The Albert Memorial, directly north of the Royal Albert Hall in Kensington Gardens, London, was commissioned by Queen Victoria in memory of her beloved husband Prince Albert, who died in 1861. Designed by Sir George Gilbert Scott in the Gothic Revival style, it takes the form of an ornate canopy or pavilion 176 feet (54m) tall, in the style of a Gothic ciborium over the high altar of a church,[1] sheltering a statue of the prince facing south. It took over ten years to complete, the £120,000 cost (the equivalent of about £10,000,000 in 2010) met by public subscription.
The memorial was opened in July 1872 by Queen Victoria, with the statue of Albert ceremonially "seated" in 1876.[2] It has been Grade I listed since 1970.[3]
When Prince Albert died on 14 December 1861, at the age of 42, the thoughts of those in government and public life turned to the form and shape of a suitable memorial, with several possibilities, such as establishing a university or international scholarships, being mentioned. Queen Victoria, however, soon made it clear that she desired a memorial "in the common sense of the word". The initiative was taken by the Lord Mayor of London, William Cubitt, who, at a meeting on 14 January 1862, appointed a committee to raise funds for a design to be approved by the Queen. The control and future course of the project, though, moved away from Mansion House, and ended up being controlled by people close to the Queen, rather than the Mayor. Those who determined the overall direction from that point on were the Queen's secretary, General Charles Grey, and the keeper of the privy purse, Sir Charles Phipps. His assistant Doyne Bell was secretary of the committee and later published The National Memorial to His Royal Highness the Prince Consort (1873).[4]
Following the deaths of Grey and Phipps, their roles were taken on by Sir Henry Ponsonby and Sir Thomas Biddulph. Eventually, a four-man steering committee was established, led by Sir Charles Lock Eastlake. Eastlake had overall control for the project until his death in 1865. An initial proposal for an obelisk memorial failed, and this was followed in May 1862 by the appointment of a seven-strong committee of architects. A range of designs were submitted and examined. Two of the designs (those by Philip Charles Hardwick and George Gilbert Scott) were passed to the Queen in February 1863 for a final decision to be made. Two months later, after lengthy deliberations and negotiations with the government over the costs of the memorial, Scott's design was formally approved in April 1863.
The popularity of the Prince Consort led to the creation of several "Albert Memorials" around the United Kingdom. The Kensington memorial was not the earliest; the first memorial depicting the Prince to be erected was Thomas Worthington's Albert Memorial in Albert Square, Manchester, unveiled in 1865.[5] Both memorials present the figure of Prince Albert enclosed within a Gothic ciborium, and the similarities of design have been remarked on.[6] (The earliest memorial to be erected was the Prince Albert Memorial in Swanage, in 1862, in the form of an obelisk.[7])
There is some controversy as to whether the memorial in Manchester was influenced by the publication of Scott's design, or whether Scott was himself inspired by Worthington's design, or whether both architects decided on their canopy designs independently.
Worthington's design was published in The Builder on 27 September 1862, before Scott's final design was unveiled.[6] However, writing in his Recollections, Gilbert Scott suggested his own design was original:
My idea in designing the Memorial was to erect a kind of ciborium to protect a statue of the Prince; and its special characteristic was that the ciborium was designed in some degree on the principles of the ancient shrines. These shrines were models of imaginary buildings, such as had never in reality been erected; and my idea was to realise one of these imaginary structures with its precious materials, its inlaying, its enamels, etc. etc. ... this was an idea so new as to provoke much opposition.[6]
The Albert Memorial was not the first revivalist design for a canopied statue in a Gothic style – the Scott Monument in Edinburgh had been designed by George Meikle Kemp over twenty years earlier, and may itself have influenced Worthington's designs for Manchester.[6]
Statue of Albert
The commission to make the seated figure of Prince Albert for the memorial was initially given to Baron Carlo Marochetti, a favourite sculptor of Queen Victoria. However, his first version was rejected by the architect of the monument, Sir George Gilbert Scott, and Marochetti died in late 1867, before a satisfactory second version could be completed. In May 1868, John Henry Foley, sculptor of the monument's Asia group, was commissioned to make the portrait, and his sketch model approved in December of that year. A full-sized model was placed on the monument in 1870, and the design approved by the Queen. The final statue was cast in bronze by Henry Prince and Company, of Southwark; Foley died in August 1874 before casting was complete.[8]
The gilt bronze statue was ceremonially "seated" in 1875, three years after the memorial opened. Albert is shown looking south, towards the Royal Albert Hall. He is robed as a Knight of the Garter, and holds a catalogue of the Great Exhibition, which was located nearby in Hyde Park.
The central part of the memorial is surrounded by the elaborate sculptural Frieze of Parnassus (named after Mount Parnassus, the favorite resting place for the Greek muses), which depicts 169 individual composers, architects, poets, painters, and sculptors. Musicians and poets were placed on the south side, painters on the east side, sculptors on the west side, and architects on the north side. Henry Hugh Armstead carved the figures on the south and east side, the painters, musicians and poets (80 in total), and grouped them by national schools. John Birnie Philip carved the figures on the west and north side, the sculptors and architects, and arranged them in chronological order.
Allegorical sculptures
At the corners of the central area, and at the corners of the outer area, there are two programmes of allegorical sculpture, or at least sculptures of personifications: four groups depicting Victorian industrial arts and sciences (agriculture, commerce, engineering and manufacturing), and four more groups representing the traditional four continents: Africa, the Americas, Asia and Europe at the four corners, each continent-group including several ethnographic figures and a large animal: A camel for Africa, a bison for the Americas, an elephant for Asia and a bull for Europe. These groups represent something of a blend of traditional iconography for the continents personified, and an attempt to update them.
The form of the monument "is clearly derived" from the Gothic Scaliger Tombs outside a church in Verona.[9] The mosaics for each side and beneath the canopy of the Memorial were designed by Clayton and Bell and manufactured by the firm of Salviati of Murano, Venice.
Around the canopy, below its cornice, is a dedicatory legend split into four parts, one for each side. The legend reads: Queen Victoria And Her People • To The Memory Of Albert Prince Consort • As A Tribute Of Their Gratitude • For A Life Devoted to the Public Good.
Near the top of the canopy's tower are eight statues of the moral and Christian virtues, including the four cardinal virtues and the three theological virtues. The virtues are: Faith, Hope, Charity and Humility, and Fortitude, Prudence, Justice and Temperance. Humility is considered to be annexed to the virtue of temperance. Above these, towards the top of the tower, are gilded angels raising their arms heavenwards. At the very top of the tower is a gold cross.
Below the Memorial is a large undercroft, consisting of numerous brick arches, which serves as the foundation that supports the large weight of the stone and metal used to build the monument.
The Albert Memorial faces the Royal Albert Hall, built several years after construction began on the Memorial.Albert Memorial shortly after its construction, albumen print, c.1876
The sculptor Henry Hugh Armstead coordinated this massive effort among many artists of the Royal Academy, including Thomas Thornycroft (carved the "Commerce" group), Patrick MacDowell (carved the "Europe" group, his last major work), John Bell (carved the "America" group), John Henry Foley (carved the "Asia" group and started the statue of Albert), William Theed (carved the "Africa" group), William Calder Marshall, James Redfern (carved the four Christian and four moral virtues including Fortitude[10]), John Lawlor (carved the "Engineering" group) and Henry Weekes (carved the "Manufactures" group). The Scottish sculptor William Calder Marshall carved the "Agriculture" group. The figure of Albert himself, although begun by Foley, was completed by Thomas Brock, in what was Brock's first major work.
Armstead created some 80 of the figure sculptures on the southern and eastern sides of the memorial's podium. The north and west sides were carved by the sculptor John Birnie Philip. Armstead also sculpted the bronze statues representing Astronomy, Chemistry, Rhetoric, and Medicine.
Henry Weekes carved the allegorical work Manufactures (1864–70). Although Weekes was not on Queen Victoria's original list of sculptors, being selected to work on the project only after John Gibson declined to participate, his group occupies the preferable south side of the finished monument. A central female figure holds an hourglass, symbolising the critical nature of time to industry, while an ironworker stands at his anvil and a potter and weaver offer their wares.[8][11]
Later history
On 23rd of March, 1958, Spike Milligan included the Albert Memorial as part of his Goon Show episode 'The First Albert Memorial to the Moon'! The statue of Prince Albert was removed to a place of safety before the rest of the memorial was transformed into a spaceship.
By the late 1990s the Memorial had fallen into a state of some decay. A thorough restoration was led by Peter Inskip + Peter Jenkins Architects and the works were carried were out by Mowlem. These included cleaning, repainting, re-gilding the monument and structural repairs.[12] In the process the cross on top of the monument, which had been put on sideways during an earlier restoration attempt, was returned to its correct position. Some of the restoration, including repairs to damaged friezes, were of limited success.
The centrepiece of the Memorial is a seated figure of Prince Albert, which is now covered in gold leaf. For eighty years the statue had been covered in black paint. Various theories had existed that it was deliberately blackened during World War I to prevent it becoming a target for Zeppelin bombing raids or domestic anti-German sentiment. English Heritage's research prior to the restoration suggests that the black coating pre-dates 1914 and may have been a response to atmospheric pollution that had destroyed the original gold leaf surface. Further restoration work, including re-pointing the steps surrounding the memorial, commenced in the summer of 2006.
Public afternoon tours are held on the first Sunday each month allowing visitors a closer look at the Frieze of Parnassus.[13]
Nelson's Column is a monument in Trafalgar Square in the City of Westminster, Central London, built to commemorate Vice-Admiral Horatio Nelson's decisive victory at the Battle of Trafalgar over the combined French and Spanish navies, during which he lost his life, killed by a French sniper. The monument was constructed between 1840 and 1843 to a design by William Railton at a cost of £47,000. It is a column of the Corinthian order built from Dartmoor granite. The statue of Nelson was carved from Craigleith sandstone by sculptor Edward Hodges Baily. The four bronze lions around its base, designed by Sir Edwin Landseer, were added in 1867.
Sir John Robert Steell was a Scottish sculptor. He modelled many of the leading figures of Scottish history and culture, and is best known for a number of sculptures displayed in Edinburgh, including the statue of Sir Walter Scott at the base of the Scott Monument.
The Scott Monument is a Victorian Gothic monument to Scottish author Sir Walter Scott. It is the second-largest monument to a writer in the world after the José Martí monument in Havana. It stands in Princes Street Gardens in Edinburgh, opposite the former Jenners building on Princes Street and near Edinburgh Waverley Railway Station, which is named after Scott's Waverley novels.
Albert Square is a public square in the centre of Manchester, England. It is dominated by its largest building, the Grade I listed Manchester Town Hall, a Victorian Gothic building by Alfred Waterhouse. Other smaller buildings from the same period surround it, many of which are listed.
Alfred George Stevens, was a British sculptor. His major work is the monument to the Duke of Wellington in St Paul's Cathedral.
Henry Hugh Armstead was an English sculptor and illustrator, influenced by the Pre-Raphaelites.
Baron Pietro Carlo Giovanni Battista Marochetti was an Italian-born French sculptor who worked in France, Italy and Britain. He completed many public sculptures, often in a neo-classical style, plus reliefs, memorials and large equestrian monuments in bronze and marble. In 1848, Marochetti settled in England, where he received commissions from Queen Victoria. Marochetti received great recognition during his lifetime, being made a baron in Italy and was awarded the Legion of Honour by the French government.
Sir Thomas Brock was an English sculptor and medallist, notable for the creation of several large public sculptures and monuments in Britain and abroad in the late nineteenth and early twentieth centuries. His most famous work is the Victoria Memorial in front of Buckingham Palace, London. Other commissions included the redesign of the effigy of Queen Victoria on British coinage, the massive bronze equestrian statue of Edward, the Black Prince, in City Square, Leeds and the completion of the statue of Prince Albert on the Albert Memorial.
John Henry Foley, often referred to as J. H. Foley, was an Irish sculptor, working in London. He is best known for his statues of Daniel O'Connell in Dublin, and of Prince Albert for the Albert Memorial in London and for a number of works in India.
Matthew Noble was a leading British portrait sculptor. Carver of numerous monumental figures and busts including work, memorializing Victorian era royalty and statesmen, displayed in locations such as Westminster Abbey, St Paul's Cathedral and Parliament Square, London.
John Birnie Philip was a nineteenth-century English sculptor. Much of his work was carried out for the architect Sir George Gilbert Scott.
John Graham Lough was an English sculptor known for his funerary monuments and a variety of portrait sculpture. He also produced ideal classical male and female figures.
John Bell (1812–1895) was a British sculptor, born in Bell's Row, Great Yarmouth, Norfolk. His family home was Hopton Hall, Suffolk. His works were shown at the Great Exhibition of 1851, and he was responsible for the marble group representing "America" on the Albert Memorial in London.
James Frank Redfern (1838–1876), sculptor, was born at Hartington in Derbyshire, in 1838. He is best known for works incorporated into Gothic churches, including Salisbury Cathedral and Gloucester Cathedral. He also created the eight virtue statues which are included in the Albert Memorial.
The Frieze of Parnassus is a large sculpted stone frieze encircling the podium, or base, of the Albert Memorial in London, England. The Albert Memorial was constructed in the 1860s in memory of Prince Albert, the husband of Queen Victoria.
Richard Coeur de Lion is a Grade II listed equestrian statue of the 12th-century English monarch Richard I, also known as Richard the Lionheart, who reigned from 1189 to 1199. It stands on a granite pedestal in Old Palace Yard outside the Palace of Westminster in London, facing south towards the entrance to the House of Lords. It was created by Baron Carlo Marochetti, an Italian sculptor whose works were popular with European royalty and the nobility, though often less well regarded by critics and the artistic establishment. The statue was first produced in clay and displayed at The Great Exhibition in 1851, where it was located outside the west entrance to the Crystal Palace. It was well received at the time and two years later Queen Victoria and Prince Albert headed a list of illustrious subscribers to a fund that aimed to raise money for the casting of the statue in bronze.
The Queen Victoria Memorial in Lancaster, Lancashire, England, is a Grade II* listed building. It stands in the centre of Dalton Square, Lancaster facing Lancaster Town Hall. It was erected in 1906, being commissioned and paid for by James Williamson, 1st Baron Ashton.
The Royal Mausoleum is a mausoleum for Queen Victoria and her husband Prince Albert, Prince Consort. It is located on the Frogmore estate within the Home Park at Windsor in Berkshire, England. It was listed Grade I on the National Heritage List for England in October 1975. Built between 1862 and 1871, Albert, who died in 1861, was interred in the mausoleum in 1871 following its completion. Victoria was interred on 4 February 1901 following her death in late January.
The Jubilee Memorial, Harrogate, is a Grade II listed building. It is a Gothic Revival stone memorial in Harrogate, North Yorkshire, England, commemorating the 1887 golden jubilee of Queen Victoria. It was donated to Harrogate by its mayor, Richard Ellis, designed by architect Arthur Bown, and unveiled by the Marquis of Ripon.
↑ Curl, James Stevens, A celebration of death: an introduction to some of the buildings, monuments, and settings of funerary architecture in the Western European tradition, p. 348, B. T. Batsford, 1993, ISBN978-0-7134-7336-0.
↑ 'Albert Memorial: The memorial', Survey of London: volume 38: South Kensington Museums Area (1975), pp. 159–176. Date accessed: 20 February 2008.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
