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I mean, everybody had a very, very warm welcome to the tailor for this presentation of the architectural folks of Robert Taylor,

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which would have come over from Dr. Matthew Walker.

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This is the event bringing together diverse Amazon.

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And I think I'm proud of the university, but for different parts of the university under the Aegis EEOC of this institute, the Taylor Institution.

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On one hand and on the other hand, the students in Society for History of the Edgar Society.

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Those who cares more about echoes the term programme of the aggregate society, they're all facets of the society.

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You can be happy to tell you more. I think at the end we have Taylor, on the other hand, the best season and I see the forms at Origo.

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This event has been claggett. It's never who.

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In addition to being the body's librarian of history and the Zafran Library, it also looks after imitation itself to its collections.

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And she joins me with Martha, who has worked on this project to identify,

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to bring up for our dedication some of the amazing books collected by this man.

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I don't know, Matthew, more than a minute longer,

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but this isn't the patient to remember who Taylor was really August Teo affection in this case from books, but he was Robert Taylor.

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A lot of people know very much about him. I suspect beyond especially as cheap he was.

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Is that aggressive defence designer? This is a man whose portrait, which hangs out says is a beautifully reproducible,

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splendid post office inventor, wonderfully and appropriately framed and agreed by the architecture.

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What was said at the end of its life in 1788 to become rather pleased with himself.

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And I suppose the portrait might bear that out. But perhaps he had some reason to feel Priest himself against the trial.

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Matthew Stokes. But he was a man who lived his life by no means had such resources as could acquire the books,

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which we shall see afterwards, or indeed in doubt, this institution.

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The son of a stonemason. A man who is Father Baxley's,

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who did quite well enough to build himself a road White House and then to live beyond his means and go bankrupt Plumridge.

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The young Robert Taylor came back from his continental travels to try to sort out what was left of the family estate and set himself to work.

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And he worked very, very hard. It seems to tender forest will oppose.

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I don't know. So it's my pleasure on that side. This was an angry never slept with the Beatles at four o'clock in the morning and began his life.

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He died a very rich architect indeed.

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Then again, nothing will have things to say of this.

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He was the representative of a profession of architect, which itself was struggling into existence in the 18th century.

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Very existence indeed. And thus he dies, possessed of an estate worth I think seventy thousand pounds was in the 18th century.

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An astonishing that. The further astonishing fact for us is that he wanted a large hospital system to

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come to Oxford University to promote the reading of books in foreign languages.

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When his son Andrew take a classic,

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the Portraits of Splendour to end his life to the The Sun out as the actor maintains literacy and the rest is the history that surrounds us now.

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We wouldn't be sitting here. But for his bequest, it's an interesting question.

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Again, Matthew may have used it,

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but maybe the best guess as to why Taylor was so keen to direct his money and its origin lies in his earlier life when he travelled on the continent.

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A young man, lots of great things. One of those northern aristocratic travellers on the grass to an increasingly

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18th century were taking part in this new opening up possibilities for travel,

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architectural visits and encounters with others of like minded people from different parts of the.

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The young woman, as I say, is on the Stone Mason native John Salaryman, the son of a bricklayer.

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Similarly travel and came back inspired by the buildings that they saw,

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but also by the intellectual encounters, the enthusiasm of those travellers, France, Germany itself,

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and especially to his own ability to read his interest in reading books in foreign countries,

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began in that phase of his life so that he said, we know the extraordinary buildings in this building.

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The fact that the building exists at this university and within the library here, downstairs.

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Oftentimes these books of Taylor himself extremely wonders, which Matthew presents was now so funny.

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Others said that he himself is the ideal person to speak to us about this.

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Matthew, who studied European history subsequently at the School of Architecture, Edinburgh, what he did, of course,

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in that school was scholars working architectural history, together with architects,

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working projects interested in the history of the architectural profession.

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He's also worked and continues to work on early travellers in the eastern Mediterranean.

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He saw the architectural consequences of those travels back in Britain.

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He is currently postdoctoral fellow to come to the history of art here, which delightful colleagues have in recent years.

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That's even more than Taleo. Thank you very much.

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Thank you, sir. And thank you all for coming. I'm going to speak for about half an hour.

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I shall introduce Taylor being populated as is already introduced. Very well.

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And then I will talk for a little bit longer about the books because.

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Because I like talking about central books. And then after about half an hour,

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we shall I shall invite you all to go through and see some of the books that the Clarin I have brought up to look at.

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And I shall I'll go in there as well. And if anyone has questions afterwards, we can discuss them over the books.

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So those devices should been telling us Taylor was a prominent person prominent in both helpmates, 18th century British architect.

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And he. His name is sort of on the front of this building and and on this building is named after him.

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I always I think I suspect not many of often people who use spelling cups.

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I realised he was an architect and his reputation as architect, I think, has suffered from the loss of some of his most important buildings.

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One building in particular, our returns. He showed me a true face of times.

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He's brought his bomb, the son of the master Mason in London.

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I must maysam him before he goes bankrupt, can at least pay for the plot to go to Rome.

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Then he has to sit back when the father does get bankrupt.

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And one wonders whether some of the books we'll look at later might might have been purchased in vain,

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although there's no reason why he can report them in London. But this obviously did begin a sort of interest in Italian and also European culture.

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I don't think he doesn't it doesn't seem to have gone to France, but there's there's almost as many French books in the collection as well.

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So it's it's as if it's interesting in general, continental culture of a particular architectural sculpture.

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When he when he comes back from Rome in the early 70s, 40s, he has to begin largely because of his father's bankruptcy.

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He has to begin his career. And being the son of the master Mason,

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he was an apprentice master Mason himself and a trained sculptor and some of his his earliest wealth, his death.

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He spends most of the 17th forties carving stuff and making monuments.

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This is a very lucrative business, actually.

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And in this period and there are quite a few surviving family monuments carved by Taylor in this period in the late 70s,

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40s is probably the most well known of this. Put this end up in Westminster.

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It is a monument to somebody called Crypt in Cornwall.

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I don't make cuts in Cornwall as there are drawings Martino Monument in which we have put out, one of which we have, but I can see them later.

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But this is a sort of typical of what Taylor was up to.

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Upon his return from Rome, he's part of the Group of London based sculptors.

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They include people like Ryze Brak. Well, that's probably not good advice.

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But at some point in this period when he is in London calling and making monuments and making money, he seems to have moved into architecture.

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We don't know. We don't know why, although it is equally as lucrative and one suspects it was because of his experiences in Rome in this period.

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There is no such thing as a. Architecture schools to become an architect in this period.

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You either need to be the son of a masterbation and get trained by him, by him, or you can visit the continent,

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acquire the materials to learn about architecture in order to be able to practise it.

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And this is what Taylor seems to have done by the pretty by the late 1748. He must have acquired some of his books.

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And he must have had enough architectural knowledge to start acquiring commissions.

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He goes on to become an important London architect.

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He designs some of the buildings. He also has various offices in the Office of Works in London.

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But most of his bed is spent designing and building country houses and villas

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because that's where the money was and actually of his surviving buildings.

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I think some of the most important ones, I'll say in a minute, tend to be sort of Phyllis London based London and unsafe English.

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That is his most famous design, as I said, is gone.

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And that's probably the reason why his reputation is not that of some of his contemporaries.

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I'm in the 70s, 60s after he'd been after he'd been a practising architect for about 10 years.

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He is commissioned to makes major alterations to the Bank of England in the city.

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And he's appointed the surveyors of the Bank of England for this period, the next 10 years.

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And by alterations, it pretty much takes everything away and builds a need.

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This was his last name.

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Building. It was also a large valiance by province city builder. As I said, it's its subsequent alteration by John saying I infiltration by John said.

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And then it's unfortunate demolition in the 20th century and on with the same work,

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it's probably best to say his disappearance from the architectural.

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What's ahead this hour screen, perhaps I should say something about about the style that Taylor designs.

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Taylor is an architect of the mid 18th century and in fact, he is either sort of called the Palladian or near classicists.

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He sort of sits sits between these two movements that overlap anyway.

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These are Platonism.

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It is a sort of product of the early 18th century in England. And it takes its name from the Italian architects and also Andre Palladio.

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And you'll see some of his work the minute Taylor sort of comes towards the end of the

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movement in British architecture and inspired by the writings and the designs of Palladio.

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And there are some Paladium elements in Taylor's designs, particularly his villa designs and his fellow plans,

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which look quite similar to somebody who Burlington's work with the previous generations.

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But we've already seen the environment. Well, we'll see in a minute.

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Taylor owns a fairly substantial collection of Yves Antiquarian works on Reven Architecture and not as Greek as wealth.

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He's he's somebody who knows a lot about the ancient ruins of Rome.

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As a result, lots of these buildings are designed to be used at the front of the bank and there is

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design and that sort of rather serious neoclassicism that marks the late 18th century.

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Some of these world looks like sort of people like chambers. There's other light and there's other lighter neoclassicism.

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This has to be an architect who took delight in designing interiors, interiors of tighter buildings.

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Oh, interesting. Or often seemed very good. This seemed to be his most famous interior.

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And it's in the Bank of England and it's lost. This is the rather bureaucratically named Reduced and use his office, which is as well.

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Those of you who know the Web saying might, might, might recognise this as a probable influence on sames work in the Bank of England.

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50 years later, it has these Excitement's Times segment, segmental times and the sightless sorts of times.

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So is prob probably have this in mind when he extends this building. It's a lot of wonderful material.

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I think his houses, those, those which survived are perhaps more typical of the previous generation.

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They'll tend to be a style. They don't have the castle orders on them.

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They all with that something sort of rather austere about them in a sort of valia plaiting way.

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They apparently, like many of them, had rather elaborate rococo interiors, though hardly any of it survived.

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We shall see a drawing of of of titles, rococo work lights.

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And he seems to be interested in in in in. There's only one by Kaiko Interiors within these sort of slightly S.A.M. serious flagon buildings.

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I'll talk about his drawings. Here's another one of another one that survives an enrichment site that still

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has again showed there shall be reference for that to this building looks.

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But these are these are amongst these only these are amongst these survivors, a lot of the evidence is gone as well.

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So he perhaps isn't as well represented his contemporaries after he'd been designing all this this this stuff.

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Yes. As I said, he'd he died a very rich man in 1788.

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And when he died, he was buried in some mountains in the field again.

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Tansy's and London, the WHO famously became a source of some controversy yesterday,

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says left money to the university to find an institution for the teaching and improving of European languages.

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But the world, which is a very complicated documents, only includes this quest in a sort of line at the bottom of it, which Taylor never signed.

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As a result, the son, Michael Angelo Taylor, who isn't.

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Turns out not as good as his ninth, ends up fighting the university over this and claiming that Taylor never signed it.

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They call him the money. And as a result, this is why this building that we now sit in is much, much later.

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The times that this is designed in the eighteen forties to the designs of s.L

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Cockerell and is what we might call a Greek revival building is magnificent.

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This tiny link between these columns, and I'm not sure he would have recognised or at least wouldn't recognise some of the elements of this building.

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It belongs to a future movements in architecture, the Greek revival.

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I'll talk about later, but it's because of this dispute takes place at this building, PICE States Taylor.

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Bye bye bye. Over 50 years. He's building a simultaneous collections have survived.

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I don't know where they.

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Whilst this dispute was going on, but one suspects they were in the hands of some that survives is so two volumes of drawings and a lot of books.

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The drawings that I think are interesting but slightly disappointing in some respects.

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None of the big elevations and plans of Taylor's major architectural work survive.

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There are no we want hope for big, big sort of presentation joins the Bank of England.

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But we don't get that. Most of the drawings that do survive are of decorative details.

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There's an entire volume of fireplaces, which we've got axe.

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I should. We should. We will. We'll show some of these. No, I can't put them up here.

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They'll have to wait for later, hit the building. But this pre-date the pope by some time.

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So there are two the two volumes of drawings we put out. The first one. As I said, is a small volume of fireplaces done in talus,

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rather intended entail a sort of rococo interior made the design that we've we've we've said and now I've I've put an accompanying note with it,

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but it happens to be one of the designs that was there was built and executed.

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It's a design that tailor made for Hisense stature of any materials that survive.

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Here are a larger volume, which are nearly all drawings of funerary monuments.

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And then also in Taylor's hands, as some of them seem to look Italian to me, I don't know quite like that where they're from.

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Most of them, all Titus drawings.

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And they all seem to date from that period in the seventeen 40s when he was a stone carver in London rather than architect.

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Again, we've got one that we think is quite interesting. It's actually a preliminary design for that.

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Captain Cornwall monuments I showed you earlier and that's the basis for the drawings.

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There are no big elevations of the villas there and there's nothing there's nothing else apart from these these two volumes of decorative work,

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mostly like the drills.

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However, what we have instead a really wonderful and exceptional collection of architectural books that seem to be in the possession,

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in the possession of Tyre, although there is one piece of evidence suggests that there may be an oddity later.

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This collection, I think, is wonderful foot for for many reasons, one of which is its quality.

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And the volumes are in very, very good condition. Some of them tile, it doesn't seem to have ever read.

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They are immaculate. The other thing that I think is wonderful about Taylor's collection is what is this its size?

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Is it substantial? It's very large.

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But the best thing about it, I think, is that it is entirely contained within it is entirely what we would expect Taylor to own.

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It is a very, very typical collection of a mid 18th century British architect.

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And that's I think this is what makes it is what makes it revealing,

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because it sort of gives us a snapshot of architectural architectural theory and architectural publishing at mid century.

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So Taylor has some Renaissance and 17th century books, but not many, because those are falling out of fashion by this point.

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He has a lot of the key books of 18th century British architecture.

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Vitruvius Botanicas, the rare edition of Palladio, gives his book of architecture, one of which you will see in a minute.

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And Turner has a few other volumes that sort of might represent the generation after him and publications that came out towards the end of his life.

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That's sort of almost belong to the future. So he has the first volume of Stuart and Robert.

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He has chambers discourse and civil architecture.

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But those are those those are those are ones that those are books that perhaps don't play so much of a role in Taylor's career.

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They represent they represent. What comes next in that respect is sort of the collection.

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The collection are sort of is is a microcosm of what of what he was as an architect between two recognised movements,

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Platonism, a neoclassicism in the middle of a century, whose collection very much reflects at the time he was working in.

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What was his collection? Well, I've only suggested that maybe some some of the earlier volumes may have been bought in

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Rome and the rest of the volumes would have been would have been available in London.

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Most major architects of this period would have owned collections like this, as I said.

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As I said earlier, it's become an architect in this period. You need to possess knowledge of of European an ancient architecture.

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And most of the books that Tony would have been sort of built for that reason to to to learn about to learn about ancient Roman architecture,

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to learn about contemporary design.

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There are also some volumes in the ones I'll talk about lost that don't have any any real connexion to contemporary design.

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They say they seem to have just been bought because Taylor liked them. So they did.

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I'll take you through each of the books. There's this, I think about 50 or 60 books that terrible I have.

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I will go through them now briefly and then afterwards I can I can let you see them.

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So I've been so busy with the earliest that the earliest book, the oldest book contains collection, which is this Vicente's Democracy.

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This is one of the great sort of the last great Renaissance architectural treaties.

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And it is the oldest book in Taylor's collection.

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Skelsey is one of those sort of big names of Renaissance architectural theory, along with Palladio and Salyers.

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He was born picking 48, too. He was a Venice based architect.

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And this book, the idea that architects were signing was an attempt to sort of write a holistic history of of architecture from classical,

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from from ancient times to to the to present day. It was I'm finishing the first three volumes.

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But what was that? What were published? In many respects, it's a rather typical late Renaissance Italian T-shirts.

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And it starts with with the five orders and lines of the works up to different building types.

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Today we have it open on this page showing the Motss line up of the five.

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When I signed orders, he being a sort of being a 17th century architect provider,

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he includes the Suskin and the composite orders, which were not the creation of the 16th century.

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Certainly they were codified in the 16th century when it was the list.

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This is this this this illustration is interesting because it includes some Ötzi famous interpretations of the

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ionic capital in which the police are timeously 45 degrees on the corners of the capital rather than either side.

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Those is this capital. This is why it's like that, although that as a.

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President was popularised Bustamonte and copied extensively in England and northern Europe.

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So it's interesting in that respect as well. It's a sort of interesting moment in in the architectural design history of the previous century.

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Another 17th century book that Taylor owns, in fact, something that all English architects in this period.

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If this looks the out see, this is sort of probably relisted old fashioned by the 1752.

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But it's but it's something that the English people are still buying here.

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This is an English translation of attacks by random fire. The 17th century French architect felt original text,

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which was a parallel of ancient to modern architecture in which far out firstly set up

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sets up a comparison between ancient and modern architecture in which the ancient wins,

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and then sets up a series of comparisons between mediaeval says, one of whom normally comes out on top.

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Come Ötzi takes it takes a bit of a kicking, I'm afraid is generally seen as a rather sort of conservative, almost reactionary tax.

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By the time it's published later in the 17th century in France,

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it will become very unfashionable when writers like to thank you for being conservative, but it has a substantial afterlife.

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And even due to its publication and its translation by John, even in 1966 66 and full time, the second edition of 1787.

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And as I said, although he says this is perhaps a bit old fashioned,

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something that you find in lots and lots and all English architects like peace of this period.

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It's a sort of standard reference work,

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mainly because because it has a lot of high quality illustrations of ancient architecture rather than necessary text,

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which is mainly sort of major attacks on Italian theories.

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What's next? The next book we have out is also a French book, although not originally.

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This is the only copy of the one surviving architectural treatise on the ancient world that survives in Taylor's library centre.

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You won't copy opportunities is the architect here? And it's this.

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This is the French translation of Sixteen Seventy Three by Claude Pere.

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It means. This is perhaps the one addition of achievers that we would expect Tyler to own.

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Again, you can sort of predict what time is going to end in the end. It's entirely predictable that this is the one the Trevis he has.

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Intend to stay. The treaty is still has not been translated into English.

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And this in many respects is the sort of definitive, definitive Vitruvius for English architects.

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Throughout the 18th century, Paris text is accompanied by a very beautiful series of copperplate engravings.

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And the image that we have chosen to have displayed today is the fastest pace in which it depicts the

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personification of architecture handing over the translation to sonification of France in the background.

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Two of her designs, one for triumphal march, was a partially built and he's made famous upstairs.

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I can't quite say you can see still. This is parathas on the east side of the leaflet,

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say Paris designs in the background and his great contribution to architectural there in the foreground.

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As I said, this is this seems to be Taylor's one copy of Vitruvius two.

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This is still an important author. In the 17th, 60s and 70s, say one suspects it is quite important book for Tiger if it is the only DPN copy of it.

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And he owns another French book from the same period.

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This, again, is produced the same time as Parise Vitruvius translation.

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And as it's by I think it is. It's a comprehensive survey of ancient buildings in Rome.

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Here's this demonstration of the Parthenon pantheon sorry, which we have, which we have displayed today.

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David Brooks is a very important figure in this antiquarians history of architecture, if you like.

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He is dispatched by the French Academy to vote in the 60s, 70s to late 60s,

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60s to measure precisely the ruins of Rome or measured far more precise than anyone had managed thus far.

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Sex becomes very important because when decadence gets back and publishes a less,

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everybody realises that the proportions of ancient buildings are not in any way as uniform as they thought they were prior to this.

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And the homicide parents.

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Vitruvius translation is a sort of two pronged attack on on older ways of thinking about things like that, show, that sort of thing.

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Very, very sort of homogenous and uniform. The Valentinos and again, is not surprising in many respects.

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It's still it's still the most comprehensive and accurate depiction of the ruins of Rome in being produced.

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It hasn't really been superseded by the 176 seventies.

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It's a very beautiful book. We have it open on this page. I think it is a great Australian.

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Finally, we move into the 18th century where Taylor has collected the classics of 18th century British architecture, of which you are more important.

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This this is Isaac was sentenced to eight.

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English translation of Andre Palladio equate Philippe books architecture.

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And here is probably its most famous legislation. Very nicely.

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But again, we have the original three that this is not the first English edition of Palladium.

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There is an earlier edition by vinyl only. But this is this supersedes that greatly.

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This is seen as the sort of much more faithful English ladies.

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And this book goes on to sort of influence and shape British architecture in the middle of the 17th century is a hugely important volume of English,

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some English architecture sort of copy plates directly out of it.

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And this one gets copied in very well in Kent, for example, by the architect Colin Campbell, who will meet later.

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It's exactly the kind of thing that we would expect Taylor to. Oh.

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This image, of course, is a Paladium famous rotunda of Alleycat, which got built for different, different designs.

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Then what a shame. This is the most the most famous Palladio building and probably the most famous station in the book.

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Have a great sort of the behere. I think the shock of the English Paladium movement in the in the early 18th century was Inigo Jones.

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And this is another classic from the mid 18th century.

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Looking back to Britain in the 17th century and looking back to James in particular,

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published by the same person, the same person, that translates the truth as I played it.

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I said, well, this is a small volume of designs of Jones and a few others.

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The other sentence is the contemporary, which is architects such as William Kent.

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It's a very slim, very many decorative detail, fireplaces and ceilings and stuff that I think have being taken from James's buildings.

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But again, it's something that most British architects would own.

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Many, perhaps because it's James Jones. Is is the is this is 17th century.

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British architects are seen as the sort of hero of one of the heroes finish playing.

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And he was the first English architect to bring back extensive knowledge of ancient Roman buildings.

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He brings back a copy of Palladio, which is as it was.

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James must acknowledge that this family is.

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I mean, it's really interesting. The most and most of the illustrations that were a page, lots of James designs tend to be smaller.

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That for the details I selected what I think is most interesting as been the only

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larger images of the whole actual James building since James's lost father.

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Certainly. And that's me theatre in London, both in the 16th thirties and demolished in the 19th century.

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This is a section through the bottom that gives us an idea which we can see the auditorium of the anatomy theatre.

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Typically for 17th century, and that's in theatres, animated skeletons decorate the walls painted in allegorical poses.

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This is a sort of lost feeling of James and a nice sort of obsolete building type, but not only of interest in the middle of the 18th century,

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it's included in this in this important publication of James's work on the subject of James.

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I'm just going to go back in time briefly.

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Also, I was The Lens Through, which is published by James, published posthumously published by My Life People.

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John what? The one thing that James writes and leaves and leaves occasionally.

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This is James's bizarre, very bizarre piece of work, writing on the subject of Stonehenge,

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in which James argues that Stonehenge is in fact a Roman building.

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James came to this conclusion by visiting the sites and deducing that the plan of the monument was

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geometrical and that the that the Stones might indeed represents a very primitive form of the Tuscan order.

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And in the in the book, James reconstructs the temple or the monument as it might have looked in Roman times when the Romans built it.

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And this is published after James Stafford.

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It starts off as a little row in London parents circles in which a report gets published saying this is rubbish.

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Webb then publishes another volumes. I know. James is right this very minute, etc., etc. goes on for a while and suggests that he discredited,

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credited by tennis time and the sort of the the archaeology and the antiquarians study.

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And it is entirely obsolete. It's untidy, old fashioned.

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And one suspects that it's presence, that the presence of the spending and tax collection is again, because it's got Jones written on it.

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It's the name rather than the content. James being sort of one of one of his prophets of palladium plagiarism.

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Another crucial tax on a flat tax is another. Another important of seminal tax them from the early years of age.

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This is Colin Campbell's Vitruvius Botanicas, published initially in 1715 and then in various volumes.

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The next two decades. This is a that is named after the van northward.

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Doesn't have much to do with him.

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It is a series of large scale engravings of recent British designs, mainly country houses, mainly in plan and elevation.

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Today I am showing I'm going to show you an image of Castle Harod founders.

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The country has a design and terms in Yorkshire and a volume and an image of one of its buildings that makes it into volume for future projects.

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This is always seen as this sort of a Paladium manifesto,

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but actually it doesn't seem that Campbell doesn't seem to sort of prioritise any style over the other.

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The architect that is that is represented about more than any other is actually found the architect of the Baroque,

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which is why it's to show the Castle Howard image is not this one. This is a camera design.

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I show the castle how images of a reminder of how this is much of baroque design in Virginia.

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This is what we might call Platonism about. Only this percent, of course, is that Campbell used it to sort of promote his own career is not set.

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This is a design by Campbell, and there's lots of his designs in it. He also used it to exclude the designs of others, his rivals.

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There's lots of important people who get left, as I could see, this Botanicas, one of whom is the author of our next book, James.

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This gives you may know is that is the is the architect of the Radcliffe camera here in Oxford and St. Martin's and the Fields Church in London,

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where Taylor himself and later getting married to the second edition of Gibs,

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his most important publication, the book on Architecture,

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which is largely published as a response to Vitruvius Botanicas and the fact that Gibbs has been left out of it.

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So this is an entire body of Gibbs, his own designs. It's the first English book written or book devoted solely to the designs of its earth.

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And it's a series of very, very fine engravings of the plans section elevations and perspective drawings of gates as well.

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And this is the collective drawing of engraving objects.

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And some martyn's in the fields in London where, as I said very we find this we have this image.

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We have this page open next door.

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Suddenly the drawing in which this is based is a drawing and gets his hands on which this engraving is based and it survives today.

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And that next door and the Ashmolean is the print me along with the rest of Gibbs's drawings.

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So it's a matter entirely typical 18th century book that we would expect to write a book about this actually goes through multiple editions.

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It's a bestseller. Lots of people buy it and it ends up being copied extensively actually throughout England gives

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us plans to sort of get his own back on Campbell Works when this when this when this hits it.

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Sort of third edition. A similar bill from a native.

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Here it is. Is this, again, a book devoted to the designs of its author.

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This is William Chambers treatise on the decorative part of civil architecture, a later 18th century book of designs, predominately decorative ones.

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Chambers is the OP is an architect of the sort of generation after Tator.

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He's he's a great rival of Robert Adam and he publishes and publishes this.

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Originally published originally in 1759 inside his lifetime.

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The reason I got this out today that I think is that this is rather significant book in the collection.

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In this, the addition that Taylor owns is is the third edition of the 60 or so 1791, which is three years after Taylor's death.

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So this is this book is published after it dies.

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It's the only book in the collection The Post takes Taylor, but it's clearly evidence that this collection has been added to after Titus death.

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Probably this is backed by his son, Michelangelo.

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So the presence of this of this of this funding sort of destabilise the collection in a way that never makes it.

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It's unclear as to whether this was the entire football of just wasn't the property of Robert.

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I'm wondering is if there are any other volumes in there that may have been purchased by his son rather than head sliced something presence that one.

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An interesting it's an interesting treatise on the left, on its particularly, as I said, decorative designs.

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And that's the image we had today is not one of these.

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It's say it's a letter, one of a chain, the design of the decorative urn. And it sort of it seems to belong to a different period.

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It's a sort of architecture of the future in a way or Taylor's future. Then I'll see.

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The last couple of bodies from the 18th century, from 18th century Britain are two volumes concerning not British architecture,

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no Roman architecture, but the architecture of the wider ancient world.

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This was a period just prior to prior to Taylor,

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there was a great increase in travel in the eastern Mediterranean, in the Middle East and in 18th century,

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a number of British antiquarians visits in some ancient sites in the Middle East and come back up

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with measurements and drawings from the most important of these these ancient sites in Palmyra,

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in the Syrian desert. Primary responsibilities by brainwash people on the sixty nineties.

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But then in the 17th 40s is this visit again by another expedition led by the antiquarian Robert Wood,

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who measures all these rooms in a sort of similar way to take it. That's right. Fifty years earlier on his return,

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he publishes a copy of these and this sort of this volume of designs of of antique bottles and remnant that they're

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from from from a from a long way away from Rome ends up going and becomes a very influential in British design,

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perhaps because of the novelty value, perhaps because they're different, perhaps because the British discovered this place and the French Italians.

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Adam, for example, copies decorative designs in this book extensively as well.

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Not just that we've shown to date has not one of the smaller, friezes or capitals.

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It is a panorama showing the temple of fall on the site.

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Survival hopefully survives today. The recent events since the plague bearing.

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We don't know the status of this that matter, the heresies in the 17 40s depicted by Wood.

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Again, this is a very, very important booking in architectural theory in this period.

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And it's something it's something that we'd expect title to a British book we have.

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It is this one, unlike Chambers, this is this is one of these sort of later volumes that really the data correspond to Tan's career.

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This is this is one for the future. This is John Roberts, Antiquities of Athens,

385
00:41:14,850 --> 00:41:19,770
a volume of designs and parallel and panoramic views of Athens made by student

386
00:41:19,770 --> 00:41:25,310
rebels who visited the city in the 17th 50s at the behest of the society.

387
00:41:25,310 --> 00:41:30,210
Something this began the publishing three volumes.

388
00:41:30,210 --> 00:41:35,100
The first one comes out in 1762 and then the next two are published 20 or 30 years later,

389
00:41:35,100 --> 00:41:41,430
after various problems with the publication and results and earnings volume one.

390
00:41:41,430 --> 00:41:48,470
By the time Volume two comes out, tator is dead. In fact, he doesn't even own very much of any anyone he owns yet unions, a few pages of it.

391
00:41:48,470 --> 00:41:54,680
And I know what's happened. Maybe maybe he only bought at the end he bought it and not well, maybe some of it got lost.

392
00:41:54,680 --> 00:41:58,500
That wasn't a surprise. Antenna's collection was the introduction.

393
00:41:58,500 --> 00:42:05,080
And a couple of a couple of images, one of which is is a nice panorama of the city, which which we've shown today.

394
00:42:05,080 --> 00:42:13,980
So we come to such a fundamentally influenced early 19th century architecture in Britain and in particular, of course, the Greek revival.

395
00:42:13,980 --> 00:42:17,670
The better we are now sitting in is a late example of the Greek revival,

396
00:42:17,670 --> 00:42:23,700
but it's part of a movement in British architecture that really begins with the publication of this text.

397
00:42:23,700 --> 00:42:27,510
As I said, it doesn't have much resemble. It doesn't have much relevance for tennis courts.

398
00:42:27,510 --> 00:42:35,130
And there is not somebody that's designing buildings in a Greek style or buildings that are any maybe the inference or inspired by Athens.

399
00:42:35,130 --> 00:42:38,220
But the fact that he owns this first film, at least I think is interesting.

400
00:42:38,220 --> 00:42:45,990
It shows he's sort of he's he's he's he's buying the latest things even even later in his career.

401
00:42:45,990 --> 00:42:53,990
As I said, it's it's more of the future than at the mid 17th century or 18th century.

402
00:42:53,990 --> 00:42:57,440
Also, you know, I'm glad I decided to say the best to last.

403
00:42:57,440 --> 00:43:11,660
The highlights of Taylor's collection is his 17 band volumes of the actions of Geovani tyrannising famous Italian printmaker, 18th century.

404
00:43:11,660 --> 00:43:17,050
There are more than 80 volumes in this collection than any other architect that or any other any other author.

405
00:43:17,050 --> 00:43:20,600
They are, in fact, by some distance. Thanks, Wolf.

406
00:43:20,600 --> 00:43:25,160
Any other author here? Why? We don't know.

407
00:43:25,160 --> 00:43:31,480
These were very, very popular amongst English visitors to them, and they were popular in England as well.

408
00:43:31,480 --> 00:43:37,140
Why Taylor should have so many of them? We don't know. Obviously, obviously liked them.

409
00:43:37,140 --> 00:43:51,090
Oh, wonderful. He was an Italian Italian filmmaker who made his name by publishing a series of major views of Italian sort of Roman ruins in Rome,

410
00:43:51,090 --> 00:43:58,500
in Italy in the 17th 50s. We showed some of these 1750 50s views of Rome today.

411
00:43:58,500 --> 00:44:05,650
Next door, as you can see, they immediately sort of added that they they're very different from the sorts of things we've been looking at.

412
00:44:05,650 --> 00:44:12,320
I think of that. Or would you rather play these views are very much more dramatic.

413
00:44:12,320 --> 00:44:20,190
The rooms are showing that the crumbling and overgrown, there's something sort of almost to protect romantic about paintings, engravings.

414
00:44:20,190 --> 00:44:24,490
This I think this is one we've got. These are the bottom of the mausoleum.

415
00:44:24,490 --> 00:44:30,740
Hey, Patria top there. Seriously dramatic, exciting, thrilling.

416
00:44:30,740 --> 00:44:38,510
Visit Rome. These are what I think we can sort of we can sort of say that not only this collection is designed to learn about architecture,

417
00:44:38,510 --> 00:44:44,080
there's not much that you can you can't copy anything in paradise. Like, I don't have an influence.

418
00:44:44,080 --> 00:44:51,050
The impact on British architecture. Well, I suspect that tenable because he liked them and they're from the last body may show,

419
00:44:51,050 --> 00:44:56,470
which is probably the most famous thing that we have up today, is the most fun of them all.

420
00:44:56,470 --> 00:45:02,410
tyrannise is a fantastic, crazy volume of prison drawings.

421
00:45:02,410 --> 00:45:12,550
These are an entirely invented by Ken Azy. They are solely for sort of solely for entertainment value and then take up tighter ends.

422
00:45:12,550 --> 00:45:21,290
And he has a very beautiful copy. Again, these are not in any way relevant to the sort of course of British architectural design in the 18th century.

423
00:45:21,290 --> 00:45:27,810
No copying these. They're being bought to enjoy and to amuse people their own influence.

424
00:45:27,810 --> 00:45:35,060
They go on to influence at the 19th century. They influence perhaps people like free sulien, romantic painters and authors of the next century.

425
00:45:35,060 --> 00:45:40,610
But their presence here, it seems to be for sort of enjoyment.

426
00:45:40,610 --> 00:45:46,550
And it's that now I'm going to leave it, actually. Well, that is what those are the books that we have up today.

427
00:45:46,550 --> 00:45:50,090
Please go enjoy them. Look at them. Don't touch them.

428
00:45:50,090 --> 00:45:57,920
Although we have lots of signs on this. I shall also come through and answer questions as well.

429
00:45:57,920 --> 00:46:02,930
So if you do have any questions, please. Saving up for a veteran is just across the way there.

430
00:46:02,930 --> 00:46:25,621
And we have the murder as arranged around the room. And there is a sort of sort of, you know, I'll just taking within today.