was faced with a "constant stream" of war memorial commissions from the unveiling of the temporary Cenotaph until at least 1924. He went on to design more than 130 war memorials and cemeteries, many influenced by his work on the Cenotaph. His Southampton Cenotaph was unveiled in 1920, while the permanent monument on Whitehall was still under construction. His later cenotaphs include Rochdale, Manchester, and the Midland Railway War Memorial in Derby. Lutyens also used the design for monuments in several of his cemeteries in Belgium and France for the IWGC, most famously at Étaples. On art and literature Examples of artworks featuring the Cenotaph include Immortal Shrine (1928) by Will Longstaff (held at the Australian War Memorial) and The Cenotaph (Morning of the Peace Procession) (1919) by Sir William Nicholson. The latter work by Nicholson sold at auction at Christie's in London in 2018 for £62,500. The Cenotaph also featured on the reverse of the 1928 Armistice Day memorial medal by Charles Doman. Examples of the Cenotaph featuring in artworks commemorating national events include the ceremonial paintings commissioned in 1920 by the government and the king from Frank Owen Salisbury to mark the unveiling of the Cenotaph, titled The Passing of the Unknown Warrior, 11 November 1920. A study for the work hangs in Buckingham Palace; the main work is in the Ministry of Defence Main Building off Whitehall. A 1936 novel by Irene Rathbone with an anti-war theme, They Call it Peace, concluded with a scene set at the Cenotaph in which two women complete pilgrimages to the monument, one to honour the dead and one feeling that the deaths were in vain. The cultural response to the Cenotaph also includes poetry such as "The Cenotaph" (1919) by Charlotte Mew, "The Cenotaph in Whitehall" (1920) by Max Plowman, "The Cenotaph" (1922) by Ursula Roberts, "London Stone" (1923) by Rudyard Kipling, "At the Cenotaph" (1933) by Siegfried Sassoon, and "At the Cenotaph" (1935) by Hugh MacDiarmid. Laurence Binyon's "For the Fallen" (1914) is closely associated with the Cenotaph, having been recited at its unveiling, and commonly features in remembrance services, particularly the fourth stanza, which concludes: According to the literary historian Alex Moffett, the poems about the Cenotaph convey the different narratives of the First World War and the way in which it should be remembered, in much the same way that the monument itself is open to interpretation.