The Scottish architect James Stuart had also gone to Rome, and formed there as early as 1748 the project of visiting Athens; by 1751 he was on his way, accompanied by Nicholas Revett (_c._ 1721-1804), with whom he proposed to produce an archaeological work on the _Antiquities of Athens_. The publication of the first volume of this epoch-making book was delayed until 1762. In the meantime, in 1758, the year Stuart designed his Hagley temple, J.-D. Leroy (1724-1803) got ahead of him by publishing _Les Ruines des plus beaux monuments de la Grèce_; but the very pictorial and inaccurate plates in this had little practical effect on architecture. The significance of Stuart’s temple may be readily guessed; small though it is, this fabrick was the first example of the re-use of the Greek Doric order[5]—so barbarous, or at least so primitive, in appearance to mid-eighteenth-century eyes—and the first edifice to attempt an archaeological reconstruction of a Greek temple. By the fifties many architects and critics were ready to accept the primacy of Greek over Roman art, if not little or no knowledge of Greek architecture several French writers before Laugier had praised it. J. J. Winckelmann also recommended Greek rather than Roman models in his _Gedanken über die Nachahmung der Griechischen Werke_ (Dresden, 1755) published just before he settled in Rome.[6] Out of Italian chauvinism Piranesi attacked the theory of Grecian primacy in the arts; yet before his death he had prepared an impressive and influential set of etchings of the Greek temples at Paestum which his son Francesco published. In 1760, moreover, Piranesi decorated the Caffè Inglese in Rome in an Egyptian mode. Eventually Greek precedent in detail all but superseded Roman for over a generation; yet a real Greek Revival, at best but one aspect of Romantic Classicism, did not mature until after 1800. There was never a widespread Egyptian Revival,[7] but Egyptian inspiration did play a real part in crystallizing the formal ideals of Romantic Classicism; it also provided certain characteristic architectural forms, such as the pyramid and the obelisk, and occasional decorative details.