Yes, I know: it should be a 48-star flag... The 115th A.A.A. Gun Battalion, 1943 to 1945

Symphony in B-Flak

ENGLAND (Part 4b)

The 184th A.A.A. at Lippitts Hill

[Note: The material on this page is not part of the original book Symphony in B Flak. ]

Below: Illustration of the London Gun Control Room during a raid. From the Illustrated London News, Feb 12, 1944.

(click on the image above for a higher resolution image)

Caption: THE HUB OF LONDON'S ANTI-AIRCRAFT DEFENCES: THE HEADQUARTERS STAFF, SEATED HIGH ON THE RIGHT OF THE GUN CONTROL ROOM, DIRECTING THE DEFENCE OF THE LONDON AREA DURING A RAID. Our drawing shows the interior of the underground, sound-proof Gun Control Room at the headquarters of London's anti-aircraft defence organisation during a recent raid. To this room comes information from every available source as to the height and direction of enemy bombers approaching or attacking the capital, and the movements of our own fighter aircraft. This information is instantly charted on the plotting tables and indicators, and is then broadcast to the groups of anti-aircraft gun positions involved in the action. Around the walls of the room can be seen various indicators, the projecting frames on the left, for instance, being the Height and Gun Group panels, where illuminated letters and discs show which batteries are engaging targets and the ranges at which the guns are firing. Next to them are boards indicating such things as weather and wind conditions and balloon barrage detailjs, these boards being surmounted by a moon indicator. At the back (left) is the R.A.F. table, manned by Royal Signals A.T.S. personnel: section and group plotters who track the movements of all aircraft over the whole area. The gun control information tables are in front. On these, Royal Artillery A.T.S. personnel -- two plotters and two removers at each table -- record and instantly plot the movements of hostile aircraft in various areas. Dominating the scene (right) are the broadcasting "pulpit" and high, three-sided control desk, from which every table and indicator can be seen. The broadcasting officer (a gunner subaltern) is radiating filtered information from the tables to the gun sites, while on his right stands a bombardier acting as floor supervisor and gun duty officer's assistant. On the near side of the broadcasting officer is an H.Q. switchboard and Signals operator. At the control desk above them sit the anti-aircraft H.Q. Staff, controlling the operation under the command of the Major-General (second from left). On his right is his G.S.O.1 at the telephone, and on his left is the senior gun duty officer, then a subaltern on duty, a senior Intelligence officer, and finally an A.T.S. clerk acting as Intelligence officer's assistant. The American A.-A. gun battery now in action in London's defence (see our artist's drawing on a preceding page) comes under the comprehensive direction of this Headquarters Staff.

Drawn by our War Artist, Captain Bryan de Grineau, who was present in the Gun Control Room during a recent Raid.

The 184th A.A.A. Gun Battalion was responsible for the position at Lippitts Hill to which Battery "B" was sent on March 14, 1944. Battery "B" relieved the 184th's Battery "A" in order to allow a Battery from the 184th to participate in Mobility Training. The material on this page is from the Illustrated London News, Feb 12, 1944, and has kindly been provided by David J. Anderson, whose father, Capt. David B. Anderson, commanded the 184th's Battery "A".

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... relieves Battery "A" of the 184th AAA Gun Bn at Lippitts Hill. This article from the Illustrated London News describes the role of the 184th in the air defense of London.
Updated Wednesday June 08, 2005 08:18:37 PDT
The original text of Symphony in B Flak, published by B Battery in 1945, is in the public domain. So how, you may ask, can I claim that the contents of these web pages are protected by copyright?

The answer is that it is my own transcription of the text and images into electronic format, and compilation into these web pages that is copyrighted. In addition, the web design, art, and annotations, plus all material from my father's personal albums are copyrighted original works. I reserve all rights to how all these materials are used. You may not copy them or store them in any retrieval system without permission.