The poetry also expresses the conflict between sombre commemoration of the dead and celebration of victory, "a tension that many have read within the Cenotaph itself". On other war memorials According to one study of British war memorials, the Cenotaph's "deceptively simple design and deliberately non-sectarian message ensured that its form would be adopted widely, with local variations". From its unveiling, the Cenotaph proved highly influential on other war memorials in Britain. The art historian Alan Borg wrote that the Cenotaph was the "one memorial that proved to be more influential than any other". Several towns and cities erected war memorials based to some extent on Lutyens's design for Whitehall, though the term "cenotaph" came to be applied to almost any war memorial that was not itself a tomb. Lutyens designed several other cenotaphs in England and one in Wales, while replicas, of varying quality and accuracy, were built across Britain, along with many other monuments inspired to some extent by Lutyens's design. Examples include Leeds War Memorial and Glasgow Cenotaph. Replicas were also built in other countries of the British Empire, usually by local architects with input from Lutyens. The government of Bermuda opted for a two-thirds scale replica, unveiled in 1925, having paid Lutyens a fee for his plans and for advice on the site. A wooden replica was erected in London, Ontario, until a permanent version, a three-quarters scale replica of Whitehall's, could be erected in 1934. Hong Kong's Cenotaph, unveiled in 1928, was built by a local architectural practice with input from Lutyens. The cenotaph at the Auckland War Memorial Museum in New Zealand is a copy of Whitehall's, though Lutyens was not involved in its inception. Purchasing the designs from Lutyens was deemed too expensive so a local architect, Keith Draffin, sketched it from cinema newsreels. At least four other copies exist in New Zealand. Several temporary replicas were built as placeholders until permanent memorials could be built, including one in Toronto, Canada, replaced with the Old City Hall Cenotaph, and one in Melbourne, Australia, which stood until 1937, three years after the completion of the Shrine of Remembrance. Borg observed that there was no agreed standard for war memorials, with wide variations in design, though Lutyens's Cenotaph and Sir Reginald Blomfield's Cross of Sacrifice came closest. Such was the impact of the Cenotaph that even Blomfield, a great rival of Lutyens, drew on it