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Statue of John Wesley, St Paul's Churchyard

1988 establishments in England1988 sculpturesBronze sculptures in the United KingdomCity of LondonLondon stubs
Monuments and memorials in LondonOutdoor sculptures in LondonSculptures of men in the United KingdomStatues in LondonUnited Kingdom sculpture stubs
John Wesley at St Paul's
John Wesley at St Paul's

The statue of John Wesley, St Paul's Churchyard is an outdoor bronze sculpture depicting the theologian, cleric and co-founder of the religious movement known as Methodism, John Wesley. The statue is located northwest corner of St Paul's Churchyard, London, England, and was erected in 1988. It was cast from a sculpture created by Samuel Manning and his son between 1825 and 1849.From 24 to 26 May 1738, Wesley worshipped in the nearby Chancel of the Cathedral. The statue is 5 foot 1 inches high, Wesley's height in life, and depicts him wearing a cassock and holding a bible in his left hand. An inscription on the front of the plinth reads: By Grace ye are saved through Faith John Wesley, Father of Methodism, 1703–1791, priest, poet, teacher of the Faith. On the rear of the plinth is a plaque reading 'Property of Aldersgate Trustees of the Methodist Church – 17 September 1988'.Samuel Manning's original sculpture was in plaster and was exhibited at the Royal Academy in 1825. After Manning the Elder's death, his son recreated the sculpture in marble, and it is now situated in the Methodist Central Hall, Westminster.

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Statue of John Wesley, St Paul's Churchyard
Saint Paul's Church Yard, City of London

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N 51.5143 ° E -0.09854 °
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John Wesley

Saint Paul's Church Yard
EC4M 8AB City of London
England, United Kingdom
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John Wesley at St Paul's
John Wesley at St Paul's
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Paternoster (sculpture)
Paternoster (sculpture)

Paternoster (FCR 243), also known as Shepherd and Sheep or Shepherd with his Flock, is an outdoor bronze sculpture of 1975 by Elisabeth Frink, installed in Paternoster Square near St Paul's Cathedral in London, United Kingdom.The sculptural group measures 84 by 129 by 32 inches (213 cm × 328 cm × 81 cm). It shows an androgynous shepherd herding five sheep. The subject of the artwork reflects the former use of Paternoster Row as the site of Newgate Market for the sale of livestock and meat, and may also have theological overtones of the Good Shepherd, reflecting its position in the shadow of St Paul's Cathedral. It may draw inspiration from husbandry in the Cévennes region of France, where Frink spent time at the vineyard of her second husband Edward Pool in the late 1960s to early 1970s, or from Picasso's 1944 sculpture Man with Sheep, and may also play on the religious and linguistic similarity between the Latin paternoster ("our father") and pastor (shepherd). The work was commissioned by Trafalgar House for the north side of its 1960s development at Paternoster Square. It was unveiled in July 1975 by Yehudi Menuhin, who described it as "the antithesis of the buildings surrounding us". Around the same time, Trafalgar House also commissioned Frink's Horse and Rider statue, unveiled at Dover Street on Piccadilly in 1975. It was removed in 1997 to a temporary location on London Wall near the Museum of London while the site was redeveloped, and was reinstalled in 2003 on a new Portland stone plinth after the redevelopment was completed. A series of eight smaller versions was created in the 1980s. One example was installed at All Saints' Church in Great Thurlow in Suffolk, in memory of Ronald Vestey, a scion of the Vestey Brothers butchery empire; he was the son of Sir Edmund Vestey, 1st Baronet, and the father of Edmund Hoyle Vestey. Frink was born nearby, in Great Thurlow.

Paul's walk
Paul's walk

Paul's walk in Elizabethan and early Stuart London was the name given to the central nave of Old St Paul's Cathedral, where people walked up and down in search of the latest news. At the time, St. Paul's was the centre of the London grapevine. "News-mongers", as they were called, gathered there to pass on the latest news and gossip, at a time before the first newspapers. Those who visited the cathedral to keep up with the news were known as "Paul's-walkers". According to Francis Osborne (1593–1659): It was the fashion of those times, and did so continue till these . . . for the principal gentry, lords, courtiers, and men of all professions not merely mechanic, to meet in Paul's Church by eleven and walk in the middle aisle till twelve, and after dinner from three to six, during which times some discoursed on business, others of news. Now in regard of the universal there happened little that did not first or last arrive here...And those news-mongers, as they called them, did not only take the boldness to weigh the public but most intrinsic actions of the state, which some courtier or other did betray to this society. Amongst whom divers being very rich had great sums owing them by such as stood next the throne, who by this means were rendered in a manner their pensioners. So as I have found little reason to question the truth of which I heard then, but much to confirm me in it. Standing on Ludgate Hill in the heart of the City of London, St Paul's Cathedral was well placed to be a hub of news. The cathedral had once been among the greatest in Europe, but a decline set in after the Reformation and by the end of the sixteenth-century, it had lost its steeple and was falling into disrepair. The cathedral and its surrounding St. Paul's Churchyard was a centre of the booksellers' trade, a venue for sellers of pamphlets, proclamations, and books. St Paul's was the place to go to hear the latest news of current affairs, war, religion, parliament and the court. In his play Englishmen for my Money, William Haughton (d. 1605) described Paul's walk as a kind of "open house" filled with a "great store of company that do nothing but go up and down, and go up and down, and make a grumbling together". Infested with beggars and thieves, Paul's walk was also a place to pick up gossip, topical jokes, and even prostitutes. John Earle (1601–1665), in his Microcosmographie (1628), called Paul's walk "the land's epitome . . . the lesser isle of Great Britain . . . the whole world's map . . . nothing liker Babel".Official attempts to stem the use of St. Paul's for non-religious purposes repeatedly failed. Both Mary I and Elizabeth I issued proclamations against "any of her Majesty's subjects who shall walk up and down, or spend the time in the same, in making any bargain or other profane cause, and make any kind of disturbance . . . during divine service . . . [on] pain of imprisonment and fine". Scholar Helen Ostovich has called St. Paul's at this time "more like a shopping mall than a cathedral". The letter writer John Chamberlain (1553–1626) walked to St. Paul's each day to gather news on behalf of his correspondents. His main purpose in his letters was to relate news of events in the capital to his friends, especially those posted on the continent, such as Ralph Winwood and Dudley Carleton, who both spent much of their political careers at the Hague. Chamberlain proved the perfect source for Carleton and others because of his willingness to "walk Paul's" for the news. He was made a member of a commission to refurbish St. Paul's but was cynical about its chances. He wrote that the king was "very earnest to set it forward, and they begin hotly enough" but feared it would prove "as they say, Paul's work".King James was aware of Paul's walk and referred to it in his poem about a comet, seen in 1618, which was talked of as signalling doom for the monarchy: "And that he may have nothing elce to feare/Let him walke Pauls, and meet the Devills there". Chamberlain reported that the comet "is now the only subject almost of our discourse, and not so much as little children but as they go to school talk in the streets that it foreshows the death of a king or queen or some great war towards".Ben Jonson (1572–1637) set a pivotal scene of his play Every Man Out of His Humour (1599) in Paul's walk. As Cavalier Shift enters and begins posting up advertisements, Cordatus introduces the scene with the words: "O, marry, this is one for whose better illustration we must desire you to presuppose the stage the middle aisle in Paul's, and that [pointing to the door on which Shift is posting his bills] the west end of it". The west end of the aisle was where advertisements, known as siquisses, were posted; those interested wrote a suggested meeting time and place at the bottom.According to Ostovich, Jonson conceived the Paul's-walking scene of the play as a "satirical nutshell" of London itself, presenting the walking up and down as "an obsessively competitive dance". This view of Paul's walk as a microcosm had already seen print in the cony-catching pamphlets of Robert Greene (1558–1592), who had depicted city rogues and tricksters preying on those who walked the aisles to gossip, smoke, and see the fashions. The playwright Thomas Dekker (1572–1632), in his "Paul's Steeple's Complaint" in The Dead Term (1608) and his Gull's Horn-book (1609), was another who wrote about Paul's walk. He recorded its use as a venue for fashion, saying of a gallant: "He that would therefore strive to fashion his legs to his silk stockings, and his proud gait to his broad garters, let him whiff down these observations; for, if he once get to walk by the book . . . Paul's may be proud of him".

Old St Paul's Cathedral
Old St Paul's Cathedral

Old St Paul's Cathedral was the cathedral of the City of London that, until the Great Fire of 1666, stood on the site of the present St Paul's Cathedral. Built from 1087 to 1314 and dedicated to Saint Paul, the cathedral was perhaps the fourth church at Ludgate Hill.Work on the cathedral began after a fire in 1087. Work took over 200 years, and was delayed by another fire in 1135. The church was consecrated in 1240, enlarged in 1256 and again in the early 1300s. At its completion in the mid-1300s, the cathedral was one of the longest churches in the world, had one of the tallest spires and some of the finest stained glass. The presence of the shrine of Saint Erkenwald made the cathedral a site of pilgrimage. In addition to serving as the seat of the Diocese of London, the building developed a reputation as a social hub, with the nave aisle, "Paul's walk", known as a business centre and a place to hear the gossip on the London grapevine. After the Reformation, the open-air pulpit in the churchyard, St Paul's Cross, became the place for radical evangelical preaching and Protestant bookselling. The cathedral was already in severe structural decline by the early 1600s. Restoration work begun by Inigo Jones in the 1620s was temporarily halted during the English Civil War (1642–1651). In 1666, further restoration was in progress under Sir Christopher Wren when the cathedral was devastated in the Great Fire of London. At that point, it was demolished, and the present cathedral was built on the site.

St Paul's Cathedral
St Paul's Cathedral

St Paul's Cathedral is an Anglican cathedral in London that is the seat of the Bishop of London. The cathedral serves as the mother church of the Diocese of London. It is on Ludgate Hill at the highest point of the City of London and is a Grade I listed building. Its dedication to Paul the Apostle dates back to the original church on this site, founded in AD 604. The present structure, dating from the late 17th century, was designed in the English Baroque style by Sir Christopher Wren. Its construction, completed in Wren's lifetime, was part of a major rebuilding programme in the city after the Great Fire of London. The earlier Gothic cathedral (Old St Paul's Cathedral), largely destroyed in the Great Fire, was a central focus for medieval and early modern London, including Paul's walk and St Paul's Churchyard, being the site of St Paul's Cross. The cathedral is one of the most famous and most recognisable sights of London. Its dome, framed by the spires of Wren's City churches, has dominated the skyline for over 300 years. At 365 feet (111 m) high, it was the tallest building in London from 1710 to 1963. The dome remains among the highest in the world. St Paul's is the second-largest church building in area in the United Kingdom after Liverpool Cathedral. Services held at St Paul's have included the funerals of Admiral Lord Nelson, the Duke of Wellington, Winston Churchill and Margaret Thatcher; jubilee celebrations for Queen Victoria; an inauguration service for the Metropolitan Hospital Sunday Fund; peace services marking the end of the First and Second World Wars; the wedding of Prince Charles and Lady Diana Spencer; the launch of the Festival of Britain; and the thanksgiving services for the Silver, Golden and Diamond Jubilees and the 80th and 90th birthdays of Queen Elizabeth II. St Paul's Cathedral is the central subject of much promotional material, as well as of images of the dome surrounded by the smoke and fire of the Blitz. The cathedral is a working church with hourly prayer and daily services. The tourist entry fee at the door is £20 for adults (August 2020, cheaper if booked online), but no charge is made to worshippers attending advertised services.The nearest underground station is St Paul's, which is 130 yards (120 m) away from St Paul's Cathedral.