My New Book on the PIAT is Out Now!

I’m very excited to say that my second book has been published! It looks at the much maligned and much misunderstood PIAT – Projector, Infantry, Anti-Tank.

The book is available from retailers from the 20th August in the UK/Europe and the 22nd September in the US – but you can order a copy from me now regardless of location. I filmed a short video to show you the book and talk a bit about the process of writing it, check that out above.

The PIAT was the British infantry’s primary anti-tank weapon of the second half of the Second World War. Unlike the better known US Bazooka the PIAT wasn’t a rocket launcher – it was a spigot mortar. Throwing a 2.5lb bomb, containing a shaped charge capable of penetrating up to 4 inches of armour. Thrown from the spigot by a propellant charge in the base of the bomb, it used a powerful spring to soak up the weapon’s heavy recoil and power its action.

With a limited range the PIAT’s users had to be incredibly brave. This becomes immediately obvious when we see just how many Victoria Crosses, Military Medals and Distinguished Conduct Medals were awarded to men who used the PIAT in action. 

The book includes numerous accounts of how the PIAT was used and how explores just how effective it was. I have spent the past 18 months researching and writing the book and it is great to finally see a copy in person and know it’s now available.

The book includes brand new information dug up from in-depth archival research, never before seen photographs of the PIAT in development and in-service history and it also includes some gorgeous illustrations by Adam Hook and an informative cutaway graphic by Alan Gilliland.

If you order a book directly from me I’ll also include this custom illustrated postcard with a design featuring a PIAT and the famous line from A Bridge Too Far.

It’s immensely exciting to know the book is out in the world for all too enjoy. If you’d like a copy of my new book looking at the PIAT’s design, development and operational history you can order one directly from me here!

Me, bringing up the PIAT…

Thanks for your support and if you pick up a copy of the book I really hope you enjoy it! 

– Matt

Remington’s Hybrid .303 M1903

In 1940, following the evacuation from Dunkirk the British Army was in desperate need of small arms, with over 100,000 rifles left behind in France. In dire need of rifles Britain turned to the US and its huge industrial base and approached a number of companies about tooling up to produce Lee-Enfield Rifle No.4s. Savage Arms took on one contract and projected production of 1,000 per day but establishing production of a rifle US companies didn’t have the tooling and gauges for would take time.

remington_1903_303_rightwm
Right side of the Remington (Matthew Moss)

Remington was also approached by the British Purchasing Commission and asked if they could manufacture up to 400,000 rifles. Remington estimated it would take up to 30 months to tool up for No.4 production. However, Remington believed that if they could lease the old tooling previously used at the Rock Island Arsenal to produce M1903s, from the US Government, they could tool up to produce the M1903 in just 12 months. It was suggested that the tooling be adapted to produce rifles chambered in the British .303 cartridge. Some ergonomic changes could also be made so the rifles mimicked the British No.4.

remington_1903_303_leftwm
Left side of the Remington (Matthew Moss)

 

On 12th December 1940, the British government issued a Letter of Intent to Remington for the manufacture of 500,000 rifles in .303 British. Some sources suggest the British agreed to an advanced payment of $4,000,000. Much of this covered the lease, transport and refurbishment of the M1903 tooling. The rest went on the purchase of raw materials and the necessary accessories for half a million rifles.

The tooling lease was agreed in March 1941, and the US Government also supplied 600,000 stock blanks which had been in storage in exchange for ammunition produced by Remington. With the passage of the Lend-Lease act, on 11th March, the Remington contract came under the control of the US Government, rather than a private order. Remington received the last tooling shipments from Rock Island Arsenal on 22nd April, and by the end of May had the production line up and running.

DSC_0535wm
A detail view of the rifle’s action and follower note the ‘2’ stamped on the follower (Matthew Moss)

A contract to produce the hybrid rifles at a cost of $5 per rifle was agreed in late June. Remington’s engineers began setting up the equipment and working out an ad hoc production layout that would allow 1,000+ rifles per day to be built. At least four pilot models were built, with some of these guns being sent to Britain. The rifles were reportedly received in September 1941, and following preliminary examination were described as “very successful”. Four of the rifles were distributed for further testing but by the end of 1941 the project had been abandoned.

remington_1903_303_nosecap_leftwm
A close up of the adapted muzzle and foresight so the rifle could fit a No.4 bayonet (Matthew Moss)

Remington made a number of external and internal changes to approximate the British No.4. They fitted a front sight post with sight protectors which was moved further back from the muzzle to enable the rifle to mount a Rifle No.4 spike bayonet. As such the upper barrel band does not have a bayonet lug.

Many of these parts are still in-the-white, unfinished, including the barrel, barrel bands, floor plate, front sight assembly, rear sight assembly and the bolt itself. The bolt does, however, have a parkerized cocking piece.

DSC_0524wm
The rifle’s bolt (Matthew Moss)

The hybrid also moves the rear sight back onto the receiver, which necessitates a longer piece of wooden furniture covering where the M1903’s ladder sight would normally be. The style of rear sight was also changed to a two-position flip sight with apertures for 300 and 600 yards mimicking those seen on the No.4 Mk2.

DSC_0541wm
A close up of the rifle’s bolt, cocking piece (which wasn’t properly inserted) and rear sight (Matthew Moss)

 

They also redesigned the charger guide to support the Lee-Enfield-type chargers rather than the M1903 stripper clips. The bolt was adapted to work with Britain’s rimmed .303 round, with the extractor modified for the British cartridges wider, thicker rim.

DSC_0527wm (1)
A close up of the bolt head (Matthew Moss)

The rifle did not have the Lee-Enfield’s detatchable box-magazine, instead retaining the M1903’s 5-round internal magazine. The magazine follower does not appear to have been altered either. Markings on the rifle are minimal and include a ‘7’ on the front sight post, a ‘B2’ on the bolt handle and a ‘2’ stamped on the magazine follower. No roll marks or serial numbers appear to be present.

DSC_0533wm
The faux Lee-Enfield stock with spliced in semi-pistol grip (Matthew Moss)

The rifle’s stock has also been adapted, so instead of a straight wristed-stock a piece of wood has been spliced in to create a Lee-Enfield style contour, forming a semi-pistol grip. The stock is marked with the inspector marks ‘WJS’, which indicate the stock was originally inspected by W.J. Strong and accepted between 1918 and 1921, as well as a pair of later Springfield Armory inspection cartouches: ‘SPG’ – the initials of Stanley P. Gibbs, who was an inspector at Springfield Armory between 1936-1942 and ‘GHS’ – the initials of Brigadier General Gilbert H. Stewart (GHS), Springfield’s commander in the late 1930s- early 1940s. This would suggest that the stock was refurbished at Springfield Armory before being transferred to Remington where it was subsequently adapted.

DSC_0531wm
A detail shot of the stock’s Ordnance stampings (Matthew Moss)

In August 1941, the US began its re-armament programme and in September the British contract with Remington was cancelled. At the same time production in Canada and at Savage’s J. Stevens Arms division in the US had gotten underway and it was decided that the adapted hybrid .303 M1903s developed at Remington was no longer needed. The hybrid contract was formally cancelled in December 1941, and additional .30-06 M1903s and M1917s were taken under the Lend-Lease Agreement to fulfil the needs of the Home Guard. Savage believed that they could significantly increase the number of rifles they could build per day, they managed to enter full production by the end of 1941 and by 1944 had produced well over 1 million No.4s.

1903A3

Remington went on to produce M1903s for the US military, overcoming issues with the original engineering drawings and the tooling dimensions to eventual produce 365,000 M1903s by mid-1943, before switching to production of the M1903A3 pattern and producing 707,629 rifles. In total Remington produced 1,084,079 M1903-pattern rifles during World War Two.

The Remington .303 M1903 hybrids are perhaps the rarest M1903 variant, with only a handful built. They would likely have been perfectly serviceable rifles and helped plug the desperate gap in Britain’s arsenal. Rapidly moving events ensured that these rifles became a footnote in both the Lee-Enfield and Springfield 1903’s histories.

Special thanks to both Remington and the Cody Firearms Museum for allowing us to take a look at this extremely rare rifle.


If you enjoyed the video and this article please consider supporting our work here. We have some great perks available for Patreon Supporters. You can also support us via one-time donations here.


Bibliography:

‘Production of Military Rifles by Remington Arms Company in Ilion, New York During World War II’, American Society of Arms Collectors Bulletin 92:14-24, R. Marcot

The Lee-Enfield Story, I. Skennerton, (1993)

The M1903 Springfield Rifle, L. Thompson, (2013)

‘The 1903 Springfield’, HBSA UK, (source)

The Model 1903 Springfield Rife, J. Poyer, (2013)

 

 

The Room The Nazis Surrendered In

Matt recently visited Berlin and took the opportunity to visit the German-Russian Museum in Karlshorst, the site of Nazi Germany’s unconditional surrender. The museum’s centrepiece is the hall in which the surrender documents were signed, restored to how it appeared at that historic moment.

The hall itself is inside what used to be the officers’ mess of the Wehrmacht’s pioneer corps training school No.1 (Pionierschule 1) which was established in 1936 in Karlshorst, an eastern suburb of Berlin. The officers’ mess building was built in the late 1930s. Later, in 1942 the school was renamed the Fortress Pioneer School (or Festungspionierschule).

16-501939.jpg
The Pioneer School’s Officers’ Mess under Soviet occupation, c.1945

During the Battle for Berlin and the Soviet push into the centre of the German capital, the school was occupied by a Soviet battalion on 23rd April. The Soviet military maintained a presence at the former pioneer school for the next 40 years, with parts used by the KGB.

After the war the building housed the Soviet Military Administration in Germany until 1949, when the German Democratic Republic was formed. Today, much of the school has been reclaimed for housing and the mess the building is home to the awkwardly named, German-Russian Museum which tells the story of WWII from the Russian perspective.

DSC_0492wm
The former Officers’ Mess today (Matthew Moss)

The surrender was signed by three representatives of the German high command, Field Marshall Wilhelm Keitel, Admiral Von Friedeburg and Colonel General Stumpff early on the 9th May, 1945 – in the presence of Soviet commander in chief Marshal Georgy Zhukov and Air Chief Marshal Arthur Tedder – Deputy Supreme Commander at Supreme Headquarters Allied Expeditionary Force.

IMG_20200220_141737a (1)wm
The hall in which the surrender was signed (Matthew Moss)

The initial instrument of surrender had been signed in Riems, in France, the day before but the documents were officially ratified in Berlin at 00:16, on 9th May. The Soviets believed it was more fitting that the surrender be signed in the German capital – highlighting the Soviet role in victory. The surrender ended both the last of the fighting around Berlin as well as the war in Europe.

In 1967 the Soviet Armed Forces in Berlin established the museum, then called the ‘Museum of Unconditional Surrender of Fascist Germany in the Great Patriotic War 1941-1945’, the hall was restored to look as it did on the night of the surrender.

It was a surreal experience being in a room which was witness to one of history’s most defining moment and you could certainly feel the history of the room.

You can find out more about the museum here.


If you enjoyed the video and this article please consider supporting our work here. We have some great perks available for Patreon Supporters.

Surplus Zone: PIAT EOD Training Bomb

Whilst looking through the piles of surplus ‘kit’ in my friends warehouse in Germany I came across an interesting find, an Explosive Ordnance Disposal (EOD) training kit that has several examples of WWII and after ordnance that might be found on training grounds and former battlefields throughout Europe.

One of the elements from that training kit was a PIAT or Projector, Infantry, Anti-Tank, round. Many of these have been found across northwest Europe since the end of WWII and it was important for EOD teams to be able to identify them and understand how they work in order to safely dispose of them.

DSC_0042 (1).jpg
A British a PIAT or Projector, Infantry, Anti-Tank (Matthew Moss)

This example is likely an ‘instructional’ round that may have been produced from a previously live round and not subsequently marked as inert. In the video, which was filmed on location from memory, I mentioned that the charge was inside the front cone. Instead the charge was actually just behind the steel cone, which acted as a forcing cone, and has seen been replaced by some sawdust. We can see this in the diagram below, which shows an earlier Mk round but the configuration remains the same:

piat bomb.jpg

PIAT Bomb 1.jpg
A close up of the bomb’s markings (Vic Tuff)

This time we examine an example of the Mk3 PIAT Bomb. When I filmed the video I wasn’t sure of the markings but this chart below more clearly explains them:

PIAT Bombs 1.jpg

There were 7 marks of PIAT bomb:

MkI yellow/green/yellow band 808 stamped on green band, red x’s around nose cone

Mk2 as above

Mk3 yellow/blue/yellow band TNT stamped on blue band, red circle around nose cone

Mk4 as above

Inert bomb black with yellow band INERT in white

Drill bomb black with DRILL in white x 2

Practice bomb – to fit the practice insert tray, painted white and it looks nothing at all like a PIAT bomb!

PIAT Bomb 3.jpg
The inert EOD ‘Mk3’ training round (Vic Tuff)

Our inert bomb isn’t painted black, instead it is painted up as a Mk3 to emulate what a live blind found in the field would look like.

DSC_0712 (1).jpg
An inert ‘Drill’ round painted black (Matthew Moss)

Here’s an extract from the PIAT’s manual explaining how the fuze was fitted to a live round:

From the PIAT manual:
The fuze. – Until required for use the fuze is kept in a container attached to the drum tail by a spring clip….

ii. To fuze. – Remove the fuze container from the drum tail and take out the fuze. Remove the thimble from the bomb nose by pressing it downwards and turning it clockwise. Remove the transit plug from the fuze chamber and insert the fuze flat end first. Replace the thimble. The transit plug should be placed in the fuze container and the latter put in the carrier, in case the bomb should later have to be unfuzed.


If you enjoyed the video and this article please consider supporting our work here. We have some great new perks available for Patreon Supporters.

The Art of Persuasion – the Abram Games Exhibition

I recently had the opportunity to visit the National Army Museum in London and check out their current exhibition, The Art of Persuasion, a look at the wartime work of graphic designer Abram Games. While you may not recognise the name you will probably recognise some of his impressive and striking posters.

Games’ work is instantly arresting with an eye-catching starkness which underlines the messages he sought to convey. In the video above I aim to give a feel for the exhibition and, if you are unfamiliar with him, a feel for Games’ work.

He joined the army in 1940 and began designing posters for both military and civilian audiences in 1941. Over the next 5 years he designed over 100 posters, some of which have become iconic.

DSC_0451.JPG
Some of Games’ posters designed to dissuade loose talk (Matthew Moss)

Describing himself as a ‘graphic thinker’ Games used silhouettes and contrasting colour and vivid subjects. Largely self-taught Games was extremely passionate about his work and by November 1942 had been made ‘Official War Poster Artist’.

DSC_0454.JPG
A shot of the exhibition space showing some of the posters on display (Matthew Moss)

The exhibition not only displays his work but also explains how Games created his posters, often working from models or taking photographs of soldiers training. Some posters have his original sketches displayed next to them to show how the concepts evolved.

His posters encouraged young women to join the ATS, soldiers to volunteer for the Commandos and civilians to support the war effort. In addition to posters for the War Office, some of his most recognisable work, including the ‘Your Britain, Fight For It Now’ posters were designed for the Army Bureau of Current Affairs in an effort to raise morale and promote the idea of post war reform and progress. He also designed a series of powerful, striking posters for appeals to aid Europe’s Jews, a cause he was deeply connected to as a Jew. Games was demobilised in 1945 and enjoyed a long, successful civilian career, he died in 1996.

DSC_0464.JPG
Appeal posters to aid Europe’s Jews (Matthew Moss)

The National Army Museum’s exhibition works hard to give a feel for not just the work but also the man and his motivations. Games’ wartime posters are extremely rare, unsurprising when most were covered or torn down after a few months, so it was a treat to see them in person. Up close you get a sense of what it would have been like to see one on a barrack wall or a billboard 75 years ago. The exhibition also had some interesting interactive elements with a touch screen allowing visitors to create their own Games-style posters as well as another screen with video interviews with Games’ daughter and people who knew him talking about his work.

Games’ work are not just pieces of art but also important historical objects that can help us understand what the war was like and what motivated people to fight.

Find out more about the exhibition on the National Army Museum’s website, here.


If you enjoyed the video and this article please consider supporting our work here. We have some great new perks available for Patreon Supporters.