Among the 2,237 soldiers who lie here are the bodies of Major Bouquet, Captain Speckel and the infantrymen Lena Faya and Aka Tano, who were summarily executed in June 1940 in the Bois d'Eraines. The remains of the liner Meknès were also brought to the Cambronne-lès-Ribécourt cemetery. On 24 July 1940 this ship was torpedoed at sea, leaving 430 dead - including Christian Werno.

The French soldiers include Henri Gaudier aka Henri Gaudier-Brzeska (grave 936), a painter and sculptor, precursor in France of the British artistic movement vorticism. A sergeant in the 129th infantry regiment, he died on 5th June 1915 at the age of 23 in Neuville-Saint-Vaast.

The remains from World War II include those of Paul Nizan (grave 8189) and Jeanne Bartet (grave 8352). The latter, an army nurse who belonged to the Union des Femmes de France de Bordeaux, was killed on 21st May 1940 near ambulance number 257 (Labroye). Paul Nizan, novelist, essayist, journalist and translator, was killed on 23rd May 1940 in Oudricq during the German attack on Dunkirk.

A monument has been erected to the memory of the soldiers of the 15th army corps who fell in August 1914.

Nearby are the Cabaret Rouge British cemetery and also the biggest German cemetery in Europe, Maison Blanche, which contains more than 44,000 graves. To the north of La Targette, towards Souchez, are two monuments, one placed at the entrance to the Czechoslovakian cemetery, honouring the memory of Polish and Czechoslovakian Foreign Legion volunteers.

The Natzweiler-Struthof concentration camp was mainly used for the internment of resistance fighters from across Europe, but homosexuals and Jehovah’s Witnesses were also interned here. The camp’s interns were made to do gruelling forced labour for the economy of the Third Reich. A number of those deported for racial reasons (Jews and Gypsies) were also sent here, to be subjected to horrific pseudo-scientific experiments.

Today, this listed historic site offers the chance to discover the workings of the only concentration camp in France, with its huts, crematorium and gas chamber.

Opened in 2005, the Centre Européen du Résistant Déporté has a definite educational approach to its visits. Touchscreen terminals, films, objects and photos chart the rise of fascism and Nazism in Europe and the setting up of the Nazi concentration camp network, whi

le at the same time paying tribute to the resistance movements that rose up against oppression.

A meeting place and discussion forum, the Centre holds regular temporary exhibitions and conferences. It aspires to spread the values of freedom, respect, tolerance and vigilance.
The camp, a major site for national and European remembrance, comes under the responsibility of the National Office for Veterans and Victims of War, an executive agency of the French Ministry of the Armed Forces.

Sources: ©Site de l’ancien camp de concentration de Natzweiler-Struthof - Centre européen du résistant déporté

Its sizeable collection brings visitors into close contact with history.

Large numbers of objects, archive documents, materials, photographs and weaponry are displayed in three rooms: Occupation, Resistance, and Liberation and Remembrance.

Midway through the visit, a digital portrait from the Morvan “Digital Gallery” plunges visitors into the world of the maquis rural resistance groups.

The Occupation

The first room, on the Occupation, looks at patriotic feeling and the defence of Morvan from 1940, followed by the impact of the German Occupation: occupied towns and villages, restrictions on freedoms, rationing, requisitioning, Nazi repression, and so on.

The Resistance

In the face of German and Vichyist propaganda, the Resistance organised itself, with underground newspapers and pamphlets, brave acts by local personalities, etc.

This second room presents the first acts of resistance through to the formation of the maquis, through a variety of materials, photographs, weapons and clothing, and the assistance provided by the Allies (parachute drops, containers, letters, mannequins, etc.).

Liberation and Remembrance

Morvan played a strategic role in the liberation of the region.

The maquis liberated Morvan in September 1944, through acts of sabotage, fighting and pitched battles, represented here by photos, reconstructions and objects.

The visit ends with a look at remembrance and the philosophy of the Resistance, through photographs of expressions of remembrance, steles and monuments (poems, texts, letters, etc.).

Digital Gallery

“The Morvan Maquis” is a new digital portrait from Morvan’s “Digital Gallery”.

Situated at midway point in the permanent exhibition, “The Morvan Maquis” is an immersive projection space presenting daily life in the maquis.

In this space, a film is shown on two screens: one shows documents directly related to maquis life, while the other places events in the national and international context of the war.

The installation immerses the visitor in the world of the Morvan maquis, showing how they were organised on a day-to-day basis, and examining their actions, their camps, the roles played by their leaders, and the hunger, fear and courage involved.

From personal stories to major historical events, the portrait focuses on the people, both men and women, involved in these maquis groups, who ultimately played a key role in the liberation of France.

Educational activities

The museum makes an excellent contribution to curriculum requirements in history, history of art and civic education for schools and colleges. It offers students and teachers a practical approach to various themes specific to the Second World War, as well as the concepts of human rights, freedom, political engagement, tolerance and solidarity. It also provides an opportunity to reflect on the values of the French Republic and the founding principles of European unity.

Finally, it offers students a practical insight into civic engagement.

Exhibitions, conferences, film screenings, national events (European Heritage Days, European Museum Night, etc.), ceremonies and more

Click to view

Educational offering (workshops, tailored visits, learning resources, etc.)

Click to view

Source : ©Musée de la Résistance en Morvan

The Musée de la Grande Guerre was officially opened on 11 November 2011 by the Pays de Meaux combined area council. The furthest point of the German advance and the site of the First Battle of the Marne in September 1914, Meaux and its neighbouring communes possess historic heritage which, until then, had been undervalued and was little known to the general public, since the Great War is not generally associated with the Île-de-France region. First off, then, the museum serves as a reminder that the front came right up to the edge of Paris, and that the “miracle of the Marne”, just one month after the outbreak of hostilities, was the victory that was to decide the course of the conflict. Besides its historical legitimacy, the museum, like any major structure, plays the role of a lever of development for the region. It contributes to shaping a new image while mobilising different actors around a shared project that can benefit everyone, both in terms of culture and tourism and in terms of networks.

Origins

The Musée de la Grande Guerre du Pays de Meaux has its origins in a meeting between Jean-Pierre Verney, a passionate, self-taught historian who, over more than 45 years, collected 50 000 objects and documents on the First World War – one of the largest private collections in Europe – and Jean-François Copé, chairman of the Pays de Meaux combined area council. Copé took the decision to buy the collection in 2005 and founded a museum on the First World War, at a time when Verney was preparing to sell overseas, having found no local authority willing to take it. It was an obvious choice, given the sheer scale of the Pays de Meaux area (18 communes with a total population of 85 000) and the fact that a number of its villages still bear visible traces of the Battle of the Marne (memorials, cemeteries, etc.), including the grave of French poet Charles Péguy, killed on 5 September 1914.

A museum on a human scale

From the outset, the Musée de la Grande Guerre du Pays de Meaux was intended to be for all visitors. Its bold design and contemporary layout, at once educational, sensitive and immersive, contribute to making it as accessible as possible.  This proximity to visitors can be explained in part by the desire to approach the conflict from a human perspective, through the everyday lives not only of the soldiers, but of women and children, continually switching between the front and the home front. All the nations that took part in the war are represented here, namely through the collection of uniforms, the overall intention being to present the universality of suffering and violence, whatever side of no man’s land your camp happens to be on

The object at the heart of the display

The exhibition is deliberately open and unconstrained, in order to allow each visitor to choose their own route, and thus build their own history. The main display, which presents the First Battle of the Marne (1914) alongside the Second Battle of the Marne (1918), clearly presents to visitors the passage from the 19th to the 20th century. Between these two key mobile battles at the beginning and end of the war, the presentation of the static war with its front comprised of trenches offers an insight into the notion of stalemate. Laid out in the main body of the museum, here is where the big hardware (lorries, aircraft, tanks, artillery pieces, etc.) is on show, making the museum a unique place where visitors can see the full range of objects and documents bearing witness to the conflict. This main display is complemented by a themed display: eight spaces look at topics that cut across the conflict (A New War, Bodies and Suffering, Globalisation, A Mobilised Society, etc.), adding new ways into the subject. The presentation is different for each of the spaces, thereby breaking up the monotony of the experience, as each new setting renews visitors’ interest. Obviously, the objects in the collection are at the heart of the display: they lend and take on meaning in their relationship with the space and in the dialogue they establish with the museum resources, and ultimately move visitors to ask questions about their own memories. By arousing interest and curiosity, the museum encourages visitors to interrogate their own personal history.

An innovative interaction

If visitors are greeted by ambient sounds even before they set foot in the museum, once inside, they find a whole series of objects to touch in the displays. Known as “martyr objects”, they belong to the collections and offer the public an opportunity to handle materials and shapes. There is also a wealth of interactive tools that aim to put the visitor in the driving seat: wearing special glasses to experience 3D stereoscopic views, feeling the weight of soldiers’ kit bags or coils of barbed wire, guessing what objects are in the archaeological niches, educational games to grasp the economic impact of the war or discover the different belligerent nations, interactive terminals to offer a deeper insight into the collection. All of this makes for an attractive and dynamic visitor experience, involving the different senses, thereby aiding the immersion in what is a complex subject.

The Musée de la Grande Guerre du Pays de Meaux is today an essential site for discovering the history of the First World War, and the area has become a remembrance tourism destination. The years of the centenary commemorations contributed to that process, which is sure to continue as the museum celebrates its tenth anniversary with a special season in 2021-22.

Sources : © Musée de la Grande Guerre

Last February a memorial was opened on the site of the former Royallieu internment camp. As place of history, it is a reminder of events, setting them within the context of the Second World War and the Nazi policies of repression and extermination. As a place of remembrance, it pays homage to all those who were detained there before being deported to Germany and Poland or shot as hostages. In 1939, the Royallieu barracks near Compiègne in the Oise département was used as a military hospital before being converted by the Germans in June 1940 into a camp where they brought French and British prisoners of war.

In 1941, they turned it into a " permanent concentration camp for active enemy individuals" under the official name of Frontstalag 122, which became a "German police detention camp" by virtue of decree on the 30th December 1941. Resistance fighters, political and unionist militants, Jews, civilians arrested in raids and foreigners etc. - more than 45,000 of them would pass through there before being deported to Nazi concentration and extermination camps. "I got out of the last departure and really hope not to be in on the next one. I am here with some really nice, good people: communists, Gaullists, royalists, priests, aristocrats and country folk - it's an extraordinary mixture", the poet Robert Desnos, who was interned on the 20th March 1944, wrote to his girlfriend. A short respite. A death train took him away on the 27th April to Flöha en Saxe and he was to succumb to typhoid on the 8th June 1945 at Terezin. It was from the camp at Royallieu that the very first deportation train was to leave French soil on the 27th March 1942. It took over a thousand Jews to Auschwitz, as did the next one on the 5th June. A third convoy, consisting mostly of communist and unionist hostages, left Compiègne on the 6th July. Royallieu was thus to become a transit camp for detainees, for the most part political and resistance fighters, prior to their deportation.
A place for remembering Research carried out by the Remembrance of the Deportation Foundation at the History Department of the Ministry of Defence's archive office for victims of contemporary conflicts has allowed the identification of the departure of twenty-six large convoys, in addition to a dozen small convoys between 1942 and 1944. Including the first two convoys of deported Jews, this makes a total of forty convoys. Since the camp also served as a place for detaining hostages, other internees were shot in the surrounding forests once reprisal measures had been agreed. It is to all these people that the internment and deportation memorial is dedicated. This has just been built on part of the former camp by the town of Compiègne in partnership with the Remembrance of the Deportation Foundation, the Defence Department (Directorate of Memory, Heritage and Archives, SGA/DMPA), the Regional Council of Picardy, the General Council of the Oise, the Heritage Foundation and the Caisse des dépôts et consignations (a government body in charge of investing and lending public money). The historian and filmmaker Christian Delage created the journey through history. The architect and scenographer Jean-Jacques Raynaud designed the setting. The result is solemn, due as much to the materials used - glass, concrete and stone - as to the way the floors and walls in the three preserved buildings that remain out of the original twenty-five have been stripped back to their initial condition, and the use of sounds and images to set the scene. Opposite the entrance stands a wall to guide visitors towards the reception hall. Made up of a series of glass pillars bearing the names of all the deportees and internees of the camp at Royallieu identified to date, its purpose is to give the internees back their identities. It is through these names that visitors are introduced to the site. Around the buildings is what is today a garden of remembrance, as well as an exhibition area: plans of the internment camp, group photographs of the guards and written and recorded accounts accompany visitors as they retrace the history of the site.
The memorial provides two routes that are complementary to and inseparable from each other. One of them, the result of the hard work of historians, puts the history of the camp in context; the other encourages visitors to follow their own personal remembrance trail. The history is mapped out along a frieze running the length of the walls of the ten halls that form the tour. It covers in succession: the historic context, internment and the daily life of the camp, transportation on the deportation trains and forced labour and death in the Nazi camps. Documents and archive films illustrate the descriptions. Letters, photographs, drawings and recorded eyewitness accounts tell of life at Royallieu. In places, the images projected onto the walls and floors dominate the whole room. The remembrance trails themselves are an opportunity to meet the many witnesses, who tell of how they survived their passage through this transit camp. These accounts, in several different voices, demonstrate the wide diversity in the backgrounds of the detainees, their opinions and the conditions in which they were held. These men and women are constantly present: their names, their faces, their words and their written accounts remain with the visitor. The buildings are both exhibition halls and "exhibits" at the same time. The walls, floors and ceilings are all in their original condition: the tiles and lino have been removed, to reveal the original rough concrete that internees would have trodden; the false ceilings from the 1970's have been taken down to show the barracks' plastered ceilings; recent paint work has been scraped off to reveal the different layers of materials, colours and decoration beneath.
The words of witnesses The memorial provides many and varied sound recordings. Chosen carefully, some of them contribute in setting the scene. Broadcast all around the place, they are triggered automatically as they detect visitors' movement. Others are transmitted by an audio-guide, available to every visitor. In this way everyone can follow his own audio route, in his own language and at his own speed. The audio-guide can also be used to develop tours for specific groups - young children or the partially sighted - and themed tours etc. The words of the witnesses resonate around the place. They resound off the metal and wooden chairs in the garden and leap out at you as you pass through the corridors of the buildings. It is these different accounts, organised by theme, such as arrival at the camp, daily and social life, ways of surviving, solidarity, loneliness, leaving for Germany etc., that best tell the history of the camp. These sound montages have been created from documents in the huge audio-visual collection built up by the Remembrance of the Deportation Foundation and from new accounts recorded especially for the memorial. At times, the scenography calls on the emotions in a personal way, encouraging visitors to attune their feelings with those of the place itself and to remember rather then to discover. This is why, for example, on the floor in the barracks the positions where the beds would have been are marked using a single line to draw their outlines, extending up the walls to indicate bunk beds. The resulting impression of being cramped together is immediately apparent. In the same spirit, pictures of men and women are projected onto the walls very slowly, one after the other. Letters sent by prisoners to their families have been collected in two virtual albums that are projected onto two table screens, whilst at the same time being read aloud by actors. The tour ends in a room dedicated to the history of deportation, genocide and the punishment of criminals.
The contribution of the Defence Department Through the general administration department's Directorate of Memory, Heritage and Archives, the deputy minister for ex-servicemen awarded a grant of two million Euros spread over 2005 and 2006, as a contribution to the creation of this place of remembrance. In addition, the Defence Department, now the owner of the site of the former barracks at Royallieu, transferred the management of two hectares of land to the town of Compiègne and it is on this land that the Internment and Deportation Memorial was built.
Internment and Deportation Memorial Camp de Royallieu 2 bis, rue des Martyrs de la liberté 60200 Compiègne Tel. 03 44 96 37 00 E-mail: memorial@compiegne.fr

The project for a tower 300 metres tall was instigated during preparations for the World Exhibition of 1889. The two principal engineers from the Eiffel company, Emile Nouguier and Maurice Koechlin, had the idea in June 1884 for a very tall tower, designed like a large pylon consisting of four lattice-work girders, outspread at the base and coming together at the top, linked together by metal girders placed at regular intervals. On the 18th September 1884 Gustave Eiffel was granted a licence "new authorisation for the construction of metal structures and pylons over 300 metres tall". The curvature of the uprights was determined mathematically in order to provide the best possible resistance to the effects of wind. Erection of the supports began on the 1st July 1887, to be completed twenty-one months later. All the components were prepared at the factory in Levallois-Perret in the Paris suburbs, the head office of the Eiffel company: between 150 and 300 workers were involved in its assembly. The Tower was erected with the aid of wooden scaffolds and small steam driven cranes attached to the Tower itself. The assembly of the first level was carried out using twelve temporary wooden scaffolds 30 metres high and then four large 45 metre scaffolds. Started in January 1887, the project was completed on 31st March 1889. Gustave Eiffel was decorated with the Legion of Honour on the platform at the top.

A showcase for French industrial dynamism at the 1889 World Exhibition, the Tower would see more than two million visitors pass by during the event. Gustave Eiffel saved his work from demolition by promoting research into radio transmissions and suggesting that his tower could be used as an enormous radio mast. After the first radio signals were broadcast by Eugène Ducretet towards the Panthéon in 1898, Eiffel approached the military authorities in 1901 with a view to making the Tower into a long-distance radio antenna. In 1903 a radio connection was made with the military bases around Paris, and then a year later with the East of France. A permanent radio station was installed in the Tower in 1906, thus ensuring its continuing survival. During the Great War, the Tower provided many services by listening to enemy transmissions, which gave it the nickname "the big ear". It is thanks to the Tower that Joffre would be informed of the advance of von Klück's troops and decide to requisition all the taxis in Paris to send soldiers to the Marne. It was responsible, amongst other things, for the arrest of Mata Hari because, once again, the Eiffel Tower had kept an ear out and deciphered the spy's messages. In 1921 the first public radio broadcast in Europe would be transmitted from its aerials. The first television trials from the Tower date from 1925 and the first regular broadcasts from 1935. In May 1940, before the German troops arrived, a handful of patriots carried out acts of sabotage on the Tower, successfully enough to ensure that the lift did not work when Hitler came. A strategic place for commanding the city of Paris, the Tower was closed to the public between 1940 and 1945; it would not reopen until June 1946. Radio broadcasts were made from the centre at Allouis under the control of the occupying authorities, who took control of Radio-Paris. The top of the tower has been modified over the course of the years in order to accommodate ever more antennae. Today it accommodates several dozen antennae of all kinds, including a television mast that is 324 metres tall.

L’Airborne Museum est situé au cœur de Sainte-Mère-Eglise, face au clocher sur lequel le parachutiste John Steele est resté suspendu. A travers une muséographie spectaculaire et réaliste, l’Airborne Museum vous fera vivre le Débarquement aux côtés des parachutistes Américains des 82ème et 101ème Airborne. De la préparation du Jour-J en Angleterre, jusqu’aux combats qui menèrent à la Liberté, vous accompagnerez les troupes aéroportées dans leur chemin vers la Victoire. Découvrez une exceptionnelle collection d’objets historiques, un authentique planeur et un avion C-47 ayant participé aux opérations du Jour-J.

Une extension majeure : Opération Neptune et le Centre de conférence Ronald Reagan.

Dans le bâtiment "Opération Neptune" préparez-vous à vivre les parachutages du 6 juin 1944 ! Embarquez de nuit dans un véritable avion C-47 en Angleterre, puis atterrissez sur la place de Sainte-Mère-Eglise au milieu des combats et prenez part aux opérations qui suivirent !

A  partir de Mai, au sein du centre de conférence Ronald Reagan, découvrez une exposition inédite : « La bataille des Ardennes, Bastogne, hiver 1944 » ainsi que dans le cinéma un film de 20 minutes qui retrace avec émotion la vie sous l’occupation allemande puis la libération de Sainte-Mère-Église et du Cotentin.

►Exposition : 01>09 Juin 2019

Les + :

• Airborne Reality (depuis avril 2016): Munis de votre Smartphone ou votre tablette, téléchargez gratuitement l’application du musée et créez votre propre visite guidée en fonction de vos centres d’intérêt et de votre temps de visite !

Grâce à la réalité augmentée, soyez les témoins privilégiés du Débarquement et des parachutages sur Sainte-Mère-Eglise!

Téléchargement gratuit au musée, depuis le site web www.airborne-museum.org ou via Google Play et l’App Store. Application en français et anglais, puis, dans les mois à venir, en néerlandais.

• Exposition (à partir de juillet 2016): La bataille des Ardennes, Bastogne, hiver 1944. A travers cette exposition, revivez les évènements de cette bataille.

Le 16 Décembre 1944, Hitler lance une offensive de grande envergure à travers les Ardennes belges pour reconquérir le port d’Anvers et repousser les forces alliées.  Ces dernières sont prises par surprise du fait de la soudaineté et de la rapidité de l’attaque. En urgence, le Général Eisenhower décide d’envoyer en renfort des unités qu’il tient en réserve en France. La bataille des Ardennes a été plus qu’éprouvante et meurtrière pour les forces alliées qui devaient faire face à un hiver très rigoureux et un manque criant de ravitaillement en nourriture et en armes. L’armée allemande ne sera mise en échec qu’après l’apparition d’une accalmie salutaire permettant le ravitaillement des troupes au sol et facilitant l’arrivée de l’armée du Général Patton. La bataille des Ardennes ne prendra fin que fin janvier 1945.

Cette exposition inédite mettra également en lumière la voie de la liberté partant de Sainte-Mère-Eglise et arrivant à Bastogne ainsi que le rôle de l’armée Patton au sein de la bataille des Ardennes.

Guides de visite sous forme de livrets-jeux disponibles de 6 à 15 ans, téléchargement gratuit sur www.airborne-museum.org ou achat sur place +1€/enfant

Sources : ©Airborne Museum

The Coudehard-Montormel Museum, the only one of its kind, is in the heart of the Falaise pocket, where Germany's powerful war machine eventually collapsed under the Allies' blows. The museum includes an outdoormonument-exhibitionand a guided tour inside thememorial, which offers an annual programme, and the battlefield, which people can visit on their own. The monument was built for the battle's 20th anniversary in 1965. Its sober architecture prompts visitors to think about the tragic events that occurred here and commemorates the sacrifice of the Polish soldiers who died "for our freedom and yours". The memorial was built in 1994 to mark the battle's 50th anniversary. Inserted into the side of hill 262, where Polish tanks fought on the afternoon of 19 August 1944, it naturally fits into the landscape. The annual programme, which is open to all, offers guided tours of the Falaise pocket, film screenings and various cultural activities. Near the memorial, the marked "August 1944" route takes visitors past strategic places where fierce fighting occurred during the battle of the Falaise pocket and pays tribute to the soldiers. The Coudehard-Montormel Museum bears witness to the combined efforts of four Allied nations fighting to defeat a common enemy. It is an unforgettable immersion into the hell that was the Battle of Normandy, and a visit provides the opportunity for a rare educational experience.

Montormel-Coudehard Memorial "Les Hayettes" 61160 Montormel Tel.: 02 33 67 38 61 - Fax: 02 33 67 38 72 E-mail: memorial.montormel@worldonline.fr Opening times: 1 May to 30 September Every day: 9:30am-6pm 1er October to 31 March Wednesdays/Saturdays/Sundays: 10am-5pm (For groups by appointment on other days) 1 to 30 April Every day: 10am-5pm

Un outil de formation à la citoyenneté

Actif au sein des Ecoles militaires de Draguignan, comme outil de formation des militaires et civils de la Défense, il est aussi tourné vers l’extérieur en accueillant un large public de touristes et de scolaires. Fort de plus de 21.000 visiteurs en 2014, dont 7.000 enfants et adolescents, le Musée de l’artillerie est donc une vraie ressource pédagogique pour les groupes scolaires comme pour les familles. Le Musée est aussi porteur d’expositions temporaires des plus variées.

Après « Soldats de plomb » en 2011, « Animaux dans la guerre » en 2012, « La Marne » en 2014 et « Coups de pinceaux » en 2015, l’exposition temporaire de l’année 2016 s’attache à témoigner des batailles de Verdun et de la Somme, paroxysmes militaires et humains de la violence de masse au cours de la Grande Guerre, devenus des symboles de paix et de réconciliation.

Un conservatoire du patrimoine de l’artillerie

S’appuyant sur une collection de près de 15.000 objets dont 2.000 d’intérêt majeur, le Musée de l’artillerie présente une collection unique dont les pièces les plus anciennes remontent au XIVe siècle. Tout particulièrement riches pour la période comprise entre 1870 et notre époque, les collections du musée font l’objet d’un chantier permanent de rénovation et de mise en valeur, notamment grâce au bénévolat de passionnés. La richesse de cette collection permet d’affirmer que le musée présente Sept cents ans d’histoire de France, vus à travers l’âme d’un canon (titre éponyme du livre de visite).

VERDUN-LA SOMME

Au milieu de la guerre, au bout de leurs forces

Du 21 mai au 20 novembre 2016, dans le cadre du centenaire de la Grande Guerre, le Musée de l’artillerie de Draguignan organise une exposition consacrée aux deux batailles titanesques de Verdun et de La Somme. Du dimanche au mercredi inclus (et les jeudis sur rendez-vous), de 9h00 à midi et de 13h30 à 17h30, l’exposition intitulée VERDUN – LA SOMME, Au milieu de la guerre, au bout de leurs forces, réalisée en partenariat avec des collectionneurs privés, traite de ces deux batailles, véritables virages de la guerre où l’intensité des combats a dépassé tout ce que l’Homme avait connu auparavant. Par son discours pédagogique et la richesse de sa présentation, cette exposition est conçue pour tous les âges, des plus jeunes aux plus expérimentés. Exposition adaptée pour la visite par des classes du CM1 au Lycée, dans le cadre des cours d’histoire et d’éducation à la citoyenneté.

Sources : ©Musée de l'Artillerie