Do you feel patronised?

Jagger Sentry srcset=" 388w, 239w, 44w" sizes="(max-width: 388px) 100vw, 388px" />Crossing the

​ centre of Manchester recently heading for the match, an old friend asked me to step inside a handsome Victorian mill considered the Medici

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Palace of Cottonopolis.  He’d worked

undeniably impressive few of those entering the complex will notice the sculpture. They are probably too eager to avail themselves of, among other

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thrills awaiting, a ‘Happy Hour’ offer of two pizzas and two pints for fifteen quid, the advertising board for which stands a few feet from Jagger’s plinth.

Eight years ago google_ad_slot = "6023194682"; the bayonet was hacked off src="//"> in a drunken prank and has never google_ad_height = 90; been

replaced despite this being an /* xin-1 */ important detail of a Grade II* listed work. To check on the original appearance including bayonet (the maquette is inset opposite), there are reduced
versions in Liverpool’s Walker
Art Gallery, at Eltham Palace in south-east London (Stephen Courtauld, who
lived there, was a fellow officer with Jagger in the Royal Worcesters and, coincidentally, it was his family’s textile firm which //--> eventually
bought the Watts building), and in the museum at Rotherham where Jagger was born, the son of a colliery


Exactly 100

years ago, Jagger (1886-1938), who had on declaration /* 9-970x90 */ of war instantly google_ad_width = 970; volunteered with the Artists Rifles, arrived back
in src="//"> England from Gallipoli via a Malta hospital having been shot through the shoulder, a potentially disastrous injury for a carver and modeller.
But Charles recovered quickly and
was re-posted

to the Western Front where, in April 1918 during the German Spring offensive, he was sniped through the chest two inches above his heart. Astonishingly, he survived and was awarded an MC for conspicuous bravery. This wound undoubtedly contributed to a cruelly early death due to heart failure accelerated by overwork.

When the war ended he /* xin2 */ took up the Rome Scholarship won before the outbreak when graduating google_ad_slot = "7160667483"; from the RCA. Recommended by George Frampton, he

was soon making war memorials, a job
for which, given his experiences, no one could have been better qualified. Jagger famously said:


“I got to love the


Tommy in the Trenches and I’ve tried to show him as I knew him

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– not as he looked on parade at home.” The caped sentry’s google_ad_slot = "8637400688"; legs are protectively swaddled in sack google_ad_width = 970; cloth against the cold google_ad_height = 90; and wet, an informal addition to uniform permitted during frontline duty.

When The Sentry


was unveiled opinion was split down the middle. Liverpool architect Charles Reilly remarked: “It is extraordinarily impressive as it stands there with intense immobility, //--> a little //--> large and crude perhaps for its surroundings; such a figure makes one understand the rock of google_ad_width = 970; national character against which
the German flood broke in vain.
It is truly
in its combined steadfastness and power. It is sculpture like this, and this only, free from any trivial
suggestions, that can at all express the depth of feeling the war called forth.”

Meanwhile, Roger Fry, who was always proud to know better than anyone else and who had already established himself as chief standard bearer for the avant garde, wrote of Jagger’s figure:

yourselves and are not cowed by those claiming to know best. Because they don’t.

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Perhaps Manchester’s Jagger really is vulgar,

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meritless and pedestrian. And perhaps Ryan Gander’s reflective bollards are, truly, “a world masterpiece”. What do you think?

Leaving Jagger behind, as chance would have it our route to the ground took us past Gander’s chromium cruet. (It was a very cultural evening.) “What do you make of that?”, I enquired casually. “What’s it for?”, my friend asked.

David Lee

March/April 2016

Ryan Gander Manchester