1 Aside from William Chambers, the first Treasurer of the Royal Academy, only four architects were among the thirty-six founder-members (Thomas Sandby, John Gwynn, William Tyler and George Dance the Younger). By 1834 a mere six more architects had been elected (James Wyatt in 1785, John Yenn in 1791, John Soane in 1802, Robert Smirke in 1811, Jeffry Wyatville in 1824 and William Wilkins in 1826). This figure represents half the number of sculptors and one tenth the number of painters elected during the same period. Misgivings about the educational role of the Royal Academy came to a head when Dance failed to deliver any lectures during his 1798-1806 tenure of the Professorship of Architecture, but the arguments for a separate architectural institution were also managerial. It was quickly perceived that architects occupied a position (with regard both to their clients and to the many tradesmen on whom they were dependent) quite unlike anything encountered by fine artists.

2 The Architects’ Club (1791), The Surveyors’ Club (1792), The London Architectural Society (1806), a Royal Academy of Architecture (1810), The Architectural Students’ Society (1817), The Architects’ and Antiquaries’ Club (1819), an Institution for the Cultivation and Encouragement of Architecture (1819), The Architectural Society (1831), The Society of Architects and Surveyors (1834), The Society of British Architects, or ‘Wrenian Society’ (1834), The Institute of British Architects (1834). For a succinct account of these organizations see Colvin, H. M., ‘The Architectural Profession’, in A Biographical Dictionary of British Architects 1600-1840 (New Haven and London, 1995), pp. 29–45 Google Scholar. See also Gotch, J. A., ‘The Royal Institute of British Architects’, in The Growth and Work of the RIBA 1834-1934, ed. Gotch, J. A. (London, 1934), 1-50, pp. 2–9 Google Scholar; Kaye, B., The Development of the Architectural Profession in Britain (London, 1960), pp. 74–83 Google Scholar; Jenkins, F., Architect and Patron (London, 1961), pp. 112-18Google Scholar; Crook, J. Mordaunt, ‘The Pre-Victorian Architect: Professionalism and Patronage’, Architectural History, 12 (1969), pp. 62–78 CrossRefGoogle Scholar; Mace, A., The RIBA: A Guide to its Archive and History (London and New York, 1986), pp. xiv–xviii, 1-3Google Scholar; Crinsonand, M. and Lubbock, J., Architecture: Art or Profession? (Manchester, 1994), chapters 1 and 2Google Scholar.

3 Sirr, H., ‘The Architects’ Club (1791) and the Architectural Society (1806)’, fournal of the RIBA, 3rd series, 18 (1911), 183-84, p. 184Google Scholar. In 1803 the European political situation led the Club ‘to give up the point of a Candidate having been in Italy (see The Diary of Joseph Farington, 16 vols (New Haven and London, 1978-84), VI, ed. Garlick, K. and Macintyre, A. (1979), p. 2083 Google Scholar.

4 For Gandy see Salmon, F., ‘An Unaccountable Enemy: Joseph Michael Gandy and the Accademia di San Luca in Rome’, The Georgian Group Journal (1995), pp. 25–36 Google Scholar. For Tatham see Zamboni, S., ‘Leopoldo Pollach e Charles Heatchcote [sic] Tatham: Due Progetti Inediti’, Atti e Memorie della Reale Accademia Clementina di Bologna, 13 (1978), pp. 69–72 Google Scholar, and F. Salmon, ‘Anglo-Italian Academic Relations in the Eighteenth Century: The Case of Charles Heathcote Tatham’, forthcoming.

5 ‘Origin and Formation of the Club’, 7 December 1819, in The Architects’ and Antiquaries’ Club (London, 1820), p. 13 (Bodleian Library, Oxford, Gough Add. London 8°, 405). According to Colvin (Biographical Dictionary, p. 40), the first President was Sanders and the second Taylor. The Club proposed to elect foreign Corresponding and Honorary Members (in order to ‘be divested of national prejudices’ and ‘to cultivate the pleasures and utilities of friendship’), among whom were to be Antonio Canova, Jacques-Ignace Hittorffand Karl Friedrich Schinkel. It is not known whether contact was established with any of these individuals.

6 ANSL, Vol. 59, fol. 82r (further discussed later in this article). Goldicutt is said to have studied in Paris during 1815 with Achille Leclère and to have competed for the Concours Mensuels d’Emulation of the Ecole Spéciale de l’Architecture (see the anonymous article ‘Goldicutt and his Times’, The Architectural Review (June 1912), 321-25, p. 322, and Chafee, R., ‘The Teaching of Architecture at the Ecole des Beaux-Arts’, in The Architecture of the Ecole des Beaux-Arts, ed. Drexler, A. (London, 1977), 61-109, p. 75)Google Scholar. In the anonymous article (p. 325) it is also stated that Goldicutt became a member of the Reale Accademia di Belle Arti of Naples. It is noteworthy, however, that this designation was not used on the title-page of Goldicutt’s books, although he did style himself’Member of the Academy of Saint Luke’ (see Goldicutt, J., Antiquities of Sicily (London, 1818)Google Scholar, and Goldicutt, J., Specimens of Ancient Decorations from Pompeii (London, 1825))Google Scholar. If Goldicutt was elected in Naples it must have been later in life.

7 As reported by Robert Smirke Junior to Robert Smirke Senior, 17 March 1804 (BAL, SMK 1/23).

8 See Blutman, S., ‘The Father of the Profession’, Journal of the RIBA, 74 (1967), 542-44, p. 542 Google Scholar. The comment was made by the Prince of Wales. When Donaldson retired as joint Honorary Secretary of the Institute in 1839 a Special General Meeting was held at which his colleagues voted him the exceptional honour of fellowship ‘for life without further contribution’ in recognition of the role he had played in its foundation (BAL, RIBA General Meetings Minutes, 1 (1834-41), fol. 307).

9 The table and this information has been compiled from BAL, Miscellaneous Papers Connected with the Formation of the RIBA, 1834-48, from BAL, RIBA General Meetings Minutes, 1 (1834-41) and from BAL, RIBA Pamphlets Q.7/5. The only other architect with a record of attendance comparable to that of Donaldson was Charles Fowler, who was to replace Goldicutt as joint Honorary Secretary in May 1835. The Institute’s constitution was drafted by Joseph Gwilt (who had been to Italy in 1816 and had also been a member of the Architects’ and Antiquaries’ Club in 1820) for discussion at the meeting held on 4june 1834. However, BAL Miscellaneous Papers… 1834-48 no. 5 is a printed prospectus entided’The Society of British Architects’ drawn up by John Douglas Hopkins as a result of the meeting held on 15 February, and no. 4 is a draft constitution by James Savage perhaps drafted during April. The distinction between the ‘Society of British Architects’ and the ‘Institute of British Architects’ in the first months of 1834 is too blurred for their respective chronologies to be disentangled with certainty. However, my reading of the manuscript sources does differ somewhat from that of Kaye in Architectural Profession, pp. 76-79.

10 Donaldson, T. L., ‘On the present State of the Schools of Art in Paris’, Annals of the Fine Arts, 2, Part 6 (1818), pp. 313–19Google Scholar. For the Architectural Students’ Society see BAL, RIBA Pamphlets Q.11/2. Thomas Lee Junior was the secretary and Goldicutt, giving his address as ‘Rome’, another member.

11 BAL, D0T/3. This album contains Donaldson’s diplomas of the Accademia di San Luca, Rome, 30 April 1822 (see Fig. 5 here); the Reale Accademia di Belle Arti of Venice, 12 June 1822; the Insigne Reale Accademia delle Belle Arti of Milan, 4 August 1822 and the Accademia delle Belle Arti di Firenze, 15 September 1822. Donaldson’s later Italian diplomas (Naples 1839, Vicenza 1846, Bologna 1851) and those of other European academies are also bound in the album.

12 BAL, RIBA General Meetings Minutes, 1 (1834-41), fol. 36; BAL, RIBA/MS.SP/4/1, fol. Cr. The most substantial account of Donaldson’s life and work to date, however, is an unpublished 1987 dissertation in the Architecture and History of Art Faculty Library at Cambridge (R. John, ‘T. L. Donaldson: The Last of the Old Gods?’).

13 See N. Bingham, ‘Architecture at the Royal Academy Schools, 1768-1836’, in The Education of the Architect: Proceedings of the 22nd Annual Symposium of the Society of Architectural Historians of Great Britain, 1993, ed. N. Bingham, pp. 5-14, and Watkin, D., Sir John Soane: Enlightenment Thought and the Royal Academy Lectures (Cambridge, 1996), pp. 289-90Google Scholar.

14 In all, fifteen architects who visited Italy between 1815 and 1843 had won the silver medal: Joseph Gwilt (1801); William Kinnard (1805); John Peter Gandy-Deering (1806); Thomas Allason (1809); Lewis Vulliamy (1810); Goldicutt (1814); Charles Tyrell (1815); Donaldson (1816); Samuel Paterson (1817); Sydney Smirke (1817); William Harris (1819); John Jenkins (1823); Samuel Loat (1825); Henry Palmer (1827); and John Johnson (1834). This information is taken from the manuscript ‘List of the students of the Royal Academy who have obtained premiums’ in the Royal Academy Library.

15 The gold medal went to Vulliamy (1813), to Matthew Evan Thomas (1815), to Charles Harriott Smith (1817), to Sydney Smirke (1819), to Richard Kelsey (1821), to Thomas Bradberry (1823), to Henry Bassett (1825), to Samuel Loat (1827), to William Grellier (1829), to John Davis Paine (1833), to John Johnson (1835), to Edward Gifford (1837), to Edward Faulkener (1839), to William Hinton Campbell (1841) and to Henry Bayly Garling (1843). Aside from the three medallists who were awarded the Travelling Studentship, Thomas and Smirke are known to have made independent journeys to Italy.

16 Among such figures were John Bond (silver and gold medallist of the Royal Academy in 1784 and 1786 respectively), Sanders (gold medallist in 1788), and Gwilt (silver medallist in 1801).

17 A wholly exceptional case was that of Alfred Stevens, sent to Italy at the age of fifteen in 1833 to study architecture. Stevens returned to England in 1842. What is known of his training in Italy has been summarized in Beattie, S., Catalogue of the Drawings Collection of the RIBA: Alfred Stevens (Farnborough, 1975), pp. 11–12 Google Scholar. By his own account Stevens was a ‘pupil in the Florentine Academy about eight years’. The source which Beattie was unable to identify describing the fact that Stevens was not, in fact, a registered student of the academy, is a letter in the academy’s archives from a Henry White of Blandford, Dorset (Stevens was born at Blandford Forum) postmarked I9 June 1836, enquiring after Stevens’s health as his parents had not heard from him for more than a year. The academy’s reply, dated 9 July 1836, was that: ‘II Sig. Alfredo Stevens è vivo e sano. Egli non ha mai intrapreso il corso degli studi in questa Reale Accademia’ (ABAF, Filza 26, section 48). Since Stevens was in Milan, Venice and Rome for much of the period 1839–42, it is unlikely that he spent more than three years as a registered student in Florence, if indeed he was ever ‘registered’ at all.

18 Scano, G., ‘Insegnamento e Concorsi’, in Pietrangeli, C. et al., L’Accademia Nazionale di San Luca (Rome, 1974), 30-38, p. 32 Google Scholar.

19 Woods, J., Letters of an Architect from France, Italy, and Greece, 2 vols (London, 1828), 11, p. 149 Google Scholar. In 1806 Woods had himself been the moving force behind and the President of the London Architectural Society. On 3 December 1834, however, he declined an invitation to become a Fellow of the new Institute of British Architects, saying that he had given up practice (BAL, Miscellaneous Papers… 1834-48, no. 19).

20 Sir John Soane’s Museum, London, ‘George Basevi 1794-1845 … Home Letters from Italy and Greece 1816-19’, typed transcript ed. A. T. Bolton, pp. 94 and 97. One should not, therefore, infer too much from the fact that a student such as Basevi ‘attended’ the academy (pace Crinson and Lubbock, Art or Profession?, p. 25). Basevi’s rather supercilious attitude to the endeavours of the Italian students echoes that of Robert Smirke when visiting the academy at Genoa in 1803. Smirke described the institution as on a ‘liberal scale’ but not ‘of much consideration’. He found sixty or seventy boys aged between ten and twenty-five drawing from prints of anatomical features, twenty engaged in a life class (though only two or three with any ability) and ten drawing in a room of plaster casts. Taking them to be sons of carpenters and joiners he clearly had no intention of sitting down to join them (BAL, SMK 1/11).

21 Yale Center for British Art, New Haven, B1975.2.703, fols 28r and 39r (inverted console bracket ornament and architectural trophy over entrance door labelled ‘Academy of Fine Arts, Venice’). This sketchbook has been attributed to Goldicutt on stylistic grounds by John Harris, but there is no other evidence (and no great likelihood) that Goldicutt returned to Italy in the early 1830s when he was busy trying to establish an independent practice after the death of his employer Henry Hakewill (Goldicutt competed for Middlesex Lunatic Asylum in 1829 and for the Fishmongers’ Hall in 1830). See also note 104 below.

22 Harris, J., Sir William Chambers: Knight of the Polar Star (London, 1970), p. 22 Google Scholar.

23 See MacDonald, M. F., ‘British Artists at the Accademia del Nudo in Rome’, Leids Kunsthistorische Jaarboek, 5-6 (1989), pp. 77–94 Google Scholar. Unfortunately the surviving lists of students attending the Accademia are incomplete and no architects’ names feature among those of British painters such as Richard Wilson or sculptors such as Joseph Nollekens who are known to have attended. Presumably, however, Chambers himself had studied there and one might guess that Robert Mylne would also have done so, because he was sharing lodgings at 3 Via Condotti with James Maxwell in 1758, the year that Maxwell won a prize at the Accademia del Nudo (Archivio Vicariato, Roma, Stati delle Anime, Parrocchia di S. Lorenzo in Lucina, 1758, ‘Alberto Miline’ [‘Roberto Mijlne’ in 1756]). Similarly, it must be likely that George Dance the Younger, who was only eighteen when he arrived at Rome in May 1759, would have studied the nude at the Accademia, where his brother Nathaniel is said to have won a prize four months earlier (MacDonald, ‘Accademia del Nudo’, p. 88) (see BAL, DA i/i/v(v)-vi(r), for a letter of 1761 from Nathaniel telling his mother that George had greatly improved at drawing).

24 BAL, RIBA MS.SP/4/8: ‘Memoir of Thomas Lee Junior’, read by Donaldson 17 December 1838, fol. 7: ‘At this period [1810s] the Architectural Student derived very little benefit from the Royal Academy. He had only the advantage of 6 lectures in the year, access once in the week to the library & the privilege of competing for the medals. Whereas the students in painting and sculpture had in addition to lectures, schools of the antique, and of the life’. When the architectural students petitioned the academicians about this, the reply was that ‘the limits of the Institution precluded them from extending the advantage claimed by the students in architecture’. Bingham, ‘Royal Academy Schools’, p. 7, found only one reference to an architect working in a Royal Academy life class.

25 Woods, Letters, 11, p. 148. Donaldson can be documented at Rome and its environs in November 1821 and in January and March 1822 ( Richardson, M. et al., Catalogue of the Drawings Collection of the PJBA: C-F (Farnborough, 1972), p. 83 Google Scholar: Donaldson Album Greek and Roman, fols 79r, 58r-v, 34v-37r). Other architects present in Rome in late 1821 might have been: Vulliamy, Bond, William Booth, John Davies, Henry Parke, Samuel Angeli, Frederick Catherwood, William Harris and Tyrell.

26 Woods, Letters, 11, p. 147.

27 See Stillman, D., ‘British Architects and Italian Architectural Competitions, 1758-1780’, Journal of the Society of Architectural Historians, 32 (March 1973), pp. 43–66 CrossRefGoogle Scholar; Pirotta, L., ‘Thomas Harrison architetto inglese, accademico di San Luca per sovrano motu proprio’, Strenna dei Romanisti, 21 (1960), pp. 257-63Google Scholar; and Salmon, ‘Gandy’. Mylne won first-class first prize at the 1758 Rome Concorso dementino; Dance first prize at Parma in 1763. Harrison and Gandy were victims of partial judgement in the 1773 Concorso Balestra and 1795 Concorso Clementino respectively. Byres took third place in the first class of the 1762 Concorso Clementino and John Baxter was unplaced in the 1764 Parma concorso. Stillman (‘British Architects’, p. 57) noted a letter of Baxter’s at Parma saying his drawings had subsequendy gone astray in the post. It must be likely, however, that the architect eventually received them and that they were the ‘sepulchral chapel’ designs recorded in the posthumous sale catalogue of his belongings (see Colvin, Biographical Dictionary, p. 112), since the subject of the 1764 concorso at Parma was indeed a sepulchral chapel (see L’Accademia Parmense di Belle Arti, ed. Pellegri, M. (Parma, 1979), pp. 58–59 Google Scholar). Mylne and Soane both made preparations for the Parma concorso (in 1758 and 1780 respectively) but did not actually enter.

28 Marconi, P. et al., I disegni di architettura dell’ Archivio storico dell’ Accademia di San Luca, 2 vols (Rome, 1974), 1, pp. 29–32, 37-40 and 44-46Google Scholar. For the resumption of concorsi at Parma in 1817, see Musiari, A., Neoclassicismo senza modelli: L’Accademia di Belle Arti di Parma tra il periodo napoleonico e la Restaurazione (1796-1820) (Parma, 1986), pp. 141–60 Google Scholar. There were no British participants.

29 Soane’s Museum, Basevi Transcript, pp. 97-98.

30 William Chambers (Florence, 1753); Robert Adam (Bologna, Florence and Rome, 1757); Robert Mylne (Rome, Florence and Bologna, 1759); James Byres (Rome, 1768); George Dance the Younger (Rome, 1764); William Oram (Florence, 1765); John Baxter (Rome, 1766); Thomas Harrison (Rome, 1773); Edward Stevens (Florence, 1774); Christopher Ebdon (Florence, 1776); John Soane (Florence and Parma, 1780); John Thomas Groves (Florence, 1794); Charles Heathcote Tatham (Bologna, 1795, and Rome, 1796). For a substantial account of these figures and the circumstances of their elections see Salmon, F., ‘British Architects and the Florentine Academy, 1753-1794’, Mitteilungen des Kunsthistorischen Institutes in Florenz, 34 (1990), pp. 199–214 Google Scholar.

31 For the eighteenth- and nineteenth-century histories of these academies see, for Florence: Cavallucci, C. I., Notizie Storiche intorno alla R. Accademia delle Arti del Disegno in Firenze (Florence, 1873)Google Scholar; Biagi, L., L’Accademia di Belle Arti di Firenze (Florence, 1941)Google Scholar; Martucci, A. G. et al., L’Accademia di Belle Arti di Firenze (Florence, 1984)Google Scholar; for Rome: Missirini, M., Memorie per Servire alla Storia della Romana Accademia di San Luc á fino alla Morte di Antonio Canova (Rome, 1823)Google Scholar; Arnaud, J., L’Académie de Saint-Luc à Rome: Considérations historiques depuis son origine jusqu’à nos jours (Rome, 1886)Google Scholar; Vagnetti, F., La Regia Accademia di Belle Arti di Roma (Florence, 1943)Google Scholar; Pietrangeli et al., L’Accademia; for Bologna: Zanotti, G., Storia dell’Accademia Clementina (Bologna, 1739)Google Scholar; Atti e Memorie della R. Accademia Clementina di Bologna, 1 (1933); Zamboni, S., ‘L’Accademia Clementina’, in Emiliani, A. et al., L’Arte del Settecento Emiliano: La Pittura (L’Accademia Clementina) (Bologna, 1979), pp. 211-18Google Scholar; for Parma: G. Capelli, ‘Breve Profilo della Regia Accademia di Belle Arti’, in L’Accademia Parmense, ed. Pellegri, pp. 11-20; Tassoni, G. Allegri, ‘L’Accademia Parmense e i suoi Concorsi’, in L’Arte del Settecento Emiliano: L’Arte a Parma dai Farnese ai Borbone, ed. Adorni, B. (Bologna, 1979), pp. 186-94Google Scholar. See also generally Pevsner, N., Academies of Art (Cambridge, 1948)Google Scholar.

32 For fuller details on British architects and the Accademia di San Luca in the later eighteenth century see Salmon, ‘Tatham’ (forthcoming).

33 BAL, SMK 1/23. In the later eighteenth century the cost of becoming Accademico di Merito of the Accademia di San Luca for foreigners who were also Protestants was 60 Roman scudi, or about £15 sterling. This sum represented one quarter of the entire annual income allowed to the Royal Academy’s Travelling Student, a figure which was taken in turn as a bench-mark for architects travelling with private means. For Robert Mylne, who wished to appear in person at the congregazione to accept his diploma, additional costs were incurred for the hire of a ceremonial toga and black silk cloak (see BAL, MyFam 4/38).

34 Soane’s Museum, Basevi Transcript, p. 182.

35 The Bolognese Accademia Clementina had been refounded as the Accademia Nazionale di Bologna under Napoleonic government in 1803–04 and refounded once again as the Accademia Pontificia di Bologna after the restoration of 1815. However, no further British architects were elected. After the annexation to France of the Duchy of Parma in 1803 its academy continued to flourish, first under the military governor General Moreau du Saint-Méry and then, after 1815, under Napoleon’s second wife Maria Luisa Habsburg-Lorraine who had become Duchess of Parma. She revised the academy’s statutes in 1822 and supported it until her death in 1847. British members in Parma after 1815 are discussed later in this article.

36 Statuti della Pontificia Accademia Romana di Belle Arti detta di S. Luca (Rome, 1818), 12, chapter I, clauses 2 and 3.

37 Statuti e piano d’istruzione per la Regia Accademia delle belle Arti di Firenze (Florence, 1807); ABAF Ms 82 (Statuti, 1811) ; Kunsthistorisches Institut in Florenz, Statuti e metodo d’istruzione per l’Accademia delle belle Arti di Firenze (Florence, 1813), with manuscript inserts dated 1835.

38 ABAF, Filza 5, section 22 fol. ir: ‘Il Sig. Carlo Roberto Cokerill di Londra Professore d’Architettura Celebre per le opere date alle stampe di suoi viaggi in Grecia essendo un Insigne Artista ascritto alle Primi Accademie di belle Arti d’Europa’.

39 ‘Progetto di collocazione delle statue antichi esistenti nella galleria di Firenze che rappresentano la favola cti Niobe’. The only two copies of this etching I have seen are in the British Museum, Department of Greek and Roman Antiquities (in an uncatalogued box of miscellaneous drawings by Cockerell — Fig. 1 here), and at the Yale Center for British Art, T 15.5 (F) (see Broucke, P., The Archaeology of Architecture: Charles Robert Cockerell in Southern Europe and the Levant 1810-1817, Yale Center for British Art (1993), p. 19 Google Scholar, exhibit 45). A third copy has recendy entered the RIBA DC in the Lennox-Boyd accession. The text was republished in octavo form as Le Statue della Favola di Niobe dell’ Imp. e R. Galleria di Firenze situate nella primitive loro disposizione da C.R. Cockerell by Giuseppe Molini at Florence in 1818. See also Watkin, D., The Life and Work of C.R. Cockerell R.A. (London, 1974), pp. 22–23 Google Scholar.

40 Montfaucon, B. de, L’Antiquité expliquée, 15 vols (Paris, 1719-24), 1, Book in, Chapter 4, plate 55 (between pp.106-07)Google Scholar, reprinted in Haskell, F. and Penny, N., Taste and the Antique (New Haven and London, 1981), p. 20 Google Scholar.

41 British School at Rome, Hakewill Collection, 5M.45 (Fig. 2 here) and 5M.48. See Cubberley, T. and Herrmann, L., Tunlight of the Grand Tour: A Catalogue of the Dramngs by fames Hakewill in the British School at Rome Library (Rome, 1992), p. 349, 353, 360-61Google Scholar.

42 See Mansuelli, G., Galleria degli Uffizi: Le Sculture, 2 vols (Rome, 1958-61), 1, pp. 101-23, 130-32Google Scholar for a very full account of the statues and their history. See also Haskell and Penny, Taste and the Antique, pp. 274-79. Although Mansuelli did not discuss Cockerelľs work on the group he included Cockerell’s small reconstruction of the whole temple (see Fig. 1 here) on page 101, calling it a reconstruction ‘ideale’. A typographical error in Haskell and Penny dates Cockerell’s reconstruction to 1836. The point currendy under dispute is whether the original sculptures were late Classical or early Hellenistic, or late Hellenistic (see Hölscher, T., ‘Die Geschlagen und Ausgelieferten in der Kunst des Hellenismus’, Antike Kunst, 28 (1985), 120-36, p. 131)Google Scholar.

43 Pliny the Elder, Natural History, Book 36, Chapter 28 (the reference given by Cockerell is incorrect).

44 Cockerell cited Pausanias on the Temple of Zeus at Olympia (Description of Greece, Book 5, Chapter 10, Section 6) and Diodorus Siculus on that of Jupiter Olympius at Agrigento (Library of History, Book 13, Chapter 82). Surviving examples of pedimental groups given by Cockerell were the Parthenon, the remaining fixings at the Theseion and the Temple of Jupiter Panhellenius on Aegina.

45 See Bieber, M., The Sculpture of the Hellenistic Age, 2nd edn (New York, 1961), p. 75 Google Scholar; Robertson, M., A History of Greek Art, 2 vols (Cambridge, 1975), 11, p. 461 Google Scholar; Smith, R., Hellenistic Sculpture (London, 1991), pp. 107-08Google Scholar.

46 Cockerell’s statues (from left to right) are respectively Uffizi nos 79, 76, 74, 72, 71, 83, 70, 94, 73, 82, 95, 75 and 77 (see Mansuelli, Le Sculture). Of these no. 83 (a ‘Muse’) was an unrelated figure found in the same excavation as the Niobids and nos 94 and 95 (‘Trophós’ and ‘Anchyrrhoe’) were probably added to the group whilst it was at the Villa Medici so as to ‘complete’ it. Uffizi no. 78, excluded by Cockerell is now thought to represent the original, rather than the close variant no. 77 which he included. Uffizi no. 76, included by Cockerell, is now thought to be a copy of an original representation in the Florence Archaeological Museum. Four other figures have been connected with the group (see Geominy, W., ‘Niobidai’ in Lexicon Iconographicum Mythologiae Classicae (Zurich and Munich, 1981- ), vi, Part 1 (1992), 914-29, pp. 918-20)Google Scholar.

47 ABAF, Filza 5, section 23, fols 1-2. Appendix A shows that Cockerell had met the Uffizi’s powerful Royal Antiquarian Giovanni Battista Zannoni. Physical rearrangement of the statues might therefore have been a real possibility, but in fact the statues still stand today as seen in Hakewill’s view (Fig. 2 here).

48 BAL, CoC:Add/i/36.

49 ASF AD, Ms 154.

50 BAL, CoC:Add/i/36. Cockerell continued to receive lavish praises throughout the summer. On 10 September he wrote: ‘my work on the Niobe has been so far considered beyond its merit that my head may perhaps have been turned by the credit given me from all parties … [I] send you the copies of two notices already made of it in Italy. I hear also that it has excited curiosity in France & Germany’ (BAL, CoC:Add/i/35).

51 BAL, CoC:Add/i/34.

52 ABAF, Filza 7, section 39.

53 BAL, CoC:Add/2/15. The reference here is to the Gazzetta di Firenze, 16 July 1818 (Biblioteca Nazionale, Firenze, 36.2.6.1): ‘Le Copie in Gesso di esse [the Parthenon sculptures] sono un donativo che il Principe Reggente d’Inghilterra ha fatto al nostro Sovrano. Qui frattanto si lavora indefessamente da più d’un’ anno per formare i getti di tutte le statue che compongono il famoso gruppo della famiglia di Niobe che si conserva in questa R. Galleria. I getti di tah statue sono dal nostro Imp. e R. Sovrano destinati in dono a S.A.R. il Principe Reggente, e eredési che verranno in Londra collocati conformemente all’applaudita composizione ritrovata dall’abile Architetto Inglese sig. Cockerell, e da esso pubblicata colle stampe’. In 1820, the academy recorded the presentation by the Prince Regent to the Grand Duke of Tuscany of gesso copies of sculptures from Athens, but it is unclear whether these were copies of the Elgin Marbles or of different originals (ABAF, Filza 9, section 4).

54 BAL, CoC:Add/2/16. Burghersh evidendy also acquired copies of the statues, for he included with this letter a sketch showing how he had placed them ‘in my hall’ in a single Hne (curved, because of lack of space) to conform with Cockerell’s hypothesis, and found the effect produced ‘the greatest satisfaction’. Less satisfied were the Prince Regent and Richard Westmacott, who tried out Cockerell’s arrangement in the royal stables before passing the casts on to the Royal Academy (Haskell and Penny, Taste and the Antique, p. 277).

55 ABAF, Filza 6, section 39: ‘Le vacanze autunnali hanno impedito di convocare subito, come avrei voluto i Componenti di quest’ Accademia per sottoporre ad egli il suo bel Disegno di una Scuola di Belle Arti, e per proporre la di lei ascrizione all’ Accademia medesima’. No trace of this drawing can now be found in the Academy’s archives.

56 ABAF, Filza 7, section 36 (Thomas’s election is also listed in ASF AD, Ms 155). The British painter George Augustus Wallis was elected in Florence at the same time as Thomas, but in the class of Accademici Professori as one would also have expected for the architectural student.

57 On 25 March 1817, however, one John Harford, described as an English architect, had been elected Accademico d’Onore (ANSL, Vol. 59, fol. 76v). His letter of thanks dated 7 April is in the academy’s archive (ANSL, Vol. 86, item 210). This was John Scandrett Harford Junior (1785-1866), whose father had commissioned John Nash to design Blaise Hamlet in 1810 (see Temple, N., John Nash & the Village Picturesque (Gloucester, 1979), p. 39)Google Scholar. Harford Junior published an etched view of the Forum Romanum in 1816, proving that he had been in Italy (I am grateful to Mr David Alexander for drawing to my attention a copy of this print in his own collection). It may have been in Rome that Harford first became the ‘steady friend’ of C. R. Cockerell (see Watkin, Cockerell, p. 49). Much later these two men joined forces with Canina, Luigi in publishing Illustrations, Architectural and Pictorial, of the Genius of Michaelangelo (London, 1857)Google Scholar.

58 ANSL, Vol. 58, item 64; ANSL, Vol. 68, item 40: ‘L’onore che col di lei mezzo mi partecipa a nome dell’insigne corpo della Romana Accademia Pontificia, detta di S. Luca, mi ha ricolmato di sentimentale gratitudine, giacche mi veggo aggregato ad una Accademia chi ha formato e forma il lustro delle principali Accademia di Europa, ed alcuno non cede. Desidero che le mie forze, ed i miei talenti, possino corrispondere per far conoscere la mia sensibile gratitudine, la quale vorrei più a lungo spiegare, se mia lingua che possiedo, non fosse tanto lontano dalla dolce Italiana’.

59 ANSL, Vol. 59, fol. 82r: ‘In questa occasione fu proposto ed acclamato eziandio in Accademico di Onore l’architetto Inglese Sig. Godhncourt’. ANSL, Vol. 86, item 250: ‘L’onore che Io vanto nel recevere il Diploma dicodesta Insegna Academia di San Luca mi è tanto più grato venendami per le sue mani sono penetrato dal sue gentile espressione. Se bene Io non reconosca in me quei Talenti ch’ella per sua bontà mi attribuise pertanto via faiso tuta i miei sforze per renderme meretevole del dettonore coltivando la bella Arte del Architettura’.

60 Lever, J. et al., Catalogue of the Drawings Collection of the RIBA: G-K (Farnborough, 1973), p. 49 Google Scholar. For mention of the medal see the anonymous article ‘Goldicutt’ cited at note 6 above, p. 322.

61 ANSL, Vol. 72, item 76: ‘Signor Cavaliere, La riputazione distesa della distinta Academia di S. Luca in questa Città, ma ha sempre inspirato il desiderio di essere giudicato degno dell’Onore di essere annoverato fra i suoi Membri. Ardisco dunque, Signor Presidente, mandarla una mia composizione originale d’un “Tempio della Vittoria ali uso antico coi monumenti che servivano pella celebrazione de’ Giuochi Trionfali”. Se le giudicasse, che fosse degno, spero che lei mi farà l’onore di sommetterla alla considerazione dei Membri della loro Academia. Devo anche aggiungere che sono uno studente perpetuo dell’Academia Reale di Londra, alla quale istituzione ho vinto il primo premio per il Disegno d’Architettura; e due premj alla Società di Arti e Scienze in Londra per composizioni originali. Dovendo per affari di premura partire Martedì prossimo per Inghilterra, lo terrò a gran favore se la decisione dell’ Academia potesse farsi alla prima congregazione’. Since the Accademia di San Luca did not retain such morceaux de réception shown by Accademici d’Onore, it was presumably the same drawings that Donaldson showed at the Royal Academy in 1824. Of the versions that now survive (RIBA DC W15/23 and OS 5/5, 1-4), however, drawing 4 is inexplicably dated ‘Roma, Aprile 1832’.

62 ANSL, Distribuzione de’ Premi del Concorso dementino (Rome, 1836), p. 46 (the nomination is ANSL, Vol. 60, fol. 41V: ‘Si propose Accad[emico] onorario Tomaso Levestoa Arch[itetto] Inglese’). With the diploma, dated 30 April, Donaldson received the following reply dated 29 April: ‘L’inclita Accademia di S. Luca ha ammirato li magnifici Disegni, che Ella le ha presentato, e conoscendo dai medesimi i di Lei rari talenti nell’ Arte architettonica, ha acclamato a pieni voti Vostra Sig[noria] Illustrissima in suo Accademico Onorario’ (BAL, D0T/3).

63 BAL, DoT/i/2/2 (one of Donaldson’s passports).

64 ABAF, Filza 11, section 44: ‘Il Sig. Tommaso Leverton Donaldson Architetto Inglese meritissimo, ed uno dei Viaggiatori della Grecia che ha visitato ed accuratamente misurato i piu bei monumenti dell’Antichità, che non tarderà molto a pubblicare con dotte illustrazioni, ha mostrato gran desiderio di essere ascritto nel numero dei nostri Accademici Professori’.

65 All of these diplomas are in BAL, DoT/3. Another passport of Donaldson’s (BAL, DoT/1/2/3), issued at Venice on 11 June, shows that he had reached Vicenza by 15 June and Milan by 6 July. By 4 August, the date on his Milan diploma, Donaldson was between Paris and Calais.

66 Donaldson, T. L., Temple à la Victoire: Monument Commemoratif des Jeux Sacrés des Anciens Grecs et Romains et supposé érigé sous le Règne d’Adrien à Messene, dans le Péloponèse sur les Pentes du Mont Ithome (Paris, 1876)Google Scholar. The pamphlet was illustrated by engraved versions of the plan and the bird’s-eye view of the scheme (RIBA DC OS 5/5/2 and W15/23 respectively, Figs. 7 & 4 here). Reproductions of the elevation and one of the perspectives of the scheme (RIBA DC OS 5/5/3 and OS 5/5/1 respectively) were published in Transactions of the RIBA, New Series, 2 (1886), following p. 108.

67 Donaldson, Temple a la Victoire, p. 9. A later lecture diagram version of Donaldson’s copy of Huyot’s plan is RIBA DC W13/28 (Fig. 6 here). Goldicutt also copied the plan and elevation of Huyot’s reconstruction (RIBA DC J6/236-37). See Caplin, E. and Hemsoll, D., Palestrina: The Temple of Fortune as an Inspiration to Architects, Exhibition catalogue, Gallery, Heinz (1989), pp. 14–15 Google Scholar.

68 Donaldson, Temple à la Victoire, p. 9: ‘je remarquai dans les monuments des Romains un luxe de décoration qui n’existait pas au même degré dans ceux des Grecs’.

69 Donaldson, Temple à la Victoire, pp. 9–10. For Lesueur’s 1823-24 drawings of Trajan’s Forum see Roma Antiqua: ‘Envois’ degli architetti francesi (1788–1924) — Forum, Colisée, Palatin, ed. Uginet, F. C. (Rome, 1985), nos 79-82Google Scholar. For Blouet’s restoration of the Baths of Caracalla see Rossetto, P. et al., Roma Antiqua: ‘Envois’ degli architetti francesi (1786—1901) — Grande edifìci pubblici (Rome, 1992), nos 130-36Google Scholar. Blouet is generally said to have returned to Paris in 1826 after five years at Rome, but another source gives the date of his arrival in Rome as 1823 (see van Zanten, D., ‘Architectural Polychromy: Life in Architecture’, in The Beaux-Arts and Nineteenth-Century French Architecture, ed. Middleton, R. (London, 1982), 197-215, p. 270, n. 7)Google Scholar. If Donaldson first met Hittorff at this time then it must have been in Paris, through which he passed in the summer of 1822 prior to Hittorff’s departure for Italy in late 1822 (see note 65 above, pace R. Middleton, ‘Hittorflf’s Polychrome Campaign’, in The Beaux-Arts, ed. Middleton, 175-95, p. 176).

70 See Ridley, R., The Eagle and the Spade: Archaeology in Rome during the Napoleonic Era (Cambridge, 1992)Google Scholar and, for the response of visiting British architects, Salmon, F., ‘Storming the Campo Vaccino: British Architects and the Antique Buildings of Rome after Waterloo’, Architectural History, 38 (1995), pp. 146–75 CrossRefGoogle Scholar.

71 P. Marconi, ‘Disegni architettoniche’, in Pietrangeli et al., L’Accademia, pp. 273-322, and Oechslin, W., ‘Pyramide et Sphère: Notes sur l’architecture révolutionnaire du XVIIIe siècle et ses sources italiennes’, Gazette des Beaux-Arts, 77 (1971), pp. 201-38Google Scholar. For the influence of this tradition on British architects of the late eighteenth century see Stillman, D., English Neo-classical Architecture, 2 vols (London, 1988), 1, chapter 2Google Scholar: ‘The Roman Fantasies of English Neo-Classical Architects’, and Tait, A., Robert Adam: Drawings and Imagination (Cambridge, 1993), chapter 2Google Scholar: ‘The Concorso Style’.

72 In the period 1815-40 Jean-Baptiste Rondelet seems to have been the only French architect elected Accademico d’ Onore at the Accademia di San Luca (on 5 July 1818). Within eighteen months between 1811 and 1813 Charles Percier, Pierre-François-Léonard Fontaine, Guy de Gisors and Louis-Martin Berthault had all been elected Accademici di Merito (ANSL, Distribuzione de’ Premi del Concorso dementino (Rome, 1824)). The situation at the Accademia delle Belle Arti in Florence was similar: after Berthault (in 1813), no further French architect was elected Accademico Professore until Richard de Montferrand in 1842 (ASF AD, Ms 154).

73 ANSL, Vol. 76, item 23 [now filed under Misc. Cong., I, no. 81]: ‘Si propose accad[emic]o d’onore Giacomo Pennethorne archit[ett]o Inglese che presenta un Suo disegno del restauro del Foro Romano — Viene accettato in accad[emic]o d’onore’ (this transcription corrects two small errors in that given in Salmon, ‘Storming the Campo Vaccino’, n. 72). For discussion and illustrations of Pennethorne’s Forum restoration see Tyack, G., Sir James Pennethome and the Making of Victorian London (Cambridge, 1992), pp. 12–15 Google Scholar, figure 7 and colour plate 1. The drawing was initially made in 1825 and Pennethorne later produced the watercolour version.

74 ABAF, Filza 20, section 52: ‘Sig. Roberto Wetten Inglese Architetto Proposto dai Signori Conte de Cambray Digny, Giuseppe Vannini, Giuseppe Martelli — 24 Fav. 4 Cont.’. Wetten was elected ‘per l’opera Architettonica sulle Case di Villa in gran parte Edita, che a pregio nostro pubblica in Inghilterra collo scopo di promulgare in questa regione lo stile Italiano dal medesimo eminentemente professato nelle sue Fabbriche’. Wetten’s name entered the list of professors on 21 September (ASF AD, Ms 154). It was presumably partly as a result of his publications, which especially concerned housing for the working classes, that the British architect Henry Roberts was later elected Accademico Professore in Florence on 10 September 1854 (ASF AD, Ms 154), for which see Curl, J., The Life and Work of Henry Roberts (Chichester, 1983), p. 59 Google Scholar.

75 For an excellent recent study of the British Italianate villa and its literature see Mowl, T., ‘The Williamane: Architecture for the Sailor King’, in Late Georgian Classicism: Papers Given at the Georgian Group Symposium 1987, ed. White, R. and Lightburn, C. (1988), pp. 92–106 Google Scholar. The standard bibliography is Archer, J., The Literature of British Domestic Architecture, 1711-1842 (Cambridge, Mass., 1985)Google Scholar.

76 ANSL, Vol. 101, item 184: ‘Al Sig. Prof. Carlo Barry, vice-presidente del R[eale] Instituto degli Architetti Britannici, accademico di merito professore straniero, Londra, Li 29 dicembre 1842. Chiarissimo Signore, Intenta sempre la Pontificia Accademia ad accogliere nel suo seno quegli illustri artisti, che possono crescerle dignità e decoro, ha nella generale adunanza di jeri, con maggioranza onorevolissima di suffragi, eletto V[ostra] Signoria] Accademico di merito, professore straniero della classe dell’ architettura, in luogo del defunto Cav. Carlo Federico Schinkel.’

77 ANSL, Vol. 101, item 184. An Italian translation is enclosed with Barry’s letter. His election was mentioned in Barry, A., The Life and Work of Sir Charles Barry (New York, 1972 [1867]), p. 316 Google Scholar: ‘In 1842 he received his first foreign honour in being elected into the Academy of St. Luke at Rome’.

78 Watkin, Cockerell, pp. 28–29. Cockerell’s letters have been acquired by the BAL, catalogued and bound since Watkin’s book was written, and this passage can no longer be found in the letter of 10 September 1816 (BAL, CoC:Add/1/35). Since the letter breaks off at the phrase ‘curiosity in France & Germany’, it is possible a sheet may have been mislaid. By the ‘Congress’, of course, Cockerell meant the Congress of Vienna (1814).

79 ANSL, Vol. 102, item 217. Cockerell’s election in Rome, which took place simultaneously with that of Pasquale Poccianti who had sponsored the Englishman’s candidature in Florence twenty-seven years earlier, seems not to have been noticed before. Another British architect who became a member of an Italian academy later in life was Ambrose Poynter, Honorary and Corresponding Member at Vicenza from 1846 (see Lever, J. et al., Catalogue of the Drawings Collection of the RIBA: O—R (Farnborough, 1976), p. 97 [11]5Google Scholar. See also nn. 11 & 74 above.

80 ANSL, Vol. 102, item 217: To ‘II Sig. Prof[esso]re Salvatore Betti, Segretario Perpetuo dell’ Insigne Academia Pontificia Romana di San Lucca, Londra 20 Marzo 1844. Chiarissimo Signore, Non v’ha dubbio che il Premio il più pregievoli all’ artista attacato fidelmente e da lunghi anni all’ arte sua sia di essere riconosciuto dai i suoi collaboratori, e tanto più quando tengono l’alto rango che spetta all’ illustre academia di San Luca … Ella può dunque intendere quanto mi è stato grato il suo inaspettato annunzio della mia elezione a membro di merito della prefata insegne academia. E la Prego di esprimere per mia parte all’ Illustre corpo accademico quanto sono stato vivamente tocco dell’ onore che si è degnato di conferirmi. Accetto con somma cordialità la di lei gentilissima congratulazione, e pieno di stima ed ossequio, mi ho l’onore d’essere di V[ostra] Signoria] Chiarissima … Professore Carlo Roberto Cockerell’.

81 ANSL, Distribuzione de’ Premi del Grande Concorso dementino (Rome, 1844), p. 74.

82 BAL, RIBA General Meetings Minutes, 2 (1841-48), fol. 44.

83 BAL, RIBA/MS.SP/4/1, fols Cr and Dv. Donaldson also announced that a member of the new Institute, John Newman, had established a fund to sponsor travelling architectural students (see BAL, RIBA General Meetings Minutes, 1 (1834-41), fol. 42 for Newman’s donation of II guineas and the promise of a further guinea each year for this purpose, also BAL, RIBA/LC/1/1/6 for Newman’s letter to Donaldson on the subject.

84 ‘Address to Sir John Soane, Architect, RA, FRS, FAS and member of various foreign academies on Tuesday 24th March 1835 upon the occasion of his being presented with impressions in gold, silver, and bronze, of the medal struck in his honour’. The committee comprised Samuel Angeli, George Bailey, Barry, Donaldson, W. J. Donthorn, Fowler, Goldicutt (as Treasurer), Kay, H. E. Kendall, James Noble, Parke, Henry Rhodes, Robinson and John Turner.

85 ‘Address and Regulations of the Institute of British Architects, explanatory of their views and objects, with a list of the members, and of the contributors to the collection, library, etc.’ (London, 1835).

86 ANSL, Vol. 90, item 173; ABAF, Filza 24, section 34; ABAP, Cartella Corrispondenza Anno 1835, Filza б.

87 ANSL, Vol. 90, section 173: ‘L’Accademia ha inteso con vivissimo piacere, che in Londra siasi data opera alla fondazione di un insigne instituto di architetti: per ciocché non vi ha dubbio che l’esempio di una società di artisti chiarissimi, posta nel centro di si grande e potente nazione non debba sommamente giovare in Europa a tener fermo il gusto classico dell’ arte ed a richiamare sul retto cammino coloro che mai se ne allontanassero’. The academy had discussed Donaldson’s letter at its meeting of 2 August 1835 (ANSL, Vol. 90, section 221, no. 5: ‘S’invii altresì una copia degli statuti all’instituto degli architetti britannici, per corrispettività della corrispondenza che l’accademia di S. Luca gradisce di prendere con esso instituto. Si aggiunga una copia della medaglia di Canova’).

88 ABAF, Filza 24, section 34.

89 ABAF, Filza 24, section 64: ‘J’ai encore vous exprimer, Monsieur, l’espérance que les Membres entretiennent de pouvoir être favorises de la communication de tous les Papiers publiés sous le patronage de votre Academie et ayant rapport à l’architecture et à la construction des Edifices, soit théoriques ou practiques’. The manuscript draft of ‘Questions’ is BAL, RIBA/MS.SP/1/5. As far as architectural education was concerned the document demandingly required the traveller to ‘get list of Professors involved in instruction in foreign academies, subjects taught, order of courses & lectures, nature of prizes offered in competition. — procure programmes of subjects given out. Describe judgement process. Find out about regulations for admission of students. Also the number of students sent to Italy or Greece. The regulations connected with their length of absence the allowance made them per annum, the obligation (if any) to send drawings to the academy or state by which they are sent abroad’.

90 ABAP, Atti, Vol. 3, fol. 254: ‘Il Sig. T. L. Donaldson, che la mandò [the medal] con una lettera sparsa di sentimenti nobilissimi, architetto egli medesimo di merito segnalato, fu acclamato Accademico d’Onore’. The medal was transferred to the Ducal Museum on 28 April 1836 (fol. 276). In the ‘Report of the Council’ of the Institute, read on 22 May 1836, Peter Robinson noted Donaldson’s election in Parma, describing it as ‘alike honorable to the individual and complimentary to the Institute’ (see Transactions of the Institute of British Architects of London, 1, Part 1 (1835-36), p. xxiv).

91 Perhaps it was as a result of this renewed honour that Soane sent the academy in Parma a copy of his Description de la Maison et du Musée de John Soane (London, 1835), receipt of which was recorded on 14 February 1837 (ABAP, Atti, Vol. 3, fol. 314). The second Italian academy of which Soane had been made an honorary member in his youth, that of Florence, also received a copy and in 1837 Soane was elected for the second time in Florence, though this time posthumously! (ABAF, Filza 26, section 70, see Salmon, ‘British Architects and the Florentine Academy’, p. 207 and p. 213, n. 79).

92 ABAP, Archivio Corrispondenza, Cartella 1835, filza 8 (Agosto I).

93 ABAP, Archivio Corrispondenza, Cartella 1835, filza 9 (Agosto II). The academy’s letter of reply to Seymour, dated 25 January 1836, indicates that the package was eventually sent to London commercially.

94 ABAP, Archivio Corrispondenza, Cartella 1835, filza io (Novembre-Dicembre).

95 BAL, RIBA/LC/1/1/32. See the ‘List of Contributions’ given in Transactions of the Institute of British Architects of London, 1, Part 1 (1835-36): ‘Copy of the work published by the Academy [of Parma], containing the Edifices raised by the reigning Princess. Also a work illustrating the new Theatre lately erected at Parma’ (this was probably Toschi’s, P. Nuovo Teatro di Parma (Parma, 1829)Google Scholar, which is bound together with Leoni’s work in the BAL). A second letter from Leoni to Donaldson, dated 6 May 1836, survives as BAL, RIBA/LC/ 1/2/16. In it, he told Donaldson that the grade of Accademico d’Onore was ‘il massimo che si usi conferire a personaggi insigni di merito nelle Arti’.

96 ANSL, Vol. 95, item 4; ABAF, Filza 25, section 85: ‘Je saisis l’occasion de vous écrire, qui m’est offerte par le départ pour l’Italie de deux Jeunes Architectes, élevés de mon intime et bien cher ami Monsieur Barry … Messieurs Nash et Parish … Je vous serai infiniment obligé si vous daignerez faciliter les études et les recherches dans votre ville de mesjeunes amis qui vous présenteront cette lettre, et si vous aurez la bonté de leur indiquer, et de leur procurer la permission de visiter, ces édifices, qui pourront le mieux pénétrer leurs esprits des nobles principes de notre art’. Parish was presumably Charles Parish (fl. 1832-54), a pupil at the Royal Academy Schools in 1835, who was elected a Fellow of the Institute in 1840 on the proposal of Barry, Donaldson and Hardwick. Nash must have been the Francis Nash who in 1838 carried two books to London from the Institute’s Corresponding and Honorary Member in Milan Ferdinando Albertolli (see Savage, N. et al., British Architectural Library … Early Printed Books 1478-1840, 1 (London, 1994), p. 36)Google Scholar.

97 ANSL, Vol. 95, item 4; ABAF, Filza 25, section 85: ‘Voulez-vous me faire l’amitié de presenter en même terns, au nom de l’Institut des Architectes Britanniques… le programme des sujets pour les prix qui doivent se décerner l’année prochaine aux meilleurs des memoires, où il en aura été traité. Le concours est ouvert aux Architectes de tous les Pays’. The prizes were a Soane Medal for an essay on acoustics and an Institute Medal for an essay on the use of iron. The final enclosures with these letters were copies of the catalogue of competition designs for the new Palace of Westminster as exhibited in London and of Donaldson’s own book A Collection of the Most Approved Examples of Doorways from Modern Buildings in Italy and Sicily (London, 1836). Copies of the book remain in the libraries of the academies at Rome and Florence. Both also have Donaldson’s, Collection of the Most Approved Examples of Doorways from Ancient Buildings in Greece and Italy (London, 1833)Google Scholar and his Architectura Numismatica (London, 1859), the Florence copy being inscribed Offerta di rispetto e d’omaggio all’Accademia delle belle Arti di Firenze dal suo Membro Straniero L’autore’.

98 BAL,RIBA/LC/2/2/II.

99 Salmon, ‘Storming the Campo Vaccino’, pp. 153-54. Valadier died in 1839, leaving Luigi Canina as the Italian architect most closely connected with the antiquities. Canina himself had been elected to the Institute of British Architects in 1838.

100 BAL, D0T/2/4/1 (Albertolli called Donaldson ‘Mio Carissimo buon amico’, congratulating him on the birth of three children and commiserating over the death of his mother). On 15 June 1840 Donaldson read a memoir of Stefano Gasse to the Institute, also suggestive of personal acquaintance (BAL, RIBA Proceedings, 1 (1834-42) ). Presumably Donaldson or other founder-members of the Institute had also benefited whilst in Italy from connexions with Pietro Bianchi in Naples, Gaetano Besia in Milan, Giuseppe Borsato in Venice, Sebastiano Ittar, Raffaelo Politi or the Duca di Serradifalco in Sicily.

101 BAL, RIBA Proceedings, 1 (1834-42), and BAL, RIBA General Meetings Minutes, 1 (1834-41), fols 200–02. This presentation by Hittorffto his British counterparts during his visit to London to study the Elgin Marbles for a second time seems not to have been noticed before. Donaldson presented some observations on the dispute about polychromy between Hittorffand his rival Raoul Ruchette, together with translated extracts from Franz Kugler’s 1835 Über die Polychromie der griechischen Architektur und Skulptur in Transactions of the Institute of British Architects of London, 1, Part 1 (1835-36), pp. 73-99. For Donaldson’s possible first meeting with Hittorff Paris in 1822 see note 69 above.

102 Transactions of the Institute of British Architects of London, 1, Part I (1835-36), pp. 115-25. See also notes 119 and 122 below.

103 Robinson, ‘Report to Council’, p. xxvi.

104 BAL, RIBA/MS.SP/4/2. There is nothing in this address to suggest that Goldicutt had made a recent second visit to Italy (see note 21 above).

105 ANSL, Vol. 92, item 79: ‘Sig. Tommaso Leverton Donaldson, segretario dell’ instituto degli architetti britannici in Londra, corrispondente dell’ instituto di Francia, proposto come accademico di merito professore straniero’. The’academy’s letter to Donaldson reads: ‘Intenta sempre la Pontificia Accademia di S. Luca ad onorare quei chiarissimi artisti, che per opere insigni possono crescerle ornamento e splendore, ha promosso V[ostra] S[ignoria] Ill[ustrissi]ma nella Generale Adunanza del [2 December 1837] da Accademico di onore a Professore Accademico di Merito dandole luogo fra gli stranieri della classe dell’ Architettura’ (ANSL, Vol. 171, item 8).

106 ANSL, Vol. 171, item 8: ‘Si jusqu’ ici j’ai été cordialement attaché à l’Italie et aux Italiens à cause des qualités estimables, qui distinguent le caractère de vos Compatriotes … dans toutes les branches des arts des Sciences et des lettres, combien ne dois-je pas éprouver plus vivement encore ce sentiment, après la distinction flatteuse que l’Académie Pontificale de S. Luc à Rome vient de m’accorder. Il m’est tellement impossible de décrire les emotions que j’ai éprouvées, en apprenant une nomination, si honorable et si satisfaisante pour moi .. . Veuillez, je vous prie, faire agréer aux Membres de l’Académie mes remercimens de l’honneur qu’ils m’ont fait, et les assurer, que je serai heureux qu’ils disposent entièrement de moi pour tout ce que je pourrai faire dans l’intérêt des Arts et des Sciences. Si je n’ai point, sans doute, le talent necessaire pour faire de grandes choses, j’ai du moins le zèle, qui souvent y supplée’.

107 Gruning, E., ‘Memoir of the life of the late Professor Donaldson’, Transactions of the RIBA, New series, 2 (1886), p. 91 Google Scholar. In 1871, at the age of 76, Donaldson had visited Rome again where he was invited to attend a meeting of the Accademia di San Luca on 3 November. In 1881 he received a letter of salutation from the Accademia signed by 34 members and conveying the greetings of his ‘servant and friend’, the 90-year-old Salvatore Betti (these documents in BAL, D0T/3). Betti himself died in 1882.

108 A letter from Debret to the Institute describing his restoration work at the Abbey of St Denis was read at the General Meeting held on 2 December 1839 (BAL, RIBA General Minutes, 1 (1834-41), fol. 319 [all folio number references in the notes hereafter are to this volume]). The letter is preserved as BAL, RIBA/ LC/2/2/14.

109 Luigi Gasse, like his brother Stefano, an architect of French extraction working in Naples, had died in 1833.

110 Three letters from Gasse to the Institute were read in 1838-39 (fols 233, 251, 312). For Donaldson’s memoir of Gasse see note 100 above.

111 Guénepin sent the Institute a memorandum on new buildings in Paris which Donaldson read at a meeting on 16 January 1837 (fol. 145). On 24 July 1837 Donaldson read an extract from a letter of Guénepin describing a recent public opening of the Palace of Versailles (fol. 211). A third communication was read on 4 December 1837 (fol. 214).

112 A letter from von Klenze describing his ionic Monopteros of 1830 in the English Garden at Munich was read at a meeting on 4 December 1837 (fol. 215, preserved asBAL, RIBA/LC/1/3/22).

113 Lebas wrote to the Institute about damage to Chartres in a recent fire and to describe recent French buildings on 18 July 1836 (fol. 126). A further letter was read out in April 1841 (fol. 374).

114 The notification of the General Meeting held on 27 February 1837 included the proposal to discuss ‘the propriety of omitting the name of Mons. Leclere … in the list of Members next published’ (BAL, RIBA Proceedings, 1 (1834-42)). Although in the event this matter was not raised at the meeting, the probable reason for it was Leclère’s delay in acknowledging his election, since he apologized for this when eventually replying on 3 December 1838 (fols 157-61, 268). Leclère, Goldicutt’s Parisian master in 1815, also reported the poor state of health of Charles Percier in 1838 (BAL, RIBA/FNP/1/176) and later sent the Institute two medals cast in memory of Percier (BAL, RIBA/LC/2/3/5).

115 Moller wrote to the Institute twice during 1838 (fols 217, 221, preserved as BAL, RIBA/LC/1/3/31 and LC/2/1/2), giving general news and information about Cologne cathedral.

116 Ottner attended the General Meeting of the Institute held on 23 May 1836 (fol. no), becoming the first Corresponding and Honorary Member to do so.

117 A paper by Schinkel on the use of zinc in architecture dated May 1840 was sent to the Institute, but not read until 1849, eight years after the architect’s death (BAL, RIBA/MS.SP/1/8/5).

118 On 27 February 1837 Donaldson read a translation of a letter from Hittorff describing the obelisk from Luxor, sent to Paris in 1836 and erected in the Place de la Concorde (fol. 161, preserved as BAL, RIBA/ MS.SP/3/3). For Hittorff’s visit to the Institute in 1837 see note 101 above.

119 Chateauneuf’s letter of thanks (BAL, RIBA/LC/1/1/29) noted that Soane’s former pupil Arthur Mee was to spend the autumn of 1835 in the Hamburg area. The two men were to make a joint entry for the London Royal Exchange competition of 1839. Chateauneuf’s letter about editions of Vitruvius in Hamburg Public Library was the first foreign scholarly contribution to be read at a General Meeting (on 9 May 1836, fol. 109). He also wrote to the Institute about the competition for a new Exchange at Hamburg (fol. 158). On 7 May, 11 June and 2 October 1838 he attended General Meetings of the Institute (fols 239, 252, 264).

120 A letter to the Institute from Hetsch written in 1838 described the current state of architecture in Denmark (BAL, RIBA/LC/2/1/12).

121 In addition to the books sent to the Institute with the travelling architectural student Francis Nash (see note 96 above), a further letter from Albertolli was read on 27 May 1839 (fol. 309).

122 Two letters from Borsato were read at meetings held on 18 December 1837 and 27 April 1840 (fols 217 and 337). Included with his letter of thanks, read on 6 June 1836, was a list of Vitruvius manuscripts to be found in the Library of San Marco at Venice, and this became the second foreign scholarly communication to be read at a General Meeting (fob 116-17). A month earlier Donaldson had commented on this subject after reading Chateauneuf’s paper (see note 119 above), presumably using information sent by Borsato to do so. Borsato’s paper on Venetian pavements (‘Costruzione dei Terazzi’), which pre-dates 1842 and was read at a General Meeting, is preserved as BAL, RIBA/MS.SP/1/8/1.

123 On 13 July 1840 a memorandum from Beuth on the cost of erecting public buildings in Berlin and Potsdam was read (fol. 359, preserved as BAL, RIBA/MS.SP/10/22). This work was subsequently printed in Transactions of the RIBA, 1, Part 11 (1842), pp. 111-22.

124 Catherwood, an English architect and prospective Fellow of the Institute, became a Corresponding and Honorary Member instead on 25 April 1836 after deciding to emigrate to New York (fol. 94). Later that year he wrote to the Institute describing an American method for moving houses from one site to another (fol. 136, preserved as BAL, RIBA/MS.SP/3/32), on which subject he also spoke at the General Meeting of 21 January 1839 during a return visit to England (fol. 275).

125 Ittar’s letter of thanks for his election developed an argument on Greek polychromy in Sicily differing from that of HittorfffBAL, RIBA/LC/1/3/9). On 24 July 1837 a letter from Ittar describing recent discoveries made at the site of Catania’s ancient theatre was read (fols 211-12, preserved as BAL, RIBA/MS.SP/3/5). A further letter from Ittar was read on 23 July 1838 (fol. 261).

126 A letter from Town was read at the General Meeting held on 13 July 1840 (fol. 359).

127 In 1837 Vaudoyer sent the Institute a copy of his ‘Dissertation sur l’Architecture’, originally read at the Académie des Beaux-Arts in 1832 (BAL, VaA/1/1). Copies of his report to the Académie on a memorial column to Tsar Alexander I in St. Petersburg and of his comments on Percier’s restoration of Trajan’s Column are also preserved in the BAL (VaA/1/2&3). The former was printed in Transactions of the RIBA, 1, Part II (1842). For the latter see Roma antiqua, ed. Uginet, nos 72-78. In 1838 Vaudoyer also communicated information on French historical and contemporary architecture in five further letters (BAL, RIBA/LC/2/1/13 & 32; Pamphlets Q.2 & Q.3). On 4 February 1839 his memoir of Charles Percier (BAL, RIBA/MS.SP/9/11) was the first obituary of a Corresponding and Honorary Member to be read at a General Meeting (fol. 280). It was also Vaudoyer who sent the Institute an obituary of Huyot in 1840 (BAL, RIBA Pamphlets Q.2). Another letter was read on 30 March 1840 (fol. 335) and a communication on 22 February 1841 (fol. 369).

128 Förster sent the Institute a ‘General Journal of Architecture and Engineering’ in 1837 (fol. 211).

129 In a letter to Donaldson Lassaulx urged him to ensure that the ceilings of Barry’s Palace of Westminster were vaulted rather than flat, for ‘architectonic’ reasons (BAL, RIBA/LC/2/1/9).

130 In 1839 Laves wrote to the Institute describing his work on the royal palace at Hanover, including plans for a Waterloo monument in front of it (BAL, RIBA/LC/2/2/3). A paper by Laves on the framing of large spans was read by Donaldson at the meeting of 16 March 1840 (fol. 333).

131 Serrure sent the Institute two letters with information on Antwerp architecture. In the second, read at the meeting of 4 March 1839 (fol. 285), he announced he was forming a collection of Belgian building stone to be sent to London (BAL, RIBA/LC/2/1/33 & LC/2/3/4). A further letter was read on 6 January 1840 (fol. 323) and Serrure sent a description of the tower of Antwerp cathedral which was read by Donaldson on 21 December 1840 (fol. 363).

132 A communication from Canina on recent discoveries made at the Porta Maggiore, Rome, was read by Donaldson on 2 March 1840 (fol. 331). Canina’s paper about an Etruscan tomb near Cervetri (BAL, RIBA/ MS.SP/3/10) was read on 30 March 1840 (fol. 336).

133 Zanth was a pupil of Percier’s, as was Hittorff. The two students had travelled together in Italy and Sicily in 1823-24. On 17 September 1838, during the Institute’s summer recess, Zanth displayed at its rooms some ‘highly finished Drawings of Buildings in Sicily’ (BAL, RIBA Proceedings, 1 (1834-42)). His election as Corresponding and Honorary Member followed just over two months later.

134 In November 1839 Bianchi wrote to the Institute sending drawings of the amphitheatre at Pozzuoli which he had been involved in excavating (BAL, RIBA/LC/2/2/16).