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Lining all of this as you point out is the odd "esoteria" or what the local councils call "art installations" dotting it's main sections as well as the odd facades on certain buildings. I've seen them a few times over the years, degenerate pieces of objet d'art filling the parks and plazas especially. You'll find they always have a parasite funding these monstrous abominations, they are awfully fond of placing them near beautiful architecture. If I recall correctly there was one such horror, a legless and armless pregnant woman adoring on of the columns in Trafalgar Square. I remember when it first went up and thinking even in my pre "red pill" days that it was a disturbing piece. I can assure you however it has descended far past degenerate and esoteric art in that city. Yes it does have the odd "Masonic Egyption" oddities but that's present in a wide number of cities in Britain (Edinburgh has a number of them as well as an interesting Obelisk) but these are tied to the semetic idealisations anyway, they are simply presented in an alternate form, the more disturbing pieces are the ones akin to the mural at the base of the Eiffel Tower. If you want a glimpse at the degeneracy and odd "esoteric" statues there are two places particularly rife with them, that of the area surrounding the disgusting den known as the Tate modern art gallery and an area known as South Bank. Both are havens but you'll find then all over central as a general rule. There is one more thing concerning London of note though regarding the esoteria angle. You'll find that despite the addition of the brutalist buildings built around the city within the mid 20th century they have still tried to remain true to the classical structure of the city overall, many of the odd adornments have been added later for reasons unknown. To my knowledge these adornments begun on a smaller scale when some of the Egyptian surveyors of the 18th/19th century returned and begun emulating some of the styles on the recovered examples of art and statues out of appreciation for it with them initially adorning their places of work inside and out while there were also gifts of these pieces by Middle Eastern leaders during the 19th century such as Cleopatras Needle which was gifted to celebrate Nelson's victory at the Battle of the Nile as well as other gifts to celebrate the Battle of Waterloo (this alone was an event worth looking into for this battle made a number of parasites very rich). However this does not explain the odd murals and Obelisks that were built in the early 20th century but if I were to hazard a guess, and note this is purely conjecture, as the establishment became more and more infested with semetic influences these became indirect demonstrations of their power, although could potentially tie into the more bizarre "Archon" theory some posit of which I remain skeptical but open to if we are to go into esoteric concepts. My view on these odd statues is a nuanced one, I believe it began as an appreciation for discovery and a fetishisation of these discoveries initially then morphed into a "flex" overtime as it were for there is something distinctly alien about these objects in appearance compared to their surrounding buildings, they deliberately do not fit. It could be an early prototype of the "modern art" demoralisation angle the semite is so fond of with a deliberate attack on standard European aesthetics but again this is also conjecture based upon what we know of the parasite. It would explain as to why they became so prevalent then tapered off over time to be replaced with more repugnant examples of modern art.