The Western Front

In a German war cemetery to the north-east of the Belgian town of Diksmuide is the grave of a young soldier called Peter Kollwitz. He once lay among the 1,500 dead of the Roggevelde cemetery and it was there, in 1932 – the same year that Lutyens’s memorial to the dead of the Somme was dedicated – that his mother, the great German printmaker and sculptor Käthe Kollwitz, placed at his graveside the two granite figures known as the ‘Grieving Parents’. There is, as the historian Jay Winter wrote, ‘no monument to the grief of those parents who lost their sons in the war more moving than this simple stone

In unduly modest remarks at the opening of this immaculate book, Clive Aslet, one of our most distinguished architectural historians, notes that there have been substantial biographies of Sir Edwin Lutyens, and he does not pretend to emulate them. His achievement, however, is considerable. Aslet has spent more than 45 years in intense and enthusiastic study of ‘Ned’ and his works, and has not merely an encyclopedic knowledge of what Lutyens built, but two other invaluable qualities. First, he appreciates the sort of man Lutyens was, the influences upon him, and how he interacted with his family (especially his wife Lady Emily) and his clients. Second, he has a deep