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Native Irish displaced by the Anglo-Norman invasion, operated as bandits in the forests of Ireland where they were known as "wood kerns" or cethern coille. [8] They were such a threat to the new settlers that a law was passed in 1297 requiring lords of the woods to keep the roads clear of fallen and growing trees, to make it harder for wood kerns to launch their attacks.
Gaelic warfare was anything but static, as Gaelic soldiers frequently looted or bought the newest and most effective weaponry. Although hit-and-run raiding was the preferred Gaelic tactic in the Middle Ages , there were also pitched battles to settle larger disputes.
He outrode the soldiers who hunted him down Alas, he has boasted, They'll never take me, Not a swordsman will capture the wild rapparee There's a stone covered grave on the wild mountainside. There's a plain wooden cross on which this is inscribed: Kneel down, dear stranger, say an Ave for me I was sentenced to death being a wild rapparee [12]
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Since early photographers were not able to create images of moving subjects, they recorded more sedentary aspects of war, such as fortifications, soldiers, and land before and after battle along with the re-creation of action scenes. Similar to battle photography, portrait images of soldiers were also often staged. In order to produce a ...
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Edward Ardizzone's pictures concentrated entirely on soldiers relaxing or performing routine duties, and were praised by many soldiers: "He is the only person who has caught the atmosphere of this war" felt Douglas Cooper, the art critic and historian, friend of Picasso, and then in a military medical unit. [48]
Fenton's pictures during the Crimean War were one of the first cases of war photography, with Valley of the Shadow of Death considered "the most eloquent metaphor of warfare" by The Oxford Companion to the Photograph. [13] [14] [s 3] Sergeant Dawson and his Daughter: 1855 Unknown; attributed to John Jabez Edwin Mayall [15] Unknown [e]