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Larger than life-size bronze statue of Peel surmounting a stepped granite pedestal. Peel, a cloak draped across the right shoulder, is shown in the act of public speaking; a scroll in his right hand, his other hand resting on his hip. Two symbolic seated female figures are placed on the first stage of the pedestal. To Peel's right is a crowned female figure representing Manchester, holding a spindle of yarn in her left hand, while the other hand rests on a bale of cotton goods. To Peel's left, the female figure represents the Arts and Sciences, She is holding a book or tablet inscribed 'Ars et Scientia'; in her right hand is a wreath, and around her feet are artistic and scientific objects including palette, sculptor's mallet and a retort.

Nine sculptors submitted 17 statuettes for the Manchester Peel monument. These were displayed in the Royal Manchester Institution for three weeks for the committee to view. But how anonymous some of the entries were was debatable: William Calder Marshall had displayed a similar model to his entry in Manchester in the autumn of 1850. After a lengthy viewing of the models the committee reduced the numbers before finally awarding the 3,000 guineas commission to William Calder Marshall, a sculptor better known for his poetic sculpture than for his portrait statues. Calder Marshall's model, which included two symbolic figures, had not impressed all the members of the selection committee. Absalom Watkin was a member of the committee and he noted the closeness of the decision in his journal. There had been eleven members for Calder Marshall and nine against, the decision being 'contrary to my opinion, but in deference to that of the Bishop.' For the losers, there was disappointment. When Baily received his models back without even a note, he was indignant about the boorish behaviour of these provincials. 'I do not know whether this is considered the etiquette of the Gentlemen of Manchester, if so I do not envy them their politics. I am very sorry I ever consented to enter the competition. It is the last I shall do so for I cannot afford to sacrifice thirty years reputation to the mere whim or ignorance of any set of Gentlemen however clever they may be in their own business, they know very little of art, for quantity seems to be the free trade motto.' The Memorial Committee also had to decide on a site for the statue. Although Manchester had no obvious civic space at this time, it was Piccadilly, or more precisely the area in front of the Manchester Royal Infirmary, that became the focus of the committee's discussions. The possibility of erecting the statue on the land in front of the Infirmary - its main feature was a pool of water known as the Infirmary pond - became part of a wider project to create a more carefully landscaped public space in front of the Infirmary. Such a space might contain other statues. As early as Novemebr 1850, such speculation had reached London where Baily, conscious of future commissions, was noting that Manchester intended to erect a number of statues in front of the Infirmary: 'viz Her Majesty, The Duke of Wellington and Sir Robert Peel which in my opinion will give good interest to that locality.'W. Fleming to E. H. Baily, letter dated 20 August 1850.(Local Studies Department, Manchester Central Reference Library).W. Fleming to E. H. Baily, letter dated 20 August 1850.(Local Studies Department, Manchester Central Reference Library). But the development of what was to become known as the Esplanade was not to be achieved so rapidly. The idea required the support of the Infirmary. The Infirmary Trustees, who had embarked on a programme of improving the appearance of the hospital, were generally sympathetic to the proposed changes which would result in a much grander public space - 'a most important and ornamental public improvement' - in front of their hospital. Improvements had been made for the Queen's visit in October 1851 but a more radical re-landscaping was envisaged. By the time all the negotiations were completed in 1853, it was clear that the Peel statue would not be the only one to be installed, as plans were also underway for a memorial to the Duke of Wellington. Liberal Manchester's new public space was to be dominated by colossal statues of two former Conservative prime ministers. More specifically, the Peel Committee had agreed that their monument would be positioned at the Mosley Street end of the open space. A small sub-committee of the Memorial Committee, including Thomas Bazley and Salis Schwabe, liased with Calder Marshall over the details and production of the statues. Calder Marshall exhibited plaster casts of the principal figures at the Royal Academy. The Peel statue was cast at Robinson and Cottam's Pimlico foundry, whose technique and resulting quality of casting the figures in one piece impressed the correspondent of the Art Journal. Peel was duly delivered to Manchester in early October 1853 for installation on the large granite pedestal though unfortunately one of the subsidiary female figures was not completed in time for the inauguration. Manchester's Peel memorial was unveiled in October 1853 before a huge crowd, some of whom came to see the chief guest, W. E. Gladstone, as well as the new statue. It was a day of public ceremony and political demonstration, in which Manchester's Liberal elite were prominent. Sir John Potter, chairman of the memorial committee, struck the keynote in declaring that 'most of us think that the welfare of our country, that the progress of our country, is mainly dependant upon the existence of commerce, that commerce has carried with it civilisation to the furthest corners of the world, but, above all, the measures of Sir Robert Peel have increased the contentment, the comfort, and the happiness of millions of operatives who inhabit this country.' Peel was remembered as a Lancashire man and a statesmen who had won the gratitude of ordinary people by his acceptance of Free Trade. That the statue was a celebraton of free trade was even more evident in the following week when the memorial was completed, allowing observers to note that by the crowned female figure representing industry and trade, there was a shield carrying the borough's coat of arms beneath which was a sheaf of corn. Peel may have taken the decision to repeal the Corn Laws but it was the Anti-Corn Law League organised and based in Manchester that had made their continuation untenable. In spite of the committee's efforts to obtain the best statue, some contemporary observers questioned whether the monument could be considered as a work of art. Some felt that it was a disappointment, a missed opportunity. One critic argued that Marshall had failed to provide either a good likeness or capture the character of Peel; the body was 'a jumble of evolutions' with a pointed knee, the 'creation of an effeminate hand.' But the suggestion that the best thing that could be done was to re-cast it and start again was not taken up in Manchester. (In London two statues of Peel were melted down before Matthew Noble produced an acceptable one.) The only minor change to the monument occurred at the time of the installation of the Wellington Memorial when it was raised slightly to be in keeping with the landscaping of the Esplanade. In the early twentieth century the Town Hall Commitee considered re-siting the majority of the statues on the Esplanade, including Peel, inside the grounds of the Infirmary but this plan was not implemented. Plans announced in 1999 to erect an office building in Piccadilly and re-design the entire gardens will involve the cleaning and re-siting of the statue on the former Esplanade. Statue to be moved and cleaned in summer 2001. Monument was re-sited in September 2001, only slight change in location.

Sir Robert Peel was born at Chamber Hall, Bury, the eldest son of the first Sir Robert Peel (1750-1830), whose calico printing interests created one of the first industrial textile fortunes. The younger Peel was a brilliant scholar, educated at Harrow and Oxford. He entered public life as a Tory member of parliament when only 21-years-old. His political career saw him holding a number of government offices at an early age. In 1822 he became Home Secretary initiating fundamental changes in the police and the criminal justice system. After the passing of the 1832 Reform Act, Peel recognised the importance of broadening his party's appeal and the need for them to adopt change. When he returned to power in 1841 he introduced a radical programme of financial reform which culminated in his decision to repeal the Corn Laws. The latter act was realised in spite of fierce opposition from his own party. Although the decision brought him great popularity in the country, the more immediate political consequence was to divide the Conservative Party and for Peel to lose the office of prime minister. Peel died unexpectedly in 1850 following a fall from his horse whilst riding near Hyde Park Corner.

circa

raw year

Condition

At risk

Inscriptions

Signatures

Statue

Bronze

320cm high

Pedestal

Granite

365cm high x 355cm wide x 265cm deep

Female figures

Bronze

243cm high

Bird guano

On Peel figure

None

Graffiti

Extensive on base