It’s #PhotoFriday! Today’s image, “The Glorious Dead at Peace” features Caterpillar Valley Cemetery, France.
Caterpillar Valley Cemetery is located just west of Longueval, France. In the autumn of 1918 a small cemetery was created at this site containing 25 graves. It was not until after the Armistice in November 1918 that this cemetery was greatly enlarged to accommodate the graves of more than 5,500 officers and men who where brought from the battlefields of the Somme and from other smaller cemeteries to be interred here. The memorial and the cemetery was designed by the architect Sir Herbert Baker.
This week’s image is of the Menin gate, Ypres, Belgium. This magnificent structure is dedicated to the British and commonwealth soldiers who were killed during the First World War, and still to this day are missing in the Ypres Salient.
Once completed, the gate appeared to be not large enough to contain all the names as originally planned. It was then decided by the Commonwealth Graves commission that the 54,395 names of those who had died before 15th August 1917 would be inscribed on stone panels of the Hall of Memory within the Menin Gate. The remaining 34,984 names of those who were killed and are still are missing would be commemorated on the Tyne Cot Memorial to the missing instead.
In an act of gratitude to the brave soldiers who fought for the freedom of Belgium during the First World War, every night at 8pm buglers from the local fire brigade close the road which passes through the memorial and sounds the “Last Post.” With the exception of the German occupation during the Second World War, this evening ceremony has been carried out each night since the 2nd of July 1928.
When visiting Ypres earlier in the year, I had the privilege to witness this ceremony for myself. Standing alongside hundreds of people within the Hall of Memory surrounded by all the names of the missing etched onto the walls, knowing that the ground I stood on was were hundreds of thousands of brave men made their way to the front line, was a very overwhelming experience. Even now, recalling it now as I write this makes me emotional. The dignity, gratitude and honour shown to all those who fought all that time ago was extremely poignant and humbling. The memory of the night will live with me the rest of my life.
Dominating the skyline near the Villiage of Thiepval, France, stands the Thiepval Memorial which commemorates the 72,246 missing, or unidentified British Empire soldiers who have no known grave who died during the the battles of the Somme which took place between 1915 and 1918.
This magnificent memorial was constructed over a period 4 years, from 1928 and 1932. This edifice which is the largest commonwealth memorial to the missing in the world was designed by Sir Edwin Lutyens who is well known for designing the Cenotaph in London, Rashtrapati Bhavan (the Viceroys House) in New Delhi, as well as many more well known structures.
The memorial is also the Anglo-French battle memorial which commemorates the 1916 offensive where Britian and France fought side by side. At the foot of the Thiepval Monument lies a cemetery containing the 300 British Commenwealth and 300 French graves which recognises further the relationship both countries had during the Somme offensive. When I visited this site earlier this year I was in awe of the sheer scale of this structure. I had seen many images of it, but it wasn’t until I was standing inside the main arch that I truly realise the sheer scale of this magnificent memorial. Surrounded by the thousands of names of the lost carved in the newly restored Portland stone I stood overwhelmed. As physically monumental in scale this structure is, it does not compare to the scale of sacrifice and horrific loss of human life that took place between the July 1915 and March 1918. Like many of the sites visited on the trip, visiting the Thiepval Memorial is something I will never forget.
Happy #PhotoFriday everyone! This weeks instalment is an image of the entrance to the Essex Farm Cemetery, Belgium.
It is here at Essex Farm that the Canadian Physician Lieutenant Colonel John McCrae wrote his famous poem “In Flanders Fields.”
A close friend of Mcrae’s, Alex Helmer, was killed in battle and Macrae himself performed the burial. The following day, just by the Essex Farm Advanced Dressing Station, Macrae sat in the back of an ambulance and wrote his famous poem. Sadly Alex Helmers grave is now lost, but he is remebered with his name carved on the walls of the Menin Gate, Ypres.
Among the many graves here there is one that really that really effected my as I read the inscription on the Grave. It is the final resting place of Private Valentine Joe Strudwick of the 8th Rifle Brigade (1900-1916). He was one of the youngest casualties of the First World War. Enlisting at Lambeth, Surrey, he was to become a rifleman at only age 14. On Friday 14th January 1916, at Boezinge, West Flanders, he was killed in action. Valentine Joe Strudwick died when he was 15 years and 11 months old.
Visiting here is something that I will never forget.
Yes you guessed it, I was on my holidays again!! But don’t worry this trip has filled the ReClick Photo pool so much that there will be enough material to keep #PhotoFriday going for the next couple of years! As I have mention before I always shoot images in Raw Format so every image is processed individually so all these new images, combined with all the other images I have taken this year has created a vast ReClick Photo stockpile! In order to give you a tiny preview of my latest images (the rest of them you will see in the coming months) I am going to share an extremely special image of mine which captures a moment I have been waiting for all my life. Today’s #PhotoFriday image is of the Secession Building, Vienna, Austria.
Ever since I new what art truly was, I have known about the Secession and those who created and inhabited it. All throughout my secondary school education and then later on to art school, I learned all about the great secessionists such as the Great Gustav Klimt, Josef Hoffmann, Otto Wagner, Egon Shiele, Joseph Olbrich, Koloman Moser etc. Through time these great artists became my own personal creative heroes.
On Friday the 1st of June 2016, I finally had to chance to stand on the steps of the great Secession Building which is situated near Karlsplatz, Vienna. Looking up I was so overwhelmed by what I saw. For at least the past two decades I looked at various images of this building but to be there, to take it all in, to touch its wall with my hands was a dream come true.
Above the magnificent entrance in bright gilded lettering is the phrase which is synonymous with the secession movement “Der Ziet ihre Kunst. Der Kunst ihre Frieheit,” which translates to “To every age its art. To every art its freedom.”
These great artists believed that there should be no barrier between art forms. Their belief was in the gesamtkunstwerk or the total work of art. This means an art work encompassing all types of art forms. A great example of this is the Palais Stoclet in Brussels where every thing was designed and created to form a total work of art. From the architecture, to the paintings inside, right down to the egg cups and teaspoons.
This image, along with the others I took that day are a great reminder of the day my dream came true, and I hope you enjoy looking at the image just as much as I enjoyed taking it.
Happy #PhotoFriday everyone! Today’s instalment is an image I kept back from my recent post about my trip to the Canadian Nation Vimy memorial in France earlier this year. It features a view of its pair of Seget limestone pylons, and the figure of Canada Bereft (also known as Mother Canada) looking downwards.
I had the great honour of visiting the Canadian National Vimy Monument during a tour of First World War battle sites back in April the year. This post is the beginning of a number First World War related posts all cross ReClick Photos social media profiles, and items on the website. Since 2014 there have been many centenaries commemorating the many battles and other event of the First World War. These commemorations are still on going, and will continue to do so over the coming years.
This magnificent monument stands as a memorial to those 11,285 Canadians who were tragically killed in France and whose final resting place is still unknown. Located on the highest point of Vimy ridge, Hill 145, the memorial stands aloft a 100 acre site in which France granted the use of this section of the ridge in recognition of all that Canada did for them during the war. The only condition placed upon them was that the land was to be used to build a monument to those Canadian which fought and died during the First World War and take on the full responsibility of looking after the monument and the surrounding land. It was during the Battle of Vimy Ridge that all four divisions of the Canadian Expeditionary Force worked as a whole for the first time, and their success of managing to help capture the ridge from the enemy forces became a source of great pride for the people of Canada.
In 1920 the Imperial War Graves Commission had granted the Canadian Government three sites in Belgium and five sites in France to built memorials to those who bravely served their country. Later that year the Canadian Battlefields Memorials Commission was formed who decided to open a architectural design competition in which all Canadian architects, artists, designers, and sculptors could submit a design for a national memorial. Out of 160 designs were submitted to the jury for selection, 17 were selected for further consideration.
At this stage of the process, the finalists were asked to produce a plaster model of their proposed design. The Commission decided that both submissions by Frederick Chapman Clemesha, and Walter Seymour Allward were going to be realised. It wasn’t until October 1921, that the design by the Toronto based sculptor and designer Walter Seymour Allward was hailed as the winner of the competition, and Clelmesha’s had been selected as the runner-up.
In early 1922, Allward started his preparations for moving to Europe. After spending a few months looking for a suitable studio, he eventually settled in London. For the next two years he searched for the right stone to construct his design. He did eventually find it near Seget Croatia. His choice was Seget Limestone which was found at an ancient Roman quarry. The quarrying and logistical process to move the stone to site was a mammoth task and wasn’t completed until 1931.
Once the foundation was complete work could begin. Allward produced half size plaster models in his studio in London and the sculptors used these to carve the 20 human figures on site. A temporary studio was created around each figure which was carved from a large block of stone.
The foundation for this memorial alone consisted of eleven thousand tonnes of reinforced concrete. the pylons and limestone base is constructed with nearly six thousand tonnes of Seget Limestone, all of which had to be transported from Croatia.
Visiting this monument was such a overwhelming experience that I will never forget. Its size and grand scale, for me, symbolises the great sacrifice those brave souls made for their King and country. It is a place of reflection, contemplation, and remembrance.
We are now over one hundred years on from the beginning of the First World War, and even now thousands of men lay undiscovered. It was a war in which the world was changed forever. We are now living in age where there are no surviving veterans from World War I, it is now our responsibility to keep their memories alive. Their sacrifice and bravery cannot, and must not be forgotten.