The History behind wearing the Poppy on Remembrance Day

The tradition of wearing a poppy on Remembrance Day stems directly from the poem "In Flanders Fields" by John McCrea.
Lieutenant Colonel John McCrea was a Canadian physician, whom at the time was located at, what is now, the Common Wealth War Graves Essex Farm situated just north of Ypres (Iepre in Flemish), Belgium during the First World War

the field dressing station at Essex Farm

On the 22nd April 1915 the Germans launched the 2nd Battle of Ypres with a gas attack. This was the first time that gas had been used as a weapon.
During the battle McCrae was running a Field Dressing Station on the main road between Ieper and Boezinge. The local farm had been nicknamed Essex Farm and it was this name that was eventually to be given to the cemetery, which had grown up alongside the Dressing Station.
As the battle reached its height with the secondary attacks against the Canadian positions, the Field Dressing Station ended up even closer to the front line.
On the 3rd May 1915 McCrae composed one of the most famous and popular poems to come from the war, in response to the death of his friend the day before.

'In Flanders Fields'

In Flanders fields the poppies blow

Between the crosses, row on row,

That mark our place; and in the sky

The larks, still bravely singing, fly

Scarce heard amid the guns below.

We are the Dead. Short days ago

We lived, felt dawn, saw sunset glow,

Loved and were loved, and now we lie

In Flanders fields.

Take up our quarrel with the foe:

To you from failing hands we throw

The torch; be yours to hold it high.

If ye break faith with us who die

We shall not sleep, though poppies grow

In Flanders fields.

Essex Farm Cemetery monument to John McCrea

John McCrea died suddenly on January 28th 1918 in France in a British Field Army Hospital from a self-diagnosed case of pneumonia, brought on from chronic asthma and the lingering effects of the German gas attack. He is buried in the Wimereux Communal Cemetery, just south of Calais on the coast of France

In 1918 Moina Michael, an American war secretary with the YMCA, was deeply moved by McCrae's work and it was she who first wore a poppy as act of keeping the faith. Others that she had bought she sold to friends, giving the money to Servicemen in need.
In 1920 Madame Guerin from the French YMCA, inspired by this idea, suggested that artificial poppies should be made and sold to help ex-Servicemen and their dependants.
The idea of mass producing poppies and selling them as a charity was put to Field Marshal Earl Haig in 1921 and he agreed with the idea. Thus the Royal British Legion's annual Poppy Day was brought into being and so too for the veterans groups throughout the Commonwealth.

What is the best way for getting around Paris?

The best way to get around Paris and the ile de France is still to take public transport. Paris has a very extensive bus, Metro and RER network.

The metro has a total of 14 different lines with 372 stations. The system has been set up that there is a metro station within 500m regardless of where you are in Paris, and sometimes multiple stations within a few hundred meters. Each metro line is identified by a number, colour and a final destination, so you are able determine which direction you are traveling. Most service runs from 5:30am and the last train leaves between 12:35 and 1am.
A green ticket is valid for use within Paris cost €1.60 or €11.40 for a book of 10 tickets and is valid for a 2 hour period regardless of the number of transfers you make, but you cannot change from the metro to a bus or the RER.

The extensive bus network is also a great way to travel within Paris, though it sometimes can be overlooked by the visitor. Often the bus travels to your destination with one bus versus changing metro trains multiple times. Tickets for the bus can be purchased on the bus from the driver, or you can use the same green ticket that you would use from the metro. Maps of the bus route can be obtained from the Tourist Office or most metro stations.

The RER is the local trains, which serve the immediate outskirts of Paris. In some cases you are able to travel within Paris with a green metro/bus ticket but if you wish to travel outside Paris on the RER you will need a special orange RER ticket. You can purchase these tickets at any RER station before you board the train.

One important factor to note is that to exit any of the RER and metro stations you must use your ticket. If you are caught without a valid green ticket for the metro or a valid orange ticket for the RER you will be unable to exit the station and you can be fine heavily.

If you are staying in Paris for longer you can get a 7 day Metro Pass. You will have to have a passport sized photo in order to be secured to the pass at certain Metro stations only

A new alternative means of transport is the Velib
On July 15, 2007, the city of Paris debuted a new self-service "bicycle transit system" called Velib’ which means “free bike” in French. Parisians and visitors alike are able to pick up and drop off bicycles throughout the city at 750 locations—offering a total of 10,648 bikes. By the end of the year 2007, there will be a Velib’ station approximately every 900 feet for a total of 1,451 locations and 20,600 bikes.
To gain a Velib though you will need a credit card to purchase a velib card at any of the stands. You can then select a one-day card for 1 euro, a weekly card for 5 euros or an annual one for 29 euros.
The card will then allow you to access the bicycles. On any card you are allowed to ride for the first half-hour for free. An additional half-hour is charged a supplement of 1 euro, 2 euros for another 30-minutes and 4 euros for every addition half-hour after that. Example: a 25 minute trip = 0 euros, a 50 minute trip = 1 euro, an hour and 15-minute ride = 3 euros.
Each Velib’ parking station will be equipped with muni-meters to purchase the velib passes and to pay any additional charges once the bike is dropped off. The Velib’ meters will also provide information on other station locations.
For more information about the specific locations of the Velib’ stations visit: http://www.velib.paris.fr/les_stations/trouver_une_station (French language only)

PARIS, A MAGICAL CITY, ANYTIME OF THE YEAR

It has been said that Paris, a series of delightful and rewarding explorations, is wonderful any time of the year. In Ernest Hemingway words “Paris is a moveable feast”. It is a city that has everything – the theatres, the cinema, exhibits, the restaurants…

Paris is the ultimate pedestrian city, one that people love to walk through. Every boulevard and park beckons the walker or cyclists. It is built on a human scale, which gives it continuity and a cohesiveness that knits the city together. Paris is always changing. When you return to areas you think you know, you find that while they haven’t transformed materially, they do have a different feel about them. It is that which makes the city exciting and why people love walking through Paris. Try walking the Champs-Elysées starting at the Arc de Triomphe to the Jardin des Tuileries, and experience the entire history of Paris unfold before you. Or trace the steps of Toulouse-Lautrec in Montmartre and discover the secret life of the Marais. There are so many options; one can spend days and months seeing new and different things.

Even the shopping in Paris is unique; for what you find in Paris, you won’t find anywhere else. Foodstuffs have long been a good value, but other products that enhance that sense of well-being, or “bien être” are well-made clothes and divine accessories that are found in the numerous shops.

Each season features returning festivals such as Fête de la Musique in June, Jazz in July, Paris Plage in August, Journees du Patrimoine in September, and October brings Fête des Vendanges just to name a few.

Use Paris as the introduction to your France experience or as the finale, or just visit Paris alone. Whatever you choose, spend as much time as you can in this fascinating city. Whether it is your first time or you are a returning visitor, you will find a city that is exciting and always changing. One can enjoy the many beautiful buildings, the museums, the theatres, strolls along the avenues, parks and gardens, or explore the culinary delights offered in the many cafes and bistros. It is your choice. Paris is very special and will have a lasting impression on you.

SMALL MUSEUMS IN PARIS - ANYONE CAN FIND THE LOUVRE, BUT THESE ARE SOME OF THE CITY’S LESSER-KNOWN TREASURES.

MUSÉE DU QUAI BRANLY - As a dazzling showcase for art from the Americas, Africa, Asia, and Oceania, the slick Jean Nouvel–designed Musée du Quai Branly, almost at the foot of the Eiffel Tower, is implicitly intended to rectify the cultural arrogance at the heart of France’s colonial expansion during the 19th century. During this imperial adventure, the country accumulated a rich hoard of what was once known as “primitive art.” Though Nouvel’s design has had mixed reviews architecturally, there’s no denying that the museum houses one of the richest, most interesting, and best-displayed collections of African, Asian, North and South American, and Pacific-island art in the world.

37 quai Branly; 7th; 01-56-61-70-00

MUSÉE MARMOTTAN MONET - The Musée Marmottan Monet is not only one of Paris’s greatest small museums but an international star for its spectacular collection of some 165 paintings by Claude Monet. Formerly the hunting lodge of the Duc de Valmy, it was purchased by Jules Marmottan, a wealthy 19th-century industrialist. Two subsequent donations—a stunning collection of paintings from Victorine Monop de Monchy, daughter of Docteur de Bellio, whose patients included Manet, Monet, Pissarro, Sisley, and Renoir, and the private collection of Michel Monet, Monet’s second son—transformed the museum into the little gem that it is today.

2 rue Louis-Boilly; 16th; 33-1-44-96-50-33

MUSÉE DES ARTS ET METIERS - Founded in 1794 and today occupying the former priory of Saint-Martin-des-Champs, the offbeat Musée des Arts et Metiers is devoted to scientific discovery and mechanical and industrial inventions, which are organized according to seven themes: scientific instruments, materials, construction, communication, mechanics, energy, and transport. Perhaps the most famous instrument in its collection of some 80,000 objects is Foucault’s pendulum, which was popularized by a novel by Italian writer Umberto Eco.

60 rue Réaumur; 3rd; 01-53-01-82-00

MUSÉE DE LA MUSIQUE - At the Musée de la Musique, in the Parc de la Villette, instruments from the unequaled collection of the Paris Conservatoire—from early horns and Stradivarius violins to modern synthesizers and Gibson electric guitars—come alive through headphones with commentary (in English) on instrumental developments over the past five centuries. The audio program also includes Conservatoire faculty members answering questions and demonstrating, say, the right way to play Javanese temple bells.

221 avenue Jean-Jaurès; 19th; 01-44-84-44-84;  www.cite-musique.fr

MUSÉE NISSIM DE CAMONDO - Facing the Parc Monceau, the Musée Nissim de Camondo is one of the most engaging and poignant of the city’s small museums. Built just before World War I by Moïse de Camondo, scion of a family known as the Rothschilds of the East, the house was designed to showcase his antiques. And after admiring the dazzling silver tureens made for Catherine the Great, wander through the spacious, bright kitchens. Restored to an as-built state, the fittings include remarkably modern water purifiers and a copper sink with a steam jacket to keep dishwashing water hot. And the vast stove, with separate ovens and a rotisserie, still inspires envy.

63 rue de Monceau, 8th; 01-53-89-06-40; www.lesartsdecoratifs.fr

MUSÉE CARNAVALET - Housed in two adjacent hôtels particuliers in the Marais, the Musée Carnavalet tells the story of Paris from prehistory to the early 20th century through archaeological finds, paintings, furniture, and objets d’art. There are rooms from the ancien régime, a Revolutionary collection that spans 12 rooms, and a section devoted to French literature that includes letters written by Madame de Sévigné (who lived here from 1677 to 1696) and a replica of Proust’s cork-lined bedroom. The museum’s shop has a fantastic selection of books about the city. (Buy an English-language guidebook here before you enter the museum—the information inside is all in French.)

23 rue de Sévigné; 3rd; 01-44-59-58-58

MUSÉE COGNACQ-JAY- This charming museum, housed in the carefully restored 16th-century Hôtel Donon, in the Marais, paints an interesting portrait of a slightly fussy, early-20th-century bourgeois collector. Ernest Cognacq, founder of the Samaritaine department store, and his wife, Louise Jay, amassed a surprisingly rich and varied collection that includes French Rococo artists like Fragonard, Watteau, Boucher, and Greuze, plus a smattering of Guardis and Canalettos, and a few more “highbrow” works by Rubens and Ruisdael. The paintings are complemented by the couple’s furniture, porcelain, tapestries, and sculpture.

8 rue Elzévir; 3rd; 01-40-27-07-21

MUSÉE DE LA VIE ROMANTIQUE - Housed in an elegant little villa that was once home to the artist Ary Scheffer, the Musée de la Vie Romantique recalls the days when the surrounding neighborhood (between Pigalle and the Gare Saint-Lazare) was known as the “new Athens” because of the many artists, writers, and composers who lived there. Writer George Sand, the focus of the museum, was at the center of this creative community, which included Chopin, Delacroix, the poet Alfred de Musset, and other Romantic figures. The portraits, books, and letters here evoke that passionate age with charm.

16 rue Chaptal; 9th; 01-55-31-95-67

MUSÉE DE L’ORANGERIE - Located in the old Orangery in the Jardin des Tuileries, this is an art gallery of impressionist and post-impressionist paintings.  It is most famous for being the permanent home for eight Water Lilies murals by Claude Monet. The museum was chosen and arranged personally by Claude Monet in two oval rooms to have the correct light and balance for contemplation of these masterpieces.  The museum also contains the Walter-Guillaume Collection containing works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaim Soutine, Alfred Sisley, and Maurice Utrillo, among others.

Jardin des Tuileries, Place de la Concorde; 1^st

MUSÉE DU VIN – Located in the 16^th arr on Rue des Eaux, named after the mineral water sources discovered herein the 17^th and 18^th centuries.  The exhibits fill a site used in the Middle Ages as a limestone quarry before conversion into cellars by the wine-producing monks of the Minime Order.  These cellars were also used for wine storage in the 1950s by the Eiffel Tower restaurant.   Today, on a walk through the winding stone-walled corridors, visitors discover historic objects connected with wine production and the evolution of winemaking techniques.   The museum also offers wine-tasting classes.

5 Square Charles Dickens - Rue des Eaux; 16^th; museeduvinparis.com

MUSÉE DES EGOUTS DE PARIS – or as it is translated, the Paris Sewer Museum, as strange as it seems to want to walk under a city of beauty, it is one of the 50 most visited attractions in the French capital, and has only gained in popularity since Ratatouille (2007). Paris has 1,300 milers of sewers, one of the most extensive in the world.  Only aw small part of the system is open to the public and obviously does not involve wading in actual sewage, which is carried in enormous pipelines.

Pont de l'Alma, face au 93 quai d'Orsay; 7^th

MUSÉE DU JACQUEMART-ANDRE – is the result of the 19^th century Parisian society couple Edouard Andre and Nelie Jacuemart.   Housed in their elegant 16-room villa, the museum showcases their personal collection of antiques from their travels and remarkable good taste as amateur art buyers.  It also captures the atmosphere of Parisian high society with salons for balls and state dinners, smaller rooms for making and entertaining and lush bedrooms for relaxing

158 blvd Haussmann; 8^th; musee-jacquemart-andre.com

FONDATION LOUIS VUITTON - Is Paris' newest Museum.  Opened in 2014 it is located on the outer rim of Paris in the Bois de Boulogne.   Designed by Frank Gehry the museum resembles a ship with giant glass sails making up the exterior façade, with water traveling towards and right through the building itself; while inside is a series of changing contemporary art exhibitions curated by the LVMH group.   The restaurant is top notch with several themed menus in the evenings.

8 avenue du Mahatma Gandhi, Bois de Boulogne; www.fondationlouisvuitton.com

Cathedrale Notre Dame de Chartres

The Cathedral at Chartres has been drawing pilgrims for over eight centuries the view the sacred relic, Veil of the Virgin. Located about 80 kilometres southwest of Paris, the current Cathedral was built in only 25 years, when the original cathedral was destroyed by fire in 1194, and has a style and beauty that few others possess. Because of the short building time, as many cathedrals of the Gothic age could take over 100 years to complete, the Chartres Cathedral only had one master craftsman per workshop. This allowed the cathedral to be a single harmonious vision rather then a mix of different styles and ideas. The only slight differences are that on the western façade. The Royal Portal as well as the southern spire, on the right, date from before the fire of 1194, from around 1145, while the northern spire, on the left, dates from the 16th century when the original was damaged by lightning and is designed in a more flamboyant style then that of the older one.

What makes the Chartres Cathedral so remarkable is its most notable characteristic; the stain glass windows. There are over 150 windows covering a surface area of over 3000 sq m (26,900 sq ft) and depict biblical stories and daily life of the 13th century.

The Chartres Cathedral was designed and created to showcase these incredible stained glass windows. The use of flying buttresses permitted architects for the first time to raise the heights of the cathedral walls over 3 stories high, allowed for thinner walls, and to significantly increase the windows size both vertically and horizontally, the result is a strong building that is filled with coloured light.

The stained-glass windows of Chartres recount the history of the world - from Creation to the Last Judgment - as it was understood in the Middle Ages. Most medieval worshippers could neither read nor write, but they could easily understand biblical "texts" told in stained glass. Each window is divided into panels, usually read from left to right, bottom to top; earth to heaven.

Donated by guilds between 1210 and 1240 the windows also provide a fascinating glimpse of everyday life as the panels can be described as "commercials" for the donors. The Noah window, for example, was paid for by the carpenters, wheelwrights and coopers, so panels at the base show them at their crafts. Other guilds appearing at their trade include apothecaries, fishmongers and butchers, and shoemakers are even shown offering a stained-glass window to the cathedral.

During both World Wars these windows were dismantled piece by piece for safety purposes and in the 1970’s underwent some restoration work. The result is a Gothic Cathedral of unspeakable glory, as the light and colour of the glass creates a sight that is truly inspiring.

Decoding the windows at Chartres Cathedral

Gerald Fitzpatrick - Globe and Mail - Mar. 29, 2008

A visit to Chartres Cathedral, located about 80 kilometres from Paris, can be a confounding experience.

The contrasting spires are impressive. So are those soaring stone buttresses. And the glowing stained glass windows - in cobalt blues and ruby reds - inspire a sense of awe. But making sense of it all? For that you need Malcolm Miller.

Born in England, Miller came to Chartres as a university exchange student in the 1950s and couldn't quite get it out of his system. So he bought a house in the old town and became the cathedral's first authorized English guide. Since then, he has been knighted twice by the French government - and next month he celebrates 50 years of telling the church's story.

"Cathedrals can be read like books," he says. "Many of them have pages missing, but here at Chartres the text is still almost complete in medieval stained glass and sculpture of the 12th and 13th centuries."

The stained-glass windows of Chartres recount the history of the world - from Creation to the Last Judgment - as it was understood in the Middle Ages. Most medieval worshippers could neither read nor write, but they could easily understand biblical "texts" told in stained glass.

The windows also provide a fascinating glimpse of everyday life in panels that Miller describes as "commercials" for donors. The Noah window, for example, was paid for by the carpenters, wheelwrights and coopers, so panels show them at their crafts. Other guilds appearing at their trade include apothecaries, fishmongers and butchers. And shoemakers are even shown offering a stained-glass window to the cathedral.

During an hour's performance - and that's what it is - Miller might "read" no more than a single window and an exterior portal. But he brings the cathedral alive in an unforgettable way - and he always asks his visitors to return. "I'll be here until Judgment Day," he declares.

Still, he may not be around quite that long. So if you are in Paris, forget the tiresome decadence of Versailles. Hop on a train to Chartres at Gare Montparnasse and walk up to the cathedral. If you're lucky, Miller will be there waiting for you - and you'll understand the cathedral in a whole new way.

In high season, Malcolm Miller gives English-language tours

Monday to Saturday (except during special services) at 12 and 2:45 p.m. In the off-season, he also offers one daily tour at noon. Tours are $16. For more information, call 33 237 28 15.

What sorts of stories do the stained glass windows at Chartres tell?

Let Malcolm Miller explain some of the panels on the Good Samaritan and Adam and Eve window - one of his favourites. It combines the parable of the Good Samaritan with the narrative of the creation and fall of Adam and Eve.

"The lower half of the window tells the parable in a straightforward way," he says, "while the upper half shows scenes from the Book of Genesis related to the interpretation of the “parable."

The numbered panels (right) match up with Miller's descriptions below (1-6):

1. "This is a rare medieval depiction of God in human form breathing life into Adam's open mouth. In that age, God would more often be shown in a more abstract way - usually as fingers under a cloud."

2. "Here, Adam is alone and naked in the Garden of Eden - or Salem, which means 'peace.' So we have two Salems: the Garden of Eden as Paradise Lost and the Heavenly Jeru-Salem, which can also be read as Paradise Regained."

3. "In this remarkable panel, God has caused a deep sleep to fall on Adam as he gently draws Eve from Adam's chest. God supports Eve's head with one hand while his other grips her arm. And look at how the two naked figures of Adam and Eve seem to merge into one"

4. "In this panel, a stern-faced God points his finger at the forbidden fruit while the tempting serpent twists around the trunk of the tree towards Adam and Eve. The pair huddle together with Eve's hand outstretched. This is the scriptural definition as the Bible makes no mention of apples."

5. "Adam has done it. He's taken a bite of the forbidden fruit and it's stuck in his throat. In one of the sculptures outside the cathedral, as in this window, Adam is shown holding his neck with one hand - hence the origin of the Adam's apple. There's actually a medieval pun here: When used as an adjective the Latin word 'malus' means 'evil,' but when used as a noun it means 'apple.' "

6. "God scolds Adam and Eve and expels them from Paradise. Condemned to work as set out in the Book of Genesis, Adam digs while Eve sits behind him spinning."

7.  This particular stain glass window, the Good Samaritan and Adam and Eve window, was donated by the local shoe makers guild between 1210 and 1240, and their representation is shown in the bottom panel

Canadian National Vimy Memorial, National Historic Sites of Canada, Vimy Ridge, France - An Easy Day Trip from Paris

the approach to the Vimy Ridge Memorial

Early in 1917, the Allies launched another massive offensive, ever determined to achieve the elusive breakthrough. This time the plans called for a French offensive in the south between Reims and Soissons, combined with British diversionary attacks about Arras. The Germans, meanwhile, quietly withdrew to strong new defences, the Hindenburg Line. In so doing they exchanged a long, bulging line for a well-situated shorter one, which they fortified with powerful modern devices.

The Canadian share of the British assault was the seizure of Vimy Ridge. The task was formidable. For the Germans it was a vital key in their defence system and they had fortified it well. The slopes, which were in the Germans favour, were interlaced with an elaborate system of trenches, dugouts and tunnels heavily protected by barbed wire and machine guns, and defended from a distance by German artillery. They had even installed electric lights, a telephone exchange, and a light railway to maintain supplies of ammunition. All previous attempts to take the Ridge had failed.

Canadian commanders, however, had learned well the bitter lessons of assault by vulnerable infantry, such as those that had occurred the previous year at the Somme. This time the preparation was elaborate and the planning thorough. Engineers dug great tunnels into the Ridge; roads and light railways were built; signals and supplies were ready. The operation was to be supported by a large concentration of heavy guns and howitzers, and full artillery. The men too were fully prepared. The area was simulated behind the lines and troops practised their roles until every man was familiar with the ground and the tactics expected of him.

Preliminary bombardment, designed to conceal the exact time and extent of the attack, began on March 20. It was intensified from April 2 with such crushing blows that the enemy called the period "the week of suffering". On the night of April 8 all was ready and the infantry moved to the prepared forward positions.

The attack began at dawn on Easter Monday, April 9. All four divisions of the Canadian Corps - moving forward together for the first time - swept up the Ridge in the midst of driving wind, snow and sleet. Preceded by a perfectly timed artillery barrage the Canadians advanced. By mid-afternoon the Canadian Divisions were in command of the whole crest of the Ridge with the exception of two features known as Hill 145 and the Pimple. Three days later these too were taken.

In 1922, the French Government granted "freely, and for all time, to the Government of Canada the free use of the land exempt from all taxes" 100 hectares of land at Vimy Ridge. A Canadian architect and sculptor, the late Walter Seymour Allward, designed the Canadian National Vimy Monument. His design was selected from 160 others submitted by Canadians who participated in a competition held in the early 1920s. Work began on the monument in 1925 and eleven years later, on July 26, 1936 it was unveiled by King Edward VIII.

 

Canadian Line Sniper Positions

Like Beaumont-Hamel much of the site has been left “insitu” with shell holes pock-marking the landscape from the artillery bombardments. On average there were 5 shells per square foot over the 14kms front, as a result much of the park is closed to visitors because of still unexploded munitions, as a result the grass in these areas are not cut by machine but by grazing sheep. Sections of German and Canadian trenches have been preserved with concrete sandbags, the “Grange Subway” has also been preserved, one of the numerous underground tunnels, used for bringing up supplies and as protection for the troops, so visitors can picture the enormity of the tasks facing the forces on both sides of the war.

the landscape of Vimy Ridge

The monument is located on the highest elevation of the ridge, overlooking the Douai Plains. It is a massive17,000 tonnes of concrete and limestone. Upon it is carved the names of 11,285 Canadian soldiers who were killed in France and whose final resting place remains unknown. The memorial also contains numerous carved features and statues, which symbolize peace and sacrifice.



The front wall, normally mistaken for the rear, as the monument is approached from the rear, contains at the base of the steps on each side of the front wall the ‘Defenders’; The ‘Breaking of the Sword’ is located at the left of the front wall while ‘Sympathy for the Helpless’ is located at the right corner. Above each there is a cannon barrel draped in laurel and olive branches carved into the wall, to symbolize peace.

The Front of the Vimy Ridge Memorial

The figure of a cloaked young female stands on top of the front wall and overlooks the Douai Plains where over 7,000 Canadians are buried in 30 war cemeteries within a 16 km radius of the Vimy Memorial. The woman has her head bowed, her eyes cast down, and her chin resting in one hand. The saddened figure represents Canada – young nation mourning her dead. The statue is the largest in the monument and is a single 30 tonne piece of limestone. Below her, at ground level, is a sarcophagus, bearing a helmet, a sword and draped in laurel branches.

The twin white pylons rise to a height 30 metres above the memorial's stone platform. One bears the maple leaf for Canada and the other the fleur-de-lis for France, which symbolize the unity and sacrifice of both countries. At the top are figures representing Justice and Peace. Peace stands with a torch upraised. The figures of Truth, Knowledge, Gallantry and Sympathy are below them. Around these figures are shields of Canada, Britain and France. Large crosses adorn the outside of each pylon. In the center, at the base of the pylons, is the ‘Spirit of Sacrifice’ a young dying soldier throws his torch to a comrade who holds it aloft behind him.

The remaining two figures are: The Mourning Parents, one male and one female figure, they are reclining in sorrow on either side of the stairs on the reverse side of the monument.

Including Beaumont-Hamel Newfoundland Memorial and the Canadian National Vimy Memorial the National Historic Parks of Canada and Veterans Affairs Canada oversees close to 80% of conserved First World War Battlefields

The Park is located 8kms north of Arras, France outside the town of Vimy
The Canadian National Vimy Memorial is open to the public all year from sunrise to sunset and is free of charge
Between April 1st and November 30th there are a number of Canadian students, through Veterans Affairs Canada, on the site who provide guided tours and explanations of the battlefield daily from 10:00 to 18:00 hours
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Getting there and away
There are numerous daily direct train from Paris Gare du Nord to Arras where one can take a taxi to the site

Beaumont-Hamel Newfoundland Memorial, National Historic Sites of Canada, France - An Easy Day Trip from Paris

In Beaumont-Hamel Memorial Park, officially opened by Earl Haig on June 7, 1925, stands the monument of the great bronze caribou, emblem of the Royal Newfoundland Regiment. At the base of the statue, three tablets of bronze carry the names of 814 members of the Royal Newfoundland Regiment, the Newfoundland Royal Naval Reserve, and the Mercantile Marine who gave their lives in the First World War and have no known grave. It was at Beaumont-Hamel on July 1, 1916, the opening day of the great Allied offensive known as the Battle of the Somme, that the Newfoundland Regiment fought its first engagement in France – and its costliest of the whole war. The Regiment was one of four battalions of the 29th Division's 88th Brigade. The assault was an unmitigated disaster.

German riflemen and machine-gunners, protected from allied shelling, emerged from their deep dugouts and shelters and opened fire on the advancing troops. At the same time, a number of German heavy guns, which had escaped the British counter-battery fire, began shelling the 29th Division's positions catching the follow-up companies as they climbed out of their trenches into the open. From their starting position in the British support trench known as St. John's Road, the Newfoundlanders had to cross some 230 metres of fire-swept ground before they reached even their own front line. As they made their way through zigzag lanes previously cut in the British wire, casualties came with increasing frequency. Those of the leading companies who finally emerged into No Man's Land could look down an incline to see for the first time the barrier of the German wire more than 550 metres away. Nevertheless, holding the parade-ground formations prescribed for assaulting infantry by the General Staff as best they could, the thinning ranks plodded steadily forward.

In less than a half-hour, it was all over. The Commanding Officer, who from a support trench had watched the destruction of his Regiment, reported to Brigade Headquarters that the attack had failed. Afterwards the Divisional Commander was to write of the Newfoundland effort: "It was a magnificent display of trained and disciplined valour, and its assault failed of success because dead men can advance no further."

The casualties sustained on the opening day of the Battle of the Somme totaled 57,470, of which 19,240 were fatal. No unit suffered heavier losses than the Newfoundland Regiment, which had gone into action 801 strong. When the roll call of the unwounded was taken next day, only 68 answered their names. The final figures that revealed the virtual annihilation of the Battalion gave a grim count of 255 killed or dead of wounds, 386 wounded, and 91 missing. Every officer who went forward in the Newfoundland attack was either killed or wounded.

It is for this reason that the government of Newfoundland choose the hill south-west of the village, where the front line trenches ran at the time of the battle, close to the headquarters dugout of the 88th Brigade, of which the 1st Battalion of Newfoundland was apart, as the site of their memorial to the soldiers, and sailors of Newfoundland.

It is one of the few WWI battlefields where the visitor can see much of how it was. The actual trenches and shell holes are still there evoking the reality of the terrible problems of advancing over such terrain by the soldier.

On a mound, surrounded by rock and shrubs native to Newfoundland and transplanted to France, there stands a great bronze caribou, the emblem of the Newfoundland Regiment, facing north, raising its head in defiance, towards the German lines and the ground over which the Regiment advanced at such a heavy cost.

In 1921 the Government of the Dominion of Newfoundland, as Newfoundland was not apart of Canada until confederation in 1949, purchased the land from local landowners and began construction. Included in the design was the “Danger Tree” a lone shattered tree in the middle of no man’s land which was used as a visual landmark by both German and Allied artillery observers, as a result it was there that was the largest concentration of casualties.

In 2001 a Visitors Center was added explaining the historical and social circumstances of Newfoundland at the beginning of the 20th century and the history of the Regiments from its formation in 1914 to the end of the Great War.

Including Beaumont-Hamel Newfoundland Memorial and the Canadian National Vimy Memorial the National Historic Parks of Canada and Veterans Affairs Canada oversees close to 80% of conserved First World War Battlefields

The Park is located 9kms north from Albert, France outside the hamlet of Beaumont-Hamel.
The Beaumont-Hamel Newfoundland Memorial is open to the public all year from sunrise to sunset and is free of charge
Between April 1st and November 30th there are a number of Canadian students, through Veterans Affairs Canada, on the site who provide guided tours and explanations of the battlefield daily from 10:00 to 18:00 hours

Getting there and away:
From Paris there are direct trains from Gare du Nord to Amiens and then transfer trains from Amiens to Albert where one can take a taxi to the site.

Day trips from Paris in the ile de France

Traveling to Paris does not mean that you are limited to the sites that are within the city limits. There are some very easy trips that you can do by bus or train that take a little over an hours travel time.

Louis XIV started Chateau de Versailles in 1668 and in 1682 the Royal Court and Government moved there to become a permanent resident. Court life at Versailles was to develop into the basis on which all European royal courts of the time were to be modeled. The rooms are opulently decorated and culminate in the Hall of Mirrors, a 70 m (233 ft) long hall, looking out over the gardens. The gardens are simply breathtaking. They were designed and built in celebration of the divine authority of Louis XIV and feature over 200 statues amongst the numerous fountains, ornate gardens and two out-palaces, the Grand Trainon and the Petit Trianon.

The town of Chartres, located south west of Paris, was one of the first urban conservation cities in France. As a result there are many 12th to 17th century half-timbered houses buildings and cobble stone roads run throughout the town. The greatest site though, is the Chartres Cathedral. The Cathedral at Chartres has been drawing pilgrims for over eight centuries the view the sacred relic Veil of the Virgin. The current Cathedral was built in only 25 years, when the original cathedral was destroyed by fire in 1194, and has a style and beauty that few others possess. The most notable characteristic of the Cathedral is the stain glass windows. Donated by guilds between 1210 and 1240 there are over 150 windows covering a surface area of over 3000 sq m (26,900 sq ft) and depict biblical stories and daily life of the 13th century. The light and colour the glass creates a sight that is truly inspiring. During both World Wars these windows were dismantled piece by piece for safety purposes and in the 1970’s underwent some restoration work. The result is a Gothic Cathedral of unspeakable glory.

Vimy Ridge is a 100 hectare national park dedicated to the First World War, Located north of Paris it saw constant actions for most of the war. The strategic ground was a ridgeline of14kms (8.5 miles) worth of high ground held by the Germans from the opening of the war until April 1917. It was a vital part of the German defense system along the entire front and its capture was a turning point for the Allied Forces in the First World War.
Much of the site has been left “insitu” with shell holes pock-marking the landscape from the artillery bombardments. On average there were 5 shells per square foot over the 14kms front. Sections of trench have been preserved as well as the numerous underground tunnels, used for bringing up supplies and as protection for the troops, so visitors can picture the enormity of the tasks facing the forces on both sides of the war.

The town of Epernay lies in the Champagne region of France north east of Paris. The production of the champagne blend was begun with Dom Perignon, a Benedictine monk (1638-1715) who wrote the rules for making wine in the region. The Core of his treatise is the blending of grapes before the pressing and the care of the bottles after they have been “corked”. The Ave de Champagne in Epernay is lined with 19th century mansions housing the headquarters and cellars of the prestigious Champagne houses. The most famous of the champagne producing wineries is Moet and Chandon. Established in 1743 they have set the benchmark for the production of champagne. You are able to visit the Champagne houses cellars, dug out of the chalk they stretch over 100km (62 miles) underneath Epernay, but the grapes do not come from a specific patch of ground but from 1600 different wine growers in the region so you cannot see the actual vines of the specific wineries.

Giverny is the small town north west of Paris where the impressionist painter Claude Monet made his home. At his home he created a large and colourful water garden, which became the subject of some of his best known works the Water-lily Pond and the Bridge series, Rose Garden series and of course the Water- Lilies, The gardens fell into some disrepair after his death in 1926, but have been restored to their original glory and his house has been turned into a museum which houses the Nympheas Water Lilies series.