of the

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Pacific War: strategic planning of the operations, tactical in-novations, experiences of the soldiers involved in the conflict,etc. Hardback, 272 pages.

Warriors of Medieval JapanGeneral MilitaryPublisher: Osprey PublishingAuthor: Stephen TurnbullIllustrations: Angus McBri-de, Wayne Reynolds, Ho-ward GerrardLanguage: Englishwww.ospreypublishing.comNew compilation from Os-prey of books that were pre-viously published in the Wa-rrior series includingSamurai 1550–1600, Ashi-garu 1467–1649, JapaneseWarrior Monks AD949–1603 and Ninja AD1460–1650. Hardback, 288pages.

Sassanian Elite Cavalry AD 224–642Elite nº110Publisher: Osprey PublishingAuthor: Kaveh FarrokhIllustrations: Angus McBrideLanguage: Englishwww.ospreypublishing.com

The main and most po-werful weapon of theSassanian Empire, Ro-me’s great rival power,was their cavalry. Theirheavy catafract cavalrywas greatly feared in theAncient World. They ma-de such an impact thattheir tactics and equip-ment were copied by theRomans, Arabs, Turksand Byzantines, who we-re ultimately responsiblefor incorporating theminto the military traditionof Western Europe. Pa-perback, 64 pages with10 colour plates.

Toulon 1793Napoleon’s first great victoryCampaign nº153Publisher: Osprey Publis-hingAuthor: Robert A. ForczykIllustrations: Adam HookLanguage: Englishwww.ospreypublishing.comIn August 1793, the city ofToulon, one of France’sprincipal ports in the Me-diterranean (and perhapsthe best garrisoned) wascontrolled by the youngRepublic’s enemies. A mo-narchical uprising hadoverthrown the Republicanauthority and English andSpanish forces had come

to their aid. This setback represented a serious threat forRepublican France. Their fate was placed in the hands of ayoung Corsican artillery captain in charge of reconqueringthe city: Napoleon Bonaparte. Paperback, 96 pages.

For King & CountryIntelligence Handbook on British & Empire InfantryForcesPublisher: Battlefront MiniaturesAuthor: Phil YatesIllustrations: Randy Elliot, Roberto Flores and Warren MahyLanguage: Englishwww.FlamesOfWar.com.New book for the gameFlames of War devotedto the British Army inthe Mediterranean the-atre of operations (Nor-thern Africa, Sicily andItaly). It completes thelast book, Desert Rats,with the inclusion oflists for the wholeCommonwealth: Bri-tain, Scotland, Ireland,Australia, New Zea-land, India and SouthAfrica. In addition tothe usual tactical gui-des, painting guidesand regiment and per-sonality profiles, it co-mes with special rulesto be added to the ba-se rule set (night attacks, for example). The book is illustra-ted with period photos as well as full-colour photos of figu-res and scenarios. All this makes this book asindispensable as the previous ones. Paperback, 64 pages.

Warmaster Ancients Publisher: Warhammer HistoricalLanguage: Englishwww.warhammer-historical.comAs its name states,Warmaster Ancientsis the historic warga-mes adaptation of Ga-mes Workshop’s ruleset, Warmaster, desig-ned for 10mm minia-tures. It has been es-pecially created forthe recent 10-12mmranges of historic mi-niatures, though itcan be adapted toboth 6mm and 15mm.The rules are desig-ned so that you cangame big battles wi-thout having to take aloan out on your hou-se to buy the army.And all that with Warmaster’s fast-playing, dynamic and fungaming system that many wargamers are using for theirhistoric battles. In addition to the rules, the book comeswith 25 complete lists for representing Ramses II’s Egyp-tian armies, Julius Caesar’s Romans, Alexander’s Macedo-nians, Harold Haradra’s Saxons, William the Conqueror’sNormans, etc.


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World in War: Combined Arms 1939-45.Publisher: Spel Janst. First release from this new European publisher. They enter themarket with an Attack! or Axis & Allies type game for WWII. The ga-me is easy to learn and comes with a rule book illustrated like acomic; the rules are brief but good. It can also be set up quicklysince the starting positions are printed on the board. The game ex-plores the modern combat tactics used in WWII and the use ofcombined arms. Its original battle system offers players strategicand tactical options in every turn. You can choose to commandGermany, the Soviet Union or the Western Powers. Each player hasaccess to several resources, including different types of groundtroops, warships, planes and industrial regions. When it’s theirturn, players can produce new troops, move units and give battle.The objective is to control the enemy’s production centres.

The game’s components are high quality. It comes with 360plastic miniatures (8 different types of troops), assembled gameboard, two battle wheels and original illustrated rules. Board gamefor 2 to 4 players, 12 years and up. Playing time: 2 to 3 hours.

Assyrian Wars.Publisher: Udo Grebe Games. Surprising new release from this creative German publisher. It’swonderful to see how over the last few years new periods and fas-cinating historic events have been designed for wargame fans.This game carries us back to ancient Mesopotamia’s age of splen-dour. It covers from 722 to 605 BC, including the period of the lastfour great Assyrian Kings and the period of decline up to the fall ofthe Assyrian Empire and the defeat of their Egyptian allies.

In 722 BC, Sargon II is crowned “King of the World” in Nineveh.But a few small problems threaten the most effective and strongestarmy that the world has ever seen. In the west, an Assyrian army islaying a hunger siege on Samaria in Israel. Will the Egyptian Pharaohinterfere? In the north, the savage Kingdom of Uratu threatens Ass-yria’s borders. In the south, Mardukkapallidin has become King ofBabylonia and has begun a revolt against Assyria that the powerfulElam Kingdom has joined in the southeast. In the east, the coun-tless Mede tribes are a growing threat. The first signs of a huge mi-gration from the north of Cimmerian and Scythian tribes are obser-ved. And we can’t forget about all those minor states that refuse topay their tributes and that need to be punished! Will you be able tomaintain your Empire as King of Assyria? Or will you free the worldof Assyrian tyranny as leader of Babylonia, Mede, Elam or Egypt?

Assyrian Wars is a multi-player game. If you choose to be Assyriayou’ll have to play against all the others. Temporary alliances arepossible and conflicting trade interests can spark off minor conflicts.Each turn represents the ruling period of one Assyrian king, exceptthe last which represents the decline and fall of the Empire. Turnsare divided into impulses. Each card that is played represents an im-pulse. It combines elements of point-to-point games with the Blitz-krieg General system for ancient warfare. Assyrian Wars has an easyentry level for beginners. Even so, it still has complex situations thatdepend on players’ strategic skill. Every game is different since no-body knows which random cards each player receives in addition totheir fixed home cards. For experienced players the game comeswith rules such as Heavy Infantry, Light Infantry, Bowmen, Heavy Ca-valry, Light Cavalry, Mounted Bowmen and Chariots. Assyrian Warsallows players to game detailed siege warfare. 66 cities are waitingfor you to conquer them! Will you be able to get through the giganticwalls and water your horses at the rivers of Babylonia?

Panzer Grenadier: Beyond Normandy.Publisher: Avalanche Press. On 6 June 1944, the Allied landing in France was a resounding suc-cess. With more men and materials arriving every day, the growingstrength of the British and American forces should have been ableto quickly penetrate inland. But, three weeks after the landings, the

beachhead had expanded only slightly. They we-re concerned that the bloody fighting that tookplace in WWI would be repeated.

According to the plan, the British forcesshould have captured the city of Caen at 15 kmsfrom Gold Beach on the first or second day of theinvasion. Field Marshal Bernard Montgomery, atthe command of the 21st Army Group,was pressured to secure thecity and to immobilise the German mobile forces while the Ameri-cans captured the port of Cherbourg. But, the direct attack on thecity was unsuccessful and cost huge Canadian and British losses.Then the British attacked to the west of Caen, where a successfuladvance could outflank the city and force the Germans to retreat.This was known as Operation EPSOM and was an attempt to ob-tain by manoeuvres what couldn’t be attained by direct assaults.The British divisions, which didn’t have any combat experience buthad been training for years, confronted the feared SS troops of fourpanzer divisions. They would both quickly experience the harsh re-alities of war in the hedgerows and fields of Normandy.

Even though Montgomery wasn’t able to get the Germans to re-treat from Caen, he did attract the German armoured units to theBritish Army and immobilise it. The Germans had sent the I and IISS Panzer Corps to Normandy in order to drive the allies back outinto the sea. The British efforts forced the Germans to use theirarmoured units as they arrived. This exhausted the Germans andmade it impossible for them to launch an offensive.

Beyond Normandy is a game from the Panzer Grenadier seriesthat covers the British operations from the end of June to mid Julyand the German reactions to them. Following the system begunwith Panzer Grenadier: Battle of the Bulge, they have chosen touse historic maps instead of geomorphic maps. It comes withthree maps (two at 55x85cm and one at 55x43cm) that show thereal battlefield at 200 metres per hex, including bridges, villages,tracks, roads, hedgerows and churches.

The 583 playing pieces represent leaders, infantry and tankplatoons and artillery batteries. It comes with the weapons usedby the British infantry and armoured brigades, plus the GermanSS and Wehrmacht infantry and panzer divisions. The new typesof tanks that haven’t appeared in the series until now include theChurchill, Cromwell and Firefly, the flame-throwing Crocodile andthe bomb-throwing AVRE. The Germans have strong SS grena-diers, Panther tanks and much more. The game comes with 39scenarios and 5 “super” scenarios (which combine two or moreof the normal scenarios).

Manifest Destiny.Publisher: GMT Games. New card-driven strategy game (similar toPaths of Glory, Wilderness War etc.) for 3 to 5players that allows us to relive the history ofNorth America from colonial times to the pre-sent. Designed by the author of the popularAge of Renaissance, Manifest Destiny combi-nes the strategic components of longer civili-zation-style games with the new easier-to-play European games. Theaim of the game is to appeal to a wide range of players by combi-ning several unique elements that require strategic balance to win.

Each player controls a mercantile empire that expands into terri-tories with new markets across North America. Players use their cashto buy Progressions and tokens. The Progressions provide playerswith additional capabilities. The tokens are used to expand your te-rritory and to purchase Pioneers,cities and additional cards. Pioneersare used to explore “Breakthroughs”, cities increase cash flow andimprove the defence of the territories. There are a limited number ofpieces that can be used to buy items each turn. Players’ Profits riseor fall depending on whether they lose or gain territories. Each terri-tory produces one or more products.

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Each game is different – there is no standard strategy forwinning. The game incorporates several elements that give allplayers a level playing field – cards and Progressions have be-en designed to help straggling players.

It comes with a map, a deck of 64 cards, 95 Progression andBreakthrough Deeds, money in five values, game book, referencebooklet, five player aid cards, five 6-sided dice, a complete set ofassorted wooden blocks for each player and a set of stickers forthe wooden blocks.

Empire of the Sun.Publisher: GMT Games. If there’s a wargame designer who is admiredby all fans, it’s undoubtedly Mark Herman. For-merly at the head of Victory Games, he hasplayed an essential role in the enlightenmentof our hobby. Since he’s started working forthe Pentagon, the number of games he hasbeen able designed has greatly reduced. Tha-t’s why every one of his new games is quite an exciting and long-awai-ted event. Empire of the Sun (EotS) is Mark Herman’s third card-dri-ven game,a game system which he invented in We The People. EotSis at strategic level and covers the entire War in the Pacific, from theattack on Pearl Harbor to Japan’s surrender. EotS is the first card-dri-ven game that uses a hexagon-based system that is closer to clas-sic wargames. It maintains all the tension and uncertainty playersexpect from this type of game. Players take the roles of MacArthur,Yamamoto,Nimitz and Mountbatten and lead their forces across theglobe from India to Hawaii and from Alaska to Australia. The gameis represented on a single equal-projection map.

As in other card-driven games,players try to maximise the impactof their cards while trying to hide their real intentions from their ad-versary. Each player faces a wide range of clear strategic options.EotS focuses on directing the main axes of advance. In the begin-ning of the game, the Japanese must try to reach their historic ex-pansion while Allied forces fight against the clock to react with theforces they have in the area trying to inflict as much damage as pos-sible on the hard-to-replace veteran Japanese units.

Combat in EotS is based on being able to bring together the com-bined land, air and sea forces in a two-level system. The first levelcovers the air-naval combat and the second the ground combat.

The key variable that determines which side wins a stra-tegic victory is the level of US political will. The Japanese winthe game if they are able to force the US into the negotiatedpeace which they were unable to do historically. The Japane-se achieve this by eliminating countries like India, China andAustralia from the war, while inflicting serious casualties onUS forces. The delivery of the A-bomb is not guaranteed,which requires Operation Olympic and the invasion of Japanin many games. The Japanese often obtain victory in this si-tuation.

The scenarios of EotS have been designed with the busyfan, players with a lot of free time and tournament players inmind. EotS was made to be played in year-long scenarios(1942, 1943 and 1944) with three turns each that can be pla-yed in less than two hours. If you’re a fan of card-driven ga-mes, then you’ll love EotS. Its creative design takes the gen-re into a familiar but new direction. Now if you’re a fan ofclassic hexagon wargames, then this game has all the ingre-dients that first got you involved in this hobby, but with a newlevel of excitement and the possibility of playing over and overagain. The game is complete, but easy to learn.

It comes with two sets of counters, two decks of strategycards (82 Japanese and 83 Allied), a 55x85cm map, 2 PlayerAid cards, rules and a ten-sided die. Scale: 4-month turns,150 miles per hex, brigade-, division-, corps- and army-levelunits. For 1-2 players.

Lobositz.Publisher: Clash of Arms Games. August 29th, 1756: The Seven Years War breaks out in Euro-pe. The Prussian army commanded by Frederick II (later knownas “The Great” by his admirers) invaded Saxony. With a swift

drive through the neutralelectorate of Saxony, he at-tempted to open a road toAustria’s rich Elbe River va-lley in Bohemia. The Saxonarmy didn’t directly resistthe invading forces. Inste-ad, they pulled back to a for-tified camp on the Elbearound Pirna and waited tobe rescued by the Austrians. The Prussian invasion stoppedhere. Frederick has no choice but to lay siege on the Saxons.Meanwhile, in northern Bohemia, the Austrian army led byField Marshal Browne gathered its strength and prepared togo to the aid of its new ally.

Maintaining the initiative, Frederick divided up his army, le-aving half of it to pin down the Saxons in Pirna and marchingto Bohemia with the rest to find the Austrians. On the morningof October 1, they ran into Browne’s army that was deployedaround the small town of Lobositz on the banks of the Elbe.Here, a ten-hour struggle ensued with charges and counter-charges across fog-covered fields, hills and vineyards. The en-counter culminated in a street fight amongst burning buil-dings. Finally, once the night had arrived, the Austrianswithdrew in good order and abandoned the battlefield.

Although this battle was small compared with the rest ofthose fought during the Seven Years War, the action at Lobo-sitz was important since it delayed Austrian relief enough tomake the Saxons surrender at Pirna. What was even more im-portant was that the Prussians learned that their enemy was-n’t “the same old Austrians” they confronted in the past andthat they couldn’t expect a swift victory. Lobositz was the firstof many battles fought in a war that would last seven bloodyyears.

This is the new volume for the Battles from the Age of Reasonseries (Leuthen, Zorndorf and Brandywine/Germantown are alsoavailable). For those of you who haven’t played this game yet, be-ar in mind that it’s a rather complex gaming system, but impec-cably designed with high-quality components.

Contents: 1 map, 560 counters, series rules, exclusive rules,player aid cards and dice.

The Mighty Endeavor.Publisher: Multi-Man Publishing. June 6th, 1944: the Allies launch the invasion of Europe at Nor-mandy. Was this the right place to start the invasion of France?What would you have done if you were Eisenhower?

The Mighty Endeavor is a game from the Standard CombatSeries that covers the entire campaign on the Western frontfrom June 1944 to April 1945. The Allied player can land any-where he wants along France’s coastline. The objective is firstto liberate France and Holland from German occupation andthen to cross the Rhine and take Germany’s industrial citieson the river. The Mighty Endeavor is the tenth game from theaward-winning Standard Combat Series (SCS). The gamingsystem has been designed to provide players with games thatare easy to play but that don’t sacrifice a great deal of histo-ric detail or realism.

It includes a 55x85cm map, 280 counters, series rules, speci-fic rules, player aid cards and dice. Playing Time: 4 hours or more.Scale: division-level units, 15 miles per hex.

Strategy & Tactics 228: Old Contemptibles.Publisher: Decision Games. The card game for this issue is devoted to the Battle of theMeuse, the first clash between the small British expeditio-nary force and Germany’s right advance wing. It also inclu-des counters and rules for an updated variant of Back toIraq 3 (game from issue 228) that reflects the current si-tuation of the conflict.

Author: Joaquín Mejía

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PParadox confirms once again that their games stand out fortheir excellent playability. Few strategy games have been sowell designed and are as attractive as this one: a perfect andin-depth historical analysis, an easy-to-use interface throughwhich you can manage all of the game’s variables and a rea-listic and fun combat system generally make up the basic ele-ments of Paradox games.Players will choose a country whose territory lies in diffe-rent provinces and then try to administer its resources andarmed forces. Your objective is to conquer as many territo-ries as possible and, therefore, win victory points. The ove-rall aim is to rack up as many victory points as you can.The game structure consists of the two major alliances ofWorld War II: The Axis (Germany, Italy, Japan and their mi-nor allies) and the Allies (the UK, France and the US, alongwith the USSR). Usually players will choose to be part ofone of these blocks. So, if you are in command of a powerin the block that obtains the most victory points, then youwin the game.As leader of the nation that you select, you’ll have to con-trol the basic macroeconomic variables for the war. In He-arts of Iron II, your economic power for the war has been isbased on you Industrial Capacity (IC) (measured in units).We can assign different IC values to Consumer Goods tokeep our population happy, to Production to improve ourprovinces or troops, to Supplies to obtain the materials ne-eded for our forces, to Reinforcements so that our dama-ged divisions recover and to Modernisations to update ourtroops’ weapons. If you want to win Hearts of Iron II, youmust figure out the best balance between the variables. Of

course, you can increase your country’s Industrial Capacityby investing in research and building more factories. Didwe say “Research”? Research is another one of the pillarsof HoI II that will allow you to develop your nation. It evenhas its own screen within the player interface, along withthe map, the production screen and the diplomacy screen.You will have to allocate your nation’s money to the state-’s major minds and industries to develop new technologiesthat will allow you to advance and improve your combat ca-pabilities.In addition to the factors and capabilities of your citizens, youhave one last and powerful tool that could tip the balance ofthe events in your favour. This is diplomacy. This option per-mits us to declare war, seek alliances, open negotiations andsign trade agreements with the rest of the countries. Knowinghow to move around this element of the game is very impor-tant. Trade agreements will be absolutely necessary if youwant to obtain the raw materials needed for your industry towork at full capacity. Almost no country has the capacity tosurvive on its own reserves. So, you must pay close attentionto your reserves and make sure you obtain the materials thatare in short supply.Having to control all of these variables as well as your rela-tions may at first seem overwhelming to some of you, but it’snot really that bad. Thanks to a very intuitive managementsystem you can quickly learn enough to get by with a superpower. To do this, though, you must approach the game withquite a bit of patience. This is not a “click-the-mouse-button-quickly” game, but a real strategy game in which you’ll haveto prepare thoroughly before launching an attack. You mustprepare the appropriate troops and follow some essential

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Hearts of Iron II is perhaps one of the games that has created the most hype/sparked most interestrecently. It’s the sequel to Hearts of Iron, a game that didn’t fail to move anyone who played it, for goodor ill. At last, after several long-awaited years we can now take command of any of the great nationsthat participated in the bloodiest war of all times: World War II.

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steps so that your offensive doesn’t end up being a com-plete disaster. In HoI II you might launch an attack with anoverwhelming numerical superiority and fail miserably be-cause you didn’t consider all of the factors.This, along with the fact that no two games of Hearts of IronII are the same, makes it an incredibly addictive and long-las-ting game. You can spend months trying the game’s differentalternatives and countries without ever obtaining the sameoutcome twice. This game’s freedom of action, within the li-mits of the war, is simply infinite. And that’s without mentio-ning the multiplayer mode which takes the fun to unimagina-ble levels.However, it had to have at least one drawback. For expertsor old players, the game can seem too easy to win with oneof the super powers. The AI is no doubt to blame for this.Despite having polished some aspects of HoI I, it still hassome serious defects. This and the fact that the really ex-cessive amount of resources that any moderately activecountry can pull together (you can obtain enough raw mate-rials for the whole game just in 1942) take away from thegame’s final result and difficulty level. But don’t lose hope.Paradox is known for developing updates for all their ga-mes. I’m sure they’ll release a patch soon that will improveall these aspects and any other small errors the game mayhave.

GraphicsUndoubtedly, the graphics are the least important feature ofthis type of game. Although they have improved from theprevious version, HoI II has a very straight-forward and clas-sical interface that makes it easy for you to use all of its fe-atures. The interface consists of one map (with differentviews), a side-bar with all of the details of units or the se-lected province, a mini-map of the world and a top-bar whe-re all of the most important macroeconomic information is

listed. Apart from this screen, using the scroll-down systemyou can access the rest of the game’s most important sec-tions: Production, Technology, Diplomacy and the Statisticsscreen.The graphics are decent overall. All of the screens are aes-thetically acceptable and are easy to navigate through. Howe-ver, there is one setback –the map system. None of the mapsare really clear and they don’t provide all of the informationyou need. A better alternative would have been to include amap with all of the most important information (terrain, facto-ries, radars…) to which you could choose to add or remove allof the layers. As we have said, none of the maps are reallyeasy to use and you have to jump from one to another withoutreally getting what you want.

As you have probably been able to deduce from the review,this game has really convinced us. It is one of the bestwar-strategy games that have been released recently, andone that best represents WWII. It’s comprehensive, fun, in-depth, realistic, infinitely re-playable and absolutely addic-tive. Only a couple of blots take away from the outstandingfinal result. If Paradox had spent a little more time develo-ping the AI so that the rivals were a real challenge for ex-pert gamers and if they had made it so the number of re-sources obtained weren’t so high, then the game wouldhave been much more complete. Not to mention the factthat the map is not as clear and easy-to-use as it shouldbe. Nonetheless, the first two problems we have pointedout will most likely be fixed, at least in part, by future pat-ches released by Paradox. So, if you are looking for a realstrategy game, Hearts of Iron II is one of the best optionsavailable on the market today.

Author: Miguel Abellán Gutiérrez

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