Trebbia

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Trebbia

(trĕb`byä), river, c.70 mi (110 km) long, rising in the Ligurian Apennines, N Italy, and flowing generally NE past Bobbio to join the Po River near Piacenza. Near that city in 218 B.C. Hannibal won a decisive victory over the Romans. In 1799 the Trebbia was the scene of a Russo-Austrian victory over the French.

Trebbia

 

a river in northern Italy; a right tributary of the Po River. The scene of two important battles.

In December 218 B.C., during the Second Punic War, a Carthaginian force, commanded by Hannibal and consisting of 10,000 cavalry and 30,000 infantry troops, engaged a Roman army of 32,000 infantry and 4,000 cavalry troops, under the consul Sem-pronius Longus, on the banks of the Trebbia (Latin, Trebia). Hannibal had used his cavalry to lure the Romans into the plain of the Trebbia from their fortified camp nearby. He then routed them with attacks on the flanks and in the rear. Only 10,000 Romans managed to break through and escape.

On June 6–8 (17–19), 1799, during the Italian Campaign of Field Marshal A. V. Suvorov, a battle was fought near the Trebbia River between a combined Russian and Austrian force of about 30,000 men, under Suvorov’s command, and a French army of 33,000 to 35,000 men, under General J. Macdonald. On May 29 (June 9), Macdonald’s army had set out from the vicinity of Florence with the aim of reaching the valley of the Po via Modena and assisting General J. Moreau’s troops, who were cut off near Genoa. On June 4 (15), Suvorov, after sending a screening force against Moreau’s army, departed from Alessandria to meet Macdonald’s army. After a forced march, the Russian and Austrian troops on June 6 (17) met and repulsed the French army’s vanguard from the Tidone River to the Trebbia; on June 7–8 (18–19) they succeeded in routing the enemy’s main forces after several fierce engagements on the banks of the Trebbia. The French lost 16,000 men, compared with the allies’ loss of 6,000 men. With their victory, the allied troops strengthened their position in northern Italy.

References in periodicals archive ?
Her behavior (which seems real, if unusual), coupled with the use of semi-subjective filming, ensures that she has the same kind of concrete autonomy as the apparitions in Salto nel vuoto and Vacanze in Val Trebbia.
As such they are at least in part allegories--embodied concepts--differing from the presences in Vacanze in Val Trebbia and Salto nel vuoto, which instead seem to be embodied memories.
Unlike oneiric images in La condanna, Salto nel vuoto, Vacanze in Val Trebbia, and Il Principe di Homburg, the images here--manmade constructions of the divine--do not provide truth, or keys to the unconscious, but falsity.