Walking the City of London

Category: Sculpture Page 1 of 41

Sculpture selection (plus some birds, a weird brand name and a sad sight in the recycling corner).

Sculpture is going to feature highly in my next book so I’ve been out in the recent lovely weather revisiting some old favourites. I know they have featured in previous blogs but I hope you won’t mind me sharing them again.

First up is the Royal Fusiliers War Memorial, a work by Albert Toft. Unveiled by the Lord Mayor in 1922, the inscriptions read …

To the glorious memory of the 22,000 Royal Fusiliers who fell in the Great War 1914-1919 (and added later) To the Royal Fusiliers who fell in the World war 1939-1945 and those fusiliers killed in subsequent campaigns.

Toft’s soldier stands confidently as he surveys the terrain, his foot resting on a rock, his rifle bayoneted, his left hand clenched in determination. At the boundary of the City, he looks defiantly towards Westminster. The general consensus on the internet is that the model for the sculpture was a Sergeant Cox, who served throughout the First World War.

Behind him is the magnificent, red terracotta, Gothic-style building by J.W. Waterhouse, which once housed the headquarters of the Prudential Insurance Company. The entrance incorporates a sculpture of Prudence carrying one of the attributes of this Virtue, a hand mirror …

Every now and then I have to travel to King’s Cross St Pancras and when I do I occasionally like to make my way up to the Upper Level (where Eurostar terminates). From there I admire the stunning architecture and one of my favourite statues, a bronze by Martin Jennings of the poet John Betjeman, the man who did most to save the station from demolition …

Apart from the magnificent shed roof you can admire Tracey Emin’s message …

It’s a hot pink neon sculpture, the largest she has ever created …

She made this sweet comment …

I cannot think of anything more romantic than being met by someone I love at a train station and as they put their arms around me, I hear them say ‘I want my time with you‘.

On City Road I encountered these remarkably lifelike characters and their dog …

Always nice to visit St Michael Cornhill. Look to the left on entering and you’ll see the noteworthy Churchwarden’s pew …

The carving shows St Michael thrusting a lance into the mouth of a truly evil-looking devil. It’s a work by the eminent wood carver William Gibbs Rogers (1792-1875) …

The Platt Family cherub endeavours to keep his feet warm …

In Paternoster Square is a 1975 bronze sculpture by Elisabeth Frink which I particularly like – a ‘naked’ shepherd with a crook in his left hand walks behind a small flock of five sheep …

Dame Elisabeth was, anecdotally, very fond of putting large testicles on her sculptures of both men and animals. In fact, her Catalogue Raisonné informs us that she ‘drew testicles on man and beast better than anyone’ and saw them with ‘a fresh, matter-of-fact delight’. It was reported in 1975, however, that the nude figure had been emasculated ‘to avoid any embarrassment in an ecclesiastical setting’. The sculpture is called, appropriately, Paternoster.

This is Alma Boyes’s The Cordwainer

Here on Watling Street (EC4N 1SR) you are in the Ward of Cordwainer which in medieval times was the centre of shoe-making in the City of London. The finest leather from Cordoba in Spain was used which gave rise to the name of the craftsmen and the Ward.

The magnificent Minotaur by Michael Ayrton. After an itinerant life, he now looks rather wonderful in his more recent location in St Alphage Gardens …

St Stephen Walbrook is another great Wren church. The earliest monument in the Church is to John Lilburne (d.1678), citizen and grocer, of the Lilburn family of Sunderland, and his wife Isabella …

And how about its memento mori, a sculpture of a woman dancing with Death, who is a skeleton wearing a long skirt …

I love visiting St Olave Hart Street. It’s tiny and wonderfully atmospheric, being one of the few surviving Medieval buildings in London. It was badly damaged during the War but many of its treasures had been removed to safety and others have been beautifully restored.

I first visited with my camera some years ago when I was writing about Samuel Pepys and I was immediately captivated by this sculpture of his wife Elizabeth. She died of typhoid fever at the age of 29 and, despite his dalliances with other women, Pepys was devastated by her death at such a young age. He commissioned this bust in white marble from the sculptor John Bushnell …

She is shown with her gaze directed towards the location of the Navy Office Pew where her husband would have sat, her mouth open as if in conversation.

His pew was in the gallery he had had built on the south wall of the church with an added outside stairway from the Royal Navy Offices so that he could go to church without getting soaked by the rain. The gallery is now gone but a memorial to Pepys marks the location of the stairway’s door …

Pepys never married again and arranged to be buried in St Olave’s next to Christine. Now they face one another across the aisle for eternity.

On a more lighthearted vein, walk east from the Memorial on the north side of the road and you’ll find this chap frantically trying to hail a taxi …

Taxi! by the American Sculptor J Seward Johnson is cast bronze and is now interestingly weathered. If you think the baggy trousers, moustache and side parting are erring on the retro, that’s because this particular office worker was transferred from New York in 2014. It was sculpted in 1983 and originally stood on Park Avenue and 47th Street.

Prince Albert at Holborn …

Here is a close up of the Prince taken from the north …

Still a very handsome chap despite the bald patch. The statue was sited to show off his profile ‘from the new street leading to the market’.

Another handsome chap. Since the weather was so nice, I took the opportunity to capture this profile of the one-time Dean of St Paul’s John Donne …

John Donne 1572 – 1631 by Nigel Boonham (2012)

Not quite so handsome – the only statue I know of where the subject has an obvious squint …

The inscription reads: A champion of English freedom, John Wilkes 1727-1797, Member of Parliament, Lord Mayor.

In my local church, St Giles-without-Cripplegate, there is this touching memorial to Sir William Staines, a contemporary of Wilkes …

And here is the man himself …

Staines had extremely humble beginnings working as a bricklayer’s labourer, but eventually accumulated a large fortune which he generously used for philanthropic purposes. He seemed to recall his own earlier penury when he ensured that the houses he built for ‘aged and indigent’ folk would have ‘nothing to distinguish them from the other dwelling-houses … to denote the poverty of the inhabitant’.

British History Online records an encounter he had with the notorious Wilkes who referred rather rudely to Staines’ original occupation …

The alderman was an illiterate man, and was a sort of butt amongst his brethren. At one of the Old Bailey dinners, after a sumptuous repast of turtle and venison, Sir William was eating a great quantity of butter with his cheese. “Why, brother,” said Wilkes, “you lay it on with a trowel!”

Sir William’s family vault outside the church …

So good it survived the Second World War bombing, although I’m afraid the remains of its 15 occupants (including eight ‘infants’) did not.

You can read the full inscription here.

Every now and then someone puts breadcrumbs out for the pigeons on the Barbican Terrace and this time two ducks decided to have a snack too. I didn’t think their beaks would be suitable for this task but obviously they were …

A weird brand name …

It oviously sparked my curiosity and I Googled it. Bet you do too.

And finally …

One minute you’re being cuddled, next minute you’re a ‘Bulky Household Item’ put out for recycling. Life for a soft toy is very precarious.

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Giacometti Encounters Lynda Benglis, the Broadgate Hare and ‘This Grief Thing’.

The Barbican is now presenting Encounters: Giacometti x Lynda Benglis, the third and final in a series of three exhibitions organised in collaboration with the Fondation Giacometti, Paris. Subtitled Back at Ya, the exhibition features a never before exhibited body of works by Lynda Benglis (b. 1941, Lake Charles, Louisiana) and historic works by Alberto Giacometti (b.1901-1966, Borgonovo, Switzerland), and will be a highlight of the Barbican’s Spring 2026 season.

I visited last Friday and was absolutely entranced by Benglis’s work, which I had never encountered before, so I enthusiastically recommend you come to see the exhibition too. You can find more detail here.

There follows some of the images I took but I suggest you first read a couple of reviews in order to give them context. Here’s a piece from the Pace Galleries and here’s one from East End Review.

There is a useful free guide to all the exhibits …

Here are some if the images I took. The first two are Giacometti’s Woman with Chariot, 1943-45 …

Here are my blogs on the first two exhibitions: Giacometti + Huma Bhabha and Giacometti + Mona Hatoum.

The Broadgate area near Liverpool Street has been substantially redeveloped so I popped in again for the first time in years to see if one of my favourite sculptures was still there. And hooray, it still is, and much more sympathetically sited than the last time I visited. Here it is, Leaping Hare on Crescent and Bell by Barry Flanagan (1941-2009) …

Barry tragically died from motor neurone disease at the age of 68. You can find a nice obituary from The Guardian newspaper here.

I came across the This Grief Thing pop up shop in the Barbican Centre last Saturday …

It’s in the Centre again this Saturday, 21st, and Sunday 22nd. You can read more on their website here.

Tower 42 went romantic on St Valentine’s Day …

Finally, little yellow flowers always cheer me up when the weather is miserable …

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The Mysterious London Stone.

I love this picture from my recent exciting acquisition, First Editions of St John Adcock’s three volume Wonderful London

The caption underneath reads as follows: THE LONDON STONE WHICH HAS LONG PUZZLED THE ANTIQUARIES Set in a stone casing in the wall of St Swithen’s Cannon Street is this block of oolite guarded by a grille. It was placed there in 1798,having been transferred from the other side of the road. Camden, the historian, 1551-1623, held that it was the millarium, or milestone, from which distances were calculated on the main roads in days when London was Londinium Augusta. There was a similar stone in the Forum at Rome. If Camden is right, Roman lictors may have stood, like this policeman, in front of the stone 1600 years ago.

So much to research!

It states this was a block of oolite, a type of stone I didn’t recognise. If you are curious too, you can read more here. However, studies undertaken in the 1960s revealed it was likely Clipsham limestone, probably extracted from the band of Jurassic-era rock that runs from Dorset in England’s south-west to Lincolnshire in the north-east. In 2016, results from tests conducted by the Museum of London Archaeology suggest London Stone could be from the Cotswolds, 160km west of London.

I’m ashamed to say that neither did I recognise ‘Camden the historian’, but he was a famous English antiquarian historian, topographer and herald, best known as author of Britannia, the first chronographical survey of the islands of Great Britain and Ireland and the Annales, the first detailed historical account of the reign of Elizabeth I. Here he is and you can read more about him here

Finally, what on earth was a ‘Roman lictor’? According to Wiki, he was a bodyguard in ancient Rome, whose task it was to protect magistrates. The word lictor may be derived from the Latin verb ligare, which means “to bind”. This is sometimes said to refer to the fasces they carried, which were a set of rods that were bound in the form of a bundle, and contained an axe …

You can read more here.

St Swithen, London Stone, to give it its full name, stood on the north side of Cannon Street, between Salters’ Hall Court and St Swithin’s Lane and was rebuilt after the Great Fire to designs by Sir Christopher Wren

The Stone used to be sited in the road but in 1742 it was moved from the south side of the street to a location beside the church door. Eventually in the 1820s it was placed in an alcove within a stone casing set into the south wall of the church.

The church with the London Stone housed at the front below the central window …

An 1831 engraving …

An engraving by Gustav Doré, 1872 …

I popped in to the Guildhall Art Gallery to consult the illuminated Agas map showing London in the 1560s and, sure enough, there was the London Stone outside St Swithen’s on Candlewick Street, the old name for Cannon Street. And it’s located in the road …

In 1578, L Grenade, a visiting Frenchman, described it as ‘3ft high, 2ft wide and 1ft thick’. What remains today is only a fraction of the original stone that was once embedded in the ground in the centre of the street. John Stow, a 16th-Century London historian, wrote in 1598: “It is so strongly set, that if carts do run against it through negligence, the wheels be broken, and the stone itself unshaken.” It was an entirely impractical position, no doubt, but bearing how much the topography has changed in London over the last millennium, it’s fair to assume that the streets were built around the stone. But that is all we can say definitively.

After the 1666 fire, as architects began reconstructing the city, surveyors found that much like an iceberg, the visible stone was only a small portion of a much larger structure. The ‘root’ of the stone extended around 3m down into the earth. It could have been “a kind of Obelisque,” noted Robert Hooke, from the Royal Society, the UK’s science academy, at the time of excavation. This theory was supported by 17th-Century architect Christopher Wren who, through his son, Christopher Wren Jr, later speculated that it could have been “in the manner of the Milliarium Aureum, at Rome”, an ancient monument from which all roads in the Roman Empire began and mileage throughout the empire was measured.

Maybe an image from the 1930s …

The demolition of the church in 1961/2 since it was so badly damaged by wartime bombing it couldn’t be repaired …

In 1962, the remains of the church were replaced by the office building at 111 Cannon Street – which included a specially designed place to keep the stone. When I started work in the City I walked past it every day and hardly noticed it, tucked away in the dark behind a rusting grille embedded in a bank’s wall.

The Stone in 2012, no wonder people just walked past it …

It looked pretty much the same when I photographed it in March 2016 …

The view from inside the building was better …

When the site was due for redevelopment in 2018 the stone was finally liberated from its prison and rested for a while at the Museum of London …

Another view …

It now has a wonderful new home of Portland Stone which does justice, I think, to its history …

You can watch a video of it’s unveiling here.

For more about the legends surrounding the Stone have a look at the brilliant London Inheritance blog.

It includes the story of Jack Cade who led a rebellion in 1450, from the south east of the country, against the corruption, poor administration and the abuse of power by the King’s local representatives. The connection between Jack Cade and the London Stone comes from the rebellion’s entry into the City of London. Cade pretended to use the name of Mortimer, (the family name of ancestors of one of Henry VI’s main rivals), and on reaching the London Stone, he struck his sword on the stone and according to Holinshed (a 16th century English chronicler), he exclaimed “Now is Mortimer Lord of this City”

You can read more stories about legends associated with the Stone here.

What is the true full story of the Stone? “Science just can’t explain it – this is one case where archaeology has failed,” said John Clark, curator emeritus at the Museum of London.

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