Historical Background - History of The Old Bailey Courthouse - Central Criminal Court History of The Old Bailey Courthouse London's Central Criminal Court, 1673-1913 The Old Bailey, also known as Justice Hall, the Sessions House, and the Central Criminal Court, was named after the street in which it was located, just off Newgate Street and next to Newgate Prison, in the western part of the City of London. Over the centuries the building has been periodically remodelled and rebuilt in ways which both reflected and influenced the changing ways trials were carried out and reported. Contents of this Article Introductory Reading Location The Old Bailey is located about 200 yards northwest of St Paul's Cathedral, just outside the former western wall of the City of London. It is named after the street on which it is located, which itself follows the line of the original fortified wall, or "bailey", of the City. The initial location of the courthouse close to Newgate Prison allowed prisoners to be conveniently brought to the courtroom for their trials. More generally, its position between the City of London and Westminster meant it was a suitable location for trials involving people from all over the metropolis, north of the river Thames.

Introductory Reading The Courtroom Although the Old Bailey courthouse was rebuilt several times between 1674 and 1913, the basic design of the courtrooms remained the same. They were arranged so as to emphasise the contest between the accused and the rest of the court. The accused stood at “the bar” (or in “the dock”), directly facing the witness box (where prosecution and defence witnesses testified) and the judges seated on the other side of the room. Before the introduction of gas lighting in the early nineteenth century a mirrored reflector was placed above the bar, in order to reflect light from the windows onto the faces of the accused. This allowed the court to examine their facial expressions assess the validity of their testimony. In addition, a sounding board was placed over their heads in order to amplify their voices. Early in the period the jurors sat on the sides of the courtroom to both the left and the right of the accused, but from 1737 they were brought together in stalls on the defendant's right, sufficiently close together to be able to consult each other and arrive at verdicts without leaving the room.

Seated at a table below where the judges sat were clerks, lawyers, and the writers who took the shorthand notes which formed the basis of the Proceedings. Introductory Reading 1673 Open Air Building The medieval courthouse was destroyed in the Great Fire of London in 1666. In 1673 the Old Bailey was rebuilt as a three storey Italianate brick building, described by John Strype in 1720 as "a fair and stately building". In front of the courthouse was the Sessions House Yard, a place where litigants, witnesses, and court personnel could gather. The area inside the wall, where prisoners awaited trial, was called the bail dock. They were separated from the street by a brick wall with spikes on top to keep them from escaping. A surprising feature was that the ground floor of the building, where the courtroom was located, was open on one side to the weather; the upper stories were held up by doric columns. A wall had been left out in order to increase the supply of fresh air to reduce the risk that prisoners suffering from gaol fever (typhus) would infect others in court.

On the first floor there was a "stately dining room" for the justices. Inside the courtroom there was a bench for judges at the far end, and, on both sides, partitioned spaces for jurors and balconies for court officers and privileged observers. Other spectators crowded into the yard. The trials attracted a mixed audience of London's more and less respectable inhabitants, and it was alleged that criminals attended in order to devise strategies for defending themselves should they find themselves on trial. The crowd's presence could influence or intimidate the jurors sitting inside. Introductory Reading 1737 Refronting In 1737 the building was remodelled, and enclosed. Although this was purportedly in order to keep out the weather, the City authorities may also have wanted to limit the influence of spectators. The ground floor of the exterior was refaced with large masonry blocks, and the windows and roofline altered to reflect prevailing architectural styles. A passageway was constructed linking the courthouse with Newgate Prison, to facilitate the transport of prisoners between the two. The interior was rearranged so that the trial jury could sit together, since they were now expected to give their verdicts after each trial, without leaving the courtroom (see Trial Procedures ).

With the courtroom now enclosed, the danger of infection increased, and at one sessions in 1750 an outbreak of gaol fever (typhus) led to the deaths of sixty people, including the Lord Mayor and two judges. Subsequently, the judges spread nosegays and aromatic herbs to keep down the stench and prevent infection, a practice commemorated in a ceremony which continues to this day. Spectators frequently came to see the trials, and courthouse officials had the right to charge fees for entry to the galleries. The radical John Wilkes, when Sheriff of London in 1771, thought this practice undemocratic and prohibited it. Consequently at the October sessions of that year there was almost a riot due to the pressure of the crowds trying to get in, and those inside the galleries were accused of being "turbulent and unruly". Wilkes's order was rescinded, and spectators continued to pay to see trials until 1860. Introductory Reading 1774 Reconstruction In 1774 the court was rebuilt by George Dance at a cost of �15,000.

As a way of further controlling public access, a semi-circular brick wall was built around the area immediately in front of the courthouse, the bail dock. This wall provided better security for the prisoners awaiting trial and was intended to prevent communication between prisoners and the public. Public view of the courtroom windows was thereby obstructed. The narrow entrance also prevented a sudden influx of spectators into the courtroom. In addition, the passage between Newgate Prison and the Old Bailey was enclosed with brick walls. It is possible that a desire to counteract the more fortress-like appearance of the Old Bailey is one of the reasons why the City, from 1775, went to greater efforts to ensure that the Proceedings provided full and fair reports of the trials -- see the publishing history of the Proceedings . The new courthouse still had only one courtroom, but it had new and often luxurious facilities for court personnel. There was a separate room for witnesses, so that they would not be obliged to wait their turn in a nearby pub. A grand jury room was appointed with eighteen leather seated chairs and three tables.

There were also separate parlours for the Sheriff and Lord Mayor, a Lord Mayor's Clerk's Room, an Indictment Office, and a drawing room for the swordbearer and judges' clerks. The lavish provision for the judges and their servants contrasted dramatically with the prisoners' quarters in the basement. The Lord Mayor's Dining Room, for example, included a fireplace with a mosaic on the front, mahogany dining tables, chairs, a pot cupboard, and a large Turkey carpet. Looking glasses (mirrors) were added in 1787. Elaborate dinners, cooked in the kitchen on the ground floor and served with drink from the wine vault, were provided at 3pm and 5pm. Outside in the yard there was a covered colonnade for carriages and 5 coach stands. Perhaps unsurprisingly, during the Gordon Riots of 1780 the courtroom was badly damaged, and the crowds carried away the furniture and burned it on bonfires in the streets. But the damage was soon repaired. The courtroom now had four brass chandeliers and, reflecting the increased role of lawyers , a semi-circular mahogany table for council to plead from.

Since some prisoners were still branded , there were two irons for confining convicts' hands while they were burnt. A large glass mirror continued to be positioned to reflect daylight onto the face of the accused (later replaced by gas lights). Behind the jurors, and seated above them, was a gallery for spectators (fees were still charged for admission). Although only a limited number of spectators could be accommodated, the increasingly detailed Proceedings published in these years allowed anyone who read them to keep informed of events in the courtroom. In order to accommodate the growing number of trials, a second courtroom was added in 1824 by converting a neighbouring building. Reflecting the still increasing role of lawyers, the new courtroom had seating for attorneys, counsel, and law students. There were also seats for spectators, jurors in waiting, prosecutors and witnesses, and officers of the court. In subsequent decades two additional courtrooms were added, but conditions, as can be seen in this depiction, were cramped: the fourth courtroom contained little more room than was necessary for the judge, jury, and prisoner’s dock, with counsel and the clerk forced to sit in a narrow row of seats. There was no seating for the public, which had to stand in the gangway.

Introductory Reading 1907 Current Building As trials lengthened and the number of those seeking to watch increased in the late nineteenth century the courthouse building became increasingly inadequate. In 1877 a fire forced the City of London to act and proposals were drawn up for a new building. Owing to the dilapidation of Newgate Prison next door, which by the 1860s no longer held long-term prisoners, it was decided to pull down both buildings to make room for a larger building. After many delays, the new building, designed in the neo-Baroque style by E. W. Mountford and built at a cost of �392,277, was finally opened by King Edward VII in 1907. It was lavishly fitted out and adorned with symbolic reminders to the public of its virtuous purpose. On top of the 67 foot high dome a 12 foot gold leaf statue was placed of a “lady of justice” holding a sword in one hand and the scales of justice in the other; she is not, as is conventional with such figures, blindfolded.

Over the main entrance to the building figures were placed representing fortitude, the recording angel, and truth, along with the carved inscription, “defend the children of the poor and punish the wrongdoer”. The exterior was faced in Portland stone, while the interior lobbies and a monumental staircase had Sicilian marble floors, allegorical paintings representing Labour, Art, Wisdom, and Truth, and ornate mosaic arches. The four oak-pannelled courtrooms contained space for all those who needed to attend modern trials, including solicitors and barristers, court reporters, the press (who by now were the most important conduit to the public for information about trials), and spectators. Each courtroom had a spacious dock, enclosed by low partitions, for the defendants, with a staircase leading directly below to the holding cells. There were now separate rooms for male and female witnesses, and another for witnesses of “the better class”. Lawyers also had their own room, as did barristers’ clerks; the latter included a glass wall to ensure they did not engage in malpractices such as touting for business among prisoners and their associates. As in the previous building, there was an opulently appointed dining room for the judges.

At the opening ceremonies , the Recorder of London addressed the King and Queen: We trust that this building, whilst well adapted for the transaction of legal business, also possesses architectural features at once dignified and beautiful, which will make it an ornament to the metropolis of your Empire and a fitting home for the first Criminal Court of Justice in your Majesty's dominions. The building was heavily damaged by bombing in 1941 and rebuilt. A modern extension was added in 1972. Nonetheless, the current building on the corner of Newgate Street and Old Bailey, which still holds trials of local and national significance and can be visited , remains at its core the building which was first opened in 1907. Old Bailey Statue of Justice - Bob Speel's Website Justice Statue, Old Bailey, by F.W. Pomeroy Old Bailey statue of Justice . The Statue of Justice on the Old Bailey in London is situated close to St Paul�s Cathedral, on the street of Old Bailey running north from Ludgate Hill to Holborn. The Justice Statue is one of the great iconic sculptures of London , and features in countless TV news reports as the ultimate representation of Justice when a grand trial commences or ends.

The figure of Justice is conventional in being a powerfully built woman, almost an Amazon, fully draped, and carrying her symbols of Sword and Scales. She stands tall and symmetrically, her arms stretched out to the sides, and the lines of her drapery � a single garment wrapped round her slim body, sleeved at the top and falling to form a long skirt down to cover the feet below � having some asymmetry but being close-wrapped enough to emphasise the balance of the figure from left to right. The scales in Justice�s left hand, which are the usual pan balance, are without chains, and of a light construction so that they do not visually overpower the slim sword on the other side. The sword has to be less than massive, or it would not look right being held up in one hand; even so, only mighty Justice could stand thus for long � and she is standing motionless, with no sense that she is in arrested motion, for Justice is Eternal. She stands upon a globe, for Justice straddles the world.

Looking closely at the figure of Justice, we see that her features are Classical, Roman rather than Greek, bar the columnar neck, and her expression is fierce, with grim mouth and frowning brows, for Justice is stern. Her hair is not so long, and seems to be drawn or pinned in a bun at the back of her head, above her crown. This crown, spiky and sun-like, makes for an excellent silhouette against the sky. Side and rear views of Justice . The sculptor was F. W. Pomeroy , one of the most important of the New Sculptors, and he also made most of the other sculpture on the exterior of the building, on which more in a moment. The Justice figure is extremely high up, around 200 ft above the road, and is therefore of some considerable size, being double height or 12 ft tall. The building, originally styled the New Sessions House, was put up between 1902 and 1907 to replace a previous Old Bailey, or Central Criminal Court, and the architect was E. W. Mountford. Interior of the Old Bailey, sculpture by Pomeroy, and lunette by Gerald Moira .

The building is a good example of an Edwardian Baroque edifice in the grand manner, large, confident and rich in decoration. Inside, the main feature is a grand hall with a dome, which alas I have not had opportunity to visit, and contains paintings by Gerald Moira and W. B. Richmond, along with further sculpture by Pomeroy depicting Justice . The Recording Angel � what a superb title � is a cowled figure, symmetrically disposed, writing on a long scroll; her hood has protected the relatively soft stonework within, so we can appreciate the youthful face much as it must have looked when first carved. The other figures have fared less well. Fortitude is worn and stained, but still an arresting figure, with great solid arms and shoulders, an athlete�s neck, and heroic visage. If you like this sort of figure, see the page on Warrior Women . Truth is greatly worn, and has lost her nose, parts of her hands, and the surface of the statue is pitted. She reclines easily, gazing at her image in a round mirror, her other hand and lower arm with a snake entwined around it, which is a symbol of knowledge (see the Snakes page ).

She wears a thick drapery skirt, knotted at the waist or lap, and is bare-breasted, symbolical of unvarnished and uncovered Truth. The group as a whole, seated on the curved (segmental), open pediment of the portico, is elegantly composed, in a broad balanced triangle rising to the apex of the Recording Angel�s head. Higher up are pillars in front of a recessed area, with projecting bays on each side, and in the pediments of these are two further figures, in relief. To the left is a figure of Truth , a rather careworn figure, again semi-draped, revealing large biceps, with a wide belt under her breasts from which a long skirt depends; a further swirl of drapes in behind and above the figure. She carries a sword in her right hand, and the other rests upon a book of Law. The figure on the other side shows Pomeroy at his best, and in my view is one of the most beautiful semidraped figures in relief in Edwardian architectural sculpture.

The profile of her torso, with her muscular arm and side contrasted with the soft form of her breast, and below, the line of the leg and the delicate underside of her foot, are a tour de force of sculpture. Again, she is of serious expression, definitely a more Edwardian than Classical face, and she rests one arm on her journal, the other holding a quill pen. A splendid creature. Alfred Turner's Old Bailey panels . We noted above that Pomeroy was responsible for most of the external sculpture, and the part which was not his consists of the three relief panels behind the central pillars. They are by the sculptor Alfred Turner, rather more familiar for full figure sculpture, who was the sculptor of the Sheffield Queen Victoria memorial, now in Endcliffe Park, and went on to produce Deco figures in the 1920s and 1930s. The central panel shows an angel, if anything more solid than Pomeroy�s muscular females, carrying a globe in one hand and gesturing downwards with the other; to left and right are female Valkyrie figures, again of heroic dimensions.

On the left as we look at this panel is a figure of Spring , sowing the seeds from a basket, her scanty drapery indicating the warmth of the sun, spring blossom behind her. The figure to the right hand side is Autumn , holding her sickle and a sheaf of corn, with behind her an already bare branch with a star behind, suggestive, as is her thicker clothing, of the coldness and early darkness of the season late in the year. The obvious allegory is �As ye sow, so shall ye reap�, appropriate for a court. The one side panel shows Perseus, as an over-muscled figure carrying the head of Medusa, and in his other hand an impossibly large and heavy sword, point downward sticking into or behind the supine head and body of a dragon. The brawny woman with a shield standing next to him must be Andromeda, but this is certainly not the winsome and lithe visualisation of Andromeda we are familiar with from the paintings of Burne Jones. The allegory would presumably be that Perseus brought Justice to both the wronged Andromeda and to the evil mythological creatures that beset her.

The third panel is calmer; a mother with her two children, one a small girl, the other an infant held in the crook of her arm, is sheltered by the protective wing of a male angel, who carries a short, heavy Gladius (Roman sword), indicative of the power of Justice to protect the needy. Justice figures are common in Victorian and Edwardian sculpture, and a brief discussion and some other examples of allegorical statues of Justice are on this page , as part of a series of pages on allegorical sculpture. Progress of Communication . Finally, to note that opposite the Old Bailey is a rather good pair of sculptures above another portico on the two sides of a broken, curved pediment. This is number 16 Old Bailey, and the figures represent The Progress of Communication . The one on the left, a lightly draped female figure with fetching off-the-shoulder top, holds a steam train in her hand. On her headpiece are small wings, recalling Mercury in his role as messenger of the gods, and behind her we can see a ship�s wheel. Facing her from the other side is a heroic nude male figure, drapery behind him and across his loins.

He rests one hand on an anchor, the other on the prow of a ship, and as a youthful, beardless Greek figure he could be another representation of Mercury, but given his lack of accoutrements and that his female companion has the Mercury helmet, he is more likely to be some generic representation of the Greek spirit of adventure by sea, epitomised by the stories of the Argonauts. Across the road at the top is the church of St Sepulchre, with interesting monuments inside which are described on a separate page . Other directions noted below. And a short walk This page was originally part of a 'sculpture of the month' series, for October 2014. Although the older pages in that series have been absorbed within the site, if you would wish to follow the original monthly series, then jump to the next month (Nov. 2014) or the previous month (Sept 2014) . To continue, go to the bottom of each page where a paragraph like this one allows you to continue to follow the monthly links. Law and the Humanities RomaTre : WHO IS LADY JUSTICE?

Law and the Humanities RomaTre The blog of the "Law and the Humanities" course at the RomaTre University (Law Faculty) directed by Prof. Emanuele Conte. By Stefania Gialdroni and Angela Condello Search This Blog Sunday, March 24, 2013 WHO IS LADY JUSTICE? I have received, and really pleased to publish, this research on representations of Lady Justice all around the world that a group of students of the Law and the Humanities 2013 class has just sent me. The paper was attached to the following email: "We decided to adress further more the issue on Lady justice. This is our group work. Hopefully it will be so interesting for you as it was for us. Our idea was to publish it on the blog, but for the length of the text and for the images, we decided to send it. However we would like to read it the rest of our classmates. Good Sunday! Your students" I think it should definetly be published (click on read more at the end of this post: there are a lot of pictures and interesting information). WHO IS LADY JUSTICE? DISCOVERING THE COUNTRIES OF JUSTICE 1.

Following the artist’s brush; 2. The united stated supreme court’s lady justice; 3.Lady justice statue on the central criminal court of England (called old bailey); 4. The fountain of justice, Gerechtigkietsbrunnen; 5. Lady justice fountains in Germany : court of Brisbane & Victorian court; 8. The lady justice in France : lady legal code; 9. The lady justice in Japan : the titan lady; 10. Ottawa: the lady with two-edged sword; 11. Lady justice in Czech; republic: the power of law; 12. Concluding with the Italian justice experience Lady Justice is a symbol that represents Justice as a divine concern. Since the ancient Greece period, justice is considered not a simple value, but a supreme governing principle of human society. In fact Dike was one of the three Horai, mythical and divine personification of the seasons by the Greeks. The Horai had the function to subtract the human becoming arbitrariness and disorder. The concept of order refer the names of three Horai: Dike (justice); Eunomia (good governance); Irene (peace). They were daughters of Zeus and Themis.

The Romans became 12, as the division of the day. Dike is the justice of the State, which was called Iustitia by the Latins. But the Roman Iustitia is different from the Greek Themis. She’s also a goddess of justice, but justice of single man: the sense of justice in each of us (Inside Justice). Similar to Iustitia is instead Dike, also called Astrea. About this there is a source in Le Opere e I Giorni, written by Esiodo, a Greek ancient poet lived during the VIII-VII centuries. He says that there was a gold ilk before. Men lived as the gods: they didn’t know the old age, but they remained intent on banquets and parties. When was the time to die, they gently feel asleep. People did not have to work and the goods belong to all spontaneously. So talked about Golden Age: this was the reign of justice and peace. But with the following Reign of Zeus, also called the Iron Age, disappeared this breed.

Then the men were prey of emptiness: Victa iacet pietas, et Virgo caede madentes, ultima caelestum, terras Astraea reliquit (Won lies the pity, and the Virgin Astrea leale the last of the land drenched in blood), Ovidio, Metamorfosi, I, vv. 149-150. So the crimes of humanity did escape Iustitia and forced to leave the Land, refuges herself in the sky, where she became the constellation Virgo. And Astrea is, in fact, the name of Virgo constellation. Also Virgilio talk about Astrea as a virgin, in his fourth eclogue of the Bucoliche: (vv. 5.7): magnus ab integro saeclorum nascitur ordo. Iam redit et Virgo, redeunt Saturnia regna; iam nova progenies caelo demittitur ab alto (Already the Virgins returns, the reign of Saturn returns; already the new progeny descends from heaven). This is the mythological origin of Lady Justice, but she has been represented in different ways in the various countries.

Looking for the description and the definition of “Lady Justice” we have faced its Wikipedia page with several pictures and images of the Lady Justice’s statues from all over the world. So we thought that it could be interesting and stimulating with our classmates to do a sort of little comparison between these peculiar and evocative sculptures. The personification of justice has had great importance in painting too. 1. FOLLOWING THE ARTIST’S BRUSH There were many artists who, through allegories, personified justice in a woman; among the most important we can certainly remember Luca Giordano (1634-1705). In his painting, the allegory of Justice, which now is part of the collection Denis Mahon, there is a woman representing the justice (one of the four cardinal virtues). The woman holding the scales and the sword, which are its attributes; she is supported by an ostrich. To the right are the Punishment, with a sword pointing down, and the Reward. In the left corner there is the Deception with a mask, handing a branch of flowers with a poisonous snake hidden, and behind there is a net to catch the unwary. On the right there are the Discord and the Conflict.

Very interesting are the figures flying, representing the effects of justice: the Clemency (with shield and spear), the Fame and the Security (holding an anchor and has a nest on the head, which should mean that children can be raised in safety). Important is the fact that the figure of clemency brakes with the shield the sword of Justice. Another work is The Justice of Raffaello (1483 - 1520). On a background with an artificial mosaic is represented the personification of the Justice, sitting on a throne of clouds, which raised arm to wield the sword and the scale. There are four children who are holding tables with inscriptions: in one of this we can read a citation of Justinian: IUS SUUM UNICUIQUE TRIBUIT. 2. THE UNITED STATED SUPREME COURT’S LADY JUSTICE First of all is useful to situate in time the Supreme It was Chief Justice William Howard Taft, who had been President of the United States from 1909 to 1913, who authorized the construction of a standing and permanent home for the Court.

And for that reason Architect Cass Gilbert was chosen and then charged by Chief Justice Taft to design "a building of dignity and importance suitable for its use as the permanent home of the Supreme Court of the United States ”. Skipping a building’s accurate description I would like to focus on symbols and iconography especially, as I’ve just said ,the peculiar Lady Justice’s representation. The main entrance to the Supreme Court Building is on the west side, facing the United States Capitol. On the side of the main steps are seated marble figures. These large statues are the work of sculptor James Earle Fraser. On the right is a male figure, the Guardian or Authority of Law. On the left of the Supreme Court building stairs is the "Contemplation of Justice", a sculpture crated by James Earle Fraser, which represents the duties of the Supreme Court.

Fraser described his "Contemplation of Justice" as "a realistic conception of what I consider a heroic type of person with a head and body expressive of the beauty and intelligence of justice." While developing his design, Fraser wrote to the Architect Gilbert, “I think...the figures must have a meaning, and not be perfunctory and purely decorative, and after seeing the grandeur and simplicity of the Supreme Court room, I feel more than ever that the figures in front of it should symbolize that feeling and be a prelude to the spirit of the building”. The statue portrays a seated woman holding a book of laws with her left arm and a figure of blindfolded Justice is in her right hand. Most people sustain that the personification of Justice comes from the Greek Goddess Dike. But in this case I’ve found out that there is a specific repeal both to Themis (the Greek goddess of justice and law) and Justicia (one of the four Roman virtues depicted in the form of a woman). The representation of Justice symbolizes the fairness and equality of law, and wears a blindfold as an expression of impartiality and objectivity. I have never seen such a representation of Lady Justice before.

This lady is seated and is starring toward the city centre of Washington as, in my opinion, a symbol of an omniscient eye; I think that she doesn’t depict the Justice herself but she represent a “reflection” on Justice in a sort of a meditative and careful way. As I have already roughing out a few lines before this female statue is holding both symbols of Law and Justice: under her left arm there is a book (standing for “Erudition” and maybe even for the legal “Knowledge”) and in her right hand there is sculptured maybe the real Lady Justice symbol (as we know it). Indeed this minor female figure grabbed by the seated lady is only a part of the “Contemplation of Justice” statue; she is blindfold (maybe as a symbol of an objective implementation of Justice) and she is holding the two very easy to recognize badges : the scale (representing the Justice’s unceasing research for balance and fairness) and the sword (symbolizing Power and Strength).

I do think that this great statue is an evocative, very powerful and meaningful model of Lady Justice; it contains not only the very well-known icons of the Justice but it contemplates the whole idea of Justice both with legal knowledge and its potential and the equal-oriented application. 3. LADY JUSTICE STATUE ON THE CENTRAL CRIMINAL COURT OF ENGLAND LONDON (CALLED OLD BAILEY) On the dome above the court stands a bronze statue of Lady Justice, executed by British sculptor F.W.Pomeroy. She holds a sword in her right hand and the scales of justice in her left. The statue is popularly supposed to show blind Justice; however, the figure is not blindfolded: the reason is because Lady Justice was originally not blindfolded and because her "maidenly form" is supposed to guarantee her impartiality which renders the blindfold redundant. 4. THE FOUNTAIN OF JUSTICE, GERECHTIGKIETSBRUNNEN (IN THE OLD SWITZERLAND ) It was made by Hans Gieng's; the statue is a copy of the original which was destroyed by vandals in 1986.

The statue on the pillar is Iustitia (Lady Justice),the personification of justice. She is portrayed standing in gracious counterpoise holding her traditional attributes: 1) sword of justice in her right hand;2) a balance in her left hand;3) a blindfold over her eyes. Her costume is fashioned in an antique manner, with sandaled feet, one knee bared, wearing a decorative golden suit of armour adorned with bas-relief arabesque over her blue robes. At the feet of justice four smaller busts crowd the pedestal. -a Pope(theocracy) -a Sultan(autocracy) -a Schultheiss(the republic); the 4 forms of government. SYMBOLISM: the ensemble represents the supremacy of Justice over all Earthly authorities; a variant of the medieval pictorial formula of virtue defeating vice. There was a contemporary belief in the divine nature of Justice. While the sword and scales are traditional attributes of Iustitia, the blindfold statue is a novelty; only later it becomes a common element in personification of Justice and a general symbol for the principle of equality before the law.

The blindfold implies that justice ought to be done without respect to rank or standing; that a just verdict is arrived at through introspection rather than with a view to outward looks. 5. LADY JUSTICE FOUNTAINS IN GERMANY: NUREMBERG & FRANKFURT Germany is rich of Lady Justice statues. I want to analyze two of them: the one settled in the city of Nuremberg 8. THE LADY JUSTICE IN FRANCE : LADY LEGAL CODE The main entrance of the Assemblée Nationale is situated square of the Palais Bourbon. In its centre, a statue representing the Law, sculptured by Feuchère and set up in 1855. It holds in the right hand a sceptre with the hand of the justice, and in the left hand the tables of the Law. Now, we can clearly see a difference: in the right hand, or the hand of justice pulls no sword but a sceptre, and in his left hand does not have a scale but the tables of the law, it is also not blindfolded.

This sculpture was created about 50'anni after the napoleon code, code that is also based on the right of the Franco-German tradition, characteristic of northern France, the triumph of reason legal mould Enlightenment able to infuse the natural law and customary codes, shaping the principles, smoky and generic, the previous law. The artist, in my opinion, I think we both wanted to "detach" from the "classical" model of Lady Justice. The Goddess is sitting (in my opinion this is a clear message of supremacy and serenity), she has a sword in the right hand and a book in the left that symbolize the strength and the knowledge of justice. I think that's the best way to join architecture and law, because it arrives immediately to common people. 12. CONCLUDING WITH THE ITALIAN JUSTICE EXPERIENCE Has become a custom to say that the Italian justice system is inefficient. This is true, the processes are long and justice is slow; but it would be incorrect to carry out a critical, without looking at the issue as a whole. We must remember first of all that a huge amount of work is done by the Italian courts.

The Italian courts over the last three decades has been deeply involved in a triple judicial action of vast dimensions: terrorism, against the Mafia and other organized crime, and corruption: this has undoubtedly slowed the action and timing of the judiciary. Italian judges have done their work at the cost of personal sacrifices (some even paid with their lives) in defence of law and the constitutional. In the report read at the inauguration of the judicial year by the Procurator General of the Supreme Court in January 2003, he begins by stating that ours is "«una giustizia spesso troppo lenta, che si svolge secondo riti e regole tecniche che sfuggono alla comprensione dei più, con esiti spesso imprevisti, che inducono perciò taluni ad utilizzarla in modo pretestuoso, o con finalità dilatorie, e perciò ingiuste». Justice has too many laws and too many processes. Civil cases come to a decision in ten years, criminal cases in seven. Maybe, a solution for civil cases, could be: - reduce conflict civil.

- recourse to alternative models of dispute resolution (for example, conciliation proceedings out of court, that there is in Italy Rooftop Statues Rooftop Statues ï¿½I try to avoid looking forward or backward, and try to keep looking upward.ï¿½ Charlotte Bronte Sometimes hidden away above London's skyline, having to raise your head to view, are Rooftop Statues which includes some of the best sculptures anywhere in London. This is the only outside statue of King Henry the VIII, sited on top of the main entrance to St Barts hospital. In 1546, King Henry V111 granted St Bartholomews to the City of London. At the same time his statue was installed above the gates where it still stands today. The Scales of Justice stands on top of Englands largest court house, the 'Old Bailey.' Built in 1907, the building was designed by E.W. Mountford. The name 'Old Bailey' taken from the street name where the court is situated, and named after 'old bailey' an outer Roman wall which once stood here. Justice by Hibbert Binney, is yet another scale and sword rooftop statue.

Looking out from above Piccadilly on the corner of St James Street. Another scales of justice statue, this one is hidden in an alcove and goes unnoticed, partly hidden by netting to keep the pigeons away. Another Rooftop statue is located on the corner of Cock Lane in the city of London. This is the exact spot where the Great fire of London of 1666 was stopped. The guilt boy, erected to remind people the fire was caused by gluttony. Here once stood The Fortune of War tavern, where the sign of the magpie once stood, it was from this bird the corner became known as Pie Corner. Frederick, (17631827)  Grand old Duke of York Stands on top of the Duke of York Column at 124 feet. Frederick the son of George III, and the brother of George IV, had a disastrous military career, it was said he was placed so high to keep him away from his creditors. Most of the cost of this memorial, was met by stopping one dayï¿½s pay from every soldier in the British army.

The column was designed by Benjamin Wyatt, and the bronze statue is by Westmacott. standing on the spot where Carlton House, the royal residence of George IV once stood. This masterpiece by Adrian Jones (born 1848 - died 1935) named "Quadriga", was commissioned by King Edward VII, and stands on the top of the Wellingtons Arch, Hyde Park Corner. Quadriga (from the Latin Quadri-, four, and jungere, to yoke) is a four-horse chariot, raced in the original Olympic Games and other sacred sports. The Statue was built in a garden in Old Church Street Chelsea by Adrian Jones. This iron work weighs 40 tons, and dates from 1912. This lady looking every bit a queen is perched above the rooftop of Smithfield meat market with her sword at her side. The beautiful weather vane of 1869 behind shows a south westerly wind is blowing, how many market porters have looked up at this statue is as unknown as the lady herself.

Peering out from the edge of a top floor window of Saint Andrews Court house is Roof Man, he is looking over St Andrew Hill towards the new Sainsbury's head office, his left hand contorted while his right hand hides beneath a garment. And like a true rooftop statue he remains unnoticed by the passers by. Peering out of the B.B.C World service building in the Aldwych is the two radio men, holding what could be the Olympic flame, maybe an omen for the 2012 London Olympics. Hidden inside the gates of St Dunstan's in Fleet Street is the only statue of Elizabeth I of England. This statue was once more prominent on Ludgate Hill at the old "Lud" gate, a gateway near the bottom of the hill. When the ancient gateway was demolished the statue was placed in the basement of a nearby pub for storage. Forgotten over the centuries it was rediscovered in 1839 by workmen taking down the old pubic house, afterwards being moved here to its final resting place in the alcove of obscurity. This slayer of creatures stands on a high column in the courtyard above the rooftop of Westminster Abbey.

He is about to give what appears to be a headless dragon a nasty blow with his upheld sword. It commemorates scholars of Westminster School who died in the Crimea. These golden Angels appear above the rooftops over looking Regents Park. Although they are under the weather vain and they seem to be caught with the sun as their hands shield their eyes. They go completely unnoticed by most people enjoying the park and they are most certainly Angels on high. Giving St Paul's a helping hand. This bronze figure sculpted by London Born Alfred Drury 1856-1944. Stands hidden in an alcove on Vauxhall Bridge, and is one of eight female figures on the bridge representing the Arts and Sciences dating from 1909, with some others also Sculpted by Frederick Pomeroy. This one celebrating Architecture, and holding the rather detailed model of St Paul's Cathedral in her hand. Only noticeable to river boat traffic going under Vauxhall Bridge. Note on the left of the Bridge the River Tyburn outflow, the Tyburn being one of London's lost underground rivers.

This rooftop statue is hard to spot in the alcove above the main entrance to Nell Gwyn house, and goes unnoticed by the fast moving traffic along Sloane Avenue. It is the only statue of a courtesan and the top one at that, the mistress of King Charles II. Notice the King Charles Cavalier at her ankles, was this dog named after or before her royal affair? First unveiled in 1932 the bust and two brass plates of Arthur Phillip in the St Mildreds Church Bread Street before the world war two bomb destroyed the church. Now standing in Watling Street and one of the most unseen hero's of English history, for it was Arthur Phillips who sailed from Portsmouth with the first thousand settlers to colonise Australia, first landing at Botany Bay before moving a little north into what he described as "the finest harbour in the world," or what we now know as Sydney. One of the brass plates shows five men raising the flag at Sydney on Wednesday 23 January 1788, the other shows the official occasion three days later when New South Wales was founded.

The largest department store on Oxford Street is Selfridges where high above the Art-Deco main entrance there is a statue to the Queen of Time riding in her Ship of Commerce. With the mad rush of shoppers how many have time to look up at this Queen? High above the Old Billingsgate market building are London's Flyin' Fish. The two have a birds eye view of the River Thames and have seen many changes to the place over the last century with the goings on below. Gone are the Fish Market porters with iron wheeled carts rattling along the cobbled stone road. Gone are the Docks and the River traffic down below, now they see the old fish market used as a corporate venue with large stretched limos coming and going. Perched above the skyline they keep their eyes on the weather. Through the ages footsteps have trod along Fleet Street, too busy to look up at the Queen who lost her head on the orders of her cousin, Elizabeth I in 1587. She spent her entire life as the Scottish Queen, for only six days after she was born her father James V died, and from then on she became Mary Queen of Scotland.

On the northside of Bloomsbury way is St George's Church, erected in 1731 by Nicholas Hawksmoor and adorner by a handsome portico, with the above ledge having a sleepy upside down Lion and a Unicorn, with a curious pyramidal spire topped by a Statue of George I. Standing high above in the alcoves of the window ledges of Zimbabwe House, are these Mutilated Rooftop sculptures by Jacob Epstein. They date from 1908 when Charles Holden designed the building for the British Medical Association. These statues caused quite a stir in their time because of their naughty bits although the British Medical Association stood by Epstien and they were allowed to flourish. It was not until the Rhodesian High Commission bought the building some 30 years later that the castration began. Said to have been done for health and safety because the dangly bits were in danger of falling off in bad winds because they were decaying somewhat. Shrouded in mystery the statues survive in their present form. High above the rooftop by St Peterï¿½s Church, Cornhill are the three angry devils who pour scorn on anyone entering the said church.

The story behind them is thus, during the building of the office block next door to the church, the builders nicked a foot of the church ground. This act was noted by the rector, the building plans were put back and the architect was made to re-plan his works. So bitter was the architect, that he engrossed the rectors face upon one of the devils, and set three devils upon the roof to add curses to anyone that entered the church. Above the Royal Society of the Arts rooftop as you would expect are some fine sculptures, three in all. I go for this rather dejected soul with her blanket across one arm and her little bundle of joy held tight in her other hand. Watch out for the paving stones by her right foot! The Eleanor cross at Charing Cross Station has a lot of Rooftop appeal as it is all of 70ft high. The original cross stood where Charles I now sits upon his horse at the top of Whitehall. The Eleanor Crosses were 12 lavishly decorated stone monuments that King Edward I had placed wherever Queen Eleanor's funeral cortege stopped to rest, this being the final stop before Westminster Abbey.

The original cross was destroyed in 1647, with this replacement cross being erected in 1865 in front of the Station forecourt a year after the Station was first opened. The legend of the grasshopper . A poor little boy deserted by his parents was lying half-dead in a Norfolk meadow, and would have most certainly perished had it not been for a noisy grasshopper attracting a passer-by to look in the direction of the starving lad. The kind passer-by, adopted this poor wretch found in the field and gave him his Norfolk family name of Gresham. This young lad called Thomas was to one day build the greatest London exchange where merchants could transact business and high above the steeple he raised a great golden grasshopper, so all men might know and wonder at the strange fortune this creature had helped to build. The truth though is less romantic. Above the steeple of the Royal Exchange is the worldï¿½s biggest grasshopper Born in London in 1519 Sir Thomas Gresham, descendent of a Norfolk family and the son of the knight Sir Richard Gresham, a leading London Merchant and one time Lord Mayor of London.

Thomas rewarded for his loyal services to King Henry VIII in negotiations for loans with merchants from abroad, was himself bestowed a knighthood. Having won and lost favour with Queen Mary, Thomas became the flavour of his day with Queen Elizabeth as financial agent of the crown. He later built of his own expense the Royal Exchange at Bank Junction and Cornhill in exchange for the London merchants buying the land. A rebuilt version of the Royal Exchange stands on the same spot to this day, and supports the golden grasshopper emblem of the Gresham family on top of the dome along with his rooftop statue looking towards his Bishoposgate home. Sir Thomas Gresham died in 1597. As for the grasshopper it was a pun on the family surname Gresham taken from their Norfolk estate of Gresham a corruption of ï¿½grass hamï¿½ meaning homestead or farm of grain. Above the grasshopper in Lombard Street is the sign, 15.TG.63 for it was in 1563 that Thomas Gresham offered to build the Royal Exchange at his own expense.

The first stone was laid by Gresham on June 7, 1566 with the building completed eighteen months after. Three Gold Swimmers Competitive diving having its roots in Britain, alas, we have never won Olympic gold medals in this sport ever. Yet despite this there are three gold divers high above the rooftops in Coventry Street. I have tried to discover why they are here on top, when we have not achieved any gold divers ever. Even Westminster Council whoï¿½s jurisdiction the divers fall into have not answered my question. Perhaps we are waiting for 2012 to reveal that our lady divers are going for gold. Meanwhile they go relatively unnoticed by the thousands who trudge passed with their heads down. Sir John Cass peering from his secret hideaway near Aldgate, just a stones throw away from his birthplace and the school he founded. Sir John Cass was born in the City of London in 1661 and, served as both Alderman and Sheriff of London. Also an MP for the City and knighted in 1713.

Across the road from his Rooftop Statue he set up a school for 50 boys and 40 girls in a building in the churchyard of St Botolph-without-Aldgate. He died in 1718 of a brain haemorrhage. Leaving only three pages of his Will, the will was contested, but was finally upheld by the Court of Chancery 30 years after his death. The school, which by this time had been forced to close, was re-opened, and the Foundation established. Today the school still survives in Dukes Place, and in Hackney there is a housing trust bearing his name as well as Cassland Road also named after him. Dr. Livingstone, I presume? This low-lying statue at Kensington Gore is of David Livingstone, born on 19 March 1813 in a small town in Scotland. In the year 1841 he began his trips from Kuruman into the African wilderness, where in 1843 he opened a new mission at Mabotsa. A year later in 1844 he was mauled by a lion and survived.

Married in 1845 to Mary Moffat (with whom he had 3 daughters and 3 sons). During 1849 he crossed Kalahari to find Lake Ngama, and during 1851 he discovered Upper Zambesi, other geographical discoveries included the source of the Nile. He was the first European ever to set eyes on Victoria Falls, which he named after his Queen. Livingstone was awarded the gold medal of the Royal Geographical Society, who placed his statue in their alcove, just above the old milestone measuring the distance between London and Hounslow. Livingstone died in May 1873, in what was later to become Zambia. His body now rests in Westminster Abbey in London. Sir Thomas More 7 February 1478 ï¿½ 6 July 1535 English lawyer, author, and statesman who gained a reputation as a leading humanist scholar, and occupied many public offices, including Lord Chancellor (1529ï¿½1532), in which he had a number of people burned at the stake for heresy.

More coined the word "utopia", a name he gave to an ideal, imaginary island nation whose political system he described in the eponymous book published in 1516. He was beheaded in 1535 when he refused to sign the Act of Supremacy that declared Henry VIII Supreme Head of the Church in England. In 1935, four hundred years after his death, Pope Pius XI canonized More in the Roman Catholic Church; More was declared Patron Saint of politicians and statesmen by Pope John Paul II in 1980. 1969 saw the inclusion of More's name in the General Roman Calendar, with a Memorial in which he is venerated with Saint John Fisher on 22 June, the day of the latter's death. High above the city skyline upon the rooftop of Triton Court, Finsbury Square, standing on the globe of the world, is a statue of the Roman God, Mercury. In the wide expanse of Finsbury Square, where the office dweller takes advantage of a summers day, on the grassy banks of the square. Meanwhile, the sky's the limit for our golden god.

On the corner of Chancery Lane and 193 Fleet Street, is this statue representing Kaled, from the Lord Byron poem Lara. The statue which was sculptured in white stone around the 1870's. It was placed into this alcove of the pawn brokers and jewellery emporium of Messers. George Attenborough & Co when this building was first erected. Old Father Thames points the way to Docklands from his perch above the magnificent PLA (Port of London Authority) building at 10 Trinity Square. A row of statues perform the task of baking bread as if part of a film makers story board. With such superb eye for detail it is a pity these sculptures will never be seen performing their duty outside of this narrow side street in Spitalfields. Why anyone would wish to add a statue to this nondescript office block is best left to the imagination. Meantime this ledge hanger looks on. Not exactly the Nelson Column which springs to mind. This one has the Admiral keeping his eye out on Old Street below. Enter your search terms Statue Of Justice, A Woman Holding A Sword In Her Right Hand.. Stock Photo, Picture And Royalty Free Image. Image 445426.

SEE PRICING & PLANS Stock Photo - statue of justice, a woman holding a sword in her right hand standing for the power to punish and a balance in her left hand standing for equity on the roof of the old bailey, officially known as the central criminal court london england uk europe taken i statue of justice, a woman holding a sword in her right hand standing for the power to punish and a balance in her left hand standing for equity on the roof of the old bailey, officially known as the central criminal court london england uk europe taken i Share The Check-in-london.com Blog: Visiting the Old Bailey Criminal Court Visiting the Old Bailey Criminal Court Posted by Email This BlogThis! Share to Twitter Share to Facebook Share to Pinterest If the processes of law and justice take your fancy or you are just curious about the subject of criminal intent then head down to the Old Bailey Central Criminal Court in High Holborn for a chance to witness one of the 1500 serious cases being tried every year from the restricted access of the public viewing galleries. The Old Bailey is one of the most famous criminal courts in the world and has been London’s principal criminal court for centuries.

Located between Holborn Circus and St Paul's Cathedral, the Old Bailey is named on the road on which it stands which follows the line of the City's fortified wall (bailey). In medieval times, the site where the Old Bailey stands today was home to the Newgate Goal Stood, and until 1868 hangings took place in public outside Newgate itself. The original Old Bailey was built in 1539 and before being destroyed by the Great Fire was designed as an Italianate Brick Building with a open-air courtroom to minimize the spread of gaol fever which took the lives of many prisoners, judges and even the Lord Mayor at the time. The Old Bailey we see today was designed by Edward Mountford and was opened in 1907 by King Edward VII. Inspired by St Pauls Cathedral nearby, the inside features magnificent marbled halls and a muraled dome above the court resides the statue of Lady Justice holding a sword in her right hand and weighing scales in her left. The Old Bailey is steeped in history and has dealt with some of the most severe and high profile cases in the history of London.

The oldest courtrooms of the Old Bailey are number one, two and three, and it is in within these walls that many famous people have stood trial including the likes of Oscar Wilde, The Krays and the Yorkshire Ripper. While it is not publically a tourist attraction, the Old Bailey provides an intriguing insight into the past and present workings of the London courts and has also made an appearance in popular literature, television and film making it a very notable point of interest in the city’s heritage. In Charles Dicken's Tale of Two Cities, the Old Bailey is the courthouse named in the book where Charles Darnay is put on trial for treason. Opening times are Monday to Friday from 10am to 2pm and 2pm to 5pm. No reservations are held and visitors must be over the age of 14 years old. The Old Bailey Central Criminal Court is situated near St Pauls Cathedral in the heart of "The City" of London. Often referred to as 'Square Mile', this area is the main financial and commercial district of London and has a history that dates back to the middle ages when it was first established as a prime trading port.

A popular demand for convenient and cost-effective accommodation from business and corporate clients who work in this area has lead to the increased availability of Serviced Apartments and Short Stay Apartments. Check-in-London offers a fantastic range of modern self-catering serviced apartments in St Pauls , Blackfriars, Farringdon and Holborn that are ideal for short term accommodation or corporate housing and within easy reach of the Old Bailey Court House as well as many other top sights and attractions around London. Speak to a customer advisor now to enquire or book a Serviced Apartment in Central London. Call us on +44 843 289 8820 or email us at info@check-in-london.com for rates and availability. Learn and talk about Old Bailey, Central Criminal Court of England and Wales, Courts in London, Crown Courts, Edwardian architecture in London For other uses, see Old Bailey (disambiguation) . The Central Criminal Court, widely known as the Old Bailey from the street on which it stands Entrance door to the Old Bailey.

The Central Criminal Court of England and Wales , commonly known as the Old Bailey from the street on which it stands, is a court in London and one of a number of buildings housing the Crown Court . Part of the present building stands on the site of the medieval Newgate gaol , on a road named Old Bailey which follows the line of the City of London 's fortified wall (or bailey ), which runs from Ludgate Hill to the junction of Newgate Street and Holborn Viaduct . The Crown Court sitting at the Central Criminal Court deals with major criminal cases from within Greater London and, in exceptional cases, from other parts of England and Wales. Trials at the Old Bailey, as at other courts, are open to the public; however, they are subject to stringent security procedures. Contents History[ edit ] The court originated as the sessions house of the Lord Mayor and Sheriffs of the City of London and of Middlesex . The original medieval court was first mentioned in 1585; it was next to the older Newgate gaol , and seems to have grown out of the endowment to improve the gaol and rooms for the Sheriffs, made possible by a gift from Richard Whittington .

It was destroyed in the Great Fire of London in 1666 and rebuilt in 1674, with the court open to the weather to prevent the spread of disease. Plaque commemorating Bushel's Case of 1670 In 1734 it was refronted, enclosing the court and reducing the influence of spectators: this led to outbreaks of typhus , notably in 1750 when 60 people died, including the Lord Mayor and two judges. It was rebuilt again in 1774 and a second courtroom was added in 1824. Over 100,000 criminal trials were carried out at the Old Bailey between 1674 and 1834. [1] In 1834, it was renamed as the Central Criminal Court and its jurisdiction extended beyond that of London and Middlesex to the whole of the English jurisdiction for trials of major cases. Her Majesty's Courts and Tribunals Service manages the courts and administers the trials but the building itself is owned by the City of London Corporation , which finances the building, the running of it, the staff and the maintenance out of their own resources.

[2] The court was originally intended as the site where only criminals accused of crimes committed in the City and Middlesex were tried. However, in 1856, there was public revulsion at the accusations against the doctor William Palmer that he was a poisoner and murderer. This led to fears that he could not receive a fair trial in his native Staffordshire . The Central Criminal Court Act 1856 was passed to enable his trial to be held at the Old Bailey. In the 19th century, the Old Bailey was a small court adjacent to Newgate gaol. Hangings were a public spectacle in the street outside until May 1868. The condemned would be led along Dead Man's Walk between the prison and the court, and many were buried in the walk itself. Large, riotous crowds would gather and pelt the condemned with rotten fruit and vegetables and stones. [2] In 1807, 28 people were crushed to death after a pie-seller's stall overturned. A secret tunnel was subsequently created between the prison and St Sepulchre's church opposite, to allow the chaplain to minister to the condemned man without having to force his way through the crowds.

[2] The present Old Bailey building dates from 1902 but it was officially opened on 27 February 1907. It was designed by E. W. Mountford and built on the site of the infamous Newgate gaol, which was demolished to allow the court buildings to be constructed. Above the main entrance is inscribed the admonition: "Defend the Children of the Poor & Punish the Wrongdoer". King Edward VII opened the courthouse. Lady Justice statue on the top of the court building On the dome above the court stands a bronze statue of Lady Justice , executed by the British sculptor F. W. Pomeroy . She holds a sword in her right hand and the scales of justice in her left. The statue is popularly supposed to show blind Justice , however, the figure is not blindfolded: the courthouse brochures explain that this is because Lady Justice was originally not blindfolded, and because her “maidenly form” is supposed to guarantee her impartiality which renders the blindfold redundant. [3] During the Blitz of World War II, the Old Bailey was bombed and severely damaged, but subsequent reconstruction work restored most of it in the early 1950s.

In 1952, the restored interior of the Grand Hall of the Central Criminal Court was once again open. The interior of the Great Hall (underneath the dome) is decorated with paintings commemorating the Blitz, as well as quasi-historical scenes of St Paul's Cathedral with nobles outside. Running around the entire hall are a series of axioms, some of biblical reference. They read: "The law of the wise is a fountain of life" "The welfare of the people is supreme" "Right lives by law and law subsists by power" "Poise the cause in justice's equal scales" "Moses gave unto the people the laws of God" "London shall have all its ancient rights" The Great Hall (and the floor beneath it) is also decorated with many busts and statues, chiefly of British monarchs, but also of legal figures, and those who achieved renown by campaigning for improvement in prison conditions in the eighteenth and nineteenth centuries. This part of the building also houses the shorthand-writers' offices. The lower level also hosts a minor exhibition on the history of the Old Bailey and Newgate featuring historical prison artefacts.

In 1973, the Belfast Brigade of the Provisional IRA exploded a car bomb in the street outside the courts, killing one and injuring 200 people. A shard of glass is preserved as a reminder, embedded in the wall at the top of the main stairs. [2] South Block extension Between 1968 and 1972, a new South Block, designed by the architects Donald McMorran and George Whitby, was built to accommodate more modern courts. There are presently 18 courts in use. Court 19 is now used variously as a press overflow facility, as a registration room for first-day jurors or as a holding area for serving jurors. The original ceremonial gates to the 1907 part of the building are only used by the Lord Mayor and visiting royalty. The general entrance to the building is a few yards down the road in the South Block and is often featured as a backdrop in television news reports. There is also a separate rear entrance, not open to the public, which permits more discreet access. In Warwick Square, on the western side of the complex, is the "Lord Mayor's Entrance". A remnant of the city wall is preserved in the basement beneath the cells.

The court manager is known by the title of the Secondary of the City of London. As of 2012, the Secondary is Charles Henty. [4] Judges[ edit ] An Old Bailey trial , circa 1808. All judges sitting in the Old Bailey are addressed as "My Lord" or "My Lady" whether they are High Court , Circuit Judges or Recorders. The Lord Mayor and aldermen of the City of London are entitled to sit on the judges' bench during a hearing but do not participate in hearings. By tradition the judge sits slightly off-centre in case the Lord Mayor decides to come in; if he did he would take the centre chair. The most senior permanent judge of the Central Criminal Court has the title of Recorder of London , and his deputy has the title of Common Serjeant of London . The position of Recorder of London is distinct from that of a recorder , which is a part-time judicial office, holders of which sit part-time as judges of the Crown or county courts. Some of the most senior criminal lawyers in the country sit as recorders in the Central Criminal Court.

As of 2015 [update] the Recorder of London is Judge Nicholas Hilliard QC , MA , [5] who took over as the Recorder of London on the retirement of Judge Brian Barker who took over on the retirement of Judge Peter Beaumont CBE QC , appointed in December 2004 following the death of his predecessor, Judge Michael Hyam. From 1975 to 1990 the very outspoken Sir James Miskin served as the Recorder of London with a number of controversial cases coming before him. [6]

Question: The statue on the top of London's Old Bailey building is holding what in her right hand?
Answer: A sword