It's one of those questions that doesn't get asked everyday, but when it is, the enquirer doesn't usually have to finish their question before we can help them. They usually start with
"I don't know if you can help me, I was in the World War 1 section and noticed a knitting pattern for..."
At this point I can jump in with:
"Knitting two socks at once."
The aircraft of the 1914-18 period were visibly frail and delicate and quite unlike the capable machines we know today. First World War aircraft were prone to structural or mechanical failures and could easily catch fire. Armament was limited to rifle-calibre machine guns and protection for the crew through armour and parachutes were only beginning to be used in the closing stages of the war. Aircrew operated with few aids to navigation, and were usually exposed to the elements while in flight.
In war there has always been the need to see the enemy behind the hill; reconnaissance became a role of cavalry. Eventually observation balloons played a part as well. By the First World War, it was apparent that aircraft, being able to get above and well behind the enemy’s lines, could do it so much better.
Escape maps, medals and military insignia from an infamous German prisoner of war camp are among the latest additions to the Australian War Memorial's collection.
I now have a better set of images of the exhibition taken by one of our professional photographers, Kerry Alchin. I had thought that I might just replace some of my terribly dark and grainy images, but after talking to our web team, we thought we might upload this new set as a slide show.
You can stop the slideshow (by double clicking an image) to view more information or you can look at the previous posts, or even post a question in a comment. Here we go, mind the step ...
This post is a further comment regarding Emily Robertson's post on the Shellal Mosaic. When researching for the exhibition I came across some references to the mosaic in the collection of papers of General Sir Henry George Chauvel. In a letter to his wife on 3 May 1917 he mentions some damage done to the mosaic by Turkish forces and that he had contacted the Director of Antiquities to remove it. The letter was transcribed into Lady Chauvel’s scrapbook which she compiled after the war.
In this post we provide an audio tour that you can listen to online or download the podcast.
Warning: it is a bit rough! Not the technical quality, just my own voice as we recorded a live tour, so there was no script. It isn't Geraldine Dougue or Peter Ustinov, just me.
My thanks to our Sound Engineer Lenny Preston who edited out all the really bad mistakes and some background noise, our Robyn who helped him and our Web Developer, Adam Bell, who makes it all work online.
This blog post was written by Emily Robertson, a post-graduate student from the Australian National University who briefly worked at the Memorial as an intern in our Art section.