A statue of Edward Jenner was erected on the plinth in 1858. Although the statue was quite popular and had been largely paid for by public subscription, protests by those who disagreed with vaccinations were so strong that it was removed four years later.

The plinth remained empty for many years as no one seemed able to agree on what should go there.

In 1999, the Royal Society of Arts came up with a plan to put the plinth to good use. The Fourth Plinth Project aimed to get more public exposure for contemporary art by having a series of temporary installations on the plinth.

The first display was Mark Wallinger’s “Ecce Homo”, a life sized figure of Jesus Christ complete with loincloth and barbed wire crown. Although the statue seemed to be dwarfed by the plinth which was designed for larger than life statuary, the public reception to this use of the plinth was largely positive.

Over the years, the plinth was put to unauthorized use by various companies who have used it for publicity stunts.

In 2003, Greater London Authority took over the administration of the plinth and reaffirmed its use as a public art display. One particularly controversial installation on the plinth was Marc Quinn’s “Alison Lapper Pregnant” (pictured) which is an enormous marble nude of the artist Alison Lapper.

Lapper was born without arms and with stubs for legs. The graphic depiction of this disability was seen by some as an important statement about body image and beauty while others felt it was just trying to shock and disturb the audience.

In the summer of 2009, the plinth showcased Antony Gormley's “One & Other”. For 100 days, different folks from all over the United Kingdom had one hour to make the plinth their own.

It was commissioned by the Mayor of London and produced in association with Sky Arts.

The plinth continues to inspire strong feelings in those who come to see it, which is perhaps on of the most important roles of public art.

Address: Trafalgar Square, Westminster, WC2N 5DS

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Photo courtesy: nikoretro

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