Albert Memorial

The Albert Memorial is a Gothic Revival ciborium in Kensington Gardens, London, designed and dedicated to the memory of Prince Albert of Great Britain. Located directly north of the Royal Albert Hall, it was commissioned by Queen Victoria in memory of her husband, who died in 1861. Designed by Sir George Gilbert Scott, it takes the form of an ornate canopy or pavilion tall over the high altar of a church, sheltering a statue of the prince facing south. It took over ten years to complete, the £120,000 cost (the equivalent of about £15,000,000 in 2025) met by public subscription.

The memorial was opened in July 1872 by Queen Victoria, with the statue of Albert ceremonially "seated" in 1876. It has been Grade I listed since 1970.

Commission and design

thumb|left|180px|The memorial statue of Albert, by [[John Henry Foley and Thomas Brock]]

thumb|left|180px|Audio description of the memorial by [[Joely Richardson]]

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 Lord 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).

Following the deaths of Grey and Phipps, their roles were taken on by Sir Henry Ponsonby and Sir Thomas Biddulph. Eventually, a four-man Prince Consort Memorial Committee was established, led by Sir Charles Lock Eastlake and consisting of him, Cubitt, the 14th Earl of Derby, and the 4th Earl of Clarendon. Eastlake had overall control for the project until his death in 1865. An initial proposal for an obelisk 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 these (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. Both memorials present the figure of Prince Albert enclosed within a Gothic ciborium, and the similarities of design have been remarked on. (The earliest memorial to be erected was the Prince Albert Memorial in Swanage, in 1862, in the form of an obelisk.)

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. 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.

The memorial's canopy features several mosaics as external and internal decorative artworks. Each of the four external mosaics shows a central allegorical figure of the four arts (poetry, painting, architecture and sculpture), supported by two historical figures either side. The historical figures are: King David and Homer (POESIS – poetry), Apelles and Raphael (painting), Solomon and Ictinus (architecture), and Phidias and Michelangelo (sculpture). Materials used in the mosaics include enamel, polished stone, agate, onyx, jasper, cornelian, crystal, marble, and granite.

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.

The pillars and niches of the canopy feature eight statues representing the practical arts and sciences: Astronomy, Geology, Chemistry, Geometry (on the four pillars) and Rhetoric, Medicine, Philosophy and Physiology (in the four niches).

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.

File:Arche scaligere (Verona).jpg|The Scaliger Tombs in Verona: in the foreground the tomb of Cansignorio della Scala, behind it that of Mastino II

File:Mosaics at Albert Memorial in London, spring 2013 (6).JPG|Exterior mosaic of Poesis flanked by Homer and King David

File:Albert Memorial - Interior Mosaic.jpg|Internal mosaics and cornicing

File:Virtues of the Albert Memorial in London, spring 2013.JPG|Statues of the Virtues on the canopy tower

</gallery>

Foundation

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.

Architects

The memorial was planned by a committee of architects led by Sir George Gilbert Scott. The other architects, some of whom died during the course of the project, or were replaced, included Carlo Marochetti, Thomas Leverton Donaldson, William Tite, Sydney Smirke, James Pennethorne, Matthew Digby Wyatt, Philip C. Hardwick, William Burn and Edward Middleton Barry.

Sculptors

right|thumb|The Albert Memorial faces the Royal Albert Hall, built several years after construction began on the Memorial.

right|thumb|Albert Memorial shortly after its construction, albumen print,

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), 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.

Later history

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. 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.

Image:Detail of railings at the Albert Memorial in London, spring 2013 (4).JPG|The railings after the restoration

File:Reconstruction of the Albert Memorial in London, spring 2013 (4).JPG|Reconstruction of the memorial in 2013

</gallery>

References

External links

The Albert Memorial at the Survey of London online:
Design and commissioning
Description
Albertopolis: Albert Memorial—Architecture of the memorial (RIBA)
BBC News News story about the restoration, dated 11 May 1998
V&A Collections Images and details of Scott's original model for the memorial