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Armor and weaponry were central to Islamic culture not only as a means of conquest and the spread of the faith, but also as symbols of status, wealth, and power. The finest arms were made by master craftsmen working with the leading designers, goldsmiths, and jewelers, whose work transformed utilitarian military equipment into courtly works of art. This book reveals the diversity and artistic quality of one of the most important and encyclopedic collections of its kind in the West. The Metropolitan Museum's holdings span ten centuries and include representative pieces from almost every Islamic culture from Spain to the Caucasus. The collection includes rare early works, among them the oldest documented Islamic sword, and is rich in helmets and body armor, decorated with calligraphy and arabesques, that were worn in Iran and Anatolia in the late fifteenth century. Other masterpieces include a jeweled short sword (yatagan) with a blade of "watered" steel that comes from the court of Süleyman the Magnificent, a seventeenth-century gold-inlaid armor associated with Shah Jahan, and two gold-inlaid flintlock firearms belonging to the guard of Tipu Sultan of Mysore. Presenting 126 objects, each handsomely photographed and richly documented with a detailed description and discussion of its technical, historical, and artistic importance, this overview of the Met's holdings is supplemented by an introductory essay on the formation of the collection, and appendixes on iconography and on Turkman-style armor.
"Trench art" is a highly evocative term conjuring up the image of a mud-spattered soldier in a soggy trench hammering out a souvenir for a loved one at home while dodging bullets and artillery shells. This is an appealing but very false conception of the reality of this art form. A few types of trench art could be made easily in a trench during lulls in the fighting, but the hammering involved in making many trench art pieces would have been greeted with unwelcome hostile fire from the enemy. Trench art items made during wars were in fact created at a distance from the front line trenches either by soldiers "at rest" behind the front lines, by skilled artisans among the civilian population, by prisoners of war, or by soldiers.
During World War II three distinct forces opposed the Allies - Germany, Italy, and Japan. Few areas of the world experienced domination by more than a single one of these, but southeastern France - the region popularly known as the Riviera or Cote d'Azur - was one. Not only did inhabitants suffer through Italian Fascism and German Nazism but also under a third hardship at times even more oppressive - the rule of Vichy France. Following a nine-month prelude, the reality of World War II burst onto the Riviera in June 1940 when the region had to defend itself against the Italian army and ended in April 1945 with a battle against German and Italian forces in April 1945, a period longer than any other part of France. In this book, George G. Kundahl tells for the first time the full story of World War II on the French Riviera. Featuring previously unseen sources and photographs, this will be essential reading for anyone interested in wartime France.
First published in 1987. War in the 18th century was a bloody business. A line of infantry would slowly march, to the beat of a drum, into a hail of enemy fire. Whole ranks would be wiped out by cannon fire and musketry. Christopher Duffy's investigates the brutalities of the battlefield and also traces the lives of the officer to the soldier from the formative conditions of their earliest years to their violent deaths or retirement, and shows that, below their well-ordered exteriors, the armies of the Age of Reason underwent a revolutionary change from medieval to modern structures and ways of thinking.