did not begin to arrive until 1931. On Allward's urging the Canadian Battlefields Memorials Commission hired Oscar Faber, a Danish structural engineer, in 1924 to prepare foundation plans and provide general supervision of the foundation work. Faber had recently designed the substructure for the Menin Gate at Ypres, and he selected a design that employed cast-in-place reinforced concrete to which the facing stone would be bonded. Major Unwin Simson served as the principal Canadian engineer during the construction of the memorial and oversaw much of the daily operations at the site. Allward moved to Paris in 1925 to supervise construction and the carving of the sculptures. Construction commenced in 1925 and took eleven years to complete. The Imperial War Graves Commission concurrently employed French and British veterans to carry out the necessary roadwork and site landscaping. While awaiting the first delivery of stone, Simson noticed that the battlefield landscape features were beginning to deteriorate. Seeing an opportunity to not only preserve a portion of the battlefield but also keep his staff occupied, Simson decided to preserve a short section of trench line and make the Grange Subway more accessible. Labourers rebuilt and preserved sections of sandbagged trench wall, on both the Canadian and German sides of the Grange crater group, in concrete. The workforce also built a new concrete entrance for the Grange Subway and, after excavating a portion of the tunnel system, installed electric lighting. Allward chose a relatively new construction method for the monument: limestone bonded to a cast concrete frame. A foundation bed of 11,000 tonnes of concrete, reinforced with hundreds of tonnes of steel, served as the support bed for the memorial. The memorial base and twin pylons contained almost 6,000 tonnes of Seget limestone. Sculptors carved the 20 approximately double life-sized human figures on site from large blocks of stone. The carvers used half-size plaster models produced by Allward in his studio, now on display at the Canadian War Museum, and an instrument called a pantograph to reproduce the figures at the proper scale. The carvers conducted their work year-round inside temporary studios built around each figure. The inclusion of the names of those killed in France with no known grave was not part of the original design, and Allward was unhappy when the government asked him to include them. Allward argued that the inclusion of names was not part of the original commissioning. Through