ends, above the wreath, and the second on the sides. The sculptural work was carried out by Derwent Wood. None of the lines on the pylon is straight. The sides are not parallel but are subtly curved using precise geometry so as to be barely visible to the naked eye (entasis). If extended, the apparently vertical surfaces would meet above the ground and the apparently horizontal surfaces are sections of a sphere whose centre would be below ground. The use of curvature and diminishing tiers is intended to draw the eye upwards in a spiralling direction, first to the inscription, then to the top of the flags, to the wreath, and finally to the coffin at the top. Many of these elements were not present in Lutyens's early design, and the progression can be seen in several of the architect's sketches. In his sketch for Lady Sackville, he omitted most of the setbacks, and had the wreaths on the sides hanging from pegs. In another drawing he included an urn on top of the coffin and sculptures of lions flanking the base (similar to the pine cones on Southampton Cenotaph). Other experimental designs omit the flags, and one included a recumbent effigy atop the coffin (in place of an urn). A wooden model from an early stage in the design process is in the collection of the Imperial War Museum, as are several of Lutyens's original drawings; others are in the Royal Institute of British Architects' drawing library. The Cenotaph is flanked on the long sides by flags of the United Kingdom—the Royal Air Force Ensign, Union Flag, and Red Ensign on one side, and the Blue Ensign, Union Flag, and White Ensign on the other. Lutyens intended the flags to be carved in stone like the rest of the monument. He was overruled and cloth flags were used, though Lutyens went on to use stone flags on several of his other war memorials, painted on Rochdale Cenotaph and Northampton War Memorial (among others), and unpainted at Étaples and Villers-Bretonneux IWGC cemeteries. Appreciation On the day of its unveiling, The Times praised the Cenotaph as "simple, massive, unadorned". Catherine Moriarty, of the Imperial War Museum's National Inventory of War Memorials project, observed in 1995 that the Cenotaph met with widespread public acclaim, and that the public adopted the unfamiliar name with enthusiasm. She described an empty tomb as a highly