#100DaysofVimy – February 26, 2017

Each Sunday we will share a story of Remembrance. Part IV – Building The Vimy Memorial

With the arrival of the first shipments of Seget limestone in France, sculpting could finally begin for the Vimy Memorial in 1927. The blocks were first cut to size in work shops on the ground before being hoisted into position; the figures of the memorial were only sculpted once set in place atop the memorial. This required the construction of extensive studios, encircling the memorial’s two pylons and suspended nearly 200 feet in the air. A pantograph was used by the sculptors to reproduce Allward’s plaster models to scale.


Studios were suspended hundreds of feet in the air for the sculpting process. Credit: Central pylons enclosed, view from left. National Gallery of Canada.



Partially completed figures and remaining blocks indicate the amount of sculpting that had to be completed within the suspended studios. Credit: National Gallery of Canada. Gift of Peter Allward, 1986.


Sculptors used a pantograph, (partially visible at top of photo), to reproduce the figures. Allward’s plaster model can be seen on the right. Credit: Duplication of Female Mourner. National Gallery of Canada. Gift of Peter Allward, 1986.

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