{title}
{body}

resultFull

142924 Objekte
Aktualisierung ein
(RM) 601163589
THE FUNERAL OF HIS LATE ROYAL HIGHNESS THE PRINCE CONSORT: THE FUNERAL CEREMONY IN THE CHOIR, 1862. CREATOR: UNKNOWN.
The Funeral of His Late Royal Highness the Prince Consort: the funeral ceremony in the choir, 1862. '...the Lord Chamberlain, accompanied by the Vice-Chamberlain, Lord Castlerosse...proceeded up the choir to Wolsey's Chapel, where the Royal mourners had already assembled...The Prince of Wales, as chief mourner, stood in the centre; on his right was the little Prince Arthur; on his left, the deceased Prince's elder brother, the Duke of Saxe-Coburg and Gotha...The Prince of Wales bore up with great fortitude...though he, like all the rest, at times gave way to irrepressible bursts of tears...The Duke of Saxe-Coburg, who was devotedly attached to the deceased Prince - to whom he bears a strong resemblance - was deeply moved, and wept incessantly throughout the ceremony. The Crown Prince of Prussia, too, was equally affected. Poor little Prince Arthur's grief was enough to move the sternest. He, of course, made no attempt to check or hide his feelings. His eyes were red and swollen, and tears were running down his cheeks...' Prince Albert of Saxe-Coburg and Gotha, husband of Queen Victoria, died aged 42 from what his doctors at the time believed was typhoid fever. From "Illustrated London News", 1862. The Funeral of His Late Royal Highness the Prince Consort: the funeral ceremony in the choir, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601163424
THE CONSPIRATORS IN THE PRIVATE APARTMENTS OF THOMAS A'BECKET SHORTLY BEFORE HIS MURDER..., 1862. CREATOR: UNKNOWN.
The Conspirators in the private apartments of Thomas A'Becket shortly before his murder: the Primate addressing Tracy - by J. Gilbert, 1862. Engraving of a painting. Scene in the grand hall of the Archbishop's palace. 'Without a word, the knights marched straight up to where the Archbishop was and sat themselves upon the floor beneath him. At the time of their entering, à Becket was engaged in converse with a monk, which he pointedly continued. After a while he turned round, and, gazing steadfastly at them, saluted Tracy by name. (This is the moment, a singularly solemn and impressive one, which Mr, Gilbert has selected for illustration). Awed by his dignity, or by the sanctity of the place, the conspirators were still silent; but at length Fitzurse, who appeared throughout to take the lead, said, "We have a message from the King, over the water; will you hear it in private, or before all?" "As you wish," replied the Archbishop. "Nay, as you wish," said Fitzurse. At a sign from the Primate the monks withdrew. Hardly, however, had Fitzurse began his message when à Becket, from a sudden consciousness of danger, exclaimed, "This must not be told in secret!" and recalled the monks...'. From "Illustrated London News", 1862. The Conspirators in the private apartments of Thomas A'Becket shortly before his murder..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162999
THE INTERNATIONAL EXHIBITION: STAINED-GLASS WINDOW BY MESSRS. J. BALLANTINE AND SON..., 1862. CREATOR: UNKNOWN.
The International Exhibition: stained-glass window by Messrs. J. Ballantine and Son, Edinburgh, 1862. 'This window...has for its subject the Crucifixion, and is to be erected in Prestolee Church, Lancashire, as a memorial to the late Mr. Thomas B. Crompton, of Farnworth...In the centre compartment is seen the body of Christ nailed to the cross, round the foot of which has gathered a sorrowing group, among whom the Virgin Mary and the disciple John are conspicuous...[On] the right of this hangs the repentant thief, his face wearing in death an expression of resigned and hopeful calmness; and in the left one is the impenitent sinner, whose fearfully distorted lineaments, iron-pierced and rope-bound hands, and muscles distended almost to bursting, show the intense agony with which he met his end; while in the two outer sections are the Roman sentinels, two of them busy in the foreground on the left casting dice for the garments of the Saviour...in the mullion tracery are introduced angels bearing scrolls...In colour the window has all the power and harmony of a high-class, deep-toned picture, preserving at the same time in great perfection the brilliancy and transparency indispensable in all mediums for the transmission of light'. From "Illustrated London News", 1862. The International Exhibition: stained-glass window by Messrs. J. Ballantine and Son..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162959
THE DIOCESAN TRAINING COLLEGE, WINCHESTER, OPENED...BY THE BISHOP OF WINCHESTER, 1862. CREATOR: UNKNOWN.
The Diocesan Training College, Winchester, opened...by the Bishop of Winchester, 1862. 'This college...stands on the slope of a hill, and looks down on the Vale of Itchen...It is built in that style of architecture which prevailed at the latter end of the fourteenth century, and will, when the grounds are laid out, have a fine effect. It has accommodation of a superior land for fifty-six students, with residences for the Principal, Vice-Principal, and matron...Over the students' entrance is a tower 73ft. high, which, with several gables and stone chimneys, breaks the length of the building and produces a pleasing architectural effect. The walls are faced with Swanage stone set in cement, the windows being dressed with Bath stone, as also the doorways, copings, &c. The roof is covered with grey and red tiles, which produce a warm and agreeable appearance. The gables and turrets are surmounted with gilt vanes. Mr. John Colson, of Winchester, was the architect, and the contract was taken by Mr. Watts, of Southampton, at £7450...The site of the building, five acres in extent, was given by the Dean and Chapter of Winchester...The college was instituted in 1840...It is the training-college for the two dioceses of Winchester and Salisbury'. From "Illustrated London News", 1862. The Diocesan Training College, Winchester, opened...by the Bishop of Winchester, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162809
THE INTERNATIONAL EXHIBITION: "FAREWELL - FOR EVER", BY V. MANZANO, 1862. CREATOR: E. SKILL.
The International Exhibition: "Farewell - For Ever", by V. Manzano, 1862. Engraving of a painting. 'A young cavalier lover has been severed from his lady-love by her...being forced to take the veil and enter a convent. Wretched and inconsolable, he...dresses himself in deepest mourning and goes to the convent to catch one glimpse of the loved one...He sits...before the double iron grating of the cage, the perpetual prison of his lost love...Here she at length comes...but with no words of hope or comfort, only the dreaded "Adios per siempre." The poor distracted fellow in vain presses his hand to his ear that he may not hear them. He hears them as he sinks in his utter despair into the chair, still clinging to the cruel bars...and they will long be echoed and re-echoed in his heart. The situation is certainly very dramatic, as we are compelled to speculate upon the cause of this separation - whether it has been through any fault on either side, or whether through adverse circumstances; whether the nun is immured willingly, wilfully, or compulsorily. Yet the picture can scarce make the deep impression upon our Protestant imagination that it will upon the native of a country where the inquisition and the conventual system have been such terrible facts'. From "Illustrated London News", 1862. The International Exhibition: "Farewell - For Ever", by V. Manzano, 1862. Creator: E. Skill. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162549
THE RIGHT REV. DR. CHARLES THOMAS LONGLEY, ARCHBISHOP OF CANTERBURY, 1862. CREATOR: UNKNOWN.
The Right Rev. Dr. Charles Thomas Longley, Archbishop of Canterbury, 1862. Engraving from a photograph by Mayall, of Regent-street. 'In 1825 he was appointed Public Examiner, and, having filled the office of Tutor and Censor of Christ Church, he was presented by his college to the incumbency of Cowley, a small benefice in the immediate neighbourhood of Oxford. [In 1829]...he was elected by the trustees to the headmastership of Harrow School...In 1836 the see of Ripon was founded, and Dr. Longley was appointed the first Bishop. On the resignation of Dr. Maltby in 1856, Dr. Longley was translated to the bishopric of Durham; and on the death of Dr. Musgrave, in 1860, to the archbishopric of York. Dr. Longley was most active in the discharge of his episcopal functions as Bishop of Durham, and exerted himself nobly in raising a pecuniary fund for the benefit of the sufferers by the calamitous accident in the Burradon Colliery in 1860; while his zeal and energy in his recent sphere of spiritual duty resulted in the establishment of the York Diocesan Church Building and Endowment Aid Society, in furtherance of which, mainly through his unwearied efforts, many thousands of pounds have been subscribed'. From "Illustrated London News", 1862. The Right Rev. Dr. Charles Thomas Longley, Archbishop of Canterbury, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162239
THE LATE DR. JOHN BIRD SUMNER, ARCHBISHOP OF CANTERBURY, 1862. CREATOR: UNKNOWN.
The late Dr. John Bird Sumner, Archbishop of Canterbury, 1862. Engraving from a photograph by John and Charles Watkins. 'Shortly after his ordination, he was appointed to an assistant-mastership at Eton...The duties of a master at Eton did not exclusively occupy his attention; he was a writer also...In 1816 he won the second prize...for a treatise on "The Evidences." He published this essay in 1817, under the title of "A Treatise on the Records of the Creation and on Moral Attributes of the Creator." The "Evidences of Christianity, Derived from its Nature and Reception," and "Sermons on the Christian Faith and Character," also productions of his pen, went to increase his reputation as an author. He was made, in 1820, a Canon of Durham; he was consecrated Bishop of Chester in 1828, and translated to the archiepiscopal see of Canterbury in 1848...His Grace, during his long public career, rarely spoke in the House of Lords on subjects not relating to the Church. Soon after his elevation to the see of Chester he voted for Catholic emancipation. Latterly he strongly opposed the admission of Jews into Parliament; and in the Divorce Bill strenuously objected to the proposed clause allowing the marriage of the offending parties'. From "Illustrated London News", 1862. The late Dr. John Bird Sumner, Archbishop of Canterbury, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162164
THE PRESTON GUILD FESTIVAL: THE MAYOR LAYING THE FOUNDATION-STONE OF THE...NEW TOWNHALL, 1862. CREATOR: E. SKILL.
The Preston Guild Festival: the mayor laying the foundation-stone of the north-east corner of the new townhall, 1862. 'The first stone was...laid with masonic honours...the cortege presented a very imposing appearance as it wound its way to the Market-place, the site of the proposed building. All Preston seemed to have emptied itself into this arterial thoroughfare, and not only Preston but the neighbouring towns and villages, besides the thousands of people who came from more distant localities...After a fatiguing walk in heavy robes, the Mayor mounted a platform erected around the stone...the Provincial Chaplain of the order read a most appropriate prayer for the Divine assistance and blessing on the undertaking in hand. The Mayor then went on his knees to deposit various bottles in the cavity of the stone and spread the mortar. An ode was sung by the brethren while the block was lowered, libations of oil and wine, with corn and salt, were poured out from various gold and silver vessels...An impressive prayer by the Provincial Chaplain then followed, at the close of which there arose upon the impressed air the grand strains of the "Hallelujah Chorus," the choir being supported by the band of the Preston volunteers'. From "Illustrated London News", 1862. The Preston Guild Festival: the mayor laying the foundation-stone of the...new townhall, 1862. Creator: E. Skill. (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) 601161804
PRESENTATION OF LORD PALMERSTON'S PORTRAIT TO THE INHABITANTS OF DOVER..., 1862. CREATOR: UNKNOWN.
Presentation of Lord Palmerston's portrait to the inhabitants of Dover - the Premier addressing the town council in the Maison Dieu Hall, 1862. '...it was thought that the...[portrait] would be a valuable acquisition to the collection. His Lordship, therefore, complied with a request made to him to sit to Mr. Morris, R.A., who is a native of Dover. The portrait is admirably painted full-length. His Lordship is represented in the Warden uniform - a blue coat with a scarlet collar - and is wearing the insignia of the Order of the Garter...At the Townhall Lord Palmerston was received by the Mayor and Corporation...attended by the Recorder. When the cheering of the townspeople who filled the hall had subsided Lord Palmerston was presented with a Corporation address: "...we trust that the memorial will be universally recognised as most appropriate. We sincerely hope that in the fulfilment of your Lordship's high and responsible duties you may be blessed by Divine Providence with uninterrupted health and energy, and that our sense of your Lordship's public services as First Minister of the Crown and a senator of the realm may, by this day's proceeding, be recorded by future generations still revering the honoured jurisdiction of the Cinque Ports".' From "Illustrated London News", 1862. Presentation of Lord Palmerston's portrait to the inhabitants of Dover..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
von 2234
Alt Text