This lapidar consists of a bronze statue, half body, starting just below the waist, around about twice life size. The statue stands on a plinth, which is about one and half metres high. This plinth and statue are part of a general structure, the background of which is a huge, stylised flag – the dimensions of the backdrop are (very roughly) 4 metres high, 3 metres wide and ¾ metre deep. All the stonework will have a base of concrete and is faced with slabs of white-ish marble.
The statue is of a young man, who, by his posture, is moving towards his right, his head facing in that direction and with a determined look on his face. In his right hand he is holding a pistol. This could well be a Berretta M1915 (which was used by Vasil Laçi in 1941). His left arm is stretched out behind him, all the fingers on his hand spread wide, a stance to provide better balance for his intended action (which is an ambush on foot).
A Berretta M1915?
The gun in his right hand is not facing the target but is as if he has just pulled the gun from out of his clothing and it’s in the process of swinging around so that it will eventually make a straight line from the tip of the barrel, through both his arms to the tips of the fingers of his left hand.
There’s also the impression of movement from the fact that the scarf that he has around his neck is loose and it is flowing over his left shoulder. The left side of his jacket, which is unbuttoned, is also flowing out behind him providing the impression he’s rushing towards his right and the clothes are slightly lagging behind his body’s movement.
This is a statue of a young man with relatively short hair and of someone who’s living in the city as there are no elements of traditional Albanian dress in his clothing.
On ‘flag’, above its head and to the statue’s right, is a plaque which has the words;
Me mirnjohje njësitit gueril të Korçës të rinjve komunistë Midhi Kostani, Kiço Greço, që dhanë jetën për lirinë e atdheut.
With gratitude to the guerrilla unit of Korça, the young communists Midhi Kostani and Kiço Greço, who gave their lives for the freedom of the homeland.
Not the original inscription
However, this does not look like the original inscription. Just above the marble plaque there are a number of holes as if this is where individual, metal letters would have been attached to the wall. This was the more usual method of attaching an inscription. So far there’s no way of knowing (destroyed records during the counter-revolution of the 1990s) what the original description might been.
This takes on a specific importance here as information from other sources indicates that this statue was created by Kristaq Rama, and that it is supposed to be that of Vasil Laçi, who attempted to assassinate Victor Emmanuel III, in Tirana, in 1941. No confirmed date for its creation but probably mid-1970s.
However, Vasil’s name is not one of the two that are inscribed on the plaque.
He did have a connection with Korçe – his brother lived there – which is possibly one of the reasons why he may have been placed in the city. There’s no other reason why he should be where he is because he came from area around Sarande, in the south of Albania, and he spent some time before the assassination attempt in Tirana.
(If this is, indeed, a statue of Vasil Laçi then it’s not a surprise that he has been ‘written out of history’. Albanian authorities, in some – but by no means all – towns and cities in Albania have been attempting to obliterate the Socialist past and a statue commemorating an assault on the life of the puppet monarch from Fascist Italy might not fit in with the brown nosing that takes place in Albania towards the capitalist European Union.)
This statue is in very condition, as is the stonework which is part of the lapidar and there is no obvious damage in the marble facing – which is a pleasant surprise.
In the main, pedestrianised street, Bulevardi Shen Gjergji, of Korca, next to the main city library.
Time hasn’t been too kind to the lapidar to the Seventh Assault Brigade which is situated beside the main road between Fier and Berat in an place called Sqepur. It’s at the top of a hill and is relatively exposed to the elements and this has taken it’s toll on the plaster work. There seem to have been attempts to paint, ‘renovate’, the images over the years but as this has not been done professionally this has made the images and some of the text more indistinct, filling in spaces and taking away the finer detail.
The lapidar consists of a tall monolith in the shape of the end of a rifle barrel with a flag attached and a panel at 90 degrees to this monolith showing scenes of battle.
The idea of using a rifle as the monolith is not unique, it has been used in Mushqeta and Priske, for example, but this one is slightly different in that attached to it is a stylised representation of a flag, here painted red. Due to the records being destroyed in the 1990s and those pictures of lapidars that were published in couple of books being principally in black and white there is some question if most of the lapidars were originally in colour. For good or ill many have been painted subsequently, probably even during the Socialist period so in that way distorting the aim and intention of the artist and sculptor.
The idea of attaching a flag to a rifle is again something that can be seen on other lapidars, but normally when the rifle is being used as a temporary pole and the flag being waved by a Partisan. This is the case with the female Partisan in the Fier Martyrs’ Cemetery.
The image of the wooden butt of the gun is seen here as it flares out from the vertical at the very bottom left hand corner of the monument, below the panel with the images of fighting.
Joining the rifle and the flag pole, just above the horizontal panel are two wide, concrete bands. On the upper the words
Forcat partizane të ish-qarkut të Beratit are attached in relief,
this translates as
Partisan forces of the former district of Berat
The town of Berat being located only about 15 kilometres to the south-east.
On the lower band, in exactly the same font and manner the words;
Forcat partizane të Brigadës VII Sulmuese appear
this translates as
Partisan Forces of the VII Assault Brigade
The National Liberation Army was made up of a number of such Brigades, guerrilla groups originally but developing into more formal structures as the war progressed, more and more fighters joined and the power of the Fascist invaders was broken. These Brigades were made up from people, men and women, who lived in the area although as the war developed they would sometimes move to other parts of the country to satisfy the military needs at any time.
The spacing of these letters looks a little strange, especially the lower slogan, but it’s not really possible to make out if anything else would be there to necessitate such spacing.
On the left hand side of the lower panel we have images from a battle. On the extreme left is a Partisan, in full uniform, firing a sub machine gun downwards. His right foot is placed in front of him and his left leg behind him to provide stability on uneven ground. This is a common device, used in many monuments of the time, such as the star at Pishkash and the bas relief in Bajram Curri, to tell the story that the War of Liberation was one that was fought, and won, in the mountains and that much of the early fighting especially would have been surprise ambushes from up on high.
It’s not possible to see if there’s a star on his cap but we can make out a scarf flying from his neck so we can have a reasonable assumption that he’s a Communist. One unusual feature is that he seems to be wearing a greatcoat, the bottom end of it seen between his outstretched legs. This is something that hasn’t appeared on other lapidars, to my knowledge. Unfortunately, the very end of the gun is missing, there being quite a lot of small areas of plaster that have disappeared over the years.
Behind him is a standing fighter but who is dressed in civilian clothes, his open jacket flapping in the breeze with his movement. Around his waist can be made out four ammunition pouches.
Photographs of guerrilla groups of the time show a mix of uniformed Partisans as well as those in everyday clothing. (Why do left wing guerrilla groups, from wherever in the world from the 1940s onwards, keep on taking pictures of themselves? It’s OK if you win but these pictures will cause untold problems if they get in the hands of the enemy. Two of the worst disasters that came as a result of this obsession with photographing themselves was the case of Che Guevara’s ‘foco’ group in Bolivia in 1968 and the videoing of an inebriated Abimael Guzman, the leader of the revolutionary Communist Party of Peru – Sendero Luminoso, in Peru in 1991.)
This Partisan is not facing the action but is looking back over his shoulder, his right arm raised, his fist clenched, encouraging other, unseen, comrades to come and join the fight. His left arm is hanging down and he holds a rifle close to the bolt mechanism. The upraised right hand passes outside the main panel and he has lost all the fingers.
The third member of this group is another uniformed Partisan. His right foot is firmly placed on the ground and he is kneeing with his left leg. We see him from his left side and his right hand can be seen just above his left shoulder. It looks like he has just taken out the pin of a Mills bomb grenade with his teeth and is about to throw it at the enemy below. In his left hand he holds the top of a bag, the weight of which is resting on the ground, which looks like it’s full of stick grenades, so he’s well prepared for action. There’s evidence of a scarf around his neck so we are, again, to assume that he is a Communist.
Any facial detail on all three is very difficult to make out. In fact, any fine detail at all is almost impossible to see. To bring this monument up to a condition that it had when first unveiled would take a lot of work and money, an amount nobody would be prepared to pay.
Behind these three Partisans are five stars of varying sizes. They are cut into the panel (the images of the Partisans are in relief) and have been painted red. There doesn’t seem to be any pattern to their arrangement and are presumably there to represent Communism but there actual arrangement means nothing more to me.
The centre of the panel is yet another conundrum. Originally here was a lot of text, in relief, on this part. It looks like it was painted out and then a separate plaque placed on top – possibly with the same text, possibly with something completely different. This must have existed for some time as that rectangle is black from the mould that was created in the moist atmosphere behind the plaque. Now the plaque has gone and it’s possible to see some letters that were covered as well as those outside the area but it’s very difficult to make out the sense of what is there. It will need a good Albanian speaker (which, unfortunately, I’m not) to spend some time to unravel this puzzle. It is obviously something important as this text is in the central position on the monument.
The right hand side of the panel has a number of very strange, unusual and confusing elements. Basically what we have is the figure of an officer, we get that impression by the very nature of his uniform. (The National Liberation Army had a ‘traditional’ officer structure but after the success of the Albanian revolution that hierarchical structure was abandoned and the focus became much more on a people based militia rather than one based on ranks and superiority.)
Seventh Assault Brigade Officer – Sqepur
But all the proportions are wrong. His head is far too big for his body. When I first saw this lapidar I thought the artists had created a cartoon figure rather than a serious representation of a Partisan fighter, prepared to give his life for the freedom of his country. Having looked at it a number of times I’m also reminded of Stan Laurel.
His stance is also unusual. As part of his officers uniform he has straps that criss-cross his chest and around his waist there are ammunition pouches attached to his belt. Here we have him with the thumb of his left hand tucked behind these pouches in a very nonchalant manner. His right arm is hanging down but it’s not possible to work out what he might have had in that hand as this is another area where decay has had an impact on the image. There’s also some damage to the shin of his right leg. And the look on his face is a little bit weird. All in all not what you expect from an officer when there’s a battle raging close by.
It also looks as if the original design included a star which was to be behind this officer. The top point is above the rectangle of the panel, to the left of this officers head, but then the rest of the star just seems to disappear. It might be wear and tear but I can’t really work out why this star was placed where it was. It just doesn’t make much sense.
Apart from the neglect that the lapidar has undergone the whole area surrounding it is uncared for and dirty. The grass hasn’t been cut for years and the general area has an accumulation of rubbish and the ubiquitous flimsy plastic bags abound. The only living creature happy there (apart from me) on my visit was the stray dog taking shelter from the sun.
There is no known further information about the date of inauguration or the name of the artist.
At a bend in the road, at the top of a rise just after passing the village of Sqepur when travelling from Fier.
Monument to the 15thPartisan Assault Brigade – Elbasan
I must admit I have a little bit of a difficulty in working out exactly what the shape of this monument is supposed to represent. It’s like a huge belt or a ribbon. It starts at the back on the left-hand side and then comes back on itself in a big curve towards the front, where you have the main sculptural group, and then gently curves towards the back of the monument and finally straightening out slightly as it gets to the edge at the right-handside – it’s a bit like a huge hook.
Not sure exactly the dimensions but it’s roughly 3 metres in width, which remains the same along its whole length, which I would estimate around about 15 metres in total.
There’s a sense of movement in this static, heavy concrete structure.
There’s a physically large clue on the left-hand side that it might be representing an ammunition belt because there are huge bullets on the extreme left. However, these cartridges seem to get absorbed by the lapidarand apart from the top of the casings disappear as they get close to the main sculptural group, only to re-emerge again at the edge of the flag.
The whole structure is about 2 metres above the ground – sometimes slightly less, sometimes a bit more – and the monument itself sits on two piles of rough rocks which are cemented together. This introduces the idea of the mountains, which is quite common in Albanian lapidars. On the left these rocks provide support directly underneath the sculptural group and then towards the right-hand side is another pile taking the weight.
The principal artistic element and the image which immediately draws your attention is the stone bas relief of four Partisans, grouped together above the left-hand support pile.
The individual which dominates the image is the male figure of the standard bearer who is on the left of the group – and slightly higher. We also see much more of him, virtually the whole of his body above the waist. He stands face on but his head is turned to his left so we get a right profile. His right arm is raisedand his hand grips the flagpolenear its top point whilst his left hand grips the pole at waist level. He is a Partisan in full uniform, wearing a cap with a star at the front and tied around his neck is what would have been a red scarf. On his left hip is a buttoned-up, leather holster, only the butt of the pistol visible.
The flag, the flag of the Communist Partisans, flutters in the wind that’s coming from the left as we look at the image. The very top of the flag is the only part of the tableau that breaks the confines of the concrete shape. This would have been a red flag and on it would have been a black, two-headed eagle (an image used by Skenderbeuin the 15thcentury, through the period of Socialist construction between 1944 and 1990 and to date). However, during the National Liberation Anti-Fascist War and the period of Socialism there would be a small gold star in the space just above where the two heads separate.
The stars were the target for the reactionary, fascist, nationalist forces that gained control of Albania in the early1990s and many of them on lapidarsthroughout the country have been the subject of masking or obliteration. Although most of the monument in Elbasan remains in good condition the star on the flag has been erased. If you look carefully at the space above the eagle heads, almost to the top of the lapidar, it’s possible to see that someone has applied ‘fresh’ plaster to level out the area and erase the star. The parallel marks as evidence of this ‘alteration’ are to be found nowhere else on the lapidar.
Two of the other Partisans, one female the other male, are similarly looking towards their left. This is where the action isand they are on the way to the battle. They are also in profile but there’s still a lot of information, even though we don’t see much of them.
The female Partisan is partially hidden by the standard bearer but she is also in uniform. She wears a capand the edge of the star is evident on the front, her long hair flying behind her as she moves quickly forward. It also looks as if she has a red scarf around her neck. In virtually all the lapidars relating to warfare when a woman is depicted she is always armed (as in the mosaic on the facade of the National Historical Museum in Tirana) although the men aren’t. This lapidar is no different and the sharp end of her rifle is seen poking out behind the head of the fighter on the right of the group.
In front of her is a young male Partisan from the countryside. In the lapidarsthe distinction is often made about those Partisans from the countryside by depicting them in the traditional clothing of the mountain people. He’s not in a formal uniform but is dressed in a woollen vest, his shoulders and arms bare. Around his forehead is a sweat band, the knot tied at the back of his head. But his political allegiance is shown by the (red) scarf around his neck. At waist level he holds a sub-machine gun, his right finger on the trigger and his left hand holding the gun at the magazine. His posture is the same as the woman, moving forward towards the battle, his left knee bent to give the impression of the effort to get there quickly.
The fourth member of the quarter is not moving forward. He is an older man from the countryside, he is wearing a waistcoat and on his heada traditional cap (a qeleshe) but one on which is a star. All the people in this image are Communists. Additionally, it’s almost a trope when it comes to depicting older men from the mountains, he’s boasting a bushy moustache. He’s aiming his rifle and pointing downwards with his right finger on the trigger and holding the barrel of his rifle in his left hand. The Partisans, knowing the terrain, would always aim to select the location that was to their greater advantage and this representation of firing downwards appears in other lapidarssuch as the amazing star at Pishkash. And the mountain top design of the plinth supporting the monument adds to this impression of mountain warfare, he seems to be shooting out of the bas relief into a mountain environment – like someone walking out of a screen of a film.
Everything indicates that this is an ambush of a Nazi column in the mountains.
Where the right handside of the flag endswe can see the top casings of three gigantic bullets. These then merge into a large, five pointedstar which appears to be leaning away from the lapidarat the topbut which merges into the concrete at the bottom. It’s more than half the width of the concrete ribbon, so more than a metre from point to point. The very tops of the casings of the cartridges then reappear briefly on the other side of the star until they finally disappear.
The concrete base on which the bas relief sits has curved slightly towards the back of the lapidarcreating a partial circular space in the rear but then the panel straightens up and extends for about half the of the total length to the right.
The top left-handquarter of this now unadorned panel has been plastered so that it provides a smooth face on which are painted (now) in red letters the following;
Partizanet e Brigadës XV S. duke luftuar me popullin kundër pushtuesit nazist gjerman e tradhëtarive çliruan më 11 nëntor 1944 qytetin e Elbasanit
which translates as
To the Partisans of the XVthAssault Brigade who, with the people, struggled against the German Nazis and traitors to Liberate the city of Elbasan on 11thNovember 1944
(This re-writing of the inscription in red paint must have been completed around the beginning of 2015 as the image in the Albanian Lapidar Survey (Volume 2, page 205) catalogue shows a different version.)
Towards the extreme right-hand edge of the monument there is something attached to the concrete – looking like a rectangular box. I’m not too sure whether this is something which was there originally and supporting another element of the story (but can’t really imagine what). There are signs, holes and general markings, that indicate that whatever was there was more extensive.
(One of the problems of there being so many lapidarsto document is that I don’t always ‘see what’s there’ at the time of my visit. It’s only when time and magnification on the computer screen that some aspects become ‘visible’. If I ever get the opportunity to return to ElbasanI’ll try to remember to ask the pertinent questions.)
Generally, this lapidaris in a very good physical condition. There doesn’t appear to be any damage (apart from the mystery markings on the extreme right-hand side) and although it’s unlikely that the bas reliefs would have been painted in gold paint originally at least the painting has been done with an elementof care and professionalism, as has the signwritingof the inscription.
Unfortunately, there’s no information available of the artist who created this lapidar – nor of the date of its inauguration. The features of the quartet are very clear, distinctive and detailed – you would recognise the models (I’m sure, if you saw them. This would seem to indicate one of the more accomplished sculptors and it’s very pleasing to see that the detail has remained intact despite the troubled times the country, and consequently the Socialist monuments, went through – especially in the 1990s.
Its present condition and the fact that has had a relatively recent ‘renovation’ and attention would seem to indicate that it has local support and protection. Whether that be from the local community or the municipality is impossible to say.
Nonetheless, this is an important lapidarin the country as it has attributes which I haven’t seen repeated elsewhere.
In the large square created at the junction of RrugaKadri Hoxha and RrugaÇerçizTopulli. This is a bit of a transport hub and looks like it might be the site of a recently installed roundabout. It’s just over half a kilometre east of Elbasan Castle in the centre of the town.