What I hope we shall do is to take careful thought where our memorials shall be set, so that they may be most constantly and plainly seen; and then how they may best fulfil their purpose, which is to remind us first, and next to kindle emotion and imagination. We have an ugly habit of combining, if we can, local utility with a memorial, as in the well-known story of the benevolent clergyman who read out the announcement of the death of a great statesman and added, ‘That is just what we wanted! We have long needed a new water supply!’ That is like using a grandfather’s sword to trim a privet-hedge with! I do not believe in fitting things in. If we commemorate, let us commemorate by a memorial which arrests and attracts the eye, is long and gratefully remembered, and by an inscription which touches the heart, and does not merely merge a man among the possessors of all human gifts and virtues. I remember a Georgian monument in a cathedral, where a lean man in a toga peeped anxiously out of an arbour of fluted columns, and of whom it was announced that in him ‘every talent which adorns the human spirit was united with every virtue which sustains it.’ How different is the little tablet in a church I know on which a former choir-boy is commemorated! He had joined the army, and had won a Victoria Cross in the Boer War which he did not live to receive. The facts were most briefly told; and below were the words, which I can hardly read without tears: ‘Thou hast put a new song in my mouth.’ What we want, then, are beauty, dignity, simplicity, and force. We want what appeals directly to the eye, and then darts a strong emotion into the heart, an emotion in which gratitude and hope are blended. I must not here attempt to unfold a wide technical scheme; indeed I could not if I would; but I may perhaps outline a few principles. First comes the difficulty that places like to manage their own affairs; and that the men who administer local interests, however devotedly and industriously, do not acquire their influence by artistic tastes. The next difficulty is that our artistic instinct in England is not widely diffused. When Walter Pater’s attention was called to some expensive tribute, and he became aware that an expression of admiration was required, he used to say in his soft voice, ‘Very costly, no doubt,’ and this was always accepted as an appropriate compliment, he said. A third difficulty is the deep-seated mistrust in England of the expert--it is all part of our independence--but the expert is often regarded simply as a man who lets you in for heavier expense than you had intended.