DOCSLIB.ORG

Download the Battles of Third Ypres Teacher's Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download the Battles of Third Ypres Teacher's Guide Teacher’s Guide The Battles of Third Ypres Featuring detailed studies of the Battles of Polygon Wood and First Passchendaele. www.abc.net.au/ww1-anzac/passchendaele Introduction Battles of Third Ypres is an iOS and Android app and part of a series about Australian involvement in World War One. The series is published by the ABC and the Department of Veterans’ Affairs, and is made freely available, worldwide. It is also accompanied by an accessible website: www.abc.net.au/ww1-anzac/passchendaele The resource is a rich collection of historical evidence, images, recollections, modern commentary and interactive graphic illustrations. Three dimensional battlefields convey the time and place of events, in particular the battles of Polygon Wood and First Passchendaele in the context of the wider offensive. The Battles of Third Ypres has been designed for use by Year 9/10 students studying World War I history, but can be adapted for use by other year levels. 2 Curriculum Links The Battles of Third Ypres resource addresses the following Australian Curriculum: History (Humanities and Social Sciences) requirements. Year 9: Depth Study – World War I (1914–1918) Historical Knowledge and Understanding Students investigate key aspects of World War I and the Australian experience of the war, including the nature and significance of the war in world and Australian history. This includes: • An overview of the causes of World War I and the reasons why men enlisted to fight in the war. (ACDSEH021) • The places where Australians fought and the nature of warfare during World War I, including the Gallipoli campaign. (ACDSEH095) • The impact of World War I, with a particular emphasis on Australia including the changing role of women. (ACDSEH096) • The commemoration of World War I, including debates about the nature and significance of the Anzac legend. (ACDSEH097). Historical Skills • Use chronological sequencing to demonstrate the relationship between events and developments in different periods and places. (ACHHS164) • Use historical terms and concepts. (ACHHS165) • Identify and select different kinds of questions about the past to inform historical inquiry. (ACHHS166) • Evaluate and enhance these questions. (ACHHS167) • Identify and locate relevant sources, using ICT and other methods. (ACHHS168) • Identify the origin, purpose and context of primary and secondary sources. (ACHHS169) • Process and synthesise information from a range of sources for use as evidence in an historical argument. (ACHHS170) • Evaluate the reliability and usefulness of primary and secondary sources. (ACHHS171) • Identify and analyse the perspectives of people from the past. (ACHHS172) • Identify and analyse different historical interpretations (including their own). (ACHHS173) • Develop texts, particularly descriptions and discussions that use evidence from a range of sources that are referenced. (ACHHS174) • Select and use a range of communication forms (oral, graphic, written) and digital technologies. (ACHHS175). 3 The key elements of the program are as follows: Element Description This is the innovative element of the website. It tells the story in graphic documentary format, with the viewer’s perspective constantly being moved between the opposing forces and around the battlefield area. The key imagery of the story is a mixture of dioramas and animation, with a linking narration and extensive sound 3D Narration effects. This can be viewed as a continuous narrative, or it can be stopped and navigated in any order at any time. This is the best way to get an overview of the dayʼs events. There are separate time stops available during the story, and several of these stops have multiple events associated with them. Events may include: profiles (of characters mentioned), video (e.g. interviews or on features such as weapons), photographs from the time Explore Each Event and diary extracts that can be read or listened to. This is a great way to explore the stories of the battles and the experience of the soldiers in detail. 4 Element continued… Description continued… This is a short written summary, with accompanying illustrations on a 3D map, which explains the major Campaign Overview strategic aims of the campaign and some of the key events. It is a useful summary of the the Third Ypres Offensive and the place of the Anzacs within it. These include profiles of key participants from both Personnel sides, particularly military leaders and soldiers whose diary extracts are used in the resource. These are useful in helping students make sense of the Military Organisation terminology used to describe the way military forces Charts were organised (battalions, companies, platoons, etc.) This describes some of the key military weapons of Military Hardware both sides, and offers some useful information about the ultimate outcome of the events. Archival films from September and October 1917, photographed by Frank Hurley. Including Haig inspecting troops immediately before the start of the offensive, German prisoners aiding the Video and Audio wounded back from the front line, Anzac soldiers Interviews moving through Ypres. There are also audio transcripts of diaries taken from soldiers’ recollections at the time, which are used in the ‘Events’ segments. 5 Activity Description Curriculum School Level Application 1. Overview of the Students examine the Campaign History Secondary Battles of Third Overview and Battlefields to Geography Ypres appreciate the broader context of English the Battle of Ypres. 2. Key Events and A detailed review of the History Secondary Turning Points battlefield scenes and timelines to determine the chronology of the battles and their significance. 3. A Significant Students use their research skills History Secondary Individual to create a comprehensive dossier on Field Marshal Douglas Haig. 4. Military Tactics Students explore the strengths History Secondary and Weaponry and limitations of weapons, Technologies hardware and military strategies utilised during the Battles of Third Ypres. They are also asked to make a more in-depth study of the impact of poison gas on the human body when used as a weapon during wartime. 5. War Poetry and A whole-class analysis of Siegfried History Secondary Art Sassoon’s ‘On Passing the New English Menin Gate’ poem with a Art comparison to Will Longstaff’s 1927 painting Menin Gate at Midnight. 6. The Physical Mapping tasks using Google History Secondary Environment Maps, battlefield maps, dioramas, Geography videos and photos are used to Technologies address questions of continuity and change. 7. Perspectives and An exploration of the ways that History Secondary Experiences soldiers documented their Civics & experiences of war through Citizenship poetry and publications such as English The Wipers Times. 8. Commemoration A look at the function of History Secondary museums as a site for 6 commemoration through Civics & education. Students design a pop- Citizenship up museum to help other English students understand the objectives, logistics and outcomes of the Battles of Third Ypres. Curriculum Links How the resource and Teacher’s History Secondary Guide address Australian Curriculum: Historical knowledge and skills for Year 9/10 students. 7 Activity 1: Overview of the Battles of Polygon Wood (Part 1) and Passchendaele (Part 2) To find out about the battles of Polygon Wood and Passchendaele, you first need to know some overarching information about the Battles of Third Ypres campaign. Instructions Use the Campaign Overview, the Battlefield scenes and other materials from the resource to respond to the inquiry questions below. Use the side tab on the Battlefield scenes to find the exact time signatures for important events. 8 Inquiry Question Response (in your own words) Where to Find Information When did the Battles Campaign of Third Ypres begin Overview and end? What were the 1. Campaign names and dates of Overview the five battles that 2. made up The Battles of Third Ypres? 3. 4. 5. Who were the Allies Campaign in The Battles of Overview Third Ypres? Who were their opponents? What was Field Campaign Marshal Haig’s Overview original objective for the Battles of Third Ypres? How many 18:00 Australian casualties In detail: The were there in the Battle of First battle of Passchendaele Passchendaele? The Battlefield What does the term The Battlefield ‘zero hour’ mean? Passchendaele Zero Hour, In Extremis 05:25 SIDE TAB What were the 12.25–16.00 problems with Major 9 McDowell’s order to Hold the Line Captain Carr that the ‘At all costs’ 35th Battalion on the The Battlefield blue line must hold Passchendaele the line ‘at all costs.’ SIDE TAB Why did the First 17.58 Battle of Aftermath Passchendaele fail? The Battlefield Passchendaele SIDE TAB How many allied 05.10 casualties were In detail: The there in the Battle of Battle of Polygon Wood? Polygon Wood The Battlefield Polygon Wood SIDE TAB What is ‘friendly 05.15 fire’? German Infantry Amassing under friendly fire The Battlefield Polygon Wood SIDE TAB What were war 8.46 pigeons used for War Pigeons in during this battle? Action The Battlefield Polygon Wood SIDE TAB Was the Polygon 19:20 Wood campaign Success and considered to be Consolidation successful? What did The Battlefield the 15th Australian Polygon Wood Infantry Brigade see SIDE TAB as its successes? 10 Activity 2: Key Events and Turning Points This activity examines key moments in each battle that influenced the final outcome. It is followed by questions that look at larger concepts, such as change and continuity in
Load more

Recommended publications
  • The Night Operation on the Passchendaele Ridge, 2Nd December 1917
    Centre for First World War Studies A Moonlight Massacre: The Night Operation on the Passchendaele Ridge, 2nd December 1917 by Michael Stephen LoCicero Thesis submitted to The University of Birmingham for the Degree of DOCTOR OF PHILOSOPHY School of History and Cultures College of Arts & Law June 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract The Third Battle of Ypres was officially terminated by Field Marshal Sir Douglas Haig with the opening of the Battle of Cambrai on 20 November 1917. Nevertheless, a comparatively unknown set-piece attack – the only large-scale night operation carried out on the Flanders front during the campaign – was launched twelve days later on 2 December. This thesis, a necessary corrective to published campaign narratives of what has become popularly known as „Passchendaele‟, examines the course of events from the mid-November decision to sanction further offensive activity in the vicinity of Passchendaele village to the barren operational outcome that forced British GHQ to halt the attack within ten hours of Zero. A litany of unfortunate decisions and circumstances contributed to the profitless result.
    [Show full text]
  • The Gate of Eternal Memories: Architecture Art and Remembrance
    CONTESTED TERRAINS SAHANZ PERTH 2006 JOHN STEPHENS THE GATE OF ETERNAL MEMORIES: ARCHITECTURE ART AND REMEMBRANCE. John Richard Stephens Faculty of Built Environment Art and Design, Curtin University of Technology, Perth Western Australia, Australia. ABSTRACT The Menin Gate is a large memorial in Belgium to British Empire troops killed and missing during the battles of the Ypres Salient during the First World War. Designed by the architect Reginald Blomfield in 1922 it commemorates the 56,000 soldiers whose bodies were never found including 6,160 Australians. Blomfield’s sobering memorial has symbolic architectural meaning, and signifi- cance and commemorative meaning to relatives of those whose names appeared on the sur- faces of the structure. In 1927 the Australian artist and soldier William Longstaff painted his alle- gorical painting “Menin gate at Midnight showing the Gate as an ethereal structure in a brood- ing landscape populated with countless ghostly soldiers. The painting was an instant success and was reverentially exhibited at all Australian capital cities. From the contested terrain of war re- membrance this paper will argue that both the Gate and its representation in “Menin Gate at Midnight” are linked through the commemorative associations that each employ and have in common. “Here was the world’s worst wound. And Imperial War Graves cemetery. As a product of here with pride particular political and ethical policies, the bodies ‘Their name liveth for evermore’ the of British Empire soldiers were not returned to their Gateway claims. countries but buried close to where they met their Was ever an immolation so belied As these intolerably nameless names? fate.
    [Show full text]
  • Useful Knowledge 35 Spring 2014
    The Magazine of the Mechanics’ Institutes Of Victoria Inc. UsefulNo. Knowledge35 – Spring 2014 PO Box 1080, Windsor VIC 3181 Australia ISSN 1835-5242 Reg No. A0038156G ABN 60 337 355 989 Price: Five Dollars $5 "LEST WE FORGET" There would hardly be a Hall in Victoria or its Some of those who returned formed Soldier adjoining Reserve, or a nearby cenotaph that Settlements, or laboured at community projects, the words ‘Lest we Forget’ are not recorded. like the Great Ocean Road. The phrase is from Rudyard Kipling’s The A hundred years on this is an opportunity for Recessional penned for Queen Victoria’s your Hall, your community to… ‘remember them’. Diamond Jubilee in 1897. This Anzac Day why ‘Lest we forget – Lest we not also remember ‘the forget’ is repeated after going down of the sun’ an entreaty that we will with a lowering of the first four verses as on far off battlefields of Jesus Christ. kick on to a ‘welcome notThose forget threethe sacrifice iconic home’the flag. dance It couldto all localthen words ‘Lest we forget’ service personnel. A are often added at the conclusion of Laurence of Will Longstaff’s Menin Gate at midnight by Will Longstaff Binyon’s famousreflection painting at midnight ‘Menin For the Fallen. Photo from: Collection Database of the Australian ‘They shall not grow old, Gate at Midnight’ when War Memorial under the ID Number: ART09807 as we that are left grow those ghostly legions old/ Age shall not weary them, nor the years condemn./ At the going of white crosses or any resting place, with the down of the sun and in the morning,/ We will sounding of The Reveillerise and aagain Roll Call from of district fields remember them.
    [Show full text]
  • Passchendaele – Canada's Other Vimy Ridge
    MILITARY HISTORY Canadian War Museum CWM8095 Canadian Gunners in the Mud, Passchendaele 1917, by Alfred Bastien. PASSCHENDAELE – CANADA’S OTHERVIMYRIDGE by Norman S. Leach ...I died in Hell (they called it Passchendaele) through the mud again and amid the din of the my wound was slight and I was hobbling back; and bursting shells I called to Stephens, but got then a shell burst slick upon the duckboards; no response and just assumed he hadn’t heard me. so I fell into the bottomless mud, and lost the light. He was never seen or heard from again. He had not deserted. He had not been captured. One – Siegfried Sassoon of those shells that fell behind me had burst and Stephens was no more. Introduction – Private John Pritchard Sudbury ...At last we were under enemy gunfire and Wounded at Passchendaele I knew now that we had not much further to carry 26 October 1917.1 all this weight. We were soaked through with rain and perspiration from the efforts we had been By the spring of 1917, it was clear that the Allies were making to get through the clinging mud, so in trouble on the Western Front. British Admiral Jellicoe that when we stopped we huddled down in the had warned the War Cabinet in London that shipping nearest shell hole and covered ourselves with losses caused by German U-Boats were so great that a groundsheet, hoping for some sort of comfort Britain might not be able to continue fighting into 1918. out of the rain, and partly believed the sheet would also protect us from the rain of shells.
    [Show full text]
  • THE ENDURING IMPACT of the FIRST WORLD WAR a Collection of Perspectives
    THE ENDURING IMPACT OF THE FIRST WORLD WAR A collection of perspectives Edited by Gail Romano and Kingsley Baird ‘That Huge, Haunted Solitude’: 1917–1927 A Spectral Decade Paul Gough Arts University Bournemouth Abstract The scene that followed was the most remarkable that I have ever witnessed. At one moment there was an intense and nerve shattering struggle with death screaming through the air. Then, as if with the wave of a magic wand, all was changed; all over ‘No Man’s Land’ troops came out of the trenches, or rose from the ground where they had been lying.1 In 1917 the British government took the unprecedented decision to ban the depiction of the corpses of British and Allied troops in officially sponsored war art. A decade later, in 1927, Australian painter Will Longstaff exhibited Menin Gate at Midnight which shows a host of phantom soldiers emerging from the soil of the Flanders battlegrounds and marching towards Herbert Baker’s immense memorial arch. Longstaff could have seen the work of British artist and war veteran Stanley Spencer. His vast panorama of post-battle exhumation, The Resurrection of the Soldiers, begun also in 1927, was painted as vast tracts of despoiled land in France and Belgium were being recovered, repaired, and planted with thousands of gravestones and military cemeteries. As salvage parties recovered thousands of corpses, concentrating them into designated burial places, Spencer painted his powerful image of recovery and reconciliation. This article will locate this period of ‘re-membering’ in the context of such artists as Will Dyson, Otto Dix, French film-maker Abel Gance, and more recent depictions of conflict by the photographer Jeff Wall.
    [Show full text]
  • Understanding the First AIF: a Brief Guide
    Last updated August 2021 Understanding the First AIF: A Brief Guide This document has been prepared as part of the Royal Australian Historical Society’s Researching Soldiers in Your Local Community project. It is intended as a brief guide to understanding the history and structure of the First Australian Imperial Force (AIF) during World War I, so you may place your local soldier’s service in a more detailed context. A glossary of military terminology and abbreviations is provided on page 25 of the downloadable research guide for this project. The First AIF The Australian Imperial Force was first raised in 1914 in response to the outbreak of global war. By the end of the conflict, it was one of only three belligerent armies that remained an all-volunteer force, alongside India and South Africa. Though known at the time as the AIF, today it is referred to as the First AIF—just like the Great War is now known as World War I. The first enlistees with the AIF made up one and a half divisions. They were sent to Egypt for training and combined with the New Zealand brigades to form the 1st and 2nd Divisions of the Australia and New Zealand Army Corps (ANZAC). It was these men who served on Gallipoli, between April and December 1915. The 3rd Division of the AIF was raised in February 1916 and quickly moved to Britain for training. After the evacuation of the Gallipoli peninsula, 4th and 5th Divisions were created from the existing 1st and 2nd, before being sent to France in 1916.
    [Show full text]
  • Saturday 5Th August 2017 2:00Pm Commemorative Service for the Centenary of the Battle of Ypres Menin Road, Passchendaele, Zonn
    Commemorative Service for the Centenary of the Battle of Ypres Menin Road, Passchendaele, Zonnebeke Painting: Menin Gate at Midnight by Will Longstaff who lived and taught art in Eltham prior to enlisting for World War 1. Longstaff who is listed on the Eltham Honor Roll in the church left for Egypt on the Transport Orsova 67 on 12 Novem- ber 1915 with 4 others from Eltham also listed on the Honor Roll: Capewell WJ, Knapman AE, Morris A & Morris H. The Westhoek signboard marking the area from where Australian troops successfully advanced in the battle of Menin Road. 20 September 1917. Saturday 5th AWM RELAWMOO605 August 2017 2:00pm 16 Welcome to our special visitors: Medals were given to soldiers from the Eltham district, posthumously for those killed and to those who survived the conflict. The design of the inscriptions is found in the minutes of the Committee meetings. Obviously Hon Jenny Macklin Federal Member for Jagajaga for those killed in the conflict an expression of sympathy was sent by the Vicki Ward MP State Member for Eltham Committee to the family. During November 1917 at a Welcome Home Mayor Cr Peter Clarke Nillumbik Shire Council Reception for several soldiers Geoffrey Grant’s father was presented with an engraved medal acknowledging his son’s supreme sacrifice. Cr Jane Ashton Nillumbik Shire Council Mr Andrew Mackenzie OAM Art Historian These medals survive within the Eltham community, the Orford family for instance. Reverend David Sullivan St Matthews Panton Hill Mr Bill McKenna Montmorency - Eltham RSL Sub Branch The Committee also ensured that the names of returned soldiers were Mr Terry Phillips Montmorency - Eltham RSL Sub Branch listed in the local press.
    [Show full text]
  • A Photographic Documentary Exploring Post-Conflict Reconciliation
    Journal of Conventional Weapons Destruction Volume 21 Issue 3 The Journal of Conventional Weapons Article 11 Destruction Issue 21.3 November 2017 Recovering The Past: A Photographic Documentary Exploring Post-Conflict Reconciliation Ian Alderman Photographer Follow this and additional works at: https://commons.lib.jmu.edu/cisr-journal Part of the Other Public Affairs, Public Policy and Public Administration Commons, and the Peace and Conflict Studies Commons Recommended Citation Alderman, Ian (2017) "Recovering The Past: A Photographic Documentary Exploring Post-Conflict Reconciliation," Journal of Conventional Weapons Destruction: Vol. 21 : Iss. 3 , Article 11. Available at: https://commons.lib.jmu.edu/cisr-journal/vol21/iss3/11 This Article is brought to you for free and open access by the Center for International Stabilization and Recovery at JMU Scholarly Commons. It has been accepted for inclusion in Journal of Conventional Weapons Destruction by an authorized editor of JMU Scholarly Commons. For more information, please contact [email protected]. Alderman: Recovering The Past: A Photographic Documentary Exploring Post-Conflict Reconciliation Fi e ld N o te s Recovering The Past: A Photographic Documentary Exploring Post-Conflict Reconciliation by Ian Alderman DOVO-SEDEE personnel (on the right) wears a biochemical protection suit to handle and dismantle recovered toxic ordnance. Although the gas shells are a century old, their contents have lost none of their toxicity. The Australians in this image carry box respirators, essential for survival in trench warfare. Photo courtesy of the author. n 11 November 1918, the Armistice brought an end In 1920, in Flanders, Belgium, a Poelkapelle-based bomb to the First World War.
    [Show full text]
  • Copyright © 2016 by Bonnie Rose Hudson
    Copyright © 2016 by Bonnie Rose Hudson Select graphics used by permission of Teachers Resource Force. All Rights Reserved. This book may not be reproduced or transmitted by any means, including graphic, electronic, or mechanical, without the express written consent of the author except in the case of brief quotations embodied in critical articles and reviews and those uses expressly described in the following Terms of Use. You are welcome to link back to the author’s website, http://writebonnierose.com, but may not link directly to the PDF file. You may not alter this work, sell or distribute it in any way, host this file on your own website, or upload it to a shared website. Terms of Use: For use by a family, this unit can be printed and copied as many times as needed. Classroom teachers may reproduce one copy for each student in his or her class. Members of co-ops or workshops may reproduce one copy for up to fifteen children. This material cannot be resold or used in any way for commercial purposes. Please contact the publisher with any questions. ©Bonnie Rose Hudson WriteBonnieRose.com 2 World War I Notebooking Unit The World War I Notebooking Unit is a way to help your children explore World War I in a way that is easy to personalize for your family and interests. In the front portion of this unit you will find: How to use this unit List of 168 World War I battles and engagements in no specific order Maps for areas where one or more major engagements occurred Notebooking page templates for your children to use In the second portion of the unit, you will find a list of the battles by year to help you customize the unit to fit your family’s needs.
    [Show full text]
  • Australian War Memorial Annual Report 2006–2007 Australian War Memorial Annual Report 2006–2007
    AUSTRALIAN WAR MEMORIAL ANNUAL REPORT 2006–2007 AUSTRALIAN WAR MEMORIAL ANNUAL REPORT 2006–2007 The Hon. John Howard MP, Prime Minister of Australia, in the Courtyard Gallery on Remembrance Day. Annual report for the year ended 30 June 2007, together with the financial statements and the report of the Auditor-General. Images produced courtesy of the Australian War Memorial, Canberra Cover: Children in the Vietnam environment in the Discovery Zone Child using the radar in the Cold War environment in the Discovery Zone Air show during the Australian War Memorial Open Day Firing demonstration during Australian War Memorial Open Day Children in the Vietnam environment in the Discovery Zone Big Things on Display, part of the Salute to Vietnam Veterans Weekend Back cover: Will Longstaff, Menin Gate at midnight,1927 (AWM ART09807) Stella Bowen, Bomber crew 1944 (AWM ART26265) Australian War Memorial Parade Ground William Dargie, Group of VADs, 1942 (AWM ART22349) Wallace Anderson and Louis McCubbin, Lone Pine, diorama, 1924–27 (AWM ART41017) Copyright © Australian War Memorial 2007 ISSN 1441 4198 This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced, copied, scanned, stored in a retrieval system, recorded, or transmitted in any form or by any means without the prior written permission of the publisher. Australian War Memorial GPO Box 345 Canberra, ACT 2601 Australia www.awm.gov.au iii AUSTRALIAN WAR MEMORIAL ANNUAL REPORT 2006–2007 iv AUSTRALIAN WAR MEMORIAL ANNUAL REPORT 2006–2007 INTRODUCTION TO THE REPORT The Annual Report of the Australian War Memorial for the year ended 30 June 2007 follows the format for an Annual Report for a Commonwealth Authority in accordance with the Commonwealth Authorities and Companies (CAC) (Report of Operations) Orders 2005 under the CAC Act 1997.
    [Show full text]
  • Emu Park Soldiers of World War I – the Great War
    EMU PARK SOLDIERS OF WORLD WAR I – THE GREAT WAR FROM EMU PARK and SHIRE OF LIVINGSTONE Private William Ahern (Service No. 254A) of the 42nd & 30th Infantry Battalions William was born on 10 October 1887 at Emerald, the 6th child of Michael Ahern who was working in the railway services and his wife Caroline (née Retchless). Michael accepted a railway job in Emu Park, hence the family moved to Phillip Street where William was raised, educated and worked as a labourer before enlisting in the AIF on 10th November 1915 at the age of 27 in Rockhampton. Private Ahern joined ‘B’ Company, 42nd Battalion, 11th Brigade, 3rd Australian Division that was encamped at Enoggera in Brisbane, Queensland. The 42nd Infantry Battalion consisted on average of 29 Officers and 1007 Other Ranks (OR’s) and was broken up into the following sub units: Section Platoon Company Battalion Rifle section:- Platoon Company Battalion 10 OR’s Headquarters (1 Headquarters (2 Headquarters (5 Officer & 4 OR’s) Officers & 57 Officers & 75 OR’s) Lewis Gun Section:- OR’s) 10 OR’s and 3 Rifle Sections and 4 Companies 1 Light Machine Gun 1 Lewis gun Section 4 Platoons He sailed for England on HMAT A30 Borda on 5th June 1916, then four months later to Armentiers in France near the Belgium boarder where he was transferred to the 30th Infantry Battalion, 8th Infantry Brigade, 5th Australian Division. While his battalion was defending Pozieres in 1916, William developed a severe case of “trench feet” and was hospitalised in England for close on six months.
    [Show full text]
  • Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
    COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Painting Anzac A history of Australia’s official war art scheme of the First World War Volume 2 Michael Scheib A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of Art History and Film Studies Faculty of Arts and Social Sciences The University of Sydney 2015 1 Appendices ________________________________________________________________
    [Show full text]