helped the architects decide where to place the Cross of Sacrifice. As early as 1917, Lutyens and Kenyon had agreed that the War Stone should be in the east, but facing west. (All graves were supposed to face east, facing the enemy, although many of the earliest cemeteries had graves facing in other [sometimes in many different] directions.) The initial idea was to have the Cross of Sacrifice be in opposition to the War Stone. In practice, however, the placement of the Cross of Sacrifice varied widely. The model cemeteries experiment also had one other effect, and that was to make Blomfield's design for the cross the only one ever used by the IWGC. The original intent of the senior architects had been to allow each junior architect to design his own cross for his own cemetery. But Blomfield's design proved so wildly popular that the decision was made to implement it as a standard feature in all cemeteries. The formal adoption of Blomfield's Cross of Sacrifice, and the concepts regarding its placement, position, and use, were outlined by Kenyon in a report, A Memorandum on the Cross as Central Monument, submitted in January 1919 as an addendum to his November 1918 main report. About the Cross of Sacrifice According to Fabian Ware, the name "Cross of Sacrifice" arose spontaneously from an unknown source, and attached itself to the cross. The Cross of Sacrifice is carved from white stone. This is usually Portland stone, but it is sometimes granite or any type of white limestone commonly found in France or Belgium. In Italy, Chiampo Perla limestone was used. The proportions of the cross, with short arms close to the top of the shaft are similar to some Celtic crosses, the crossarm being one-third the length of the shaft (as measured from the point where the shaft emerges from the base). The cross consists of three pieces: The shaft, from base to crossarm; the crossarm; and the upper shaft, above the crossarm. The crossarm is fastened to the lower and upper shaft by two bronze dowels. A joggle (a portion of the shaft which extends into the base, acting as a joint) about long extends into the base, where it is secured by another bronze dowel. The shaft and crossarm are both octagonal in shape, and the shaft tapers slightly as it rises to give the cross entasis. On the large