Notwithstanding its short European history, New Zealand has many memorials: they range from simple plaques or tablets to monumental tombs on landscaped headlands; from naturalistic statues to symbolic groups. There are memorial buildings with useful functions, such as churches, libraries, museums, town halls, and even civic and community centres. There are bridges, bandstands, clock towers, and pavilions of many kinds; park and bush reserves, playing fields, driveways, avenues, gateways, fountains, and even specimen trees. The subjects they commemorate are as varied as their forms. There are memorials to the Maori people, their landing places and canoes; but, in general, most of them relate to the development of the European settlement. These include memorials to the early navigators, explorers, and missionaries, to Royal visits, to political leaders, and to national events such as war. They may even commemorate a national disaster.
A complete coverage of so wide a subject is beyond the scope of this essay; its emphasis, therefore, is directed towards the nature and quality of memorial design, and the examples quoted are of necessity restricted.
Notwithstanding the varied character of memorial design, there are certain forms which have been used consistently throughout the history of our people. Many of these, such as arches, obelisks, pedestals, and statuary, had their origin in ancient times; yet, when used in later periods, they are unmistakably characterised by the prevailing outlook on design. Though dated by their treatment, they retain the common principles which by traditional usage have become associated with, or symbolic of, their objective. The arch, for example, has been synonymous with a “march of victory” since the time of ancient Rome; yet the lovely Arch of Remembrance at Christchurch, designed by Gummer and Ford, is a significant design of our age. It captures the principle but retains its individuality; it was a happy thought because many New Zealand soldiers of two world wars had marched that way.
The popularity of the obelisk, of which there are many New Zealand examples, is due in part to its traditional associations but mainly because the tall shaft has vitality expressive of “deeds” or “endeavour”, a quality appropriate to many types of memorial. The Logan Campbell Memorial to the Maori people on One Tree Hill, Auckland, designed by R. A. Abbott, is a true obelisk, but its clean shaft and lava base give it individuality. Another true obelisk in shape, but sheathed in stainless steel, was used by R. B. Finch for the Whangarei War Memorial erected on Parahaki Hill; the vitality of the tapering shaft is fully appreciated when seen, on approach, against the arching sky.
Two good examples of the modelled shaft or pylon, both by Gummer and Ford, are the Dunedin City and the Auckland Grammar School War Memorials. Their success is due to the finely proportioned and detailed shafts, as well as to the symbolic sculpture by R. O. Gross. The Grammar School pylon is surmounted by a symbolic figure standing with one arm outstretched to the sky above. Its vitality is unmistakable when seen in silhouette against a setting sun. Another obelisk of very different treatment was used by Cecil Wood for his design of the Dobson Memorial in Arthur's Pass Park. It is a simple rustic stone shaft built on the crest of a rocky outcrop; the spirit of “endeavour” is expressed by its verticality, and the rough-hewn stonework fits it perfectly to its environment. The memorial and tomb of M. J. Savage on Bastion Point, Auckland, has a modelled shaft as the climax of an elaborate plan. The design was won in competition by T. K. Donner: it embraces a park with a formal garden and reflecting pool. The shaft is used as the climax of the main axis of approach; it also gives contrast to the surrounding horizontal features.
Another monument which happily harmonises with its surroundings may be seen in the Mount Cook district. It is a memorial to Sydney King and his two guides, Darby Thompson and J. Richmond, who were swept away by an avalanche in 1914 when they were returning from a successful ascent of the famous mountain. It is really a cairn, perhaps the oldest form of memorial used by man, which in this case takes the form of a roughly dressed stone obelisk mounted on a rustic stone base. Finally, there is the Cargill Monument at Dunedin which follows the Gothic tradition.
The pedestal traditionally supported columns or statuary. Nowadays it is frequently used to support and frame descriptive tablets; but in some cases it is developed to become the major part of the memorial. An example in its simplest form may be seen in the French cemetery at Akaroa where a rectangular block encloses a memorial tablet to the pioneers of the district. Another simple pedestal, a little more elaborate, is at Totara Point on the northern side of Hokianga Harbour which commemorates the first mass conducted by Bishop Pompallier in New Zealand; it is an important historic memorial but rather difficult of access. At Gisborne there is a monument to mark a landing place of Captain Cook; it consists of a pedestal supporting a short obelisk. It is not very effective because the obelisk is too short to express its character properly, but is large enough to conflict with the pedestal. The Cook Memorial at Ship Cove, Queen Charlotte Sound, has a sloping pedestal which is almost a truncated pyramid. It is a dominant element of the design given interest by the anchor which surmounts it.
Wellington's lovely War Memorial at the corner of Lambton Quay and Bowen Street, designed by Grierson, Aimer, and Draffin, is an outstanding example of a monumental pedestal supporting as its climax a beautiful bronze equestrian figure. This has been so skilfully designed that it captures the vitality of a vertical shaft yet it is happily coordinated with the other elements of the memorial.
Many other traditional or symbolic forms could be mentioned. The Christian cross, as the universal symbol of sacrifice, is frequently used either free standing or embossed in low relief. An interesting example, because of its appropriate adaptation to its site, is the rough-hewn stone cross on the Milford track, commemorating Quintin McKinnon who discovered the pass that bears his name. At Oihi Bay, in the Bay of Islands, a Maltese cross marks the site of the first Anglican service conducted by Samuel Marsden in 1814, and at Russell an adaptation of the same motif marks the grave of the renowned Maori chief Tamati Waka Nene.
The most popular form of memorial to eminent people during the Victorian period was the lifelike statue or effigy. It was usually mounted on a pedestal containing an appropriate explanatory tablet. In New Zealand a considerable number of statues, many of poor artistic quality, commemorate Royalty, political leaders, explorers, missionaries, and pioneers. A statue of Queen Victoria was frequently used to express loyalty to the Crown. In the grounds of Parliament Buildings, Wellington, are statues to two former Prime Ministers, John Ballance, and R. J. Seddon. At Auckland there are statues to Sir George Grey and John Logan Campbell, while Christchurch has honoured such pioneers as Moorhouse, Godley, and FitzGerald – the last two are outstanding works of art – and the great Antarctic explorer, Captain Scott. It is not surprising that Dunedin, founded by Scottish settlers, has erected a statue to Robert Burns in the fine setting of the Octagon.
The artistic merit of this form of memorial is judged largely by the quality of the sculpture; as an art form it is not popular in the contemporary world which has discarded “naturalism” in favour of abstract and symbolic solutions. A fine example of the contemporary or abstract approach is the Tasman Memorial at Whakatene, near Takaka. Designed by E. Plishke, it consists, primarily, of a tall, vertical marble shaft and a horizontal inscription slab adjacent to its base. The vertical element captures the vitality inherent in its form, and the horizontal slab the repose appropriate for an inscription. Yet it is essentially an abstract composition relying upon the skilful use of primary elements which, because of their simplicity, add greatly to its beauty.
The Massey memorial tomb at Point Halswell, near Wellington, by Gummer and Ford, with its fine medallions carved by F. A. Shurrock, may also be considered an abstract composition because it, too, uses simple vertical and horizontal elements to frame effectively the memorial to a Prime Minister of New Zealand. Peter Fraser's tomb in Karori Cemetery, Wellington, designed by Barry Marshall, is a polished granite slab under a concrete canopy which is also effective because of its simplicity; but perhaps the simplest of all memorials is the great boulder in Queenstown's gardens inscribed with portions of Captain Scott's last message.
The idea of dedicating a building, park, or other useful thing as a memorial is a time-honoured method of commemoration, which has become very popular in New Zealand in recent years. The design problem of a building in these circumstances is complicated by the dual function it has to perform. Although the memorial is static and permanent, the useful function is virile, which requires the building to be adaptable to the inevitable alterations, even reconstruction, necessary in the future to maintain its efficiency. The traditional solution is to adopt this form of memorial when its commemorative purpose is closely allied with its usefulness. For example, an art gallery, library, or church could be a memorial to a person, institution, or other authority whose aid has directly or indirectly contributed to its progress. In these cases the functions of the buildings are the real memorials, and later alterations or even reconstruction does not invalidate their memorial character. There are examples in nearly every town and city, but the following are cited to illustrate the wide application of the principle. The Henry William's Memorial Church at Paihia, the Coates Memorial Church at Matakohe, the George Forbes Memorial Library at Lincoln College, the children's library at Riccarton, the Elam School of Art, the Dilworth School, and Massey College.
When the memorial is of a more general nature, such as a district war memorial, the building becomes a repository for a shrine, hall of memories, or other memorial feature. It may also serve, when suitable, as a background or setting for a free-standing cenotaph or other symbolic feature.
The Auckland War Memorial Museum, by Grierson, Aimer, and Draffin, is an excellent example. The dignified monumental building of wide community interest contains a shrine and other memorial features, and its paved forecourt with its central cenotaph provides the formal setting for public ceremonies. The Dominion War Memorial in Wellington, designed by Gummer and Ford, is a carillon tower to which is being added a centennial hall of memories. It is quite independent but formally sited in front of the dignified Dominion Museum. At Wanganui, a war memorial hall has been added to an existing civic centre. It, too, has a shrine and a forecourt for public ceremonies but its special interest lies in the happy coordination of a contemporary building with those of another period, each being a significant expression of its time. The beautiful centennial memorial at Petone, by H. L. Massey, has a different approach. The building and its accessories are designed as the memorial and any useful purpose is quite subsidiary to it.
There are many other functional memorials in various parts of the country. New Plymouth has a fine new hall and library, Masterton a swimming pool, while Christchurch and Hastings have clock towers and memorial gateways. Fountains and pavilions may be seen in most urban areas.
In the final analysis, the quality of a memorial rests firmly upon its artistic merit. Time will determine its historical significance, and practical considerations govern its nature and location, but only its aesthetic appeal will stir the hearts of mankind and thus create the sublime spirit of reverence and respect which is inherent to its purpose. It is not a matter of size or of any particular form, but simply what is conveyed by the inspirational quality of the design.
Many of New Zealand's memorials are no doubt commonplace, as indeed they are in every country, but some few at least have that touch of genius which makes them fitting symbols of this country's spirit.
by Cyril Roy Knight, M.A., B.ARCH. (LIVERPOOL), F.R.I.B.A., F.R.S.A., F.N.Z.I.A., Professor Emeritus, University of Auckland.