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(RM) 601163309
THE INTERNATIONAL EXHIBITION: CENTRIFUGAL PUMP BY EASTON, AMOS, AND CO..., 1862. CREATOR: UNKNOWN.
The International Exhibition: centrifugal pump by Easton, Amos, and Co. - from a photograph by the London Stereoscopic Company, 1862. The machine '...consists of an Appold's pump, placed in a case or tank of cast iron, on the top of which are fixed two high-pressure expansive condensing steam-engines, each of the nominal power of twenty horses, giving motion to the vertical spindle of the pump by means of a bevil-geared flywheel working into a pinion. The water is raised from a cast-iron tank, 12ft. deep, partly sunk in the ground, and containing 24,000 gallons, and is delivered over the edge of the upper tank in a sheet 42ft. wide and 10in. thick. The quantity raised as computed by Mr. Beardmore's hydraulic tables (the best authority on the subject) would be rather over 180 tons per minute...the water in the large tank is made use of for the purposes of condensation, so that the full power is got out of the steam...In the colony of Demerara, which is a low-lying fiat country, dependent entirely upon artificial means for keeping the land dry during the tropical rainy season, a great number of these pumps have been erected...[The pump is] especially suited for emptying docks, or for any purposes where tidal influence has to be encountered'. From "Illustrated London News", 1862. The International Exhibition: centrifugal pump by Easton, Amos, and Co..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601163264
THE INTERNATIONAL EXHIBITION: BRITISH COLUMBIA AND PRINCE EDWARD ISLAND COURTS..., 1862. CREATOR: UNKNOWN.
The International Exhibition: British Columbia and Prince Edward Island Courts, 1862. The collection from British Columbia [in the colonial department]...consisted mainly of natural productions and articles of rude manufacture by the native Indians...[These included] curious masks worn at their religious ceremonies, specimens of their canoes, of a kind of cloth woven and ornamented by them, examples of their weapons...a large map of the district..., and specimens of woods, amongst which was a gigantic section of a tree which furnishes an admirable wood...Some of the woods were exhibited...worked up into articles for use and ornament. There were also specimens of the gold found in the colony...The collection from Prince Edward Island consisted chiefly of corn, pulse, agricultural seeds, flour, meal, pearl-barley, pork, and dairy produce, and linen and woollen manufactures...There were, also, furniture and screens made of native wood, agricultural machines and implements, harness, ships' tackles, horseshoes, preserved fish, textile materials, an article called bay-tree tallow, honey, &c. In brief, the articles exhibited were of the more severely useful description...but the collection spoke well for the industrial skill of the colony'. From "Illustrated London News", 1862. The International Exhibition: British Columbia and Prince Edward Island Courts..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601163194
THE INTERNATIONAL EXHIBITION: WARD'S NIGHT-SIGNAL TELEGRAPH, 1862. CREATOR: UNKNOWN.
The International Exhibition: Ward's night-signal telegraph, 1862. '...an ingenious system of marine telegraph, consisting of flags for day and lights at night...The flags are composed of three colours that embrace strong contrasts with each other...These flags are twenty-seven in number, and furnish a representative for each letter of the alphabet...Their division of colour is such as to make them distinguishable at any seen distance...and applicable to any codebook in use, of whatever language, government, or nation, or useful in themselves without the aid of any code...The lights telegraphic arrangement is complete for holding continuous communications of any length, on any subject, over a sea range for miles around, with equal correctness and facility as by the electric on land, and practical for dispatching the international news between Europe and America...By using another lantern one hundred and sixty additional changes can be effected, and by adding a sixth the number may be again increased by three hundred and eighty-four, making the aggregate six hundred and thirty-six separate distinct signals...In our Engraving of Ward's night-signal alphabet the blank spots indicate white lights, and the sectioned ones red lights'. From "Illustrated London News", 1862. The International Exhibition: Ward's night-signal telegraph, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601163144
THE INTERNATIONAL EXHIBITION: MITCHEL'S TYPE-COMPOSING MACHINE, 1862. CREATOR: UNKNOWN.
The International Exhibition: Mitchel's type-composing machine, 1862. 'The compositor is in shape a right-angled triangle, placed horizontally, with a keyboard at one of the sides furnished with thirty-nine keys. Each key, when pressed, strikes out a type from one of an equal number of brass slides standing at an incline upon the machine in a row nearly parallel with the keyboard. The type...is placed on end and pushed forward to make room for the next type by means of a notched or serrated wheel...The principle of the machine consists in the combination of bands of lengths and velocities of revolution so varied as to enable the types, at different distances from the wheel, to reach it in the order in which the keys are struck. The compositor is capable of setting up types at the rate of six letters per second, or 21,600 per hour; but, as the human fingers cannot attain to such rapidity, and allowance must be made for the operations of justifying and correcting, the work of an average trained operator will probably not exceed 24,000 or 25,000 ens per day, which is about equal to the work of two men setting up type in the ordinary mode. As each machine can employ two operators, the daily production is about 50,000 ens'. From "Illustrated London News", 1862. The International Exhibition: Mitchel's type-composing machine, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601163139
THE INTERNATIONAL EXHIBITION: LOCOMOTIVE TANK-ENGINE, BY MANNING, WARDLE AND CO..., 1862. CREATOR: UNKNOWN.
The International Exhibition: locomotive tank-engine, by Manning, Wardle and Co., of Leeds, 1862. Engine designed '...for the mineral traffic at ironworks, collieries, &c., and for contractors' use in the construction of public works...The tank on the boiler contains 250 gals, of water, the boiler being fed by Giffard's injectors. The engine is so arranged as to combine the greatest possible tractive power with the least weight and smallest consumption of fuel, so that although the weight, in working trim, is only about 10¼ tons, the engine will move a gross load of upwards of 200 tons on the level. Engines of this class can be constructed to work on any gauge of railway from 3ft. upwards, can be turned round on an ordinary turntable, and will follow a ballast-waggon round any curve; their light weight enabling them to be used on contractors' metals which would not carry a heavy engine. The engine at the exhibition was used for several weeks by her Majesty's commissioners to draw in the other locomotives and heavy machinery, and while thus engaged gained the good opinion of all the officials. It has been awarded a prize medal "for excellence of workmanship and adaptation for the purpose for which it was constructed".' From "Illustrated London News", 1862. The International Exhibition: locomotive tank-engine, by Manning, Wardle and Co..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162984
THE INTERNATIONAL EXHIBITION: PORCELAIN AND WORKS OF CERAMIC ART..., 1862. CREATOR: UNKNOWN.
The International Exhibition: porcelain and works of ceramic art exhibited by Messrs. John Rose and Messrs. Daniell and Co., of New Bond-street, 1862. '...some superb examples of porcelain work...Sevres, Limoges, Dresden, and "old Chelsea" are imitated with...fidelity...while in Italian, Etruscan, and Oriental ware they are no less successful...The great features of Messrs. Rose and Daniell's productions are entire uniformity as well as intensity of colour, and both distinctness and variety of pattern...The most exquisite example of this is that tray the centre of which is occupied by a painting copied from a picture by Paul Potter...Two other trays almost rival it, however, one of them a copy of a Claude...the other a copy of Turner's "Bridge of Toledo."...The two Chelsea-shaped vases, copied from a pair lent to Messrs. Daniell by Lady Zetland, are remarkably fine, the humming birds which are painted on their sides exhibiting a wonderful delicacy and soft brilliance of tint...Of all the hues for which they have attained the greatest perfection the turquoise and the Dubarry rose are most striking...[Also displayed is a]...quiet but charming dessert set of turquoise and gold - the present of the Duchess of Wellington to Princess Alice'. From "Illustrated London News", 1862. The International Exhibition: porcelain and works of ceramic art..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162844
THE INTERNATIONAL EXHIBITION: SUGAR-REFINING APPARATUS OF MESSRS. CAILE AND CO. OF PARIS, 1862. CREATOR: UNKNOWN.
The International Exhibition: sugar-refining apparatus of Messrs. Caile and Co. of Paris, 1862. European machine processing sugar cane from the colonies. 'These gentlemen have manufacturing establishments on the largest scale in Paris, Valenciennes, Douay, Brussels, and Amsterdam; besides agencies and depots in Russia, Havannah, and many other places. They employ about 5000 workmen. This company have been noted in tropical regions for the goodness of their workmanship and, the advanced state of its scientific perfection, besides being the introducers in their own and other countries of useful inventions made, or which they have encouraged others to make, in various branches of industry. The system of vacuum apparatus, together with all the requisite mechanical appliances for actually forwarding the progressive steps by which sugar is now either produced from juice or subsequently refined from raw sugar may be seen in the western annexe. In the Belgian and French departments respectively an inspection of the graduated operations by which juice or syrup ultimately becomes a refined crystal of sugar will be found instructive, but a detailed knowledge can only be accurately acquired by inspecting the systems of mechanism exhibited at the place'. From "Illustrated London News", 1862. The International Exhibition: sugar-refining apparatus of Messrs. Caile and Co. of Paris, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162719
THE INTERNATIONAL EXHIBITION: MESSRS. HENDERSON AND CO.'S CARPET POWER-LOOM, 1862. CREATOR: UNKNOWN.
The International Exhibition: Messrs. Henderson and Co.'s carpet power-loom, 1862. 'The power-loom exhibited by this firm is adapted for weaving either Jacquard, Brussels, or velvet-pile carpets. It comprises a new principle as well as several novelties in the arrangements of its parts, the inventions of Samuel Holdsworth, the mechanician...It is an improvement upon the looms hitherto in use, in regard to its rate of weaving and the simplicity of its construction. The looms in general use will produce, under ordinary circumstances, in the day of ten hours and a half, about twenty-five yards of best or 5-frames cloth, whereas this loom will produce about forty yards under similar conditions. It works on the "single-shed" principle, but its general arrangements are equally adapted to "double-shed," and have already been so applied. As a double-shed loom it will produce about fifty yards of 3-frames cloth per day, the cloth produced being unsurpassed in quality...As these looms are exhibited at work they become, of necessity, great points of attraction, especially to the ladies, who have thus an opportunity of seeing how those beautiful fabrics are made in which they take so great an interest'. From "Illustrated London News", 1862. The International Exhibition: Messrs. Henderson and Co.'s carpet power-loom, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162574
WEIGHING COTTON AT BOMBAY FOR THE ENGLISH MARKET, 1862. CREATOR: JOSEPH AUSTIN BENWELL.
Weighing cotton at Bombay for the English market, 1862. Here '...the bales are landed from Surat, Baroche, Cambay, and other parts of Guzerat, Kuttyawa, and Cutch...owing to the absence of good roads for vehicles, the ordinary means of conveyance was, until very recently, by pack-bullocks...This costly and tedious mode of conveyance has now, however, given place in a measure to the railway, although it still has to be employed for bringing the cotton-bales from outlying districts...to the nearest stations on the line of railway. The bale of cotton weighs about 7cwt., and, until compressed by the capstan-screw, is bulky and unwieldy; but this process reduces the bulk one half nearly, and puts it in better form for stowage when the time of shipment arrives. The Illustration shows the process of weighing in the custom-house yard at Bombay. The porterage of almost all articles is done by Hamals, the caste which supplies the palankeen-bearers. Though not by any means robust, they are capable of carrying heavy burdens by means of slings and cross bamboos, which enable them to apply the combined strength of a large number of men to one article, and it is thus the bales of cotton are carried to and fro with the greatest ease'. From "Illustrated London News", 1862. Weighing cotton at Bombay for the English market, 1862. Creator: Joseph Austin Benwell. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601161933
THE INTERNATIONAL EXHIBITION: CAPITAL AND PORTION OF SHAFT OF COLUMN FROM THE HEREFORD SCREEN, 1862. CREATOR: UNKNOWN.
The International Exhibition: capital and portion of shaft of column from the Hereford Screen, designed by G. G. Scott, R.A., manufactured by Skidmore's Art-Manufacturers' Company, Coventry, 1862. 'This work...the grandest and most triumphant achievement of modern architectural art...the largest art-work in metal of which we have knowledge...fitly illustrates the most glorious scene ever enacted on this earth - the Ascension of our Lord... In the cusped oval in the centre of the work, standing upon a capital round which the passion-flower is arranged with peculiar skill, is the Saviour risen above the suffering which the flower portrays...One feature of the screen which should not be overlooked or passed slightingly is the open manifestation which we have, upon viewing it, of the mode of its formation: it has resulted from the work of the hammer and the chisel - it is wrought...Every chemist is acquainted with the beautiful colours of some of the oxydes of the metals; but Mr. Skidmore has attempted the utilising such by applying them to the colouring of the iron; thus, as his work is formed of iron, copper, and brass, he has applied to it the colours of the oxydes of these metals'. From "Illustrated London News", 1862. The International Exhibition: capital and portion of shaft of column from the Hereford Screen, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601161904
THE INTERNATIONAL EXHIBITION: HEREFORD SCREEN, DESIGNED BY G. G. SCOTT, R.A..., 1862. CREATOR: UNKNOWN.
The International Exhibition: Hereford Screen, designed by G. G. Scott, R.A., manufactured by Skidmore's Art-Manufacturers' Company, Coventry, 1862. 'This work...the grandest and most triumphant achievement of modern architectural art...the largest art-work in metal of which we have knowledge...fitly illustrates the most glorious scene ever enacted on this earth - the Ascension of our Lord...At each side are angels...The Trinity is symbolised by three circular spaces around; and surmounting all is the cross...The capitals are formed of sheet metal, worked into form by the point of the hammer...The arches are chiefly filled in with bold filigree-work, and the spandrils with a foliaceous composition...One feature of the screen which should not be overlooked or passed slightingly is the open manifestation which we have, upon viewing it, of the mode of its formation: it has resulted from the work of the hammer and the chisel - it is wrought...Every chemist is acquainted with the beautiful colours of some of the oxydes of the metals; but Mr. Skidmore has attempted the utilising such by applying them to the colouring of the iron; thus, as his work is formed of iron, copper, and brass, he has applied to it the colours of the oxydes of these metals'. From "Illustrated London News", 1862. The International Exhibition: Hereford Screen, designed by G. G. Scott, R.A..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601161419
THE INTERNATIONAL EXHIBITION - COTTON MANUFACTURE: COTTON IN ITS DIFFERENT STAGES, 1862. CREATOR: UNKNOWN.
The International Exhibition - cotton manufacture: cotton in its different stages, 1862. Diagrams '...to indicate the different stages of manufacture. Fig. 4 is the cotton containing seeds, dirt, and other matter; fig. 5 is the cotton after it has passed through the gin, the seeds and pieces of the sheath having been extracted; fig. 6 is the same material after having been subjected to the action of the cotton scutcher and opener, which separates the fibres by drawing apart those matted together and also effectually freeing it from dust; fig. 7 is the carded cotton, the fibres having been all brought to lay parallel with each other; in fig. 8 the carded cotton has been doubled and the parallelism of the fibres made still more perfect; in fig. 9 the ribbon of cotton becomes a roving, which is a quantity of cotton fibre perfectly cleaned, and every fibre laid straight in the direction of its length, in no way twisting or attaching itself to its neighbour. Thus there are four points attained in its manufacture - the first to free it from any kind of foreign matter, the second to secure perfect parallelism of the fibre, the third to secure uniformity in the roving by the lapping and doubling, and the fourth to draw out and twist it into yarn'. From "Illustrated London News", 1862. The International Exhibition - cotton manufacture: cotton in its different stages, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601161379
THE INTERNATIONAL EXHIBITION: THE TREATY OF COMMERCE SCREEN CARPET, BY T. TAPLING..., 1862. CREATOR: UNKNOWN.
The International Exhibition: the Treaty of Commerce Screen Carpet, by Thomas Tapling, of Gresham-street, 1862. 'It must at the outset be understood that [this machine-made item], while wrought in Axminster carpet, is not intended as a floor covering, but for a wall decoration, or at least a vertical position..."It," says its manufacturers, "is intended as a screen or panel...after the manner of the Gobelin tapestries, and was especially designed...by Mr. Wm. Parris for the Exhibition. The design is intended to commemorate the recent treaty of commerce between France and England, and contains a figure of the Emperor presenting the treaty to the Queen, as a "further proof of the friendship of the French nation." The principal subject is surrounded with an elaborate framework of laurel and oak leaves...the panels are of a rich maroon, having an ornament formed alternately of the rose and bee, emblematical of the two countries. The French emblem is again introduced on a shield at the top of the design, surmounted with branches of palm and festoons of flowers. At the base are the English and French flags supporting the Rose, Thistle, and Shamrock, with a blue ribbon bearing the motto "La reciprocité est la base vraie et durable de la paix".' From "Illustrated London News", 1862. The International Exhibition: the Treaty of Commerce Screen Carpet, by T. Tapling..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160874
THE INTERNATIONAL EXHIBITION - GLASS CANDELABRUM, UNDER THE EAST DOME..., 1862. CREATOR: UNKNOWN.
The International Exhibition - glass candelabrum, under the East Dome, by F. and C. Osler, 1862. One of a pair of candelabra. 'These works appear before us in such brilliancy, sharpness, and truth, that one can scarcely restrain the thought that they are masses of congealed fluid of the most perfect transparency which has crystallised under the guidance of some genius who know well how to dispose the parts into forms of beauty. Each candelabrum consists of a grand central column of a prismatic character, which has an evident tendency to effloresce or branch into forms even more beautiful than itself, and a branching does actually occur at several points, when we have lenticular of pyramidal crystals spring from the central shaft, around which they are grouped with great regularity and beauty. Even the base manifests a tendency towards this crystalline character, and the apex of the column branches into a number of arms which spread into crystal cups surrounding the lights. These works are crystalline in every particular. They are of crystal purity, they are of crystal forms, and they are of crystal beauty. Messrs. Osler...are known to us as the manufacturers of the crystal fountain which graced the centre of the first Great Exhibition'. From "Illustrated London News", 1862. The International Exhibition - glass candelabrum, under the East Dome..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160869
THE INTERNATIONAL EXHIBITION - FLORAL CARPET, BY J. TEMPLETON AND CO..., 1862. CREATOR: UNKNOWN.
The International Exhibition - floral carpet, by J. Templeton and Co., of Glasgow and London, 1862. 'The carpet which we engrave may fairly be said to be one of the finest examples of its class occurring in the entire exhibition. Its general freshness, the freeness of the flowers, the judicious disposition of the parts, and the delicacy of the colours, all contribute to its excellence. The border is somewhat set, yet it is broken by small panels filled with flowers, and this is linked to an inner border which is large and free in character, festoons of flowers being entwined amidst the scrollwork: then we have a portion of diapered dark ground, joining the light ground of the centre portion, which is lavishly bestrewed with flowers. This carpet has a special merit shining conspicuously forth: while there are many small parts it is clearly formed into primary, secondary, and tertiary masses, and the small work only furnishes the enrichment for close inspection. This carpet only represents one style in which Messrs Templeton and Co. have exhibited; yet their display is of a richly-varied character, and no firm which exhibits in this department has a richer or more beautiful show, or works of a more exalted character'. From "Illustrated London News", 1862. The International Exhibition - floral carpet, by J. Templeton and Co..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160854
THE INTERNATIONAL EXHIBITION - PRIZE MEDAL - OBVERSE, 1862. CREATOR: UNKNOWN.
The International Exhibition - Prize Medal - obverse, 1862. Design by Maclise, made by Leonard C. Wyon. 'The ill effect of crowding the composition is particularly observable in the lion, for the forepaws indicate the attitude of crouching over the trident, while the hind quarters, from the necessity in this view of the animal of forcing them into the design, look as if foreshortened in the recumbent position. Besides the lion there are no less than seven figures... Britannia, raised on a dais, is armed with the usual Minerva-like helmet...The rose of England serves as an ornament to the edge of her throne. Female impersonifications...await the wreath before her...Machinery stands beside the cogged wheels of a machine, and supports a heavy press on her shoulders; Manufactures, richly attired, unfolds a roll of some gorgeously-figured fabric, and by her side are a casket, a vase, a goblet, and an altar cross; the last intended doubtless to indicate that the choicest of her productions are consecrated to the service of religion. Raw Produce is, properly, dressed very simply, a fur skin covering the lower part of her figure. She holds...fruits, cereals, and geological specimens - gold nuggets, we are at liberty to suppose, among the rest'. From "Illustrated London News", 1862. The International Exhibition - Prize Medal - obverse, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160839
THE INTERNATIONAL EXHIBITION - M'DOUGALL'S STALL..., 1862. CREATOR: UNKNOWN.
The International Exhibition - M'Dougall's Stall - the Highlands of Scotland, 1862. Display of '...choice specimens from their Royal tartan warehouse in Inverness. These manufacturers...have succeeded in producing...hand-made goods in tweeds for grouse-shooting, deerstalking, and fishing, the dyes being produced from heather, moss, bark of trees, &c., and the colours are especially prepared to harmonise with the natural aspect of the different glens, straths, and mountain side, the sportsman who goes after the red deer being obliged so to adapt himself. The materials, however, are not confined to rural purposes...there are finer fabrics which are designed for town wear. These articles, under the name of Scotch tweeds, have become popular in England, and all over the world... Amongst the articles displayed are also hand-knitted stockings and socks made from native wools...They are made by poor women in the Isle of Skye and the Western Isles...Then there are beautiful hand-knitted Shetland shawls, suitable for the drawing-room, opera, or theatre, as well as the famous Shetland hose, both of which are the result of the industry of the women of, that remote country, who perform marvels without the aid of any machinery but their nimble fingers'. From "Illustrated London News", 1862. The International Exhibition - M'Dougall's Stall..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160498
THE INTERNATIONAL EXHIBITION: GREAT SUGAR-MILL, BY MIRRLEES AND TAIT, OF GLASGOW, 1862. CREATOR: UNKNOWN.
The International Exhibition: Great Sugar-Mill, by Mirrlees and Tait, of Glasgow, 1862. 'The use of this mill is to express the juice from the cane...an endless travelling-table...carries the canes up to the three great revolving rollers, between which it is drawn, and while passing between them subjected to the maximum pressure considered necessary...The mill is driven by steam power...which consists of a six-columned high-pressure beam-engine...The whole is exhibited in motion, and...attracts a large amount of attention...[The machine] strikes the spectator with a sort of awe; for its terrific crushing powers are evident to the unscientific visitors, and they naturally shrink away from it lest coat-tails or crinoline should accidentally he nipped between those terrible rollers. At the back...is an extensive range of apparatus, partially seen in our Engraving. It consists of three large copper vacuum-pans, with all the necessary fittings. A gallery has been erected round the pans to enable visitors to inspect them. The whole is of copper and brass, polished and burnished to the highest attainable pitch of brightness...these machines are used on the plantations where the sugar is grown, and the product exported either as sugar, molasses, or rum'. From "Illustrated London News", 1862. The International Exhibition: Great Sugar-Mill, by Mirrlees and Tait, of Glasgow, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601159719
MANUFACTURE OF THE ARMSTRONG GUN AT WOOLWICH ARSENAL: THE GUNS AT THE PROOF-BUTTS, 1862. CREATOR: UNKNOWN.
Manufacture of the Armstrong Gun at Woolwich Arsenal: the guns at the proof-butts, 1862. '... to fire a piece of ordnance...by the ordinary method of a man pulling a friction-tube while others are standing about would be extremely hazardous. The aid of galvanism is therefore called into action...The galvanic battery and instrument for directing the current are fixed in...a building...and insulated wires are laid underground...On the word of command being given the guns are discharged in succession with the greatest regularity, and with perfect safety to all concerned, by the mere pressure of a key similar to that of a musical instrument...The firing of the guns at proof cannot fail to make a strong impression on the senses of those who witness it for the first time. A gun is seen apparently without human interference to discharge itself...and so on in succession, keeping up a continuous series of reports of no ordinary character, accompanied by dense columns of saffron-coloured smoke...we were informed that in clear weather they can be heard upwards of thirty miles distant...The day on which our Artist visited...was wet and muddy underfoot. This accounts for the...proof-party dressed in jackboots and waterproof attire...'. From "Illustrated London News", 1862. Manufacture of the Armstrong Gun at Woolwich Arsenal: the guns at the proof-butts, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
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