He says, I think, he had people in Rome verifying what he did and
what he worked with it.
And to me, looking at this from the earlier perspective,
what's interesting about his fold out illustration is it has
kind of owed something to artistic tradition I mentioned.
That here is the arch not restored, but
as a symbol of ruin and decay, but from these fragments.
Reland and his contemporaries can build something and
can understand the new, not just Roman history, but Jewish history as well.
>> But also that he wanted to show the Menorah Panel rather than the Titus panel.
>> Right.
>> Where for with him as a biblicist, is the part that's important.
>> Yeah, yeah, yeah >> So he actually reversed the usual
approach which is to draw it from the standpoint of the coliseum,
to do it from the other side so that he could show the menorah [CROSSTALK].
Yes. >> Yeah, yeah, exactly.
>> And it's beautiful work,
and complete with someone plowing the fields next to it.
He wants you to get a real sense of what's going.
And he knew it, he- >> And a cow coming through the arch.
There still was controversy about who exactly was allowed to use the arch,
but he's showing us that the farmers in the forum certainly used it.
>> Well, this was the fortress of a rather wealthy family.
>> Mm-hm.
>> And so everybody went through it,
and there was no alternative to going through it.
>> Right, right, right.
>> It was the way you did it.
And one of the nice things of course about this engraving,
is that he has the menorah bearers walking through above, but
then he has the peasants coming through the same way.
As he keeps the movement going through to give you that sense of movement.
>> Yep, yep, there's a sort of parallel, yep, yep.
>> And those wonderful clouds up above that's portent,
whatever the engraver wanted them to portent.
>> Right, right, right, right.
Anything else in here? >> It's beautiful.
I don't think so.
>> Well, there's one that I'd like to show you, if you don't mind.
Cuz I've been living with this book for quite a while.
It's available even online for free, if people were interested in it.
But it's more fun on this paper where you can actually feel the letters.
Sometimes the physical object gives us so
much more of a connection than even the electronic version.
>> And the engravings are very interesting and you don't necessarily get those.
>> Right.
So an amazing engraving because of the real
care taken with it where he shows you what still exists, shows you what didn't.
He writes that he had an Englishman who was in Rome who measured it.
It makes sense it would be an Englishman because it's another Protestant.
>> Mm-hm.
>> An Englishman and he wrote back to him and he quotes it, in English feet.
>> Right, right.
>> How large the lampstand is- >> On the arch.
>> On the arch. >> Right.
>> And we get a sense here of the detail.
He over-detailed it to a certain extent.
But it's not bad considering how rubbed it is and
how much real knowledge that we can still gain.
And look, it even has a scale down below so you can see,
it's two English feet, right?
>> Right. >> [FOREIGN],
right?
>> Yeah, and this suggests that this is a very deliberate move because the earlier
architectural rights were all recorded in Roman the kind of Roman measurement.
But he is touching it from that context even if it's an English one.
>> This is now a British book, yes.
All right, this image of the table for
the where he wants to make sure you know the size of everything.
He's a real professional.
And these kinds of images are very important because they give us a real
sense of what it looked like in the 18th century from someone who actually knew.
>> Yeah, and knew what to look for.
>> And knew what to look for.
>> Right.
>> I find with a lot of my work, if you know what to look for you can see things.
If you don't know what to look for, it can't be there,
you can walk right past it.
>> Right. >> Or it could be in a shadow.
He also made mistakes, so for example on this cup, on top of the table for
the [INAUDIBLE] he put a handle.
And there is no handle.
>> Mm-hm.