2
25
502
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https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/2227/15738/ISRPT, C.b.b.21 Fondo Risaliti INS. 4, 024-1.jpg
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https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/2227/15738/ISRPT, C.b.b.21 Fondo Risaliti INS. 4, 024-2.jpg
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
ISRPt. Statements submitted to the 1944-1947 Allied Screening Commission
Fondo Risaliti
Description
An account of the resource
The 1944-1947 Allied Screening Commission was tasked to track down Italian civilians who helped escapers and evaders. Helpers were given a certificate of thankfulness signed by Field Marshall H R Alexander, supreme Allied commander in the Mediterranean theatre, and - in some circumstances - cash. Helpers had to fill out a form in which they had to state their personal details, the names of Allied servicemen they helped and details on the nature of the help provided.
In 1947, noting that only a fraction of potential beneficiaries had come forward, the Pistoia branch of ANPI (National Association of Italian Partisans) published a communiqué on local newspapers. The statement urged helpers to claim their reward and get the recognition they deserve. Most respondents enclosed Alexander’s certificate or mentioned the addresses from which repatriated servicemen wrote letters of thankfulness.
Normally, each statement contains the helper(s) personal information, the names of the Allied servicemen accompanied in some case by their service numbers, the nature of the support provided (food, shelter, clothing, medical attention, etc.) and the relevant timespan. Sometimes the statement is signed by more than one person, usually all members of the same household; there are case in which the same individual lodged multiple claims. All items concern British and Americans personnel with the notable exception of a Soviet solider for Ukraine. John F Kerrigan appears in thirteen documents having been helped for about a year by many families. Some personnel actively joined local Resistance units as combatants.
All documents are part of the Risaliti collection, now held at the Istituto Storico della Resistenza e dell’età contemporanea in provincia di Pistoia (ISRPt).
Cataloguer’s note: The claims use the word ‘Inglese’ (English) as to denote nationality. Readers should be advised that in Italian the adjective is frequently used as a loose synonym of ‘British’ or 'English-speaking person'.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Spatial Coverage
Spatial characteristics of the resource.
Italy
Italy--Pistoia
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Civilian
Type
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Text
Text. Correspondence
Language
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ita
Identifier
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ISRPT , C.b.b.21 Fondo Risaliti INS. 4, 024
Description
An account of the resource
Amos Nesi claims he helped Sergeant Kirkwood (292858), Guardsman T Hall (2663672), Guardsman D Jarvis (266100), and Corporal R P Polhill (60198), from 1 July 1943 to 20 November 1943. They lived in his house for a few days, then they hid in the woods, where Amos brought them food, clothes, and pocket money.
Creator
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Amos Nesi
Format
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One-page handwritten statement
Temporal Coverage
Temporal characteristics of the resource.
1943
Publisher
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IBCC Digital Archive
Rights
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This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Title
A name given to the resource
Statement of Amos Nesi about some Allied servicemen
prisoner of war
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/553/8817/PMellorG1501.1.jpg
ec53d3c84b8db787d307d49e498fe698
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/553/8817/AMellorG151006.2.mp3
341e9971baed998d88890a6e7fe4ee29
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Mellor, Gordon
Gordon Herbert Mellor
G H Mellor
Publisher
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IBCC Digital Archive
Identifier
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Mellor, G
Description
An account of the resource
Four oral history interviews with Gordon Mellor (1919 -2018, 929433, 172802 Royal Air Force). He trained in Canada as an observer and served as a navigator with 103 Squadron. He was shot down over Holland in 1942 but evaded capture.
Date
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2015-10-06
2016-06-07
2016-08-17
2016-08-22
Rights
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This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Transcribed audio recording
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Transcription
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AS: This is Andrew Sadler interviewing Gordon Mellor in his home in Wembley on Tuesday the 6th of October 2015 for the Bomber Command Centre.
GM: Yes.
AS: Thank you. Thank you for allowing me to interview you, Gordon. Can I start off by asking you where and when you were born?
GM: Oh yes. I was born in Wembley. The other side of Wembley. A place called Alperton. And this was in 1919. November. November the 1st actually. And I lived there with my parents. I went to school locally until I was thirteen. Then I went to the Acton Technical College so that I had an education which was a little different to the ordinary standard county school level. I stayed there. My father died in 1939, in the beginning of the year and I stayed there until my calling up papers came. The reason why I waited until then was that I applied in 1938 to join the Volunteer Reserve. I’d been doing four and five nights a week at evening school during the preceding months and I was a bit below standard as far as health was concerned. Anyhow, during the period in which I was improving my level of health which was during Christmas ‘38 up until the war was declared in September I used to go out for a run early morning, half past six or thereabouts and do about three, three and a half miles and come back. Have breakfast. Dress appropriately and go off to central London to work. On the commencement of hostilities between Germany in September ‘39 the Air Ministry sent back all the, I suppose it was all of them, certainly my papers came back with a general advice to make another application. Well, it wasn’t long before my call up number came so I applied in the appropriate form and I was accepted to go into the air force as a navigator. I don’t know why I particularly chose that from being a pilot but it held a fascination for me. This happened early 1940 and from thence on, after initial working during the day as a, as an ordinary airman. AC2 as we were called. Aircraftsman second class. I improved my health no doubt and no end and eventually we were taken off just what was ground defence. There being such a rush of people joining the air force that they had to farm us out onto other duties for the first few months. We then entered the regular course to become navigators. The first amount of work was common to all trades, flying trades, in the air force, to get us all up to a general standard of education. And after that we then became part of the Empire Air Scheme I suppose you would call it and I was posted to an ITW which was an Initial Training Wing for basic education on navigation. It wasn’t very detailed at all but it got us into the right sort of preparation level. And after some twelve — twelve to fourteen weeks, I suppose it would be. We were all told to pack up and we were then en-trained and taken up to Scotland, put onto a boat and we went to Iceland. And from there we got on to an armed merchant cruiser, I think it was and we were taken over to Canada where we were trained for the particular trades that we’d been allocated. Mine being the navigation and associated items. We trained at various stations around Canada. The planes we flew there of course was the Avro Anson and the training crew were the captain of the aircraft. He had a wireless operator as his regular crewman and had two trainee navigators — which I became, with another man. And we went through the whole course of navigation training which I think was something like three months. And we then had a certain amount of leave and we were then taken on for another four weeks on training particularly with reference to the stars and sites and the like. And then we were posted to another aerodrome entirely which was, in this case, run by the Canadian Air Force and had a bombing and gunnery course thrown in of some weeks so that by the time we came out we were known as observers rather than just navigators. And, as such, having completed the bomb aiming course and the like we then were en-trained back to the east coast of Canada and brought back to the UK. I’m not sure whether it was called UK in those days but we came back and landed at Liverpool and were immediately transferred down to the south coast where we were at a reception centre. Now, do you want me to further on that line?
AS: Yes, please but can I ask you first why did you join the RAF?
GM: Ah. Well, I suppose we had Hendon Aerodrome which was only a few miles away from us as I live in Wembley. The other side it would be from now but there was a little group of us all living in the same road and we all went to the same school. And aeroplanes were buzzing around the Hendon area a fair bit of the time and I suppose we recognised the various makes and patterns and we became interested in the flying and we used to, on a Saturday morning quite often we used to cycle over to Hendon. And there was also another aerodrome called Stag Lane I think it was and we used to stand around the edge of the airfield. Behind a hedge I expect. Not on the actual field itself. And used to watch the planes taking off with the owner pilots there. For an entertaining day I suppose. But certainly, we enjoyed watching the planes and we did gain a fair bit of knowledge about them. Even as youngsters. From, yes, eleven twelve onwards.
AS: Was your father in the First World War?
GM: Not as such. He was in the building trade. He used to be in charge of the whole site and all the work that was going on. I suppose you would call him a foreman or a general foreman. But certainly, it was one which required considerable skill. He had to familiar with all the various trades and I, perhaps got my interest in surveying from him. I can’t say. It just happened.
AS: So, you’d been trained in, mostly in Canada, and you’re now back on the south coast at a reception centre and you’ve trained to be an observer.
GM: Yes.
AS: So, you can do the job of map —
GM: As a navigator.
AS: Navigator.
GM: Yeah. And bomb aimer and also, we had some experience on using firearms. Also, in the form of the turret in the aircraft. They were rather primitive in the beginning but they did improve no end during the war.
AS: Ok. Please carry on.
GM: Well, having got back from Canada I was then posted to an aerodrome in the Midlands and I’m trying to think of the name. Lichfield. That was it. and we were then, we were there to become experienced in flying in the weather conditions which we could expect in this country and in Europe. In Canada we were much further south and the weather was much warmer and more pleasant. But we had to get used to flying in winter. And at the OTU the Operational Training Unit was there purely to bring us up to speed in the conditions in which we would be expected to fly in over Europe. After quite some weeks. It could be six. Six to eight weeks. Perhaps a little bit more. One was then posted to a squadron. And during that training period in this country then of course you met pilots, air gunners, bomb aimers and the like and you formed up in crews so that as we were flying Wellingtons at that time then the number in the crew was five. Or if you had two pilots — one a second pilot then of course it would be six. And I was posted to 103 Squadron with the rest of my crew which was in Lincolnshire. Rather north. And after a fortnight or so of familiarisation with the area and the conditions in, we started as a crew on our operations. First of all, with an experienced operational pilot and our own captain, as we referred to him, played second fiddle to a certain extent. He was the one who was getting the most instruction. And the navigator as well. The gunners had a certain amount of additional training but there was nothing other than the targets being towed by other aircraft as their object of firing at. Anyhow, we got through the early days and started operating against some targets in Germany. That went on until, let’s see, wait a minute [pause] I must have gone to the squadron somewhere around about April or May and strangely enough we were flying Wellingtons there as well as we had done on the, at the training. And then there was a change in the aircraft. The Wellington 1Cs were withdrawn and we were fitted up with Halifax which were Halifax 2s. I think they were. They were four-engined aircraft. More sophisticated in the equipment which we had to learn about. We started coming across the Gee box and all other bits and pieces which were more modern than we had been experiencing. Then we continued after a brief period of training to operate on the, with the new aircraft. Four-engined aircraft. And this did not last very long. About two or three months. Perhaps. Let’s see. It would be [pause] about four months. And we were on the first thousand bomber raids which took place in the middle of 1942. And we survived those ok and went on operating and when I got to somewhere about ten or eleven we were then transferred, as I say, on to the four-engined aircraft. They were, they were ok for flying. They probably weren’t quite the standard of the Lancaster in performance but they certainly were very effective. And that was Ok for a while until we were sent out on one particular raid. This would be the [pause] about the 4th of October 1942 and we hit trouble having bombed the target and making our way from it. A JU110 latched onto our tail and we had a little conversation as a crew. Shall we open fire on him? He seemed to be just following us rather closely at the back and I imagine he was waiting for us to get away from the town and when we got to open country he would probably let us have it. Anyhow, we opened fire on him. Whether we did any damage or not I’ve no idea but certainly we had ammunition flying all around us and we were set on fire in the two inboard engines of the aircraft. And the pilot had done his best to manoeuvre out of the stream of fire but the chap who was firing at us in the German plane obviously was well experienced and he just sank down out of the sight of the mid upper gunner. The rear gunner had a view of him but he was hurt in the initial opening fire from the German plane and it rather put him out of action. And as I say we, we had three or four attempts at shooting at us by the German plane. The fires in the two engines just, just got worse. There was nothing that could be done about it so it was a just a question of baling out which we had a procedure for which we followed and one after the other, I was one of the first so I don’t know exactly what happened to all the others but from visits and talks with the three survivors other than myself I rather gather that it was a disastrous period. The plane was going down fast and it was for everybody to get out of their particular position. More or less following the order in which we’d had dummy runs on. So, having got out of the target area the plane was going down towards the ground at a fair speed and we crossed the target just over ten thousand feet which had been quite low but it was suitable for the occasion. We were under two thousand feet I think when we started to bale out and I was fortunate. I came out of the hole in the floor of the plane, in the nose, because I was sitting on top of it and having lifted the seat there was just this hole there so I went out of there straight away. I didn’t want to hold anybody else up. And I pulled the cord on the parachute and I was one of the lucky ones. It opened and I soon found myself heading towards the ground at a very modest pace with the parachute up above me and swinging about a bit. But the strange thing was that having been in the noise of the four engines of the aircraft for some hours previously and then get the noise of the enemy fire coming through the fuselage around us it was amazing that nobody other than the rear gunner had been hit. But anyhow, as I say, having jumped then I lost contact with all the other members of the crew. The plane carried on going down. Losing height quite quickly . In quite a short time I saw the trees sort of rushing towards me. Which really was an exaggeration because the parachute was open. And I crashed in to the top of trees and I sort of went down through the branches and the canopy of the parachute of course got caught up amongst on all the tops of the tree. It turned out that I had landed in an orchard of some considerable size. The trees must have been fairly old because they were tall. And I came to a sudden halt in the harness. The canopy of the parachute spread over the tops of the trees and we were swinging and in the darkness, I had no idea how high I was above the ground. It could be inches. It could be feet. Anyhow, I sort of gathered my thoughts and I thought — I tried feeling about with my feet, swinging a bit but it did no good. The only thing to do is just to press the lock on the parachute harness and see what happens. So, I did and I fell. About twelve inches fortunately. It could have been several feet but certainly I was very lucky and as I say I fell about twelve inches and landed on my feet quite comfortably. The harness was left swinging in the breeze there and the instructions are to pull the parachute and its accoutrements to the ground and bury it if you can. Well, there were dogs barking close by so I thought — I tried and pulled it and of course the noise of the branches breaking and crackling and what have you set them off barking so I thought well this is no good. So, I stopped that and they stopped barking. Anyhow, I tried again a moment or two later to do it rather quietly but it was no good. They heard it and they barked again. So, I thought I’d leave it. So, I gathered myself together and thought, ‘Right. Let’s get away from here.’ So, do you want me to go on in the same vein? Ok. I was in what appeared to be an orchard hence some of the trees and I saw that I was next to a hedge at the edge of the orchard so I went through it into a field which ran down hill to a degree. Yeah. It was a comfortable slope down and I got out of the orchard and the adjoining field and I became aware, with dogs barking, there was a farmhouse close by. So, I thought, well I’d keep away from there, for some reason or other. I didn’t know where I was even though I was the navigator we had made so many change in course in the battle with the German fighter that I couldn’t be sure to within ten miles where we were. Perhaps even more. And down the slope and through a hedge and there was a road which also ran further on downhill so that’s what I took naturally rather than climbing. And having sort of gone past a building, a house of some sort on my left as I was going down the road with five or six people standing there looking towards the target area which was a bright light in the sky. I just walked past them and nobody said anything and I then realised, having gone another hundred yards or so that I was walking north. I thought, is this a good thing? And I was resolved that if I was going to go north I’d got a coastline up there and how the hell was I going to get over that? All I could go to would be Denmark which I could walk around to I suppose — which wasn’t going to be any help. And I couldn’t get to a neutral country that way so it was, the alternative was to go to either Switzerland or Spain. They were both south of me and I didn’t think that it was going to be much good going to Switzerland because you would then be interned. And so I set off on my walk and crossed country largely and that night I suppose the shooting down had taken place somewhere around about half past ten, 11 o’clock at night and so I was in the early hours of the morning and I had time to get away from the place where the parachute would eventually be found and also, with the plane going down it was going to hit the ground before long. And I got myself on to a track which rose slightly and when I got to the top I could see a fire about a mile and a half or two miles away from me which was obviously was our plane which had hit the ground and already being alight it set the whole thing on fire. So, I couldn’t guess what had happened to the other people in the crew. I had no means of contact. So, I thought, ‘Right. This is it.’ And fortunately, the sky was clear less and I could pick out the North Star. From the North Star I could get myself an angle of somewhat south westerly direction and I thought, ‘Right. This is the way to go.’ So, I picked up my marks and started walking. Strangely enough I hadn’t gone very far when I heard somebody else rustling around in the field. They’d got some sort of crop. I don’t know what the crop was but it certainly had shrubbery about knee level so it could have been cabbages. It could have been anything else. Anyhow, having heard somebody else moving in amongst it I stopped and knelt down so that I wouldn’t have a, anybody wouldn’t, sort of looking up wouldn’t see me so I knelt down and the other person walking, they stopped too. And I thought, ‘That’s strange.’ Anyhow, it was all quiet for a minute or two so I thought, ‘Right. Try again.’ So I started my walk again which was in a general south westerly direction across country and I heard the other person start walking again. I thought well, I don’t know. I wonder if it’s a border guard or something like that that’s on a lookout. Anyhow, I just knelt down again and I stood out and the other person got fed up and I heard him walk away through the shrubbery or whatever the crop was. I never did find out for sure that it was another member of the crew. It could have been. But I didn’t think from the way the plane had been heading at the time that it was likely to be so but perhaps it was. I never did find out. And I continued walking and eventually I came to a roads. So I started to walk along the roads rather than stay on fields and what have you. It was easier walking and you got along much quickly. More quickly. At that time of the night there was nobody else about so I walked down the road. Always taking the direction of sort of south westerly. I had just the one thought in mind. Get to Spain. So, whatever came in between was just luck and we’d deal with it as we came. Got along. So, I continued in that. Walking along roads and what have you the rest of that night and then it started to get light. This is, I have to do something about this. I was on a road and there were some houses intermittently along the plots in between which were built on. Anyhow, I thought, well the thing is not to be out in the open view when it gets light. I was very fortunate. I went between two houses to the fields behind and I found several hedges and the like and there in one of them was a copse of trees on a bank sort of arrangement. And so, I thought, ‘Yeah that looks alright.’ So, I got in to the, under the trees. There was a lot of shrubbery at ground level so I found that if I sort of sat down on the ground then I was well hidden and what else was around me I didn’t know. All I knew I was out of sight to a degree. It was getting just that little bit lighter so I sort of sat down and I must have gone off to sleep. This was October and I suppose it was getting light around about 7 o’clock or thereabouts or perhaps a little bit earlier. Anyhow, I went off to sleep and I came to life again and I could hear traffic, to a degree. And I sort of poked my head up from my hideaway there and I could see that just beyond me there was what apparently was a farm road and it was being used by the workers to get to the farm or come away and go into the various fields. I was fortunate that I had this cover. I stayed there all the hours of daylight. I saw the goings on of the farm and it’s, I suppose somewhere around about sixish or a bit later it got dark and I thought, ‘Oh well, now’s the time to move,’ so I set off on my second night of travel. And this became the rule of thumb, so to speak, for the next two or three days. I did have some emergency rations with me and they were sort of supplied in an escape tin I think they used to call them. They had concentrated foods like chocolates and the like in there. There was a nothing that was superfluous. It was all good stuff and so I carried on walking at night for probably four nights after the initial one by which time I had got a fair way. I don’t know how much or how far I travelled at night. I wasn’t a rapid walker. I used a fairly steady pace but I kept out of sight during the daylight hours. It was always a problem just before dawn to find somewhere to hide for the next twelve or fourteen hours. And I was lucky. In one place I found a cave I suppose you’d call it. A digging anyhow in a bank. It was a cut-out area I could sort of get into and sit there and it was also protected by shrubs and bushes and what have you. So that was a lucky find and I did manage to keep going as far as the food was concerned by having the odd biscuit or what have you. Because I had additional items like that in my pocket. I had anticipated, I don’t know why or anything like that that this sort of event would happen. So I tended when we were on ops to put extra bits and pieces in my pockets and the like. Such as a few biscuits and what have you but it certainly was nowhere near enough. Anyhow, this went on until my last stay over daylight hours. After that initial part of my movements was in a town or certainly a large village centre and I’d spotted a house which had been bombed. It looked as if it had got fire bomb damage. The windows were blown out and the like. And I saw that as I was passing through this village. And then I hadn’t got too far, having got beyond that point and it started to rain and I found myself getting fairly wet so I thought right. I’ll go back to this bombed house. I went in there and it seemed to me it smelled rather as if it was dry and went upstairs and it certainly was. There was no windows in there but the roof was sufficient to keep the inside of the house dry. So again, as had been my practice then I did get a bit of sleep and when I woke up I found the village had come to life as other places had come to life and I sort of looked out of the, one of the window openings and I could see that I was what was obviously the centre road of a small town. There were shops and people going shopping there. And I thought to myself, ‘My goodness me. I wonder where I am.’ Anyhow, I made sure that I didn’t display myself at all but I stayed up on the first floor of that bombed house during the day. At lunchtime it got a bit dodgy because children came out of school and a couple of boys were having a little game down below on the ground floor. Anyhow, they got tired of that and they went off. Much to my relief. They didn’t, as far as I could tell, attempt to come up the stairs where I was on the first floor. As happened nobody else came in. It dried up during the day having rained during the previous night and when it got dark I went off. Most people had, the shops had closed by then, it was fairly dark. There was no lights or anything on display of course and I managed to get out of the small town without being picked up or noticed particularly because I was still in uniform and the only difference were that I had taken the badges of rank. I was a flight sergeant at the time and there was nothing else except my battle dress which I flew in. I had discarded the harness and what have you of the parachute as I previously mentioned and I went on out of town. Anyhow, I sort of ran in to the rain problem again and this time I got wet so, considerably so. This is no good. I’m short of food. I’m not performing too well and I’m wet and cold and dispirited. Anyhow, I turned around and I thought, ‘Well I’ll go back to the bombed-out house and dry off. And tomorrow is another day.’ Well, it didn’t work out like that. On the way back it dried up to a certain extent. I don’t suppose I’d actually gone much more than a mile. Two miles away from my hiding place and so I was heading back there. I went through another small village and I saw a house. It was houses on both sides of the road and I saw a house and I saw a chink of light up on the first floor which would obviously, would be a bedroom. And I thought, ‘Well there are people there. I wonder —’ I pondered the pros and cons of knocking and see if I could get some help and I didn’t know at all whether they were hostile or whether they would be friendly.
AS: At this stage you were in France.
GM: No. I was still in Belgium.
AS: In Belgium.
GM: Yes. And so, I was just on the right side of the Belgian Holland border so I didn’t have to get, get across the border there. So, I was still in Belgium. And –
AS: Did you have a compass?
GM: Oh yeah. Oh yes. Yeah, I had one. Yes. I had a button as a compass.
AS: They had — didn’t you have two buttons that were compasses?
GM: Well, I had one.
AS: One.
GM: Certainly, I had one but it was — no. it couldn’t have been a shirt button. It must have been the battledress button. Anyhow, I had one. It was part of a general sort of hand-outs of escape gear that we were issued with and I largely used the stars to make an initial assessment of where I was going. Certainly, where one gets sufficient light then the compass was a help and I got a feeling I might have had two. One was a fluorescent. I’m a bit hazy on that but there we are. So — oh yes. I was pondering as to whether to knock on this house or not. Anyhow, I came to a decision. It was still fairly early in the evening. It was dark. Blackout was being imposed and, in any case, so I went across the road and I banged on the door with the knocker. What have you. And this was completely unexpected by the people because the window above swung open and a man’s head poked out, ‘Qui est la?’ So I responded as best I could. My French never was very good. And I heard him grunt and the window closed with a slam and I heard him coming down stairs [knocking noise] like that with footsteps. The door swung open and there was this rather short man, pretty much the height that I am now I suppose [laughs] and he looked at me and I showed him my battledress and I showed him my wings and he didn’t say anything he just beckoned me in. And I followed him and he took me into their sitting room or whatever it was, where there was a fire in the room. It was a grate sort of arrangement. You know, a slow burning one which is on all the time and he spoke to me in French. I had sufficient to tell him that I was RAF and I could show him my wings and badges of rank and he seemed to be quite delighted. He pointed to a chair. And his wife came down and she sort of grasped the situation pretty quickly and they immediately fed me which after a fun five days was very acceptable. And I must admit with the warmth of the room and the food I dropped off to sleep. I don’t think it was very long but it was just enough to take the edge off of the tiredness. Probably half an hour or so. In the meantime, they had been busy and they got in touch with the local priest and I’d woken up and made myself as presentable as I could and there was a knock on the door. And they obviously were expecting him because the local priest did come in and he came up, beaming all over his face, put his hand out and said, ‘Goodbye.’ So I thought, ‘Crikey I’ve had my chips this time.’ Anyhow, he was very pleasant and we did get on. He had a fair bit of English and I had a certain amount French and we sat there and he sort of found out who I was and what I was which he was entitled to do of course and he said, ‘Tonight you come with me.’ I said, ‘Ok.’ I was in their hands. I had sort of appealed for help from them and he was the help. So we said goodbye to the man and his wife and I understood they had a boy, a son, who was about, somewhere around about the age of ten asleep upstairs and he was already in bed and asleep by the time I called on them. So, he wasn’t a complication. I don’t know what they would have done if he’d woken up and come down and seen me there. It would have been a very difficult situation for them. So, anyhow, it didn’t happen but I was aware that it could have done. And the priest and I went off and he came from another village so we set off at 11 o’clock, 11:30 at night during the hours when you’re not supposed to be about. Except that he, being the local priest, he had permission to attend his parishioners at any time when other people were supposed to be off the road. And we went out of the village, along some lanes and then came into another village and lo and behold there was the church. And he said, ‘This way,’ or words to that effect and we crossed over from the front of the church, about fifty sixty yards perhaps. I’m not sure. I wasn’t very good at guessing distances. And he took me into his home and despite the late hour his housekeeper was still up and she came and welcomed me there. I thought, ‘Crikey. They’re taking a chance.’ But it was alright and I’d already had something to eat and I’d had a drink and they now made sure I had some sleep. They took me upstairs. There was the bed. One of these typical continental beds which were all sort of like, ballooned. Puffed up. Anyhow, it was very comfortable and I got rid of most of my clothes and there we are. I slept on a bed for the rest of that night which was probably midnight or thereabouts when it started. And I was, I was awake moderately early but when I sort of got up the priest was already out on his rounds so I must have overslept a fair bit. And the housekeeper had me downstairs and gave me some breakfast which was nectar. There was nothing, nothing I could do other at that time. I just couldn’t go on out in broad daylight. I was in battledress. And eventually he came back, the priest came back and he had done his round. Whatever it was and he said, ‘You’ll be moving on tonight.’ Or words to that effect. And I said, ‘Oh that’s great.’ And we, yes, we spent a bit of time getting to know each other. He was a very pleasant man and we had some lunch. He said, ‘I’ve got other duties to perform so, ‘I’ll leave you but we have a visitor to come and see you,’ and he went off out. Where he went to or what he did I’ve no idea but shortly after he left then there was a bang on the door and a lady walked in. About forty I would say she was. Very attractive and her English was excellent. It really was. And so, the housekeeper brought, I think she brought us some tea in, I think. Something like that. We had a drink in anyhow. She then chatted to me for an hour, an hour and a half and it wasn’t just a chat just to pass the time. It certainly was, the intention was to find out I was on the level and not a plant of any sort. So I learned a certain amount about them and she certainly found out more about me. Anyhow, she said, ‘Well, nice to have met you. I’ll be off now to my family.’ And by 4 o’clock or so she was gone. She hadn’t been gone long and the priest turned up again. And I thought, ‘Ah they’ve passed me. They think I’m on the level. That I’m not a plant of any sort.’ And he said, ‘I’ve got a man coming to pick you up to take you into town.’ Or words to that effect. And so, we passed the time of day getting to know each other a bit more. [unclear] I seem to remember the name was. And sure, enough a man came in carrying a coat and he said, ‘The coat is for you.’ I thought, ‘Yeah that’ll cover my uniform up.’ And so we made our, said our goodbyes and we didn’t know when we would ever see each other again if ever but it was very amicable and I went off with this stranger. A little man. He was insignificant in attracting public attention and I hoped I was the same. And we went down. The bus came. We got on. And we’d arranged that he would get on on the front. I would then get on and stand at the back and he would be in the front and when we got to our destination he would get off and I would then follow him but getting off the bus on my own it didn’t — so nobody realised that we were together. So, yes, I was on the back of the bus standing up and we went about half a mile and we stopped outside some barracks and there was a group of, a small group of officers and there was, obviously one was the senior. I don’t know what rank he was. He looked as if he might be a captain or a major or something like that. Equivalent to that but the others all sort of stood to attention and saluted as he got on the bus which I thought was rather amusing. Anyhow, there was one or two other people got on the bus as well of ordinary soldier rank because they had moved away when the officer got on. And we started off. We stopped a few times. The bus got more crowded and we got more crushed up between each other in the back, top end of the bus. Back end of the bus. And there was I. I was surrounded by German soldiers and there was several officers amongst them. Anyhow, eventually we kept going into town and which was obviously a much bigger place than I’d been staying in that night. That was only a bit of a suburb. And I saw my guide, companion, get up. He didn’t look in my direction or anything like that. He just got up at the stop and got off so I did the same. I had to push my way through the Germans to get to the front of the bus, get off and he was waiting for me. And we just sort of nodded and we started walking off together and the bus went on its way with all of its people in it. We walked up a road which was adjoining the bus stop. You know, it went up. It was hilly but it wasn’t particularly steep and we stopped at the front of a house. There was, both sides of the road had houses down them and they were in — they were what we would call terraces. A terraced road. Terraced road. Perhaps dozens all in one continuous building — and rang the bell. The door swung open. There was a lady there and she looked at us and I’m certain she knew the guide. He’d done it before. Nothing was said. We just went in and she pointed us to go down the corridor and the man went away having collected the coat that I was wearing. They’d obviously got a use for it again sometime. So I was then back down to battledress. The ordinary grey one. And the lady said, ‘Come with me.’ She was quite good on English and she led me upstairs and pointed me to go into a room and there was a bloke standing in there in civvies. I looked at him. He looked at me and he said, ‘My God. Another one.’ And I then sussed from that that he was ex-RAF too which so it proved. Except that he was, he’d been a prisoner of war and he’d got away when he was sent out to a farm and apparently, he’d made no promises about not trying to get away or anything like that. They just sent him out and he went and he saw the opportunity and left. And I was now meeting him in somebody’s upstairs bedroom in a family house. And in actual fact the village which, the town which I was now in was Liege in Belgium. And it was quite busy. A lot of people. A lot of houses and what have you. And so, I stayed with this lady and it turned out she had a sister and the two, two ladies were part of an escape route operation and I’d struck oil. I really had. The man’s name. He was a sergeant or a flight sergeant. I’m not sure. He should have been a flight sergeant but he was already in civilian clothes so I didn’t find out for sure. Michael Joyce. And he was Irish and he was a regular in the RAF and he had done a runner from a prisoner of war situation and he’d got as far as this particular house and he was on the same jaunt as I was. Trying to get back to the UK. We travelled together right back to the UK. How much further do you want me to go?
AS: Carry on. It’s fascinating. Do you want to have a break for a minute?
GM: Just for a minute. Yeah. Yeah.
[recording paused]
AS: I’ve started so we’re now re-starting after a break.
GM: Yes.
AS: Ok. This is part — part two.
GM: Two.
AS: Yeah.
GM: Yes.
AS: Ok. Do, do carry on, Gordon.
GM: Yeah. I was saying it’s difficult to remember some names but perhaps they’ll come to mind. Anyhow, the two ladies, the sisters, lived in this house where I met Michael Joyce and we stayed there two or three days at the most. I have a vision of, on the first of the three days that I had there of going somewhere. I’m not sure whether I went somewhere or whether somebody came to me. Anyhow [pause] no, they came. They came to me and we went out in to the back, sort of a, you couldn’t call it a garden. It was a yard, I suppose, at the back of a house and he took some photographs of me and I understood that these were to be for the, an identity card which was necessary to have if you were travelling. And it didn’t take many minutes but he obviously did it as prescribed and I stayed there at that particular house two and a half days or thereabouts and in the meantime they prepared an identity card of sorts with my photographs on it. Ausweis or something like that I seem to remember they called it. And they had up to date pictures of me and I had, yes, another, something on. I wasn’t in the standard battledress uniform at the time. I must have put a coat of some sort on. This man went off and he said the photos would be ready shortly and so, it proved. They produced a document. An identity card, to my mind and sure enough there was my photograph like this, on this particular card. And so that was given to me so that if we were investigated at any time it would be there to support me. And we stayed on and we didn’t go out. We stayed in the house. Except perhaps we went out in the garden at the back. I say garden. It was little more than a yard but it was open air and then suddenly one of the ladies said, ‘You’re off today.’ And, ‘Oh. Right.’ She said, ‘After lunch.’ And that was it. This is what happened. We hadn’t got any accessories to carry. We just were there. I had, in the meanwhile, been fitted up with a suit which I kept for many years after that and eventually it was then passed on to somebody in the family. One of the youngsters who was growing up fast and he would be able to wear it for a short while and then he’d be too big for it but — which was rather strange because I was standing nearly six foot two at that time. Anyhow, it fitted well enough. And so, we came lunchtime on this day of departure from the safe house and we had some lunch and then there was a bang on the door and a youngish lady turned up. A mature lady to some extent. Forties I would say. It seemed to be about the working age of many of the helpers that we saw eventually. And we got our bits and pieces together. Michael — Michael Joyce and myself, we went downstairs and out in to the street and we had this lady with us and we just, in our borrowed clothes, ambled down as if we had got not a care in the world which, in actual fact, I don’t think we really did have. If we got picked up then we would be POWs. Prisoners of war. If a guide was with us the most likely thing that would happen would be — shot. So the danger really rested on the shoulders of the person that we were accompanying. Anyhow, we went down and to the bus stop. Waited for a bus. And we went off and eventually we came to a railway station. I used to be able to put a name to it. It’s gone at the moment. Anyhow, we found that when we got there that the train that we were expecting to catch had already gone. So, we went into the waiting room, sat down and we waited for the next train which was some little time. During that time then other people, passengers came and caught whatever trains they were expecting to catch. And then we started to fill up with soldiers. German soldiers of course. A couple of officers came into the waiting room where we were sitting and they were being a bit officious I thought. Perhaps they were on duty with the other ranks that had also arrived so that when the train came in then there was quite a large number of German soldiers waiting for it. We had a few moments in which we weren’t over happy with the closeness of the opposition so to speak but we acted like some, just ordinary civilians waiting for a train. And as I say, it pulled in and we went up and walked up along the platform a bit and got away from the military reserved section and got into the carriage and there was already some people in the compartment. And Mike and I got in and sat down and the lady sat between us and the other people in the compartment and the train pulled off and away we went. And it was to be, yeah, a period of some speculation in which we sort of had periods in our own, each of us in our own minds we thought well, are we going to make it on here or aren’t we? Because this was our first venture of travelling any space or any length of time with other passengers. There was, I was sitting next to the — on the side of the compartment and opposite me was a lady. My vision of her now is very slim but she was well, she was probably in her late forties, fifties and she had a basket or bag with her and after the train had been going for some short time she then started to unpack her bag and she produced a meal for herself. Bread and cheese and sort of stuff like that that she offered around. And I just refused with signs more or less. ‘Non. Merci.’ Mike did the same and I’m not sure what the other passengers did but I don’t think she had any takers. Anyhow, she sat there and enjoyed her meal and there was no conversation between us and them or between themselves — the Belgian people, at all. Eventually some of them got off and some of them stayed on and we started to run into Brussels. And [pause] now, I’m getting a bit hazy about that. I think we ran straight in. Yes, that’s right, it was and slowed down and made one or two stops until we came to the terminus and obviously that was — which was in Brussels. And we then, of course, had to get out. We just followed the lady to the pedestrian precinct which adjoined the station itself and we had to wait.
[pause]
GM: Now, I haven’t thought about this for a long time.
[pause]
GM: I’m sorry about this. Yes, we came out. Eventually we came out of the station. The lady and Mike and me. So where did we go? Can you switch off for a minute?
AS: Yes. I will. And I’ll, I’d like to change the battery on the machine as well.
GM: Yes, whatever you –
[recording paused]
GM: Let’s make a start then.
AS: Ok. So, part — part three then.
GM: Yeah.
AS: Yeah. Ok. Do carry on.
GM: Right. And so, we arrived in Brussels but having got off the train we found that there was nobody waiting for we had missed the earlier train when we started the day’s journey. And we were now in Brussels and we had to take alternative action with nobody at the station. Our lady, who was conducting us said, ‘Wait here and I will telephone through,’ which she did and she said, ‘It’s alright. We now have got a short journey to make,’ which meant that we — Mike and I and the lady in question got ourselves to the right stop to pick up a bus. Which we did. Outside the station in Brussels. We didn’t go very far but certainly it could well have been as much as a mile and we — the bus pulled up and the lady conducting us got off and we followed distantly so that we didn’t implicate her more than necessary. We crossed the road and she said, ‘It’s alright. We are now on our way.’ And sure enough, within quite a after a short walk we came to one of the roads with houses on both sides again as they were, most of them were in the town and she knocked on the front door of what was a flat or a type of accommodation. As is in most cases there the sleeping compartments were on the floor above. Like in a mini house. And the, having rung the bell, the door swung open and a young girl came and looked out and she looked somewhat as if she’d got no idea who we were which was quite right. She didn’t. But she spotted the lady with us and she said, ‘Oh hello auntie. Here you are.’ And we were then ushered into this house and we met the girl’s, she was practically a young lady by then, met the parents and we were well and truly welcomed. There was other members of the family there as well. We gathered that we were expected to stay there just as a temporary measure for the rest of the afternoon and early evening and that we would be moving on before it was bedtime. So, we settled down to a very pleasant sort of social event. And eventually we were told that it was time for us to move on and somebody else came and picked us, picked us up. I can’t remember for sure who it was but certainly we had a guide accompanying us. And we left the family regretfully because they had been good company to have us at such short notice. We get on a bus again and we turned towards the centre of the city and having reached what was obviously going to be our destination we got off and a short step away from the bus stop we turned sharply into an apartment block. And we had a lift to take us up. I’m not sure what floor we were on but I’ve a feeling it was the second floor up rather than the first. It wasn’t right down on the ground, certainly. But yes, I think it was that one. And we didn’t know what we were coming to but the gentleman who was with us — was it a man? Yes, now I’ve got a feeling we’d had an exchange. We reached a door. He put the key in and let us and sure enough this was a letted property and we were on an upper floor. And as we walked in to the flat he said, ‘Please don’t make any noise. We do have Gestapo people living just on the same floor here.’ Whether that was true or just to warn us not to not make much noise I’ve no idea but it certainly had the effect. And he said, ‘Right. Well you’re here for the night,’ and what have you. Breakfast and the like and I’ll see you then and with that he left us and Mike and I had the flat to ourselves. And yes we made use of it as directed and we, we spent the night there. At a reasonable hour then the following day then we got up and washed and shaved and dressed and by that time our guide who’d been with us the previous evening again arrived and he said, ‘Well, we have a little way to go.’ So, we hadn’t got any luggage with us as far as I can recall except for just necessary pieces of equipment for a shave and a wash and those sort of early morning preparations. And we went down and again we were on a bus. Just the three of us. That’s Mike and myself and the guide and we did get across a fair bit of Brussels towards a railway station and when we got there we found that we had plenty of time so we had a little while to, sort of, look around us and try and behave in the manner as the other people who were travelling and not to stand out. Eventually we were [pause] that’s right, when we got off the bus we then had a walk up a hill in a road which was divided to get one or two lanes. Wide lanes in each case and with a series of plants and trees down between them. So, it was like a two separate roads in the event as indeed it was because they were going in opposite directions to each other. And we went to a particular house. It was one in a whole row and going uphill so it was quite a pleasant road of changing levels. And we didn’t go very far before he, again we found ourselves knocking on the front door of a property. Here we were welcomed in and within a short time we were being introduced to the lady of the property. The name escapes me entirely at the moment but certainly it was a well to do establishment and we were taken upstairs and right to the top where there was almost an individual flat in which we could — certainly was set up for us. For two or three people to stay for a short period. And so we were then in quarters which certainly were very pleasant. We didn’t get out whilst we were there. We were in the premises all the time and the meals came and we found it very pleasant indeed despite the fact that we were in Belgium and it was occupied and it was a danger to the other people to have us there. But when the evening came we were very pleased to be invited downstairs to the lady that owned the property and lived in the property and we found that a meal had been prepared and we were having, what you might say, dinner. But it certainly was straightforward food such as was available for everybody there and we had a very pleasant evening. We even, in the latter part of the evening, had the radio on with the British tuned in, British radio tuned in and we heard the 9 o’clock news. What the news was I really can’t tell you. But certainly, we sat and listened to that just as if we were sitting at home and listening to it on the radio. We then had a very comfortable bed facing us and we were much pleased and appreciative of the owner’s entertainment. Not only food but radio and yeah, we swapped news and opinions for quite some little time. It was — it was in actual fact quite an enjoyable evening and undoubtedly we should at some time find the opposite but it was much appreciated. The next, the next day we were within the premises and I seem to think it wasn’t until the second day that we had the news that we were again moving on and in this case it was another train journey and we — our destination would be Paris which was quite a distance for us to take on in one hop, so to speak. Anyhow, they arrived and we had a very early breakfast and we left the house quite early morning and walked down to the international station. And we were accompanied by men we’d already met and we went on time. I seem to recall that it was still, it was still subdued light. I don’t think it was particularly dark but it certainly was not a bright, bright daylight. It was in between. Anyhow, so we got down to the departure station and took the train. There appeared to be — yes, an arrangement. The tickets were all organised for us and all we had to do was just be there. So we got on the train and whatever the time was, it probably was about 8 o’clock in the morning I would imagine or thereabouts the train pulled out of Brussels station and we headed with the end of that particular part of the journey was to be in Paris. This obviously was going to involve us in getting across the border between the two countries. The train was pretty well full and we did keep ourselves fairly quiet. There was a few undertone comments between Mike and myself and the time passed. And eventually the train slowed down and came to a halt and we did what everybody else did. We got off the train and it was — until it was empty. You got your baggage such as it was and we then followed the general flow of people down the length of the platform into a controlled area where we had to pass through the normal customs and border procedure. Mike and I were split up. He went through. And our guide, he went through. He more or less showed us to behave and what was necessary by example. Not by being particularly close to us but we kept an — I kept an eye on Mike and this bloke and Mike kept an eye on him for his own purpose. I was rather, sort of taken aback by having got through the first stage and turned in to a large room in which there was a number of customs officers. I think they were seated. And that was alright because I could see what other people were doing and I sort of followed the same procedures and I was taken aback by the presence of the German army with machine guns held at a ready — ready position. Not just slung over their shoulder or anything like that. But it was, they certainly were there for a purpose. Anyhow, I took my turn with the customs officer sitting down. He asked me a couple of questions. I’m not sure what they are now. In fact, I don’t remember for sure at all. And I must have been satisfactory. I nodded when it was appropriate and he sort of looked me up and down. He did his part of the job. I got my papers back and passed on. And I was asked if I’d got anything to declare and well, I hadn’t got anything other than what I was dressed up in really and with a, ‘No,’ they waved me on. And with a sigh of relief I walked out of that part of the building into the open air where there more soldiers but they were not interested in me and certainly I was fast wanting to get away from them. So we, Mike was up ahead of me and we were following and he was following the guide so I followed them and when we got back to the right carriage on the train which had pulled through from Belgium into France we then found our seats and sat there waiting until everybody had got reloaded onto the train and we set off. It was a little bit of conversation on the train but I sort of, I don’t think Mike expressed any sort of interest in what was being said and so we had a comparatively easy trip through France to Paris and which, we sort of pulled in and, of course, everybody wanted to move out at the same time so it was no good wanting to get on your way or get out and be unnoticed but just behave normally like everybody else was and take your time going through the station. All we had to do was sort of carry what little luggage or coats or anything like that that we had which was minimal as far as I was concerned. I got quite a reasonable suit on. And our guide eventually went up to a group of people and we just ambled along, one behind the other so to speak and joined, joined the group. There was the usual sort of semblance of greetings and the like. It was here that we were split up. Mike was associated with another person to me and I was to be the guest of a very pleasant man. Was it Monsieur — Monsieur [unclear]? Anyhow, we immediately struck up a sort of accord and he was a typical Parisian and before long Mike had gone off with his particular new partner and I with mine. We went down into the Underground and he did the necessary purchasing of the tickets and what have you and I think we were [pause] we got off the, the Metro at a place known as Sevres Babylone and eventually got up to ground level and we then were in one of the main parts of Paris and we went through a number of streets and he said, ‘Here we are.’ The gentleman I was with had good English really and certainly better than my French which was handy and we came to an open sort of window. Near the front door and sitting at the window which was open, it being quite a nice day anyhow, was a lady and she recognising my companion and nodded. Looked at me. ‘Bonjour.’ We passed through the front door into the block of flats and there was a lift close by and we were way off up to the top very quickly where, having got out, and just a short step and we were in one of the flats at the top of the house and I was being introduced to Madame [unclear] and who was the wife of my leader, so to speak. And I stayed there with them for a couple of nights. Perhaps it was three. I’m not sure off-hand at the moment. I would have to perhaps see if I’d got a record of the days spent there. They were a charming Parisienne couple and I was [pause] the only thing was that they didn’t have two bedrooms so that I spent the one or two evenings I had with them I slept on a long sort of chaise longue piece of furniture in the sitting room. So that, they’d got quite decent accommodation but certainly not a second bedroom because they didn’t normally use one but certainly, during the war, they had quite a number of people who stayed there like me. They slept on the couch and it was very, very pleasant indeed. And I seemed to remember that the gentleman was an insurance agent as a means of being a family and earning a living because there was quite a number of callers who came. Obviously, they were all known to Monsieur [unclear]. And they didn’t hide the fact that I was there and with, one or two of them spoke with me during the, during the short business visit. So it wasn’t kept a secret. And on one particular day Monsieur [unclear] and I went out after breakfast and we were going to a circular walk I suppose you would call it. Whatever. Anyhow, we left the house and we did visit various places in Paris. Even some of the well-known high spots or historical spots. And the churches as well. On the way around we had to cross the Seine and we got nearly half way across when we met, coming towards us, a priest and it so happened that Monsieur [unclear] had some connection with this priest in the work of the church and so, we stood on the bridge over the river and chatted to him for a few minutes. And the priest was left in no doubt as to my identity and we finally shook hands and he went on to the south and we went on across the river up to the Arc de Triomphe and we went down the main road from there for quite some way. The Champs Elysee. And when we got to the appropriate point we turned off to the left, back over the river and back to what I can now, would now call lodgings and it was a half day, sort of outing which was most unexpected and most, most interesting. Whilst I was staying with them I did meet a number of other people and on a couple of occasions on different days then I was taken around the corner in the road there and into another block of flats and there up on to one of the upper floors and was introduced to the lady of the house and she had Mike as her guest and so that we did maintain contact. Mostly when we were in Paris. It was very pleasant meeting these people and they seemed to enjoy bucking the German presence there by really taking on quite a risky job of having escaped RAF people pass through their premises and through their lives.
AS: Can I, can I suggest that —
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Interview with Gordon Mellor. One
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Andrew Sadler
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IBCC Digital Archive
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2015-10-06
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AMellorG151006
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Pending review
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Gordon Mellor grew up in London and was interested in aviation. He volunteered for the Air Force and trained as a navigator in Canada. On his return to the UK he and his crew were posted to 103 Squadron. Returning from an operation they were attacked by a night fighter and shot down. Gordon baled out and landed in a tree. When he freed himself and landed on the ground, he set off to walk and by tracking the North Star, set off towards the general direction of Spain. He hid in a number of places during the daylight until after a few days he was inspired to knock on a door. He found he was in Belgium with friendly people who started the process that would lead to him being escorted through an escape line from Belgium to Paris and eventually home.
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Julie Williams
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This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Language
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eng
Coverage
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Royal Air Force
Royal Air Force. Bomber Command
Spatial Coverage
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Belgium
Canada
Great Britain
Spain
England--Lincolnshire
Temporal Coverage
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1940
1942-10-04
Format
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01:54:50 audio recording
103 Squadron
aircrew
bale out
bombing
bombing of Cologne (30/31 May 1942)
crash
de Jongh, Andree (1916 - 2007)
evading
Halifax
Halifax Mk 2
navigator
observer
Operational Training Unit
RAF Elsham Wolds
RAF Lichfield
Resistance
shot down
training
Wellington
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/307/9640/PMooreWT1508.2.jpg
46d70c19f0283282b575e00c8060bca7
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/307/9640/AMooreWT150728.2.mp3
c01c152b10f0fbf9438d9f8a3ee5b0c3
Dublin Core
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Title
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Moore, Bill
William Tait Moore
William T Moore
William Moore
W T Moore
W Moore
Description
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Eight items. Three oral history interviews with William Tait "Bill" Moore (1924 - 2019, 1823072 Royal Air Force) and five photographs. He served as a navigator with 138 Squadron.
Publisher
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IBCC Digital Archive
Date
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2015-07-28
2016-03-18
2016-07-06
Rights
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Interview Agreement Form - Moore, WT, William Moore-03
Identifier
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Moore, WT
Transcribed audio recording
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Transcription
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This is Andrew Sadler interviewing Mr. William (Bill) Moore at his home in Woking on Tuesday 28th July 2015 for the Bomber Command Archive.
AS: Thank you Bill for allowing me to come and interview you.
BM: You’re very welcome indeed.
AS: Can I start with some background information, where and when were you born?
BM: I was born in Dunoon in Scotland on 26th August 1924
AS: And um, can you tell me a bit about your family background?
BM: My, my father was a regimental sergeant major in the Invergyle Southern Highlanders, my grandfather was a chief petty officer in the Navy, we’d twenty two children, I am one of a family of five and, um, I first got in touch with the, err, Royal Air Force as a cadet with the Air Cadet, Air Cadet Association, which was the forerunner of the Air Training Corps.
AS: And presumably your father, was your father involved in the First World War?
BM: Yes my father and my grandfather was in the First World War, my grandfather was also in the Boer War and he was also in the First and Second World War, and my father was in the First World War and he was called up for the Second World War to the Colours and, um, later stood down when the BEF went to France, and he later took over the, what became the Home Guard for the whole of the County of Argyle in Scotland.
AS: Did he talk about his experiences in the First World War?
BM: Yes he um, he was a Royal Scottish Fusiliers and um, he was in quite a number of the big, of the big battles, and, um, then he was taken, he was taken prisoner in late 1917 and he was shipped out to Poland then and, he was wounded in the legs, he was given very good treatment by the German, um, medical people at that time.
AS: And how did you come to join up into the Royal Air Force?
BM: Oh that was through the, the Air Cadets which was the forerunner of the Air Training Corps. The reason for that was I had been a drummer boy in the band of the Argyle’s and um, I fancied the Air Force after having two flights at a place called Montrose quite a long time before the war started.
AS: Can I just stop what, - okay we are restarting now after closing the windows
BM: Right
AS: Noise outside, sorry you were telling me about how you came, you joined the Royal, the Air Cadet Force.
BM: That’s right the Air Cadet Defence Couriers
AS: And why did you do that, what made you interested in?
BM: So it was after I had two flights we’er with the Argyles as a drummer boy in the Band at Montrose on the east coast of Scotland.
AS: And that made you want to fly?
BM: That’s quite correct.
AS: So what year did you actually join up to the Royal Air Force?
BM: Well for the, well it was 1940-41 when I was in the Air Defence Cadet Corps and then of course when the Air Training Corps started I joined that immediately and, err, on the Monday night I joined up and um, of course naturally I had no rank and then the Friday night of that week I was made a flight sergeant in the Air Training Corps, within one week.
AS: And can you tell me how that came about?
BM: Oh the experience of the Air Defence Cadet Corps, that was why.
AS: So can you tell me about your training?
BM: Oh the training in the, in the Air Training Corps. Yes the Air Training Corps we, um, we attended night school classes in the school along with students who were actually full time students of the school, also members of the Air Training Corps and this was taken by Mathematics teachers and English teachers all the way through, and they had become officers in the Air Training Corps, and one gentlemen Mr. Ozzy Broon, he was the maths teacher and very good in navigation and um, he made it all very, very interesting for us and, um, later on I met up with him but that will come into this later on, um, but he was a person who really gave us the foundation in navigation and bringing us up through math and made it interesting for us.
AS: So what age were you at this time?
BM: By that time I was sixteen.
AS: And um, when you joined the Air Force could, you were immediately made a flight sergeant and what sort of work?
BM: No that, no that was just the Air Training Corps I’m talking about, and that was made immediately. Now what happened was that um, we um, when I was, um, seventeen and a quarter I actually volunteered for the Royal Air Force and um, because of my background in the Air Training Corps I, um, had all certificates following examinations that was, um, especially orientated towards air crew, and with that I was selected at Edinburgh to actually join air crew formally and I was given the silver badge and um, became a member of the Royal Air Force on reserve which was actually the, um, Auxiliary Air Force.
AS: And what year would that have been?
BM: That was, that was beginning, the beginning of ‘42, ‘41-‘42 yes.
AS: And can you tell me how you came to be in Bomber Command?
BM: Well that’s quite a story, but I’ll cut it short as much as possible, we, we were invited to London to Lord’s Cricket Ground where we were given the medicals etcetera and passed all these things and tests, various inoculations etcetera, etcetera, and um, we were billeted at Avenue Close, um, and fed at the, at the Zoo there, and of course, um, after a few weeks we actually were sent to Scarborough where I, I joined number 17 flight, of the air crew selection, and um, that was at, that was the beginning of our formal training with the air crew, Royal Air Force, the Royal Air Force. They, um, that was when we conducted drill, navigation, signals, um, engines, everything that you had to do in preparation to become a member of air crew, but not a specialist at that time, you were given that particular course so that you could be able to fit in somewhere along the line, we were actually called PNB, pilot, navigator, bomb aimer, at that time. That’s what we were, PNB. We um, I had at that particular time I had a flight and that flight, it was a mixed flight of British, French, Belgians and we graduated, we graduated from there and were given various jobs around Scarborough until I was posted to Scoon, now at Scoon in Scotland that was where we got, we got training on Tiger Moths, and then from there, after that was we, we seemed to be doing all right, we were sent to Brougton in Furness where we, where we did a commando course on, in other words it was an escapees course. If anything happened and you were on the other side then you knew what to do to try and get away, and that was where my army training had come in very good and I was appointed a section leader. After that we were posted to, to Heaton Park, Manchester and that is where we were either billeted on homes around the perimeter of the park or actually in the park. Firstly we were actually on the perimeter with a family and, um, that lasted for about two weeks, and then for about three weeks we were actually billeted in Heaton Park in Manchester, and um, then of course we were given various courses etcetera, etcetera, and, um, during that , during that time you got selected for, for to go for training in different parts of the Commonwealth and Empire. At the beginning I was actually getting posted to go to Rhodesia and the reason we knew that was because of the kit that we were getting, not South Africa but Rhodesia. We got on board the ship in Liverpool and um, on the Mersey, and we got on, we got on board the ship there and, um, it happened to be a ship that I knew very well which was brand new at the beginning of the war and I’ve actually got a model of it here, and um, we, we set sail and, um, one evening I, I was presuming that we near the Bay of Biscay, I turned round and I said to my friend, Alec Kerr, I said ‘Alec this ship is going the wrong way’, he said ‘you and your [inaudible] navigation, how do you know?’ I said ‘I’m looking at the stars’ and we landed back up in Liverpool again, we presumed then of course that the word had got out, that was probably a fleet of U-Boats hovering round about the Bay of Biscay and um, they changed their mind about sending us on that ship, which was called the Andes [spells it out]. We got back into Liverpool and we were there about um, two days on board the Andes, and the next thing we were told that we were being transferred onto another ship and um, I looked across and there was a three funnel boat over there, and, I said to this chap Alec, Alec Kerr, I said ‘Alec that’s a five, three, four over there’ he said ‘what’s a five, three, four?’ I said ‘I’m not telling you that’s a secret’. Well the five, three, four was the Queen Mary, the five, three, four was the number that the Queen Mary had in John Brown’s yard in Scotland, in Glasgow when she was getting built. Anyway we got on board that ship and the next thing we knew that we were in New York and we were there overnight, and the next thing we knew we were on the train and we were bound, bound for Canada and we went all up the, the East Coast of Canada and we arrived at Moncton, New Brunswick, and that was the home station in Canada for air crew who were going to be training under the Commonwealth Air Training Scheme. We were there for ten or twelve days, um, not in winterwear as it was six months of the year in Canada, you get a lot of cold weather and um, they just said ‘oh we don’t know anything about you, we’ll get a message one of these days and we’ll give you some uniform’ , so we walked around there um, at one time I used to say like a [inaudible] nanny, but as I say, in Canada there we walked along like squaws because we covered ourselves in blankets to keep warm, but that was only, that was only a gimmick, once you were inside you were nice and warm. Eventually we got kitted out we with Rhodesian Air Force kit which was very good indeed, it was far superior and a lot more modern than what we had previously, for items like shirts the collars were attached instead of getting two collars with a shirt, the great coats were extremely different and the average cloth was a lot finer, anyways that was one of the good points that we had there. The next thing we knew was that we were, I’d say sent across country and um, that was to be going on to various stations now – this was where our actual training began and we had landed in Moncton and then from there, as I say, we travelled by train across to Dauphin, Manitoba, and Dauphin, Manitoba was just a little bit bigger than a village at that particular time but it was really getting populated with the Royal Air Force and the Royal Canadian Air Force, and um, that is where we had bombing and gunnery courses on Ansons and Bolingbrokes. The Bolingbrokes, of course, was the Canadian/ American version of the Blenheim Mark IV which was a very good aircraft. We graduated from there and we went from there to aye, err, Portage la Prairie, Portage la Prairie, I’ve got photographs here and there we are at Portage la Prairie which is, and was, and still is today, one of the major stations of the Royal Canadian Air Force. I said today because I have met wing commanders and group captains who have just recently been in charge of Portage la Prairie, and that is where we did the Air Observer School, that was Air Observer School Number 7 which is navigation etcetera, etcetera, and that was on Ansons and Cranes. We, err, we had a mixed bunch there of New Zealanders, Canadians, and British and we actually graduated from there and um, that is the photograph of it there see.
AS: And you’re on the front row, second from the left.
BM: That’s right [laughs] yeah. That is when I became an air observer, the air observer, of course, has got another name but in this interview I won’t say what it was called.
AS: You told me before.
BM: [Laughs] that’s exactly what it was, yes. Anyway, as far as we were concerned we err -
AS: I think could I, could I maybe I could say it
BM: Yes
AS: For the record you were known as the flying arseholes.
BM: That’s quite correct [laughs], that is quite correct, yes. Now um, with that, we were, we were given our wings there and that was a great occasion because we were made up to sergeants which was, the lowest rank by that time that you could have as air crew. Quite a lot of people don’t understand and don’t know was that right through, for a couple of years the war was on, there was fellow air crew were either AC2’s or AC1’s or LAC, leading aircraftsman and it was only after a while that the rank of sergeant was introduced for minimum rank for aircrew, there’s quite a number of people never knew about that but um, having come through the air cadets etcetera, etcetera, we knew people who were actually flying in operations who were leading aircraftsman and had done quite a number of operations as such and were never recognised as anything else. If they got shot down they never got promotion, they were still at the end of the war leading aircraftsmen. Then um, from Portage la Prairie, um, we got a jaunt down, down to America, I think it was just a matter of, they didn’t know what to do with us for a while and we went down to Florida, and we were flying on Catalina Flying Boats and doing maritime navigation which, from a place called Pensacola. We were there a few weeks and the next thing we knew we were back to Moncton, New Brunswick in Canada, and of course there wasn’t six feet of snow this time, it was a lovely spring cum summer day in Canada. We, we were there for just a few weeks and um, we were told we could have two kit bags and we said ‘why two kit bags?’, ‘well one kit bag you can travel with and if you get a flight back to the UK then that other kit bag will be sent on to you later on’. I was quite happy in one way, I didn’t need to fly back, I got on board a ship and then we were taken from Moncton, New Brunswick to Halifax, Nova Scotia. And when we got to Nova Scotia I recognised the ship and I said to my friend, I said ‘oh I don’t like that one’ and he said ‘why is that Bill?’ I said ‘because that’s the Empress of Japan’, he said ‘what!’, I said ‘yeah that’s the Empress of Japan’. Anyway we got on the ship and by that time it was called the Empress of Scotland, they had changed its name during the war from the Empress of Japan to the Empress of Scotland, and we boarded that and we were put onto D deck which is a long way down and um, when we, we tried to get up for the, for the boat drill for emergencies we found that we were only halfway up, so anyway we thought of a plan. If there is going to be an emergency and they want us up on deck why don’t we try and get a place to sleep on deck because it was summertime, anyway we weren’t allowed that. Anyway we eventually landed in the Clyde and from the Clyde we, we got on the train and we went to Harrogate in Yorkshire, and we were held at Yorkshire, in Harrogate for a short time and um, from there I was sent over to Halfpenny Green. Now Halfpenny Green was a mixed unit it was, a normal navigation advanced school for navigators so and there was also an advanced school navigating on, what will I say, um, yeah, this was to become a specialist on map reading, not just normal navigation a specialist on navigation by map reading and that was the section that I was detailed for. When I asked the ‘chiefy’ why I was a chosen, he said ‘why’ he says ‘because we found out that you’re a country boy’, ‘Oh,’ I said ‘that’s nice’, he said ‘also you’ve been around quite a bit’, I said ‘oh thank you very much’. Anyway, ‘chiefy’, the reason I called him ‘chiefy’ was because he was a flight sergeant and the reason you called them a ‘chiefy’ was because when the Royal Air Force and the Naval Service had been amalgamated during the First World War, a lot of the people from the Naval side came across and they were Chief Prison err, Chief um, Chief Petty Officers and they were the chaps who became the first flight sergeants in the Royal Air Force and the name ‘chiefy’ has been there ever since, ‘cos’ if you called someone a ‘chiefy’ today they wonder what the hell you are talking about, but anyway we could often make a few bets on that one, that’s on the side. But Halfpenny Green, we were flying there on the advanced Ansons, Mk V Ansons, which um, had completely closed bombing doors etcetera, etcetera, and of course it was ideal for map reading because your maps weren’t getting thrown about in the lower part of the cockpit when you are trying to do the map reading, but we didn’t realise why it was done, but in the Air Force, once you joined up, you volunteered ever after that, you did what you was told. Right now, I managed to go through that course, came through with very good marks and um, I was then posted to Desborough, um, at Desborough. We were crewed up and that was part of a Wellington crew and um, also flying there I was flying as second dickie, in other words we only had one pilot and um, I got the job within the crew of being the person to be able to, err, take off and land and of course do a bit of flying in between, in case of emergency I could always land the Wellington. That was because of the position and the type of training that we had got in the past. Now from, from Desborough we um, we were transferred to various stations and where I went to, I went to a place called Tempsford. Now Tempsford was one of Churchill’s most secret aerodromes, airfields, when you got there you had to, you had to sign the Official Secret Act which was slightly different from the one that you normally took. In other words this was top secret, anything you said outside of that aerodrome you could be held responsible, and taken into custody, or shot, if it was got the wrong way. The reason for that that came up during your last week of being at Tempsford. Now at Tempsford we, we were crewing with various people, the reason I say that is because being an observer from time to time I wasn’t with the, the same, same pilot, although for some time I was with a chap called Neil Noble and also with err, a young PO who was a chap called Murray, anyway that was very good indeed. Noble was from New Zealand, and err, he was an excellent chap and he was also a country boy and he was excellent for the type of flying that we were doing and likewise was Murray. Now what happened was that during that time at Tempsford that is where we did flying of taking people out and into France, quite often it was on, it was on Lysanders and you didn’t have much room in Lysanders because err, it being a small one engine aircraft and you were flying low and you were actually taking these people into France. It wasn’t the first time that we had to bring people back from France and on various occasions, the group had actually brought back four gentleman who later on became Premiers of France and they actually also were leading lights in the resistance movement, what we called the Maquis. Now one of the things that happened at Tempsford was that um, we later on had an aircraft and this aircraft was called a Hudson, now that Hudson was an aircraft, American one, which was designed to land on the prairies in America. It was heavily undercarriaged and it was ideal for what we did, it was a way from the Lysander with the single engine and was a twin engine aircraft and what was happening there was that we were carrying a lot of heavy goods for the Maquis. That was the bombs, sticky bombs, all sorts of bombs like that, grenades, ammunition, weapons, oh up to medium sized weapons which they could use without using vehicles to carry them about. Now there was one particular trip when we were on the Hudson and we were on one of the airfields that had been selected by the Maquis, now what had happened was the Maquis people, quite a number of them, had been brought over to the UK and they were given special training as to get airfields that we could land in, the idea being was that the drop zones or picking up and laying down of agents, and it was essential that they were kept on this secret list ‘cos only a few minutes normally that we were on the ground. On this particular occasion what happened was that we came into land and we landed very well, we got to top of the, I call it run section, we turned round and as we turned round we began to sink in the mud, well it felt like mud to us, I suppose it was only a wet piece of ground, and we sank down, and um, I said to the skipper, ‘oh were in trouble’, he said ‘oh we’ll get off all right’, so anyway the Maquis arrived and they got all their stuff out and um, the leading agent there was a lady and she cleared an area, got all the Maquis away and we were ready to take off and then we realised that we couldn’t get out the mud, or whatever it was. So anyway we were about ready for to put the bomb in the air trap and blow it up and then get the hell out of there, but anyway she said ‘no’ she said, ‘we think we’ll get you out of there all right’ and she got the people from a nearby village to come to try and help us out because they were on their way up they met what they call the German sergeant who was in charge of the village and he said ‘right where are you people going?’, ‘oh your big black aircraft, your big black aircraft is on the ground there and if we don’t get it out of the mud the Gestapo is going to shoot us and they’ll shoot you as well’. So his retort was back to hers was that he would look after the village, they could go and get the aircraft out, so anyway the people got all sorts of equipment and we managed to take off again, that was the longest that we were ever on the ground until a few years later, it certainly felt like hours and hours and hours but was, it was just over an hour and a quarter on the ground which was an extremely long period and we got away.
AS: Was this work part of what was known as part of the Special Operations Executive?
BM: We were working with the SOE, yes that’s exactly what we were doing. Now that was one of the moments where various escapades like that but that that was the one of the longest times on the ground. Quite often we landed in a field and of course one or two of the fields had been used in the past for gliders but of course nobody had been near them in years, not even the Germans had used them and that was why they, the Maquis, had actually selected them for us, and they had um, they hadn’t done any work on them as such just hoping that the odd tree stump or that, that we landed in was, would be avoided which they were quite good. There was quite often a brush, as we called it, on the ground but we managed to sweep that aside when you are landing and take off. Now the thing about that was that um, the area dropping and picking up and laying down of agents was essentially an extreme secret list and only a few minutes were allowed between knowing the target area and the take off and only the crew members concerned knew exactly where. As little contact as possible was allowed between any agents and the crew, I don’t care what people say, Americans and different books nowadays I will call them ‘Joes’, as far as we were concerned we had as little contact as possible so that if anything happened to them or happened to us we couldn’t divulge anything and neither could they, because later on Hitler had said that anybody with knowledge of the situation would be shot as spies, so as little contact as possible was allowed between any agents and the crews. The airfield contacts or landings were seldom used again and again, although there were one of two were very suitable among them was Paris and Chateauroux and various other ones, these were the favourite ones that they were ones that were used quite a few times.
AS: When you were working, when you were on those flights you were acting as an observer?
BM: An observer yes.
AS: And what was the role of the observer?
BM: An observer was, it was a navigator but also you did everything, you did everything.
AS: So, you were a backup if something?
BM: That’s right. The observer learnt to fly, that was one of the other things an observer did, later on of course that was taken over by, on the bigger aircraft, by the flight engineer, but in the early days that was the observer that did that, aye. Now later on, later on during the war once it became apparent with the advance of the allies in France, the role of 138 Squadron and 161 Squadron was diminishing so what happened then was that 138 Squadron we went back to Bomber Command and with that we went to Langar where we actually um, we actually flew on Lancasters and then the Lancasters and then of course we were, I’d say we were part and parcel of the Bomber Command operations and that was from Tuddenham, and at Tuddenham we lay alongside 90 Squadron which was one of the main, main squadrons that occupied Tuddenham right through during the war.
AS: And what year was that, that you became part of Bomber Command?
BM: That was beginning that was the beginning of ‘44-‘45 and that was from, we started there, the actual squadron according, according to the history, was that everything came into being in March of 1945 but of course it was long before that we were [inaudible] but that’s just from the history books. Later the events all changed and we were sent to Langar to receive conversant to Lancasters, which turned out to be the light of my life as the aircraft which was the one that I favoured best, and from Langar we went to Feltwall, Mildenhall, Methwold, and Stradishall for other special duty training and eventually to Tuddenham. We took part in many of the operations but on the big one to Potsdam our Wing Commander Murray took over as captain of the night. Now that Wing Commander Murray was a pilot officer that I flew with, aye, early in my career with 138 Squadron and he became eventually the, the squadron leader, wing commander for 138 squadron, he took charge of that. Along came the Operation Manna which gave us great pleasure in being part of and likewise to Juvincourt where we brought home many of our fellow air crew members who had been prisoners of war, and after a few weeks of PRDU work at Tuddenham we were allowed to transfer to RAF Benson where we took over our own Lancasters and became part of the operating across Europe and photographing the whole of Europe for um, the secret stations that Churchill had wanted when he was Prime Minister. So that was there crew there, the other air crew in Bomber Command where we did all our operations.
AS: And were you still working as an observer at this stage?
BM: Yes, yes
AS: You were still an observer?
BM: Aye
AS: And this is your crew next to a Lancaster?
BM: Yes, that’s the crew that we eventually had, yes.
AS: And which one is you Bill?
BM: [laughs] Probably go with the height you’ll maybe get me, [laughs] can you recognise me?
AS: I think you are the one on the left on that side on the right.
BM: Yes that’s me [laughs], that there the tallest one actually became the rear gunner .
AS: And were you always with the same crew?
BM: Once we, once we got to Tuddenham we were all with the same crew yes.
AS: So these are the same, so this is the same people?
BM: That’s right yeah.
AS: And obviously you all made it through the war?
BM: Oh yes.
AS: ‘Cos a lot did not.
BM: No, that is quite correct we were lucky.
AS: So when you were on the bombing raid can you tell me exactly what your role would have been?
BM: Oh we were, there were two things so we acted as a full navigator and sometimes as an electronic navigator and also a bomb aimer as well ‘cos we were qualified to do all these jobs.
AS: So you moved from one role?
BM: One role to another yeah.
AS: To another.
BM: In our crew everybody could do everything else except on the Lancasters. The skipper Neil Noble and, and myself were doing the flying, and also our flight engineer ‘cos he only joined us on the Lancasters ‘cos when we were flying in the Wellingtons and that we didn’t have, we didn’t have a flight engineer. The flight engineer were only brought on when we started with the Stirlings and Halifaxes and then the Lancasters.
AS: Can you tell me what it was like to fly the Lancasters as opposed to the Wellingtons?
BM: Oh yes, it was a much easier aircraft to fly than even the Wellingtons and the Wellington was a good one to fly.
AS: In what way was it easier?
BM: Well the, the, the controls were simpler, it was easier to control them than it was some of the former aircraft.
AS: And can you describe the procedure when you went on a bombing raid?
BM: Right, well what happened was once you were crewed and once you had done a few operations like mine laying and things like that, minor operations and then of course you were selected by crews that you moved up the ladder a bit and then of course you were formally taken on to the, I would say, the senior strength of the squadron, but our squadron did not like to put rookie crews onto the heavy stuff at first, you got a baptism of fire by, as I say, doing the mine laying jobs and various other ones which you weren’t so likely to have been involved in heavy enemy fire etcetera, etcetera. We were thankful for that because you were given that training and there was actually training in the actual thing. So what happened was that once you, once you were there then of course you had briefings where the whole crew was together, then of course you had briefings where there was selected sections of the aircrew, mainly the pilot, navigator, and quite often the flight engineer and radio operator were involved. When we were doing special duties with Lancaster’s we had the whole crew together ‘cos we felt as if everybody should know exactly what’s going on and not be a surprise to anybody with what we were doing because quite often there was raids that was known to only a section of a squadron and sometimes a full squadron, whereas if it wasn’t a joint operations with the other squadrons, or the other squadron are out and you lay down so that was how it went, but you were actually given as much information as possible about the targets, about where you were going, the flight, the enemy aircraft etcetera, etcetera.
AS: How many missions did you fly with Bomber Command?
BM: About thirty six.
AS: That was quite a lot wasn’t it?
BM: Yes it was quite a lot.
AS: It sounds as if you were lucky to pull through because?
BM: I was extremely lucky, I was extremely lucky, because with 138 Squadron we had, we had quite a [long pause, shuffling papers], with 138 Squadron, 138 Squadron had taken in nine hundred and ninety five agents, they’d taken in twenty nine thousand containers and they’d taken in over ten thousand packages. We lost seventy aircraft and three hundred aircrew, our motto was ‘for freedom’, that was 138 Squadron you know.
AS: Yes you had different people on different stations?
BM: Right, now also what did happen was that with 138 Squadron we had a flight of Poles, Polish chaps. Now what happened with them was that they was declared by the German forces that if the Poles were shot down they were to be treated as spies, so I didn’t like the idea of that and all the ones on our flight I taught them a bit of Gaelic, I gave them little addresses from on all the outer isles on the west of Scotland and I gave them Scottish names, and I told them if they got shot down they would have to use them as identification plus their rank and number, and I, ‘cos I do know that quite a number of them actually survived like that because they pretended to be Scottish, Gaelic, and where they pointed to on the map was where they came from and it was a real island but I gave them all different islands, and of course when they were on the squadron if they spoke to anybody they had to say who they were and not who they were in Polish.
AS: And why the Poles singled out for special harsh treatment?
BM: Oh because their country had been occupied by the Germans. They took it that they were, if they did that they were actually against them that was the end of it.
AS: Mmm, when you um, when you were flying with Bomber Command how often, you said you had thirty six missions, how far apart were they, were you?
BM: Well sometimes you might be on three nights in a row, sometimes it might be two, two in one week, but it was surprising just how much, just how of course some operations like mine laying and things like that were considered quite minor ones so you probably fitted them in in between times.
AS: And went you weren’t actually flying when you were on the ground how did you occupy your time?
BM: We kept ourselves fit, we played a lot of squash or we played a lot of rugby that was the two things we did as a crew because we could play together, and we were together, we were a crew.
AS: And when you were not flying you stuck together as a
BM: As a crew yes. We used to have, in the Nissen huts, we normally had two crews to the hut and we pretty well stuck together.
AS: And what sort of conditions were you living in, was it, were they good conditions or?
BM: Well, well when we were one squadron there was err, there was a Nissen hut set of accommodation which was two crews, as I say two crews about fourteen men to a hut and a potbelly stove in the middle and then of course your, your, your mess and that on the squadron was a Nissen type building. There was one or two squadrons which were peacetime ones, the RAF Benson was a peacetime one and there’s still peacetime one, but Methwold and quite a few of these other ones were established pre-war and the accommodation was slightly better, but anything that was rushed up during the war time was normally the Nissen huts.
AS: Now after the war, what, how did you, what happened after the war?
BM: Well what happened after the war, like what I said earlier on, was that we did some PRDU work from Tuddenham.
AS: What’s PRDU work?
BM: That’s Post RAF Reconnaissance.
AS: Ah.
BM: What we didn’t realise it was like a programme to see if we were suitable to do the job and there was three crews were picked, three, with their aircraft and we were sent over to RAF Benson and we then came under PRDU people there and, err, we photographed the whole of Europe, north to south and east to west, and we photographed the likes of the city of London, and other big cities from two thousand feet. Towns like Woking and this area would be from about five-six thousand feet and um, then the general countryside was anything from ten to twenty thousand feet, and we did that for the whole of Europe. We also had bases all over the country and also had bases in Norway, bases in South of France and various places like that, so what we actually did was that at one time, one time we landed at one, one particular station and it had been used as a transit camp and we woke up in the morning scratching like hell and we found out we had scabies so of course that was us isolated. We go back to our own station and we were isolated by the, by the medical people until we got rid of it, and then we, what we said, wherever we went after that we took our own kit with us so we didn’t get scabies.
AS: And this would have been after 1945 you were doing this?
BM: Yes
AS: And how long did you stay in the RAF for?
BM: Middle of 1946.
AS: And, and what did you do after you left?
BM: Well I went back into the building industry, and um, it wasn’t that long before I went to Rhodesia where I was supposed to have gone with the with the Royal Air Force and the idea there was that a federation was starting up between Nyasaland, Northern Rhodesia and Southern Rhodesia, and um, I went out there and I went out as a general building foreman, and instead of staying four years with the company that I worked for I stayed fifty years. I built schools, universities, colleges, hundreds of local houses, all over the territories, and then of course gradually it worked out that Rhodesia was the only one that didn’t get its independence, Nyasaland 1963, Nyasaland was given independence then and became Malawi, and more or less at the same time Northern Rhodesia, which had been a Crown Colony run from Britain, they also had theirs, but Southern Rhodesia, which became Rhodesia, had been a self-governing colony since 1926 and they were not granted independence. And what happened was in 1926 there had been a vote there to say if whether they were going to pick up as a province in South Africa or stay as Rhodesia as an independent self-governing colony and the vote was to stay as Rhodesia self-governing colony, so if they’d had went the other way it would have been a province of South Africa.
AS: So what year did you come back to the United Kingdom?
BM: I only came back twelve years ago.
AS: Oh gosh. So have you, after the end of the war have you kept in contact with your crew mates?
BM: Oh yes, well I’ll tell you what, Jimmy Dugg, his great grandson is Israel Dugg who played full back for the All Blacks against the Springboks on Saturday and various other ones.
AS: So you kept in contact with them?
BM: Oh yes.
AS: Did you, um, I mean after the war?
BM: What happened in Rhodesia, put it this way what happened there was that I had, in the short term, I had reinstated the family business in the building trade, I found out that the contracts were not being run honestly as far as I was concerned and that’s when I said to my brothers ‘you can have the company I’m going abroad’, I had thoughts for Canada, I had thoughts for Australia, I had thoughts for New Zealand, and at the time they wanted people to go to what was going to become the Central African Federation, um, and that’s where I decided to go to. I had no regrets, no regrets at all. I was there from 1952-53 right up until I came here, came back here and that was in 2003, but during that time, as I said before, I built schools and hospitals and other things all the way through. I even, in 1960 the Queen Mother had come out previously and laid the foundation stone of the hospital in Blantyre, Nyasaland which she named the Queen Elizabeth Hospital then she came back in 1960 and declared it open, now of course it wasn’t just a hospital it was like a major township around the hospital that we built that what took us so long, anyway what did happen when we had a ball at Zumba, the capital, after she had declared it open etcetera, etcetera, and the following the morning the Governor, Glynn Jones came to me and said ‘I’ve got a job for you’ I said ‘No, no, no I don’t need no freebies sir’, he said ‘it’s for the old lady’, I said ‘what’s that’, he said ‘I want you to build a racecourse for her,’ I said ‘what! I don’t know anything about building racecourses’, he said ‘go and find a plan somewhere’ he says ‘I want you to build a racecourse for her’, I said ‘all right how long have I got?’ he said ‘you’ve got ten days’. So anyway I got my own crew which was about fifty-sixty chaps and I went along to Zumba Prison and I got hundred bandits from there, short term bandits, and I asked for all the ones who had been Queen Victoria men, or King George men, or Kind Edward men, people like that and I got volunteers and I looked after them. I said they would be rewarded which they were, properly and kindly, etcetera, etcetera, and we did the job, and instead of what you do today, putting up things in canvas, I did it all in pole and thatch, and um, she, what happened is that she went on the Ilala which is the ship that plies up and down Lake Nyasa, and Lake Nyasa is three hundred and sixty five miles long and fifty two miles wide and there are various ports along it that the Ilala used to either go into or stand off and it used to take cattle, people passengers, VIP’s everything, there were ten or twelve cabins on it so it wasn’t a small one. It was actually built in, in Scotland and taken out in pieces to a place called Monkey Bay where it was put back together again and floated on Lake Nyasa and she has been going there ever since [laughs].
AS: Excellent. Can I um [end]
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Interview with Bill Moore. One
Creator
An entity primarily responsible for making the resource
Andrew Sadler
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-07-28
Format
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01:10:53 Audio recording
Language
A language of the resource
eng
Type
The nature or genre of the resource
Sound
Identifier
An unambiguous reference to the resource within a given context
AMooreWT150728
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Royal Air Force
Royal Air Force. Bomber Command
Polskie Siły Powietrzne
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Description
An account of the resource
William Moore was born in Dunoon, Scotland in August 1924 and joined the Royal Air Force after spending some time in the Air Cadet Defence Corps and in the Air Training Corps. He volunteered for the Royal Air Force at the age of 17 and completed his training in Canada, after which he qualified as an air observer.
William flew Ansons and Cranes and learned navigation in America on Catalina flying boats. He also tells of flying Lysanders and transporting agents for the Special Operations Executive into France. He also tells how he helped Polish airmen with different information to keep them safe if they crashed.
William flew a number of aircraft including the Lancaster, Stirlings and Halifaxes at different locations and was on 36 operation with Bomber Command, taking part in Operation Manna. He served with 138 Squadron and 161 Squadron. He also tells of his life after the war, when he went to live in Rhodesia where he helped to run the family business before returning to Great Britain in 2003.
Please note: The veracity of this interview has been called into question. We advise that corroborative research is undertaken to establish the accuracy of some of the details mentioned and events witnessed.
Spatial Coverage
Spatial characteristics of the resource.
Great Britain
United States
France
Germany
Netherlands
England--Bedfordshire
England--Suffolk
England--Staffordshire
Zimbabwe
Africa--Lake Nyasa
138 Squadron
161 Squadron
Advanced Flying Unit
aerial photograph
aircrew
Anson
Catalina
flight engineer
Halifax
Hudson
Lancaster
Lysander
navigator
observer
Operation Manna (29 Apr – 8 May 1945)
Photographic Reconnaissance Unit
RAF Benson
RAF Desborough
RAF Halfpenny Green
RAF Heaton Park
RAF Tempsford
RAF Tuddenham
reconnaissance photograph
Resistance
Special Operations Executive
Stirling
training
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/2227/15718/ISRPT, C.b.b.21 Fondo Risaliti INS. 4, 044-1.jpg
dc4c74e9d1e2e724ee3e65c9f773c797
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/2227/15718/ISRPT, C.b.b.21 Fondo Risaliti INS. 4, 044-2.jpg
f81c261d0b3d82a20586a744601d90a5
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
ISRPt. Statements submitted to the 1944-1947 Allied Screening Commission
Fondo Risaliti
Description
An account of the resource
The 1944-1947 Allied Screening Commission was tasked to track down Italian civilians who helped escapers and evaders. Helpers were given a certificate of thankfulness signed by Field Marshall H R Alexander, supreme Allied commander in the Mediterranean theatre, and - in some circumstances - cash. Helpers had to fill out a form in which they had to state their personal details, the names of Allied servicemen they helped and details on the nature of the help provided.
In 1947, noting that only a fraction of potential beneficiaries had come forward, the Pistoia branch of ANPI (National Association of Italian Partisans) published a communiqué on local newspapers. The statement urged helpers to claim their reward and get the recognition they deserve. Most respondents enclosed Alexander’s certificate or mentioned the addresses from which repatriated servicemen wrote letters of thankfulness.
Normally, each statement contains the helper(s) personal information, the names of the Allied servicemen accompanied in some case by their service numbers, the nature of the support provided (food, shelter, clothing, medical attention, etc.) and the relevant timespan. Sometimes the statement is signed by more than one person, usually all members of the same household; there are case in which the same individual lodged multiple claims. All items concern British and Americans personnel with the notable exception of a Soviet solider for Ukraine. John F Kerrigan appears in thirteen documents having been helped for about a year by many families. Some personnel actively joined local Resistance units as combatants.
All documents are part of the Risaliti collection, now held at the Istituto Storico della Resistenza e dell’età contemporanea in provincia di Pistoia (ISRPt).
Cataloguer’s note: The claims use the word ‘Inglese’ (English) as to denote nationality. Readers should be advised that in Italian the adjective is frequently used as a loose synonym of ‘British’ or 'English-speaking person'.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Spatial Coverage
Spatial characteristics of the resource.
Italy
Italy--Pistoia
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Civilian
Type
The nature or genre of the resource
Text
Text. Correspondence
Language
A language of the resource
ita
Identifier
An unambiguous reference to the resource within a given context
ISRPT , C.b.b.21 Fondo Risaliti INS. 4, 044
Creator
An entity primarily responsible for making the resource
Angiolina Michelozzi
Date
A point or period of time associated with an event in the lifecycle of the resource
1947-07-16
Format
The file format, physical medium, or dimensions of the resource
One-page handwritten statement
Temporal Coverage
Temporal characteristics of the resource.
1943
1944
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Description
An account of the resource
Angiolina Michelozzi claims she helped, from September 1943 to the September 1944, some allied prisoners of war, bringing them food and clothes in the woods where they hid.
Title
A name given to the resource
Statement of Angiolina Michelozzi about some Allied servicemen
prisoner of war
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/2227/15578/ISRPT, C.b.b.21 Fondo Risaliti INS. 4, 184-1.jpg
7c7f0480a6f882e7891b89059b2af43f
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/2227/15578/ISRPT, C.b.b.21 Fondo Risaliti INS. 4, 184-2.jpg
0aa83b1e995e4727737a49d1159f5066
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
ISRPt. Statements submitted to the 1944-1947 Allied Screening Commission
Fondo Risaliti
Description
An account of the resource
The 1944-1947 Allied Screening Commission was tasked to track down Italian civilians who helped escapers and evaders. Helpers were given a certificate of thankfulness signed by Field Marshall H R Alexander, supreme Allied commander in the Mediterranean theatre, and - in some circumstances - cash. Helpers had to fill out a form in which they had to state their personal details, the names of Allied servicemen they helped and details on the nature of the help provided.
In 1947, noting that only a fraction of potential beneficiaries had come forward, the Pistoia branch of ANPI (National Association of Italian Partisans) published a communiqué on local newspapers. The statement urged helpers to claim their reward and get the recognition they deserve. Most respondents enclosed Alexander’s certificate or mentioned the addresses from which repatriated servicemen wrote letters of thankfulness.
Normally, each statement contains the helper(s) personal information, the names of the Allied servicemen accompanied in some case by their service numbers, the nature of the support provided (food, shelter, clothing, medical attention, etc.) and the relevant timespan. Sometimes the statement is signed by more than one person, usually all members of the same household; there are case in which the same individual lodged multiple claims. All items concern British and Americans personnel with the notable exception of a Soviet solider for Ukraine. John F Kerrigan appears in thirteen documents having been helped for about a year by many families. Some personnel actively joined local Resistance units as combatants.
All documents are part of the Risaliti collection, now held at the Istituto Storico della Resistenza e dell’età contemporanea in provincia di Pistoia (ISRPt).
Cataloguer’s note: The claims use the word ‘Inglese’ (English) as to denote nationality. Readers should be advised that in Italian the adjective is frequently used as a loose synonym of ‘British’ or 'English-speaking person'.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Spatial Coverage
Spatial characteristics of the resource.
Italy
Italy--Pistoia
Italy--Florence
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Civilian
Type
The nature or genre of the resource
Text
Text. Correspondence
Language
A language of the resource
ita
Identifier
An unambiguous reference to the resource within a given context
ISRPT , C.b.b.21 Fondo Risaliti INS. 4, 184
Creator
An entity primarily responsible for making the resource
Angiolina Nesi
Date
A point or period of time associated with an event in the lifecycle of the resource
1947-07-14
Format
The file format, physical medium, or dimensions of the resource
One-page handwritten statement
Temporal Coverage
Temporal characteristics of the resource.
1943
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Description
An account of the resource
Angiolina Nesi claims she helped thirteen English prisoners of war, from 10 September 1943 to 25 December 1943, giving them food, and clothes: R Cook (2620196), Guardsman C Simmons (2616361), W Howard (913574), J Jones (946866) and other nine servicemen. On 25 December, they moved to Monte Morello (Florence).
Title
A name given to the resource
Statement of Angiolina Nesi about some Allied servicemen
prisoner of war
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/2227/15569/ISRPT, C.b.b.21 Fondo Risaliti INS. 4, 193-1.jpg
26f71f7108cfa99071a78cbb298a3691
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/2227/15569/ISRPT, C.b.b.21 Fondo Risaliti INS. 4, 193-2.jpg
35683f9784364405ebb4519f12dc4882
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
ISRPt. Statements submitted to the 1944-1947 Allied Screening Commission
Fondo Risaliti
Description
An account of the resource
The 1944-1947 Allied Screening Commission was tasked to track down Italian civilians who helped escapers and evaders. Helpers were given a certificate of thankfulness signed by Field Marshall H R Alexander, supreme Allied commander in the Mediterranean theatre, and - in some circumstances - cash. Helpers had to fill out a form in which they had to state their personal details, the names of Allied servicemen they helped and details on the nature of the help provided.
In 1947, noting that only a fraction of potential beneficiaries had come forward, the Pistoia branch of ANPI (National Association of Italian Partisans) published a communiqué on local newspapers. The statement urged helpers to claim their reward and get the recognition they deserve. Most respondents enclosed Alexander’s certificate or mentioned the addresses from which repatriated servicemen wrote letters of thankfulness.
Normally, each statement contains the helper(s) personal information, the names of the Allied servicemen accompanied in some case by their service numbers, the nature of the support provided (food, shelter, clothing, medical attention, etc.) and the relevant timespan. Sometimes the statement is signed by more than one person, usually all members of the same household; there are case in which the same individual lodged multiple claims. All items concern British and Americans personnel with the notable exception of a Soviet solider for Ukraine. John F Kerrigan appears in thirteen documents having been helped for about a year by many families. Some personnel actively joined local Resistance units as combatants.
All documents are part of the Risaliti collection, now held at the Istituto Storico della Resistenza e dell’età contemporanea in provincia di Pistoia (ISRPt).
Cataloguer’s note: The claims use the word ‘Inglese’ (English) as to denote nationality. Readers should be advised that in Italian the adjective is frequently used as a loose synonym of ‘British’ or 'English-speaking person'.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Spatial Coverage
Spatial characteristics of the resource.
Italy
Italy--Pistoia
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Civilian
Type
The nature or genre of the resource
Text
Text. Correspondence
Language
A language of the resource
ita
Identifier
An unambiguous reference to the resource within a given context
ISRPT , C.b.b.21 Fondo Risaliti INS. 4, 193
Creator
An entity primarily responsible for making the resource
Angiolina Pratesi
Format
The file format, physical medium, or dimensions of the resource
One-page handwritten statement
Temporal Coverage
Temporal characteristics of the resource.
1943
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Description
An account of the resource
Angiolina Pratesi claims she hosted an English prisoner of war in her house for fifteen days, from 16 to 30 October 1943. Then, he was recaptured by fascist militiamen.
Title
A name given to the resource
Statement of Angiolina Pratesi about an Allied serviceman
prisoner of war
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/135/PFilliputtiA16010046.1.jpg
c8497f21862f017330639abf4c217c04
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Fascists discover partisans hiding in a haystack
Description
An account of the resource
Three soldiers have found two partisans hiding in a haystack. One partisan has both his cheeks pierced by the bayonet of one of the soldiers and in the background, the other partisan has his arms in the air and a solider is pointing a rifle with a bayonet at him.
Label reads “94”; signed by the author; caption reads “15 FEBBRAIO 1944. Ronchis di Aquileia UD, 4 del mattino, i repubblichini circondano il fienile, dove sono nascosti 2 partigiani, forando il fieno con le baionette trapassano da parte a parte, la guancia di “Aramis” C. R. e catturano “Ragno” che tradi’. In localita Pantiera furono sorpresi, pur in un casolare “Spaccatutto” N. A .e “Boris” M. U. fuggito 8 giorni prima da Palmanova.”
Caption translates as: “15 February 1944. Ronchi di Aquileia (Udine province), 4.00 am. The supporters of the Republic of Salò surrounded the barn where two partisans were hiding, piercing haystacks with their bayonets. One bayonet pierced the cheek of “Aramis” (C.R.) from side to side, they also captured “Ragno” who then betrayed. Near Pantiera, “Spaccatutto” (N.A.) and “Boris” (M.U.) were caught in a farmhouse. The latter had managed to escape from Palmanova eight days earlier.”
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010046
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Temporal Coverage
Temporal characteristics of the resource.
1944-02-15
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Spatial Coverage
Spatial characteristics of the resource.
Italy--Aquileia
Italy
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/137/PFilliputtiA16010048.1.jpg
1a8a4442e991660e17c6a21a660e1d42
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Death of Renato Del Din
Description
An account of the resource
A shoot-out is taking place in Tolmezzo. Alpini Lieutenant Renato Del Din has been shot in the head, causing him to drop his pistol and fall to the ground.
Label reads “104”; signed by the author; caption reads “CARNIA 25 APRILE 1944 – Cadeva a Tolmezzo in un colpo di mano tentato contro la caserma della milizia fascista il patriota Renato Del Din tenente degli alpini. Imponenti i funerali all’eroe, la salma tutta ricoperta di fiori nazi-fascisti furibondi e impotenti, da quel giorno la Carnia fu condannata”.
Caption translates as: “Carnia, 25 April 1944 – On this day, the patriot and Alpini Lieutenant Renato Del Din perished in Tolmezzo during a daring action against the Fascist militia barracks. The funeral of this hero was magnificent, the coffin covered in flowers. Nazi-Fascist were furious and powerless. From that day, the fate of the Carnia region was sealed."
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010048
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Spatial Coverage
Spatial characteristics of the resource.
Italy--Tolmezzo
Italy
Temporal Coverage
Temporal characteristics of the resource.
1944-04-25
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/139/PFilliputtiA16010050.2.jpg
f2c0e84902f256d076cf629327ee6e30
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
SS Reprisal in the Carnia district following a partisan ambush
Description
An account of the resource
A mountain village following an attack. Large fires are burning everywhere and the remains of a building, machinery and a dead cow are visible. Corpses are lying on the ground. Civilians coming from the direction of the buildings are surrendering. Two are holding their arms in the air. Two soldiers are aiming their weapons at them.
Label reads “108”; signed by the author; caption reads “CARNIA 24 MAGGIO 1944 – Una mina preparata fra Ampezzo e Forni di Sotto poco prima del Passo della Morte, faceva saltare un’auto pilotata da un maggiore Tedesco e due capitani uccidendoli. Rappresaglia immediate delle SS, alle fiamme 3 paesi, Vico Baselia e Tredolo nel comune di Forni di Sotto, 400 Case incendiate 1500 abitanti senza tetto, i bovini bruciati nelle stalle o presi a fucilate.”
Caption translates as: “Carnia, 24 May 1944 – An explosive device planted between Ampezzo and Forni di Sotto, just before Passo della Morte, destroyed a German car driven by a major with two captains as passengers. The explosion killed everyone. Retaliation from the SS was swift. Three villages were burnt down: Vico Baselia and Tredolo near Forni di Sotto. 400 houses were burnt, and 1,500 inhabitants remained without a place to live. Cows were either burnt alive in their keeps or shot.”
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010050
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Temporal Coverage
Temporal characteristics of the resource.
1944-05-24
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Spatial Coverage
Spatial characteristics of the resource.
Alps
Italy--Friuli
Italy
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
Waffen-SS
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/141/PFilliputtiA16010052.2.jpg
71b31fa0b49cf8fb35a593543f5aec50
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Rounding-up of civilians in the Carnia district
Description
An account of the resource
In a mountain village, families are being rounded up by German soldiers. The soldiers are armed and are beating some of the civilians. Three men have been beaten on the head. Two are lying on the ground, whilst one is falling to the ground. In the foreground, one civilian is gesticulating with his hands and talking to soldiers, who are pointing guns at him.
Label reads “110”; signed by the author; caption reads “CARNIA. I rastrellamenti continuano il 28 Maggio a Casteons di Paluzza, Ligosullo, Pieden di Arta Paularobe Villasantina, il 26 a Rovi di Paluzza una decina di operai tra cui una donna rimanevano uccisi lungo le strade, nelle officine sulle soglie delle loro case. I partigiani rispondono moltiplicando le imboscate.”
Caption translates as: “Carnia, the mop-ups continued. On the 28 May, in Casteons di Paluzza, ten workers – including a woman – were killed in the streets, in the factories, and on their doorsteps. The partisans responded by intensifying ambushes.”
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010052
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Spatial Coverage
Spatial characteristics of the resource.
Alps
Italy--Friuli
Italy
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
round-up
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/145/PFilliputtiA16010056.2.jpg
e7a2337df99f704411b3a5599e069452
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Death of Aulo Magrini
Description
An account of the resource
An exchange of fire is taking place between soldiers and civilians in a mountainous area. A soldier and a civilian have been killed. A second civilian is running to hide behind a boulder.
Label reads “123”; signed by the author; caption reads “CARNIA 15 LUGLIO 1944. Il dottor Aulo Magrini da Luint di Ovaro cade in combattimento all’Aquaviva fra Piano d’Arta e Sutrio nobile figura di patriota.”
Caption translates as: “Carnia. 15 July 1944. Doctor Aulo Magrini, born in Luint near Ovaro, fell in action near Acquaviva between Piano d’Arta and Sutrio. He was a noble-minded patriot.
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010056
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Temporal Coverage
Temporal characteristics of the resource.
1944-07-15
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Spatial Coverage
Spatial characteristics of the resource.
Alps
Italy--Friuli
Italy
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/146/PFilliputtiA16010057.2.jpg
e1eb7eccdf2eceffccc001704c5c19fa
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Casera Lanza massacre
Description
An account of the resource
A mountain village has been attacked by Cossacks. Buildings are burning in the distance and civilians are being threatened with knives and rifles. Three civilians are lying on the ground having been shot.
Label reads “125”; signed by the author; caption reads “CARNIA. 21 LUGLIO 1944… Dal racconto dei 2 soli superstiti scampati da Casera Lanza perche nascosti nel fieno. I falsi partigiani si presentarono chiedendo cibo, compensarono poi l’ospitalita scaricando le armi su quanti erano presenti all casera. 16 furono le vittime l’eccidio avvenne dopo mezzogiorno, le salme vennero serviziate depredate e gettate in monte una sull’altra in un’angolo della casera.”
Caption translates as: “Carnia. 21 July 1944… From the account of the only two survivors of the Casera Lanza massacre. They were hidden in the haystacks. Those who pretended to be partisans, but weren’t, showed up asking for food. Then, they rewarded the hosts for their hospitality by firing their weapons towards anyone in the alpine dairy. The victims were 16. They were slaughtered shortly after midday and the bodies were abused, plundered, and piled up in a corner of the building.”
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010057
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Temporal Coverage
Temporal characteristics of the resource.
1944-07-21
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Spatial Coverage
Spatial characteristics of the resource.
Alps
Italy--Friuli
Italy
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/147/PFilliputtiA16010058.1.jpg
511e38651553bdb6d40c743d142900a8
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Italian and German SS, along with men disguised as partisans, round up civilians at Paluzza
Description
An account of the resource
A mountain village is engulfed in flames and the civilians are being shot by soldiers. In the foreground, a man has been shot point blank in the face. Some civilians are holding their arms in the air in surrender and one man is trying to run away.
Label reads “128”; signed by the author; caption reads “CARNIA. Nel pomeriggio del 22 Luglio 1944. SS tedesche e italiane circondano Paluzza e unite a falsi partigiani procede [sic] di casa in casa al rastrellamento. Sotto gli occhi dei loro famigliari 4 uomini sono ridotti in fin di vita con bastonature, calci, morsi, pugnalate. Dopo il sacheggio il reparto ubriaco di sangue e di vino prende la via del ritorno, seminando la strada di altre vittime.”
Caption translates as: “Carnia. On the afternoon of 22 July 1944, the German and Italian SS surrounded the village of Paluzza. Together with those who disguised as partisans, they proceeded with the sweeping, inspecting every house. Four men were beaten half to death in front of their families. They got kicked, bitten, and stabbed. After the raid the unit, drunk with blood and wine, returned home, leaving behind other victims.
Temporal Coverage
Temporal characteristics of the resource.
1944-07-22
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010058
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Spatial Coverage
Spatial characteristics of the resource.
Alps
Italy--Friuli
Italy
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
round-up
Waffen-SS
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/148/PFilliputtiA16010059.2.jpg
3a4c1238d7cdce9790970f6c162e3a1d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Partisans sabotage German boats
Description
An account of the resource
Under the cover of darkness, partisans sabotage German boats with Kriegsmarine flags on both masts. One figure is holding a rifle and a built-up area is visible in the background.
Label reads “131”; signed by the author; caption reads “Caption reads “AGOSTO 1944. MARANO LAGUNARE, operazioni di sabotaggio nel Canale di S.Andrea da parte di un patriota maranese, ad imbarcazioni tedesche con il favour della notte, in’utilizza gli impianti di bordo, lasciando gli scafi in balia delle onde e delle correnti perche siano facile preda degli aerei all’alba.
Caption translates as: “August 1944. Marano Lagunare, sabotage operation in the Canale di S. Andrea by a local patriot. He sabotaged German ships during the night, making the on-board systems unusable and leaving the boats drifting with waves and currents. This way, they would be an easy prey for the aircraft flying over at dawn.”
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010059
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Spatial Coverage
Spatial characteristics of the resource.
Italy--Marano Lagunare
Italy
Temporal Coverage
Temporal characteristics of the resource.
1944-08
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/150/WARNING GRAPHIC CONTENT.2.jpg
b53cc613b8a2d6c309628ea583201a9c
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/150/PFilliputtiA16010061.2.jpg
6c8fee66b0282e59c203e1bb1de8e393
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Adelio Trigatti being tortured
Description
An account of the resource
In a prison cell, a man covered in blood and chained to the wall is being tortured by three fascists in military uniform. Irons are being heated up in a brazier in the centre of the room. Bloody hand-prints are visible on the walls amongst prisoners’ inscriptions.
Label reads “137”; signed by the author; caption reads “1o ADELIO TRIGATTI da S. Giorgio di Nogaro UD 23 Agosto 1944, apostolo del socialismo, esilio, martirio, e morte a corollario della sua vita, nessuno più lo ricorda. Catturato causa tradimento caricato su un camion e portato in giro per Gonars e Fauglis, sul suo petto erano visibili le orribili servizie operate.
Caption translates as: “1 – Adelio Trigatti from San Giorgio di Nogaro (Udine province) (23 August 1944) was a preacher of Socialism. He was exiled, tortured, and killed. No one remembers him anymore. As a result of a betrayal, he was carried into a lorry and carried around Gonars and Fauglis. The horrible tortures perpetrated by his jailers were visible on his chest.”
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010061
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Spatial Coverage
Spatial characteristics of the resource.
Italy
Temporal Coverage
Temporal characteristics of the resource.
1944-08-03
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/152/PFilliputtiA16010063.2.jpg
11bbe0549ae955cd2110e38fc461597b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Railwayman Giovanni Grillo being executed
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010063
Description
An account of the resource
A firing squad of three German soldiers are aiming their rifles at the railwayman Giovanni Grillo, who is standing against a wall with his right arm in the air. A priest with a book in his hand is leaving the scene.
Label reads “142”; signed by the author; caption reads “PONTEBBA. 30 SETTEMBRE 1944. Giovanni Grillo ferroviere deviatore alla stazione di Pontebba con rischio della propia vita, apriva le porte piombate dei carri carichi di deportati per la Germania. 12 soldati vengono fatti fuggire, uno di essi ammalato fu scoperto in casa del Grillo. La mattina del 3 Ottobre ritto in piedi sfida il plotone di esecuzione, cade gridando “Wiva [sic] l’Italia”.
Caption translates as: “Pontebba, 30 September 1944. Giovanni Grillo was a railway man, a signalman at Pontebba railway station. He risked his life by opening the doors, sealed with lead, of the wagons loaded with deportees to Germany. Two soldiers were helped to escape but one of them fell ill and was found at Grillo’s house. On the morning of 3 October, standing upright, he challenged the firing squad. He fell proclaiming “long live Italy”.
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Spatial Coverage
Spatial characteristics of the resource.
Italy--Pontebba
Alps
Italy
Temporal Coverage
Temporal characteristics of the resource.
1944-09
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/154/PFilliputtiA16010065.1.jpg
31f89821156ccd7a951f99a534cbe1b8
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Death of Don Giuseppe Treppo
Description
An account of the resource
Two civilians have been shot and are lying on the ground whilst a soldier is beating Don Giuseppe Treppo on the head with a baton. A soldier is shooting in the background. Other civilians are featured in different poses.
Label reads “161”; signed by the author; caption reads “CARNIA. Ottobre 1944. L’arresto della spedizione punitive avvenne per lo sganciamento dei patrioti, cosi la macchina da Guerra tesa per un’azione a fondo si scaricò in pieno contro i primi paesi oltre Tolmezzo. L’operazione di rastrellamento inesorabile cruda e pronta fu ingente nella somma delle devastazioni 14 uccisi, fra essi Don Giuseppe Treppo parroco di Imponza, assasinato mentre tentava di difendere le donne dagli attentati della soldataglia russa. Tutta la popolazione era stata presente al calvario dell’eroico sacerdote, costretto dalla soldataglia a procedere a braccia alzate, sotto feroci bastonature, fino all‘orto dove una fucilata pose fine al tormento.”
Caption translates as: “Carnia, October 1944. The withdrawal of the patriots stopped the reprisal. The war machine - set up for a devastating blow - unleash its fury on the first villages beyond Tolmezzo. The sweeping operation was so relentless, swift, and brutal that the death toll of the devastation was enormous: 14 people were killed. Amongst them, was Father Giuseppe Treppo, vicar of Imponzo. He was assassinated while defending some women from the aggressions of the Russian troops. The whole population of the village witnessed the suffering of the heroic priest. He was forced by the troops to walk holding his hands up – while they were beating him with a baton – up to the vegetable garden where a shot put an end to his sufferings.”
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010065
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Temporal Coverage
Temporal characteristics of the resource.
1944-10
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Spatial Coverage
Spatial characteristics of the resource.
Alps
Italy--Friuli
Italy
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/155/PFilliputtiA16010066.1.jpg
a3d0922ba78d24128528169ee7f1dec8
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Death of Primo Del Pol ‘Villa’. Part 1
Description
An account of the resource
In an otherwise deserted town, men open fire on a figure in a brown suit and hat.
Label reads “167”; signed by the author; caption reads “(1o) 15 ottobre 1944 TORVISCOSA UD. Durante un rastrellamento nazi-fascista un patriota Villa, dal Pol Primo sorpreso, tenta la fuga,ma viene fatto segno a colpi di arma da fuoco …”
Caption translates as: “(1) 15 October 1944, Torviscosa (Udine province). During a Nazi-Fascist sweeping, a patriot, Primo De Pol (also known as ‘Villa’) was caught. So, he tried to escape but the men who found him opened fire on him…”
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010066
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Spatial Coverage
Spatial characteristics of the resource.
Italy--Torviscosa
Italy
Temporal Coverage
Temporal characteristics of the resource.
1944-10-15
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Type
The nature or genre of the resource
Artwork
Is Part Of
A related resource in which the described resource is physically or logically included.
Filiputti, Angiolino. Death of Primo Del Pol ‘Villa’
arts and crafts
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/156/PFilliputtiA16010067.1.jpg
2f6f54af402a2e75bbde6f1c8a3f5d00
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Death of Primo Del Pol ‘Villa’. Part 2
Description
An account of the resource
In a barren churchyard, a man dressed in brown is being pushed out of the door and beaten by a Fascist soldier with a rifle-butt. Others are watching or pointing guns at him.
Label reads “168”; signed by the author; caption reads “(2o) …ferito si rifugiò nel campanile della Chiesa del paese dove veniva caturato, rifiutatosi di dare informazioni, lo finivano a colpi d’arma…”
Caption translates as: “(2)… He was wounded and found shelter in the town church’s bell tower. He then refused to provide any information; so, he was killed by gunfire…”
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010067
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Spatial Coverage
Spatial characteristics of the resource.
Italy--Torviscosa
Italy
Temporal Coverage
Temporal characteristics of the resource.
1944-10-15
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Type
The nature or genre of the resource
Artwork
Is Part Of
A related resource in which the described resource is physically or logically included.
Filiputti, Angiolino. Death of Primo Del Pol ‘Villa’
arts and crafts
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/158/PFilliputtiA16010069.2.jpg
0cf9ce04f0a7ee5379e46515ec3211b9
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Rounding-up of civilians
Description
An account of the resource
Civilians suspected of helping partisans are driven away in a lorry. Four armed fascists are featured in different poses. In the foreground, a woman kneels in front a man in uniform, her hands held in supplication.
Label reads “171”, signed by the author, caption reads “(12°)… 12 civili sospetatti di attività partigiana vengono portati alle carceri di palmanova UD.”
Caption translates as: “(5)…12 civilians suspected of being partisans were carried to the Palmanova (Udine province) jail.”
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010069
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Spatial Coverage
Spatial characteristics of the resource.
Italy
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
round-up
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/159/PFilliputtiA16010070.2.jpg
ea005e7208aaa51a68e9c15af2f360e4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Execution of Elio Indri e Giovanni Peccia
Description
An account of the resource
At dawn, two partisan helpers drafted into the Landschutz are executed by a firing squad commanded by a men in fascist uniform. Barbed wire and part of the ramparts of the Palmanova fortress are prominently featured. A church is visible in the background.
Label reads “175”, signed by the author, caption reads “PALMANOVA. Novembre 1944 - Febbraio 1945. Dal racconto di Elio Tinon da Talmasson UD: i patrioti Indri Elio da S. Giorgio di Nongaro UD, e Peccia Giovanni da Cervignano che pur militando nella Landschutz, erano in contatto con le nostre formazioni, sono stati fucilati sui bastioni di Palmanova, mentre tentavano di fuggire dall’arsenale, dal Borsatti il 9 Ottobre, i loro corpi non furono piu’ ritrovati.”
Caption translates as: “Palmanova, November 1944-February 1945. From the account of Tinon Elio from Talmassons (Udine province): the two patriots Elio Indri from San Giorgio di Nogaro (Udine province) and Peccia Giovanni from Cervignano who, although being members of the Landschutz militia of territorial defense, supported out units. They were shot by lieutenant Borsatti on the bastions in Palmanova while they were escaping from the arsenal on 9 October 1944. Their bodies were never found.”
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010070
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Spatial Coverage
Spatial characteristics of the resource.
Italy--Palmanova
Italy
Temporal Coverage
Temporal characteristics of the resource.
1944-10-09
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/160/WARNING GRAPHIC CONTENT.2.jpg
b53cc613b8a2d6c309628ea583201a9c
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/160/PFilliputtiA16010071.2.jpg
36abf66758feb0c0ea8ff12f709408f7
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Silvio ‘Montes’ Marcuzzi being tortured
Description
An account of the resource
Two men are chained to a prison wall covered in blood. The one on the left hand side has a gaping wound on his head and blood is coming from his mouth. In the foreground, a figure in fascist uniform holds a blood-stained bludgeon while an officer points at him. A bucket is visible on the floor. The inscription on the wall reads “W L’ITALIA”.
Label reads “177”, signed by the author, caption reads “[illegible] OTTOBRE 1944. SILVIO MARCUZZI “MONTES” veniva catturato assieme ad altri al mulino di Muzzana del Turgnana UD. Dal 1943 all’agosto 1944 opera del Marcuzzi, fu’ creata l‘intendenza “Montes” dalle Prealpi Giulie ai territori della Venezia Giulia, all’Emilia, ai reparti in Carnia e al IX Corpus Sloveno. Portato a Palmanoa UD nelle mani del tenente Borsatti, e torturato a sangue nella cella No 1. Il pavimento era lordo fi sangue, e un pezzo del suo cervello era attaccato al muro, mori’ il 2 novembre 1944, 4 ore prima della decretata impiccagione, urlava come i cani, chiamava nomi strani, e cantava, chi lo vide disse: era una larva di uomo sanguinante da ogni parte, specie dalla testa, lacero scalzo completamente assente, ira impazzito, poi la fine."
Caption translates as: “[illegible] October 1944. Silvio Marcuzzi (also known as “Montes”) and others were arrested at the watermill of Muzzana del Turgnano (Udine province). Between 1943 and August 1944, the “Montes” bureau was created at the behest of Marcuzzi. It operated from the Julian Pre-Alps to the Venezia Giulia region, the Emilia, the Carnia units, and the 9th Slovenian Corps. Silvio Marcuzzi was carried to Palmanova (Udine province) by lieutenant Borsatti. He was then brutally tortured in cell number 1. The floor was filthy and covered by blood. A piece of his brain was on the wall. He died on 2 November 1944. Four hours before the hanging sentence was carried out, he was screaming like a dog, calling strange names, singing. Those who saw him stated that, by that time, he was a wreck, bleeding everywhere, especially in the head. He was lacerated, barefoot, completely distant. He went insane, then died.”
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010071
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Spatial Coverage
Spatial characteristics of the resource.
Italy--Palmanova
Italy
Temporal Coverage
Temporal characteristics of the resource.
1944-10
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/161/PFilliputtiA16010072.2.jpg
88efb12291a1e133d0d03c079d5ac939
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Massacre in the Carnia region
Description
An account of the resource
In a mountain landscape, three Cossacks open fine on a group of civilians, some of whom are falling to the ground. A woman moves in front of her her husband, trying in to protect him from the bullets. In the background, a church with a bell tower is visible.
Label reads “178”, signed by the author, caption reads “CARNIA 2 Novembre 1944. Nuove ondate di russi si rovesciano su Muina Cella ed Agrons, salgono fino a Luint ed Ovasta lasciando dietro di se’ una scia dolorosa di saccheggi, di rovine di lutti. Altri 9 uomini e una donna slanciatasi in difesa del marito restavano uccisi sul colpo."
Caption translates as: “Carnia, 2 November 1944. Further waves of Russians storm Muina Cella and Agrons. They climbed to Luint and Ovasta, leaving behind them a painful trail of pillaging, ruins, and mourning. Other nine men and one woman – who rushed to protect her husband - were killed on the spot.”
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010072
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Temporal Coverage
Temporal characteristics of the resource.
1944-11-02
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Spatial Coverage
Spatial characteristics of the resource.
Alps
Italy--Friuli
Italy
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/162/PFilliputtiA16010073.1.jpg
c4641f9b122e64c3b39fdeabb30b2318
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Cossacks attack Esemon di Sopra
Description
An account of the resource
Cossack cavalrymen and foot soldiers attack the village of Esemon di Sopra. Three buildings are in flames, amongst them the village school. A woman is kneeling next to a door with a bundle in her arms and her head thrown back, while a soldier is carrying away a small bundle in his arms. Debris is scattered on the ground.
Label reads “180”, signed by the author, caption reads “9 NOVEMBRE 1944. Carnia la cavalleria cosacca si rovescia su ESEMON di SOPRA UD devastando e saccheggiando, tutto quanto appare sulla loro strada. Da’ un articolo del giornale “Liberta’” di Flora Buccioli, quando per la primo volta dopo quel 12 Ottobre scesi dal paesino scosceso per ritornare; mi fermai a Esemon di Sopra, davanti alla case arse, alla scuola con i muri neri e crollati, i letti, i mobili giacevano ancora in fondo, giu’ contorti. Mi volsi presso il muro corroso della scuola, era rimasto illeso un rosario, e nell’aria fredda dell’inversno una rosa, l’ultima piccola, pallida, parlava fra’ le rovine di un miglior futuro.”
Caption translates as: “9 November 1944. Carnia, the Cossack cavalry storms Esemon di Sopra (Udine province), destroying and sacking everything on their path. Flora Buccioli wrote a journal article on the newspaper ‘Libertà’: “When, for the first time after that 12 October, I climbed down from the village on the hills, I stopped at Esemon di Sopra, facing the burnt houses. The blackened walls of the village school were in ruins. The beds and the furniture were laying in the background, mangled. I turned to the corroded wall of the school; only a rose garden had survived and, in the cold winter breeze, one last rose – small and pale – spoke amongst the ruins of a better future.”
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010073
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Temporal Coverage
Temporal characteristics of the resource.
1944-11-09
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Spatial Coverage
Spatial characteristics of the resource.
Alps
Italy--Friuli
Italy
Type
The nature or genre of the resource
Artwork
arts and crafts
Resistance
-
https://ibccdigitalarchive.lincoln.ac.uk/omeka/files/original/27/164/PFilliputtiA16010075.2.jpg
7e74dfb394377215f5fc5faac10f4abb
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Filiputti, Angiolino
Angiolino Filiputti
Alfonsino Filiputti
A Filiputti
Description
An account of the resource
127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud.
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in 2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro.
Originals are on display at
Biblioteca comunale di San Giorgio di Nogaro
Piazza Plebiscito, 2
33058 San Giorgio di Nogaro (UD)
ITALY
++39 0431 620281
info.biblioteca@comune.sangiorgiodinogaro.ud.it
The collection was catalogued by IBCC Digital Archive staff.
Identifier
An unambiguous reference to the resource within a given context
Filiputti, A-S
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Anti-partisan action at S. Giorgio di Nogaro
Description
An account of the resource
In a barn full of animals, an exchange of gun fire is taking place between fascists disguised as partisans and civilians. The soldier in the foreground has been badly shot and another soldier is running out through the barn doors.
Inscriptions read “191”; signed by the author; caption reads “S. GIORGIO DI NOGARO UD NOVEMBRE 1944. (I) Frazione Galli, casale Venco, 4 partigisani riposano nella stalla, Cargnello Giovanni “Rasin” e il russo “Stalin”. Giungono altre persone in abiti civili si dicono patrioti, ma sono dei repubblichini travestiti, scoppia una sparatoria, il russo Barbizeu Ivan rimane ucciso, gli altri fuggono. Si era tesa la trappola per catturare Romano, Martello, ed altri, all’arrivo di militari tedeschi la fattoria, circondata fu saccheggiata”.
Caption translates as: “S. Giorgio di Nogaro (Udine province), 27 November 1944. (1) Galli hamlet, Venco farmhouse, four partisans are sleeping in the barn, amongst them Cargnello Giovanni (also known as “Rasin”) and the Russian “Stalin”. Other people in civilian clothes pretend to be patriots but are Fascists in disguise. A shooting broke out, the Russian Ivan Barbizeu got killed. The other escaped. A trap was set to arrest Romano, Martello, and others. When the German soldiers arrived at the farm, they surrounded and sacked it.”
Identifier
An unambiguous reference to the resource within a given context
PFilliputtiA16010075
Language
A language of the resource
ita
Creator
An entity primarily responsible for making the resource
Angiolino Filiputti
Contributor
An entity responsible for making contributions to the resource
Francesca Campani
Alessandro Pesaro
Helen Durham
Giulia Banti
Maureen Clarke
Subject
The topic of the resource
World War (1939-1945)
Publisher
An entity responsible for making the resource available
IBCC Digital Archive
Format
The file format, physical medium, or dimensions of the resource
One tempera on paper, pasted on mount board
Spatial Coverage
Spatial characteristics of the resource.
Italy--San Giorgio di Nogaro
Italy
Temporal Coverage
Temporal characteristics of the resource.
1944-11
Rights
Information about rights held in and over the resource
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Type
The nature or genre of the resource
Artwork
animal
arts and crafts
Resistance