British Museum—christened the "Cenotaph of Sigismunda". From 1915, the British government prohibited the repatriation of the bodies of men killed overseas, meaning that most bereaved families did not have a nearby grave to visit and thus war memorials became a focal point for their grief. Cenotaphs originated in Ancient Greek tradition, where they were built when it was impossible to recover a body after the battle, as the Greeks placed great cultural importance on the proper burial of their war dead. Lutyens remembered the term when working on Southampton's memorial in early 1919. He broke with the Ancient Greek convention in that his designs for London's and Southampton's cenotaphs contained no explicit reference to battle. The result at Southampton (unveiled a week before London's permanent Cenotaph) lacks the subtlety of London's monument, but introduces several design elements common in Lutyens's subsequent memorials. Origins: the temporary Cenotaph The First World War ended with the Armistice of 11 November 1918, although it was not officially declared over until the signing of the Treaty of Versailles on 28 June 1919. The British government planned to hold a victory parade in London on 19 July, including soldiers marching to Whitehall, the centre of the British government. The initial design for what would become the Cenotaph was one of a number of temporary structures erected along the parade's route. The prime minister, David Lloyd George, learnt that the French plans for a similar parade in Paris included a saluting point for the marching troops and was keen to replicate the idea for the British parade. How Lutyens became involved is unclear, but he was close friends with Sir Alfred Mond and Sir Lionel Earle (respectively the government minister and senior civil servant at the Office of Works, which was responsible for public building projects) and it seems likely that one or both men discussed the idea with Lutyens. Lloyd George summoned Lutyens and asked him to design a "catafalque" as the centre point for the parade. Lloyd George emphasised that the structure was to be non-denominational. Lutyens met with Sir Frank Baines, chief architect at the Office of Works, the same day to sketch his idea for the Cenotaph and sketched it again for his friend Lady Sackville over dinner that night. Both sketches show the Cenotaph almost as-built. At the end of the war, there was considerable social upheaval and civil unrest in Britain