This image and the one below are selections from the The National Archives' collaboration with Wikimedia Commons, so far comprising 350 examples of war art from the Second World War. These particular ones are propaganda posters (or draft versions of same) but there are also more informational ones as well as portraits and caricatures of Allied leaders.
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It's been more than two weeks since I've posted anything on my current mystery aeroplane research, but it's not because I haven't been working on it. In fact it is coming along pretty well. There are still some frustrating gaps in my understanding of the archival records, but the writing is coming along. I've written up the section about the aeroplane scare, and next I'll be doing the section on the German threat, as depicted above in a 1918 (?) poster by Norman Lindsay. So here's something about that.
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The title of this little series is a nod to David Walker's Anxious Nation: Australia and the Rise of Asia 1850-1939.1 As the title suggests, Walker argues that Australia's relationship with Asia in the decades before and after Federation was largely characterised by fear about immigration, imports and invasion. Peter Stanley, in Invading Australia: Japan and the Battle for Australia, 1942, fleshes out the last of these fears through a discussion of novels and books from the 1930s which discussed the prospect of war with Japan (or at least an unnamed or Ruritanian Asian enemy).2 For example, in Erle Cox's Fool's Harvest (1938/1939), Australia is attacked and invaded by 'Cambasia' in September 1939, beginning with a massive air raid on Sydney which causes 200,000 civilian casualties. Britain is unable to help, as it has been attacked by Germany, Italy and France; a British fleet at Singapore is sunk. The Australian armed forces are ill-equipped to defend the nation, and after a month Cambasia is victorious at the last battle of the war, at Seymour in central Victoria. A resistance movement is eventually suppressed after increasingly brutal reprisals. The south-eastern part of Australia eventually regains a limited independence in 1966, but the majority of the population still labours under the Cambasian yoke.
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Airmindedness is a word which gets bandied around a lot these days -- okay, not actually a lot, but it's not just me either. But I think it's too broad a concept; at the very least, it needs to be divided into positive airmindedness and negative airmindedness. I mostly write about negative airmindedness. This more or less is the attitude 'Aviation is vitally important to the nation because it is incredibly dangerous'; the previous post is a good example of this. In Britain, I would argue, this was the predominant form of airmindedness in Britain between the wars, due to the perceived danger of a knock-out blow from the air. But mixed in with that there was also positive airmindedness: 'Aviation is vitally important to the nation because it is incredibly beneficial'. (Before 1914 this was stronger, though the phantom airship panics would suggest that even then negative airmindedness held sway.) Above is an example, a 1926 London Underground poster by Montague B. Black.
LONDON 2026 A.D. -- THIS IS ALL UP IN THE AIR
TO-DAY -- THE SOLID COMFORT OF THE UNDERGROUND
It presents a vision of London a hundred years' hence, the far-off year of 2026, drawing on the futurism of aviation to sell the (sub)mundane transport of today. (Airmindedness was very often about the potential of aviation than its reality, the future rather than the present.)
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This advertisement was placed by the Air League in The Times, 11 June 1940, on page 9 (it also appeared in the Daily Telegraph). The British Expeditionary Force had been ejected from France just a week before; Germany now occupied Belgium and the Netherlands. France was still fighting, but Paris had been declared an open city, and with Italy entering the war its position seemed hopeless. The RAF had evidently not been able to hold back the Luftwaffe, now only a few minutes' flight from British soil, and this is where the Air League came in. It pointed out that
For years the Air League warned the country of the importance of air power. [...] Now is the time for renewed effort and new resolves. Resolve to-day that so long as any danger exists you will use every effort to keep the Royal Air Force strong enough after the war to deter any aggressor from threatening our peace [...] If you support the Air League you can make it your means of ensuring that never again will our country get into a position of inferiority in the air.
I wonder how far away the Air League thought 'after the war' was: years, months, weeks? Given that no money was being solicited (and the advertising itself was expensive), that would seem to suggest sooner rather than later: few people would feel obliged to keep such a pledge made years earlier under different circumstances. J. A. Chamier, the Secretary-General of the Air League whose idea it was, was a fascist fellow-traveller, so we may presume did not wish to fight Nazi Germany and Fascist Italy any longer than necessary. But then again to call for Britain to maintain its airpower at a high level after an armistice, say, is not treasonous. Whether this position is defeatist is debatable, though I tend to think it is, a little.
Note the distinctly petulant tone:
More public support would have made its [the Air League's] warnings more effective [...] The Air League, which founded Empire Air Day and the Air Defence Cadet Corps has never been adequately supported by the public.
I.e., dear British people: if you idiots had listened to us in the first place we wouldn't be in this mess. Did this hectoring work? Though the Air League asked for a million pledges, by October it had received about 500, not an insignificant number compared to its total membership (before the war, in the low thousands) but not a lot either, when the immense gratitude people felt for the RAF after the Battle of Britain is taken into account.
The seventh RAF Display was held on Saturday, 3 July 1926. By now it was, as Flight noted, 'amongst the foremost of the functions of the London social season'.1 Their Majesties the King and Queen were in attendance, along with representatives of three other royal houses (including the King, Queen, Infante and Infanta of Spain, possibly drawn by the appearance of the Cierva autogyro), 'Several Indian Princes', nearly one in three of the combined Houses of Parliament, and about 150,000 less exalted guests. (The graphic above shows the growth of 'Miss Popularity Hendon' since the beginning.)2 The main feature of the day was massed formation flying: at one point, six fighter squadrons comprising fifty-four aircraft in total were in the air. The set-piece seems to have suffered by comparison. Flight's description seems rather muted when compared to previous years:
After this came the Set Piece -- during which the Royal Party made a tour of inspection of the machine park. The "Story" this year was the combined attack on a hostile aerodrome by fighters and day bombers. It commenced with a low bombing attack with light bombs by the fighters, which followed up with a machine-gun attack to silence the ground defences. Next came along, higher up, the day bombers, with the fighters above them in attendance. The bombers then very effectively finished off the aerodrome and previously-damaged aircraft.3
The fourth RAF Pageant took place on Saturday, 30 June 1923. The 'turn of the afternoon', as in the previous year, was 'another little Eastern drama, based on actual happenings during the War'.1 Once more the Wottnotts were the enemy, and once more the co-operation of air and ground forces was the theme. The main difference with 1922 was that this time the RAF was coming to the aid of a besieged garrison:
On the centre of the "stage" one saw an impressive railway bridge and sundry buildings. The small military garrison protecting this post was suddenly attacked by our old friends (or enemies?), the Wottnott Arabs. The garrison, being outnumbered, W.T.'d for help, which, before you could say "Jack Robinson," appeared in the form of three Vickers troop carriers, escorted by five Sopwith "Snipes."2
I recently said that I've been meaning to write about the spectacular and dramatic set pieces which usually marked the climax of the RAF Pageants, held at Hendon aerodrome every summer from 1920 to 1937. So here goes! The themes chosen for these set-pieces tell us something about what ideas about airpower the RAF wished the public to absorb.1 Flight had good coverage of the pageants, and where possible I'll reference British Pathe newsreels. As there were so many I'll have to make this a series.
First, a bit of context. In 1910, Hendon (or London) aerodrome was established on the outskirts of London by Claude Grahame-White as a place where pioneer aviators could come to build, to train and to fly. But it was also the site of hugely popular aerial derbys and flying displays for the public, who came up from London in their many thousands to watch Grahame-White and others stunting over the airfield: the so-called 'Hendon Habit'. During the war, Hendon was requisitioned by the RFC for the purposes of training, test flying and occasional air defence. Grahame-White never got it back after the war, but he did manage to convince the government to allow it to be used once more for airminded propaganda: the Aerial Derby was re-established there in 1919.2
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This is the programme for an air display called 'London Defended' which was part of the 1925 British Empire Exhibition at Wembley (in Wembley Stadium, in fact, before it became Wembley Stadium). I must admit to having missed this one (and its predecessor in 1924), but it sounds like it was comparable to the longer-lived Hendon pageant. Here's the description from Wikipedia, which is based partly on the above programme (original research much?):
From May 9 to June 1, 1925 No. 32 Squadron RAF flew an air display six nights a week entitled "London Defended" Similar to the display they had done the previous year when the aircraft were painted black it consisted of a night time air display over the Wembley Exhibition flying RAF Sopwith Snipes which were painted red for the display and fitted with white lights on the wings tail and fueselage. The display involved firing blank ammunition into the stadium crowds and dropping pyrotechnics from the aeroplanes to simulate shrapnel from guns on the ground, Explosions on the ground also produced the effect of bombs being dropped into the stadium by the Aeroplanes. One of the Pilots in the display was Flying officer C. W. A. Scott who later became famous for breaking three England Australia solo flight records and winning the MacRobertson Air Race with co-pilot Tom Campbell Black in 1934.
Firing blanks into the crowds -- those were the days!
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[Cross-posted at Cliopatria.]
As Alan Allport has noted, Winston Churchill's famous speech of 20 August 1940 was and is remembered for a 'single, unrepresentative sentence', i.e.:
Never in the field of human conflict was so much owed by so many to so few.
The speech was given during the Battle of Britain, and 'the Few' are universally taken to be the pilots of Fighter Command, the last line of defence against the Luftwaffe. But, as Alan says, Churchill had relatively little to say about the Battle that day -- he did talk about it, but only as part of a general speech on the war situation. I suggested that if you read the line in context, it actually looks like Churchill is talking about Bomber Command, as he doesn't dwell on Fighter Command at all.
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