 View Painting At: 750x463 pixels 2500x1543 pixels 5876x3629 pixels |
Title: (As in the
S.H.A.T. Catalogue) Vue de Bassin de Rivoli entre les monts Corona et Pipolo. 25 Nivose An V Title: (As in the Liste Chronologique des Tableaux, 1901,
P.15) |
| Author: Bagetti,
Giuseppe Pietro
Execution Date: Dimensions: 99.5cm x 59cm |
Archive:
S.H.A.T.: Bureau du Gal, inspecteur de l'Infanterie - Caserne de Reuilly
Catalogue Number: B45 Material/Technique: watercolour |
Text on Image: Le général en chef Bonaparte arrive avec une partie de l'armée française au soutien de son avant garde qui s'était repliée de sa 1ère position d'offensive de la Ferrara sur sa sde ligne du bassin de Rivoli. Il prévient l'armée autrichienne marchant sur les ordres de son général en chef Alvinzy dont le centre était déjà entre Caprino Hibiara et le revers occidental du mont San Marco, tandis que la gauche filait par le revers oriental, le long de l'Adige pour nous prendre en flanc et que la droite se portait sur les monts Brusini et Pipolo pour nous prendre à revers. L'armée française attaque avec impétuosité l'ennemi, le chasse des hauteurs dont it s'était emparé et prélude ainsi à la mémorable victoire du 25 nivose An V. |
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Description/Comments: The battle of Rivoli was one of Napoleon’s most daring and physically demanding Italian battles. And so it is fitting that it is also one of the most spectacular of Bagetti’s views. After feigning significant attacks in both Verona and Legnano, designed to make the French believe that the Austrians were trying once again to lift the siege of Mantova, the Austrians launched a major attack against the relatively small force under General Joubert at La Corona and then marched on Rivoli. Napoleon, worried by the activity to the east of Mantova had nevertheless anticipated the attack near Rivoli. He rushed to Rivoli in time to prevent a disastrous rout. D’Alvintzi’s plan was to have three columns engaged in a frontal assault on the French while one attacked the French flank from the east and two circled around behind the French army (to both the east and the west) and attacked from the rear. The plan was probably too complex and took too long to execute as Napoleon was able to rush to Joubert’s support, as was General Massena. Massena deployed a portion of his force in the main defense of the Trombalore Heights and left a portion south of the town of Rivoli to protect the army’s rear. The moment depicted in this view by Bagetti entitled "Veduta del Bacino di Rivoli, fra il monti Corona e Pipolo 14 gennaio 1797," is on the 14th of January and seems to be just after the Austrians under Generals Liptay, Koblos and Ocksay have been repulsed from the Trombalore heights. It is not clear precisely where on the heights Bagetti has stationed himself but it would appear to be in a position somewhere between where Massena’s and Joubert’s troops would have been. The French infantry line has already moved north from the heights and is gradually pushing the Austrians back north across rough terrain without roads or easy escape routes. French cannon continue to fire on the Austrians from the heights. Dead, dying and fleeing Austrian troops pepper the sides of the Trombalore heights and the Rivoli basin. The mountain the scene faces is Monte Salone. Just at the foot of Monte Salone flows the Adige River. The town in the distance at the foot of the mountain is Rivoli. The two pointed little hills in the distance below Monte Salone are Pipolo and Corona ((on the later of which there is now a castello) built since Napoleonic times). The sketch was made on the Trombalore heights perhaps at Monte Boschetti but perhaps at Montalto, or perhaps SSE of Scalette. To the rear of the image are Monte Belpo and Monte Baldo, and behind them is Lake Garda. To the right of the scene would be Monte La Corona. To the rear of the image is the town of Rivoli and Monte Pipolo. To the far left, beyond the edge of the painting would be Monte Moscat. Behind Monte Baldo is Lake Garda. It appears that Bagetti undertook 5 views of the battle of Rivoli. The correspondence between Bagetti and his superiors mentions 5 views, at least 4 pen and ink sketches were definitely completed (numbered 2 to 5, the first pen and ink sketch also appears to be lost) but only 3 views were ultimately engraved by Desaulx for the Vue des champs de bataille de Napoléon en Italie, Paris 1837, and only two watercolours are catalogued in the collection of the Service historique de l’armée de terre. The three engraved views were: 1) Vue du basin de Rivoli (entre les monts Corona et Pipolo), 14 janvier 1797 2) Vue de Rivoli (avec une partie de la vallée de l’Adige), 14 janvier 1797 3) Vue générale de la bataille de Rivoli, 14 janvier 1797 The surviving watercolours correspond to the first and second engravings. Bagetti seems to have tried to resist making changes to the 1st view of Rivoli, which was criticized for its foreground, arguing that his artistic reputation was at stake. However, he ultimately appears to have had to comply with the military administrations requests for changes.[i] Apart from all else, Bagetti appears to have had difficulty with the quality of the paper he was given for this watercolour. Unless this is later damage, the difficulty is evident on the right flank of Monte Baldo.
[i] Bagetti to Muriel, 10 January 1806, 3 M 245; Muriel to Bagetti, 5 March 1806, 3 M 245; Bagetti to Muriel, 9 June 1807, 3 M 245 and; Muriel to Bagetti, 6 October 1807, 3 M 245, all at the Service historique de l’armée de terre, Vincennes. |
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