AND ITS
ENVIRONS
DESCRIBED, &c.
MON
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 steps, 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 Cæsars; 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 carelessly 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.