Abstract

This article presents analysis of the memorial to William Hodson in Lichfield Cathedral, designed by George Edmund Street between 1859 and 1862, focusing on the iconography of the monument and way that it was influenced by Muscular Christianity and ecclesiology. The attitude of Hodson and his brother George Hodson, who commissioned the monument, is examined through analysis of the publication that presented Hodson’s career to the Victorian public: Twelve Years a Soldier’s Live in India (1859). The memorial raises urgent questions about the future of Victorian cultural heritage as it demonstrably misrepresents a highly symbolic event within British imperial history. Hodson was represented as a hero by Victorian ecclesiologists but is now seen by many as an unscrupulous and ruthless imperialist. This paper will demonstrate that the extraordinary form of the tomb was determined by an alteration to the design: the inclusion of sculptural panel representing the ‘Surrender of the King of Delhi’. This change was instigated by the committee of the Ecclesiological Society headed by A. J. Beresford Hope. The panel turns a relatively peripheral event into a symbolic tableau: the surrender of Indian Islam to British Christianity, a distortion typical of British culture in the aftermath of the Indian Uprising of 1857-8. The historiography of Hodson’s career shows that the tomb has acted as a focus for those wishing to perpetuate a conservative interpretation of Hodson’s career.