By John Anzalone
By 1916, his superior officers had become aware that Maréchal was a capable draftsman thanks to the theater and concert programs the troops put on and for which he had executed cover illustrations (none have turned up, to date). Maréchal’s talent was well known and appreciated among his mates and that reputation made its way up the chain of command to general staff officers seeking draftsmen for artillery units. So it was that in February of 1916, Maréchal received a providential transfer. He was reassigned behind the lines to a cartography unit known as a Canevas de tir, specializing in relief maps that gunnery groups used for aiming and locating.
His departure from the 86th took place barely a week before the unit was transferred to Verdun. In the preface he writes that only three of every ten men would return from that inferno. At some point after his reassignment but almost certainly not until after the war, Maréchal decided to collect the notes he had been keeping and the drawings made in the trenches and turn them into an illuminated book of hours. The Journal’s preface underscores the weight of the coincidence of his transfer out of combat at virtually the same moment that his friends went off to one of the worst of the Great War’s killing fields. Did Maréchal intend the Journal as a homage to those who didn’t return? It is tempting to discern in it a token of survivor’s guilt. In La Victoire endeuillée/Bereaved Victory, Bruno Cabanès’s study of protracted mourning in France during the two year period during which the field army was progressively demobilized, the author refers to a widespread incidence of “survivor guilt syndrome.”
The mixed emotions of commemoration and mourning coincide with the book’s devotional aspect. A moving image of the New Year’s mass of 1915 in the Montigny quarries corresponds to the general tenor of the celebration of the liturgy of a medieval Book of Hours
![]() |
Maréchal's Altar at the Quarry |
Among the documents uncovered during research for the publication of the facsimile edition of the Journal, we found a photograph of Maréchal standing in front of the altar piece and cross that he and his closest friend, a poilu named Moulin, had sculpted from the available stone, in preparation for the mass.
Today the chapel, appropriately located in the gallery adjacent to the field hospital within the quarries, has been completely restored at Montigny thanks to the manuscript’s representation of the mass and this corresponding photograph. Upon the release of the facsimile edition of the manuscript in the fall of 2016, a memorial service was held in that very chapel, in front of an altar piece reconstructed from fragments of Maréchal and Moulin’s original sculpture.
There is no evidence in the manuscript to suggest that Maréchal was particularly or even casually religious. His emphasis is much more on aesthetic sensitivity, a love of pageantry and his sense of history, which suggests that he intended his book to fulfill a memorial as well as an historical function. But whether as pastiche of the medieval model or as matter of fact contemporary exposé, the key characteristic of the Great War Book of Hours Maréchal has left us is how relentlessly it exposes the impact of the passage of time, and with it the conflict’s daily quota of death and mourning. That may well explain why Maréchal’s figures are almost always seen from a distance except for the exceptional page of portraits of his mates shown above.
![]() |
A Stretcher Team |
Bernard and Lucette Lambot tracked down the service records of all these men, as well as those of a half dozen others who are specifically named in the text. Of those depicted above, only one survived the war. More tellingly, there is an oddity here that demands explanation: the page is numbered 67 (of a total of 84), and is placed therefore toward the end of the narrative; but it is dated October 1914. The previous page is dated October 1915; the following page December 1915. No other page in the book violates chronological order. The times are out of joint. Clearly, the portrait page was intended to be placed at the start of the narrative, but Maréchal moved it to the book’s final pages, where he recounts the circumstances of his transfer to the rear and of theirs to Verdun. It is hard not to see in this an acknowledgement of the ironic accident that saved his life and quite probably moved him to encode his memoirs in a book of devotion.
Restraint, guilt and the burden of History inhabit Maréchal’s Book of Hours. Le Journal des Tranchées is a hybrid; it raises many questions about which we can only speculate. We cannot ask them of Maréchal, but it’s not at all clear he would answer them if we could, for if the book has managed to survive the accidents of history, it has also survived Maréchal’s reticence. Like previous accounts of the Great War that have come to light, the Journal adds to a rich testimonial literature by shedding light on a single individual’s experience of war. But chance rather than design has played a major role.
It is my deep conviction that Léopold Maréchal never intended it to have wide distribution; available evidence suggests that he rarely if ever shared it with anyone. Its iconography encodes a pain that slips quietly in and out of the traumatic. Some pages have in fact the feel of an exorcism, like this half-mummified skull of a German soldier, the book’s most shocking watercolor. A danse macabre image that draws from medieval iconography and was a frequent trope of WWI illustration, its horror has lost none of its power in the more than a century since it was executed on a frigid December morning in 1915. It is however discussed in the text with the kind of clinical detachment that recalls the dissociative defense mechanisms common among soldiers exposed repeatedly to horrific violence.
One night, my squad is digging a new trench right on the front line. Tessier calls me over: “Corporal, come look at this dead Boche right near the top of the trench. You can see his skeleton...” I jump up on the embankment and see the guy in question. He has rotted 3⁄4 of the way through and his skull is shining in the moonlight. With a shovel I loosen the skull—it has separated from the torso. As the head rolls over I realize that flesh still covers the side where it had been resting on the ground. Pressed against the earth in a mold sculpted by the rains, it had mummified in the clay when the frosts came on. Crows and rats had picked clean everything on the side exposed to the air. I pick it up with my shovel and we clamber down into the trench to examine it out of danger. In the moonlight, the silhouette of this half-eaten head is striking. I carefully put it by, promising myself to return the next day to do a study of it. And I managed to succeed in my plan because the weather cooperated. I placed the handle of a shovel across the trench and positioned the Boche skull on the blade. It was so bloody cold that there was no stench, thankfully. But there wasn’t a drop of water to be had either, so I had to resort to the “call of nature” to provide “water” of my own to use my paints.”
Marechal’s intricate barbed wire borders, in their evocation of the Crown of Thorns are inseparable from the commonplace war themes of Christian suffering and redemption. But they also serve to hem in both text and image in a tightly controlled space that offers safety as well as remembrance, thus ensuring that once Maréchal had given voice to his memories, he could, as in one of the manuscript’s final images, walk away from the war. His experiences could no longer escape the constraints in which he had both literally and figuratively bound them; he could at last put the war behind him.
A Centennial Remembrance
Today: The Quarries Where Maréchal Once Served |
A two-volume facsimile was published in an edition of 500 copies in September 2016. Volume One contains the exact reproduction of the manuscript. Volume Two contains the full text in French with accompanying English translation by John Anzalone, Maya Mortman, and Anna Tracht, with historical and cultural annotations by John Anzalone. Additional appendices on the biography of Maréchal and the topography referenced in the Journal are the work of Bernard and Lucette Lambot. The set was issued in celebration of the opening of the Machemont quarries for the Great War centennial observations and recognized by the European Union as possessing historical importance.
3 April 25 NEWS! The entire manuscript of Journal Des Tranchées can now be viewed online HERE (in 4 sections) thanks to JSTOR.org.
About Our Contributor
John Anzalone is Professor of French and Media/Film Studies, Emeritus at the Department of World Languages and Literatures, Skidmore College, Saratoga Springs NY.
Contact John at: janzalon@skidmore.edu