World War I memorials
is remembered and commemorated by various war memorials, including civic memorials, larger national monuments, war cemeteries, private memorials and a range of utilitarian designs such as halls and parks, dedicated to remembering those involved in the conflict. Huge numbers of memorials were built in the 1920s and 1930s, with around 176,000 erected in France alone. This was a new social phenomenon and marked a major cultural shift in how nations commemorated conflicts. Interest in World War I and its memorials faded after World War II, and did not increase again until the 1980s and 1990s, which saw the renovation of many existing memorials and the opening of new sites. Visitor numbers at many memorials increased significantly, while major national and civic memorials continue to be used for annual ceremonies remembering the war.
Architecturally, most war memorials were relatively conservative in design, aiming to use established styles to produce a tragic but comforting, noble and enduring commemoration of the war dead. Classical themes were particularly common, taking the prevailing styles of the late 19th century and typically simplifying them to produce cleaner, more abstract memorials. Allegorical and symbolic features, frequently drawing on Christian imagery, were used to communicate themes of self-sacrifice, victory and death. Some memorials adopted a medievalist theme instead, looking backwards to a more secure past, while others used emerging realist and Art Deco architectural styles to communicate the themes of the war.
The establishment of memorials was overseen by various national and regional bodies, reflecting diverse political landscapes. Funding sources were similarly varied, often relying on local donations to finance construction expenses. However, state authorities typically centrally managed and funded war cemeteries and memorials commemorating pivotal battles. The war encouraged the creation of new forms of memorial. Lists of memorial names, reflecting the huge scale of the losses, were a common feature, while Tombs of the Unknown Soldier containing a selected, unidentified body, and empty cenotaph monuments commemorated the numerous unidentifiable corpses and those servicemen whose bodies were never found. Ceremonies were often held at the memorials, including those on Armistice Day, Anzac Day and the Fêtes de la Victoire, while pilgrimages to the sites of the conflict and the memorials there were common in the inter-war years.
Much of the symbolism included in memorials was political in tone, and politics played an important part in their construction. Many memorials were embroiled in local ethnic and religious tensions, with memorials either reflecting the contribution of particular groups to the conflict or being rejected entirely by others. In several countries it proved difficult to produce memorials that appealed to and included the religious and political views of all of a community. The Fascist governments that came to power in Italy and Germany during the inter-war period made the construction of memorials a key part of their political programme, resulting in a number of larger memorial projects with strong national overtones being constructed in the 1930s. While few memorials embraced a pacifist perspective, some anti-war campaigners used the memorials for rallies and meetings. Many of the political tensions of the inter-war period had diminished by the end of the 20th century, allowing some countries to commemorate the events of the war through memorials for the first time since the end of the war. The memory of the war became a major theme for scholars and museums during the First World War centenary.
Background
On the eve of World War I there were no traditions of nationally commemorating mass casualties in war. France and Germany had been relatively recently involved in the Franco-Prussian War of 1870 to 1871. Germany had built a number of national war memorials commemorating their victory, usually focusing on celebrating their military leaders. In France, memorials to their losses were relatively common, but far from being a national response, and many towns and villages did not erect memorials at all. A new organisation, the Souvenir Français, was established in the 1880s to protect French war memorials and encourage young French people to engage in military activities; the organisation grew to have many contacts in local government by 1914.Britain and Australia had both sent forces to participate in the Second Boer War of 1899 to 1902, which spurred an increased focus on war memorials. The Boer War had involved 200,000 British volunteers alone, and attracted considerable press coverage. Numerous war memorials were erected on their return, either by local community leaders or by the local Lord Lieutenant, acting on behalf of the county regiments; these were often situated in quiet locations to allow for peaceful reflection by visitors. Australia had honoured its volunteers by placing individual plaques inside buildings, creating outdoor memorial tablets and erecting obelisks in public places. Although the Boer War encouraged a shift away from memorials portraying heroic commanding officers, as had been popular earlier in the 19th century, towards depicting ordinary soldiers, annual ceremonies surrounding the memorials were not common and no official memorial day emerged. Boer War memorials in both countries were widely felt to lack a suitable quality of design and execution, echoing contemporary concerns in the US about the statues erected to commemorate the American Civil War.
The new European states that had formed in the second half of the 19th century typically had traditions of war memorials, but nothing on the scale that would later emerge from World War I. Italy built various war memorials after unification in the 1860s, but there was little agreement about who should be responsible for these within the new Italian state. Romania erected a number of heroically styled memorials after the Romanian War of Independence in 1877 and 1878, usually celebrating famous leaders associated with Romanian independence, but also including the occasional modest local monuments. Bulgaria and Serbia constructed many war memorials after the end of the First Balkan War in 1913. The public played little role in these eastern European memorials, however, which were typically constructed by the central state authorities.
World War I
Experience of the conflict
The memorials to World War I were shaped by the traumatic nature of the conflict and its impact on individuals and communities. The experience of the different nations varied considerably, but common themes emerged. The war required a mass call to arms, with a significant percentage of the population mobilised to fight, either as volunteers or through conscription. Campaigns were conducted on multiple fronts across Europe and beyond. The fighting was mechanised and conducted on an industrial scale; existing weapons, such as machine guns and artillery, were combined with the innovative deployment of aircraft, submarines and poison gas. In many theatres of operation, mobile campaigns degenerated into static trench warfare, depending on the slow attrition of the enemy over many years for victory. The battles spread across larger areas than ever before, with key engagements, such as that at Verdun, etched on the memories of the nations involved.One result of this style of warfare was a level of casualties unknown in previous conflicts. Approximately 2 million Germans and 1.3 million Frenchmen died during the war; 720,000 British soldiers died, 117,000 American soldiers were killed, and 61,000 Canadian, 60,000 Australian, and 18,000 New Zealand servicemen also died. On the Eastern front, 300,000 Romanians died. The war had a global impact, and at least 2,000 Chinese died in the European theatre of the conflict. Many of the deaths occurred within a short period of time, or affected particular groups: half of France's casualties occurred during the first 17 months of the war, for example, while the French middle and upper classes suffered disproportionate losses. Many of those who survived were injured in the course of the fighting; some injuries, such as facial traumas, resulted in the victim being shunned by wider society and banned from public events. These losses also left large numbers of widows and orphans – 1.36 million in France alone – and affected most families in some way: in Australia, every second family had lost a relative. Even those left at home had suffered extensively from stress, anxiety and grief.
The war had also led to political tensions, revolution and turmoil. In Russia, the conflict resulted in revolution and civil war between 1917 and 1923, and the rise to power of the Communist Bolshevik government. The German Empire had seen revolution break out at the end of the war, with vicious street fighting in the major cities, including Berlin; some Germans felt that this experience was too quickly forgotten in the post-war years. Romania almost descended into revolution as well. There was turmoil in Ireland; 210,000 Irish served in the war as part of the British forces, but the Easter Rising in Dublin in 1916 led in turn to the Irish War of Independence and the later civil war. Elsewhere the war exposed simmering ethnic and religious divisions. In Canada, for example, the distinctions between the English, largely Protestant, and French speaking, predominantly Catholic, parts of the country become increasingly apparent, with conscription becoming a major political issue.
In the years after the war, veterans, the bereaved and the rest of society focused, to the point of obsession, with the problem of death. There was tremendous interest in creating war memorials that celebrated the themes of glory, heroism and loss. In part, there was a rupture or dislocation with the pre-war norms of how memorials should look and feel; communities sought to find new, radical ways to mourn the millions of dead, killed in an essentially modern conflict. In other ways, the building of memorials drew on traditional forms and ideas, drawing on existing religious and architectural themes to explore loss and grief.