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He was a member of the Wyatt family of architects and wrote and illustrated several books on architecture, design and manuscript illumination. He worked on several significant public and private commissions, most notably working with the civil engineer, Isambard Kingdom Brunel on the terminus of Paddington Station (1852-54) and Bristol Temple Meads Station (1865-78); Addenbrooke’s Hospital, Cambridge (1863-5); and with George Gilbert Scott, he designed the interior and Durbar Court of the India Office, Whitehall (1867-68). In 1866 Digby Wyatt received the RIBA’s Royal Gold Medal. \r\n\r\nDigby Wyatt was deeply involved in the Great Exhibition and its afterlife. In 1849 he was commissioned by the Council of the Society of Arts to complete a report on the Industrial Exposition in Paris and was later appointed Secretary to Executive Committee of the Royal Commission of the Great Exhibition of 1851. In addition to this role, he was the executant architect of the Crystal Palace, realising Sir Joseph Paxton’s design. Once the Great Exhibition opened, Digby Wyatt set about producing a catalogue of the ‘choicest specimens’ on display, culminating in the two volume illustrated publication, <i>The Industrial Arts of the Nineteenth Century</i> (1851-53). After the Great Exhibition closed, the Crystal Palace was relocated to Sydenham and Wyatt was the architect responsible for designing the ten architectural courts. The original designs by Wyatt, including the Byzantine Court, the Renaissance Court, and the German Medieval Vestibule, are held by the V&amp;A (E.553 to 559-1911).\r\n\r\nDigby Wyatt was a key figure in the early history of the South Kensington Museum (now the V&amp;A). He was considered by Henry Cole as an ‘agreeable companion’ (AAD, 26 June 1868), and served as one of the ‘Art Referees’ for the museum. This was a select group of men and women, including William Morris and Sir Frederic Leighton, who advised the museum on significant acquisitions.\r\n\r\nThe album was compiled in memoriam of Digby Wyatt who died in May 1877, presumably to be presented to his widow, Lady Mary Wyatt. The opening dedication is signed anonymously ‘Tavistock Place, July 24 1877’. Digby Wyatt maintained a house and office at 37, Tavistock Place, but given that the dedication refers to the album as a “labour of love” and asks ‘will that friend accept it?’, the compiler is unlikely to be one of Digby Wyatt’s staff. \r\n","physicalDescription":"Memorial album dedicated to Sir Matthew Digby Wyatt containing obituaries from contemporary newspapers and journals; drawings and designs by Digby Wyatt; and designs for a number of chromolithograph plates for Digby Wyatt's Great Exhibition catalogue, <i>The Industrial Arts of the Nineteenth Century.</i>","artistMakerPerson":[],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"paper","id":"x30308"},{"text":"ink","id":"AAT15012"},{"text":"watercolour","id":"x33202"},{"text":"leather","id":"AAT11845"}],"techniques":[{"text":"architectural drawing","id":"AAT54197"},{"text":"","id":""},{"text":"drawing","id":"x32498"}],"materialsAndTechniques":"Pen, pencil, watercolour on 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