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This is a beautifully produced - and surely definitive - complete account of its subject. With 235 annotated high quality b/w illustrations and six full colour plates, printed on fine quality paper, it is a volume for any edged weapon or British Army enthusiast to treasure. The text encompasses technical details such as the pattern of swords - and the reasons why certain types were adopted, along with instructions for correctly wearing them. There are descriptions of the use of swords in battle - sometimes described by the swordsman wielding them - such as the gory account of the butchery at Waterloo by Sgt. Ewart who famously charged with the Royal Scots Greys. Sir Garnett Wolseley, the celebrated Victorian General, describes chopping men down from head to waist while serving with the Household Cavalry in Egypt in 1882. There are appendices on marking swords and chronological lists of changing sword patterns. This is a Naval and Military Press, National Army Museum joint reprint of the (1996) revised and greatly expanded edition of a book that first appeared in 1975 and quickly established itself as the standard authority on the British Army s swords.
Bat Masterson's illustrated biographies of legendary gunslingers Wyatt Earp, Doc Holliday, Luke Short, Bill Tilghman, Ben Thompson, and others paint a vivid portrait of the Old West, a world of sharpshooters, cattle rustlers, and Dodge City justice.
Released in 1969, the film Battle of Britain went on to become one of the most iconic war movies ever produced. The film drew many respected British actors to accept roles as key figures of the battle, including Sir Laurence Olivier as Hugh Dowding and Trevor Howard as Keith Park. It also starred Michael Caine, Christopher Plummer and Robert Shaw as squadron leaders. As well as its large all-star international cast, the film was notable for its spectacular flying sequences which were on a far grander scale than anything that had been seen on film before. At the time of its release, Battle of Britain was singled out for its efforts to portray the events of the summer of 1940 in great accuracy. To achieve this, Battle of Britain veterans such as Group Captain Tom Gleave, Wing Commander Robert Stanford Tuck, Wing Commander Douglas Bader, Squadron Leader Bolesław Drobiński and Luftwaffe General Adolf Galland were all involved as consultants. This detailed description of the making of the film is supported by a mouth-watering selection of pictures that were taken during the production stages. The images cover not only the many vintage aircraft used in the film, but also the airfields, the actors, and even the merchandise which accompanied the film’s release in 1969 – plus a whole lot more. There are numerous air-to-air shots of the Spitfires, Messerschmitts, Hurricanes and Heinkels that were brought together for the film. There are also images that capture the moment that Battle of Britain veterans, some of whom were acting as consultants, visited the sets. Interviews with people who worked on the film, such as Hamish Mahaddie, John Blake and Ron Goodwin, among others, bring the story to life.
In their companion volume to British Army Cap Badges of the First World War, authors Peter Doyle and Chris Foster present an overview of the main cap badges worn by the British Army during the Second World War, which continued the rich and varied tradition of British regimental insignia. This book describes and illustrates, for the first time in high quality full colour, the main types of cap badge worn. With many amalgamations, war-raised units and special forces, British military insignia from the period have a surprising range that differs substantially from that worn by the soldiers of the previous generation. As in the first book, this volume contains contemporary illustrations of the soldiers themselves wearing the badges. Employing the skills of an established writer (and collector) and artist, it provides a unique reference guide for anyone interested in the British Army of the period.
BRITISH & IRISH HISTORY. The British Isles have long been steeped in a rich heritage of ceremony and tradition, and there are few artefacts that evoke this culture so strongly as the ceremonial sword. Undertaking a monumental task to create a celebration of artistry, craft and tradition, author Edward Barrett travelled to over sixty locations, from Edinburgh to Exeter, Camarthen to Canterbury, on a 3,500-mile-long odyssey to inspect, document and measure the eighty-seven state and civic swords of Great Britain. This was followed by a further 1,000-mile journey around Ireland researching similar swords. The individual story behind each of these magnificent works of art is told in full, and the volume also explores the history of the sword, the scabbard and their manufacture, as well as of other ceremonial trappings of each location. With unique access to the Royal Collections and stunning full-colour images throughout, Edward Barrett more than brings this fascinating work to life.
This books explains why the British Army fought the way it did in the First World War. It integrates social and military history and the impact of ideas to tell the story of how the army, especially the senior officers, adapted to the new technological warfare and asks: Was the style of warfare on the Western Front inevitable? Using an extensive range of unpublished diaries, letters, memoirs and Cabinet and War Office files, Professor Travers explains how and why the ideas, tactics and strategies emerged. He emphasises the influence of pre-war social and military attitudes, and examines the early life and career of Sir Douglas Haig. The author's analysis of the preparations for the Battles of the Somme and Passchendaele provide new interpretations of the role of Haig and his GHQ, and he explains the reasons for the unexpected British withdrawal in March 1918. An appendix supplies short biographies of senior British officers. In general, historians of the First World War are in two hostile camps: those who see the futility of lions led by donkeys on the one hand and on the other the apologists for Haig and the conduct of the war. Professor Travers' immensely readable book provides a bridge between the two.