Albert Memorial 4 min read
The memorial from the south, the side that faces the Royal Albert Hall. Photo by Diliff, CC BY-SA 3.0, via Wikimedia Commons Queen Victoria opened the Albert Memorial in 1872 to commemorate her consort Prince Albert, who died prematurely from typhoid in 1861. Paid for from public subscription, the memorial is an elaborate commemoration of Albert himself, but also celebrates numerous aspects of the Victorian consciousness. At first glance the presence of sculptures representing the continents Europe, Asia, America and Africa could be interpreted as a glorification of the vast reach of colonialism and a self-indulgent celebration of British exceptionalism. In fact, the memorial portrays a rather more nuanced celebration of arts and culture that transcends national boundaries.
Like much of the grandest Victorian architecture, the George Gilbert Scott-designed monument is in the gothic-revivalist style. The canopy, reaching over 50 metres in height, resembles a canopy that might be found above a medieval holy relic, and indeed incorporates numerous Christian features. Beneath the canopy sits a gilded statue of Prince Albert himself, clutching a guide to the Great Exhibition that he organised in 1851. Surrounding the pediment sits a white-marble Frieze of Parnassus that portrays great figures from the arts. To heighten its importance, the monument is elevated up marble steps and surrounded by gilt gates, perhaps intentionally enhancing the ‘spiritual’ effect of visiting the memorial. The four allegorical ‘continents’ sculptures define the corners of the monument.
The canopy is capped with a gold cross, reminding us that Victorian gothic-revivalism originated from a distaste for neo-classic architecture, considered godless and pagan. Supporting the cross are gilded angels, beneath which eight statues represent cardinal virtues (prudence, temperance, justice, courage) and theological virtues (faith, hope, charity and humility) – obviously implying Albert demonstrated nothing less than these virtues. Supporting these elements are decorative columns and arches, with stonework decorated by coloured glass resembling gems suited to a royal memorial. These top sections of the monument are richly decorated and elaborately detailed – announcing the importance of the subject beneath.
The gables of the canopy have carved edges with flower patterns in white stone and gold. Within the four gables sit mosaics introducing a theme for each face of the memorial – painters, architects, sculptors and lastly poets & musicians. Between these mosaics and the Frieze of Parnassus sits Albert himself, his finger bookmarking a page of the Great Exhibition catalogue in his hand. The emphasis of this book helps interpret the memorial as a whole.
The frieze is made from white Italian marble and portrays great men in accordance with the four themes. The figures transcend time – ranging from antiquity (such as the architects of the Parthenon Callicrates and Ictinus) to contemporary figures (such as Gilbert Scott himself). Their selection for portrayal was by committee and reflects Victorian thinking on high-culture at the time. The presence of the contemporary figures might suggest Victorian achievement is on par or greater than those of the historical figures – or instead may be a continuation or evolution of their work. Above all, the most striking aspect is the international nature of the figures portrayed. The small handful of British figures is significantly outnumbered by French, German, and Italian representatives of the arts, in addition to those from antiquity. This reflects the ‘outwards looking’ nature of the Great Exhibition and the international thinking that Albert may have brought as a German-born Consort.
No other contemporaneous monument in London or the United Kingdom is so vast, elaborately decorated and artistically diverse. Statues across London erected to commemorate kings, military heroes and cultural figures are almost universally simple marble carvings or cast bronze on a pediment. Nelson’s Column and the Wellington Arch are rare exceptions, but neither is as elaborate or beautifully decorated as the Albert Memorial. This raises the question – why is the Albert Memorial so exceptional? What were the conditions that led to such an extensive, elaborate and artistically diverse monument?
There are several possibilities. Firstly, Queen Victoria’s vast affection for her beloved Albert ensured this memorial stood out amongst the rest (by comparison the Victoria Memorial erected after Victoria’s death is less sophisticated). Perhaps Albert was such an exceptional figure that public outpouring of grief after his death commanded such an extensive and elaborate memorial. Albert’s premature death aged 42 may have enhanced this effect. Above all it is the Victorian appreciation and belief in the superiority of the high-arts that enabled such a dramatic monument to be built. Albert’s interest in the arts, his international outlook and his delivery of the (in itself internationalist) Great Exhibition complemented and contributed to the extensive public donations towards the cost of a memorial. These factors combined resulted in the building of what was – and remains – such an exceptional monument.