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This space implements a fantastic modern design. It has a bay window and French door that tie in very well with the selected finishes, both for the walls and gypsum ceiling. The whole look is amazingly complemented by the timber flooring. The bay windows and French doors stand out architecturally and also help to draw in a lot of natural light. The heavy drapery is boxed to house the curtain tracks. It's a very inviting space.
Visited a garden in Sussex on my birthday. They had a mock up of a Victorian potting shed with lots of gardening implements.. Perfect for the theme!!
Farm implement near McBaine in rural Boone County Missouri by Notley Hawkins Photography. Taken with a Canon EOS 5D Mark IV camera with a Canon EF16-35mm f/2.8L II USM lens at ƒ/4.0 with a 52 second exposure at ISO 100. Processed with Adobe Lightroom 6.4.
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©Notley Hawkins
An abandoned farm implement near Overton in Cooper County Missouri by Notley Hawkins Photography. Taken with a Canon EOS 5D Mark III camera with a EF16-35mm f/4L IS USM lens at f.4.0 with a 1.3 second exposure at ISO 800 along with three Quantum Qflash Trios with red, green and blue gels. Processed with Adobe Lightroom 6.4.
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©Notley Hawkins
A mutilated French soldier after WW I
Gueules cassées (broken faces)[1] is a French expression for facially disfigured servicemen which originated in World War I. Colonel Yves Picot is said to have coined the term when he was refused entry to a gathering for the war-disabled.[1][2]
Contents
1Background
2Gueules cassées
3In film
4External links
5References
Background[edit]
Trench warfare protected the bodies but left the heads exposed.[3] The introduction of the steel helmet in 1915 made head shots more 'survivable', but this reduction of mortality meant a mutilated life for thousands.[1]
At the start of the war those wounded to the head were generally not considered able to survive and they would not usually be 'helped first'.[4] This changed in the course of the war, as progress was made in medical practices like oral and maxillofacial surgery and most notably in the new field of plastic surgery.[5] Surgeons conducted experiments with bone, cartilage and tissue transplants and the likes of Hippolyte Morestin, Harold Gillies and Léon Dufourmentel made enormous advances.[3] Because of the experimental character of this surgery some chose to remain as they were and others could just not be helped yet.[4] Some of the latter were helped by all kinds of new prosthetics to make them look more or less 'normal'.[6]
Gueules cassées[edit]
An estimated 4.2 million French were wounded, 300,000 of whom were classified as 'mutilated'. Of those some 15,000 can be called gueules cassées.[7] Right after the war those facially disfigured were not considered war veterans and exempt from support and veteran's benefits, but that changed later. In 1921 the Union des Blessés de la Face et de la tête (association of the wounded to the face and the head) was formed. The Colonel Picot mentioned above was one of its founders and a later president of the association.[1] It still exists, currently under the name Gueules Cassées with, considering the mutilations, the somewhat sour slogan sourire quand même ("smiling nonetheless").
In film[edit]
J'accuse! (1938), Abel Gance. The film features actual mutilated veterans.
Johnny Got His Gun (1971), Dalton Trumbo
The Officers' Ward (2001), François Dupeyron
See You Up There (2017), Albert Dupontel
External links[edit]
(in French) Website of the association
Broken gargoyles, article in The Guardian about much the same thing among Australian veterans
"Facing the Faceless: Erased Face as a Figure of Aesthetic and Historical Experience", a scholarly article about the phenomenon of disfiguration in art and literature and in relation to "gueules cassées". See Jirsa, Tomáš. Czech and Slovak Journal of Humanities, 5 (1), 2015, 104-119.
en.wikipedia.org/wiki/Gueules_cassées
Mutilation and Disfiguration
By Julie Anderson PDF EPUB KINDLE Print
The First World War created disfigured and mutilated bodies on a grand scale. Never before had the bodies of soldiers been so devastated by a conflict. Developments in established weapons such as cannons and machine guns, and terrifying innovations such as poison gas, created a relative army of disfigured and mutilated men. Some men lost multiple limbs and sensory organs such as eyes. No part of the body was safe from the potential of severe and life-changing wounds. Owing to new and advanced medical specialities, surgical techniques, and technical innovations, soldiers survived wounds that in previous conflicts might have killed them. Wounds healed, but often bodies were left badly disfigured and mutilated. These men had to manage not only the result of their bodily wounds, but also their emotional trauma and their new role as disabled veterans. For these damaged men, their war was over, but recovery, rehabilitation, and reintegration presented a new set of challenges.
Table of Contents
1 Introduction
2 Medical Specialities and Specialist Hospitals
3 Amputation
4 Prosthetics
5 Mutilation
6 Plastic surgery
7 Remembering the Disfigured and Mutilated
8 Conclusion
Notes
Selected Bibliography
Citation
Introduction↑
While war is no stranger to mangled bodies, the First World War was unprecedented as it created a significant number of mutilated and disfigured men, many more than in previous conflicts. This article focuses particularly on the Western Front, a battleground established early in the war, where new forms of weaponry created new types of bodily injury.[1] The siege-style warfare of bombing and shelling on the Western Front meant that significant numbers of men were killed and others badly wounded on the periphery of a direct hit. New developments in weapons such as machine guns and grenades and more frightening and mysterious weaponry such as poison gas created an unprecedented range of mutilating and disfiguring wounds internally and externally.[2] These innovations in weapons and unspecific targeting circumvented the basic personal safety equipment provided to the fighting men, such as helmets and gas masks, and wreaked havoc on the body. No part of the soldier’s body was safe. Limbs were shattered by shrapnel and needed to be amputated to save patients’ lives. Gas blistered lungs and caused lifelong breathing difficulties and blindness. Gunshot wounds left random scars on bodies, a permanent reminder of war. The nature of trench warfare on the Western Front meant that faces were particularly vulnerable to gunshot wounds. Repairing faces presented a challenge to the medical profession and exposed a new type of visual horror.
Since Joanna Bourke’s seminal book Dismembering the Male was published in 1996, there has been a growing interest from historians in the historiography of the impact of war, and its permanent and devastating effects on the body.[3] Wounding is discussed in texts that focus on medical care in the conflict, such as Leo van Bergen’s 1999 book, Before My Helpless Sight.[4] Although van Bergen’s book focussed on wounding in all warring nations on the Western Front, much of the research which followed his book has centred on individual nations. The work which centres on mutilation and disfigurement concentrates on the ways that men with specific wounds were treated in hospitals and rehabilitation centres and, after their demobilisation, the ways in which they negotiated their identity, health, and perceptions of those around them. Ana Carden-Coyne and Jeffrey Reznick have concentrated on Britain; Sabine Kienitz, Heather Perry, and Wolfgang Eckart have examined Germany; Beth Linker has analysed disabled veterans in the United States.[5] There have been few comparative studies except for Deborah Cohen’s study on disabled ex-servicemen’s experiences in Britain and Germany, Marjorie Gehrhardt’s study of facial disfigurement in Britain, France, and Germany and Susanne Michl’s book comparing Germany and France.[6] Sophie Delaporte’s study on the facially disfigured in France is the most specific, as it concentrates on a particular type of wound in one nation.[7] As might be expected, analysis of mutilation and disfigurement has been confined to the largest nations: Britain, France, and Germany, and to a lesser extent the United States, with the exception of Pieter Verstraete and Christine van Everbroeck’s work on Belgian soldiers’ wounds.[8] There remains plenty of scope for historians in the future to analyse the impact of this specific type of wounding, treatment regimens, and reception in other nations.
Medical Specialities and Specialist Hospitals↑
While there are a number of arguments centring on whether or not war advanced medical practice, war certainly led to new techniques and technologies in the field of treating cases of mutilation and disfigurement.[9] Complex war wounds led to collaboration between different medical specialities to repair unprecedented bodily damage.
Two medical specialties in particular developed new techniques to treat the vast numbers of cases of mutilating and disfiguring wounds. The first was orthopaedics. It was already an established medical speciality before the war, but throughout the war techniques were advanced and new technologies developed. Amputation was the most common operation performed by orthopaedic surgeons during the war. Plastic surgery also developed further as a result of the significant number of injuries to the face and head. Specifically concentrating on the face, plastic surgeons painstakingly operated to recreate some semblance of a soldier’s pre-war appearance. Developments in military medicine served to alleviate advances in weapons that caused bodily damage.
Dedicated hospitals and institutions were established to treat these specific wounds. Often, the hurried efforts of surgeons at the front meant that amputee soldiers required further surgical procedures to repair and improve their amputation. Patients also needed time to recover from surgery. Following procedures, a prosthesis needed to be fitted and rehabilitative therapy commenced. In many cases, specialist limb fitters were placed in hospitals to ensure that the soldiers or sailor received the best fitting prosthesis. Specialist hospitals were established as those with amputation required specific types of treatment and rehabilitation was important in order to return amputees to the work force to assist the war effort.
The organisation of hospitals and centres differed nationally. In Britain, the largest hospital for military amputees in England was Roehampton, a short distance outside London, and Erskine Hospital, just outside Glasgow, was the second largest.[10] The hospital facilities also housed limb-fitting workshops, where the amputee soldiers were fitted with their artificial limbs. There were significant numbers of specialist hospitals in Germany. At the hospitals, work therapy or Arbeitstherapie for amputees was the established method of rehabilitation, and a number of centres that focussed on different types of employment were set up for post-convalescence.[11] In most countries, hospitals combined medical care and rehabilitative regimes with the fitting of limbs and training for work. In the United States, two hospitals became centres for orthopaedic care – the Letterman General Hospital in San Francisco and the Walter Reed General Hospital in Washington.[12]
High quality centres for the treatment of facial wounds were established by a number of doctors during the war. In Britain, Harold Gillies (1882-1960) opened a specialist hospital, the Queens Hospital, to treat soldiers with facial wounds. The Dominions, Canada, New Zealand, and Australia provided specialist surgeons for their own soldiers at the hospital in the southeast of England, which by 1918 contained more than a thousand beds.[13] Gillies had originally worked with dentist, Charles Valadier (1873-1931), at the front and they concentrated on a combination of functional repair and the aesthetic of the face. In Paris, Hippolyte Morestin (1869-1919) worked to repair the faces of French soldiers wounded in war. Jacques Joseph (1865-1934) operated at the Charité in Berlin, where he performed plastic surgery on the facially wounded men of the German army. As well as providing specialist surgical treatment, the hospitals in warring nations provided specific kinds of associated therapy. For disfiguring wounds of the face, particular care had to be taken with mental health issues as well as physical restoration.
Amputation↑
Limb amputation was one of the most common practices during the war. Many thousands of limbs were amputated and lives were saved through its use. It is estimated in Germany that the number of amputations totalled 67,000 and 41,000 in Britain.[14] Many soldiers believed that they would rather die than be maimed, yet doctors at the fronts saved many thousands of soldiers through amputation.
Limbs were amputated for a number of reasons. They were often shredded as a result of shrapnel or explosions; machine guns shattered bones in arms or legs. Compound fracture, or one where the bone was shattered and projected through the skin, was a complex wound, and limbs were often amputated.[15] Often there was no bone left to join together, and the threat of complications such as infection meant that performing an amputation was safer for the patient. Environmental conditions increased the number of amputations and not all amputations were the result of traumatic injury. On the Western Front, amputations were conducted in cases of trench foot, caused by poor foot hygiene and immersion in trenches full of water. Furthermore, infection was often a complication in wounds. If gas gangrene affected an arm or leg, further amputations were conducted in order to save the soldier’s life.
Much of the work for orthopaedic surgeons on all sides of the conflict was centred on amputation. Orthopaedic surgeons conducted amputations for centuries, and innovations in anaesthetic, antiseptic use, and a range of surgical techniques improved patient outcomes during the war. Specific methods, care, and surveillance were employed to improve results and survival rates, and these were communicated to other surgeons by senior practitioners. In 1915 in Germany, Fritz Lange (1864-1952) a Munich orthopaedist published a field manual for army doctors. In Kriegs-Orthopädie (War Orthopaedics) he outlined methods to treat and transport patients with shattered limbs.[16] In Britain, Robert Jones (1857-1933), who became Director of Military Orthopaedics published Notes on Military Orthopaedics in 1917.[17] Publications such as these provided less experienced surgeons with guidance on practices and techniques to improve surgical and post-operative outcomes.
Long-held views on surgical treatment were challenged during the First World War. The range of damage to the body was often so extensive that different methods were employed to ensure the patient’s survival. Debridement, where flesh was removed, which was not employed in the early part of the war, was rediscovered and used effectively to prevent complications. The flap amputation, where a piece of skin covered the exposed amputation site, creating a padded area to make a healthy stump, was common in the 19th century and was effectively used during the war.
Surgeons at the front and in hospitals in their home country conducted thousands of amputations, from fingers to legs. Many soldiers endured multiple amputations, as the force of an explosion tore limbs from the body. However, American-born Ethelbert “Curley” Christian (1882-1954) who served in the Canadian army, was thought to be the only soldier to survive having all four of his limbs amputated.
Many surgeons became very skilled in the art of amputation through extensive practice. Surgeons at the front or on-board ships often amputated numbers of patients at a time. Often their hurried procedures left painful nerves exposed or an unsuitable stump so those amputations were tidied up away from the front by hospital surgeons who had more time to perform surgery in less pressured conditions. Some soldiers had four or five re-amputations in order to create a stump suitable for a prosthesis to be fitted.
There was much discussion amongst surgeons about where to amputate. In the First World War, surgeons undertook the practice of limb saving, which meant that they amputated as little of the limb as possible. One of the most important factors for a patient’s successful recovery after amputation was the correct surgical creation of the stump. Irregular stumps often made it difficult for technicians to fit an artificial limb. The stump was a vital component of the body-prosthesis nexus and needed to be surgically well-formed in order to provide a strong basis for the good fit and the best function of the prosthesis.
The stump had to be strong and painless. Many soldiers endured bulbar nerve surgery, as their stumps were sometimes painful due to exposed nerves. While they were in the hospital, many soldiers hardened their stumps by rubbing them with methylated spirits and wrapped them in tight bandages as they were healing. The stump also needed to shrink before it was fitted with a prosthesis. Soldiers learned to use their artificial limbs which often took many months. Early in the war, many soldiers were discharged from hospitals early, as hospitals experienced difficulty coping with the number of amputees. However, lack of instruction in the use of the limb affected soldiers’ stumps and, as one soldier noted, hospitals were full of men requiring treatment for sores on their stumps.[18]
Prosthetics↑
Prostheses were provided for amputee soldiers. New materials and designs were developed, ensuring that amputees were provided with the most advanced artificial limb available. Nations mobilised designers to create prosthetic limbs and a workforce to make them. In Germany, a great deal of effort was put into developing new devices to assist amputees.[19] Owing to their experience in the Civil War, American manufacturers, whose numbers had increased significantly after that conflict, were invited to Britain to share their expertise and develop new prosthetics.[20] For the first time, limb manufacturers worked closely with surgeons, a co-operation between the art of surgery and the craft of limb manufacture and fitting.
In the early part of the war, limb designs were similar to those developed in the 19th century. Heather Perry states that from the beginning of the war, German orthopaedists realised that they would need better prosthetics than were available.[21] Usually, arms and legs were made of wood, although metal was used as the war progressed, and were attached to the body using a range of leather straps and laces. A full leg amputation was often attached with a strap over the shoulder, as wooden prosthetic legs were very heavy. Arms were attached to the body with complicated harnesses, which often made them quite difficult to use.
As there were so many amputees, the pace of production of prosthetics was difficult to maintain throughout the war. One American orthopaedic surgeon estimated in 1915 that French limb makers were only able to manufacture 700 prostheses for the 7,000 amputees that required them.[22] In Britain, some of the 200 American prosthetic limb manufacturers were invited to establish workshops at the Queen Mary’s Limb fitting hospital at Roehampton, just outside London.[23] As many soldiers required prostheses, attempts to improve the speed at which limbs were supplied by making standard parts and fitting them together was adopted. Nevertheless, the number of amputees put pressure on the limb fitter’s ability to make the prosthesis and train the amputees to use their artificial limbs effectively. Limb fitters, surgeons, and disabled soldiers were concerned with three main issues: fit, function and camouflage.
Prosthetic arms were more difficult than legs to produce, as it was problematic to attach arms to the body. A complicated series of leather straps and laces was required, which made an artificial arm heavy and difficult for the wearer to manoeuvre. A range of implements to fit the arm prosthesis were developed, including eating utensils and tools. Small design adjustments made a difference in improving the prosthesis’ usefulness to the soldier. Often, this made the limb aesthetically different, creating an unfamiliar limb and an altered human form. Efforts were made to maintain recognisable physical standards, yet make limbs functional. The Openshaw hand had two little fingers strengthened with metal so that items could be carried. Yet functional limbs were not often very attractive to the public, so attempts were made to hide artificial limbs, particularly outside the work environment. In Germany, the “Sunday arm” was worn when a soldier wanted to disguise his amputation. If the limbs fitted well, functioned properly, and maintained standards of acceptable physiognomy, it was easier to hide the fact that a soldier or sailor wore an artificial limb.
Despite these new innovations, many artificial arms and legs were discarded when the men left hospital and only used on special occasions.[24] Poor fit, a lack of training in their use, and the soldier’s inability to adapt to the limb often meant that prostheses remained unused.
A prosthetic limb was compensation from the state for bodily loss, though some nations rewarded their disabled veterans more comprehensively than others. In addition to pensions, the British government provided a limb to each amputee veteran and by 1925 all amputees from the war were given a second limb as a substitute when a limb went for repair. In the United States, the Office of the Surgeon General effectively mandated the use of artificial limbs, to ensure that amputee veterans “passed” as able-bodied citizens after they were discharged.[25] In Germany, prostheses were provided by the state and centred on a veteran’s ability to work.
Mutilation↑
The bodies of the wounded were mutilated. Skin was cauterised and flayed from the body, burnt and mangled. Gunshot and shrapnel wounds left permanent marks and disfigurement. The skin on men’s trunks and backs was blistered and damaged from gas. Broken limbs could be repaired or removed and skin healed over what were once gaping wounds. But evidence of wounding left indelible marks on the body, which the medical profession could not remove. Moreover, the surgery required to repair injuries and sew skin together left visible scars. Amputation of a limb left a scarred stump. The mutilation of sexual organs was an issue that caused intense physical and psychological trauma, and for which nothing could be done. Wounds to soldiers’ sexual organs are rarely mentioned in the medical literature and there are few figures available on the number of soldiers who suffered this type of injury. In her book The Forbidden Zone, the former nurse Mary Borden (1886-1968) wrote about the level of damage to bodies including “mangled testicles”.[26] Not all disfigurement was external. Gas also caused internal wounds and scarring on the lungs, which caused breathing problems. The extent of the emotional impact of wounding was difficult to measure. The psychological and emotional trauma associated with disfigurement and mutilation went hand-in-hand with physical injury. There were many ways that war wounds affected the body and mind, causing permanent scarring.
Evidence of disability caused through war wounds was often camouflaged. Bodily wounds were hidden by clothing, as with an arm or leg amputation. However, not all scarring could be disguised. One of the more common disfiguring wounds was to the face, and the effects of the damage was difficult to hide. Although surgical techniques developed extensively during the war, some faces were too badly mutilated and the only option was to hide the remaining mutilation. Masking the facially wounded was a way to integrate them into society. Prosthetic appliances for the face were developed before the First World War; in France, silver facial prostheses were developed as early as 1833.[27] During the First World War, new techniques were utilised for those whom surgery could not help. Artists were fundamental in the creation of camouflage of mutilated faces. In Britain, Frances Derwent-Wood (1871-1926) worked in what became known as the “tin noses shop” to create masks for British soldiers. In late 1917, after consultation with Wood, Anna Coleman-Ladd (1878-1939) opened the Studio for Portrait Masks in Paris, administered by the American Red Cross and situated in the city's Latin Quarter. In her workshop in France, Coleman-Ladd made masks for men to wear to hide their disfigured faces and became highly skilled at creating and fitting them.[28] Other artists such as Jane Poupelet (1874-1932) and Robert Wlérick (1882-1944) assisted Coleman-Ladd, and the studio was incorporated into the Vale-de-Grâce military hospital after the war.[29] Made of materials such as tin and enamel, the masks were carefully painted in the patient’s skin tones and correct eye colour to ensure a lifelike appearance. Ladd would take plaster casts of a soldier's face in an attempt to re-create an identical cheekbone or eye-socket on the opposite side. Ladd then crafted a full or partial mask out of copper, which she painted to match the skin while the soldier was wearing it. Of the nearly 3,000 or so French soldiers requiring masks, Ladd made about 185. These partial masks were attached to the face with spectacles or ribbon and provided the wearer the means to cover the parts of their faces that were missing or that contemporary surgical skill did not have the means to repair.
The masks were often uncomfortable to wear as the tin rubbed the face.[30] Many French veterans did not wear their masks, instead preferring to tie a cloth around the disfigured portion of their face.[31] The question remains: were the masks to protect the disfigured servicemen, or for the public who did not want to see the unsettling visage of the mutilated face? Some of the men rarely wore their masks, while other conceived it as an important part of their identity.
In national contexts, the experience of facial wounding differed radically. In Britain, many of those with facial wounds were isolated in hospitals. Conversely, in France, the gueules cassées named themselves as a distinct group of war wounded and established a powerful organisation which represented them.[32]
While many soldiers tried to hide the evidence of mutilation and the disfiguring impact of conflict on their bodies, the medical profession exposed the wounded and their wounds. Mutilation and disfigurement was documented through medical illustrations, paintings, and casts of wounds. Photography was used to chart a patient’s progress and demonstrate the healing process. Generally, these images and objects were used to train new medical personnel. Through this documentation, medical practitioners were able to track the progress of their outcomes and improve their practice. A number of artists, from sculptors to painters, documented the experience of wounded servicemen. In Germany, Joseph documented the healing of facial wounds of soldiers through photography. Albums full of photographs of the facially wounded from a hospital in Britain show their initial wound and the final result of many surgical procedures.[33] Other, more traditional forms of art were used to document soldiers and sailors’ wounds. In Britain, Henry Tonks (1862-1937) drew the facially wounded in pastel drawings for Gillies. Kathleen Scott (1878-1947), a noted sculptor, volunteered to help Gillies, declaring with characteristic aplomb that the "men without noses are very beautiful, like antique marbles." Artists from the British colonies and dominions also illustrated the wounding and recovery process, including New Zealander Herbert Cole (1867-1930) and Australian Daryl Lindsay (1889-1976).[34] In addition, the work of artists, photographers, and surgeons was designed to assist in the psychological healing process, which was just as important as the physical reconstruction of the face.
Plastic surgery↑
During the war, plastic surgery of the face became a medical specialty in itself. Surgical methods for repairing faces damaged as a result of gunshot wounds or shells advanced during the war. It has been argued that the sheer number of facially wounded men provided the means for surgeons to advance medical practice.[35] The number of injuries to the face was significant; it has been estimated that approximately 280,000 men suffered facial wounding in France, Germany, and Great Britain.[36]
Prior to the war, plastic surgery of the face was an established practice and certain areas of the face were surgically altered as related to social and cultural acceptability. In particular, surgeons operated and tried to surgically improve the aesthetics of syphilitic and “racially unacceptable” noses.[37] In cases of facial wounding, many surgeons merely sewed up wounds, less concerned with aesthetics than a successful surgical outcome. The smashed eye sockets, non-existent jaws, and noses presented by the war wounded were a real challenge to the technical expertise of surgeons. Repairing facial wounds became more an aesthetic exercise, as wounded servicemen got the best treatment possible for the sacrifice of their faces to the war effort. In some cases, the facially wounded soldier found it difficult to be accepted by his own family – let alone strangers whom he encountered. Instead of merely sewing up the face, the male aesthetic was considered in the surgical repair of the men’s faces. Indeed, Sander Gilman argues that the war had a positive effect on the acceptability of plastic surgery for aesthetic reasons.[38] He argues that reconstructive surgery became masculinised and therefore more acceptable. Yet plastic surgery in the First World War was more than just facial repair by a surgeon – it required a constant series of collaborations between surgeons, dentists, nurses, photographers, and artists. Reconstructive dentistry in particular was fundamental to the rebuilding of the face. The mechanical dentist provided knowledge of the reconstruction of the bones of the jaw, which provided the expertise and skill for the face to be rebuilt and functions such as chewing and swallowing restored. The collaboration between these individuals overlapped as expertise was required throughout the process of healing and reconstruction.[39]
This new approach and its collective of experts required spaces to treat patients. Surgeons persuaded their respective military medical authorities that they needed to set up special centres for treating maxillofacial wounds. Centres were established in all warring nations which provided specialist surgery, care, which helped men to accept and live with their disfigurement as well as they could outside the confines of the hospital. In Britain, facially wounded soldiers were sent to centres for treatment and were isolated from the wider public. Visits by the public to these hospitals were not encouraged as men grappled with accepting their frightening facial wounds. In these hospitals, mirrors were banned from the wards and benches in the local area were painted blue in order to warn the public that a soldier with facial wounds might sit there.[40]
Transporting soldiers with facial wounds to the hospitals was problematic. Often, for those with multiple wounds, the reconstruction of the face was left until last, as doctors dealt with other wounds considered life threatening. By the time patients got to specialist units, their faces had started to heal, which made reconstruction difficult for maxillofacial surgeons to repair their wounds.[41] In Britain, Harold Gillies went so far as to have tags printed with the address of his specialist unit at Aldershot hospital which were then distributed in field hospitals, so that he was able to conduct surgery and limit the permanent damage to the facially wounded soldier.[42]
Many surgeons and medical practitioners devised innovative ways to treat the facially wounded. One of the most successful innovations was the tubed pedicle. The procedure created a flap of skin from the chest or forehead, which was moved into place on the face.[43] The flap remained attached to the body, but was stitched into a tube to keep the blood supply intact and reduced the incidence of infection. Jaws were repaired by transplanting bone from other parts of the body, or using bones from other sources. While the results and outcomes were not always successful, a significant amount of effort was undertaken in order to restore the mutilated faces of soldiers.
Remembering the Disfigured and Mutilated↑
After the war, film, photography, and literature reminded the public of the physical effects of war on the body. In particular, the pacifist movement utilised depictions of mutilated men to highlight their anti-war message. The army of disabled men in all nations reminded the public of the human suffering that war caused. The impact of the war and its disfigured and mutilated had lasting cultural resonances, as seen throughout the century since its commencement, in the on-going production of a wide range of media relating to these men’s experiences and the war itself.
In different nations, the mutilated and disfigured from the war were treated differently. The veteran with an empty sleeve or trouser leg, an uneven gait, or a stiff arm with a gloved hand became commonplace in the post-war world. In many ways, their bodily loss represented their wartime experience, and was accepted by the public, often uneasy at the scale of the physical and emotional sacrifice of so many men. That said, many veterans with amputations walked carefully to hide their limp or wore a realistic hand or glove on their artificial arm in an attempt to disguise their amputation, no doubt for a number of reasons. However, those with facial disfigurement experienced complex feelings about their war service and their place in post-war society. The facially wounded in France, perhaps defiantly, showed their faces in public, whereas in other countries, many of those with facial disfigurements preferred to avoid exposure to a curious public. For many veterans mutilated and disfigured during the war, remembering their war service and devastating injuries was uncomfortable, and the physical reminder of the war – their missing body part, scarred body, weak lungs, or disfigured face – sometimes elicited unwanted attention.
The powerful and disturbing image of the disfigured and mutilated, particularly those with facial wounds, was used by a range of groups and individuals to convey a message. Pacifists used artists’ work to highlight the devastation of war, to ensure peace was maintained. The anti-war museum in Germany took photos of the mutilated and showed them in order to remind the public of the horrific maiming capacity of modern weaponry. Ernst Friedrich’s (1894-1967) War Against War showed twenty-four photographs from Joseph’s clinic at the Charité in Berlin to remind visitors to the exhibition of the terrifying visage that war created. Other artists such as Georg Grosz (1893-1959) who is probably best known for his work Ecce Homo (1922), also used the mutilated face to demonstrate the lasting horror of the legacy of war. After the war, exhibitions of casts of the disfigured faces of veterans were shown in hospitals in London, Berlin, and Paris.[44] It is difficult to ascertain the reasons why the public attended these exhibitions, but they served a potent reminder of the devastating effects of modern weaponry.
Novels, photography, and film have been inspired by the experiences of the war mutilated. The 2001 film La chambre des officiers, based on the novel by Marc Dugain, focused on the experiences of a number of officers in a specialist French facial ward. When a young boy is confronted by his father’s radically altered face, he shouts “Non mon papa, non mon papa!” The 1971 film Johnny’s Got His Gun was adapted from the 1938 novel of the same name written by Dalton Trumbo (1905-1976). Both films depicted the physical and mental trauma of the disfigured and mutilated from the war and reminded audiences that for some disabled veterans, the emotional trauma of war had to be overcome on a daily basis.
The prosthetics created by the association between medical personnel, crafts people, and artists are a physical reminder of the technology of war, as much as the weaponry which wrought the damage on the soldiers’ bodies and which fills war museums around the world. Some of the material culture of disfigurement in the First World War is ephemeral. Very few of the masks made so painstakingly by artists such as Derwent Wood and Coleman-Ladd exist. Some veterans came to depend heavily on their masks to camouflage their disfigurement, and as part of their physical construction of self, they were buried wearing them. Although numbers of facially wounded men did not wear their masks on a daily basis, special occasions warranted their use, similar to the German “Sunday arm”, which was saved for church to protect others’ sensibilities. Artificial limbs survive in greater numbers, probably because veterans had a number of them throughout their lives, and the prosthetic arms and legs were fashioned of wood, leather, and metal and possess a robustness that a thin tin mask does not.
The war mutilated and disfigured were remembered in public commemoration of the war, yet this differed in national contexts. Amputees were publicly remembered and participated in Armistice Day commemorations. Other veterans, whose clothes hid their disfigurement, also participated in the marches to various cenotaphs that took place around the world on the date selected for reflection on war and loss. However, the facially disfigured in many nations did not take part; instead they remained in the shadows of remembrance. In France, unlike many other nations, the public saw the mutilated as they paraded with other war wounded. National contexts are fundamental to understanding the treatment and life experience of the mutilated and disfigured from the war.
Conclusion↑
It is clear that the First World War produced many thousands of mutilated and disfigured men. Veterans with metal or wooden legs or empty sleeves were seen on the streets of large cities around the world for decades before the First World War and the 1914-1918 conflict added significant numbers of amputees. Those with facial mutilation, whose injuries were virtually impossible to disguise, added a new type of war horror, as the public saw their war-ravaged faces. Medical specialities were created and new spaces were established to treat the disfigured and mutilated. The war provided the means for new medical innovations to be developed in these institutions, and the number of wounded meant treatment and techniques were tested and proven during the war. Co-operation between medical professionals improved outcomes for the severely wounded. New therapeutic regimes and a state responsibility for treating the mutilated and disfigured meant that veterans from the war re-established themselves as useful working citizens. However, different forms of mutilation and disfigurement engendered different reactions from the veteran, those around them, and the state.
Julie Anderson, University of Kent
Section Editors: Michael Neiberg; Sophie De Schaepdrijver
Notes
↑ Significantly lowered death rates from disease as opposed to wounds were particular to the Western Front. For an overview of the impact of disease see Ozdemir, Hikmet: The Ottoman Army 1914-1918. Disease and Death on the Battlefield, Salt Lake City 2008.
↑ For details on weapons see Audoin-Rouzeau, Stephane: Weapons. Issued by 1914-1918 Online, online: encyclopedia.1914-1918-online.net/article/weapons.
↑ See Bourke, Joanna: Dismembering the Male. Men’s Bodies, Britain and the Great War. London 1996.
↑ See van Bergen, Leo: Before My Helpless Sight. Suffering, Dying and Military Medicine on the Western Front, 1914-1918, Farnham 2009.
↑ See Carden-Coyne, Ana: The Politics of Wounds. Military Patients and Medical power in the First World War, Oxford 2015; Reznick, Jeffrey S.: Healing the Nation. Soldiers and the Culture of Caregiving in Britain During the Great War, Manchester 2004; Reznick, Jeffrey S.: John Galsworthy and Disabled Soldiers of the Great War, Manchester 2009; Kienitz, Sabine: Beschädigte Helden. Kriegsinvalidität und Körperbilder 1914-1923, Paderborn 2008; Perry, Heather: Recycling the Disabled. Army, medicine and modernity in WW1 Germany, Manchester 2014; Eckart, Wolfgang U.: Medizin und Krieg. Deutschland 1914-1924, Paderborn 2014; Linker, Beth: War’s Waste, Rehabilitation in World War I America, Chicago 2011.
↑ Cohen, Deborah: The War Come Home. Disabled Veterans in Britain and Germany 1914-1939, Berkeley 2001; Gehrhardt, Marjorie: The Men with Broken Faces. Bern 2015; Michl, Susanne: Im Dienste des Volkskörpers. Deutsche und französische Ärzte im Ersten Weltkrieg, Göttingen 2007.
↑ Sophie, Delaporte: Les Gueules Cassées: Les Blessés de la Face de la Grande Guerre, Paris 1996.
↑ Verstraete, Pieter and Van Everbroeck, Christine: Le silence mutilé. les soldats invalides belges de la Grande Guerre, Namur (Belgium) 2014.
↑ See Cooter, Roger: Medicine and the Goodness of War, in: Canadian Bulletin of Medical History, 7/2 (1990).
↑ See Alper, Helen (ed.): A History of Queen Mary’s University Hospital Roehampton, Roehampton 1997. The University of Glasgow is currently cataloguing the Erskine House papers, online: universityofglasgowlibrary.wordpress.com/2016/03/29/launc...
↑ Perry, Recycling the Disabled 2014, p. 96.
↑ Linker, War’s Waste 2011, p. 81.
↑ Bamji, Andrew: Facial Surgery. the Patient’s Experience, in: Cecil, Hugh and Liddle, Peter H. (eds.): Facing Armageddon. The First World War Experienced, London 1996, p. 495.
↑ For Germany, see Whalen, Robert Gerald: Bitter Wounds. German Victims of the Great War, 1914-1939, Ithaca 1984, p. 40. For Britain, see Bourke, Dismembering the Male 1996.
↑ There were no sulphalidamides or antibiotics, which were not developed until the 1930s and the Second World War respectively.
↑ Perry, Recycling the Disabled 2014, p. 31.
↑ This was a collection of articles that had been published in medical journals such as the British Medical Journal.
↑ William Towers, 11038, Imperial War Museum Sound Archive, London.
↑ Anderson, Julie / Perry, Heather R.: Rehabilitation and Restoration. Orthopaedics and disabled soldiers in Germany and Britain in the First World War, in: Medicine, Conflict, and Survival, 30/4 (2014), p. 240.
↑ Conference on Artificial Limbs for Disabled Servicemen, in: British Medical Journal (31 July 1915), p. 190.
↑ Perry, Recycling the Disabled 2014, p. 46.
↑ Osgood, Robert B.: A Survey of the Orthopaedic Services in the US Army Hospitals, General Base and Debarkation, in: American Journal of Orthopaedic Surgery 17 (1919), pp. 359-82.
↑ Guyatt, Mary: Better Legs. Artificial Limbs for British Veterans of the First World War, in: Journal of Design History 14/4 (2001), p. 201.
↑ Heather, Perry: Re-arming the Disabled Veteran. Artificially Rebuilding State and Society in World War One Germany, in: Ott, Katherine et al. (eds.): Artificial Parts, Practical Lives. Modern Histories of Prosthetics, New York 2002.
↑ See Linker, War’s Waste 2011.
↑ Borden, Mary: The Forbidden Zone, London 2013, p. 43 [originally published in 1929].
↑ Wallace, Antony F.: The Progress of Plastic Surgery, Oxford 1982, p. 96.
↑ There is a short film of Anna Coleman-Ladd working in her studio in Paris with her assistants. The film depicts them making masks and fitting them to a disfigured soldier. Online: www.smithsonianmag.com/history/faces-of-war-145799854/.
↑ Gehrhardt, The Men with Broken Faces 2015, p. 49.
↑ Nicolson, Juliet: The Great Silence 1918-1920. Living in the Shadow of the Great War, London 2009, pp. 66-67.
↑ Delaporte, Sophie: Gueules Cassées de la Grande Guerre, in: Delaporte, F. / Fournier, E. / Devauchelle, B. (eds.): La Fabrique du Visage. De la Physiognomonie Antique à la Premiere Greffe du Visage, Turnhout 2010, p. 301.
↑ See Delaporte, Les Gueules Cassées 1996.
↑ Online: gilliesarchives.org.uk.
↑ Alberti, Samuel J.M.M. (ed.): War, Art and Surgery. The Work of Henry Tonks and Julia Midgley, London 2014, p. 9.
↑ Gehrhardt, The Men with Broken Faces 2015, p. 5.
↑ Winter, Jay: Forms of kinship and remembrance in the aftermath of the Great War, in: Winter, J. / Sivan, E. (eds.): War and Remembrance in the Twentieth Century, Cambridge 1999, p. 48.
↑ See Gilman, Sander L.: Making the Body Beautiful. A Cultural History of Aesthetic Surgery, Princeton 1999.
↑ Ibid., p. 164.
↑ Gerhardt argues that expertise was required in stages. Gehrhardt, The Men with Broken Faces 2015, p. 45.
↑ Bamji, Facial Surgery 1996, p. 498.
↑ Gehrhardt, The Men with Broken Faces 2015, p. 5.
↑ Bamji, Andrew: Queen Mary’s Sidcup, 1974-1994. A Commemoration, 1994, p. 13.
↑ Santoni-Rugiu, Paolo / Sykes, Philip J.: A History of Plastic Surgery, New York 2007, p. 96.
↑ Maliniak, Jacques W.: Sculpture in the Living. Rebuilding the Face and Form by Plastic Surgery, New York 1934, p. 30.
Selected Bibliography
Alberti, Samuel J. M. M. (ed.): War, art and surgery. The work of Henry Tonks and Julia Midgley, London 2014: Royal College of Surgeons of England.
Anderson, Julie: ‘Jumpy stump’. Amputation and trauma in the First World War, in: First World War Studies 6/1, 2015, pp. 9-19.
Anderson, Julie / Perry, Heather R.: Rehabilitation and restoration. Orthopaedics and disabled soldiers in Germany and Britain in the First World War, in: Medicine, Conflict and Survival 30/4, 2014, pp. 227-251
Biernoff, Suzannah: Flesh poems. Henry Tonks and the art of surgery, in: Visual Culture in Britain 11/1, 2010, pp. 25-47.
Biernoff, Suzannah: The rhetoric of disfigurement in First World War Britain, in: Social History of Medicine 24/3, 2011, pp. 666-685.
Bourke, Joanna: Dismembering the male. Men's bodies, Britain and the Great War, Chicago 1996: University of Chicago Press.
Carden-Coyne, Ana: The politics of wounds. Military patients and medical power in the First World War, Oxford 2014: Oxford University Press.
Carden-Coyne, Ana: Reconstructing the body. Classicism, modernism, and the First World War, Oxford 2009: Oxford University Press.
Cohen, Deborah: The war come home. Disabled veterans in Britain and Germany, 1914-1939, Berkeley 2008: University of California Press.
Delaporte, Sophie: Gueules cassées. Les blessés de la face de la Grande Guerre, Paris 2004: A. Viénot.
Eckart, Wolfgang Uwe: Medizin und Krieg. Deutschland 1914-1924, Paderborn 2014: Ferdinand Schöningh.
Gagen, Wendy Jane: Remastering the body, renegotiating gender. Physical disability and masculinity during the First World War, in: European Review of History. Revue europeenne d'histoire 14/4, 2007, pp. 525-541.
Gehrhardt, Marjorie: The men with broken faces. Gueules cassées of the First World War, Oxford; Berlin 2015: Peter Lang.
Harrison, Mark: The medical war. British military medicine in the First World War, Oxford; New York 2010: Oxford University Press.
Kienitz, Sabine: Beschädigte Helden. Kriegsinvalidität und Körperbilder 1914-1923, Paderborn 2008: F. Schöningh.
Linker, Beth: War's waste. Rehabilitation in World War I America, Chicago; London 2011: University of Chicago Press.
Özdemir, Hikmet: The Ottoman army, 1914-1918. Disease and death on the battlefield, Salt Lake City 2008: University of Utah Press.
Perry, Heather R.: Recycling the disabled. Army, medicine, and modernity in WWI Germany, Manchester 2014: Manchester University Press.
Reznick, Jeffrey S.: John Galsworthy and disabled soldiers of the Great War. With an illustrated selection of his writings, Manchester 2009: Manchester University Press.
Reznick, Jeffrey S.: Healing the nation. Soldiers and the culture of caregiving in Britain during the Great War, Manchester; New York 2004: Manchester University Press.
Van Bergen, Leo: Before my helpless sight. Suffering, dying and military medicine on the Western Front, 1914-1918, Farnham; Burlington 2009: Ashgate.
Weedon, Brenda, Alper, Helen (ed.): A history of Queen Mary's University Hospital Roehampton, Roehampton 1997: Richmond, Twickenham and Roehampton Healthcare NHS Trust.
Citation
Anderson, Julie: Mutilation and Disfiguration , in: 1914-1918-online. International Encyclopedia of the First World War, ed. by Ute Daniel, Peter Gatrell, Oliver Janz, Heather Jones, Jennifer Keene, Alan Kramer, and Bill Nasson, issued by Freie Universität Berlin, Berlin 2017-08-03. DOI: 10.15463/ie1418.11137.
License
This text is licensed under: CC by-NC-ND 3.0 Germany - Attribution, Non-commercial, No Derivative Works.
encyclopedia.1914-1918-online.net/article/mutilation_and_...
A maison deep in the Belgium countryside. Definately past it's best.
The travelling nun Tour. On Belgium derps with Dursty, John and Mike.
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This farm implement wheel has made the full transition to iron. Boy, the manufacture of this wheel is much simpler and faster than the wagon wheel. It still won't roll very well; probably not as well as the oak wheel. It shows the change from a handicraft to serious mass production in early 1900s. The rim is integral iron but I bet the buried part is rusting pretty good. Celebratory Bronco's orange covers the implement but the blue is certainly off color! .
I was at McIntosh Ag Museum again to track down the manager. I really saw the wheel and detail was worth closing in for a composition and texture detail of the rust. I have a lot of close up gear shots I have yet to use. This implement meant manual and deliberate labor for sure.
This late August found continuing hot temperatures. Wundermaps reported 98 degrees while I was out there. Whew, that's why I'm in the shade! The direct sun blazed across the scene and popped light into the shed. I decided that I had needed some shots at McIntosh and went out in the baking sun.
Highway #66 seemed overloaded with late summer travelers to the hills, hoping for heat relief in the Rockies; they'll get it up there. I waited and waited to turn left onto #66. Few tracks of snow remained up on the hills. It's back for this thanksgiving.
790 Beaconsfield Valley Rd., Manawatu
An old farmhouse that, with a few add-ons over the last century, has extended its existence as an implement shed...
Biography: A specialist in early childhood education, Lucy Miller Mitchell has devoted almost 50 years to teaching, to improving standards of child care, and to implementing local and federal child care programs. Born in Daytona Beach, Fla., she lived with her mother, Laura Clayton Miller, and was educated from kindergarten through high school at Daytona Normal and Industrial Institute. There, she witnessed Mary McLeod Bethune courageously face down the Ku Klux Klan. Graduating from Talladega College in 1922, she returned to the Daytona school to teach for one year. Although Mrs. Bethune and the trustees of the school expressed a wish that the "mantle of leadership" should pass to her, Miss Miller chose marriage to Joseph Mitchell and a move to Boston. Concern for the education of their two children led her into the field which became her life work. She took courses at the Nursery Training School with Abigail A. Eliot, receiving certification in 1934, and was awarded a master's degree in early childhood education from Boston University in 1935. As director of the nursery school at Robert Gould Shaw House from 1932 to 1953, she developed a model school to which many students were sent for field work and practice teaching. She was a member of the structuring committee of Associated Day Care Services of Metropolitan Boston, and later its educational director and acting executive director. In 1953 the governor of Massachusetts appointed Mrs. Mitchell to a special commission to study the licensing of day care agencies; licensing legislation was passed after ten years' effort. After retirement from the Associated Day Care Services, she trained Peace Corps volunteers to work with children, was a consultant to National Head Start, and helped launch and implement the local Boston programs. Mrs. Mitchell has served on the boards of many agencies, including United Community Services of Metropolitan Boston and the Boston YWCA; she was president of the Boston Association for the Education of Young Children and was among a small group that helped Muriel Snowden (another project interviewee) and her husband Otto Snowden establish Freedom House in Roxbury. Memberships include The Links, Inc., and AKA.
Description: The Black Women Oral History Project interviewed 72 African American women between 1976 and 1981. With support from the Schlesinger Library, the project recorded a cross section of women who had made significant contributions to American society during the first half of the 20th century. Photograph taken by Judith Sedwick
Repository: Schlesinger Library on the History of Women in America.
Collection: Black Women Oral History Project
Research Guide: guides.library.harvard.edu/schlesinger_bwohp
Questions? Ask a Schlesinger Librarian
These are well-known, but I don't think I've posted about them here yet :) These are used for quality-testing other Lego parts, and each one has a different standard connection type.
BrickArchitect has much more info on these:
brickarchitect.com/2021/lego-clutch-test-implements-bricks/
I'm still missing a couple, please let me know if you have any I don't and are willing to trade or sell :)
H.E. Row Implement Company, 114-122 East 5th Street, Larned, Kansas. Both of these buildings appear vacant. Isaiah D. Row joined the Larned Implement Company in 1916 and became its president. I assume H.E. Row was one of his descendents.
I like the ranch sign. But I think the farm implement in front adds clutter. If it was off to the side there would be a better view of the details in the ranch sign.
An abandoned farm implement near Overton in Cooper County Missouri by Notley Hawkins Photography. Taken with a Canon EOS 5D Mark III camera with a EF16-35mm f/4L IS USM lens at f.4.0 with a .5 second exposure at ISO 800 along with three Quantum Qflash Trios with red, green and blue gels. Processed with Adobe Lightroom 6.4.
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©Notley Hawkins
10-56 Inverness to Aberdeen.
In its infinite wisdom my company has implemented a diagram change that will eliminate my lodge roster the need to travel passenger on this scenic route. This was my final rostered trip over the route in thirteen years of doing so.
Thanks to Aberdeen based ScotRail driver Craig for taking this image of me alongside the unit as we waited for an Inverness bound service to clear the single line section ahead.
The reign of terror by the Pseudo Communist dictator Pol Pot (1975-79) has dragged the country many years backward as he ordered a genocide, killing all intellectuals, writers, poets, doctors, engineers and the families of all the elite. He closed down all schools and Universities and converted them into prisons, concentration camps and torture houses. Pol Pot was 100 times as cruel as Hitler, but Western media underplayed the genocide probably because they had interest in arms trade wherever there is a strife or discord. This museum houses the skulls, bones and killing implements unearthed from one of the killing fields in Phnom Penh the capital city.
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
The Emerson-Newton Implement Company Building is located in downtown Minneapolis, MN.
The building is united under a common cornice with the Advance Thresher Building and appears to be a single structure.
The Emerson-Newton Building was built in 1904 and has seven floors. The Advance Thresher Building was built in 1900 and has six floors.
The architecture of the buildings was influenced by Louis Sullivan and are decorated with terra cotta details.
The Emerson-Newton Implement Company Building is located in downtown Minneapolis, MN.
The building is united under a common cornice with the Advance Thresher Building and appears to be a single structure.
The Emerson-Newton Building was built in 1904 and has seven floors. The Advance Thresher Building was built in 1900 and has six floors.
The architecture of the buildings was influenced by Louis Sullivan and are decorated with terra cotta details.
Shields used by defenders of Майдан Незалежності, 2013/2014. Moving display on the horrors of war and the need for peace.
“Only he can understand what a farm is, what a country is, who shall have sacrificed part of himself to his farm or country, fought to save it, struggled to make it beautiful. Only then will the love of farm or country fill his heart.”
Antoine de Saint-Exupery (French Pilot, Writer and Author of 'The Little Prince', 1900-1944)
An abandoned farm implement near Overton in Cooper County Missouri by Notley Hawkins Photography. Taken with a Canon EOS 5D Mark III camera with a EF16-35mm f/4L IS USM lens at f.4.0 with a .5 second exposure at ISO 800 along with three Quantum Qflash Trios with red, green and blue gels. Processed with Adobe Lightroom 6.4.
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©Notley Hawkins
With it now 5 months since lockdown restrictions were implemented due to COVID-19, airlines are very slowly starting to see demand returning although this maybe scuppered in part due to spikes in cases being reported.
British Airways unsurprisingly has been affected by COVID-19 which has seen the premature withdrawal of their entire Boeing 747-400 fleet as well as the solitary Airbus A318 no longer in use following the cancellation of their unique London City to New York-John F. Kennedy flight.
The saving grace has been cargo which has seen select Boeing 777-200ERs seeing their World Traveller seats removed for more cargo capacity, as well as their Boeing 777-200ER/300ERs, Boeing 787-8/9/10s and Airbus A350-1000s providing the lion-share of long-haul flights, with Boeing 787-8s making appearances on European short-haul flights in order to ensure social distancing is complied with.
Very recently, British Airways has published its upcoming W20 schedule which sees considerable amount of changes, taking into consideration Boeing 747-400s no longer form their long-haul network and London Gatwick long-haul flights slowly being reinstated.
Given the huge amount of changes, this will be split into three separate posts...
As per Airline Route, here are the following changes which are heavily subject to change effective 26th October 2020 unless stated otherwise:
-Abu Dhabi: Daily flight (BA72/73) cancelled throughout the entire W20 schedule.
-Atlanta (Hartsfield-Jackson Atlanta): BA226/227 reduced from daily to 4 weekly flights, retaining Boeing 787-9s.
-Austin-Bergstrom: BA190/191 remains daily, with 5 weekly flights operated by Airbus A350-1000s and 2 weekly flights operated by Boeing 777-300ERs.
-Bahrain then Dammam: BA124/125 reduced reduced from daily to 5 weekly flights, with Boeing 787-8s replacing Boeing 777-200ER operation. Section between Bahrain and Dammam has been cancelled.
-Baltimore/Washington: BA228/229 reduced from daily to 4 weekly flights, utilising Boeing 787-8/9s.
-Bangkok-Suvarnabhumi: BA9/10 continues to operate daily, 3-class Boeing 777-200ERs replaced by Boeing 78-9s.
-Beijing-Daxing: BA38/39 remains daily, Boeing 787-9s replaced by Boeing 777-300ERs.
-Bengaluru: BA118/119 reduced from daily to 5 weekly flights, 3-class Boeing 777-200ERs replaced by Airbus A350-1000s.
-Boston-Logan: Substantial changes sees 25 weekly flights cut to 14 weekly or twice daily flights. 4 times weekly BA202/203 and daily BA238/239 have been cancelled. BA212/213 utilises Boeing 787-9s replacing Boeing 747-400s, and BA214/215 utilises Airbus A350-1000s replacing 4-class Boeing 777-200ERs.
-Buenos Aires-Ezeiza: BA244/245 reduced from daily to 5 weekly flights, Boeing 787-8s replaces 3-class Boeing 777-200ERs.
-Cape Town: BA58/59 remains daily utilising Boeing 777-300ERs instead of Boeing 747-400s. BA42/43 continues to show Boeing 747-400s but is expected to be cancelled.
-Chennai: BA35/36 reduced from daily to 5 weekly flights utilising Boeing 787-8/9s.
-Chicago-O'Hare: Remains twice daily; BA294/295 utilises Boeing 787-9s instead of Boeing 747-400s, and BA296/297 utilising 3-class Boeing 777-200ERs instead of 4-class Boeing 777-200ERs.
-Dallas-Fort Worth: BA192/193 continues to operate daily utilising Boeing 787-9s instead of Boeing 747-400s.
-Delhi-Indira Ghandi: Remains twice daily, BA142/143 utilises Boeing 787-8s instead of Boeing 787-9s, and BA256/257 utilises 3-class Boeing 777-200ERs instead of 4-class Boeing 777-200ERs.
-Denver: BA218/219 remains daily utilising Boeing 787-9s instead of Boeing 747-400s.
-Dubai-International: Reduced from thrice to twice daily with the cancellation of BA108/109. BA104/105 utilises Boeing 787-9s instead of 4-class Boeing 777-200ERs, and BA106/107 initially operated by 3-class Boeing 777-200ERs until 31st December 2020, going over to Boeing 787-9 operation from 1st January 2021.
-Durban: Thrice weekly BA40/41 cancelled.
-Hong Kong-Chek Lap Kok: Reduced from twice daily to single daily with BA31/32 cancelled. BA27/28 remains operated by Boeing 777-300ERs.
-Houston-George Bush Intercontinental: Reduced from twice daily to single daily with BA196/197 cancelled. BA194/195 utilises 4-class Boeing 777-200ERs.
-Hyderabad: BA276/277 reduced from daily to 5 weekly flights with one weekly flight operated by Boeing 787-9s alongside Boeing 787-8s for the remaining 4 weekly flights.
-Islamabad: BA260/261 operates daily instead of thrice weekly utilising Boeing 787-8s.
-Jeddah-King Abdulaziz: 5 times weekly BA132/133 cancelled until 14th December 2020.
-Kuala Lumpur-Sepang: BA34/35 continues to operate daily utilising Boeing 787-8s instead of Boeing 787-9s.
The changes are noticeable, especially those which featured multiple frequencies having had around 50% slashed off as British Airways does not expect demand to return for the next 2-3 years.
Currently, British Airways operates 32 Boeing 787s, which includes 12 Boeing 787-8s (one currently in short-term storage), 18 Boeing 787-9s (one in long-term storage awaiting new Rolls-Royce engines) and 2 Boeing 787-10s. British Airways have 10 Boeing 787-10s on-order.
Zulu Bravo Juliet Kilo is one of 12 Boeing 787-8s in service with British Airways, delivered new to the flag-carrier on 13th September 2018 and she is powered by 2 Rolls-Royce Trent 1000 engines.
Boeing 787-8 Dreamliner G-ZBJK on final approach into Runway 27R at London Heathrow (LHR) on BA246 from São Paulo-Guarulhos (GRU).
Virtual Reality implemented in the scale model in front of these ladies, by wearing that pair of goggles, they were able to interact both with the model, and the surrounding space, mapped to satisfy and entertain their curiosity. Pleasant surprise from a pavilion that, besides that, has much to envy to other national exhibitions.
During the depression, money was hard to come by, and most people had to barter (trade) what goods and services they might have to get food and survive. Building materials back then were commonly Wood products, as metals were expensive, and later used in WW-II.
This was a typical shed/building that was built and used in the 40's-50's to store farm tractors and implements to keep them out of the weather and provide a comfortable place to work and do repairs.
Many of these old building have been left to the elements and have or are falling down. This one is still in fairly good condition, and was found along side the highway ;-}}
©2011 Ray Hanson All Rights Reserved.
Copying, Printing, Downloading, or otherwise using this image without my expressed written permission is a violation of US and International Copyright Laws. If you would like to use/purchase this image please contact me via Flickr Mail.
Over the weekend a teaser photo had been sent to social media from First York regarding Volvo B7RLE Wright Eclipse Urban YJ08 XYB, which was expected to enter service with a new look on November 8. Having already entered service the previous day we see the bus here on day 2 in its new appearance, the bus has gained a bright yellow overall advertising livery to promote York's brand new iTravel 'York By Bus' smartcard system which has been implemented by the city council with money from the Better Bus Area Fund so as to improve accessibility to buses.... for a relatively compact city, York has quite a diverse bus scene with no less than 9 different companies operating regular stagecarriage services in and out of the city - the aim of the smartcard system is for one card to be able to be used on any bus operated by any of these companies in the city. On-street terminals have been installed over the last few weeks and have undergone commissioning ready for the system going live this week.
Originally part of the Park and Ride fleet, this and 69364 were de-branded and initially operated route 13A in a basic silver-only livery but more recently have been dual purpose and operate any route as and when required. Today the 'flying banana' has been on service 4 connecting the city centre (Clifford Street) to Acomb via Foxwood, and is seen here on Blossom Street heading outbound.
Light & Life Christian Traveller Festival Oakham Half Visitors Had Departed By Lunch Time Leicestershire Police assisting traffic, Church Stewards and Volunteer Travellers implementing waste management litter picking, in and outside, the county showground, martinbrookes.blogspot.com/2021/06/life-and-light-mission...