Model of Albert Memorial - Essay Example

Object Analysis of the Model of Albert Memorial Introduction and Background The Victorian era in England is widely considered to be a culminating point in creative sculpturing. Expressionistic architectural marvels are dispersed around Europe carrying the footprints of a highly innovative and explorative cultural genre. Revival of the gothic and Classical tastes was one of the hallmarks of this epoch. This resurgence began with the Norman conquest of the Saxons, which also brought about the prominence of liturgical influences on architecture and sculptor.1 Patronised by affluent English monarchs who had always been generous connoisseurs of art, the Victorian monuments attained a dizzying height of grandeur and glory from architectural perspectives. Built around 1863 by Sir George Gilbert Scott, model of the Albert Memorial still remains to be an authentic emblem of neo-Gothic architecture till date. The plastered and gilt model neatly wears a polished gander testifying to the facsimile of the original Memorial tower located in Kensington Gardens in the English capital.2 The model was commissioned by Queen Victoria to commemorate Prince Albert, her beloved husband who passed away in 1861. Thesis Topic This essay is going to discuss the key points related to the model of Albert Memorial and not the Memorial itself. These points will pertain to the designing and production of the object as well as the technical aspects of the neo-Gothic style of architecture. The literature studies will involve exhaustive analysis of relevant sources, including images, critiques, historical accounts and other informative data. Outward Appearance The model of Albert Memorial depicts a seated figure of Prince Albert shielded by a covering which is adorned with symbolic figures of angels. It is topped by a cross and positioned on a platform having ornamented horizontal bands between the architrave and the cornice. Figures of poets, painters, architects and authors are carved on the friezes Figure 1. Model of Albert Memorial (V&A Images n. d.) with moulded plaster. Each of the four corners of the platform beneath exemplifies the contemporary trend of industrial arts.3 It might be noted in this context that the concept of industrial arts rose to the forefront of Victorian workmanship in the nineteenth century. It was orchestrated by the fact that middle class segment of the society gained ascendance following steady decline of the aristocratic upper class. The Industrial Revolution that shook the whole of Europe during this time also opened up new job avenues for the skilled craftsmen. Subsequently, both the elite class and the growing middle class could share a common point of interest ahead of the revivalistic phase during Queen Victoria's regime. In essence, the Industrial Revolution captured the spirit of the Aesthetic movement in the British society.4 Veblen (2004: 194) argues that the flurry of products conforming to the genre of industry arts was not caused by some arbitrary movement in aesthetic competence. Rather it was very much an acquired skill mastered through proper grooming of the workers within a systematic framework.5 Thus it would be justified to claim that the deployment of skilled workforce by Queen Victoria for the task of building the Albert Memorial model corresponded to the norms of the transition from the Elizabethan to the Victorian era. Figure 2. Red House, Kent: Aesthetic Movement (Strickland and Handy 2001: 101) Mainly cast plaster is used to build the model, with a metallic framework to provide support. As far as decoration is concerned, an array of architectural techniques is incorporated to make it look like the original Memorial. The triangular gables beneath the covering are affixed with gilded and pied paper works representing mosaic. Granite effect is created through a scagliola-like decoration vested in the column shafts, the model floor, bases of the four corners, and the steps. The sculptured band around the base and other portions of the model are painted with a thick layer of grayish white paint simulative of stone. The discovery of a coating of bronze paint resembling metal underneath the white tint indicates that the etching of sculptural groups representing the industrial arts movement was meant to be cast in bronze and not in stone. The model measures 202.2 cm, 71.2 cm, and 71.2 cm in height, width and depth respectively and it weighs 130 kg.6 Figure 3. Sculptured Groups (V&A Images n. d.) Figure 4. Sculptured Groups (V&A Images n. d.) History of the Model Prince Albert died of typhoid on 14 December, 1861. A month later, a meeting was organised at the royal Mansion House to decide on how to immortalise the Prince. Several possibilities occurred in the discussion, including setting up a university or international scholarship. However, Queen Victoria made her intentions clear that she wished to commemorate her beloved by erecting a befitting memorial. A committee appointed by the Lord Mayor of London was designated with the task of collecting funds for the design of the proposed memorial which was subject to Queen's final approval. Eminent architects such as George Gilbert Scott, T. L. Donaldson, James Pennethorne, P. C. Hardwick, Charles Barry and Matthew Digby Wyatt were asked to draw the outline of a memorial which was slated to be put up in the famous Kensington Gardens adjacent to the site of the Great Exhibition of 1851. After a scrupulous inspection of all the submitted designs, George Gilbert Scott was finally accredited to the model. Further discussions about the design were held in November 1863 following which the model was made.7 Farmer and Brindley of Westminster Bridge Road took up the task of making the model. This construction firm was a supplier of marble and other decorative materials. Henry Hugh Armstead made the decorative model while Salvaiti & C. fabricated the paper mosaics. Prior to the establishment of the actual Albert Memorial at Kensington Gardens, the model was kept at Buckingham Palace for convenience's sake. It was also taken to the Paris Exhibition held in 1867. Sculptor Matthew Noble officially lent the model to the South Kensington Museum in 1871. However, it was as late as in the 1960s when the model was rediscovered in one of the stores of the Museum, thanks to the wakefulness of John Physick, an erstwhile curator.8 Tagging and Chronology The Albert Memorial model is engraved with the tagline: 'Model for the Albert Memorial'.9 The idea of erecting a permanent monument to commemorate the Prince Consort came up in the meeting held at the Mansion House, as mentioned earlier. This meeting was followed up by collection of funds and choosing the architect for the model. A whopping amount of '33,000 was raised within a month, which facilitated the construction of the model.10 George Gilbert Scott and the Architects Literature review of the processes arraying from commissioning of the model to work allocations has drawn contradictory arguments among scholars and art historians. What is available in the extant resources make it apparent that the entire event was politicised and schematic. Albeit assigned the prestigious position of the architect in-chief, George Gilbert Scott's actual influence over the making of the model was limited, at least with regard to the Prince's statue. The steering committee set up earlier had nothing to do with Kelk's contract; it was the Queen who ascribed the task to Scott. Considering the overwhelming sense of loss and bereavement over the death of the Prince Consort, every step pertaining to the Memorial was being taken with a lot of measure and discretion. This is best manifested by how the Derby committee hesitated to sanction authoritative power to Gilbert Scott. Moreover, Scott was not the automatic choice in the beginning. It was Baron Carlo Marochetti who was initially preferred over other sculptors due to the fact that he was highly appraised by Prince Albert himself. However, other members did not have the same opinion about Marochetti despite the Queen's insistence. William Theed was the next in line as a competent standby. Quite interestingly, both the Queen and Marochetti wanted to have an equestrian statue until Scott presented a different design. The Queen made it clear by March 1864 that Marochetti would be the one implementing Scott's design. In any case, H. H. Armstead was by far the leading candidate as the initial designer of the model.11 Given below is the pencil-sketch drawn by Armstead: Figure 5. Railings of Albert Memorial (British History Online 1975) Illustration of the Styles The use of cast plaster in the model of the Albert Memorial testifies to the typical English reservations over simple stylistic forms. Such a style basically had an implicit resemblance to the classical Roman school of thought, particularly that purported by Vitruvius.12 Now since this study makes an outside attempt at understanding the paradigmatic shift from the simplistic Elizabethan norms to the more sophisticated Victorian patterns, it is imperative to go back to the earlier styles prevalent in ancient Greece and Rome. Seasoltz (2005: 189) argues that England's realisation of the Gothic revival was essentially fueled by a fervor for creative restoration of the earlier times. The signatory styles of nearly all preceding eras, starting from the ancient Greek to the sixteenth century Reformation period, were being called upon by the competent workers belonging to the industrial age. The industrial age also infused a sense of chivalry to the creative veins of the English artisans,13 the illustration of which is best manifested in the Albert Memorial model. A different viewpoint between the Greek influence and the Gothic revival is shared by Strickland and Handy (2001: 101). According to them, the nineteenth century English art decidedly counteracted the Greek resurgence through Gothic revival. Both are placed in stark contrast, however, with regards to the neo-Gothic style of architecture. The Gothic style was inspired more by social values than by artistic impulses. In essence, this style was deemed rational and conforming to principles of an orderly society.14 Taking this viewpoint, it would be easier to find the reason why the model of Albert Memorial triggered so much public enthusiasm in the 1860s and 70s. Conclusion To sum the paper up, it is quite evident from the literature review and subsequent critique that the model of the Albert Memorial was a welcome relief from the Baroque fascination with impressionistic art forms. But at the same time, it never fails to stamp its own authority as an extremely poignant representation of an orderly society marked by regal customs and norms. List of References 'Albert Memorial: The memorial' Survey of London [online] 38, 159-176. Available from Read More