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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 inscription was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.

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 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

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 particular print appears to be slightly smaller than the other versions in the archive.

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 Orpheus painted by James Barry in the Society's Great Room. The print is dated 1 May 1791 but was not actually published until 23 April 1792.

The engraving shows 2 panels, one containing King George and the other Queen Charlotte. Barry wanted these to replace the portraits of Lord Romney and Lord Folkestone in the Great Room. Barry wanted the panel showing King George to be stationed between the Great Room paintings of 'Orpheus' and 'Grecian Harvest Home', while the picture of Queen Charlotte he wanted to be sited opposite, between 'The Thames' and 'The Distribution of the Premiums'. Barry was never permitted to replace the existing portraits of Lords Romney and Folkestone. \nAlthough the engraving shows a plublication date of 1 May 1791 the first publication did not actually occur until 1792.

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 is a revised detail of the group of legislators that James Barry painted in the 'Elysium and Tartarus' painting in the Society'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 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 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.

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

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 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.

Pen and ink.

Pen and brown ink over chalk on paper. Also includes the inscription by Warren which was on the back of the drawing although this is now in a seperate piece of melinex in the plan chest.

Pen and ink over black chalk.

Correspondence and working papers relating to the funding of the Design Busaries Competition. Also correspondence about developing Anglo-American relations via the Design Management Institute, Boston, Massachusetts.

In November 1944 the Council of the RSA was invited by the Bishop of Columbo, as chairman of the Columbo New Cathedral Committee to act as the agent in London for his committee in organising a competition open to qualified members of the Royal Institute of British Architects or allied bodies, for a design for the projected new Anglican Cathedral in Columbo. The Council agreed to sponsor the competition and arranged that it should be administered by the Committee of the Dominions and Colonies Section, under the Chairmanship of Sir Harry Lindsay. The choice of Sir Giles Gilbert Scott as Assessor had been arranged with the Royal Institute of British Architects.\n\nAmong the correspondence is the conditions of the competition, names and addresses of competitors, administrative correspondence, the Assessors final report and site plans of the cathedral.