the Monument

the Monument

On the east side of Fish street Hill at No. 40 and in the centre of Monument Street (P.O. Directory). In Bridge Ward Within.

Erected 1671–7 from the design by Sir Christopher Wren, to commemorate the Great Fire of 1666.

In O. and M. 1677, it is designated "The Pillar where ye Fire began 1666," and is 130 feet from the site of the house in Pudding Lane, in which the Fire originated.

It is carefully described by Strype (Ed. 1720, I. ii. 180–1).

In 1673 there was a payment made of £5 5s. for tithe to the rector of St. Margaret Fish Street Hill in respect of the ground whereon the pillar for the fire was erected (L. and P. Chas. II. 1673–5, p. 35).

See Monument Yard.

On the East side stands the Monument seated in a Square open to the Street; erected in perpetual Memory of the dreadful Fire of London, that happened the second Day of September, 1666. with Inscriptions and divers Figures artificially cut out in Stone, importing the History thereof. Which said Monument was by Act of Parliament ordered to be erected near the place where the Conflagration began, and was accordingly set up where the Church of St. Margaret New Fish Street stood: Which is not above 130 Foot from the very House where the Fire first broke out. And against the side of the said House now erected is cut in a Stone the Inscription before mentioned importing the same.	The Monument on Fishstreet Hill.
This Monument stands upon an Ascent from the Street three or four Steps of Stone, upon a large Vault of Stone arched. The Column is of the Dorick Order, built all of excellent Portland Stone, the Plinth whereof is twenty seven Foot square. Upon three sides of the Pedestal which is twenty one Foot and half square, there are Inscriptions. On the West side Figures.
Of this Column there is a fair Print extant, with this Inscription:
This famous Column was erected in perpetual Remembrance of the dreadful Fire. It consumed 89 Churches, the City Gates, many public Hospitals, Schools, Libraries, 13200 Houses, 400 Streets. The Ruines of the City were 436 Acres. Of the 26 Wards, it utterly destroyed 15. And left eight others shattered and half burnt.	Inscription upon a Print of the Column. J.S.
The Basis is said to be 27 Foot, and from the Basis the heighth 202 Foot: Begun Sir Richard Ford, Maior, 1671. Finished Sir Joseph Shelden Maior, 1676.
The Basis of the Monument on that side toward the Street hath a Representation of the Destruction of the City by the Fire, and the Restitution of it, by several curiously engraven Figures in ful proportion. First is the Figure of a Woman, representing LONDON, sitting on Ruines, in a most disconsolate Posture, her Head hanging down, and her Hair all loose about her; the Sword lying by her, and her left Hand carelessly laid upon it. A second Figure is Time, with his Wings and bald Head, coming behind her, and gently lifting her up. Another Female Figure on the side of her, laying her Hand upon her, and with a Sceptre winged in her other Hand, directing her to look upwards; for it points up to two beautiful Goddesses sitting in the Clouds; one leaning upon a Cornucopia denoting PLENTY; the other having a Palm Branch in her left Hand, signifying VICTORY, or TRIUMPH. Underneath this Figure of LONDON, in the midst of the Ruins is a Dragon with his Paw upon the Shield of a Red Corss, London's Arms: Over her Head is the Description of Houses burning, and Flames breaking out through the Windows. Behind her are	The Figures upon the Basis of the Monument.
Citizens looking on, and some lifting up their Hands.
Opposite against these Figures is a Pavement of Stone raised with three or four Steps. On which appears King CHARRES II. in Roman Habit, with a Truncheon in his right Hand, and a Laurel about his Head, coming towards the Woman in the foresaid despairing Posture: And giving Order to three others to descend the Steps towards her: The first hath Wings on her Head, and a Crown of naked Boys dancing, and in her Hand something resembling an Harp. Then another Figure of one going down the Steps following her, resembling Architecture, shewing a Scheme or Model for building of the City, held in the right Hand, and the left holding a Square and Compasses. Behind these two stands another Figure more obscure holding up an Hat, denoting Liberty. Next, behind the King is the Duke of York, holding a Garland ready to crown the rising City, and a Sword lifted up in the other Hand, to defend her. Behind this, a third Figure with an Earls Coronet on his Head. A fourth Figure behind all, holding a Lion with a Bridle in his Mouth. Over these Figures is represented an House in building, and a Labourer going up a Ladder with an Hodd upon his Back. Lastly, underneath the Stone Pavement whereon the King stands, is a good Figure of ENVY peeping forth, gnawing an Heart.
But behold the Figures in this Plate.
The Inscription is in Latin, engraven in Capital Letters, setting forth at large an account of the said firing of London, and of the rebuilding and restauration of it. Which, since it is already printed in the Present State of England, shall be here omitted. I shall only insert a few English Lines engraven round the bottom of the Pedestal, which in the aforesaid Book is left out: And the rather because it hath something of Remark. These Lines had charged the Papists with the burning of the City; as in the time of the Fire and for some space afterward, was generally believed; and many were taken up upon Suspicion of being employed therein, and one tryed, condemned and executed for it. The said Lines remained for some time, but upon the beginning of the Access of King James II. to the Crown, they were thought fit to be beaten out and uttlerly defaced; and so by order they were. But when King William came to reign, then the same Words were deeply engraven anew. And are as follows:	The Inscription.
"This Pillar was set up in perpetual Remembrance of the most dreadful Burning of this Protestant City, begun and carried on by the Treachery and Malice of the Popish Faction, in the beginning of September in the Year of our Lord MDCLXVI. in order to the effecting their horrid Plot for the extirpating the Protestant Religion and English Liberties, and to introduce Popery and Slavery.]"
Upon the Pedestal is the Column erected; the Body or Shaft whereof is fluited and contains in length from the Pedestal to the Balcony 133 Foot, and from the Balcony to the top of the Flame is 38 Foot; and the whole height of this Monument from the Ground (besides the Vault and Foundation) to the top of the Flame 202 Foot; the Circumference of the Shaft is 47½ Foot: Its Diameter is 15 Foot; the hollow Cylinder is nine Foot Diameter; the thickness of the Stone Wall of the Cylinder, or Shaft, is three Foot; it hath 345 Steps, or Stairs from the Ground up to the Balcony; and Nices in the   Wall with Seats to rest in as People go up; and from the Balcony upwards is a Ladder of Iron Steps to go into the Urn, out of which the Flame all gilt with Gold issueth; and to the Stairs having an open Newel there is a Rail of Iron to rest the Hand upon all way up. This Monument is not unlike those two ancient white Marble Pillars at Rome, erected in Honour of the Emperors Trajan and Antoninus, which were built above 1500 Years since, and are still standing entire.
All this Monument taken together is a curious Piece of Workmanship, and the Charges in erecting the same amounted to 13700l. and upwards. This Building loftily shews it self above the Houses, and gives a gallant Prospect for many Miles round to those that are in the Balcony; And it being such a Curiosity, and that so many People have a desire to go up and look about them from thence; there is one that hath the keeping it, with a Salary allowed for his attendance, besides the Money that People give him.

Monument, a noble fluted column, erected by order of parliament, in commemoration of the burning and rebuilding of the city, on the east side of Fish street hill, in a square open to the street.

This stately column, which is of the Doric order, was begun by Sir Christopher Wren, in the year 1671, and completed by that great architect in 1677. It much exceeds, in height, the pillars at Rome of the Emperors Trajan and Antoninus, the stately remains of Roman grandeur; or that of Theodosius at Constantinople; for the largest of the Roman columns, which was that of Antoninus, was only 172 feet and a half in height, and 12 feet 3 inches, English measure, in diameter. But the diameter of this column at the base, is 15 feet, and consequently it is 120 feet high; the height of the pedestal is 40, and the cippus or meta with the urn on the top 42, making 202 feet in the whole. On the cap of the pedestal, at the angles, are four dragons (the supporters of the city arms) and between them trophies, with symbols of regality, arts, sciences, commerce, &c.

Within is a large staircase of black marble, containing 345 fteps, 10 inches and a half broad, and 6 inches in thickness, and by these there is an ascent to the iron balcony (which is the abacus of the column). Over the capital is an iron balcony, encompassing a cone 32 feet high, supporting a blazing urn of brass, gilt.

In the place of this urn, which was set up contrary to Sir Christopher's opinion, was originally intended a colossal statue, in brass, gilt, of King Charles II. as founder of the new city, after the manner of the Roman pillars, which terminated with the statues of their Caesars; or else a figure erect of a woman crowned with turrets, holding a sword and cap of maintenance, with other ensigns of the city's grandeur and re-erection.

Prior to this, the same gentleman made a design of a pillar of somewhat less proportion, viz. 14 feet in diameter, and after a peculiar device: for as the Romans expressed by relievo on the pedestals, and round the shafts of their columns, the history of such actions and incidents as were intended to be thereby commemorated; so this monument of the conflagration and resurrection of the city of London was represented by a pillar in flames; the flames, blazing from the loop-holes of the shaft, intended to give light to the stairs within, were in brass work gilt, and on the top was a phœnix rising from her ashes, also of brass gilt. Parentalia.

The west side of the pedestal is adorned with curious emblems, by the masterly hand of Mr. Cibber, father to the late Poet Laureat, in which the eleven principal figures are done in alto, and the rest in basso relievo. The principal figure, to which the eye is particularly directed, is a female, representing the city of London, sitting in a languishing posture on a heap of ruins: her head droops, her hair is dishevelled, and her hand, with an air of languor, lies carelesly on her sword. Behind is Time, gradually raising her up: at her side, a woman, representing Providence, gently touches her with one hand, while with a winged scepter in the other, she directs her to regard two Goddesses in the clouds, one with a cornucopia, denoting Plenty, the other with a palm branch, the emblem of Peace. At her feet is a bee-hive, to shew that by industry and application the greatest misfortunes may be overcome. Behind Time, are citizens exulting at his endeavours to restore her; and, beneath, in the midst of the ruins, is a dragon, the supporter of the city arms, who endeavours to preserve them with his paw. Still farther, at the north end, is a view of the city in flames; the inhabitants in consternation, with their arms extended upward, and crying out for succour.

On the other side, on an elevated pavement, stands King Charles II. in a Roman habit, with his temples incircled by a wreath of laurel, and approaching the figure representing the city, with a truncheon in his hand, seems to command three of his attendants to descend to her relief: the first represents the Sciences, with wings on her head, and a circle of naked boys dancing upon it, holding in her hand Nature, with her numerous breasts ready to give assistance to all: the second is, Architeilure, with a plan in one hand, and a square and pair of compasses in the other: and the third is, Liberty, waving a hat in the air, shewing her joy at the pleasing prospect of the city's speedy recovery. Behind the King, stands his brother the Duke of York, with a garland in one hand to crown the rising city, and a sword in the other for her defence. Behind him arc Justice and Fortitude, the former with a coronet, and the latter with a reined lion. In the pavement, under the Sovereign's feet, appears Envy peeping from her cell, and gnawing a heart; and in the upper part of the back ground the re-construction of the city is represented by scaffolds, erected by the sides of unfinished houses, with builders and labourers at work upon them.

The other sides of the pedestal have, each, a Latin inscription. That on the north side may be thus rendered.

In the year of Christ 1666, the second day of September, eastward from hence, at the distance of 202 feet, (the height of this column) about midnight, a most terrible fire broke out, which, driven by a high wind, not only laid waste the adjacent parts, but also places very remote, with incredible noise and fury: it consumed 89 churches, the city gates, Guildhall, many public structures, hospitals, schools, libraries, a vast number of stately edifices, 13,200 dwelling houses, 400 streets: of twenty six wards it utterly destroyed fifteen, and left eight others shattered and half burnt. The ruins of the city were 436 acres, from the Tower by the Thames side to the Temple church, and from the north east, along the city wall, to Holborn bridge. To the estates and fortunes of the citizens it was merciless, but to their lives very favourable. That it might, in all things resemble the last conflagration of the world, the destruction was sudden; for in a small space of time, the same city was seen most flourishing, and reduced to nothing. Three days after, when this fatal fire had, in the opinion of all, baffled all human counsels and endeavours, it stopped, as it were, by a command from heaven, and was on every side extinguished.

The inscription on the south side is translated thus:

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 smoaking, provided for the comfort of his citizens, and ornament of his city, remitted their taxes, and referred the petition of the magistrates and inhabitants to 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 the churches, and the cathedral of St. Paul's, should be rebuilt from their foundations, with the utmost magnificence: that bridges, gates, and prisons should be new erected, the sewers cleansed, the streets made straight and regular, such as were steep levelled, and those too narrow to be made wider. Markets and shambles removed to separate places. They also enacted, that every house should be built with party walls, and all in front raised of equal height; that those walls should be of square stone or brick; and that no man should delay building beyond the space of seven years. Moreover, care was taken by law to prevent all suits about their bounds. Anniversary prayers were also enjoined; and to perpetuate the memory thereof to posterity, they caused this column to be erected. The work was carried on with diligence, and London is restored; but whether with greater speed or beauty, may be made a question. In three years time the world saw that finished, which was supposed to be the work of an age.

The inscription on the east side contains the names of the Lord Mayors from the time of its being begun, till its being compleated; and round the upper part of the pedestal is the following inscription in English.

This pillar was set up in perpetual remembrance of the moft dreadful burning of this protestant city, begun and carried on by the treachery and malice of the popish faction in the beginning of September, in the year of our Lord 1666, in order to the carrying on their horrid plot for extirpating the protestant religion, and Old English Liberty, and introducing popery and slavery.

This inscription, upon the Duke of York's accession to the crown, was immediately erased; but soon after the revolution it was restored again.

This monument, says the author of The Review of our public buildings, "is undoubtedly the noblest modern column in the world; nay, in fome respects, it may justly vie with those celebrated ones of antiquity, which are consecrated to the names of Trajan and Antonine. Nothing can be more bold and surprizing, nothing more beautiful and harmonious: the bas relief at the base, allowing for some few defects, is finely imagined, and executed as well: and nothing material can be cavilled with but the inscriptions round about it." These, however, Sir Christopher Wren had prepared in a more elegant and masculine style, as appears by the Parentalia; but he was over-ruled.

Monument, the, Fish-street-hill, is the name by which Sir Christopher Wren's great Doric fluted column, erected in memorial of the dreadful fire of London, is generally known. It was erected in pursuance of an act of parliament, in commemoration of the conflagration and rebuilding of this city and its public edifices.

The site on which this loftiest of commemorative columns is erected, was that whereon the ancient church of St. Margaret, New Fish-street, stood before the fire; which is about one hundred and thirty feet from the spot where that calamity began. [See St. Margaret, Fish-St.] It stands on the easter side of that street, on a Palladian pedestal of about twenty-one feet square, the plinth being twenty-seven-feet. Its entire height from the pavement is two hundred and two feet, which is nearly thirty feet higher than that of Antoninus at Rome; and is not only the highest, but also the finest isolated column in the world. Its bottom diameter on the upper part of the base is fifteen feet, and contains in its shaft a staircase of black marble, consisting of three hundred and forty-five steps. On the abacus is a balcony encompassing a moulded cylinder, which supports a flaming vase of gilt bronze. As was usual with Wren, many improvements took place during the progress of the work, and various designs were made for its execution, but none equal to its present appearance.

This columnar monument was in hand from 1671 to 1677, a period considered too long for such a work. This delay was occasioned by the scarcity of stone of good quality and of sufficient dimensions for the work, which was remedied on the complaint of the surveyor-general by a proclamation issued by the king in council, which forbid any person to remove any stone from the Isle of Portland without leave of the surveyor-general.

The work was at length completed, and may be justly reckoned the finest column of its kind in the world. It was at first used by the members of the Royal Society for astronomical experiments, but was abandoned on account of its vibrations being too great for the nicety required in their observations. This occasioned a report that it was unsafe; but its scientific construction may bid defiance to the attacks of all but earthquakes, for centuries to come.

The basso-rilievo, on the west side or front of the pedestal, representing the king affording protection to the desolated city, and freedom to its rebuilders and inhabitants, is sculptured in a sufficiently rude and gross style, by Cibber; who in his maniacs on the portal of Bedlam, soared almost to the sublime. Charles is be-wigged and be-Romanized; scaffold-poles support Portland stone clouds, and solid genii float bisected with joints of mortar as thick as their fingers. The scaffolding, ladders and hodmen, have been admired for years, and record the dresses of the labourers with more fidelity than those of the monarch and his architect.

The other three sides of the pedestal are covered with inscriptions in the Latin language, for the information of the citizens; that on the north describes the conflagration of the metropolis, that on the south its restoration, and that on the east the years and persons under whom the works were commenced, continued and brought to perfection.

Its learned architect offered an inscription of more elegance, but consisting of less matter of fact and common place, which was rejected for those now inscribed. Another inscription was also cut in English, on the lower part of the pedestal, which was obliterated in the reign of James II., on account of its insinuations against the papists; but it was recut with deeper incisions, in a panel formed by the excisions of the former letters, during the reign of William and Mary, where it still remains in its sunken obscurity, more an object of curiosity than belief.

This doubly cut inscription is as follows:—

"This pillar was set up in perpetual remembrance of the most dreadful burning of this Protestant city, begun and carried on by the treachery and malice of the Popish faction. In the beginning of September, in the year of our Lord, 1666; in order to the effecting their horrid plot, for the extirpating the Protestant religion and English liberties, and to introduce Popery and slavery."

A motion is now on the books of the Court of Common-council to obliterate this inscription once more. It is singular that Wren himself, with all his Protestant feeling, in his rejected inscriptions, preserved in Parentalia, and in my memoirs of that architect, does not even breathe a hint of the "Furor Papisticus."

Monument (The), Monument Yard, Fish Street Hill, a fluted column of the Doric order, erected (pursuant to 19 Charles II., c. 3, s. 29) to commemorate the Great Fire of London (September 2–7, 1666). The design was made by Sir Christopher Wren; the bas-relief on the pediment carved by Caius Gabriel Cibber, the father of Colley Cibber; the four dragons at the four angles by Edward Pierce, for which he had, as Walpole tells us, 50 guineas a piece; the Latin inscriptions, written by Dr. Thomas Gale, headmaster of St Paul's School, and Dean of York, who was rewarded with a piece of plate for the service. The whole structure was erected in six years (1671–1677) for the sum of £13,700. It is 202 feet high, and stands at a distance of 130 feet from the house in Pudding Lane, in which the fire originated. It is hollow, and contains a staircase of black marble of 345 steps. The urn on the top is 42 feet high. Wren's first design was a pillar with sculptured flames of gilt bronze, issuing from apertures in the shaft, surmounted by a phoenix; "but, upon second thoughts," he says, "I rejected it, bcause it will be costly, not easily understood at that height, and worse understood at a distance, and lastly dangerous, by reason of the sail the spread wings will carry in the wind." He then designed a statue of Charles II., 15 feet high, as "the noblest finishing that can be found answerable to so goodly a work," and showed it to that King for his approbation; but Charles, "not that his Majesty," says Wren, "disliked a statue, was pleased to think a large ball of metal, gilt, would be more agreeable;" and the present vase of flames was in consequence adopted. The following inscription was at one time to be read round the plinth, beginning at the west:—

[W.] "THIS PILLAR WAS SET VP IN PERPETVALL REMEMBRANCE OF THAT MOST DREADFUL BURNING OF THIS PROTESTANT [S.] CITY, BEGUN AND CARRYED ON BY YE TREACHERY AND MALICE OF YE POPISH FACTIO, IN YE BEGINNING OF SEPTEM. IN YE YEAR OF [E.] OUR LORD 1666, IN ORDER TO YE CARRYING ON THEIR HORRID PLOTT FOR EXTIRPATING [W.] THE PROTESTANT RELIGION AND OLD ENGLISH LIBERTY, AND THE INTRODUCING POPERY AND SLAVERY."

And the inscription on the north side concluded as follows:—

"SED FVROR PAPISTICVS QVI TAM DIRA PATRAVIT NONDUM RESTINGVITVR."

These offensive paragraphs formed no part of the original inscription, but were added in 1681, by order of the Court of Aldermen, when Titus Oates and his plot had filled the City with a fear and horror of the Papists. They were obliterated in the reign of James II., recut deeper than before in the reign of William III., and finally erased (by an Act of Common Council) January 26, 1831.¹ Addison, in his character of the Freeholder, gives a very humorous account of a visit to the monument with his friend the Tory Fox Hunter, their ascent to the summit, the Fox Hunter's observations on the warehouses, ships, and merchandise of the Thames, and his amazement on reading the English inscription on the basis, which he did several times, "and told me he could scarce believe his own eyes, for that he had often heard from an old attorney, who lived near him in the country, that it was the Presbyterians who burned down the city; whereas, says he, the Pillar positively affirms in so many words that the burning of this ancient city was begun and carried on by the treachery and malice of the Popish faction, in order to the carrying on their horrid plot for extirpating the Protestant Religion and old English Liberty, and introducing Popery and Slavery."²

Where London's column, pointing at the skies,
Like a tall bully, lifts the head and lies.—Pope.

At the end of Littleton's Dictionary is an inscription for the Monument, wherein this very learned scholar proposes a name for it, worthy, for its length, of a Sanscrit legend. It is a word which extends through seven degrees of longitude, being designed to commemorate the names of the seven Lord Mayors of London, under whose respective mayoralties the Monument was begun, continued, and completed:—

Quam non una aliqua ac simplici voce uti istam quondam Duilianum;
Sed, ut vero eam Nomine indigites, Vocabulo, constructiliter Heptastego,
Fordo-Watermanno-Hansono-Hookero-Vinero-Sheldono-Davisianam Appellites opportebit.

Well might Adam Littleton call this an heptastic vocable, rather than a word.—Southey, Omniana, vol. i. p. 49.

He [Sir Dudley North] took pleasure in surveying the Monument, and comparing it with mosque towers and what of that kind he had seen abroad. We mounted up to the top, and, one after another, crept up the hollow iron frame that carries the copper head and flames above. We went out at a rising plate of iron that hinged, and there found convenient irons to hold by. We made use of them, and raised our bodies entirely above the flames, having only our legs, to the knees, within; and there we stood till we were satisfied with the prospects from thence. I cannot describe how hard it was to persuade ourselves we stood safe; so likely did our weight seem to throw down the whole fabric.—Roger North's Life of Sir Dudley North, ed. 1826, vol. iii p. 207.

Last Thursday a nimble little drawer at the Baptist Head Tavern in the Old Bailey ran up to the Gallery on the top of the Monument and down again, for a considerable wager laid by some gentlemen frequenting the house. He had three minutes to do it in, but performed it in Two Minutes and a half and two seconds; which is looked upon as an extraordinary performance of the kind, and [what] not one in an hundred of the fraternity can do. We understand that as he was running down, he often cried, Coming, Coming, Sir!—Read's Weekly Journal, September 26, 1730.

Six persons have thrown themselves off the monument: William Green, a weaver, June 25, 1750 (in whose case the Coroner's jury brought in a verdict of accidental death); Thomas Cradock, a baker, July 7, 1788; Lyon Levi, a Jew, January 18, 1810; Margaret Moyes, the daughter of a baker in St. Martin's Lane, September 11, 1839; a boy named Hawes, October 18, 1839; and a girl of the age of seventeen, in August 1842. This kind of death becoming popular, it was deemed advisable to encage and disfigure the Monument as we now see it. Conversation Sharp used to point out a house at the corner of Monument or Bell Yard, where Goldsmith, when in destitute circumstances in London, filled for a short time the situation of shopman to a chemist named Jacob. Owing to the tunnelling of the District Railway the foundations were somewhat shaken, and at the end of 1888 the Monument was closed to the public for repair.

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¹ Ned Ward has given a humorous account into of the monument in his London Spy, and Hogarth has introduced the base of the pillar into Plate VI. of his "Industry and Idleness."

² Addison, The Freeholder, No. 47.