Concert of Europe - Dev Diary #2

Strategic Command American Civil War Concert of Europe 1860 One Lustrous Aim

In the last dev diary, I referenced the trilogy of biographies on Garibaldi written by George

Trevelyan as having inspired me to name the 1859 campaign as I did. Perhaps it’s fitting –

Garibaldi in that war played a small but important role as the commander of the Cacciatori delle

Alpi, a campaign that rates a brief mention by Trevelyan but little more. In 1860, by contrast,

Garibaldi is the defining figure in the story of Italy’s unification, a story Trevelyan spends most of

two books recounting. In so doing (and in doing so well) he inspired not only a name but the

creation of this campaign.

In studying military campaigns I generally tend against the idea that the personality of a commander

will be a dominant factor in determining said campaign’s outcome – the so-called Great Man

Theory of history. Particularly when researching potential games, it is factors such as terrain,

available infrastructure, the size, strength and available supplies of each army, which I look most

closely at.

Yet if there was ever an argument for the Great Man Theory, it exists in the person of Giuseppe

Garibaldi. The Thousand could not have sailed without him, nor could it have succeeded had it lost

him. This was a campaign that defied every military maxim ever written, from the fact that

Garibaldi’s Thousand defeated a hundred times their number, to his success in a land of fortresses

while commanding so little artillery, to his crossing of the Straits of Messina without possessing a

navy, and in face of the formidable Bourbon fleet at that.

Before reading Trevelyan, I had never considered Garibaldi’s Expedition a possible setting for a

campaign, but his telling of the story was so compelling that I soon added it to the shortlist of

campaign options for this expansion. I began creating the map the very next day.

Trevelyan remained my main source while researching the campaign – very unusually so given it is

a biography rather than a history of the war – but this too seems fitting. The expedition is

Garibaldi’s story, and I wanted the campaign to reflect that. In naming this campaign, I turned

again to Trevelyan, who quotes ‘ The Centenary of Garibaldi ’ by George Meredith twice in his work

– once at the beginning of the second book, to introduce Garibaldi as an exile following the fall of

Rome in 1849 but already a man perceived as the future unifier of Italy; and again to open his

chapter on the Battle of the Volturno, the epic climax of the Expedition (and a battle which gives

rise to a unique victory condition offered in this campaign).

“We who have seen Italia in the throes,

Half risen but to be hurled to ground, and now

Like a ripe field of wheat where once drove plough

All bounteous as she is fair, we think of those

Who blew the breath of life into her frame:

Cavour, Mazzini, Garibaldi: Three:

Her Brain, her Soul, her Sword; and set her free

From ruinous discords, with one lustrous aim.”

The “one lustrous aim”, to which Garibaldi devoted his life, is the unification of Italy and thus the

subject of the campaign itself. I can think of no better epitaph.

1866 Whirlwind of Flame

Another biographer who I need to give a shout-out to is the late Jonathan Steinberg, whose work I

first encountered when a lecture he gave about Bismarck appeared in my Youtube feed about the

time I began planning out the campaign for the Austro-Prussian War.

Steinberg began that lecture with a quote from Bismarck, to an astonished Benjamin Disraeli, in

1862, in which he outlines his plans to reorganise the Prussian army, provoke a war with Austria

and use this to subdue the north German states. Steinberg then labels the unification of Germany

the “greatest diplomatic and political achievement, by any leader in the last two centuries, for

Bismarck accomplished all this without commanding a single soldier, without dominating a vast

parliamentary majority, without the support of a mass movement, without any previous experience

of government, without the charisma of a great orator and in the face of national revulsion at his

name and his reputation”. He finishes his introduction by asking a single question: “how did he do

it?”

Steinberg spends the remainder of the lecture attempting to answer that question by exploring

aspects of Bismarck’s personality, but one possible answer I think he overlooks is just how

effectively the Austro-Prussian War was conducted. From its conception through every action of

the war on the Prussian side, this was a masterpiece of strategic planning carried out with a ruthless

efficiency, illustrated best by another name given to the conflict: The Seven Weeks War. Seven

weeks is already a remarkably short length of time for a war to be fought and won, but what’s even

more remarkable is that the war’s decisive battle at Koniggratz was fought just half way through

week three.

In choosing a name for this campaign, I wanted something that would reflect both the speed and the

decisiveness with which the Austro-Prussian War was fought and won. The poem I chose is titled

“Cavalry Charge – Koniggratz” by John Douglas Sutherland Campbell, with the campaign’s

namesake taken from a line in the poem’s seventh stanza. In three words it reflects on both the

political revolution Bismarck initiated – thirty-nine German states at the beginning of the war were

reduced to around half a dozen, the experience of the soldiers that participated, and the shock that

the rest of Europe must have experienced watching these events from the sidelines.

As I designed the map, I listened to every one of Steinberg’s Bismarck lectures that I could find,

while his book ‘Bismarck: A Life’ arrived shortly before I finished making the campaign. Though

it lacks the sort of short, evocative phrasing that makes for good campaign titles, it is not the poem’s

seventh stanza but the sixth that offers an answer to Steinberg’s question:

“Their order was perfect and splendid,

And his voice, that at first held them in,

Had rung down their ranks for the onset,

As though it were fate they should win.”

1877 Feel Not the Red Rains Fall

Concert of Europe aims to tell a single tale. The five campaigns, while each self-contained and

intriguing in their own right, have all been chosen for their parts in this story. Each chapter was

brought on by the events of its predecessor, and laid the unlikely path to its successor.

The story is that of Europe’s reaction, three decades long, to the revolutions of 1848. First it was

one of those revolutions, and the Tsar’s efforts to crush it, that gave Russia the confidence to

embark on a war, known to us as Crimea but begun in the Balkans. It was Sardinia’s contribution to

the Crimean War that won them the support of Napoleon III and allowed them to embark on war

with Austria. It was Magenta and Solferino that sparked a wave of nationalism in Italy, creating the

conditions that would enable Garibaldi’s expedition to succeed. It was a Prussian alliance with the

now-unified Italy that split Austria’s forces, enabling Bismarck to shatter them at Koniggratz. So

how does this story end? It ends where it began, in the Balkans. This is the seat of Europe’s last

19th-century war, and where Bismarck asserted Germany’s new place in the diplomatic world at the

Congress of Berlin.

The poem in this case is “ A Watch in the Night ”, its author Algernon Charles Swinburne. This

poem is my favourite of the five I have quoted, partly because there are many ways to read it. The

line I have chosen for the campaign title alone can be read to refer to the rains that troubled the

armies during this war – a campaign in which the weather steadily worsened, beginning in early

summer and ending in March. The “red rains” can evoke images of blood, whether from the

atrocities denounced by Gladstone in 1876 which caused the war, or the tens of thousands who

perished during the conflict. “Feel not” can echo Gladstone’s frustrations about Britain’s neutrality

at the beginning of the war, or it can welcome Bismarck’s efforts to restore Europe’s peace at its

end.

I have chosen this poem not just for its reflection on a war that, at the time of writing (1868) had not

yet been fought, but for how it represents this period of history as a whole. The fourth stanza

describes men “mowed us as sheaves for the grave” – an increasingly common image as weaponry

improved – but also notes that “freely to freedom we gave”, which encapsulates the aspirations of

those who took part in the Springtime of Nations.

The poem also reflects on the fate of nations by 1878: England (“warm, no season to weep”),

entering its period of global hegemony and splendid isolation; France (“crowned, there is no more

France”) shattered by the defeat of 1870; Italy (“a light too strong for a star”) and Germany (“long

has it lulled me with dreams”) emerging as united nations for the first time. The final stanza reads

as follows:

“Liberty, what of the night?

I feel not the red rains fall,

Hear not the tempest at all,

Nor thunder in heaven any more.

All the distance is white

With the soundless feet of the sun.

Night, with the woes that it wore,

Night is over and done.”

With this the story closes. I hope it is one you enjoy playing as much as I enjoyed creating.