Grief etched in stone. That’s what I think of when I see the 1914-1919 War memorial. This memorial stands as a tribute from the people of New South Wales. It honors the valour and sacrifice of the Australian Imperial Force.
Let me tell you a story. It started with Hugh D. McIntosh. He launched an appeal for an Anzac Memorial and Hall of Fame in 1916. That year marked the first anniversary of the Anzac forces’ landing on Gallipoli. Further fundraising appeals occurred in 1918 and 1919. These raised over £60,000 for the memorial fund.
Building the memorial faced hurdles. There were funding and legal constraints. Disagreements arose about what the memorial should be. The largest returned servicemen’s organisation favoured a utilitarian building. It would house social space and offices. Others wanted an explicitly commemorative form. Dr Mary Booth lobbied against using memorial funds for anything other than remembering the dead.
The Anzac Memorial Building Act of 1923 did not resolve the argument. But it did incorporate a board of trustees. They were to manage the memorial funds and oversee building it. The trustees included the lord mayor, state premier, opposition leader, and leaders of major veterans’ organisations. They discussed at least ten possible locations. In 1928, they settled on Hyde Park. They agreed to a commemorative design. By 1930, Sydney had numerous municipal and suburban memorials. A cenotaph in Martin Place became the focal point for Anzac Day ceremonies from 1927.
In July 1930, C. Bruce Dellit won the design competition. His design adapted Art Deco motifs. These were used in commercial buildings for commemorative purposes. The building’s apex resembled a ziggurat. Window panels featured skyscraper forms and rising sun patterns. Dellit commissioned Rayner Hoff to create the sculptures. Hoff replaced allegorical figures with concrete representations of Australian servicemen and women. The memorial became a product of collaborative design.
Granite figures of AIF types decorate the memorial’s exterior. Inside, visitors walk into a central hall of memory. They look down through a circular aperture. This leads into a well of contemplation. Viewers bow their heads creating reverence. Above, a dome is decorated with 120,000 stars. These represent servicemen and women from New South Wales. The floor at the western entrance bears an inscription. It reads: “Let Silent Contemplation be Your Offering”. In the well of contemplation is Hoff’s sculpture, Sacrifice. It depicts a dead warrior carried on his shield by significant women. This echoes Spartan imagery.
Finished designs were exhibited in Sydney in 1932. Models for other sculpture groupings generated controversy. These were Crucifixion of Civilization 1914 and Victory After Sacrifice 1918. The first depicted a naked woman crucified on war implements. The second depicted a naked woman representing Australia atop dead soldiers. These works aroused hostility. Clergy declared them blasphemous. There were insufficient funds to cast them at full size. They were never installed.
On 24 November 1934, an estimated 100,000 people gathered for the official opening. The 1914-1919 War memorial has served as a memorial and focal point ever since. It was rededicated in 1984 to honor all Australians who served. In 2014, a major centenary project was announced. It involved new landscaping and underground education spaces.
As you stand here remember that the 1914-1919 War memorial is more than stone. It is a place of remembrance. It is a testament to sacrifice. Let’s take a moment to contemplate its significance.