The figure of the angel on the Boer War Memorial in Cardiff makes this one of the most beautiful monuments of its time to grace any British city. Her face is very beautiful, very turn of the 19th Century, with symmetrically parted hair forming an upside-down heart shape around her face as if the setting for some jewel. You could describe this face as Art Nouveau, and the whole figure could equally be called Symbolist in its symmetrical, evocative pose.
The angel’s sculpted wings control her flight as her feet touch down. Her message of peace is stressed by the fact that in her hand she holds not an olive branch but a tree with roots ready to be planted to mark better future times. She clasps the shrub against the crook of one arm, while the other is downward and outward from her body, palm downwards, and with the exception of these arms, she stands entirely symmetrically, looking straight ahead, rather short wings outspread to the sides, feet together as she has just descended on a small flattened globe. She wears the lightest of drapery, a short-sleeved dress down to her ankles. The garment is taut across her breasts and stomach, loose on her upper arms, and from waist level down, has the most delicate and wispy of creases across her legs, broadening to heavier, floating folds to the sides. The front parts of her wings spread around her sides onto her stomach, forming flower-like decorations with the short feathers.
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