The Sun.
London, England, 1853-11-11 00:00:00

SELECTION OF TilE WELLINGTON MEMO-
RIAL FOR MANCHESTER.

On Friday afternoon last, the three judges appointed
by the Wellington memorial committee—the Right Rev.
the Lord Bishop of Manchester, the Right Hon. the Earl
of Ellesmere, and the Right Hon. the Earl of Wilton—
proceeded to the suite of rooms forming the south gal-
lery of the Royal Manchester Institution, which are now
filled with the competing models for the Manchester
memorial to the late Duke of Wellington, and after a
careful examination of the whole, gave their united
judgment in favour of the model No. 7, which now faces
the visitor on entering the first room of the gallery. On
opening the letter superscribed with the sculptor's mark
—an inverted triangle with a double ring—the name of
the successful artist was found to be Mr. Matthew Noble,
of London—the same sculptor upon whom, in competi-
tion with about 40 other models (not to mention 60
designs on paper), the choice fell in the award of the
committee for the Salford statue to Sir Robert Peel, now
placed in Peel Park. The following is Mr. Noble's own de-
scription of his model for a statue of Wellington :—" As
there are several public equestrian statues of Wellington in
existence already, and as these give only one aspect of the
great Duke's character, the endeavour in this design
has been to take a higher and more comprehensive view
of the subject than is given in memorials of the kind in
question. This view, it is hoped, has been realised in
representing the Duke in his civil as well as in his mili-
tary capacity, by personifying those salient qualities and
results through which he attained so high a position in
life, and influenced the destinies of so many nations ;
and by illustrating five of the chief crowning events in
his public career, through which, in the twofold capacity
named, he will be best and most illustriously known to
posterity. The salient qualities referred to are Wisdom
and Valour. The pre-eminent manner in which these
were brought out in the character of Wellington is too
well known to need explanation here, and it is sufficient
to state that they are personified in the design by the
figures of Minerva and Mars, imagined and composed,
it is humbly trusted, in such a way as to impart
to the mind a high and honourable feeling. The
results of these great qualities were Victory and
Peace the victory of Britain over her foes, and
a peace given to Europe perhaps unparalleled in
history. These two main results are personified by
an abstract figure of each, designed to correspond and
accord in sentiment with the two former figures. Of
the chief events in the public life of Wellington, illus-
trated in the design, four are represented in bas-reliefs
on the large plinth supporting the column, giving re-
spectively the battle of Assaye, the battle of 'Waterloo
(in each of which the Duke is seen on horseback, and in
the first with the horse just shot under him), his pre-
sence at the Congress at Vienna, and his receiving in
person the thanks of the House of Commons, on the
memorable occasion in the year 1815. On the summit
of the column is placed a colossal statue of the great
Duke himself, designed to give an idea of the moment
when he stood erect and calm after having delivered
the following impressive words in the House of Lords :
I am one of those who have probably passed a
longer period of my life engaged in war than most
men, and principally in civil war; and I must say
this, that if I could avoid, by any sacrifice whatever,
even one month of civil war in the country to which I
am attached, I would sacrifice my life in order to do
it'—words not likely to be soon forgotten. In a small
design of this kind there is, of course, little more than a
bare idea of the intention given." To this we need only
add that Mars or Valour (which in the model is a little
too aged) is the figure to the spectator's left, Minerva
or Wisdom that to the right. The two rear figures are
Peace, behind Minerva ; and Victory dos h dos to Mars.
Mars, wearing the antique helmet, is seated on a rock,
his right ban:l upon his oval shield ; his naked sword
held in readiness, but at rest in his left hand. The only
draping is the chalemys thrown over his shoulders, and
fastened on the right by a fibula. Minerva is also
helmed, and wears the 2-Egis. She is fully draped, her
right arm is raised, and with that hand she points to the
inscription on the front of the pedestal. Victory seated,
holds the laurel chaplet for the conqueror in her
right hand, the palm of triumph in her left. This
figure is fully draped, her uncovered head simply
bound by a plain fillet. The pedestal is square,
canted ; and on its front is the inscription in Egyptian
capitals, in relief, "Arthur, Duke of Wellington,
born May Ist, 1769 ; Died September 14th, 1852."
The four subordinate figures are placed on projecting
pedestals, one at each angle of the chief pedestal.
These minor pedestals have their fronts slightly convex,
as if segments of a circle. On the front of each is the
word expressive of the quality typified by the figure
above, in the same form of letters as the chief inscrip-
tion, viz., Valour ; Victory ; Wisdom ; Peace. The
whole stands on a graded base of sufficient breadth to
add to the general effect ; its upper rise is concaved,
and its extent keeps the subordinate figures from being
too closely approached by the spectators. Of the bas-
reliefs, the battle of Assaye is represented on the rear
face of the plinth, that of Waterloo, in front ; the Con-
gress of Vienna, between Mars and Victory, and the
Duke in the House of Commons between Minerva and
Peace. Mr. Noble has offered a choice of three
different models for the statue of Wellington ; one re-
presenting him in his early prime, a second in middle
life, and a third in his later years. The one of
middle age is that at present on the pedestal ; over
the military coat is thrown a large cloak, which
drapes the figure ; but it has too much the character
of the Indian chief's blanket ; and we understand
that the three judges inclined to a preference for the
third or elder age, which represents the Duke in his
well-known costume, the left hand just putting back the
skirt of his frock, and the broad ribbon crossing his vest.
In his right hand he holds some papers; while his cloak,
thrown over a pedestal behind him, extends its folds to
the feet of the figure, and thus conceals the stiff lines
made by the skirt of the frock. He looks slightly down,
as if about to address an assembly. There is in this
statuette a striking and characteristic resemblance to the
Duke, as familiar to thousands during the last 10 or 15
years of his life, and the attitude is less theatrical than
that upon the pedestal. We hope it will be substituted.
The character of the monument, as a whole, is that of a
graceful simplicity, not unmingled with some grandeur
of character, breadth and vigour of outlines, and a
dignified air of repose, which seems fitting to the statue
of the venerated hero. Upon a cursory inspection
of the various monumental models in the these
rooms, we confess to a feeling of disappointment.
Few, very few, strike the eye and arrest the attention
by any high development of the mind and thought
of the sculptor. The judges must have found their
choice speedily narrowed to some three or four designs,
and (without the slightest knowledge of the fact.) we
should think their ultimate decision could only waver
between that which became their choice, and the fine
model, No. 3, in the first room ; which is an equestrian
statue, upon a sort of sarcophagus tomb, with four pro-
jecting pedestals at the corners. These have subordi-
nate figures, and the side panels of the sarcophagus
are filled by
,reliefs representing two of Wellington's
battle scenes—the decisive moments of Vittoria and
Waterloo ; while the front end has emblems of the peace
of 1816, and the rear end figures weeping over a tomb,
with the inscription "England mourns her hero." The
whole is full of vigorous life, and in its breadth of base
and general design surpasses the statue selected in
point of magnificence and cumulative details. It is,
however, limited to the commemoration of Wellington's
military achievements, and is therefore less compre-
hensive in its character, and would doubtless be less
acceptable to the Manchester public, than a memo-
rial which recognises Wellington's services both in the
field and the cabinet—in the conclaves of congress and
in the halls of the legislature. Still, as a work of art,
to No. 3, with its modifying variations as shown in No.
2, where Wellington's baton is exchanged for a sword,
and the horse, instead of trampling a richly-adorned
tomb, is climbing a rocky eminence—must unquestion-
ably be assigned the first rank amongst the models exhi-
bited. If we were to assign a third place to any
other models, it would be to Nos. 11 and 33, in
the second room (both the work of the same sculptor),
which manifest much spirit and character. They are
both equestrian statues. Indeed the great majority
of the models represent Wellington on horseback—.
in every variety of attitude and position—leading on
his troops, sword or baton in hand ; riding quietly,
as on the Queen's highway ; or trampling Tyranny and
Anarchy under foot. One represents the warrior dis-
mounted and standing in front of his horse ; and it has
been discussed whether this could fairly be compre-
hended within the category of equestrian statues. But
we have no space at present to dwell on the numerous
statuette models : most of them will be felt by every one
possessing the least pretension to taste and judgment as
either common-place on the one hand, or absurdly outré
and extravagant on the other. We think we have in-
dicated the only models that could for a moment be held
as dangerous competitors to that which has won the
prize. There are altogether 37 models in the gallery,
sent by 29 sculptors—eight of these sending two models
each. There seems to be an impression in some quar-
ters that the resolution of the public meeting held in
September last contained the words " equestrian statue."
This is an error. The words were, "a statue to the me-
mory of the late Duke of Wellington :" and it was ob-
served at the meeting that a "statue" would include either
equestrian or pedestrian, and even the pedestal on which
it must be placed. Amongst the regulations and con-
ditions for competitors were the following in substance :
—That each competitor might send two models, but
not more ; in case the statue should not be erected from
the model possessing the highest degree of merit, the
committee would present the artist contributing suchs
o
the
model with 2001. ; but no reward to be given to best
model if adopted, nor will anything be
givena to unsuc-
cessful competitors. The' committee tp y 7,0001. to
the successful competitor, which sum is to cover every
expense connected with the erection of the statue in
bronze, the pedestal, &c. Previously e
seen
the judges, the statuette models we
few persons indeed—and those onSaturday, circulars were
the committee hniebi n:lttee ecbi by very
the
hroyef
Wellington memorial.
issued by the honorary secretary, intimating
Duke
of
fWellingtonthat
models for the statue of the
would be open to the inspectionooffththeeßmoeymalblenrsstoitfutthioan
and
t
committee, and to the council
their families, on Monday and Tuesday, from ten to
four
o'clock ; and during those hours on both days
many availed themselves of the opportunity.—M anehes-
tor guardian.