Search results for ""Casemate""

Ancient Greeks at War is a lavishly illustrated tour de force covering every aspect of warfare in the Ancient Greek world from the beginnings of Greek civilization through to its assimilation into the ever expanding world of Rome. As such it begins with the onset Minoan culture on Crete around 2,000 BC, then covers the arrival of the Mycenaean civilisation and the ensuing Late Bronze Age Collapse, before moving on to Dark Age and Archaic Greece. This sets the scene for the flowering of Classical Greek civilization, as told through detailed narratives of the Greek and Persian Wars, Peloponnesian Wars and the rise of Thebes as a major power.The book then moves on to the onset of Macedonian domination under Philip II, before focusing in detail on the exploits of his son Alexander the Great, the all-conquering hero of the ancient world. His legacy was the Hellenistic world with its multiple, never ending series of conflicts that took place over a huge territory, ranging from Italy in the west all the way to India in the east. Those covered include the various Wars of the Successors, the rise of the Bactrian-Greek and Indo-Greek kingdoms, the various wars between the Antigonid Macedonian, Seleucid and Ptolemaic kingdoms, and later the onset of the clash of cultures between the rising power of Rome in the west and the Hellenistic kingdoms. In the long run the latter proved unable to match Rome's insatiable desire for conquest in the eastern Mediterranean, and this together with the rise of Parthia in the east ensured that one by one the Hellenistic kingdoms and states fell. The book ends with the destruction of Corinth in 146 BC after the defeat by Rome of the Achaean League. The conclusion considers the legacy of the Ancients Greeks in the Roman world, and subsequently.

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The period covered by the Old Testament - beginning in approximately 3000 BC - was one of great technological development and innovation in warfare, as competing cultures clashed in the ancient Middle East. The Sumerians were the first to introduce the use of bronze into warfare, and were centuries ahead of the Egyptians in the use of the wheel. The Assyrians developed chariot warfare and set the standard for a new equine-based military culture. The Babylonians had an army whose people were granted land in return for army service. This authoritative history gives an overview of warfare and fighting in the age of the Old Testament, from the Akkadians, Early and Middle Kingdom Egypt and their enemies, Mycenean and Minoan Greece and Crete, Assyrians and New Kingdom Egyptians, the Hittites, the Sea Peoples who gave rise to the Philistines, the Hebrew kingdom, the Babylonian kingdom, the Medes and later Persian Empires, through to early Classical Greece. Author Simon Elliott explores how archaeology can shed light on events in the Bible including the famous tumbling walls of Jericho, the career of David the boy warrior who faced the Philistines, and Gideon, who was able to defeat an army that vastly outnumbered his own.

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Fifteen elite mountain divisions and a multitude of small units fought for the Wehrmacht during World War II. They fought on all fronts, operating in hostile environments ranging from the far north to Libya, the Atlantic to the Caucasus - serving in all the “hot spots.” This book, the culmination of some four decades of research and the support of many veterans and collectors, describes the life, operations and equipment of these specialist units.

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When World War II began, the Wehrmacht had fifteen mountain divisions and a multitude of small units, including some Austrian units that had been incorporated into the German army after the Anschluss. These mountain units would operate in hostile environments on all fronts during World War II. Due to their training, equipment and adaptability, the Gebirgstruppen would be deployed to fight in almost every theater. In the last years of the war they would see action in North Africa, Italy, the Balkans, Norway and Finland, and in the West as the Allies pushed German forces back toward Berlin.This book, the culmination of four decades of research and the support of many veterans and collectors, describes the uniform, equipment, and operations of these specialist units during the later years of World War II. The text is complemented by period photographs taken at the front, including many color photographs, and modern photographs of uniform details.

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The last rites were administered to the Third Reich from the west by a massive concentration of Allied forces and firepower. With France secured, Hitler’s vain counterattack in the Ardennes held and the Channel and North Sea ports cleared, little stood in the way of the Allies other than the dominant geographical feature of western Europe: the mighty Rhine River stretching from the North Sea almost to Switzerland. In the north, the 21st Army Group executed one of the largest operations of the war: a huge airdrop backed up by an amphibious crossing that made full use of 79th Armoured Division’s specialized armour including the Alligators of 4th Royal Tank Regiment. Further south, until it collapsed under the pressure, the Ludendorff Bridge, captured intact at Remagen allowed US First Army to create a bridgehead. They would use it to good effect, wheeling north to surround the Ruhr, Germany’s industrial heartland. Further south, where the river was narrower, Patton’s Third Army vaulted the Rhine with its customary elan, as did Devers’ Sixth Army Group.Ahead of the Allies were the remains of the German forces, often no more than Volkssturm or Hitlerjugend, determined to resist for as long as possible so that their Führer had time to unleash his super weapons. In the end, these proved figments of Hitler’s imagination and the defenders crumbled in the face of units that, after nine months of training, had become deadly proponents of the art of aggressive warfare with modern, new equipment – such as the M26 Pershing and Comet – being rushed to the front in the hope it could see action before the war finished.

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Black Tulip is the dramatic story of history's top fighter ace, Luftwaffe pilot Erich Hartmann. It's also the story of how his service under Hitler was simplified and elevated to Western mythology during the Cold War.Over 1,404 wartime missions, Hartmann claimed a staggering 352 airborne kills, and his career contains all the dramas you would expect. There were the frostbitten fighter sweeps over the Eastern Front, drunken forays to Hitler’s Eagle’s Nest, a decade of imprisonment in the wretched Soviet POW camps, and further military service during the Cold War that ended with conflict and angst.Just when Hartmann’s second career was faltering, he was adopted by a network of writers and commentators personally invested in his welfare and reputation. These men, mostly Americans, published elaborate, celebratory stories about Hartmann and his elite fraternity of Luftwaffe pilots. With each dogfight tale put into print, Hartmann’s legacy became loftier and more secure, and his complicated service in support of Nazism faded away. A simplified, one-dimensional account of his life - devoid of the harder questions about allegiance and service under Hitler - has gone unchallenged for almost a generation.Black Tulip locates the ambiguous truth about Hartmann and so much of the German Wehrmacht in general: that many of these men were neither full-blown Nazis nor impeccable knights. They were complex, contradictory, and elusive. This book portrays a complex human rather than the heroic caricature we’re used to, and it argues that the tidy, polished hero stories we’ve inherited about men like Hartmann say as much about those who've crafted them as they do about the heroes themselves.

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During World War Two, the armed or Waffen-SS branch of the Third Reich’s dreaded security service expanded from two divisions in 1940 to 38 divisions by the end of the war, eventually growing to a force of over 900,000 men until Germany’s defeat in May 1945. Not satisfied with allowing his nascent force to be commanded in combat by army headquarters of the Wehrmacht, Heinrich Himmler, chief of the SS, began to create his own SS corps and army headquarters beginning with the SS-Panzerkorps in July 1942. As the number of Waffen-SS divisions increased, so did the number of corps headquarters, with 18 corps and two armies being planned or activated by the war’s end.While the histories of the first three SS corps are well known, the IV SS-Panzerkorps – which never fought in the west or in Berlin but participated in many of the key battles fought on the Eastern Front during the last year of the war – has been overlooked. Activated during the initial stages of the defence of Warsaw in late July 1944, the corps, consisting of both the 3. and 5. SS-Panzer Divisions (Totenkopf and Wiking, respectively) was born in battle and spent the last ten months of the war in combat, figuring prominently in the battles of Warsaw, the attempted Relief of Budapest, Operation Spring Awakening, the defence of Vienna, and the withdrawal into Austria where it finally surrendered to American forces in May 1945.Herbert Otto Gille’s IV SS-Panzerkorps was renowned for its tenacity, high morale and, above all, its lethality, whether conducting a hard-hitting counterattack or a stubborn defense in situations where its divisions were hopelessly outnumbered. Often embroiled in heated disputes with its immediate Wehrmacht higher headquarters over his seemingly cavalier conduct of operations, Gille’s corps remained to the bitter end one of the Third Reich’s most reliable and formidable field formations.

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Of the five beaches attacked on 6 June, Omaha saw the sternest fighting. Well-placed defenders on the high ground and extensive beach defenses did their job. On top of this, so much had gone wrong with the first wave: many of the amphibious DD Sherman tanks didn’t reach the beach. They were released from their landing craft too far away where the greater swell swamped them and the troops landing on Omaha missed their firepower. Another problem was that many units landed in the wrong place. Strong tides and winds carried the landing craft off line and led to confusion. Finally, the German emplacements and defenses were well-placed on high ground and the only cover on the beach face=Calibri>– the seawal – was over a killing ground. There were 32 fortified areas located between the Vire River and Port-en-Bessin: in all, 12 of these strongpoints were able to direct fire on Omaha Beach. The attacking forcesface=Calibri>–units of the US 29th and 1st Inf Divs – suffered over 2,000 casualties, many of them drowned during the approach, but led by US Rangers, themselves misplaced (they were the follow-up troops to Rudder’s Rangers who had scaled the Pointe du Hoc) the American troops pushed forward and by nightfall, they had gained hold of the beach and its immediate hinterland. Despite the casualties, 34,000 troops had been landed by the end of the day.

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This remarkable work pulls the lid off one of the legendary air forces in history at the very peak of its powerface=Calibri>–unveiling the and machines as they truly existed dayface=Calibri>–to–day, underneath the propaganda of their own regime and the scare stories of their enemies.In Hitler’s Germany, colour photography was primarily co-opted for state purposes, such as the military publication Signal, or the Luftwaffe’s own magazine, Der Adler (Eagle). But a number of men had cameras of their own, and in this painstakingly acquired collection, originally published in France, we can witness true life on Germany’s airfields during the period of the Luftwaffe’s ascendancy.Thus not only do we see famous planes such as the Me-109, Ju-87 or He-111, but the wide variety of more obscure types with which the Germans began the war. The array of Arados, Dorniers, Heinkels face=Calibri>– not to mention elegant 4-engine Condors face=Calibri>– that were initially employed in the war are here in plain sight and full colour, providing not only an insight into WWII history but a model maker’s dream.Just as fascinating are the shots of the airmen themselves, along with their groundcrews face=Calibri>– full of confidence and cheer as they bested every other air force in Europe during these years, with the single exception of the RAF’s Fighter Command in late-summer 1940. But that was no big stumbling block to the Luftwaffe, which had bigger fish to fry in Russia and North Africa the following year.In the authors’ next work, The Years of Defeat, we will see how the war turned more grim for the Luftwaffe, even as its expertise and skill at more deadly aircraft designs, increased. In The Victory Years we have a uniquely intimate view of an air force at the very apex of its capabilities.

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Today's Arab-Israeli conflict, ever-present in the news, is merely the latest iteration of an unending history of violence in the Holy Land—a region that is unsurpassed as witness to a kaleidoscopic military history involving forces from across the world and throughout the millennia.Holy Wars describes 3,000 years of war in the Holy Land with the unique approach of focusing on pivotal battles or campaigns, beginning with the Israelites' capture of Jericho and ending with Israel’s last full-fledged assault against Lebanon. Its 17 chapters stop along the way to examine key battles fought by the Philistines, Assyrians, Greeks, Romans, Arabs, Crusaders, and Mamluks, the latter clash, at Ayn Jalut, comprising the first time the Mongols suffered a decisive defeat.The modern era saw the rise of the Ottomans, and an incursion by Napoleon who only found bloody stalemate outside the walls of Akko (Acre). The Holy Land became a battlefield again in World War I when the British fought the Turks. The nation of Israel was forged in conflict during its 1948 War of Independence, and subsequently found itself in desperate combat, often against great odds, in 1956 and 1967, and then it was surprised by a massive two-pronged assault in 1973. By focusing on the climax of each conflict, while carefully setting each stage, Holy Wars allows the reader to examine an extraordinary breadth of military history, glimpsing in one volume the evolution of warfare over the centuries as well as the enduring status of the Holy Land as a battleground.

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John Brown is a common name, but the John Brown who masterminded the failed raid at Harpers Ferry was anything but common. His failed efforts have left an imprint upon our history, and his story still swirls in controversy. Was he a madman who felt his violent solution to slavery was ordained by Providence or a heroic freedom fighter who tried to liberate the downtrodden slave? These bipolar characterizations of the violent abolitionist have captivated Americans. The view that prevailed from the time of the raid to well into the twentieth century - that his actions were the product of an unbalanced mind - has since shifted to the idea that he committed courageous acts to undo a terrible injustice.The debate still rages, but not as much about his ultimate goal as the method he used in attempting to right what he considered an intolerable wrong. Are citizens justified in bypassing the normal legal or governmental processes in a violent way when they fail, in the eyes of the dissenter, to correct a wrong that touched so many? Brown’s use of violence was to strike terror in the heart of slave owners, terror that Brown hoped would intimidate them to free their slaves to ensure their families’ safety.Despite the differences between modern terrorist acts and Brown’s own violent acts, when Brown’s characteristics are compared to the definition of terrorism as set forth by scholars of terrorism, he fits the profile. Nevertheless, today Brown is a martyred hero who gave his life attempting to terminate the evil institution of human bondage. Brown’s violent method of using terrorism to accomplish this is downplayed or ignored, despite labeled by historians as America’s first terrorist. The modern view of Brown has unintentionally made him a "good terrorist," despite the repugnance of terrorism that makes the thought of a benevolent or good terrorist an oxymoron.This new biography covers Brown's background and the context to his decision to carry out the raid, a detailed narrative of the raid and its consequences for both those involved and America; and an exploration of the changing characterisation of Brown since his death.

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Zygotes and Confessions is a publication devoted to the work of London-based artist Nick Hornby, and has been produced to accompany his first solo exhibition in a public gallery. The exhibition, which shares its title with the publication, is presented at MOSTYN, Wales, UK, from November 2020 to April 2021.Hornby is known for his monumental site-specific works that combine digital software with traditional materials such as bronze, steel, granite and marble. In this publication he presents a substantial new body of smaller, more intimate work comprising three discrete yet interrelated series of works inspired by the history of sculptural busts, modernist abstractions and mantelpiece ceramic dogs. United by glossy photographic surfaces created by means of an industrial process in which his marble and resin composite sculptures are dipped into liquid photographs, these new works explore themes of portraiture, the body, identity, sexuality and intimacy in the digital era. A number of the works have been made in collaboration with fashion photographer Louie Banks.Along with a foreword by Helen Boyd, Head of Marketing and Publisher Relations at the Casemate Group, the publication features a text by MOSTYN director Alfredo Cramerotti and an essay by London-based publisher, editor and writer Matt Price. Price writes: "With one eye on the sculpture of the past and the other on that of tomorrow, technology is at the heart of London-based Nick Hornby’s practice and is central to the production of his often imposing, mind-bending and futuristic-looking sculptures. Using materials such as bronze and marble, his work points back towards the Renaissance or the nineteenth century, yet his use of resin and digital technology positions him very much in the present, exploring languages both figurative and abstract, often simultaneously."The texts are presented in both English and Welsh. Newly commissioned studio photography of the works by Ben Westoby, along with installation views of the exhibition commissioned by MOSTYN from Mark Blower, illustrate the publication, which has been designed by Joe Gilmore / Qubik. The publication is co-published by MOSTYN, Wales, UK, and Anomie Publishing, London, and distributed internationally by Casemate Art, a division of the Casemate Group.Nick Hornby (b.1980) is a British artist living and working in London. Hornby studied at the Slade School of Art and Chelsea College of Art. His work has been exhibited at Tate Britain, Southbank Centre London, Leighton House London, CASS Sculpture Foundation, Glyndebourne, Fitzwilliam Museum Cambridge, Museum of Arts and Design New York, and Poznan Biennale, Poland. Residencies include Outset (Israel) and Eyebeam (USA), and awards include the UAL Sculpture Prize. His work has been reviewed in the New York Times, frieze, Artforum, The Art Newspaper, The FT, and featured in Architectural Digest and Sculpture Magazine.

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The SU-76 assault gun was the second most widely manufactured Soviet armoured fighting vehicle of World War II, out-numbered only by the legendary T-34. Inspired in part by the German Marder series of tank destroyers, Soviet designers realized that the chassis of the obsolete T-70 light tank could be adapted to a much more substantial gun if it was placed in a fixed casemate rather than in a turret. This led to the design of the SU-76, which saw its combat debut at Kursk in the summer of 1943. The SU-76 was deployed primarily as an infantry direct support weapon, becoming the infantry tank of the Red Infantry, much as the StuG III became the infantry tank of the German infantry. Featuring full colour artwork and written by an expert on tank warfare during World War II, this fascinating study describes one of the Soviet Union’s most important armoured vehicles during its struggle with Nazi Germany.

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Sturmgeschutz III was originally designed as an assault weapon, but as war progressed it was increasingly used in a defensive role and evolved into an assault gun and tank destroyer. By 1943 its main role was providing anti-tank support to the units in its area of operation. This consequently led to many StuGs being destroyed in battle. Nonetheless they were very successful as tank killers and destroyed, among others, many bunkers, pillboxes and other defences.The StuG was not considered to be a true tank because it lacked a turret. The gun was mounded directly in the hull, in a casemate-style fashion, with a low profile to reduce vehicle heights, and had a limited lateral traverse of a few degrees in either direction. Thus, the entire vehicle had to be turned in order to acquire targets. Omitting the turret made production much simpler and less costly, enabling greater numbers to be built. Its significantly shorter vertical profile as compared to contemporary tanks made the StuG more difficult to hit.Most assault guns were mounted on the chassis of a Panzer III or Panzer IV, with the resultant model being called either a StuG III or StuG IV respectively. The StuG was one of the most effective tracked vehicles of World War II, and over 10,000 of them were eventually produced.During the course of the war StuG III assault guns were issued to Sturmartillerie Batteries, Sturmgeschutz Abteilungen, Sturmgeschutz Brigades, Sturmartillerie Batteries, Ersatz (Reserve), Abteilungen and Funklenk (Remote Control) Companies. StuG III assault guns served on all fronts of WWII until the end of the war.

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This book presents the final report of the excavations at Yotvata, the largest oasis in the Arabah Valley, conducted by the Sonia and Marco Nadler Institute of Archaeology of Tel Aviv University in 1974–1980 under the direction of Dr. Zeʾev Meshel. The report covers two central sites: a fortified Iron I site and an Early Islamic settlement. The Iron I remains consist of an irregular casemate wall surrounding a courtyard. The location of this site suggests that the settlement was established in order to protect the water sources and to overlook and supervise the nearby crossroads. Based on the relative proximity of the site to Timna, it may be concluded that the oasis formed the main source of water and wood for the population involved in copper production in that region.The rich finds uncovered at the Early Islamic settlement—including a large courtyard building and a nearby bathhouse, among other structures—point to habitation from the end of the seventh to the early ninth century CE. The proximity of the settlement to a sophisticated irrigation system (qanat) and the administrative/economic ostraca discovered at the site suggest that it served as the center of an agricultural estate owned by an elite Muslim family. Among the unique finds is a large assemblage of locally produced, handmade pottery, which is thoroughly studied here.The findings from the excavations at the Yotvata oasis have made a major contribution to the study of Early Islamic settlement and material culture in the greater Arabah region and beyond.

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Sensory Systems documents an engaging group exhibition presented at the Grundy Art Gallery, Blackpool, in autumn 2015. The exhibition is the first in a new annual programme by the gallery each autumn that will revolve around the theme of light, and timed to coincide with the famous Blackpool Illuminations – a six-mile-long outdoor display of lights that has drawn many visitors to the town each year since it was first switched on in 1912.The exhibition and publication feature works by internationally acclaimed artists interested in the technology and science of light, and how this can be used to affect our perceptual experiences of space. Whether through sculpture, projection or immersive architecture, eachartwork presented in the exhibition invited a dialogue with the viewer, utilising colour, pattern, movement and other factors to evoke a variety of spatial and sensory experiences.The selection of prominent figures working internationally today who feature in the exhibition and publication are: Angela Bulloch, Rafael Lozano-Hemmer, Ann Veronica Janssens, Anthony McCall and Conrad Shawcross. Among these, Anthony McCall was one ofthe early pioneers in the field, alongside figures such as James Turrell, Mary Corse, Robert Irwin, Carlos Cruz-Diez and Dan Flavin. McCall, who moved to New York from England in the early 1970s, was highly influential with his ‘solid light’ installations. In this exhibition and publication, McCall presents You and I, Horizontal (2005), a slowly evolving, curving sculpture made of light.The publication includes a foreword by Richard Parry, Curator at the Grundy Art Gallery, an essay by Dr. Luke Skrebowski, Director of Studies in History of Art at Churchill College at the University of Cambridge, and has been designed by Joe Gilmore / Qubik. The project has been supported by Blackpool Council, Coastal Communities Fund, Arts Council England, and is co-published by the Grundy Art Gallery and Anomie Publishing. The publication is distributed internationally by Casemate Art.

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Dive Scapa Flow has been THE definitive guide to diving the fabled wrecks of Scapa Flow, one of the world's greatest wreck diving locations. This completely re-written and updated centenary edition is produced to coincide with the 100th anniversary of the scuttle of the 74 warships of the interned German High Seas Fleet at Scapa Flow on 21st June 1919 - the greatest act of maritime suicide the world has ever seen. The dark depths of Scapa Flow conceal the remains of several of the Kaiser's WWI High Seas Fleet. Three massive 575 feet long 26,000-ton Konig-class battleships await exploration - huge underwater mountains where divers can see the last 12-inch big guns to have fired at British warships at the Battle of Jutland in 1916; or drift along rows of 5.9-inch secondary battery casemate guns and see massive masts and heavily armoured spotting tops. Four 5,000-ton, 500 foot long, kleiner kreuzers, Brummer, Coln, Dresden and Karlsruhe lie on their beam ends open for inspection with parts that remained on the seabed of many other High Seas Fleet vessels as they themselves were lifted to the surface during the greatest feat of underwater salvage that has ever taken place. Add in a U-boat, a boom defence vessel, an Icelandic trawler, a number of drifters, WWII vessels, many 'blockships' intentionally sunk to block the smaller channels into Scapa Flow during WWI and WWII and it becomes apparent what Scapa Flow offers divers. Scapa Flow's war graves, HMS Royal Oak, torpedoed at the beginning of WWII and HMS Vanguard, which blew up in a catastrophic magazine explosion in 1917 and HMS Hampshire, which struck a German mine and sunk on 5th June 1916 north-west of Orkney carrying Lord Kitchener and his staff on a secret diplomatic mission to Russia, are off limits to divers today - but their stories are recounted to preserve the memory of those that perished.

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