Print of the Thames painted by James Barry in the Society's Great Room. The print is dated 1 May 1791 but this is far too early as the addition of the naval pillar to the painting was not made until late 1801, early 1802.

This print was Barry's attack on the condition of contemporary England. It praises the birth of Liberty in North America and its demise in England. The print was quite a forceful indictment on the establishment and this may explain why Barry did not actually sign it.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscritption was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscription was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscription was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscription was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscritption was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscription was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made. This print has the inscription handwritten in pencil under the mounted print.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscritption was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscritption was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.

Depiction of the fall of Satan with St Michael driving Satan out. James Barry dedicated the drawing to the Dean and Chapter of St Paul's who had approved the plan to decorate the church with history paintings. Although the print is dated 1777 it appears that it may be a later version c1790

Depiction of the fall of Satan with St Michael driving Satan out. James Barry dedicated the drawing to the Dean and Chapter of St Paul's who had approved the plan to decorate the church with history paintings. Although the print is dated 1777 it appears that it may be a later version c1790

Depiction of the fall of Satan with St Michael driving Satan out. James Barry dedicated the drawing to the Dean and Chapter of St Paul's who had approved the plan to decorate the church with history paintings. Although the print is dated 1777 it appears that it may be a later version c1790.

The print of The Brith of Venus by James Barry is a later version than the one originally produced in 1776. Barry added 'PPRA 1791' to the later versions thereby dating this print to the latter version. (PPRA = Professor of Painting to the Royal Academy)

This is a print of a painting by James Barry called 'The Birth of Pandora'. Only slight revisions were made in the print. No inscription was included.

This is a detail of the angelic guiard and the group of illustrious patrons that James Barry painted as part of the 'Elysium and Tartarus' painting in the Society's Great Room. Unusually there is no inscription under the print.

This is a detail of the angelic guard and the group of illustrious patrons that James Barry painted as part of the 'Elysium and Tartarus' painting in the Society's Great Room. Unusually there is no inscription under the print. This version appears to be slightly smaller than others in the archive collection.

This is a detail of the angelic guiard and the group of illustrious patrons that James Barry painted as part of the 'Elysium and Tartarus' painting in the Society's Great Room. Unusually there is no inscription under the print.

Print of Satan, Sin and Death by James Barry. Barry produced 9 versions of this print which depicts Satan, who is seeking the Gates of Hell, opposed by its Guardian Death (who is actually Satan's son by Sin). Sin is intervening and holding them apart.

Detail of the group of scientists that Barry painted in the 'Elysium and Tartarus' painting in the Society's Great Room. The print is dated 1 May 1795 but this version has an inscription at the bottom and these were not produced until 1800.