The huge losses of the American Civil War saw the first really large group of sculptural war memorials, as well as many monuments for individuals. Among the most artistically outstanding is the Memorial to Robert Gould Shaw and the all-black 54th Regiment by Augustus Saint-Gaudens in Boston, with a second cast in the National Gallery of Art, Washington. The even larger losses of World War I led even small communities in most nations involved to raise some form of memorial, introducing the widespread use of the form to Australia, Canada and New Zealand, the sudden increase in demand leading to a boom for sculptors of public art. Even more than in painting, the war brought a crisis in style, as much public opinion felt the traditional heroic styles inappropriate. One of the most successful British memorials is the starkly realist Royal Artillery Memorial in London, the masterpiece of Charles Sargeant Jagger, who had been wounded three times in the war and spent most of the next decade commemorating it. In the defeated nations of Germany and Austria controversy, which had a political aspect, was especially fierce, and a number of memorials considered excessively modern were removed by the Nazis, whose own memorials, such as the Tannenberg Memorial were removed after World War II. Other solutions were to make memorials more neutral, as in the repurposed Neue Wache in Berlin, since rededicated to different groups several times, and the dignified architectural forms of the Cenotaph in London (widely imitated) and the German Laboe Naval Memorial; tombs of the Unknown Warrior and eternal flames were other ways of avoiding controversy. Some, like the Canadian National War Memorial, and most French memorials, were content to update traditional styles.