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Impact On Lutyens The renowned architectural historian Nikolaus Pevsner described the Cenotaph as "the chief national war memorial".[119] Gavin Stamp, a British architectural historian and the author of Lutyens's entry in the Oxford Dictionary of National Biography, wrote that Lutyens's work commemorating the British war dead (the Cenotaph, his work with the IWGC and his memorial commissions elsewhere) was responsible for Lutyens's elevation to the status of a national figure.[120][121] A few days after the unveiling, Lloyd George wrote to Lutyens: "the Cenotaph, by its very simplicity, fittingly expresses the memory in which the people hold all those who so bravely fought and died" in the war.[122][123] In 1921, Lutyens was awarded the Royal Institute of British Architects' highest award, the Royal Gold Medal, for his body of work. Presenting the medal, the institute's president, John Simpson, described the Cenotaph as "the most remarkable of all [Lutyens's] creations [...] austere yet gracious, technically perfect, it is the very expression of repressed emotion, of massive simplicity of purpose, of the qualities which mark those whom it commemorates and those who raised it."[34][124] According to Jane Brown, in her biography of the architect, Lutyens was faced with a "constant stream" of war memorial commissions from the unveiling of the temporary Cenotaph until at least 1924.[125] He went on to design more than 130 war memorials and cemeteries, many influenced by his work on the Cenotaph. His Southampton Cenotaph was unveiled in 1920, while the permanent monument on Whitehall was still under construction. His later cenotaphs include Rochdale, Manchester, and the Midland Railway War Memorial in Derby. Lutyens also used the design for monuments in several of his cemeteries in Belgium and France for the IWGC, most famously at Étaples.[126] On art and literature Examples of artworks featuring the Cenotaph include Immortal Shrine (1928) by Will Longstaff (held at the Australian War Memorial) and The Cenotaph (Morning of the Peace Procession) (1919) by Sir William Nicholson.[127][128] The latter work by Nicholson sold at auction at Christie's in London in 2018 for £62,500.[129] The Cenotaph also featured on the reverse of the 1928 Armistice Day memorial medal by Charles Doman.[130] Examples of the Cenotaph featuring in artworks commemorating national events include the ceremonial paintings commissioned in 1920 by the government and the king from Frank Owen Salisbury to mark the unveiling of the Cenotaph, titled The Passing of the Unknown Warrior, 11 November 1920. A study for the work hangs in Buckingham Palace; the main work is in the Ministry of Defence Main Building off Whitehall.[131][132] Painting of a monument The temporary cenotaph on the morning of the Peace Procession in 1919 by Sir William Nicholson The Cenotaph represented on a metal coin The Cenotaph featured on the reverse of the 1928 Armistice Day memorial medal by Charles Doman A 1936 novel by Irene Rathbone with an anti-war theme, They Call it Peace, concluded with a scene set at the Cenotaph in which two women complete pilgrimages to the monument, one to honour the dead and one feeling that the deaths were in vain.[133] The cultural response to the Cenotaph also includes poetry such as "The Cenotaph" (1919) by Charlotte Mew, "The Cenotaph in Whitehall" (1920) by Max Plowman, "The Cenotaph" (1922) by Ursula Roberts, "London Stone" (1923) by Rudyard Kipling, "At the Cenotaph" (1933) by Siegfried Sassoon, and "At the Cenotaph" (1935) by Hugh MacDiarmid. Laurence Binyon's "For the Fallen" (1914) is closely associated with the Cenotaph, having been recited at its unveiling, and commonly features in remembrance services,[134][135][136] particularly the fourth stanza, which concludes: "At the going down of the sun, and in the morning, we will remember them."[137] According to the literary historian Alex Moffett, the poems about the Cenotaph convey the different narratives of the First World War and the way in which it should be remembered, in much the same way that the monument itself is open to interpretation. The poetry also expresses the conflict between sombre commemoration of the dead and celebration of victory, "a tension that many have read within the Cenotaph itself".[138] On other war memorials Military parade at a monument Remembrance Day parade, at the Cenotaph in Hamilton, Bermuda, 1990 According to one study of British war memorials, the Cenotaph's "deceptively simple design and deliberately non-sectarian message ensured that its form would be adopted widely, with local variations".[139] From its unveiling, the Cenotaph proved highly influential on other war memorials in Britain. The art historian Alan Borg wrote that the Cenotaph was the "one memorial that proved to be more influential than any other".[140] Several towns and cities erected war memorials based to some extent on Lutyens's design for Whitehall, though the term "cenotaph" came to be applied to almost any war memorial that was not itself a tomb.[141][142] Lutyens designed several other cenotaphs in England and one in Wales, while replicas, of varying quality and accuracy, were built across Britain, along with many other monuments inspired to some extent by Lutyens's design.[143][144] Examples include Leeds War Memorial and Glasgow Cenotaph.[145] Replicas were also built in other countries of the British Empire, usually by local architects with input from Lutyens.[146][147] The government of Bermuda opted for a two-thirds scale replica, unveiled in 1925, having paid Lutyens a fee for his plans and for advice on the site. A wooden replica was erected in London, Ontario, until a permanent version, a three-quarters scale replica of Whitehall's, could be erected in 1934. Hong Kong's Cenotaph, unveiled in 1928, was built by a local architectural practice with input from Lutyens. The cenotaph at the Auckland War Memorial Museum in New Zealand is a copy of Whitehall's, though Lutyens was not involved in its inception. Purchasing the designs from Lutyens was deemed too expensive so a local architect, Keith Draffin, sketched it from cinema newsreels. At least four other copies exist in New Zealand.[146] Several temporary replicas were built as placeholders until permanent memorials could be built, including one in Toronto, Canada, replaced with the Old City Hall Cenotaph, and one in Melbourne, Australia, which stood until 1937, three years after the completion of the Shrine of Remembrance.[148] Borg observed that there was no agreed standard for war memorials, with wide variations in design, though Lutyens's Cenotaph and Sir Reginald Blomfield's Cross of Sacrifice came closest.[46] Such was the impact of the Cenotaph that even Blomfield, a great rival of Lutyens, drew on it for his Royal Air Force Memorial a short distance away on the bank of the River Thames.[143] According to King, the Cenotaph's popularity with the public and its widespread use and adaptation by other artists, including professional rivals, showed the extent to which it became common property rather than a concept exclusive to Lutyens.[145] The Imperial War Museum's War Memorials Register identified at least 55 replica or similar cenotaphs in Britain alone.[64]
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