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.
Print of King Lear and Cordelia by James Barry. Although the print is given the publication date 1776 this is thought to be a later version. It reproduced Barry's painting first exhibited in 1774. This version does not have the Shakespearean quote that was on the first print which was published in 1776.
This print shows Queen Isabella, Magellan and Las Casas who were not originally shown in the James Barry 'Elysium and Tartarus' painting in the Society's Great Room. The print should be viewed as being positioned between 'Reserved Knowledge' and 'The Glorious Sextumvirate'. Las Casa was painted into the Great Room painting in 1801.
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 print shows Queen Isabella, Magellan and Las Casas who were not originally shown in the James Barry 'Elysium and Tartarus' painting in the Society's Great Room. The print should be viewed as being positioned between 'Reserved Knowledge' and 'The Glorious Sextumvirate'. Las Casa was painted into the Great Room painting in 1801.
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.
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.
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 is a revised detail of the group of legislators that James Barry painted in the 'Elysium and Tartarus' painting in the Soicety's Great Room. In this version Barry substitutes Cecilius Calvert, second Lord Baltimore for William Penn. Barry also introduced other figures, including Benjamin Franklin, into the print surrounding Pope Adrian in the upper left of the drawing.
This is a revised detail of the group of legislators that James Barry painted in the 'Elysium and Tartarus' painting in the Soicety's Great Room. In this version Barry substitutes Cecilius Calvert, second Lord Baltimore for William Penn. Barry also introduced other figures, including Benjamin Franklin, into the print surrounding Pope Adrian in the upper left of the drawing.
This is a revised detail of the group of legislators that James Barry painted in the 'Elysium and Tartarus' painting in the Soicety's Great Room. In this version Barry substitutes Cecilius Calvert, second Lord Baltimore for William Penn. Barry also introduced other figures, including Benjamin Franklin, into the print surrounding Pope Adrian in the upper left of the drawing.
Detail from the 'Crowning of the Victors at Olympia' by James Barry in the Society's Great Room. This shows Diagoras, a former champion, being carried on the shoulders of his two victorious sons. The print is dated 1 May 1795 but the version with the inscription at the bottom was not produced until 1800.
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 is a print by Louis Schiavonetti from a drawing by James Brarry that was in the possession of Richard Horsman Solly Esq. The original design eventually became 'The Birth of Pandora' which was completed in 1804. The prints provide the only known surviving record of Barry's early conception of the subject.
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.
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
Detail from the 'Crowning of the Victors at Olympia' by James Barry in the Society's Great Room. This shows Diagoras, a former champion, being carried on the shoulders of his two victorious sons. The print is dated 1 May 1795 but the version with the inscription at the bottom was not produced until 1800.
Print of Divine Justice, a detail from the Elysium and Tartarus, painted by James barry in the Society's Great Room. It introduces several new figures that do not appear in the painting, including Scipio Africanus, a prominent Roman General.
Print of Elysium and Tartarus painted by James Barry in the Society's Great Room. The print is dated 1 May 1791 but it was not actually published until 23 April 1792