{"id":4755,"date":"2024-01-10T08:34:38","date_gmt":"2024-01-10T08:34:38","guid":{"rendered":"https:\/\/www.historial.fr\/resources-2\/the-centre-and-its-actions\/resources\/encyclopaedia-of-the-great-war\/part-two-fighting\/"},"modified":"2024-03-06T08:39:56","modified_gmt":"2024-03-06T08:39:56","slug":"part-two-fighting","status":"publish","type":"page","link":"https:\/\/www.historial.fr\/en\/resources-2\/the-centre-and-its-actions\/resources\/encyclopaedia-of-the-great-war\/part-two-fighting\/","title":{"rendered":"Part Two: Fighting"},"content":{"rendered":"\t\t
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Part Two: \n
Fighting<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u00a9 Coll. Historial de la Grande Guerre – P\u00e9ronne (Somme). Photo Yazid Medmoun \u2013 French uniforms, 1914 (Room 2 of the Historial of the Great War). Compared with the kit used by other armies, the equipment issued to French soldiers at the beginning of the war was exceedingly ill-suited to modern warfare. Above all, it demonstrated the extent to which the military command had under-estimated the consequences of new weaponry. The uniform had changed little since 1870, and indeed the red trousers had been army standard since 1829. The rest of the kit was introduced in the late 19th century. The need for camouflage was entirely overlooked, in spite of the introduction of new helmet and beret covers in 1902 (updated in 1913). At this time, infantry comprised two-thirds of the armed forces. Nevertheless, cavalrymen in breastplates were expected to lead the charge, to the sound of the bugle, while officers still wore swords and the importance attached to the aesthetic details of battledress are testament to the enduring myth of the heroic battle charge. This pride in martial \u201cculture\u201d was gradually abandoned in response to the sheer scale of losses in the early phases of the war, as well as the new realities of trench warfare.<\/figcaption><\/figure>
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\u00a9 Coll. Historial de la Grande Guerre – P\u00e9ronne(Somme). Photo Yazid Medmoun – Equipment carried by a French soldier, 1915-1916 (Historial Room 2). The famous \u201csky blue\u201d French uniform, complete with the Adrian helmet which became standard issue from 1915 on. Add in the soldier\u2019s personal tableware, linen, spare socks, tools weapons and a few personal items, and it becomes clear that French infantrymen really did have to carry their lives on their backs. On long marches to reach the front line, this burden could be overwhelming.<\/figcaption><\/figure>
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\u00a9 N\u00b0 inv. : 12 ART 13.1. Coll. Historial de la Grande Guerre \u2013 P\u00e9ronne (Somme). Photo Yazid Medmoun \u2013 Anti-German effigy. A pig\u2019s snout protrudes from beneath a miniature helmet, mounted on a French \u2018Adrian\u2019 helmet. The precise purpose of this item of trench craft, aside from mocking the enemy, is not known. Nonetheless, comparing the Germans to pigs was a common motif in France during the Great War: this bestialisation of the enemy is quite typical of French martial culture.<\/figcaption><\/figure>
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\u00a9 Oil on canvas. 270 mm x 318 mm. N\u00b0 inv. : 14 FI 88. Coll. Historial de la Grande Guerre \u2013 P\u00e9ronne (Somme). Photo Yazid Medmoun \u2013 The atrocities of the 1914 invasion. This oil painting, executed in a decidedly rudimentary fashion, is accompanied by an explanatory text. It states that, after capturing a trench and taking 200 prisoners, the victorious French troops discovered the corpse of a young farm girl \u201cmutilated and shot by the barbarians for refusing to provide information.\u201d The victim is wrapped in a shroud in the foreground, while in the background a motley crowd of soldiers appear to be petrified by this macabre discovery. This is an extremely rare artefact, obviously painted \u201cin the heat of the moment\u201d by a witness determined to leave a visual record of this blatant transgression of the rules of war. Recent research has established beyond any doubt that stories of \u201cGerman atrocities\u201d committed during the invasion were not simply a propaganda exercise: in Belgium and the north of France, such acts were widespread during the first weeks of the conflict.<\/figcaption><\/figure>
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\u00a9 N\u00b0 inv. : 5 USC 63.1. Coll. Historial de la Grande Guerre \u2013 P\u00e9ronne (Somme). Photo Yazid Medmoun \u2013 \u2018Ya Bon\u2019 box, 1914-1916. High hopes were pinned upon France\u2019s colonial troops (the \u201cBlack Force\u201d championed by General Mangin), before the war. Sizeable cohorts of men were indeed recruited in the French colonies (mostly in French West Africa, especially Senegal) and dispatched to the Western Front, where their deployment proved to be more problematic than anticipated. The weather conditions contributed to a very high death rate, which forced the French high command to move the colonial troops to bases in the south of France during the winter. This largely explains why their overall death rate was actually lower than that suffered by troops from mainland France. The fascination \u2013 a combination of subtle racism and paternalist attachment \u2013 which these soldiers of colour held for the French public, including stereotypical mimicry of their manner of talking (the exclamation of \u201cYa Bon\u201d featured on this tub, whose purpose is unknown, is to be compared with the slogan \u201cYa bon banania,\u201d which became popular in this period), was matched by the sheer revulsion they inspired in the Germans, who accused the Allies of lowering the standards of this war among Western powers, and thereby abandoning any claim to be on the side of civilisation.<\/figcaption><\/figure>
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\u00a9 N\u00b0 inv. : 6 ARM 3.1. Coll. Historial de la Grande Guerre – P\u00e9ronne(Somme). Photo Yazid Medmoun – Shell fragment. Shells were the primary cause of combat wounds in 1914-1918: they accounted for two-thirds of all such injuries, but the precise number of deaths they caused is unknown, and can only be estimated on the basis of battlefield archaeology. A shell could kill a man in any number of ways: a direct hit, particularly from a large-calibre shell, could literally obliterate bodies to the extent that almost no remains would be found. If soldiers were caught in a shelter that had not been dug deep enough, the walls could collapse and leave them buried alive (this could also occur when mines were detonated beneath enemy trenches). But, more often than not, it was shrapnel which brought injury and death. Shells were expressly designed to ensure that, when they exploded, the fragments would not lose their speed and momentum too quickly. These jagged projectiles caused the worst wounds of the entire war, and were capable of ripping off just about any part of a human body. The biggest fragments, like the one shown here, could take off a face, a head, an arm or a leg, slice open an abdomen or even cut a man clean in half. In fact it was not rare for pieces of exploded bodies to end up splattered across the clothes and faces of the soldiers in the victim\u2019s vicinity. Not all shell fragments were as big as this one: often they would measure just a few square centimetres, but many victims were hit by a shower of shrapnel, included tiny little pieces that were fiendishly difficult to find and extract, especially from the skull. Many survivors of the war lived out the rest of their days with minuscule fragments of steel trapped somewhere beneath their skin.<\/figcaption><\/figure>
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\u00a9 Coll. Historial de la Grande Guerre – P\u00e9ronne(Somme). Photo Yazid Medmoun – Field dressings. Soldiers in all of the armies were issued with individual field dressings, the design of which was perfected as the war progressed. If they were in a fit state to do so, wounded soldiers were to open their field dressing packs and apply a compress to their wounds; if not, it fell to their fellow soldiers or officers to perform this vital bit of first aid, intended to stem the bleeding and ensure that no mud got into the wound. It could take some time before the wounded could be treated by a member of the medical corps (stretcher-bearers, doctors in the field hospitals) too late, for many.<\/figcaption><\/figure>
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\u00a9 N\u00b0 inv. : 1 UNF 9.2. Coll. Historial de la Grande Guerre – P\u00e9ronne(Somme). Photo Yazid Medmoun – German steel helmet (1917 model with camouflage). The frequency and severity of head wounds obliged the German army to issue its troops with heavy metal helmets to replace the old pointed model made of boiled leather, which was expensive to produce and yet offered a wholly insufficient level of protection. Dr. Bier, a surgeon with the XVIIIth armed division, had demonstrated that 83% of cranial injuries were caused by shell fragments, often small in size. He joined forces with Professor Schwerd of the Technical University in Hanover, and together they developed a steel helmet which was used for the first time at Verdun in February 1916. Manufactured in five sizes, each Stahlhelm was formed from a single piece of stamped steel plate. The use of an alloy containing 1.5% nickel-chrome made it possible to reduce the weight of the helmet (1.2 to 1.4 kg). Stud bolts on either side could be used to attach a reinforced front panel (Stirnpanzer) which added 2 kg in weight but provided essential protection for sentinels and machine gunners. The 1916 model had internal rivets to which the chinstrap of the old-model helmet could be attached, whereas the 1917 model featured a new strap attached directly to the internal metal bar which ensured that the helmet was tight to the wearer\u2019s head. In order to prevent light reflecting off the steel, a canvas helmet cover was issued. Some soldiers also got into the habit of coating their helmets in mud or wax. On 7 July 1918, the German high command replaced the old feldgrau paint with a new camouflage made up of geometric forms in alternating hues of green, ochre and rust, separated by black lines. 7.5 million of these helmets were manufactured, and the stahlhelm became one of the abiding visual symbols of the \u201cmen of steel\u201d who fought in heavy artillery battles like Verdun and the Somme.<\/figcaption><\/figure>
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\u00a9 Mine de plomb et fusain sur canson. 547 mm x 407 mm. N\u00b0 inv. : 9 FI 79. Coll. Historial de la Grande Guerre – P\u00e9ronne(Somme). Photo Yazid Medmoun – \u2018Zero hour on D day\u2019 (drawing by Alexandre Zinoview). Born in Russia, Alexandre Zinoview moved to Paris to study art in 1908. In 1914 he signed up to the Foreign Legion, like so many artists resident in France or who had a deep attachment to the country. He spent the war fighting alongside the regular army. In this scene, the moment is nigh when the men must go over the top: the ladder (or \u201cscaffold\u201d) is leaning against the parapet, the bayonets are mounted. One soldier \u2013 an officer? \u2013 consults his watch ensconced in its protective leather case. Before the offensive, the leaders of each section and company would ensure that their watches were synchronised. Through meticulous attention to details such as this \u2013 as painstaking as it was futile \u2013 the senior officers attempted to compensate for the innumerable uncertainties which awaited any foray into no man\u2019s land.<\/figcaption><\/figure>
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\u00a9 N\u00b0 inv. : 20 FI 2. 1000 mm x 704 mm. Coll. Historial de la Grande Guerre – P\u00e9ronne(Somme). Photo Yazid Medmoun – Memories of a gas attack, 1915. This large relief \u2018painting\u2019, on wood, plaster and metal, tells a terrible story: on 27 October 1915, at Bois Sabot (Champagne), the artist (Amiot) and his comrades in arms from the 13th Dragoons took over the watch from a company of infantry. At 4 o\u2019clock that morning, with a northerly wind blowing, a gas attack caught them unawares and without their gas masks. All of the soldiers on the front line \u2013 Amiot included \u2013 were hit by the gas, and the survivors had to be evacuated in the pitch darkness. Many of them died in agony\u2026 It is important not to be fooled by the apparent truculence of the ending of this text, which attributes the artist\u2019s survival to the contents of his wine flask. The care and attention to detail invested in the creation of this \u201cartwork\u201d hint at its cathartic purpose, as its creator recuperated from this traumatic experience. The prospect of a gas attack legitimately terrified the troops. \u201cDeath floats in on the northerly breeze\u2026\u201d<\/figcaption><\/figure>
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\u00a9 N\u00b0 inv. : 1 APV 1.5. Coll. Historial de la Grande Guerre – P\u00e9ronne(Somme). Photo Yazid Medmoun – Camera. This pocket Kodak camera, bought in Canada, belonged to two of France\u2019s flying aces \u2013 the Navarre brothers \u2013 between 1914 and 1917. However, compact models such as this one were more likely to be found in the pockets of infantrymen: the war was abundantly photographed by those who fought it, in defiance of military regulations which forbade photography. llustrated newspapers, hungry for spectacular images of the conflict, organised photography contests and published many shots submitted by soldiers. Nonetheless, this was rarely the primary factor which motivated soldiers to photograph the war, their war: it was more a matter of immortalising the memory of their personal involvement in this historic conflict on an unprecedented scale.<\/figcaption><\/figure>
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\u00a9 N\u00b0 inv. : 6 ART 7.1. Coll. Historial de la Grande Guerre – P\u00e9ronne(Somme). Photo Yazid Medmoun – Trench cello. This trench-made French cello is a classic example of the light, hand-made, robust and easily-replaceable musical instruments produced by soldiers in the trenches. Which is not to say that the soldiers were not attached to these creations: the four \u201cstripes\u201d visible on this instrument are based on those worn by the soldiers themselves (one stripe for every six months at the front), indicating that this cello was, in the eyes of its owner, a person too. This instrument belonged to professional musician Fran\u00e7ois Gervais, who served with the 313th Infantry and described the design and execution of this cello in detail in his notebooks. In addition to instruments made by the soldiers themselves, the trenches were full of industrially-manufactured instruments brought up from the rear (German harmonicas, for example). The British were also fond of gramophones, which provided some home comfort and entertainment, largely drawn from the music hall tradition, whose trademark comic pessimism was easily transposable to life at the front. Nonetheless, we have little real understanding of how these instruments were used. They were probably played in makeshift \u201cshows,\u201d as well as providing accompaniment for the songs sung by the troops. The existence of these shows and songs is well attested, but details are scarce. Still, the existence of musical instruments at the front, home-made or otherwise, is testament to the persistence of a lively \u201ccultural life\u201d on the front line, an important factor in maintaining morale and sociability.<\/figcaption><\/figure><\/div>\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Part Two: Fighting \u00a9 Coll. Historial de la Grande Guerre – P\u00e9ronne(Somme). Photo Yazid Medmoun – Uniformes fran\u00e7ais, 1914 (Salle 2 de l’Historial de la Grande Guerre). Compar\u00e9 \u00e0 ceux […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":4579,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-4755","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nPart Two: Fighting - Historial de la Grande Guerre<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.historial.fr\/en\/resources-2\/the-centre-and-its-actions\/resources\/encyclopaedia-of-the-great-war\/part-two-fighting\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Part Two: Fighting - Historial de la Grande Guerre\" \/>\n<meta property=\"og:description\" content=\"Part Two: Fighting \u00a9 Coll. Historial de la Grande Guerre – P\u00e9ronne(Somme). 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