PICCADILLY CIRCUS

Hokitika Guardian, 30 December 1931, Page 6

PICCADILLY CIRCUS

FAMOUS LONDON FOUNTAIN RESTORED. SIX YEARS’ ABSENCE. t LONDON, December 28. “Mascot” Gilbert’s aluminium statue of Eros was re-erected in Piccadilly Circus at midnight. Eros was removed in 1925 during the reconstruction of the underground station. It has been cleansed and now gleams in silvery beauty. Mr Alfred Gilbert’s charming figure of “Eros” (Love) armed-with bow and arrow stood in the centre of Piccadilly Circus, one of the busiest traffic centres of London, from 1885 until 1925, when it was removed in connection with the remodelling of the Piccadilly Circus Underground Railway Station. The reinstatement marks the conclusion of one of the greatest engineering feats carried out in London for many years. Without interruption to traffic the whole of the subsoil of an area of 15,000 feet underneath the Circus was excavated," a modern railway station with the latest accommodation to handle the 50,000,000 passengers who use it annually was built, and the whole of the network of water mains, electric light cables, sewers, gas mains, and .surface water drains was collected in one tunnel. A shaft 100 feet deep was excavated for the removal of spoil ana thq introduction of the necessary materials, and shafts for the eleven escalators for the service of the railway were also necessary. There are two underground lines passing beneath the Circus, the Bakerloo line at a depth ol 86 feet and the Piccadilly line at a (Tepth of 102 feet.

Famous as a sculptor and goldsmith. Mr Gilbert is the author of statuary and objets d’art that grace public places and galleries in many parts of the world. In the artistic world his goldsmith’s work has given him the sobriquet of the “modern Cellini,” but more popularly lie is known as “Mascot” Gilbert as so many of his favourite works have been used as mascots. His first important work was “Mother and Child,” then “The Kiss of Victory” and “Perseus Arming.” In 1885 be was occupied with “Eros,” 'the Shaftesbury Memorial Fountain to give it its right name. It is a work of great originality and beauty, though deprived of .some of its intended effect through restrictions placed on the artist. At the time, the fountain was the subject of much hostile criticism and the artist declared that it “not only ruined myself but brought upon my lieafl periodical attacks for my poor work.”’ When tlie alterations to Piccadilly Circus were first mooted, there was much controversy as to the fate of Eros, chiefly from the awthoriites responsible for the control of traffic. Gilbert wrote from his home in Rome suggesting that it should Ire melted down and the hundreds of pounds worth o f metal used for building a shelter for the homeless. But, whatever may-have been the undisoerning criticisms that drove him abroad, the beauty .of his work had become appreciated, and London declined to lose one of its most famous' landmarks. Eventually ■ a temporary site was found on the Embankment