Ypres to Verdun: A Collection of Photographs of the War areas in France & Flanders — John Shaqi
Ypres to Verdun: A Collection of Photographs of the War areas in France & FlandersKennedy, Alex. B. W. (Alexander Blackie William)
History
Ypres to Verdun: A Collection of Photographs of the War areas in France & Flanders
Kennedy, Alex. B. W. (Alexander Blackie William)
World War, 1914-1918 -- Campaigns -- Western Front; World War, 1914-1918 -- Pictorial works
"37 nouveaux empoisonnés dans la matinée du 23. Impossible de les
mener plus loin que l'hôpital civil où ils sont logés dans les
caves.... Nous aussi, nous reçûmes notre part: un sur le couvent, et
deux, trois, aux alentours. Voilà qui est terrible! L'eau me coula des
yeux, mes lèvres bleuirent, j'étais prête à suffoquer."
But the brave lady never suggests for a moment that she should leave
the place, and did in fact remain in the city until the military
insisted on everyone leaving on the 9th of May, when there seems to
have been imminent fear of the Germans reaching the city, and when,
at any rate, the Kaiser was again waiting at Thielt in expectation of
entering it.
St. Julien was taken at the time, and the German line advanced to the
canal some miles in front of it; but the ruined village was afterwards
recaptured and gas drenched by us--a strange Nemesis--in July, 1917,
and remained in our hands until the German advance in 1918. Plate 16
certainly does not suggest the tragedy which we must always connect
with the name of St. Julien; it is a screen at the entrance to a
Chinese camp which stood there in 1919. It illustrates, oddly enough,
an ancient Chinese superstition that "spirits"--and of course spirits
are always malevolent--can only go straight forward, so that if any
kind of screen is placed in front of the house entrance the spirit will
be unable to get in, not, apparently, having the sense to go round the
barrier. The gentleman standing in front of the screen (which is in
effect a huge triptych) gave us to understand that he was the artist,
but our knowledge of Chinese and his of English were too limited to be
very certain. The screen was certainly quite a satisfactory piece of
decoration.
In 1917 we were preparing for the long-drawn attack which eventually
gave us the Passchendaele Ridge (Plate 17), fighting for months over
such ground as the foreground of the photograph shows. Defence by such
means as the construction of a "Hindenburg Line" was quite impossible
in the mud and slime of the salient, and Von Armin devised the scheme
of what we came to call "pillboxes." Each pillbox was a structure
(Plate 18) of reinforced concrete, often large enough to hold thirty
or forty men with machine-guns, and strong enough to give protection
from everything short of a direct hit by a large shell. They were only
raised above ground-level sufficiently to allow the guns to be worked,
their entrances being, of course, at the back. They were echeloned
along behind the front line, and connected and protected by barbed-wire
entanglements. They proved a serious difficulty when we first had to
deal with them in July-August, 1917. General Haig says:
"Many were reduced as our troops advanced, but others held out during
the day, and delayed the arrival of our supports."[13]
[13] Despatches, p. 118.
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