Claude-Pierre Pajol. The peak of the career of the brilliant cavalry general in Bonaparte's army.

2 703 23
Claude-Pierre Pajol. The peak of the career of the brilliant cavalry general in Bonaparte's army.
General Pajol in a portrait by Charles Formentin


В previous article We discussed the origins and early military service of Claude-Pierre Pajol, a brilliant cavalry commander in the French army, whom Napoleon singled out even among such recognized "masters" as Marshals Murat and Bessières. Today, we will continue and conclude this story.



Brigadier General Pajol


Thus, on March 1, 1807, 35-year-old Claude-Pierre Pajol finally received his first general's rank. That same year, during the War of the Fourth Coalition, the subject of this article first took part in the drawn Battle of Guttstadt, where Bennigsen's Russian forces confronted the corps of Ney and (partially) Soult. Then came the Battle of Heilsberg, where Pajol's horse was again killed. After the final battle of that war at Friedland, Pajol's subordinates were the first to break into Tilsit, and it was he who met the Russian envoys who brought an armistice proposal.

Having received the title of Baron of the Empire from Napoleon, Pajol married Marie Oudinot on March 31, 1808, the daughter of a general, Count of the Empire and future Marshal, whom Napoleon presented to Alexander I in Erfurt as Bayard of the French ArmyThis marriage produced two sons and a daughter. One of the sons of the article's subject, Charles Pierre Victor Pajol, born in 1812, also served in the army, rising to the rank of divisional general, serving in the Franco-Prussian War, and retiring in 1877.


Charles Pierre Victor Pajol

He also turned out to be a good sculptor, wrote a biography of his father and a work on military stories during the reign of Louis XV. He also produced extremely interesting sketches of Russian military costume and portraits of Tsar Nicholas I and his sons.


Charles Pierre Victor Pajol. Grenadiers of the Imperial Palace Guard


Charles Pierre Victor Pajol, a soldier of the Russian line infantry


Charles Pierre Victor Pajol. Cossacks of the Caucasian Line

But let's return to his father, who became commander of the troops in Bohemia in 1808, and on April 9, 1809, it was to him that Austrian Field Marshal Bellegarde delivered the declaration of the beginning of a new war. At that time, Napoleon was forced to maintain large forces in Spain, and the Austrians believed the current situation was favorable for the recapture of lost lands. The French Emperor received news of the outbreak of war on April 12 (three days later)—directly at the Paris Opera, where he was staying at the time. After reading the message, Napoleon said:

I'm not dead yet.

Archduke Charles's Austrian forces were routed in the so-called Five Days' Campaign—at the battles of Tengen, Abensberg (Ebersberg), Landshut, Eckmühl, and Regensburg (Ratisbon). However, the Austrians, too, fought remarkably well. We remember how often the hero of this article's horses were killed in battle, but at the Battle of Eckmühl, he lost two horses in succession. Even Bonaparte was wounded at Regensburg—a cannonball struck his ankle, and for a time the emperor wore only a boot.


Claude Gautreau. Napoleon's wounding before the Battle of Regensburg.

And Lann, seeing the confusion of the soldiers, took the ladder and went with it alone, saying:

Now I will show you that before I became a Marshal of France, I was a grenadier!


Charles Tevelin. Marshal Lannes leads the assault on Regensburg

At Regensburg, Pajol's "Infernal Brigade" managed to capture around two thousand men. Next came the bloody battle at Essling-Aspern, in which the collapse of a pontoon bridge nearly destroyed the corps of Masséna and Lannes, who had managed to cross and found themselves cut off from the rest of their troops. Masséna nearly died: a cannonball literally tore apart the horse on which the marshal was riding, and all his aides-de-camp were killed or seriously wounded. Bonaparte's friend, General of Division Louis-Charles Vincent Le Blond de Saint-Hilaire, who had known Napoleon since the siege of Toulon, was also killed. The death of Lannes, mortally wounded, shocked the emperor even more, and the situation was so grave that the marshal told Bonaparte when he came to visit:

Save the army.

The fate of the campaign was decided by the Battle of Wagram, during which Pajol's brigade encircled and almost completely destroyed an Austrian dragoon regiment. Pajol's cavalry pursued the retreating Austrians, then fought them successfully on July 7 at Korneuburg, July 9 at Hollabrunn, and July 10–11, 1809, at Znaim. We recall that in December 1807, it was to Pajol that Bagration's envoys conveyed the text of the armistice proposal. Now, at Znaim, the subject of this article received a similar proposal from the Austrians.

On April 11, 1810, Pajol was finally able to obtain a three-month leave and join his wife in France. But on June 23, he was ordered to replace General Jacquinot as commander of the light cavalry brigade, now in Marshal Davout's corps. In the spring of 1811, we see Pajol commanding cavalry units in Danzig. Finally, on December 25, 1811, he became commander of the 1st Light Cavalry Brigade.

Division General Pajol



General Pajol in an illustration from Sytin's Military Encyclopedia

During the 1812 campaign, Pajol's brigade was one of the first to cross the Neman River and entered Kovno the same day. It then served in the vanguard of Davout's corps and captured Vilnius two days later. Pajol's major success was the capture of large warehouses in Minsk and Ashmyany, for which he was promoted to divisional general on August 7. By the 9th of that month, Pajol had assumed command of the 2nd Light Cavalry Division, part of the 2nd Cavalry Corps. He fought with this division at Smolensk and Borodino, where three of his horses were killed. After this battle, Pajol's cavalrymen captured two battalions of Russian soldiers in Mozhaisk, but he himself suffered a bullet wound to the arm and was forced to hand over command to Exelman. He was able to resume command of his division only at the end of February 1813.

On April 20 (May 2), 1813, in Saxony, the article's hero took part in the Battle of Lützen, a successful battle for Bonaparte. The French managed to repel the allied forces of Russia (commanded by Peter Wittgenstein) and Prussia (led by Gerhard Scharnhorst, who was mortally wounded there). Three weeks later, we see Pajol participating in the Battle of Bautzen, in which the allies suffered another defeat and were forced to retreat to Silesia. Pajol performed particularly well in the Battle of Dresden (August 26–27, 1813), where Napoleon said in the presence of Berthier, Caulaincourt, and Mortier:

There is no other cavalry general like Pajol; he not only knows how to fight, but also knows how to guard himself well and will never allow himself to be taken by surprise.

Commander of the Cavalry Corps


On October 13, the subject of this article became commander of the 5th Cavalry Corps, but on October 16, his horse was killed again (his sixteenth), and he received his fourteenth and most severe wound: a cannonball nearly severed his left arm and broke his ribs in numerous places. Upon learning of this, Bonaparte decided that Pajol would certainly die and said:

I have suffered an irreparable loss.

However, Pajol survived and on November 25, 1813, he received the title of count from the emperor.

To everyone's surprise, in 1814 Pajol returned to duty and was appointed commander of a special corps tasked with protecting the Seine and Yonne rivers.

At the Battle of Montereau (February 18, 1814), Pajol's cavalry division seized the bridge with a decisive attack and stormed into the city. The Württemberg troops defending it fled, losing 3,000 men killed and wounded, the same number captured, four banners, and six guns. Napoleon was lavish in his praise, saying:

Only Pajol among my generals knows how to lead cavalry.

And:

If all my generals fought like this, there would be no enemy in France!

Pajol received the badge of Grand Officer of the Legion of Honor, but this victory cost him dearly: due to the wounds that had opened up, he no longer took part in the campaign of 1814.

The last battles of General Pajol


Pajol recognized the authority of the returning Bourbons and even received the post of commander of the Orleans garrison from Louis XVIII. However, like many veterans of Napoleon's army, he joined the emperor after his return from Elba. He now became commander of the 1st Cavalry Corps, which reported to Emmanuel Grouchy. Pajol fought successfully at Ligny (June 16, 1815), capturing 10 guns, a Prussian supply train, and many prisoners.

Then, it was he and another cavalry general, Exelmans, who were tasked by Grouchy with reconnaissance and the direction of the retreating Prussians. Blücher's forces then split: the main body of the army headed for Wavre, while the 8-strong corps headed for Namur. Pajol's scouts discovered the second detachment, and Exelmans's subordinates encountered the Prussians at Gembloux. After this, Napoleon gave the fateful order to split his forces: he assigned Grouchy, who included Pajol's corps, to pursue Blücher's army.


In this still from the film Waterloo (1969), we see Marshal Grouchy receiving orders to begin pursuing Blucher.

It was Grouchy that Bonaparte later blamed for his defeat at Waterloo. In fact, it was Bonaparte himself who was mistaken, dividing his army and sending Grouchy to pursue an enemy whose forces outnumbered his own by more than three to one. The French emperor clearly overestimated his victory at Ligny—apparently believing the Prussians were completely demoralized and would flee at the mere sight of French soldiers.

Grouchy faithfully carried out the Emperor's orders. Moreover, at the hour when the Prussians had already attacked Napoleon's right flank at Waterloo, he received an order from Soult (Chief of Staff of the French Army) ordering him to advance to Wavre. An hour later, Grouchy received another order—to join the main army—but by that time he had already engaged Thielmann's Prussian corps, routing it by evening. It was at this moment that an adjutant arrived with news of Napoleon's catastrophic defeat. Eyewitnesses claim the marshal burst into tears.

The Prussian army was already advancing on Wavre, cutting off Grouchy's troops from the French border. But, through skillful maneuvering, he led them into France, defeating the corps of Thielmann and Pirch en route on June 20 at Namur. Bonaparte himself admitted on Saint Helena:

Grouchy's march from Namur to Paris is one of the most brilliant exploits of the war of 1815. I already thought that Grouchy with his forty thousand soldiers was lost to me, and that I would not be able to rejoin them to my army beyond Valenciennes and Bouchain.

The Bourbons returned to Paris, and it seemed Pajol's military career was over forever. However, in 1830, the 58-year-old general took an active part in the July Revolution, organizing and leading the Parisian march to Rambouillet, where Charles X was then staying. Louis-Philippe (a member of the Orléans dynasty) who came to power appointed the subject of this article commander of the 1st Military District and governor of Paris. It was Pajol who commanded all Parisian troops at the ceremonial reburial of Napoleon's ashes at Les Invalides on December 15, 1840.


Transfer of Napoleon's ashes to Les Invalides

In 1842, 70-year-old General Pajol resigned his commission and died two years later (on March 20, 1844) in Paris. The cause of death was injuries sustained in a fall down the stairs of the Tuileries Palace. He was buried with great honors in Paris's Père Lachaise Cemetery, but his family later moved his remains to his homeland. Here, in the cemetery of Nozeroy (now the smallest town in France), you can see his grave:


The author of this statue is the son of the article's hero, Charles Pierre Victor Pajol, who, as you may remember, was also a talented sculptor.
23 comments
Information
Dear reader, to leave comments on the publication, you must sign in.
  1. +2
    8 August 2026 07: 17
    Interesting drawings by the son of the article's subject. Perhaps he should have pursued painting and sculpture professionally.
    1. +3
      8 August 2026 08: 28
      "Perhaps he should have pursued painting and sculpture professionally"—who knows what kind of artist he would have become; competition was fierce, and the military profession was prestigious in those days. Lejeune, for example, prioritized an officer's career, but in Russia we got Vereshchagin and Bogolyubov.
  2. +2
    8 August 2026 08: 09
    Valery, thank you very much. Interesting work.
    Those were the hard times, "I was a grenadier" was effective, but stupid.
    Marshal is the first to climb the wall!
    The death of a commander of such a level is a 99,7 defeat!
    1. +8
      8 August 2026 08: 19
      "The marshal is the first to climb the wall!" – those were the days of "do as I do," and it wasn't stupid; as a result, soldiers followed the general through thick and thin. The common denominator among the generals of the Napoleonic period was selfless bravery. There were thieves, schemers, and military mediocrities, but no cowards.
      1. 0
        8 August 2026 15: 44
        Here's what I was thinking: Napoleon's marshals and generals were wounded multiple times, downright horrific. Suvorov, Kutuzov, and Raevsky—the same. Napoleon, too, first fell from a bridge (as a commander), then (as emperor!) was wounded in the leg. But the "reckless brave" Miloradovich received a single wound on Senate Square in December 1825. What is that? Some kind of incredible, outrageous luck? Or are the stories of his bravery on the battlefield more of a self-promotional ploy? I haven't heard anything about Yermolov being wounded either. I don't want to denigrate anyone, but something seems very strange.
        1. +4
          8 August 2026 16: 02
          "I don't want to denigrate anyone, but something's just very strange." Sometimes people are just lucky. Ney at Waterloo, for example. Incidentally, Napoleon was wounded several times; this was discovered by the scars when his body was being prepared for burial on St. Helena.
          "Or are the stories of his bravery on the battlefield more of a self-promotion?" - unlikely, there are too many witnesses, and bad fame spreads instantly.
        2. +1
          8 August 2026 22: 03
          Quote: vet
          I don't want to denigrate anyone.

          What else can you call it?
        3. +2
          8 August 2026 22: 47
          Quote: vet
          Or are the stories of his bravery on the battlefield more self-promotion?


          Doesn't the fact that General Miloradovich was awarded the ordinary soldier's St. George's Cross make you think?
          1. +2
            8 August 2026 23: 25
            "Was he awarded the ordinary soldier's St. George's Cross?" I didn't know, thank you. After you said that, I read his biography in the Sytin Encyclopedia. It's no small feat to receive both the St. Andrew the First-Called Cross and the Military Order at the same time, albeit with the caveat that it only be worn during wartime. Still, he was a worthy general.
    2. +3
      8 August 2026 18: 10
      The marshal is the first to climb the wall

      This is, after all, an exceptional case: the last gram on the scale, when fate is at stake. And not every colonel, let alone a general or a marshal, would dare to do such a thing. But the soldiers understand: their commander isn't throwing them into a "meat storm" to be slaughtered; he believes in success and is ready to share their fate.
  3. 0
    8 August 2026 08: 29
    Valery, friends, I wish you all good health.
    Pajojol resembles a feisty cat.
    Valery, now I understand why you, a Napoleon fan, are called "the son of the article's hero." Your dad and grandma told you a lot about it.🤣
    1. +3
      8 August 2026 08: 58
      Quote from lisikat2
      "son of the hero of the article."

      It says there: "author of the statue" lol
      1. +1
        11 August 2026 16: 37
        Good afternoon, Ivan.
        I think the lady is joking. Women love that kind of thing.
  4. +3
    8 August 2026 08: 55
    One of the article's hero's sons, Charles Pierre Victor Pajol, born in 1812, also connected his life with the army, rose to the rank of divisional general, participated in the Franco-Prussian War, and retired in 1877.

    Both sons served in the army. But the younger, Louis Eugène Léon, rose only to the rank of brigadier general. Unlike his older brother, he did not participate in the Crimean War or experience captivity in Prussia after Metz.
    But his granddaughter, Hélène Etignard de la Fallot, married Louis Davout, the great-nephew of Napoleon's marshal and heir to his title, Duke of Auerstadt.
    This is about the family ties of the aristocracy)))
  5. +2
    8 August 2026 10: 57
    The author of this statue is the son of the article's hero, Charles Pierre Victor Pajol, who, as you may remember, was also a talented sculptor.
    The authorship is questionable. If we assume the family, and specifically the deceased's son, gave the sculptor specific instructions, such as placing the head to one side, legs crossed, and arm down, then it's possible.
    The work on a tombstone is clearly the work of a professional with experience in working with the material. It takes years of continuous, painstaking work and "stupid" practice. Someone in a different profession (a military man, in particular) simply wouldn't have the time for this.
    Let's be honest, the drawings of the Russian uniform are on par with art classes at a Young Pioneer Club. There are obvious problems with perspective and proportions.
    I looked online and found no clear indication from authoritative sources of the authorship of this tombstone. Some Parisian workshops are mentioned, and local workshops are likely. The links lead to inaccessible French websites, such as the Nozeroi municipal archives or French research on the region's history.
    1. 0
      10 August 2026 21: 05
      Let's be honest, the drawings of Russian uniforms are at the level of an art club at a pioneers' club.

      Looks like a fake. The Cossack in shoes is downright cute. The soldier without a belt...
      1. +1
        10 August 2026 22: 50
        It's been a couple of days since publication, and few people will be able to find it here. It's time to discuss it calmly. This general was a child of his time. He drew like any nobleman of that era. That is, by today's professional standards (and even those of that time), he was slightly better than nothing. Look at the drawings of Pushkin and Lermontov. Mikhail Yuryevich's work is certainly no worse.
        It's understandable that, given the lack of photographs, memories of the trips could be captured in drawings, as best one could. The general, too, apparently, was guilty of this.
        Regarding the works presented. They are purely imaginative, not drawn from life. The figures are depicted against a "pretty" backdrop. The architectural forms with the grenadier are strange. They were utterly ineptly contrived on a piece of paper, with childish errors in perspective. The human figures are not of scale or proportion, and I can't evaluate their form.
        The soldier simply falls backwards—his feet are not under his body, and his center of gravity is not over the supporting surface (the backpack also pulls him backwards). And this is on an inclined surface, no less. A moment later, the infantryman is sitting on his butt.
        It feels like it was drawn from memory, some of the little details were forgotten and drawn roughly.
        1. 0
          11 August 2026 13: 01
          But here's the interesting thing: many "masterpieces" painted around that time, which are housed in the galleries of the Louvre, the Hermitage, and other museums, are painted in much the same way: with distorted perspective and proportions, and a strange background. It's noticeable, but guides urge us to admire them. I'm not even talking about modern incompetents. Shemyakin, for example, made Peter the Great's torso one and a half times larger than life, but left the head the same size, a complete mockery—it stands in the Peter and Paul Fortress. At first, people were frightened, but now they've gotten used to it, convinced that Peter really looked like that.
          1. +1
            11 August 2026 16: 45
            The topic is fascinating and defies simple, straightforward solutions. Art history is complex. Besides a vast amount of information, one must have a certain amount of experience, a keen eye, and an understanding of the aesthetics and cultural context at the time of the work's creation. I can't speak for the Louvre and the Hermitage, but many of the works on display there, while not necessarily state-of-the-art, demonstrate a primordial quality (for their time). The first employed a previously unused subject, another pioneered multi-figure compositions, placing accents differently, and a third pioneered the use of backlighting in landscapes. To understand why an exhibition is structured the way it is, one must read the curators or specialized reviews.
          2. -3
            11 August 2026 17: 22
            It's time to say a few words about the work of Mikhail Shemyakin.
            1. She's super.
            2. She is nothing without understanding the mystical subtext.
            Shemyakin studied at a special art school at the Academy of Arts (Repin Institute), but was expelled not for his inability to draw, but for “aesthetically corrupting his fellow students.”
            A job change, and then I ended up at the Hermitage, working as a rigger. I'll tell you right away, most of the Hermitage workers are "aliens." This museum is a whole other world, and the people there are very special. In the mid-70s, I knew people from there who worked with Shemyakin.
            Yes, so, the Hermitage houses a wax figure—a mannequin of Peter the Great with a wax mask by Rastrelli (look it up online—the mannequin is in a chair like Shemyakin's). The Hermitage is full of myths and legends; ghosts and apparitions of great people of bygone years appear there. wink However, the large, complex building provides fodder for such things. At night, very unusual phenomena occur. One legend has it that a wax figure rises from its chair and wanders the palace.
            So, in Shemyakin's version, this isn't Peter the Great, but a clumsy machine (hence the lack of hair, only clothes) on which everything hangs as if on a coat rack, with exaggerated hands and feet and a disproportionate head (which emphasizes his height). A mystical force imbues this machine with vital energy and compels him to stride along the endless corridors of the Winter Palace, each step echoing loudly in the emptiness of the halls. A golem, an idol.
            That's it, in a nutshell. In short, it's an artistic reflection of the Hermitage mysticism in the author's work. And by the way, as an art historian, Shemyakin is very interesting, though not indisputable. I've attended his lectures.
            1. +1
              11 August 2026 18: 34
              If there's no
              This is not Peter the Great, but a clumsy mechanism

              This golem should be in the Kunstkamera or some museum of abstract art. But not on the grounds of St. Petersburg's historic and iconic landmark, the Peter and Paul Fortress. There, many perceive it as a mockery of both the city's founder and Russian history. I've been to the fortress several times, and each time I've seen the disgusted expressions on the faces of those who saw this terrifying scarecrow for the first time.
              1. +2
                11 August 2026 19: 00
                You certainly have the right to your own opinion. However, here's a question: were you aware of the information I've presented? If not, then it wasn't for nothing that I spent half an hour typing this. Maybe you'll find it useful someday.
                1. +2
                  11 August 2026 19: 10
                  You're absolutely right, your information is interesting and you're a very engaging conversationalist. Thank you for "spending half an hour typing."