designers. A team of senior architects—which would include Lutyens, Baker, and one other—would oversee the designs. With minor additions, Kenyon's report was published in November 1918. Appointment of Blomfield After receiving the Kenyon report in February 1918, the following month Ware appointed Reginald Blomfield to be one of the senior architects overseeing the design of British war cemeteries. Blomfield was chosen on the recommendation of Kenyon. Blomfield was an expert in both British and French architecture, and had written extensively on garden planning. Blomfield was greatly experienced in serving on committees, commissions, and government advisory bodies, and Ware hoped that Blomfield would use his age, experience, and dominance in the field of architecture to help rein in Baker and Lutyens. Ware also hoped that Blomfield's amiable nature and firm hand would keep the disagreements between Baker and Lutyens from getting out of hand. Furthermore, Blomfield was a widely acknowledged expert in generating highly accurate cost estimates and in crafting excellent contracts. Blomfield was paid £400 per year in 1918, which was raised to £600 per year in 1919. The same month he was appointed to the senior architects' committee, Blomfield accompanied Lutyens and Baker on a tour of French and Belgian battlefields. Designing the Cross of Sacrifice Kenyon, Baker, and Blomfield all submitted cross designs to the senior architects' committee. Kenyon submitted two draft designs, one for a Celtic cross and one for a medieval Christian cross (both typically found in old English cemeteries). Baker, who had advocated the cemetery theme of "crusade" since July 1917 and (according to Goebel, was "obsessed" with the idea), submitted the design of a stone Christian cross with a bronze longsword (called a Crusader's sword by Baker) on the front. His design, which he called the "Ypres cross", also included a bronze image of a naval sailing ship, emblematic of the Royal Navy's role in winning both the Crusades and the First World War. Blomfield, on the other hand, took a different approach to the cross. He rejected Kenyon's design, arguing that "runic monuments or gothic crosses had nothing to do with the grim terrors of the trenches." Blomfield wanted a design that reflected the war, which had stripped away any notions about glory in combat and nobility in death on the battlefield. "What I wanted to do in designing this Cross was to make it as abstract and impersonal as I could, to