Ruins

NOTES: Alfred's Hall was designed as an artificial ruin by the first Earl of Bathurst, possibly in collaboration with the poet Alexander Pope, who was a frequent visitor. It was built to commemorate King Alfred's alleged overhearing of the Danish battle plans and is one of the many attractions in the 3000 acre park laid out by the Earl from 1714.

NOTES: Alfred's Hall was designed as an artificial ruin by the first Earl of Bathurst, possibly in collaboration with the poet Alexander Pope, who was a frequent visitor. It was built to commemorate King Alfred's alleged overhearing of the Danish battle plans and is one of the many attractions in the 3000 acre park laid out by the Earl from 1714.

NOTES: Alfred's Hall was designed as an artificial ruin by the first Earl of Bathurst, possibly in collaboration with the poet Alexander Pope, who was a frequent visitor. It was built to commemorate King Alfred's alleged overhearing of the Danish battle plans and is one of the many attractions in the 3000 acre park laid out by the Earl from 1714.

NOTES: This church was gutted during the Blitz of 1940 during World War II. The remaining walls of Portland stone were taken down in 1964-1965, shipped to Fulton, Missouri, USA, and re-erected at Westminster College, Fulton. A small planted garden now marks the sunken remains of the original church.

NOTES: The image is an engraving by Jacques Androuet du Cerceau in an album by Jacques Gentilhatre.

SOURCE: Giovanni Battista Piranesi. Vedute di Roma (Rome, [1747?-1788]), pl. 44 NOTES: See also RIBA7934 for detail view of the ruins of the temple at left.

SOURCE: Giovanni Battista Piranesi. Vedute di Roma (Rome, [1747?-1788]), pl. 77 NOTES: See also RIBA10202 for a bird's-eye view of the baths from this work.

SOURCE: Giovanni Battista Piranesi. Vedute di Roma (Rome, [1747?-1788]), pl. 96 NOTES: The Arch of the Moneychangers (Arcus Argentariorum), at left, was partly incorporated into the western wall of the nearby church of San Giorgio al Velabro.

NOTES: This print is from a suite of four untitled plates, known as the `Grotteschi'. Probably first published in 1747 or 1748, and often reprinted, this copy was probably published during the 1760s. The plates, showing fantastic arrangements of human and architectural remains, were among Piranesi's earliest publications.

NOTES: This print is from a suite of four untitled plates, known as the `Grotteschi'. Probably first published in 1747 or 1748, and often reprinted, this copy was probably published during the 1760s. The plates, showing fantastic arrangements of human and architectural remains, were among Piranesi's earliest publications.