Queen Anne Statue

A Monument to Architectural Triumph

The Queen Anne Statue occupies a place of honour directly outside the west front of St Paul's Cathedral, one of London's most iconic structures. The original statue was commissioned in 1712 by the City of London Corporation as an integral part of the cathedral's design, marking the triumphant completion of Sir Christopher Wren's rebuilding project following the Great Fire of 1666. Sculpted from Carrara marble by Francis Bird, the original monument stood as a testament to Queen Anne's reign and her role in overseeing the cathedral's restoration. The statue was positioned at the exact centre of St Paul's Churchyard, creating a focal point that drew the eye toward the cathedral's magnificent west front.

Regal Iconography and Allegorical Companions

The statue presents Queen Anne in full ceremonial dress, wearing a golden crown and the Order of St George around her neck. In her right hand she holds a sceptre, while her left hand grasps the orb—symbols of sovereign authority. Surrounding the base of the pedestal stand four allegorical female figures, each representing a realm over which Anne claimed dominion: Britannia for England, France, Ireland, and North America. These figures underscore the geographical extent of her authority during the early 18th century and reflect the political landscape of her reign from 1702 to 1714. The composition conveys both majesty and the interconnected nature of the British monarchy's reach across multiple territories.

Survival Through Vandalism and Decay

The original 1712 statue endured considerable hardship over its first century. In 1769, a Lascar attacked the monument, removing the globe, smashing off the arms, and breaking the sceptre. Though repaired, the damage left lasting scars on the sculpture, which never fully recovered its original pristine condition. By the early 19th century, the statue had deteriorated significantly, prompting concerns about its structural integrity and aesthetic appearance. The deterioration accelerated through the 1800s, necessitating a decision about the monument's future.

The 1886 Replacement and Its Curious History

In 1886, the Corporation of London commissioned a replacement copy of the statue to preserve the monument's presence in St Paul's Churchyard. The project was initially assigned to sculptor Belt in 1885, but his involvement ended abruptly in March 1886 when he was convicted of obtaining money by false pretences and imprisoned. Rather than abandon the work, the Corporation brought in sculptor Malempre to complete the replacement. This pragmatic decision meant that the current statue—the one visitors see today—represents a collaborative effort between two artists, one of whom had a criminal record. The inscription on the north side of the plinth records this restoration, crediting the Corporation of London and the civic officials who oversaw the work.

A Statue That Resisted Removal

The Queen Anne Statue gained unexpected prominence during Queen Victoria's Diamond Jubilee celebrations in 1897. When planners suggested removing Anne's statue to make space for jubilee festivities, Victoria herself intervened with a firm refusal: "Move Queen Anne? Most certainly not. Why it might some day be suggested that my statue should be removed, which I should much dislike!" This declaration ensured the statue's permanence and reflected Victoria's respect for her predecessor's legacy. The statue remained surrounded by railings during the celebrations, a visible reminder of the continuity of the British monarchy across nearly two centuries.

The Original's Hidden Legacy

The original 1712 statue and its allegorical companions did not disappear entirely. They were acquired by the writer Augustus Hare, who had them repaired and relocated to the grounds of his country house, Holmhurst St Mary, near Hastings. Following Hare's era, the property was used as a school and later as a convent before being subdivided into private residential accommodation. The original statues remain on the grounds today, though their condition reflects the centuries of exposure and vandalism they endured. Their survival, albeit in a distant location, preserves a tangible link to the original artistic vision of 1712.