40 Historical Photographs of “Night Witches,” the Soviet Pilots Who Bombed the Nazis During World War II

The “Night Witches” (German: Nachthexen; Russian: Nochnye Vedmy) were the all-female Soviet 588th Night Bomber Regiment (later the 46th “Taman” Guards Night Bomber Aviation Regiment) of the Soviet Air Forces during World War II. They flew harassment and tactical bombing missions on the Eastern Front from 1942 to 1945.

In October 1941, after the German invasion (Operation Barbarossa), celebrated Soviet aviator Marina Raskova (often called the “Soviet Amelia Earhart”) used her influence with Stalin to secure approval for three women’s aviation regiments. These were the 586th Fighter Aviation Regiment, the 587th Bomber Aviation Regiment, and the 588th Night Bomber Regiment. The 588th was the only one that remained entirely female throughout the war.

Most members were young volunteers in their late teens or early twenties, many with pre-war flying experience from civilian aviation clubs. The regiment was commanded by Major Yevdokiya Bershanskaya. Training was intense and compressed at the Engels Military Aviation School. The unit reached the front in mid-1942 as part of the 4th Air Army.

They flew obsolete Polikarpov Po-2 (also called U-2) biplanes—slow, open-cockpit wooden-and-canvas aircraft originally designed for training and crop-dusting. Fully loaded, they could carry only about 350 kg (770 lb) of bombs (typically two), had a top speed around 60–90 mph depending on load, and lacked radios, radar, or modern instruments in early use. Crews (pilot + navigator) often flew without parachutes until later in the war because of weight and low altitude.

Their signature tactic was to idle the engine near the target and glide in, releasing bombs with only the soft whooshing of the airframe (likened by Germans to a witch’s broomstick). This reduced detection by radar or sound. Planes operated in groups: some drew searchlights and flak while others approached silently. Crews typically flew 8–18 short sorties per night (each 30–50 minutes), returning to rearm and refuel. The planes’ low speed and high maneuverability made them hard for faster German fighters to engage effectively.

From June 1942 until the end of the war, the regiment flew roughly 23,000–24,000 combat sorties, logged nearly 29,000 flight hours, and dropped more than 3,000 tons of bombs plus tens of thousands of incendiary shells. They damaged or destroyed railways, bridges, fuel depots, warehouses, armored vehicles, and troop concentrations while also performing supply drops. They supported major operations including the Battle of the Caucasus, the Kuban/ Taman/ Novorossiysk fighting, the Crimean Offensive, operations in Belarus and Poland, and advances into East Prussia and toward Berlin.

In February 1943 the unit received the elite “Guards” designation and was later titled the 46th “Taman” Guards Night Bomber Aviation Regiment for its role in the Taman Peninsula battles. It earned the Order of the Red Banner and the Order of Suvorov.

About 32 members died during the war (combat, crashes, or other causes). Twenty-three received the Hero of the Soviet Union (the highest Soviet military honor), more than any other women’s unit. Notable high-sortie pilots included Irina Sebrova (over 1,000 sorties). Marina Raskova herself died in a non-combat crash in January 1943 while leading another regiment and received a state funeral.

The women faced outdated equipment, harsh weather, frostbite, sexual harassment and skepticism from some male personnel, and the constant risk of flak and night fighters. After the war the regiment was disbanded (October 1945). Many members returned to civilian life; postwar Soviet society largely pushed women back toward traditional roles, and the unit’s achievements received less public emphasis for a time. Their story later gained wider recognition through books, documentaries, and popular culture (including the Sabaton song “Night Witches”). They remain one of the best-known examples of women in direct combat roles in World War II and a striking case of effective use of limited resources through skill, endurance, and unconventional tactics.

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Meet Betty Pack, the Enigmatic World War II Spy Codenamed Cynthia

Betty Pack (née Amy Elizabeth Thorpe, also known as Elizabeth Thorpe Pack or Amy Brousse), codenamed “Cynthia,” was a daring American-born spy who worked for British MI6 (via British Security Coordination) and later the U.S. OSS during World War II. She is often remembered as one of the most effective “honey trap” operatives of the era, using her beauty, charm, intelligence, and social skills to seduce high-ranking diplomats and officials, extracting critical secrets that aided the Allies.

Born on November 22, 1910, in Minneapolis, Minnesota, to a U.S. Marine Corps officer father (George C. Thorpe) and a socially prominent mother (Cora Wells Thorpe, daughter of a state senator), Betty grew up in a well-traveled, privileged environment. The family lived in places like Washington, D.C., Cuba, and Hawaii. She was intelligent and multilingual, excelling in languages, and moved in elite social circles.

At 19, she married British diplomat Arthur Pack (much older than her) after becoming pregnant; the child was placed in foster care. The marriage was unhappy, but it gave her access to diplomatic circles worldwide.

Betty on her wedding day.

Her spy career began informally during the Spanish Civil War while in Madrid with her husband. She helped smuggle people to safety and engaged in other risky activities, which caught the attention of British intelligence. By the late 1930s, she was formally recruited by MI6.

Key early work came in Warsaw, Poland (around 1937–1938), where she seduced Count Michał Łubieński, an aide to Poland’s foreign minister. Through their relationship, she gathered intelligence on German intentions (including plans regarding Czechoslovakia) and crucial details about Polish progress in breaking the German Enigma machine codes. This information contributed to the broader Allied effort to crack Enigma at Bletchley Park.

In Washington, D.C., working under the codename Cynthia for British Security Coordination (led by William Stephenson, “Intrepid”), she targeted Italian naval attaché Admiral Alberto Lais. Using seduction and charm, she obtained or facilitated access to Italian cipher books. This intelligence helped the British Royal Navy cripple the Italian fleet at the Battle of Cape Matapan in 1941.

Her most famous exploit involved seducing Charles Emmanuel Brousse, a Vichy French press attaché (and WWI fighter ace) in Washington. She won his trust and cooperation. Together, they orchestrated a bold operation to steal naval codebooks from a locked safe in the heavily guarded Vichy French embassy.They cultivated the night watchman by staging loud “romantic” rendezvous. On the critical night (around June 1942), Betty reportedly stripped naked (wearing only pearls and heels in some accounts) to distract the guard if interrupted. With help from a safecracker (“the Georgia Cracker”), they photographed the codes. These were rushed to Bletchley Park and the OSS.

This intelligence was pivotal for Operation Torch, the Allied invasion of North Africa in November 1942. It allowed the Allies to anticipate Vichy French naval responses, leading to minimal resistance, marking a major turning point in the war (as Winston Churchill called it, “the end of the beginning”). OSS officials credited it with changing the course of the conflict.

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Blitz Canteen: Photos Show Women of the Women’s Voluntary Service Running a Mobile Canteen in London During WWII

During WWII’s Blitz (1940–1941), “Blitz Canteen” typically refers to the mobile canteens operated by the Women’s Voluntary Service (WVS) in bombed areas of London. These were not a single fixed location but a network of mobile units, often adapted vans or cars with trailers, that provided essential refreshments, food, and comfort to civilians, rescue workers, firefighters, and others amid the devastation.

They delivered hot tea, buns, pies, sandwiches, and sometimes cigarettes or other small comforts to shelterers emerging from the night’s bombings, rubble-clearing crews (like the Pioneer Corps or Royal Engineers), bombed-out residents, and emergency services. Tea was a huge morale booster, often called Britain’s “secret weapon,” and the canteens operated at cost with no profit.

Volunteers started shifts as early as 2:30 a.m. to catch people heading to work after sheltering. They worked in dangerous conditions near bomb sites, during or right after raids, often under blackout rules with torches and basic equipment like primus stoves and Thermos urns.

The WVS (founded 1938) had around a million members by the end of 1941. Many were women from various social backgrounds, including “society girls.” They also helped with evacuations, clothing distribution, and other civil defense work. Mobile canteens were funded through donations and fundraising.

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Jayne Mansfield Visiting Camp Casey in Korea, 1957

In late 1957, Jayne Mansfield took a USO-style break from her filming schedules to tour US military bases in South Korea, including Camp Casey (home of the 7th Infantry Division at the time). True to her larger-than-life “blonde bombshell” persona, she brought total Hollywood glamour to the sub-zero Korean winter.

While the soldiers were bundled up in heavy olive-drab parkas to combat the biting cold, Mansfield famously braved the elements in her signature form-fitting sweaters, high heels, and occasionally a bright coat with a fur collar. It made for some of the most striking, surreal press photographs of the era.

To visit the more remote outposts like Camp Casey, which were located quite close to the Demilitarized Zone (DMZ), she was flown around in US Army H-19 or H-21 helicopters, often posing playfully with the pilots and ground crews.

Following in the footsteps of Marilyn Monroe’s legendary 1954 troop tour, Mansfield’s visit was a massive event for the thousands of soldiers stationed in Korea post-armistice. She signed endless autographs, shared meals with the troops in the mess halls, and put on lively shows that packed out the base amphitheaters.

Dogs of the Civil War: Loyal Companions in a Time of Conflict

During the American Civil War, dogs played a surprisingly significant and emotional role on both Union and Confederate sides.

Soldiers brought their beloved pets from home, while many others adopted stray dogs that became regimental mascots. These dogs provided companionship, comfort, and a sense of normalcy amid the brutality of war. Some served practical purposes: acting as messengers, guards, or even informal scouts; but most were valued simply for their loyalty and ability to boost morale.

Their stories highlight the deep bond between soldiers and their dogs, offering touching glimpses of humanity and devotion during one of America’s darkest periods. These touching vintage photos capture the deep bond between soldiers and their dogs, reminding us that even in the midst of America’s bloodiest conflict, loyalty and affection endured.

7th New York State Militia, Camp Cameron, D.C., 1861.

7th New York State Militia, Camp Cameron, D.C., 1861

22d New York State Militia near Harpers Ferry, Va., 1861

Group of Co. A, 8th New York State Militia, Arilington, Va., June, 1861

Centreville, Va. Confederate fortifications, March 1862

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The Story Behind the Iconic Artwork for The Smiths’ 1985 Studio Album “Meat Is Murder”

Meat Is Murder is the second studio album by the Smiths, released on 11 February 1985 by Rough Trade Records. Following the release of their self-titled debut album in early 1984, the Smiths maintained a prolific output with non-album singles and the compilation Hatful of Hollow, while also drawing media attention for their outspoken political views and provocative lyrics.

The Smiths’ 1985 album cover features an altered photograph of a 20-year-old American Marine Corporal named Michael Wynn. Taken on September 21, 1967, during the Vietnam War.

The photograph originally appeared as promotional still and archival footage in the 1968 Oscar-nominated anti-war documentary, In the Year of the Pig, directed by American filmmaker Emile de Antonio. Frontman Morrissey, who curated most of the band’s distinctive record covers, intercepted this striking visual for the band's second album sleeve.

In the authentic photo, Wynn had handwritten the popular counter-culture slogan “Make War Not Love” across his M1 helmet. Morrissey and layout designer Caryn Gough systematically doctored the image, superimposing the message “Meat Is Murder” over the original text to align with the LP’s fierce pro-vegetarian title track.

The original un-altered photograph of Michael Wynn.

According to Morrissey, the jarring parallel between military slaughter and the commercial meat industry was entirely deliberate. He intended the provocative image to serve as a harsh wake-up call, stating that the only way to challenge institutionalized cruelty was to give society “a taste of their own medicine.”

Michael Wynn survived the Vietnam War and later immigrated to Australia in 1982, completely unaware of his global indie-rock fame. The Smiths never sought permission to use or alter his likeness. Wynn only discovered he was a legendary album cover star in 1985 when his sister spotted the vinyl record sitting on a shop shelf.

Wynn publicly expressed that he was initially unhappy about the band modifying his helmet’s original text. Decades later, music critics and historians noted an unintended poetry to the image: many Vietnam veterans returned home traumatized by PTSD only to face public ridicule, frequently feeling as though they had been treated like literal pieces of meat by the military apparatus and the public alike.

The Wedding of Republican Milicianos in 1936

The photograph titled La boda de los milicianos (The Wedding of a Militiaman and a Militiawoman), capturing the marriage of the Republican defenders Alfonsa and Ernesto, is one of the most poignant humanizing images from the opening months of the Spanish Civil War. Captured on October 18, 1936, by the renowned Spanish photojournalist Alfonso Sánchez Portela (often known simply as “Alfonso”), the image stands in sharp contrast to the typical, grim combat photography of the era.

In October 1936, the Siege of Madrid was intensifying as Francisco Franco’s Nationalist forces advanced toward the capital. Tens of thousands of ordinary citizens, men and women alike, known as milicianos, joined left-wing union and political militias to defend the Second Spanish Republic.

Amidst the existential dread and chaos of impending battle, Alfonsa and Ernesto decided to marry. Rather than traditional bridal wear, both the bride and groom are wearing their utilitarian miliciano overalls (monos), which served as the standard wartime uniform for the citizen-soldiers.

The photo captures a fleeting moment of joy, tenderness, and normalcy. The couple is surrounded by fellow militia members, celebrating a union formalized under wartime emergency civil laws rather than church sanction.

Sánchez Portela’s photograph became a powerful symbol of the Republican resistance, showcasing the youth, idealism, and shared equality of the men and women fighting side by side on the front lines.

Like many anonymous fighters captured in wartime photojournalism, the ultimate fate of Alfonsa and Ernesto after the brutal three-year war and the fall of Madrid in 1939 remains unknown to history. Today, the original gelatin silver print of this historic moment is preserved in the permanent collection of the Museo Nacional Centro de Arte Reina Sofía in Madrid.

The Famous Encounter Between a Filipino Fisherman and the Top-Secret U.S. Navy Nuclear Submarine USS Triton in 1960

On April 1, 1960, a 19-year-old Filipino fisherman Rufino Baring reportedly encountered the USS Triton (SSRN-586), the U.S. Navy’s massive nuclear-powered submarine, during its top-secret Operation Sandblast, the first submerged circumnavigation of the world. The fisherman reportedly mistook the periscope as the eye of a sea monster, leading him to believe he was seeing something monstrous.

Rubino Baring sighted by USS Triton in the Bohol Strait on April 1, 1960.

The Triton, commanded by Captain Edward L. Beach, was on a landmark 60,000+ mile underwater voyage following (roughly) the route of Ferdinand Magellan. It stayed submerged for nearly the entire 83-day journey to showcase nuclear submarine capabilities during the Cold War.

While transiting Magellan Bay, the sub briefly raised its periscope. The crew spotted Baring paddling nearby, only about 50 yards away. Captain Beach described the surreal scene in the ship’s log: an “impassive Asian” in a simple canoe staring at the periscope, while on the other end was a state-of-the-art $100 million submarine crew looking back. He noted the vast “abyss” of centuries of technological difference.

The photo was taken by a crew member (likely involving National Geographic photographer Joseph Baylor Roberts, who was aboard).

USS Triton (SSRN-586) during sea trials (September 27, 1959).

Baring was terrified. He later told National Geographic (which published the photo and tracked him down) that he thought the periscope was the “gleaming mysterious eye” of a sea monster. He paddled away as fast as he could.

He became the only civilian/unauthorized person known to have visually spotted the Triton during its entire secret mission.

The image perfectly symbolizes the clash between ancient, traditional ways of life and modern military technology. It’s a fascinating, almost whimsical footnote in one of the most impressive feats of underwater navigation in history.

Amazing Color Portraits of Soldiers of the British 8th Army in Italy, 1944

Soldiers of the British 8th Army are pictured on duty in Italy in these original color photos taken in April 1944 by War Office official photographer, Captain A.R. Tanner.

The ‘Infantryman’. Corporal M. Smith of the Duke of Cornwall's Light Infantry, with his Tommy gun (Thompson submachine gun) at the main Headquarters of the Eighth Army in the San Angelo area. Corporal Smith, a former metal polisher from Birmingham, served in North Africa and Egypt before going to Italy in early 1944. He was involved in the fighting north of Cassino and on the Garigliano River.

The ‘Signal Lineman’. Signalman A. Johnson of P Line Section (No 1) Company, 8th Army Signals, with a role of wire at the main headquarters of the Eighth Army in the San Angelo area of Italy. Signalman Johnson, a former bus conductor from Mill Hill, left England for Egypt in February 1942. He served with the Eighth Army in Egypt until Mareth then went to Sicily, and has been in Italy since October 1943.

The ‘Cook’. Private W.A. Bowen of the Army Catering Corps, preparing potatoes at the main Headquarters of the Eighth Army in the San Angelo area of Italy. Private Bowen, a former painter and decorator, from Lisswerry, Newport, South Wales, served in a Light Anti-Aircraft Regiment before transferring to the Army Catering Corps. He left England in 1941, and served at Tobruk, Benghazi, and Tunis before landing in Italy during September 1943.

The ‘Tankman’. Sergeant A.G. Williams of 17/21 Lancers in the turret of his Sherman tank at the main Headquarters of the Eighth Army in the San Angelo area of Italy. Sergeant Williams from Woodford Bridge, Essex left England in November 1943, landed in North Africa, and from there was sent to Italy.

The ‘Artilleryman’. Gunner J.D. Thomas of the Shropshire Yeomanry closing the breech of a 5.5-inch gun under the camouflage netting at San Vittore, Eighth Army sector. Gunner Thomas, a former farmer from Shrewsbury, Shropshire, left England in 1942 and has seen service in Egypt, Tripoli, and Sicily before coming to Italy where he was involved in all the major battles up to this time.

The ‘Sapper’. Lance Sergeant E.R. Whiting of the Corps of Royal Engineers at the controls of a tractor at the main headquarters of the Eighth Army in the San Angelo area. Lance Sergeant Whiting, a former electrical engineer from Bedford, went to North Africa in May 1943 from where he went on to Sicily before landing in Italy in September 1943 to undertake road building operations.

The ‘Intelligence Officer’. Corporal D.A.R. Reynolds of the Intelligence Branch, working as a draughtsman at the main Eighth Army Headquarters in the San Angelo area. Corporal Reynolds, a former architectural assistant from East Horsley, Surrey, left England in December 1942 for the Middle East. He then went to Tripoli and Sicily and landed in Italy soon after the invasion.

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American Civil War Soldier Clowning Around for the Camera, ca. 1863

This image of an unidentified Union officer clowning around is a rare and famous departure from the typically stoic military portraits of the 1860s. Captured around 1863, this quarter-plate tintype shows the soldier performing a classic gesture of mockery or “thumbing his nose.”

Photography in the 1860s was still relatively new and technically demanding. Most portraits required long exposure times (several seconds or more), so subjects had to hold perfectly still, which is why so many Civil War photos show stiff, serious expressions. Humorous or candid shots like this one are quite rare because holding a silly face steady without laughing or moving was challenging.

Soldiers (especially in camp) often had downtime between battles or during sieges, and photography studios or traveling photographers near camps allowed them to send portraits home. This unknown officer clearly decided to have some fun instead of the standard stoic pose. It humanizes the era, reminding us that even amid one of America’s bloodiest conflicts, soldiers found moments of levity, boredom relief, and personality.

The photo’s exact location isn't definitively recorded in most sources, though some mentions loosely associate similar images with places like the Siege of Petersburg, Virginia (1864–65). The identity of the officer remains unknown, it’s one of those charming “anonymous” artifacts of history that pops up frequently in collections, books, and social media posts about Civil War photography.

It’s a great example of how tintypes captured not just the gravity of war, but also the everyday humanity and humor of the people living through it. The image has circulated widely online precisely because it’s so relatable and unexpected from that period.

A Muss at Headquarters During Civil War, Virginia in April 1863

In April 1863, photographer James F. Gibson (often working with the famous Mathew Brady studio team, sometimes misattributed to Timothy H. O’Sullivan) captured a rare, lighthearted moment titled “A Muss at Headquarters.” Taken at Falmouth, Virginia, the image depicts officers of the Army of the Potomac engaged in a choreographed “brawl” for the camera.

While most Civil War photography focused on the grim aftermath of battle or formal portraits, this stereograph is a famous example of "camp life" humor. It features a group of Union officers and staff staging a chaotic scene. The men are seen using swords, fists, bottles, and even a shovel to mimic a rowdy headquarters dispute. The camp at Falmouth, which served as the winter quarters for the Army of the Potomac prior to the Chancellorsville campaign.

This photograph is a rare example of wartime levity, showing soldiers “roughhousing” and posing in exaggerated, tumbled positions over barrels and crates during the downtime before the Chancellorsville campaign. The image remains a favorite among Civil War enthusiasts because it subverts the era’s typically stiff and somber photographic style, capturing a moment of genuine (if rehearsed) levity.

A Soldier Sharing a Banana With a Goat During the Battle of Saipan, ca. 1944

Photograph of Maine First Sergeant Neil I. Shober of Fort Wayne, Indiana, sharing his bananas with a native goat, one of the few survivors of the terrific naval and air bombardment in support of the Marines hitting the beach on the Japanese-mandated island of Saipan, in July 1944.

The photo captures one of those quietly human moments that war photographers often sought out amid the chaos, a battle-hardened Marine, sitting in his foxhole with his rifle beside him and the scarred, bombed-out landscape behind him, offering a banana to a stray white goat that had somehow survived the same bombardment he had. The island’s palm trees, reduced to bare stumps in the background, speak to the ferocity of the pre-invasion shelling.

The photograph is part of the collection donated by combat photographer Norm Hatch, who joined the Marine Corps in 1939 and served in battles across the Pacific, including Guadalcanal, Tarawa, and Iwo Jima. He is particularly well known for shooting the Academy Award-winning documentary With the Marines at Tarawa (1944). The collection is now held by the National Museum of the Pacific War.

The Battle of Saipan was one of the most pivotal engagements of the Pacific War, with the island declared secure on July 9, 1944, after brutal fighting involving the 2nd Marine Division, the 4th Marine Division, and the U.S. Army’s 27th Infantry Division. The National WWII Museum Against that backdrop, this small, gentle image of a Marine sharing fruit with a goat became an enduring symbol of humanity found in the middle of war.

Debbie Reynolds Singing for American Troops at the 8th Army Headquarters in Seoul, South Korea in 1955

On May 22, 1955, movie star Debbie Reynolds entertained for thousands of American troops at the 8th Army Headquarters in Seoul, South Korea. It was part of a week-long USO tour known as the “Johnny Grant Galaxy” show. Reynolds, who had skyrocketed to stardom three years earlier in Singin’ in the Rain, traveled with disc jockey Johnny Grant and a troupe of entertainers to perform across South Korea and Japan.

The show at the Seoul Military Post was famously marked by a massive overhead sign that read, “Welcome Debbie.” Photographs from the event show Reynolds on a makeshift stage, often wearing a simple, elegant dress, with a sea of soldiers in uniform stretching as far as the eye can see.

At the time, Reynolds was a massive “girl-next-door” icon. Just a few months after this tour, in September 1955, she would marry singer Eddie Fisher (a union that became one of the biggest tabloid stories of the decade).

While many stars visited Korea during and after the war (most notably Marilyn Monroe in 1954), Reynolds was praised for her genuine rapport with the troops. Veterans who were there often recalled her “dazzling” presence and the fact that she traveled halfway around the world to a still-recovering, post-war region just to boost morale.

Milunka Savić, a Serbian War Heroine Who Became the Most Decorated Female Combatant in the History of Warfare

In 1912, Milunka Savić made a decision that would define her life and etch her name into history. When her brother was too ill to serve in the Balkan Wars, she cut her hair, donned men’s clothing, and joined the Serbian army under the name Milun Savić.

Milunka fought undetected for nearly a year, proving herself to be an elite soldier and a gifted grenadier. Her secret was only revealed during the Second Balkan War (1913) at the Battle of Bregalnica, where she was wounded in the chest by a Bulgarian shell. While treating her injuries, army doctors discovered “Milun” was actually a woman.

When her true identity was revealed, her commanding officer was in a bind. She was one of his best soldiers, but military law didn’t exactly have a “decorated female infantry” clause. He offered her a transfer to a nursing division. Milunka refused, insisting she belonged on the front lines. The officer told her he would think it over and give her an answer the next day. Milunka reportedly stood at attention and replied: “I will wait.” After standing in the cold for only an hour, the officer relented and sent her back to the infantry.

During the Great War, Savić’s reputation reached international proportions. She was a key member of the elite “Iron Regiment.” Her skill with hand grenades was particularly feared; she was known for her "accuracy of a sniper" when clearing enemy trenches.

In 194, she earned her first Order of the Star of Karađorđe with Swords (Serbia’s highest award) after capturing 20 Austrian soldiers single-handedly. In 1916, she captured 23 Bulgarian soldiers alone. For this, she received a second Star of Karađorđe. She is the only woman to ever receive the French Croix de Guerre 1914–1918 with a gold palm. She was also awarded the British Order of St Michael and St George, the Russian Order of St. George, and the French Legion of Honour (twice).

Despite her fame, Milunka’s later years were defined by quiet selflessness. After the war, she turned down an offer to move to France (where she would have received a comfortable pension) to stay in Belgrade. She worked as a cleaning lady, a bank teller, and a factory worker. However, she used her modest means to adopt and raise over 30 orphaned children in addition to her own daughter. She was largely forgotten by the public until the 1960s, when a resurgence of interest in WWI veterans brought her story back to the forefront.

Milunka Savić died in 1973 at the age of 84. Today, she is remembered as a national hero in Serbia, a woman who went to war for her brother and ended up becoming a legend of the 20th century.

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The Only Known Photograph of a Black Union Soldier With His Family, ca. 1864

This iconic image, dating from 1863–1865 (often cited as 1864), is a quarter-plate ambrotype featuring an African American Union soldier, his wife, and their two daughters. It is widely recognized as the only known photograph of a Black Union soldier posed with his family.

 Long considered unidentified, research now suggests the soldier may be Sergeant Samuel Smith of the 119th U.S. Colored Infantry, pictured with his wife Mollie and daughters Mary and Maggie. However, some archives still list the subjects as officially unidentified.

The photograph was discovered in Cecil County, Maryland. Because of this, it is highly likely the soldier served in one of the seven United States Colored Troops (USCT) regiments raised in that state. The original image is held at the Library of Congress as part of the Liljenquist Family Collection of Civil War Photographs.

Civil War Veteran Samuel Decker Posing With Prosthetic Arms He Designed Himself, ca. 1867

Samuel H. Decker (1813–1894) was a Union artilleryman during the American Civil War who became famous for designing his own highly functional prosthetic arms after a devastating combat injury.

In October 1862, during the Battle of Perryville, Kentucky, Decker was serving in the 4th U.S. Artillery when his gun prematurely exploded while he was reloading. The accident resulted in the traumatic loss of both his forearms.

Dissatisfied with the simple, non-functional prosthetics available at the time, Decker spent three years (1862–1865) conceptualizing a superior alternative. While he could not physically build them himself due to his injury, he sketched the designs and supervised their construction, reportedly guiding his wife or other skilled craftsmen to complete the mechanical limbs.

His prosthetics were mechanical and functional rather than merely cosmetic. They allowed him to perform delicate daily tasks, including feeding and dressing himself, carrying packages, and even picking up objects as small as a pin. Remarkably, he used the devices to relearn how to write legibly.

In 1867, the Army Medical Museum in Washington, D.C., invited him to demonstrate his invention, which was officially documented as “hitherto unrivaled for ingenuity and utility.”

Decker’s independence and the dexterity afforded by his prosthetics led to a long post-war career as a doorman (doorkeeper) for the U.S. House of Representatives. Historical accounts note that he was once a “formidable police officer” in the Congressional gallery, successfully handling disorderly individuals despite his disability. 

Rare Photos of a Very Young Anthony Hopkins During His Time in the British Army

Before he became the legendary face of Hannibal Lecter or Odin, a young Philip Anthony Hopkins served his country as a soldier in the British Army. His service took place during the twilight of the National Service era, just before he launched into the formal acting training that would define his life. He completed two years of mandatory National Service in the British Army from 1958 to 1960. He served in the Royal Artillery and was officially known as 23449720 Gunner Hopkins.

Having graduated from the Royal Welsh College of Music & Drama in 1957, Hopkins was called up for his mandatory two-year National Service. For a young man who was a gifted pianist and a “dreamer” who struggled with traditional academics, the transition to the disciplined environment of the Royal Artillery was a stark contrast.

Hopkins has often noted that he wasn’t naturally suited for the rigid, "no-nonsense” structure of the military. However, he has reflected that the experience instilled a sense of discipline and “standing up straight” that mirrored the advice of his father, a hard-working baker from Port Talbot.

Even while serving, his passion for performance remained. Upon his demobilization in 1960, he didn’t return to a “standard” trade; instead, he made his professional stage debut in Swansea in a play titled Have a Cigarette.

His time in the army acted as a bridge between his early studies in Wales and his move to London, where he won a scholarship to the prestigious Royal Academy of Dramatic Art (RADA) in 1961.

Though his military career was brief, Hopkins would later return to the uniform many times on screen. His real-life experience as a “Gunner” likely informed his portrayals of high-ranking military figures, such as Lt. Col. John Frost in A Bridge Too Far (1977) and Captain William Bligh in The Bounty (1984).