Artists

NOTES: This is one of eight small sculptural reliefs on the lower part of the building depicting some of the principal activities of the railway industry.The panels were designed by Denis Dunlop but executed locally.

NOTES: For the related engraving please see RIBA21180.

SOURCE: L'Architecture d'Aujourd'hui, 1933 Apr. p. 94 NOTES: Perret designed a villa for Mela Muter in 1928, which may be this one shown here.

NOTES: The hall and library at Grays Inn was rebuilt by Edward Maufe in 1943-1957, following bomb damage. Hill was responsible for the griffin sculptures adorning the building.

NOTES: This watercolour fantasy of East Anglia includes numerous landmarks such as the Sell and Willshaw fish shop, Bedford (now demolished) on the left, Newark Castle with its distinctive oriel window, Bury St Edmunds Town Hall, the Market House at Swaffham and various East Anglian inns. In the centre is a portrait of Richardson in Regency costume.

NOTES: In this letter Pugin is attempting to mediate in a disagreement between Ackermann and John Nash over the publication and promotion of a set of plates of drawings of the Royal Pavilion at Brighton.

NOTES: In this letter Pugin is attempting to mediate in a disagreement between Ackermann and John Nash over the publication and promotion of a set of plates of drawings of the Royal Pavilion at Brighton.

NOTES: In the letter Piranesi thanks Robert Mylne for making his engravings known in England; he is very interested in Blackfriars Bridge and asks for an exact copy of the design to be sent to him [and produced an engraving of the bridge in 1766, see RIBA13018]; gives news from Rome and refers to a delay in the publication of his work, "On the Magnificence and Architecture of the Romans"; he has been measuring and drawing the columns and entablatures under restoration at the Campo Vacino monument in Rome [the Temple of Jupiter in the Forum, now called Castor and Pollux]; prompted by the comments of [Jean Antionne] Morand, a French painter, he stresses the need for accuracy and observes that there is a want of accuracy in Desgodetz' work; George Dance [the younger] has been taking casts of parts of the monument; Piranesi has also been measuring and drawing the amphitheatre at Castrense which was being excavated.

NOTES: In the letter Piranesi thanks Robert Mylne for making his engravings known in England; he is very interested in Blackfriars Bridge and asks for an exact copy of the design to be sent to him [and produced an engraving of the bridge in 1766, see RIBA13018]; gives news from Rome and refers to a delay in the publication of his work, "On the Magnificence and Architecture of the Romans"; he has been measuring and drawing the columns and entablatures under restoration at the Campo Vacino monument in Rome [the Temple of Jupiter in the Forum, now called Castor and Pollux]; prompted by the comments of [Jean Antionne] Morand, a French painter, he stresses the need for accuracy and observes that there is a want of accuracy in Desgodetz' work; George Dance [the younger] has been taking casts of parts of the monument; Piranesi has also been measuring and drawing the amphitheatre at Castrense which was being excavated.