appropriate since it chanced that a similar conception,
though in the reverse order of magnitude, had occurred
to the Prince himself, who had designed and executed
several silver cruet-stands upon the same model.
At the Queen’s request a site was chosen in
Kensington Gardens as near as possible to that of
the Great Exhibition; and in May, 1864, the first sod
was turned. The work was long, complicated, and
difficult; a great number of workmen were employed,
besides several subsidiary sculptors and metal—workers
under Mr. Scott’s direction, while at every stage
sketches and models were submitted to Her Majesty,
who criticised all the details with minute care, and
constantly suggested improvements. The frieze,
which encircled the base of the monument, was in itself
a very serious piece of work. “This,”
said Mr. Scott, “taken as a whole, is perhaps
one of the most laborious works of sculpture ever undertaken,
consisting, as it does, of a continuous range of figure-sculpture
of the most elaborate description, in the highest
alto-relievo of life-size, of more than 200 feet in
length, containing about 170 figures, and executed
in the hardest marble which could be procured.”
After three years of toil the memorial was still far
from completion, and Mr. Scott thought it advisable
to give a dinner to the workmen, “as a substantial
recognition of his appreciation of their skill and
energy.” “Two long tables,”
we are told, “constructed of scaffold planks,
were arranged in the workshops, and covered with newspapers,
for want of table-cloths. Upwards of eighty men
sat down. Beef and mutton, plum pudding and cheese
were supplied in abundance, and each man who desired
it had three pints of beer, gingerbeer and lemonade
being provided for the teetotalers, who formed a very
considerable proportion... Several toasts were
given and many of the workmen spoke, almost all of
them commencing by ’Thanking God that they enjoyed
good health;’ some alluded to the temperance
that prevailed amongst them, others observed how little
swearing was ever heard, whilst all said how pleased
and proud they were to be engaged on so great a work.”
Gradually the edifice approached completion.
The one hundred and seventieth life-size figure in
the frieze was chiselled, the granite pillars arose,
the mosaics were inserted in the allegorical pediments,
the four colossal statues representing the greater
Christian virtues, the four other colossal statues
representing the greater moral virtues, were hoisted
into their positions, the eight bronzes representing
the greater sciences—Astronomy, Chemistry,
Geology, Geometry, Rhetoric, Medicine, Philosophy,
and Physiology—were fixed on their glittering
pinnacles, high in air. The statue of Physiology
was particularly admired. “On her left
arm,” the official description informs us, “she
bears a new-born infant, as a representation of the
development of the highest and most perfect of physiological
forms; her hand points towards a microscope, the instrument
which lends its assistance for the investigation of
the minuter forms of animal and vegetable organisms.”
At last the gilded cross crowned the dwindling galaxies
of superimposed angels, the four continents in white
marble stood at the four corners of the base, and,
seven years after its inception, in July, 1872, the
monument was thrown open to the public.