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3 Leslie, Fiona, ‘Inside Outside: Changing Attitudes Towards Architectural Models in the Museums at South Kensington’, Architectural History, 47 (2004), pp. 159–200 Google Scholar; Anderson, R.G.W., ‘Connoisseurship, Pedagogy or Antiquarianism: What Were Instruments Doing in Nineteenth-Century National Collections in Great Britain?’, Journal of the History of Collections, 7 (1995), pp. 211–25CrossRefGoogle Scholar; Bottoms, Edward, ‘The Royal Architectural Museum in the Light of New Documentary Evidence’, Journal of the History of Collections, 19 (2007), pp. 115–39CrossRefGoogle Scholar.

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7 London, Society of Antiquaries of London Archives, Minutes, 12 November 1767, p. 411. For modern identification of Roman monuments, I have adopted the terminology used in Claridge, Amanda, Rome: An Oxford Archaeological Guide (Oxford, 2010)Google Scholar.

8 On the development of classical scenes in presepe, see Hughes, Jessica, ‘”No Retreat, Even When Broken”: Classical Ruins in the Presepe Napoletano ’, in Remembering Parthenope: The Reception of Classical Naples from Antiquity to the Present, ed. Hughes, Jessica and Buongiovanni, Claudio (Oxford, 2015), pp. 284–308 CrossRefGoogle Scholar.

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11 Brenna's correspondence with Townley, held in the Townley Papers at the British Museum, is reproduced in Tedeschi, Letizia, ‘“Il mio singular piacere” in 18 missive di Vincenzo Brenna a Charles Townley e a Stanislaw K. Potocki’, in La cultura architettonica italiana in Russia da Caterina II a Alessandro I, ed. Angelini, P., Navone, N. and Tedeschi, L. (Mendrisio, 2008), pp. 451–94Google Scholar. See especially pp. 452–54, Brenna to Townley [November 1768]. Brenna does not mention the modeller, but it is clear from his criticism of Altieri's models that it is not Altieri. A likely candidate is Agostino Rosa, who would claim many years later to have been the first to make cork models. See Oberthür, Franz, ‘Über der Erfinder der Phelloplastik’, Journal des Luxus und der Moden, 20 (1805), pp. 288–90Google Scholar. See also Tedeschi, Letizia, ‘Vincenzo Brenna and His Drawings from the Antique for Charles Townley’, in Roma Britannica: Art Patronage and Cultural Exchange in Eighteenth-Century Rome, ed. Marshall, David, Russell, Susan and Wolfe, Karin (London, 2011), pp. 257–69Google Scholar.

12 Scott, Jonathan, The Pleasures of Antiquity: British Collections of Greece and Rome (New Haven, 2003), pp. 193–208 Google Scholar.

13 London, British Museum, Townley Archive, Vincenzo Brenna to Charles Townley, 24 June 1769, quoted in Tedeschi, ‘Vincenzo Brenna’, p. 262.

14 Hardwick, ‘Observations’, pp. 369–70. Two of Hardwick's drawings of the Colosseum are held by the Royal Institute of British Architects; see Catalogue of the Drawings Collection of the Royal Institute of British Architects, 20 vols (London, 1968–89), V, pp. 89–96 Google Scholar.

15 Tatarinova, Irina, ‘Architectural Models at the St Petersburg Academy of Fine Art’, Journal of the History of Collections, 18 (2006), pp. 27–39 CrossRefGoogle Scholar. On the first generation of cork modellers, see Kockel, Valentin, ‘Rom über die Alpen tragen: Korkmodelle antiker Architektur im 18. Und 19. Jahrhundert’, in Rom Über Die Alpen Tragen: Fürsten sammeln antike Architektur: Die Aschaffenburger Korkmodelle, ed. Helmberger, Werner and Kockel, Valentin (Landshut, 1993), pp. 11–31 Google Scholar; Kockel, Valentin, Phelloplastica (Stockholm, 1998), pp. 24–39 Google Scholar.

16 Wilton-Ely, John, Piranesi as Architect and Designer (New York, 1993)Google Scholar.

17 Russell, Francis, John, 3^rd Earl of Bute: Patron and Collector (London, 2004)Google Scholar; Brooke, John, King George III (Frogmore, St Albans, 1974)Google Scholar.

18 Dutens, Louis, Memoirs of a Traveller, now in Retirement, 5 vols (London, 1806), II, p. 183 Google Scholar.

19 Francis Russell, ‘John, 3^rd Earl of Bute and James Byres: A Postscript’, in Roma Britannica, pp. 121–44, p. 127.

20 Russell, ‘John, 3^rd Earl of Bute and James Byres’, pp. 129 and 131.

21 ‘Postscript’, Northampton Mercury, 21 September 1772, p. 111, at http://find.galegroup.com (accessed on 4 September 2015).

22 Russell, ‘John, 3^rd Earl of Bute and James Byres’; Hassell, John, Picturesque Rides and Walks, with Excursions by Water, Thirty Miles Round the British Metropolis, 2 vols (London, 1818), II, p. 216 Google Scholar; Faulkner, Thomas, History and Antiquities of Kensington (London, 1820), p. 381 Google Scholar. The fourteenth model is described as the ‘Gate of Augustus Caesar’; this may be Porta Maggiore, which Altieri is known to have modelled; see Kockel, Phelloplastica, p. 25.

23 ‘Man verfertigt jetzt zu Rom Abbildungen alter Denkmähler, die von Kork nach verjüngtem Maasstabe gemacht sind, und die deutlichste und genaueste Vorstellung davon geben, die ie möglich ist. Man kann nichts täuschenders sehen. Alles ist bis auf die geringste Fuge, den kleinsten Stein, das kleinste graßplätzchen und Schutthaufen ausgemessen, und dargestellt, und der Kork giebt ihm ganz das verfallene, ehrwürdige Ansehen im Ruin stehender Gebäude, mit den eingestürzten und dem von der Zeit zermalmten Gemäuer’: Meusel, Johann Georg, ed, Miscellanen artistischen Inhalts (Erfurt, 1779), p. 59 Google Scholar.

24 ‘Luton Hoo’, Caledonian Mercury, 10 December 1783, p. 1, at www.britishnewspaperarchive.co.uk (accessed on 19 May 2016); Luton Hoo: The Seat of the Earl of Bute (London, 1785)Google Scholar.

25 Coltman, ‘Classicism in the English Library’.

26 Dutens, Memoirs of a Traveller, IV, p. 178.

27 Edinburgh, Scottish Record Office, Papers of Patrick Home in Italy, 1771–77, quoted in Ingamells, Dictionary, p. 923. The bust of Talbot by Christopher Hewetson is now in the V&A Museum.

28 The Penrice Letters, 1768–1795, ed. Martin, Joanna (Swansea, 1993), p. 27 Google Scholar; Coltman, Viccy, Classical Sculpture and the Culture of Collecting in Britain Since 1760 (Oxford, 2009), pp. 147–48Google Scholar; Minor, Vernon Hyde, ‘References to Artists and Works of Art in Chracas’ Diario ordinario, 1760–1785’, Storia dell'arte, 46 (1982), pp. 217–77 (pp. 246–47)Google Scholar; Vaughan, Gerard, ‘Vincenzo Brenna Romanus: Architectus et Pictor’, Apollo, 144 (1996), pp. 37–41 Google Scholar.

29 Warner, Richard, A Second Walk Through Wales (London, 1800), pp. 82–86 Google Scholar; Evans, John, Letters Written During a Tour Through South Wales (London, 1804), p. 139 Google Scholar; Rees, Thomas, The Beauties of England and Wales, 18 vols (London, 1801–15), 18 Google Scholar: South Wales (1815), pp. 705–06. Andrew Lumisden identifies the ‘Temple of Diana’ as being a square building in the convent of St Anthony the Abbot on the Esquiline; see his Remarks on the Antiquities of Rome and its Environs, 2nd edn (London, 1812), p. 196 Google Scholar.

30 Lord, Evelyn, The Hell-Fire Clubs: Sex, Satanism and Secret Societies (New Haven, 2008), p. 81 Google Scholar.

31 Manchester, The John Rylands Library, Cornwall Legh Muniments, High Legh II, Box 15, James Clark to George John Legh, Naples, 5 July 1796. On Padiglione's career in Naples, see Kockel, Valentin, ‘Models of Pompeii from the Eighteenth Century to the “Grand Plastico”: The Three-Dimensional Documentation of Ancient Ruins’, in Pompeii and Europe, 1748–1943, ed. Osanna, Massimo, Caracciolo, Maria Teresa and Gallo, Luigi (Milan, 2015) pp. 255–75Google Scholar.

32 Christie, Mr., A Catalogue of the Genuine and Valuable Collection of Pictures…, Late the Property of Richard Dalton Esq., Deceased (London, 1791)Google Scholar. On the Temple of Minerva Medica, see Campbell, Ian, ‘The “Minerva Medica” and the Schola Medicorum: Pirro Ligorio and Roman Toponymy’, Papers of the British School at Rome, 79 (2011), pp. 299–328 CrossRefGoogle Scholar.

33 Leigh & Sotheby, A Catalogue of the Drawings, Prints, Books, and Books of Prints, the Property of the Late Thomas Sandby, Esq., of Windsor, Professor of Architecture to the Royal Academy (London, 1799), p. 4 Google Scholar.

34 Coxe, Peter, A Catalogue of all the Remaining Property Hitherto Unoffered for Sale, Belonging to that Very Ingenious and Celebrated Artist, Guy Head, Esq. Deceased (London, 1810), p. 19 Google Scholar.

35 London, Sir John Soane's Museum Archives, Soane Journal, no. 4, 15 February 1804, p. 437; Philipe, T., Catalogue of the Extensive Cabinet of Medals, Coins, Gems, Antiquities, and Books on the Fine Arts. Collected at a Liberal Expence, by John McGouan, Esq. F.R.S. Edin. Deceased (London, 8–15 February 1804), p. 63 Google Scholar. The models are likely to have been presented to McGouan by his friend Andrew Lumisden, who had fled Britain following the collapse of the Jacobite rebellion in 1745 and lived in Rome from 1751–69, employed as assistant secretary to the Old Pretender. McGouan had coordinated testimonials seeking permission for Lumisden to return home, and in later years the two shared an apartment in Princes Street and were active in Edinburgh's literary scene. Lumisden in his retirement published a readable and authoritative guide to the antiquities in Rome. See John Callow, ‘Andrew Lumisden’, Oxford Dictionary of National Biography at www.oxforddnb.com (accessed on 27 January 2014); Dennistoun, James, Memoirs of Sir Robert Strange and … Andrew Lumisden, 2 vols (London, 1855), 2, pp. 151–63 and 273–75Google Scholar; Lumisden, Andrew, Remarks on the Antiquities of Rome and its Environs (London, 1797)Google Scholar.

36 Robins, Messrs, A Catalogue of a Collection of Undoubted Original Pictures … also Four Curious Cork Models (London, 1817), p. 6 Google Scholar.

37 Kockel, Phelloplastica, pp. 24–39. Sir William Hamilton reportedly commissioned Altieri to make a large model of Vesuvius for George III, but there is no evidence that the model was completed. See D'Onofri, Pietro, Elogio estemporaneo per la gloriosa memoria di Carlo III (Naples, 1789), p. 99 Google Scholar.

38 McCarthy, Michael, ‘Documents on the Greek Revival in Architecture’, Burlington Magazine, 114 (1972), pp. 760–69Google Scholar; Oberthür, Franz, ‘Über der Erfinder der Phelloplastik’, Journal des Luxus und der Moden 20 (1805), pp. 288–90Google Scholar.

39 The list of Chichi's models, with prices, was published by Leipzig dealer Carl Christian Heinrich Rost, Anzeige aller Kunstwerke der Rostischen Kunsthandlung zu Leipzig (Leipzig, 1786), pp. 43–46 Google Scholar. A second price list is at Paris, Archives Nationales, AJ/52/446 (Archives de l’École nationale superieure des arts décoratifs, Musée des études), ‘Nota de Modelli delle Antichita Romane, che si fanno da Antonio Chichi Architetto Romano, valutate a Secchini Romani’. A useful listing of surviving cork models in European collections appears in Lecocq, Françoise, ‘Les Premières Maquettes de Rome: L'example des modeles réduits en liège de Carl et Georg May dans les collections européennes aux XVIIIe-XIXe siècles’, in Roma Illustrata, ed. Fleury, Philippe & Desbordes, Olivier (Caen, 2008), pp. 227–59 (pp. 248–59)Google Scholar. For a detailed description of the collection of Chichi models in Kassel, see Gercke, Peter and Zimmerman-Elseify, Nina, eds., Antike Bauten: Korkmodelle von Antonio Chichi, 1777–1782 (Kassel, 1986)Google Scholar. Thomas Mansel Talbot spent £33 on what would have been an extensive set of Piranesi etchings in 1772. In contrast, a single Rosa cork model of the Colosseum cost him £100. See Martin, ed., The Penrice Letters, p. 23. Kockel also observes that only the wealthy could afford cork models, especially large collections; see Kockel, ‘Rom über die Alpen tragen’, p. 24.

40 Richard Gillespie, ‘Richard Du Bourg's ‘Classical Exhibition’, 1775–1819’, Journal of the History of Collections For a detailed survey of the London exhibition scene, see Altick, Richard, The Shows of London (Cambridge, Mass, 1978)Google Scholar.

41 M.N., Letter to the Editor, Gazetteer and New Daily Advertiser, 2 June 1778, p. 2, at http://find.galegroup.com (accessed 19 May 2016).

42 ‘Romulus’, Letter to the Editor, Morning Post & Daily Advertiser, 5 May 1779, p. 4, at http://find.galegroup.com (accessed 19 May 2016).

43 ‘News’, Morning Herald and Daily Advertiser, 23 March 1785, p. 6 at http://find.galegroup.com (accessed 19 May 2016).

44 ‘Romulus’, Letter to the Editor, p. 4, as in note 42.

45 Malcolm, James Peller, Londinium Redivivum, or an Antient History and Modern Description, 4 vols, (London, 1802–07), 2 (1803), p. 516 Google Scholar; it is also described in A Companion to Every Place of Curiosity and Entertainment in and about London and Westminster, 4th edn (London, 1774), p. 105 Google Scholar; London, British Museum Central Archives, CE4/3, 950, ‘A List of Models in the British Museum’, 10 March 1810.

46 Synopsis of the Contents of the British Museum, 7th edn (London, 1814), p. xxx Google Scholar. The bronze head is no longer thought to be of Homer and is now known as the ‘Arundel Head’.

47 Jon Culverhouse personal communication, 11 September 2014.

48 A Guide to Burghley House, Northamptonshire, the seat of the Marquis of Exeter (Stamford, 1815), p. 59 Google Scholar.

49 J. F. Payne, ‘John Coakley Lettsom (1744–1815)’, rev. Roy Porter, Oxford Dictionary of National Biography, at www.oxforddnb.com/view/article (accessed on 22 May 2016); Pettigrew, Thomas Joseph, Memoirs of the Life and Writings of the Late John Coakley Lettsom, 3 vols (London, 1817)Google Scholar; Sambrook Court: The Letters of J.C. Lettsom at the Medical Society of London, ed. Lawrence, Christopher and Macdonald, Fiona A. (London, 2003)Google Scholar.

50 ‘A Friend to the Arts, Letter to Editor’, Morning Post, 13 May 1776, p. 4, at http://find.galegroup.com (accessed 19 May 2016).

51 Lettsom, John Coakley, Grove-Hill: An Horticultural Sketch (London, 1794), pp. 11–12 Google Scholar.

52 Lettsom to Dr Cuming, 9 February 1785 in Pettigrew, Memoirs, I, Correspondence, p. 87; see also Millburn, John R., Wheelwright of the Heavens: the Life and Works of James Ferguson FRS (London, 1988), pp. 257–58Google Scholar.

53 Lettsom Grove-Hill; Boswell's verses on Lettsom are reproduced in Pettigrew, Memoirs, I, pp. 169–70.

54 Messrs Squibb & Son, A Catalogue of the Celebrated Cork Models of Mr. R. Dubourg, forming the Exhibition at No. 68, Lower Grosvenor Street (London, 1819)Google Scholar; Sotheby, Leigh &, Museum Lettsomianum: A Catalogue of the Entire Museum of the Late John Coakley Lettsom (London, 1816)Google Scholar; ‘Mr. Dubourg – Exhibition of Cork Models’, Somerset House Gazette and Literary Museum, 6 March 1824, pp. 347–48.

55 The eclectic nature of the three models —which contrasts markedly with contemporary Italian examples— makes it virtually certain they are from Du Bourg's sale. Tipping, H. Avery, ‘Ickworth – II, Suffolk’, Country Life, 58 (1925), pp. 698–705 Google Scholar; Musson, Jeremy, ‘Modelled on a Roman Theme,’ Country Life, 192 (23 April 1998), pp. 90–93 Google Scholar. Their subsequent fate is unknown; see below, note 70.

56 An Appendix to the Oxford Guide: Containing a Description of the Amphitheatre at Verona, and the Temple of Neptune at Paestum (Oxford, 1821)Google Scholar; The Perambulation of Oxford, Blenheim, and Nuneham; To which is Added an Appendix to the Oxford Guide (Containing an Description of the Amphitheatre at Verona (Oxford, 1824)Google Scholar.

57 Cambridge, Fitzwilliam Museum Archives, Acquisition Book, from 1817–1907, 10 July 1826. On Elliott, see Barton, Nicholas, ‘Rise of a Royal Furniture-Maker,’ Country Life, 139 (10 February 1966), pp. 293–95Google Scholar, (17 February 1966), pp. 360–62.

58 Key, William, Catalogue of Paintings, Drawings, &c Bequeathed to the University of Cambridge by the Late Lord Viscount Fitzwilliam (Cambridge, 1826), p. 21 Google Scholar; Cambridge, Fitzwilliam Museum, Acquisition Book, 27 October 1854.

59 Porter, Bertha, ‘Thomas Hardwick’, Dictionary of National Biography, 63 vols (London, 1890), XXIV, pp. 350–51Google Scholar.

60 London, Victoria & Albert Museum Archives, MA/30/22, South Kensington Museum Accession Register, 1859; ‘Fine Arts: South Kensington Museum’, Illustrated London News, 21 October 1865, p. 383. On the extensive collecting by Leyland's brothers John and Richard Naylor, see Macleod, Dianne Sachko, Art and the Victorian Middle Class: Money and the Making of Cultural Identity (New York, 1996), pp. 456–57Google Scholar.

61 Darley, Gillian, John Soane: An Accidental Romantic (London, 1999), p. 162 Google Scholar.

62 Richardson, ‘Model Architecture’, pp. 224–27; Wilton-Ely, John, ‘The Architectural Models of Sir John Soane: A Catalogue’, Architectural History, 12 (1969), pp. 5–101 CrossRefGoogle Scholar. Soane's purchases are recorded in London, Sir John Soane's Museum Archives, Box: ‘Works of Art: Architectural and Technical Models’.

63 Edinburgh, Royal Scottish Academy, Council Minutes, 10 November 1851.

64 ‘The Polytechnic Exhibition at the Manchester Mechanics Institution’, The Manchester Times and Gazette, 21 December 1844, p. 6, at www.britishnewspaperarchive.co.uk (accessed on 22 May 2016). This model cannot be traced – unless it is Du Bourg's model prior to its acquisition by Leyland.

65 Forster, Henry Rumsey, The Stowe Catalogue, Priced and Annotated (London, 1848), p. 265 Google Scholar.

66 ‘Ruins of Kenilworth Castle’, The Morning Post, 12 June 1840, p. 1, at http://find.galegroup.com (accessed on 21 May 2016); Bellamy's career is described in Blake, Steven, ‘William Beckford and Fonthill Abbey: A Victorian Showman's Account’, Bath History, 9 (2002), pp. 126–37Google Scholar.

67 ‘Lord Beaconsfield’, Daily News, 14 July 1879, p. 4, at http://find.galegroup.com (accessed on 21 May 2016).

68 Caroline Butler, `Model Monuments’, Rethinking Pitt-Rivers: Analysing the Activities of a Nineteenth-Century Collector’, at http://web.prm.ox.ac.uk/rpr/index.php/object-biography-index/1-prmcollection/265-model-monuments (accessed on 27 March 2015); Evans, Christopher, ‘Modelling Monuments and Excavations’, Models: the third dimension of science, ed. de Chadarevian, Sorayan and Hopwood, Nick (Stanford, 2004), pp. 109–37Google Scholar.

69 Leigh's New Pocket Road-Book of England and Wales, 5th ed. (London, 1835), p. 34 Google Scholar; ‘Destruction by Fire of Luton Hoo’, London Evening Standard, 13 November 1843, p. 4, at www.britishnewspaperarchive.co.uk (accessed on 22 May 2016).

70 Michaelis, Adolf, Ancient Marbles in Great Britain (Cambridge, 1882)Google Scholar, quoted in Coltman, Classical Sculpture, p. 21.

71 Leatham, Victoria, Burghley: The Life of a Great House (London, 1992), pp. 59–60 Google Scholar.

72 Tipping, ‘Ickworth’, pp. 698–705; Musson, Jeremy, ‘Correspondence: Ickworth's Cork Models on the Missing List’, Country Life, 187 (9 December 1993), p. 59 Google Scholar.

73 Newman, John, Glamorgan (London, 1995), p. 422 Google Scholar.

74 Strong, Roy, Binney, Marcus and Harris, John, The Destruction of the Country House, 1875-1975 (London, 1974), p. 188 Google Scholar.

75 The first exhibition at Towneley Hall in 1903, following its purchase by Burnley Corporation, was a loan exhibition in an otherwise empty building. The family member who had sold the house, Lady O'Hagan, loaned several paintings and an Egyptian mummy; see Burnley Express, 13 May 1903, p. 3 and 16 May 1903, p. 8 at http://find.galegroup.com (accessed on 20 March 2017).

76 Berry, Mary, Extracts of the Journals and Correspondence of Miss Berry, 3 vols (London, 1865), II, p. 405 Google Scholar; Faulkner, History and Antiquities, p. 381.

77 Harris, John, No Voice from the Hall: Early Memories of a Country House Snooper (London, 1998), p. 21 Google Scholar. Harris suggests that Lord Verney's models were by Altieri and Chichi, but this seems unlikely for models acquired in Italy in the 1820s, long after the deaths of the modellers; it is likely Harris was simply invoking the names of the best-known cork modellers. On the ‘Museum’ at Claydon House, see Knox, Tim, Claydon House, Buckinghamshire (London, 1999), pp. 26–28 Google Scholar.

78 Porter, ‘Thomas Hardwick’, as in note 57.

79 Pierce, S. Rowland, ‘Thomas Jenkins in Rome’, Antiquaries Journal, 45 (1965), pp. 200–29 (p. 222)CrossRefGoogle Scholar; Bottoms, ‘The Royal Architectural Museum’, p. 131.

80 Cambridge, Fitzwilliam Museum Archives, annotated copy of Chapman, Henry Auburn, A Handbook to the Collection of Antiquities and other Objects Exhibited in the Fitzwilliam Museum, 2nd ed. (Cambridge, 1904)Google Scholar; Cambridge, Museum of Classical Archaeology Archives, Minute Books, 1912–18, 1919–47.

81 A list of the models on display in the Picture Gallery is provided in Macray, William Dunn, Annals of the Bodleian Library Oxford, 2nd ed. (Oxford, 1890), pp. 312, 478-91Google Scholar.

82 Oxford, University Archives, Library Records, File d. 1180, fol. 93r, D. G. Hogarth to Sir Arthur Ernest Cowley, 17 June 1926; I thank Dana Josephson for this reference.

83 Oxford, University Archives, Library Records, file 650, A.E. Richardson to W.G. Constable, 26 April 1932.

84 Richardson, Albert Edward, Monumental Classic Architecture in Great Britain and Ireland during the Eighteenth & Nineteenth Centuries (London, 1914)Google Scholar.

85 This is the prevailing view of how the models vanished; there are no records documenting the disposal. Adrian Forty personal communication, 12 December 2012. After his appointment in 1960, Llewelyn-Davies revised the curriculum, removing the existing Beaux-Arts focus on classical references, and stressing instead that science and engineering should be the foundations of architectural practice; see Llewelyn-Davies, Richard, The Education of an Architect: an inaugural lectured delivered at University College, London, 10 November 1960 (London, 1961)Google Scholar.

86 London, V&A Museum Archives, MA/30/22, South Kensington Museum, Accession Register, 1859; Catalogue of the Collection Illustrating Construction and Building Materials in the South Kensington Museum, new ed. (London, 1876), p. 208 Google Scholar.

87 London, V&A Archives, MA/1/5851, Nominal File, Science Museum, 1886–1949, Part 1, Cecil Harcourt Smith to Mr Oppie, 13 May 1912.

88 London, V&A Archives, MA/1/5851, Nominal File, Science Museum, 1886–1949, Part 1, E.R. Maclagan to Mr. Oppie, 17 May 1912.

89 Leslie, ‘Inside Outside’. On the history of the V&A, see Burton, Anthony, Vision and Accident: The Story of the Victoria and Albert Museum (London, 1999)Google Scholar. Curators and architectural educators in Paris expressed a similar distaste for cork and plaster models at the start of the Twentieth Century; see Durand, Jannic, ‘Une collection oubliée: les maquettes anciennes du Musée des Antiquités Nationales’, Antiquités Nationales, 14–15 (1982–83), pp. 118–135 Google Scholar; Jacques, Annie, ‘Les architectes de l'Académie de France à Rome aux XIXe siècle et l'apprentissage de l'archéologie,’ in Roma antiqua: Forum, Colisee, Palatin : envois des architectes francais (1788–1924) (Rome, 1985), pp. xxi–xxix Google Scholar.

90 Melbourne, Museum Victoria Archives, R. Henry Walcott, ‘Report of the Curator, Industrial & Technological Museum’, 2 March 1930. For details of this model, see http://collections.museumvictoria.com.au/items/715107 (accessed 3 June 2016). The six cork models of Greek temples at Paestum and Agrigento remain in the V&A collection in storage, most requiring extensive conservation.

91 Grand Tour, pp. 298–99; Tim Knox personal communication, 28 July 2016.

92 ‘Greek Temple Made of Cork Sells for 25,000 Pounds at Auction, at http://eu.greekreporter.com/2014/03/10/greek-temple-made-of-cork-sells-for-25000-pounds-at-auction/ (accessed 1 April 2014); Roland Arkell, ‘Grand Tour Model Brings Corking Result’, Antiques Trade Gazette, 2 October 2015, at https:// www.antiquestradegazette.com/news/2015/grand-tour-model-brings-corking-result/ (accessed 7 March 2016).