St. George's Hall, Liverpool. Here, the figure of Liverpool is garbed in official robes and the chains of office, with a crown emblazoned with sailing boats. The figure representing the arts carries a model of St. George's Hall, much as founders of religious and educational establishment were depicted with models of their buildings. Labour, on the right, carries the tools that made the building work possible.designed by Charles John Allen and executed” by Frank Norbury (1857-1916). 1882-1901. Istrian stone.
Photographs by Robert Freidus. Text” by Freidus and Jacqueline Banerjee. Perspective correction, formatting, and linking” by George P. Landow. [You may use these images without prior permission for any scholarly or educational purpose as long as you (1) credit the photographer and (2) link your document to this URL in a web document or cite it in a print one.]
The National Prosperity series on Saint George's Hall
Cavanagh entitles the series “National Prosperity” (261) and Read “The Story of Liverpool.” These six panels are on the east façade of St George's Hall, to the right of the central portico. They were commissioned in 1895, and Conrad Dressler's two panels, which proved the most contentious, were finally installed in June 1901. Designed by three different sculptors, they lack the unity of concept of the "Progress of Justice" series., and are perhaps best judged individually.
- Liverpool, a municipality, employs Labour and encourages Art
- Liverpool collects produce and exports the manufactures of the country
- Liverpool imports cattle and wool for food and clothing
- Liverpool, with its imports, supplies the country with food and corn
- Liverpool,” by her shipwrights, builds vessels of commerce
- Liverpool, a fishing village, gives her sons the boat and the net
Cavanagh, Terry. The Public Sculpture of Liverpool. Liverpool: Liverpool University Press, 1996.
Content last modified 21 April 2011