Overview

To Our Brothers: Memorials to a Lost Generation British Schools shows how a nation not noted for its ability to express emotion, in fact famous for its stiff upper lip, managed to convey its grief, love and pride for some of the thousands of its young men who were killed during the First World War. Schools had a peculiarly intense relationship with their dead, especially boarding schools. Most of them were much smaller than they are today, pupils spent more time there, there were fewer exeats and some boys, whose parents lived abroad, even remained at school during the holidays. All of which gave real meaning to the term alma mater, nurturing mother, and in loco parentis, in place of a parent. Many boys went straight from school into the services and were dead within a year. The staff still knew them and grieved for them as they might for their own sons, and in some cases the dead were their own sons. The book will show how schools used the language of Britain's past, its cultural heritage - history, religion, customs, art, architecture, literature and myth - to articulate their emotions, to make their memorials speak. But it's a language the twenty-first century doesn't speak very well anymore. It doesn't pick up the biblical and literary allusions, understand the architectural forms, or recognise the symbolic references. By looking at the memorials in fifty schools across Britain, small grammar schools to the great public schools, chapels to sports pavilions, jewelled altar crosses to sundials, objects made of stone, wood, stained glass, brass, silver, bronze, gold leaf, parchment and paper, all nuanced by their cultural references, the author shows how school memorials were able to express a complex raft of emotions. The book has been beautifully and atmospherically illustrated with numerous colour photographs that do great justice to the memorials that are in some cases the work of masters of the Arts and Crafts movement and the best-known architects of the day, and to others that are simply the affecting work of a parent or the school's art master. There are many previously unknown treasures among the collection, some of them previously unknown to the schools themselves.

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9781911628255

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Reviews

This is an interesting and ennobling story of events that will be remote to virtually all of us readers, but a poignant tale of those who so often joined up in innocence and died on a scale and setting that we cannot imagine. * Miniature Wargames 07/03/2019 * A fascinating tribute to the missing generation and it is to be hoped that the authors will continue their journey through our school memorials. * Military Historical Society Bulletin 14/01/2019 * A beautifully produced work, [...] the book for me acted not just as a compendium of the art but made me think and wonder. * Long Long Trail 16/05/2019 * Not least this book is, in itself, a valuable memorial. * Stand to! 05/06/2019 *

A fascinating tribute to the missing generation and it is to be hoped that the authors will continue their journey through our school memorials. * Military Historical Society Bulletin 14/01/2019 *

Author Information

Sarah Wearne’s interest is in cultures of commemoration, especially those relating to the First World War; it’s a subject on which she writes, gives talks and curates exhibitions. She has recently published, in association with the Commonwealth War Graves Commission, three collections of personal inscriptions from the graves of soldiers killed during the Somme, Passchendaele and Last 100 Days’ campaigns, fascinated by the insight these inscriptions give into the hearts and minds of the bereaved as revealed by the quotations they chose, the vocabulary they used and the imagery they employed. It’s this same fascination that has led her to study the war memorials of a community, British schools. As the archivist of Abingdon School she is familiar with how these communities work and how they used to work, and as a member of the School Archivists Group, whose co-operation has been vital in the production of this book, she has had to access archival records that animate the text. James Kerr, a former soldier who spent eight years in the Coldstream Guards, is able to read the battlefield with a practiced eye. A commercial and landscape photographer for over twenty years, previous published work includes ‘Shakespeare’s Scenery’, a with foreword by Dame Judi Dench. www.jameskerr.co.uk

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