Symbols & Secrets

Walking the City of London

Rediscovering the Monument in detail – Part 2, including a terrible slander and a disgraced Lord Mayor.

Welcome to my second blog about the Monument – I hope you enjoyed the first instalment.

Let’s get the basic data out of the way first. Built between 1671 and 1677, it’s a fluted Doric column standing 202 feet (61 metres) in height and 202 feet (61 metres) to the west of the spot where the Great Fire started on Pudding Lane. 311 spiral steps lead up to the public viewing platform, where visitors can get great views of London from 160 feet (48.7 metres) above ground. I doubted my fitness to climb it but, should you choose to do so, you will get a certificate as evidence of your intrepid character! If you want to see what the view is like, have a look at this excellent video. Despite all the new buildings that have sprung up after the Second World War the views from the Monument are still fantastic so highly recommended.

Here are a few images from the London Home Girl website to also whet your appetite …

A panorama posted in Wikipedia …

Bear in mind, though, the climb will be formidable if you’re not reasonably fit …

Let’s deal now with the ‘secret’ chamber beneath the column.

Robert Hooke and Christopher Wren, who collaborated to design the Monument, were serious scientists who saw the column as a fantastic opportunity to advance celestial knowledge and the intention was to install within it a Zenith Telescope. When the two hinged semi-circular iron doors at the top were opened, someone in the underground observation chamber at the base of the column could measure with a micrometer eyepiece the changes in position of an overhead star throughout the year. Hooke chose Gamma Draconis as his overhead star, but Gamma Draconis, while very bright, is also very far away: 900 million miles away in fact. Hooke was trying to measure a very small difference in position.

The initiative failed for a mundane reason – Fish Street Hill was the main roadway entrance to the phenominally busy London Bridge, the only bridge across the Thames in London until 1750. The vibrations from the traffic upset the delicate instrumentation needed for a Zenith telescope and the idea was abanoned. The busy approach to the bridge in the mid-18th century …

If you do reach the top remember, as you descend, that you are literally walking in Hooke’s footsteps when he conducted an experiment to see how atmospheric pressure varied between the top of the building and the bottom. This is why each step is exactly six inches deep.

The chamber below is not open to the public but you can read about a visit to both it and the space directly beneath the golden urn by the Londonist blogger here. Looking down the stairs to the laboratory …

Looking down from the urn at the top …

It was also visited by Professor Lisa Jardine and you can read her fascinating views on the subject if you Google The Medlicott Medal Lecture 2006. One image from her lecture is the view looking upwards from Hooke’s basement location …

Trivia fact: The Monument actually has 345 steps rather than 311 if you include the steps up from the laboratory.

In last week’s blog I dealt with the inscription on the west side of the building, time now to look at the other three sides.

The north side inscription is famous for the fact that a final sentence has obviously been erased …

In 1679, stories of a Popish plot caused panic in response to allegations of a Jesuit conspiracy to murder Charles II, restore the Roman Catholic faith as the state religion of England and establish a French-backed tyranny under the King’s brother James, Duke of York, whose Catholic and autocratic sympathies were well known. At the source of this totally untrue story was the rather unpleasant character Titus Oates …

You can read more about him here in an excellent article from History Today magazine. Wikipedia gives a much fuller description of his life and escapades here. You can just imagine the chaos he could probably cause today if he had access to social media.

In the anti-Catholic frenzy that followed the plot’s revelation, the Court of Common Council (the primary decision-making assembly for the City of London Corporation) decided to act. The City Comptroller, Joseph Lane, was ordered to emend the inscription so as to place the blame for the Great Fire firmly on the shoulders of Catholics. Accordingly, the following words were tacked on to the end of the north side inscription: SED FVROR PAPISTICVS, QVITAM DIRA PATRAVIT NONDVM RESTINGVITVR

Translated it reads: BUT THE PAPAL MADNESS THAT HAS ACCOMPLISHED SO MANY ABOMINATIONS IS NOT YET SNUFFED OUT.

Inserted in 1681, these additions were erased when the Catholic James II came to the throne in 1685, and then carved on again at the accession of William and Mary in 1689, only to be finally removed in 1831 following Catholic Emancipation. As Philip Ward-Jackson writes: ‘For a good part of a century and a half, the Monument was thus denatured and turned into a sectarian provovation’. This was certainly how the Catholic Alexander Pope saw it, writing in 1733, in his Epistle to Bathurst:

“Where London’s column, pointing at the skies,
Like a tall bully, lifts its head, and lyes.”

The scraped out section (pigeons seem to find this part of the building really attractive to roost in) …

Here is a translation of the Latin inscription you see today:

In the year of Christ 1666, on the 2nd September, at a distance eastward from this place of 202 feet, which is the height of this column, a fire broke out in the dead of night, which, the wind blowing devoured even distant buildings, and rushed devastating through every quarter with astonishing swiftness and noise. It consumed 89 churches, gates, the Guildhall, public edifices, hospitals, schools, libraries, a great number of blocks of buildings, 13,200 houses, 400 streets. Of the 26 wards, it utterly destroyed 15, and left 8 mutilated and half-burnt. The ashes of the City, covering as many as 436 acres, extended on one side from the Tower along the bank of the Thames to the church of the Templars, on the other side from the north-east along the walls to the head of Fleet-ditch. Merciless to the wealth and estates of the citizens, it was harmless to their lives, so as throughout to remind us of the final destruction of the world by fire. The havoc was swift. A little space of time saw the same city most prosperous and no longer in being. On the third day, when it had now altogether vanquished all human counsel and resource, at the bidding, as we may well believe of heaven, the fatal fire stayed its course and everywhere died out.

The south panel is a detailed paen to Charles II, ‘Son of Charles the Martyr’, and all the work he supervised to bring the City safely back to life …

Translation: Charles the Second, son of Charles the Martyr, King of Great Britain, France and Ireland, defender of the faith, a most gracious prince, commiserating the deplorable state of things, whilst the ruins were yet smoking provided for the comfort of his citizens, and the ornament of his city; remitted their taxes, and referred the petitions of the magistrates and inhabitants of London to the Parliament; who immediately passed an Act, that public works should be restored to greater beauty, with public money, to be raised by an imposition on coals; that churches, and the cathedral of St. Paul’s, should be rebuilt from their foundations, with all magnificence; that the bridges, gates, and prisons should be new made, the sewers cleansed, the streets made straight and regular, such as were steep levelled and those too narrow made wider, markets and shambles removed to separate places. They also enacted, that every house should be built with party-walls, and all raised of an equal height in front, and that all house walls should be strengthened with stone or brick; and that no man should delay building beyond the space of seven years. Furthermore, he procured an Act to settle beforehand the suits which should arise respecting boundaries, he also established an annual service of intercession, and caused this column to be erected as a perpetual memorial to posterity. Haste is seen everywhere, London rises again, whether with greater speed or greater magnificence is doubtful, three short years complete that which was considered the work of an age.

The East Panel is formulaic in style, providing a list of names of London mayors that oversaw the building of the pillar, from the beginning to the end. The surnames of the mayors are the only words not Latinised: rather, they are in English …

But what of the man who was Lord Mayor at the time the Great Fire broke out? Sir Thomas Bludworth was unlucky enough to be in that position and gained immortality because of one particularly unfortunate phrase.

The fire began in the King’s Baker’s house on Pudding Lane. Rather than making fresh loaves for the King, baker Thomas Farynor produced the dry and bland biscuits called ‘hard tack’ that filled the bellies of sailors in the Royal Navy. In the early hours of Sunday 2 September 1666, the Farynor family woke to smoke coming from the bakery on the ground floor of their house. They escaped out of the upper floor window although their maid, too frightened to leave, perished. The long hot summer and the strong wind allowed the fire to spread rapidly.

Sir Thomas Bludworth was called. Afraid to order the pulling down of houses to make firebreaks, he ensured his place in the history books by exclaiming that the fire was so weak a ‘woman could piss it out’. He then returned to bed.

Samuel Pepys, returning from a meeting with King Charles, later encountered the Mayor in the street and reported:

At last met my lord mayor in Cannon Street, like a man spent, with a handkerchief about his neck. To the King’s message, he cried, like a fainting woman, ‘Lord, what can I do? I am spent: people will not obey me. I have been pulling down houses, but the fire overtakes us faster than we can do it’

Many believed poor Bludworth was a scapegoat and very unfairly criticised. You can read more about him, and his earlier and later, life here.

For a lively re-telling of the Great Fire story have a look at the excellent Royal Museums Greenwich website.

I’ve really enjoyed reading and researching the story of the Monument and hope you have enjoyed the two blogs that I have published as a result. Maybe one day I’ll feel fit enough to climb to the top as I last did with my Dad when I was 15!

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Rediscovering the Monument in detail – Part 1

I don’t think it would be true to say that Londoners like myself take the monument to the Great Fire for granted any more than we do the Tower of London or Buckingham Palace. However, I’m a bit embarrased to say that I have never really studied it in great detail so I intend to put that right in this week’s blog. I hope you enjoy what I have written and will maybe look slightly differently at what is, in fact, the world’s tallest freestanding stone column. There’s a lot to write about so there will be two instalments …

Immediately after the 1666 fire, Parliament started to get to grips with what was needed for a speedy reconstruction of the City. Among practical initiatives, such as new building regulations and legal structures, there were two additional legislative articles which provided for memorials of ‘the dreadful visitation’. Firstly, there was to be a day of public fasting and humiliation on 2 September, unless that day fell on a Sunday. On that day God would be implored to ‘divert the like calamity for the time to come’. The second of these articles ordered that: a column or pillar of brass or stone be erected on, or as near unto, the said fire so unhappily began … with such inscription thereon as hereafter by the Mayor and Court of Aldermen in that behalf be directed.

Many ideas were considered, one in this case that included golden flames climbing the column and a huge Phoenix on top …

Eventually the design of a flaming urn was chosen and this was then given the stamp of approval from King Charles II. He rather wisely rejected the idea of having a statue of himself on the top.

The urn as seen from the viewing platform …

Dr Robert Hooke and Christopher Wren together created the final design for The Monument, and construction work commenced in 1671. It took six years to finish, partly due to the difficulty of obtaining enough Portland stone of the required dimensions, and partly due to the safety of the transport as we were at war with the Dutch again between 1672-4. It was finally completed and opened in 1677.

Wren had been appointed the Surveyor General in 1669 and (amongst many other buildings) his office would go on to design 51 City Churches, with Hooke also working on many of them.

Wren by Godfrey Kneller 1711 …

There is no known portrait of Hooke, which is extremely odd given that he was a founding Fellow of the Royal Society who made groundbreaking contributions across numeous fields. One reason that has been suggested for the absence of a portrait is that one that actually existed was destroyed by Sir Isaac Newton with whom Hooke frequently quarelled. Did Newton really do this? You can read a Royal Society blog on the subject here.

There is a portrait that some believe to be him. It’s by by Mary Beale (c.1680) and entitled Portrait of a Scientist

Now to dig down into a bit of detail, starting with the relief carved by Caius Gabriel Cibber on the west side of the pedestal …

Bizarrely, opinions have often differed as to what some of the figures represent. According to Philip Ward-Jackson, the greatest expert on public sculpture in the City, only 18 years after its completion does any attempt seem to have been made to explain its iconographic programme.

The bottom left hand corner …

All are in agreement that this woman represents the City of London in distress. She has a discosolate or languishing posture, sitting on the ruins with her hair hanging down about her and her breast exposed. By her side lies the Cap of Maintenance, and a sword, ‘denoting the strong, plentiful and well govern’d City of London’.

Time, or the God Chronos, appears as a kindly old man with wings and bald head standing behind her and lifting her up. Time usually represents death and decay but here he is giving the City a new lease of life. He’s also known as a healer.

The figure on the right is a woman who stands beside City, gently touching her with one hand, whilst with the other she points upward with a sceptre towards two beautiful Goddesses sitting in the clouds. At her feet is a beehive (not very clear from my image). The consensus seems to be that she represents Industry (hence the beehive) and the sceptre suggesting speed, perspicacity and dexterity.

The three persons in the background are generally recognised as citizens in panic with the fire raging behind them, or possibly exulting in Time’s efforts to restore the City.

Above …

The Goddess on the left is generally read as Plenty, crowned and holding or leaning on a cornucopia or horn of abundance, from which fruit, corn jewellery and coin pour down in the direction of the City. The Goddess on the right is read as either Peace or Victory.

To the right of the Goddesses are labourers working on reconstruction …

The Act of Parliament stipulated that ‘the outsides of all buildings in and about the said City be henceforth made of brick or stone, or of brick and stone together’.

Now for this gathering of figures …

The group are shown walking towards the City and the central and most prominent character is King Charles II. He is dressed as a Roman Emperor, standing on a stone platform with a baton of command in his right hand. He gestures towards the personification of Architecture – who holds a square and compass in her left hand and plans for the new City of London in her right.

The Roman Goddess of Liberty stands behind Architecture, watching and holding her cap, bearing the word Libertas (latin for liberty or freedom). She is usually portrayed with two accoutrements: the rod and a pileus (latin for hat) which here she waves rather than wears.

A third female figure, to the left of Architecture, represents Imagination. She wears a winged crown with little figures on it and for some commentators these represent ‘children of her brain’, symbols of fruitfulness and good ideas. She also balances the representation of Nature in her hands, a multi-breasted little statue, which symbolises nature’s abundance.

To the right of King Charles II stands his brother, the Duke of York, the future King James II, apparently instrumental in putting out the Great Fire. The laurel wreath he holds represents Victory. Behind them, two more figures: Justice – holding a coronet and Fortitude holding a lion on a leash. But what on earth is this creature …

According to Ward-Jackson this is Envy. ‘She is represented as a withered hag with snakes growing from her head lying in a cell … diabolically enraged at the concerted measures for rebuilding the City.’ She blows flames towards it ‘from her envenomed mouth’ while gnawing on her own heart which she crams in with her right hand.

Quirky fact: The Sculptor Caius Gabriel Cibber was Born in Flensburg, Denmark, a town close to the border between Germany, under the name of Sieber. He moved to London in the late 1650s after completing his studies in Italy. He had what we would probably call today a bit of a gambling addiction along with a general tendency to get into trouble and the record states that, before receiving the commission from Wren to work on the monument, he …

chanc’d to have a Gent lodge with him that practized gaming (and) drew him into play that ruin’d him to that degreee that when cut the Basso Relievo on the Monument in the City he then was a prisoner in the King’s bench and went backwards and forwards daily on that account

Nowadays we would say that he created the Monument sculpture whilst on prisoner day release!

Cibber’s portrait in the National Gallery …

The view in c. 1770 looking towards St Magnus the Martyr …

A view towards the church today …

Next week I’ll be writing, among other things, about the original purpose of the empty room at the base of the Monument along with a scandalous inscription that had to be deleted. It was the inspiration for the lines :

“Where London’s column pointing at the skies,
Like a tall bully, lifts its head, and lies.”

With regard to this week’s blog, many thanks to Look up London guide Katie Wignall for the images of the urn along with Dr Philip Ward-Jackson and his book Public Sculpture of the City of London for notes on the sculpture.

Incidentally, walking across Gilbert Bridge on 1st November I noticed these little red lights twinkling outside St Giles …

They were there to celebrate All Saints Day. What a lovely idea …

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The Darbar Festival at the Barbican and Lucy Raven at The Curve.

For the last two weekends the Barbican has hosted the Darbar Festival and last Saturday I took the opportunity to walk around the fascinating stalls market that is part of the event.

Here are some of my images …

The perfume stall was doing great trade …

Beautiful colours and fabrics were everywhere …

Spectacular brass …

Pretty containers …

Jewellery of course …

Semi-precious stones and crystals …

With a few fossils …

A rather splendid chess set …

Plus …

A really enjoyable afternoon wander.

Meanwhile, in The Curve Gallery you will find Lucy Raven’s Rounds installation.

For a great sense of the experience, do take a few minutes to read this review from London Unattached.

I found it very difficult to take pictures in the gallery so here are some images from the official website …

If you would like to follow me on Instagram here is the link …

https://www.instagram.com/london_city_gent

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