THIS week sees the first in our new series of features from the team at Live Borders Museum & Gallery Service, Tweeddale Museum.

In the first edition, we look at the history of the Peeblesshire War Memorial.

Standing 40ft high within the quadrangle of the Chambers Institute, the Peebles Burgh and County War Memorial is one of the finest in Scotland. 

The beautiful, contemplative shrine – which uniquely combines graceful Renaissance architecture and vibrant Moorish art – commemor-ates those 541 men and women of Peeblesshire who fell in the Great War 1914 to 1918 and the 110 who died in World War II between 1939 and 1945.

The memorial was unveiled on October 5, 1922, by Field Marshall Earl Haig, Commander-in-chief of the British Expeditionary Force.

Two of the fallen in World War I were awarded the Victoria Cross: Piper James Richardson (aged 20, Seaforths, British Columbia), who played his men ‘over the top’, under fire, at the Somme in 1916; and Lt.

Thomas Colyer Fergusson (aged 21, Northamptons), who, with a few men, took an enemy trench and two machine-gun posts during a single engagement at Ypres in 1917.

The memorial consists of a domed, classical pavilion in striking Renaissance style, which is flanked by screen walls.

In 1919, the architect, BNH Orphoot, outlined his design proposals thus: “The central interest of the scheme is a delicate cross, standing on a low pedestal, enriched with mosaics in the colour of those in the Cathedral of Monreale at Palermo. 

“The cross is sheltered by a light arcaded stone canopy, or baldachio, hexagonal on plan with domed roof covered with copper. The canopy is flanked by simple stone walls, with recesses for stone seats and bronze panels to contain the names of the fallen.

“By the use of copper in the canopy, and the introduction of the rich Saracenic mosaics on the cross, it is hoped to get a bright note of colour, which is otherwise lacking in the surroundings.”

Orphoot reflects the round-arched, keystoned openings of the Burgh Hall in the arcading of the shrine, and celebrates the ogee-capped towers of the Institute in the design of the roof.

The Celtic cross of Sicilian ‘billiemi’ – a rare, grey nougat-like marble – and the intricate mosaics were executed by Professor Guiseppee Matranga of Palermo.

The great bronze panels were made by the Bromsgrove Guild of London.

The lettering was carved by Thomas Beattie; the contractors were James Millar and Sons from Edinburgh; and the mosaic tile was by Leonard Grandison and Son from Peebles.

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