Forgotten Weapons
Published 8 Dec 2025In the latter half of World War One the Austro-Hungarian military experimented with a number of select-fire pistol type weapons. One of these was the Steyr Repetierpistole M1912/16, an automatic adaptation of the regular M1912 pistol. It was given a 16-round fixed magazine (loaded via two 8-round stripper clips) and a selector switch. A total of 200 were produced, each supplied with a shoulder stock to help make the blistering 1200 rpm rate of fire somewhat usable. The design was not made from scratch, but rather adapted form the existing 1912 fire control system, which makes for a rather unorthodox system.
In addition to 200 of these pistols, the Austro-Hungarian military also acquired 50 twin-gun systems, which two of these pistols were attached to a frame with a single shoulder stock between them (no surviving examples of those are known today).
Frommer Pistolen-MG Model 1917 video:
• Frommer Pistolen-MG Model 1917: A Crazy Vi…Many thanks to the VHU — the Czech Military History Institute — for giving me access to these two fantastic prototypes to film for you. The Army Museum Žižkov is a part of the Institute, and they have a 3-story museum full of cool exhibits open to the public in Prague. If you have a chance to visit, it’s definitely worth the time! You can find all of their details (including their aviation and armor museums) here:
April 25, 2026
Steyr M1912/16 Automatic “Repetierpistole“
QotD: Goethe, the lost German master
This was the atmosphere in which I discovered Germany. It was a minor act of defiance to choose German instead of Latin for O-level, but with hindsight I was extremely fortunate to have the choice. There were two German teachers in my grammar school of just 600 pupils. Today, even the best state schools seldom offer the subject; not one of our four children has had the opportunity that I had to study German language and, especially, literature up to the high standard that was then expected at A-level.
Today, the texts are almost all recent and appear to be chosen partly with the film of the book in mind. In particular, Goethe has disappeared from the syllabus, presumably because the language is considered too archaic. Yet I recall the immense pleasure and satisfaction of mastering a Goethe play — Egmont. The story of the dashing Dutchman and his martial defiance of the sinister Duke of Alba, the courage of his beloved, Klärchen, who fantasises in song about how wonderful it would be to be a man and fight the Spaniards — “ein Glück sondergleichen ein Mannsbild zu sein“. Somehow I even obtained an LP of Beethoven’s incidental music for Egmont: seldom heard apart from the overture, but brilliantly evoking the grandeur of the drama.
Like Homer, Dante and Shakespeare, Goethe belongs not just to German literature, but to world literature, Weltliteratur — a term he coined. I am told that even in German Gymnasien, Goethe is little studied now. He is certainly a rare bird in English schools — or even universities. It is tragic that educated people, including students of literature, so seldom encounter the greatest of Germans even in translation. We might get on better with Germany if we did.
Daniel Johnson, “How I discovered Germany”, The Critic, 2020-08-02.
