The Monument’s Frieze: A Detailed Guide to Its Elements and Meanings
The frieze on the Monument to the Great Fire of London is a masterwork of 17th-century allegorical sculpture, loaded with symbolism and civic pride. Designed by Caius Gabriel Cibber under the direction of Christopher Wren and Robert Hooke, the relief is more than a commemoration of disaster—it is a narrative of destruction, resilience, and rebirth, reflecting the social, political, and religious context of its time.
Overview of the Frieze
The frieze occupies the west side of the Monument’s base. It is read from left to right, moving from the chaos of the fire to the city’s recovery and renewal. The composition is busy and allegorical, with each figure and object carrying a specific meaning613.
Detailed Table: Frieze Elements and Their Symbolism
| Element/Group | Description & Placement | Meaning/Symbolism | Notes/Context |
|---|---|---|---|
| City of London (female) | Seated, centre-left, mural crown, Sword of State | Personification of the City, devastated by fire | Wearing the mural crown (city walls), holding ceremonial sword63 |
| Dragon | Below City figure, shield | Symbol of the City of London | Civic emblem, not sinister; also dragons at four corners26 |
| Father Time | Winged, bearded, behind City | Passage of time, support in recovery | Helping City to her feet63 |
| Providence | Female, bare-breasted, holds winged staff | Divine guidance or prudence | Staff resembles caduceus (trade/commerce); hand with eye (protection)6 |
| Beehive | Faint, right of City group | Industry, collective effort | Symbol of industrious rebuilding6 |
| Citizens of London | Background, arms raised | Public despair and suffering | Witness to destruction6 |
| Broken masonry | Beneath City/dragon | Ruin and destruction | Literal and symbolic63 |
| King Charles II | Right, in Roman dress, directing rebuilding | Leadership, royal authority | Flanked by allegories and brother James, Duke of York64 |
| Duke of York (James II) | Beside Charles II | Royal support | Historical figure, later king64 |
| Allegorical female figures | Surrounding Charles II | Architecture, Imagination, Liberty, Justice, Fortitude | Each with symbolic attributes (e.g., plans, sword, lion)46 |
| Envy | Bottom right, gnawing heart | Destructive forces overcome | Represents vice subdued by virtue4 |
| Peace and Plenty | Floating above, in clouds | Hope, recovery, prosperity | Watching over the scene14 |
| Lion | Tethered, side | Strength, possibly subdued pride | Unhappy, reflecting city’s suffering2 |
| Hellish figure of fire | Creeping away, side | Destructive force of fire, now receding | Flames being sucked back2 |
Key Symbolic Themes
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Destruction and Despair: The left side is dominated by the ruined City, the dragon, and broken masonry, with citizens in distress and fire still visible16.
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Assistance and Recovery: Father Time and Providence (or Mercury/Industry) help the City, symbolising the passage of time and the industrious spirit needed for recovery36.
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Royal Leadership and Virtue: Charles II and his brother, surrounded by allegories, direct the rebuilding, highlighting the monarchy’s role and the virtues necessary for reconstruction46.
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Triumph Over Vice: Envy, powerless at the bottom, shows the overcoming of destructive forces through unity and virtue4.
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Hope and Renewal: Peace and Plenty in the clouds signal a return to stability and abundance14.
Dragons: Symbolism and Placement
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The dragon beneath the City figure is the heraldic symbol of the City of London, representing civic pride and identity236.
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Additional dragons, carved by Edward Pierce, are found on each corner of the base, reinforcing the city’s boundaries and protection2.
Religious and Political Context
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The frieze itself does not explicitly reference Catholics, but the Monument’s inscriptions once blamed the fire on “Popish frenzy,” reflecting the anti-Catholic sentiment of the era45.
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These inscriptions were added during the hysteria of the Popish Plot (1681) and removed in the 19th century as attitudes changed45.
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The inclusion of virtues and royal figures also reflects the Restoration context and the desire to celebrate the monarchy’s role in the city’s recovery6.
Allegory, Not Conspiracy
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While some modern commentators suggest possible Masonic or esoteric meanings (such as the triangle, caduceus, or the hand with an eye), these interpretations are speculative and not supported by contemporary sources36.
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The frieze’s primary purpose is commemorative and allegorical, celebrating the city’s resilience and the virtues that enabled its recovery641.
Conclusion
The Monument’s frieze is a rich tapestry of allegory, blending civic symbols (dragons, the City), virtues (time, providence, industry), and royal leadership into a narrative of destruction and rebirth. Its dragons are guardians, not villains; its allegories are calls to unity and resilience. While the Monument’s history is entangled with the religious and political tensions of its time, the frieze itself remains a powerful testament to London’s capacity for renewal and hope1246.
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