 collection of Lothar Castle with my bad English for hours but unfortunately I have not the time so let me just give you a fast overview of the formation of this collection and the social and cultural factor that played a role in the gathering of this very neglected collection of Antiquities which is now unfortunately this membrane. Well, Sir William Lothar started to gather Antiquities in 1842 for about 30 years until he's dead for exactly 30 years and also adding two galleries with the purpose to us the collection to his manner of Lothar Castle in Cambodia, former Westmoreland. The collection was formed for about 120 pieces of Egyptian, Greek, Etruscan, Romano-British and mostly Roman origin. Mainly because of his dispersion this collection is one of the less investigated among those formed in 19th century Britain. Also because these are the view of the two galleries from the inside with the most prominent statues exposed in this part. Also because of his very perifetical position in Britain this is a map of the rail network of England and the Lothar Castle. Also the the reports from Victorian travelers are very scarce and very inaccurate. Actually there are not so much information, the source of the on the collection are very scarce. The most complete work on it is in Adolf Mikaelis and Saint Marble of Great Britain, I suppose everybody here. Now this publication and now all big is it and so the space below the collection is very small. Just 10 pages where about 130 objects are very briefly described in Moscow just measurements. The other reports are very inaccurate from the archaeological point of view except for this one published in 1928 by Paul Arm and Walter Armelung in Fotografische Enzelaus namen Antikersk Kulturen. Well along as not so accurate archaeological description of the object there are 33, a set of 33 photographs that in some cases are the only the only testify of the objects on the collection. So the collection was formed in four great moments. Some of the greatest sales of this collection of Victorian Britain, the Chagol, the Thule, the Basperow and the Hartford collection and then was this memory in the second half of the 20th century. The the objects are now scattered all over the world in different collections. Let's see the first acquisition which were made at the sale of the Anson collection of Chagol. There were, just to give an overview of the pieces of the collection, there were as small statues of Asclepius of Ilyan to the Iliad and a statue of Dionysus of the work of Rabbi Thay but restored and identified as a Dionysus by Joseph Noligens. This is a very common issue in pieces restored in the 18th century like this one and this is very common in the in the collection of the castle to find pieces misidentified or restored like as something else. The differences between those two statues are very evident and it doesn't seem we cannot see an archaeological intent behind this acquisition. There are probably fancy objects by the era without any archaeological intent. Later William Loder participated to one of the greats so a stately home sale of the 19th century in Britain, the sale of the storehouse of the Marcus Battingham where he bought a lot of beautiful large statues, sarcophagy and funerary art of Roman greaties, mostly of mostly Roman antiquities like for example this beautiful statue of Cibili at the Eupremian city in English where Cibili and this statue which is now at the Getty Museum in Los Angeles and this statue of Livia which was restored by Getty Hemmington in his Roman laboratory as a Great Pina as the news of history which is now at the Antiquan Museum in Basel in Switzerland and for example the statues of Artemis which was restored by Bartolomeo Cappacipi under the direction of Matthew Bretingham and it was very different when Joachim Vincermann as this during my Bernardino Cipheri testify saw it in Palazzo Spada and it was identified as Venus and this probably Venus was because of the well this is a very common issue in Loder Castle this is another modern pastiche made by two statues made by the Getty Hemmington in his Roman laboratory, a torso of Thessian marble a copy of Praxiteles chnidiana Venus which was unearthed in 1777 near the area of the Circus of Mero where the militia in the charge of Santa Maria della Fever near northern and northern nowadays and mixed with the Petrum and the Idria from another copy another ancient copy of the same statue well while the torso is of Thessian marble the Idria is of Pentelix so there is the white and yellowish contrast that make this pastiche more evident also the smallest pieces of the collection were not exempt for this restoration for example this double arm is for the art of reconstruction and as philosis they are probably Giovann Battista Paganese at these bases with Ascari and Chimadion where in Roman art has no base so of course and the lead is obviously not belonging to the army there were those are other examples of funerary art in the collection and Egyptian sarcophagus some Hellenistic stelae from Smyrna and from Cisicus and a terracotta on a Turscan terracotta on from Volterra no from Qzi sorry of course there were also some true masterpieces in the collection of other castles accidentally come in the hand of William Lothar like this funerary relief from one from a stelae from one of the praisings of the demos of Akkarnik and at the beginning of 19th century by the Eropilpor we don't know how it's come to Lothar Castle it is a real masterpiece of of a late classical Greek sculpture and is now preserved in the Metropolitan Museum in New York oh another set of objects in the collection was the one from it by the so-called native antiquities objects of Romano British region that they are inherited not by each choice but proof about them because they were found in a land of his own land owned by him and or or just were present in a you know that collection that he inherited except for a set coming from the from the village of Kilbitor which was the collection of a banker John Colby from Kilbitor and it was sold by his family after he's there some of those pieces are exposed to the British actually all belonging to the British Museum but this smiling lacune and this funerary stelae also that one are exposed in the British Museum now well so we have an example composed by a very a very heterogeneous by very huge sets of objects also modern medieval sculptures this magical object which was believed to be the olympian meta which of course is not but it's probably a roman meta because the Greek news i was like this friends and so there were also a lot of inscribable love i didn't mention at them which were kept in another part of the of the castle and it seems like William Lothar never planned this collection actually he probably just bought about a lot of object basic object to carry on a tradition and self-represents itself like his precursors actually it was not a very cataract man and we can see it also because for example there is this series of the statues of the caesar's the the svetonian 12 caesar's it is complete but some of them are clearly modern and some of them for example they are two vitaliut vitaliu appear two times and one of the times is identified as an auto and the other time as nero because nero is called vitaliu also is not vitaliu but is vitaliu scrimani which is so it's a copy of a statue of another period as we know and so it seems it was just pursuing the search of beauty in a fact past with a very romantic spirit but something of the age of the dilettante was surviving in this aesthetic in the aesthetics of the collection why well since the beginning of the 19th century the the european market of antiquities was likely that was radically changed especially from rome to the great incisor mostly because at the beginning for the french occupation of rome then because of the edito doria fanfili also now as a chirograph of fea which is a legal measurement by the papal state to limit and control the exportation of antiquities any kind of antiquities from coins jams to statues or sarcophagus then reinforced almost 30 years later with the edito paca which it is very interesting prohibits also the restoration of antiquities so those misinterpretation were perceived in the status in the papal state as at the mage for the for the knowledge the conception of the concept the perception of antiquity well but there in britain people was very rich and they want to buy antiquities so they start to buy antiquities from there were present in britain this memory in the collection of format during the previous the previous century generally the consequences were that the the antiquities that were imported in georgian era to great britain remain stayed in the united kingdom and the perception the perception of antiquities was featured by the taste of the previous century mostly by the hands of those guys so which worked on the most of the reworked stages which were present in lots of castles in the collection of the eroslonians of love then so at the final twilight of the great british system of collecting antiquities we have this complex between from one side these classicistic tendencies of antiquarian research typical of the age of the zealot times the society of zealot times and from another slide the romantic search of beauty in a in a bad past i think that the the frame of lotter castles the architect this neo-gothic architect designed by robot smirk with this collection of classical antiquity on the inside will represent this cultural occasion which is of course evident also in other aspect of british culture of victorian era like for example i'm thinking of of the lace of ensign from by living tomahawk or uh they did some the picture their paintings of some pre-raphaelites like like loren san matadima and stuff like this but there was another complex i think and it is very important in the lotter collection which is between which is generated by the co-habitation in the same space of uh evidential uh if i can borrow this term uh so object that they were linked to the macro history and the local monuments and it is very it is quite strange seeing so early an interest in uh in a romano-british antiquity mostly because it was the the distinctive class interest of the the middle class rising with the with the industrial revolution and in fact there was not this interest in lotter castle but uh by chance uh it was one of the first collection of local antiquities built with the only aim of preservation not to self-represent them so not with an intent of self-representation or things like this well i want to say thank you with this picture of lotter castle a few years ago with these uh figures in the in the sort of the same and uh some parts from a poem from winam also which dedicated to winam lotter in 1854 which were represented at the end of this place that uh that uh the fifth hell of long day who says it uh spent all the money and they had to sell the collection which is now scattered all over the world uh but literally all over the world from gazile to my hometown uh