 | |
| Type | Military invention |
|---|---|
| Inventor | Lucien-Victor Guirand de Scévola |
| Inception | 1915 |
| Manufacturer | Various armed forces |
| Available | No |
Camouflage trees (also known as fake trees, false trees, and observation trees) were observation posts invented in 1915 by French painter Lucien-Victor Guirand de Scevola while leading the French army's Section de Camouflage.
They were used by the armed forces of France, the United Kingdom, and Germany in trench warfare during World War I.
English speakers also called camouflage trees "fake trees", "observation trees," [1] and "false trees", [2] while German speakers called them Baumbeobachter (English: tree observers). [1]
During World War I, both sides on the Western Front were engaged in trench warfare, making observations of enemy forces' activity difficult. [3]
The camouflage tree was invented by the French painter Lucien-Victor Guirand de Scévola, leader of the French Army's Section de Camouflage, at the request of General de Castelnau. It was first used in May 1915 during the Second Battle of Artois. [4]
The French Army subsequently shared the design with the British Army, who assigned Solomon Joseph Solomon to lead a program to make a British camouflage tree. [1] Solomon directed artist and sculptor Leon Underwood of the Royal Engineers Camouflage Section to build the tree. [5] Underwood selected a dead willow tree in no man's land between trenches, and sketched it. [3] His sketches were used to build a replica that incorporated a steel-armoured observation tower and a periscope to protect the user. [3] [6] One night in March 1916, the original tree was cut down and replaced with the camouflaged tree. [3]
The German armed forces used a camouflage tree in 1917 in the Oosttaverne (or Oostaverne) Wood near Messines, Belgium during the Battle of Messines. [7] The German design covered the viewing hole with wire mesh. [7]
A British camouflage tree remains in the permanent collection of the Imperial War Museum's First World War Galleries. [3]
The Australian War Memorial displayed a German camouflage tree during the centenary of World War I. [1] [8]
Camouflage is the use of any combination of materials, coloration, or illumination for concealment, either by making animals or objects hard to see, or by disguising them as something else. Examples include the leopard's spotted coat, the battledress of a modern soldier, and the leaf-mimic katydid's wings. A third approach, motion dazzle, confuses the observer with a conspicuous pattern, making the object visible but momentarily harder to locate, as well as making general aiming easier. The majority of camouflage methods aim for crypsis, often through a general resemblance to the background, high contrast disruptive coloration, eliminating shadow, and countershading. In the open ocean, where there is no background, the principal methods of camouflage are transparency, silvering, and countershading, while the ability to produce light is among other things used for counter-illumination on the undersides of cephalopods such as squid. Some animals, such as chameleons and octopuses, are capable of actively changing their skin pattern and colours, whether for camouflage or for signalling. It is possible that some plants use camouflage to evade being eaten by herbivores.
Trench warfare is a type of land warfare using occupied lines largely comprising military trenches, in which combatants are well-protected from the enemy's small arms fire and are substantially sheltered from artillery. It became archetypically associated with World War I (1914–1918), when the Race to the Sea rapidly expanded trench use on the Western Front starting in September 1914.
Technology during World War I (1914–1918) reflected a trend toward industrialism and the application of mass-production methods to weapons and to the technology of warfare in general. This trend began at least fifty years prior to World War I during the American Civil War of 1861–1865, and continued through many smaller conflicts in which soldiers and strategists tested new weapons.
The Ypres Salient, around Ypres, in Belgium, was the scene of several battles and a major part of the Western Front during World War I.
The Battle of Messines was an attack by the British Second Army, on the Western Front, near the village of Messines in West Flanders, Belgium, during the First World War. The Nivelle Offensive in April and May had failed to achieve its more grandiose aims, had led to the demoralisation of French troops and confounded the Anglo-French strategy for 1917. The attack forced the Germans to move reserves to Flanders from the Arras and Aisne fronts, relieving pressure on the French.
André Dunoyer de Segonzac was a French painter and graphic artist.
The Livens Projector was a simple mortar-like weapon that could throw large drums filled with flammable or toxic chemicals.
Military camouflage is the use of camouflage by an armed force to protect personnel and equipment from observation by enemy forces. In practice, this means applying colour and materials to military equipment of all kinds, including vehicles, ships, aircraft, gun positions and battledress, either to conceal it from observation (crypsis), or to make it appear as something else (mimicry). The French slang word camouflage came into common English usage during World War I when the concept of visual deception developed into an essential part of modern military tactics. In that war, long-range artillery and observation from the air combined to expand the field of fire, and camouflage was widely used to decrease the danger of being targeted or to enable surprise. As such, military camouflage is a form of military deception in addition to cultural functions such as political identification.
Solomon Joseph Solomon was a British painter, a founding member of the New English Art Club and member of the Royal Academy.
The artillery of World War I, improved over that used in previous wars, influenced the tactics, operations, and strategies that were used by the belligerents. This led to trench warfare and encouraged efforts to break the resulting stalemate at the front. World War I raised artillery to a new level of importance on the battlefield.
Charles André Mare (1885–1932), or André-Charles Mare, was a French painter and textile designer, and co-founder of the Company of French Art in 1919. He was a designer of colorful textiles, and was one of the founders of the Art Deco movement.
The first German man-portable flamethrower was called the Kleinflammenwerfer or Kleif. Fuel was stored in a large vertical, cylindrical backpack container. High-pressure propellant was stored in another, smaller container attached to the fuel tank. A long hose connected the fuel tank to a lance tube with an igniting device at the nozzle. The propellant forced the fuel through the hose and out of the nozzle at high speed when a valve was opened. The igniting device at the nozzle set fire to the fuel as it sprayed out. The flamethrower was operated by two soldiers, one carrying the fuel and propellant tanks, another wielding the lance. Wex, a replacement for the Kleif, was introduced in 1917 after the third battle of Ypres.
The 240 mm trench mortar, or Mortier de 240 mm, was a large calibre mortar of World War I. An original French design, it was developed by Batignolles Company of Paris and introduced in 1915.
Lucien-Victor Guirand de Scévola was a French painter. He is known for his pioneering leadership of the Camoufleurs in World War I.
The Mines in the Battle of Messines comprised a series of underground explosive charges which were fired during the First World War at the start of the Battle of Messines (7–14 June 1917) by the British Second Army near the village of Mesen in Belgian West Flanders. The mines, secretly planted and maintained by British tunnelling units beneath the forward position of the German 4th Army, killed approximately 10,000 German soldiers and created 19 large craters. Their joint explosion ranks among the largest non-nuclear explosions of all time.
The Actions of the Bluff were local operations in 1916 carried out in Flanders during the First World War by the German 4th Army and the British Second Army. The Bluff is a mound near St Eloi, south-east of Ypres in Belgium, created from a spoil heap made during the digging of the Ypres–Comines Canal before the war. From 14 to 15 February and on 2 March 1916, the Germans and the British fought for control of the Bluff, the Germans capturing the mound and defeating counter-attacks only for the British to recapture it and a stretch of the German front line, after pausing to prepare a set-piece attack.
Hill 60 is a World War I battlefield memorial site and park in the Zwarteleen area of Zillebeke south of Ypres, Belgium. It is located about 4.6 kilometres (2.9 mi) from the centre of Ypres and directly on the railway line to Comines. Before the First World War the hill was known locally as Côte des Amants. The site comprises two areas of raised land separated by the railway line; the northern area was known by soldiers as Hill 60 while the southern part was known as The Caterpillar.
Spanbroekmolen is a small group of farms in Heuvelland, a municipality located in the Belgian province of West Flanders. The hamlet is sited on one of the highest points of the Messines Ridge, in between the villages of Kemmel, Wijtschate and Wulvergem.
Louis Abel-Truchet was a French painter and poster artist. He was known for landscapes, genre scenes and depictions of Parisian nightlife.
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