William Shakespeare has been commemorated in a number of different statues and memorials around the world, notably his funerary monument in Stratford-upon-Avon (c. 1623); a statue in Poets' Corner in Westminster Abbey, London, designed by William Kent and executed by Peter Scheemakers (1740); [1] and a statue in New York's Central Park by John Quincy Adams Ward (1872). [2] [3]
Shakespeare's funerary monument is the earliest memorial to the playwright, located inside Holy Trinity Church, Stratford-upon-Avon, Warwickshire, UK, the same church in which he was baptised. The exact date of its construction is not known, but must have been between Shakespeare's death in 1616 and 1623, when it is mentioned in the First Folio of the playwright's works.
The monument, by Gerard Johnson, is mounted on a wall above Shakespeare's grave. It features a bust of the poet, who holds a quill pen in one hand and a piece of paper in another. His arms are resting on a cushion. Above him is the Shakespeare family's coat of arms, on either side of which stands two allegorical figures: one, representing Labour, holds a spade, the other, representing Rest, holds a torch and a skull.
As Shakespeare's reputation rose, monuments began to be created in nationally significant locations. William Kent designed a statue for Poets' Corner in Westminster Abbey. The design was executed by the sculptor Peter Scheemakers and installed in 1740. Its creation was funded by Lord Burlington and Alexander Pope, among others. At least two fundraising events were led by the efforts of the Shakespeare Ladies Club: a benefit performance of Julius Caesar on April 28, 1738 at Drury Lane and a benefit performance of Hamlet on April 10, 1739 at Covent Garden. [4] [5] There are carved heads on the pedestal, which probably depict Queen Elizabeth I, Henry V and Richard III. Shakespeare is depicted leaning on books and pointing to a scroll which has a slightly misquoted version of Prospero's lines from The Tempest about the globe dissolving to "leave not a wrack behind". A variant of Kent's design was installed in a Glasgow theatre in 1764. It is now in the Theatre Royal in Dunlop Street. [6]
In 1757 the English actor David Garrick commissioned a marble statue of William Shakespeare from the French sculptor Louis-François Roubiliac for his Palladian Temple to Shakespeare at Hampton. Garrick himself is thought to have posed for the statue. [7] It was bequeathed, along with Garrick's books, to the British Museum in 1779; in 2005 it was transferred to the British Library. [8] Garrick later commissioned Roubiliac to produce a bust of the poet for his Shakespeare festival in Stratford in 1769; [9] this is now in the Garrick Club in London. [2]
In 1788, in the exterior wall of John Boydell's Shakespeare Gallery building, the architect George Dance the Younger placed Thomas Banks's sculpture Shakespeare attended by Painting and Poetry, for which the artist was paid 500 guineas. The sculpture depicted Shakespeare, reclining against a rock, between the Dramatic Muse and the Genius of Painting. Beneath it was a panelled pedestal inscribed with a quotation from Hamlet: "He was a Man, take him for all in all, I shall not look upon his like again". [10] [11] The building was later used by the British Institution. After its demolition the monument was relocated to the garden of New Place in Stratford.
By the nineteenth century Shakespeare's reputation had advanced to the point of what came to be known as bardolatry. Statues and other memorials began to appear outside Britain, while in Britain itself Shakespeare's status as national poet was consolidated.
New York City's Central Park contains a statue of Shakespeare that was commissioned in 1864 as a celebration of the tricentenary of Shakespeare's birth in 1564. Funds were raised by a performance of Julius Caesar in which Edwin Booth took the lead role, with John Wilkes Booth playing Mark Antony. [12] The statue was designed by John Quincy Adams Ward. Following the creation of the statue, in 1873 commissioners proposed that the Mall should be a designated location for sculpture and the statue was moved there, soon to be accompanied by others [13] (in 1986, a replica of the statue was made for the State Theater in Montgomery, Alabama, which has a yearly Shakespeare Festival). [14]
In 1888, a large seated statue by William Ordway Partridge was unveiled in Lincoln Park, Chicago and in 1896 a bronze statue of Shakespeare by Frederick William MacMonnies was erected as part of a series representing the world's geniuses in the gallery of the reading-room of the Library of Congress.
With the removal of Banks's sculpture to New Place in 1871 London boasted no outdoor public memorial to the bard, and the erection of the New York statue in 1872 made this omission particularly glaring. In 1874 the financier Baron Albert Grant, wishing to address this situation, installed a fountain with a marble statue of Shakespeare at its centre in the gardens of Leicester Square. Sculpted by Giovanni Fontana, this was a replica of Scheemakers's monument in Poets' Corner. [15] Another statue was erected in Stratford, London, a suburb with the same name as Shakespeare's home town.
In 1877 a committee was created in Stratford-upon-Avon to erect a memorial to Shakespeare. This originally comprised a theatre building, to be sited on land donated by the bank of the Avon within sight of the church where Shakespeare was buried. A statue was also created in 1888, the work of Lord Ronald Gower. This is situated in Stratford's Bancroft Gardens. The monument shows Shakespeare seated on a pedestal, surrounded, at ground level, by statues of Hamlet, Lady Macbeth, Prince Hal, and Falstaff. These characters were intended to be emblematic of Shakespeare's creative versatility: representing Philosophy, Tragedy, History, and Comedy. [13] Another statue is present in a niche on the exterior of the town hall building.
Though most memorials are to be found in English speaking countries, there are also monuments elsewhere. In 1888 a statue was erected on the Boulevard Haussmann in Paris, designed by Paul Fournier. [16]
Between 1970 and 1993, an image of the Poets' Corner statue of Shakespeare appeared on the reverse of Series D £20 notes issued by the Bank of England. Alongside the statue was an engraving of the balcony scene from Romeo and Juliet. [17] [18]
A complex memorial to Shakespeare was created in Southwark Cathedral, which was his parish church when he lived in London close to the Globe Theatre. It is also the burial place of Shakespeare's brother Edmund, along with other Elizabethan actors and playwrights. A recumbent statue of Shakespeare, created by Henry McCarthy in 1912, was placed in a niche on which was carved images of Elizabethan Southwark depicting the Globe, Winchester Palace and the tower of the church. An elaborate stained glass window was also created, depicting Shakespearean characters. The original window was destroyed by a bomb blast in World War II but was replaced in 1954. A birthday celebration of Shakespeare is held every year in April. [19]
Despite Germany's early role in canonising Shakespeare it was not until 1904 that a statue was erected in Weimar showing him, as one critic has put it, "seated and staring into the distance with a bemused and thoughtful look". [20] It was designed by Otto Lessing.
In Denmark, a memorial statue was commissioned to commemorate the 300th anniversary of the publication of Hamlet in 1603. [21] The statue, designed by Louis Hasselriis, was funded by public subscription and erected in Elsinore, along with a sculpture of Hamlet.
A memorial in Sydney, Australia was erected in 1926, designed by Australian sculptor Sir Bertram MacKennal. It was commissioned by Henry Gullett (d. 4 August 1914), a former president of the Shakespeare Society of New South Wales. Paid for with a bequest from his estate, Gullett's daughter Lucy Gullett ensured that the commission was carried out after her father's death. It depicts not only Shakespeare at the top, but five of his most famous characters around the base – Hamlet, Romeo and Juliet embracing, Portia and Falstaff. It is located in Shakespeare Place, between the Mitchell Library (part of the State Library of New South Wales) and the Royal Botanic Gardens. In 1959 the statue was repositioned to make way for the Cahill Expressway.
Though initiated in 1889, the project to create a Shakespeare statue in Ballarat was not completed until 1960. Financial problems led to repeated shelving of the project. Eventually private donations to the fund produced sufficient resources to commission a bronze sculpture from Andor Meszaros, an Australian artist originally from Hungary. The statue depicts Shakespeare bowing, as if at the end of a performance.
A statue was created for Logan Circle, Philadelphia in 1926, designed by Alexander Stirling Calder. It does not depict Shakespeare himself, but rather the figures of Touchstone the jester from As You Like It , representing comedy, and Hamlet, representing tragedy. Touchstone is lounging with his head tilted laughing, his feet hanging over the top of the tall stone pedestal and his left arm resting on Hamlet's legs. Hamlet is seated, brooding, his knife dangling over Touchstone's body. [22] The opening lines of the famous All the world's a stage speech from As You Like It are inscribed on the pedestal beneath the figures.
A statue made from tin was erected in the gardens outside the Festival Theatre, the principal theatre on the grounds of the Stratford Shakespeare Festival, held every year from April to November in Stratford, Ontario, Canada.
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Thomas Banks was an important 18th-century English sculptor.
David Garrick was an English actor, playwright, theatre manager and producer who influenced nearly all aspects of European theatrical practice throughout the 18th century, and was a pupil and friend of Samuel Johnson. He appeared in a number of amateur theatricals, and with his appearance in the title role of Shakespeare's Richard III, audiences and managers began to take notice.
Joseph Nollekens R.A. was a sculptor from London generally considered to be the finest British sculptor of the late 18th century.
Peter Scheemakers or Pieter Scheemaeckers II or the Younger was a Flemish sculptor who worked for most of his life in London. His public and church sculptures in a classicist style had an important influence on the development of modern sculpture in England.
William Ordway Partridge was an American sculptor, teacher and author. Among his best-known works are the Shakespeare Monument in Chicago, the equestrian statue of General Grant in Brooklyn, the Pietà at St. Patrick's Cathedral in Manhattan, and the Pocahontas statue in Jamestown, Virginia.
Louis-François Roubiliac was a French sculptor who worked in England. One of the four most prominent sculptors in London working in the rococo style, he was described by Margaret Whinney as "probably the most accomplished sculptor ever to work in England".
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.
The Shakespeare funerary monument is a memorial to William Shakespeare located inside Holy Trinity Church at Stratford-upon-Avon in Warwickshire, the church in which Shakespeare was baptised and where he was buried in the chancel two days after his death.
John Cheere (1709–1787) was an English sculptor, born in London. The younger brother of the sculptor Sir Henry Cheere, he was originally apprenticed as a haberdasher from 1725 to 1732.
No contemporary physical description of William Shakespeare is known to exist. The two portraits of him that are the most famous are the engraving that appears on the title-page of the First Folio, published in 1623, and the other is the sculpture that adorns his memorial in Stratford upon Avon, which dates from before 1623. Experts and critics have argued that several other paintings from the period may represent him, and more than 60 portraits purporting to be of Shakespeare were offered for sale to the National Portrait Gallery within four decades of its foundation in 1856, but in none of them has Shakespeare's identity been proven.
Sir Henry Cheere, 1st Baronet was a renowned English sculptor and monumental mason. He was the older brother of John Cheere, also a notable sculptor.
Gerard Johnson Jr. was a sculptor working in Jacobean England who is traditionally supposed to have created Shakespeare's funerary monument. In May 1612 Johnson was paid for making part of a fountain for the east garden at Hatfield House, Hertfordshire.
The Shakespeare Jubilee was staged in Stratford-upon-Avon between 6 and 8 September 1769. The jubilee was organised by the actor and theatre manager David Garrick to celebrate the Jubilee of the birth of William Shakespeare. It had a major impact on the rising tide of bardolatry that led to Shakespeare's becoming established as the English national poet. Thomas Arne composed the song Soft Flowing Avon for the Jubilee.
Garrick's Temple to Shakespeare is a small garden folly erected in 1756 on the north bank of the River Thames at Hampton in the London Borough of Richmond upon Thames. Grade I listed, it was built by the actor David Garrick to honour the playwright William Shakespeare, whose plays Garrick performed to great acclaim throughout his career. During his lifetime Garrick used it to house his extensive collection of Shakespearean relics and for entertaining his family and guests. It passed through a succession of owners until coming into public ownership in the 1930s, but it had fallen into serious disrepair by the end of the 20th century. After a campaign supported by distinguished actors and donations from the National Lottery's "good causes" fund, it was restored in the late 1990s and reopened to the public as a museum and memorial to the life and career of Garrick. It is reputedly the world's only shrine to Shakespeare.
A statue of William Shakespeare, by the sculptor Giovanni Fontana after an original by Peter Scheemakers, has formed the centrepiece of Leicester Square Gardens in London since 1874.
The Shakespeare Ladies Club refers to a group of upper class and aristocratic women who petitioned the London theatres to produce William Shakespeare's plays during the 1730s. In the 1700s they were referred to as "the Ladies of the Shakespear’s Club," or even more simply as "Ladies of Quality," or "the Ladies." Known members of the Shakespeare Ladies Club include Susanna Ashley-Cooper, Elizabeth Boyd, and Mary Cowper. The Shakespeare Ladies Club was responsible for getting the highest percentage of Shakespeare plays produced in London during a single season in the eighteenth century; as a result they were celebrated by their contemporaries as being responsible for making Shakespeare popular again.
The John Heminges and Henry Condell Memorial is a memorial to the actors John Heminges and Henry Condell – the editors of William Shakespeare's First Folio, published in 1623 – in the former churchyard of St Mary Aldermanbury on Love Lane, London EC2. The memorial is made from pink granite and is topped with a bust of Shakespeare by C. J. Allen, dated 1895.
The statue of Edward VI by Peter Scheemakers at St Thomas' Hospital, Lambeth, London is one of two statues of the king at the hospital. Both commemorate Edward's re-founding of the hospital in 1551. It was moved to its current location inside the North Wing of the hospital in the 20th century. The sculpture was designated a Grade II* listed structure in 1979.
The Memorial to Arthur Sullivan by William Goscombe John stands in Victoria Embankment Gardens in the centre of London. It was designated a Grade II listed structure in 1958.
In 1757, the actor David Garrick commissioned the sculptor Louis-François Roubiliac to make a full-size marble statue of William Shakespeare for Garrick's octagonal Temple to Shakespeare, erected near his villa beside the River Thames at Hampton, to the west of London. The sculpture cost 300 guineas and was installed at Garrick's temple in 1758; it remained there until it was bequeathed to the British Museum along with Garrick's books in 1779. The sculpture was transferred to the new British Library in 2005, where it is displayed on a new travertine plinth beside the main staircase in the main entrance hall.
