Name: Council House Pediment Sculptures Sculptor: Lockwood Boulton & Sons, decorative work John Roddis Installed: 1874-1879 Location: Council House, Victoria Square

Britannia and Supporters (main elevation, centre) The triangular centrepiece over the main entrance reflects the pride of Birmingham in its manufacturing industry. Britannia stands in the middle with outstretched arms. Next to her stand suited factory owners, surrounded by workmen with the tools of their trade and their products. The Union of the Arts and Sciences (main elevation, left) One of the two seated central figures is shown with a steam engine regulator, the other with a bust of Athena. To the left are figures representing the arts: Sculpture, holding a mallet, Painting and Music. To the right are the sciences. Literature (main elevation, right) A central seated angel is shown surrounded by figures, several holding books. Manufacture (Chamberlain Square elevation) A seated central figure leans on a mallet and is surrounded by different artistic and manufacturing including gun- making and metal working. Commerce (Eden Place elevation) The central figure holds a ‘cadeucus’ a symbol associated with the god Mercury and with merchants and commerce. A boat and a steam engine are also depicted. Council House Mosaic, 'Britannia rewarding the Birmingham Manufactures' (main elevation, centre) (Salviate Burke and Co, 1874-9, mosaic)The central figure of the Municipality of Birmingham, handing out scrolls of stability and power to the other figures identified in gilded lettering, representing science, art, liberty, law, commerce and industry. Allegory of Fame Rewarding Art (Francis Williamson, 1884) Birmingham Museums and Art Gallery, B3 3DH There is a smaller triangular pediment over the entrance to the Art Gallery showing the painterly arts on the left and the plastic arts on the right Description High up above on Council House. Condition: Excellent Oversight/Owner: Birmingham City Council Artist website: Other Info: There has been some confusion with these pieces and in particular detail is incorrect in George Noszlopy’s book Public Sculpture of Birmingham.