Wren, at this point an Oxford astronomer with comparatively little architectural experience, was among the first to present a plan to Charles II after the catastrophe. The narrow streets which had helped the fire's progress are replaced on his plan by monumental avenues radiating from piazzas.
He also proposes the construction of a Thameside quay from Bridewell to the Tower, replacing the ramshackle wooden wharfside buildings with warehouses. A vignette of 'Thamesis' the putative river god with London burning in the background has been added in the lower margin. Perhaps due to his eargerness to produce a plan quickly, he was inaccurate in making his ground plan and did not consider contours adequately.
Neither king nor parliament were to ever take it seriously despite the title's assertion that it was an approved plan.
Smaller in scale but more extensive in coverage, the inset map shows at a glance the extent of the damage caused by the fire. This small map was probably the basis for the many variations on the theme of the London Verbrandt which were published in Amsterdam by Venckel and De Wit in the aftermath of the fire.
The fire destroyed nearly the whole city 13, buildings circa and though the casualties were few 8 people only died directly because of the fire thousands were made homeless. This is the first accurate and detailed map of London, with all the buildings represented in plan rather than as bird's eye views. The map shows the extent of the damage to the city caused by the great fire of ; the barren city wards contrasting with birds eye views of surviving buildings just outside the city.
This small map was probably the basis for the many variations on the theme of the "London Verbrandt" which were published in Amsterdam by Venckel and De Wit in the aftermath of the fire. The fire destroyed nearly the whole city The plan shows the Roman wall, gates, street plan and road network, with some prominent architectural and geographical features presented pictorially.
This stock included many maps by leading Tudor cartographers. His son Henry succeeded him in and continued the family's publishing business. No copy of this large scale survey has ever been found. The map's title appears along the top of the manuscript, With the City arms and dedication at top centre.
The key to buildings destroyed in the fire appears in a table at top right, With a compass star at bottom right, Scale bar and imprint at bottom left, And an illustration of the city on fire inset at top left. The location of livery halls destroyed in the fire is indicated by their respective coats of arms.
Letters identify individual City wards, With ward boundaries indicated by a pecked line. Buildings outside the city walls, Undamaged by the fire, Are represented three dimensionally. Paul's, avoiding the many roads closed for repair. The plan's title appears at the top, with the royal Arms at the top left, the city arms at the top right, the arms of Bridge House at the bottom right and the arms of Westminster at the bottom left. A note explains the rules of the puzzle in the panel below the plan.
Ingrey, Charles An Exact Map representing the conditions of the late famous and flourishing City of London 1 : Engraved map of London and suburbs including Lincoln Inn Fields, Finsbury Fields, Smith Fields and Bankside in Southwark in which barren city wards contrast with birds eye views of surviving buildings outside the city, showing at a glancethe extent of the damage to the city caused by the great fire of The map features title along the top, with arms of the city and compass rose depicted at top left and right respectively.
Also by Pricke is the inset map in the panel at the foot of the plate. This map is the direct forbear of the modern London A-Z. Around the edges of the map appear the coats of arms of the twelve most influential and wealthy city guilds: the 'Great Liveries'. Guild members became known as liverymen because they wore a distinctive livery or uniform. At top right is the Merchant Tailors company, which made tents and padded tunics during the middle ages. This is reflected by the tent motif on the coat of arms.
The title and publisher's imprint appear at top left, with a reference table at bottom right, scale bar at bottom centre, and woodcut view of the Temple at top right. The map shows churches, halls and public buildings destroyed in the fire in grey,with contemporary buildings in pink. It is a derivative of Leake's map depicting London after the great fire of the previous year. The title of the map appears at the top, with scale bar at bottom right, a dedication to the Society of Antiquaries at middle left, and the key to lines and symbol in a banner at middle right.
A plan of the City of London and Westminster is inset at upper right with a reference table. The building footprints, their use commercial, residential, educational, etc. Names of individual businesses, property lines, and addresses were also often recorded. Together these maps provide a rich historical shapshot of the commercial activity and urban landscape of towns and cities at the time.
The British Library holds a comprehensive collection of fire insurance plans produced by the London-based firm Charles E. Goad Ltd. These plans were made for most important towns and cities of the British Isles at the scales of 1 inch to 40 feet , as well as many foreign towns at 1 inch to 50 feet.
I: Key Plan 1 : This "key plan" indicates coverage of the Goad series of fire insurance maps of London that were originally produced to aid insurance companies in assessing fire risks. III: sheet 49 1 : This detailed plan of London is one of a series of twenty-three sheets in an atlas originally produced to aid insurance companies in assessing fire risks. II: Key Plan 1 : This "key plan" indicates coverage of the Goad series of fire insurance maps of London that were originally produced to aid insurance companies in assessing fire risks.
The plan's title features in cartouche at top left, with the heraldic arms of dedicatee Richard Beckford, the ward Alderman, at top centre. A view of Temple Bar appears at top right, with view of Bridewell North Gate next to the compass star at bottom right. Maitland's ward plans were largely derived from Strype's, with the illustrations copied from West Tow's 'Prospect Views of Ancient Churches'.
Farringdon Ward was divided into Farringon Within and Farringdon Without in because "the governance thereof is too laborious and grievous for one person to occupy and duly govern the same".
Cole, B. The plan's title features in ornamental cartouche to the right of the plan, with a compass star at top left and scale bar at bottom right. The keys to streets, yards, halls, courts and private properties appear in tables along both sides of the plate. The map's title features in ornamental cartouche near top right, with the arms of dedicatee Mathew Blakiston, the ward's alderman, at top left. The compass star and scale bar appear at bottom centre. By looking closer at the lines, captions and the context in which the drawings were presented, we can learn a great deal about collaboration and conflict within the group.
Understanding these processes might help us to think about the issues we face when collaborating today. A square grid serves as a background to all three plans and provides scale. The subtle lines of the first grid become more visible in the plan. Two years later they appear to be drawn with a softer, slightly wavy line.
Other details and elements, as well as their written descriptions, change with every version, revealing the intentions of the authors. The Town Planning Committee developed these drawings from onwards. Using two types of lines, this is the only plan to include both rail and road traffic.
The bold lines and distinct forms of the proposal create a memorable drawing. Existing elements such as the River Thames are barely visible and appear to be overwritten by the new. This brings about the concept of the drawing as a diagram rather than a concrete proposal.
With the outbreak of the Second World War, the development of the plans stagnated. Korn and Samuely published the article in The Architectural Review, even though most of the Town Planning Committee members did not consider the plan complete. Nevertheless, the authors named some fellow members as collaborators.
This approach is clear in the drawing. Thick black strokes, as well as very feeble lines, represent rail traffic and show an intention to add detail to the diagrammatic transportation system. The drawing reveals some of the struggles to adapt the proposal to the city. Existing green spaces such as the Lea Valley are shown but then clash with the proposed residential districts.
Due to its presentation, many readers understood the plan as a proposal to be carried out. Despite public criticism, the group intended to publish further explanations in a booklet.
A year later, Fry single-handedly published a set of plans in his book Fine Building; the overview completed the set. In the description, he says he will present his own personal view on the plan. Thereby, partly disassociating himself from the group and taking credit for the work on the plan.
At first sight, the plan only differs from the previous versions in its colour. But looking closer at, for example, the forms of the residential districts, we can see that its style resembles the pre-war proposal.
Fry adds examples and metaphors to the descriptions, draws connections to history, and names specific places in Greater London and the County of London — through captions and dotted lines — to connect the plan more closely to the city.
Reconsidering the plan from gives Fry the opportunity to explain the key concepts differently.
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