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INTERIOR OF A GOTHIC CHURCH, UNKNOWN DATE. CREATOR: EMANUEL DE WITTE.

Interior of a Gothic Church, unknown date. Interior of a Gothic Church, unknown date. Creator: Emanuel de Witte. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

COUNTRY WEDDING, 1649. CREATOR: JAN STEEN.

Country Wedding, 1649. The artist depicts the arrival of the bride in an exterior setting. Dressed in white and followed by a rather motley retinue, she wears her hair loose as a symbol of chastity. The bride is accompanied on either side by two elderly women who wear the traditional huik, a cape with a projecting hood, which is in the more modern style in the case of the woman on our left. The groom, standing at the foot of the stairs that lead into the house, receives his wife with a rather exaggerated gesture of reverence. Country Wedding, 1649. Creator: Jan Steen. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

INTERIOR OF A GOTHIC CHURCH, 1615. CREATOR: PEETER NEEFFS THE ELDER.

Interior of a Gothic Church, 1615. A church with a principal nave and two lateral aisles, separated by solid columns supporting the vault. A whiteish light filters in through the side windows, which are of plain glass, flooding the interior and emphasising the dimensions and depth of the building. Neeffs depicts a plain, light-filled interior with small side chapels located both along the side walls and attached to the columns of the nave. In one of these lateral chapels a mass is being celebrated by a priest with his back to the viewer and some kneeling worshippers. This may be a funeral as in the centre in the far distance we can see a coffin covered with a black cloth. Interior of a Gothic Church, 1615. Creator: Peeter Neeffs the Elder. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

INTERIOR OF THE TEMPLE OF DIANA AT NIMES, UNKNOWN DATE. CREATOR: HUBERT ROBERT.

Interior of the Temple of Diana at Nimes, unknown date. A series of figures including a traveller, a busy artist seated on a block of stone and various figures wearing classical tunics who, in the case of the one on the right, seem to be acting out an episode to the public. We also see two men dressed as soldiers and in the background inside the temple two figures engaged in some sort of rite or ritual. The interior of the temple is crowded with fragments of columns that have been piled together for storage, as well as capitals, column bases and remains of pediments piled up and arranged, and tombstones leaning against the far wall. Two figures are standing on the roof looking down on the scene and others are peering out between the arcading. Interior of the Temple of Diana at Nimes, unknown date. Creator: Hubert Robert. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

GROUP OF MUSICIANS, 1650. CREATOR: JACOB VAN LOO.

Group of Musicians, 1650. Young people are engaged in a happy, relaxed gathering on a terrace. A table covered with a richly coloured carpet is the axis around which the musicians are informally arranged. On the left a young woman is playing the ‘cello and opposite her another woman seated at the table and singing with a piece of music open before her. On the right a man is beating time with his hand on the table and looking boldly at the woman who is singing. Group of Musicians, 1650. Creator: Jacob van Loo. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

INTERIOR OF THE COUNCIL CHAMBER OF AMSTERDAM TOWN HALL, 1663. CREATOR: PIETER DE HOOCH.

Interior of the Council Chamber of Amsterdam Town Hall, 1663. Amsterdam Town Hall was designed by Jacob van Campen. Construction began in 1648 and the room depicted here was in use by 1655. It was adorned with two huge canvases: one by Ferdinand Bol, seen here on the end wall, entitled Gaius Lucinus Fabritius in the Camp of King Pyrrhus. Interior of the Council Chamber of Amsterdam Town Hall, 1663. Creator: Pieter de Hooch. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

INTERIOR OF THE CHURCH AT MANTES, 1865. CREATOR: JEAN-BAPTISTE-CAMILLE COROT.

Interior of the Church at Mantes, 1865. Interior of the Church at Mantes, 1865. Creator: Jean-Baptiste-Camille Corot. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SEATED MAN, 1905. CREATOR: PAUL CEZANNE.

Seated Man, 1905. One of a set of plein-air paintings produced by Cézanne in Aix-en-Provence towards the end of his life. In it, Cézanne’s gardener, Vallier, poses against the balustrade on the terrace of the artist’s new studio, close to Les Lauves. Though dressed in the plain blue work-clothes of the Provençal peasant, the sitter conveys a sense of strength and solidity Seated Man, 1905. Creator: Paul Cezanne. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

CONSTRUCTION IN SPACE-TIME II, 1924. CREATOR: THEO VAN DOESBURG.

Construction in Space-Time II, 1924. Construction in Space-Time II, 1924. Creator: Theo Van Doesburg. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PEREGRINE RESCUING EMILIA FROM THE INN FIRE, C1786. CREATOR: THOMAS ROWLANDSON.

Peregrine Rescuing Emilia From The Inn Fire, c1786. "From the noticeboard we find the Dover, Deal, Margate and Canterbury Coaches are advertised to set out from the caravansary in question. The strangers are rudely disturbed, while the flames are lapping the old building and serpentining their way round the flammable wooden balconies. The entire population of the building has fled into the coach yard - men and women in various (and amusing) states of dress and undress abound - fire roars from the windows at upper left. A sufferer from gout is being conveyed in a wheelbarrow out of the imminent danger of being roasted alive.an antiquated husband is holding a ladder for the escape of his pretty wife; the curmudgeon is furious that the personal attractions of his better half should be thus displayed to the less privileged males around, who are assisting her delicate descent. The dangers of the fire are increased by the reckless impulse characteristic of similar casualties, in which blazing objects are hurled out of the window, spreading the flames to places which have hitherto escaped ignition. Mirrors and tablets, sheets and other objects, are sent flying from the upper galleries on to the heads of the scared travellers below." Peregrine Rescuing Emilia From The Inn Fire, c1786. Creator: Thomas Rowlandson. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MELROSE ABBEY: THE EAST WINDOW, 1800. CREATOR: THOMAS GIRTIN.

Melrose Abbey: The East Window, 1800. Melrose Abbey: The East Window, 1800. Creator: Thomas Girtin. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

COTTAGE, C1850. CREATOR: LIONEL CONSTABLE.

Cottage, c1850. Cottage, c1850. Creator: Lionel Constable. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE PRESTON EXHIBITION OF WORKS OF ART AND INDUSTRY, 1865. CREATOR: UNKNOWN.

The Preston Exhibition of Works of Art and Industry, 1865. 'The Exhibition of Works of Art and Industry at Preston, Lancashire, which was...[held] in the Exchange Buildings, Lune-street, includes a picture-gallery, containing several valuable works of Landseer, Turner, Roberts, Frith, Hunt, and others, with a few pieces of sculpture; a collection of specimens of natural history, with scientific instruments and apparatus; mechanical models, machinery in motion; various manufactured products, chiefly of the textile fabrics; and a museum of antiquities and curiosities, mostly of local interest. The exhibition is arranged in the galleries surrounding the area of the Corn Exchange, and in some of the upper apartments; but while the area itself, being required for the weekly corn market, is left clear for ordinary business, a temporary floor has been laid above the area, on a level with the galleries, forming a spacious central hall, where the opening ceremony took place'. From "Illustrated London News", 1865. The Preston Exhibition of Works of Art and Industry, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE NOTTINGHAM AND MIDLAND COUNTIES INDUSTRIAL EXHIBITION, 1865. CREATOR: UNKNOWN.

The Nottingham and Midland Counties Industrial Exhibition, 1865. Engraving from a photograph by Messrs. John Burton and Sons. 'The contents of this exhibition are, in a great measure, the product of the ingenuity and taste of the working men of Nottingham, who have, in their leisure hours, employed themselves in constructing models and various specimens of art...it is to be hoped that the experiment will be justified, in a pecuniary sense, by the amount of public support bestowed on the exhibition'. From "Illustrated London News", 1865. The Nottingham and Midland Counties Industrial Exhibition, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE WAKEFIELD INDUSTRIAL EXHIBITION, 1865. CREATOR: UNKNOWN.

The Wakefield Industrial Exhibition, 1865. 'This exhibition...has since proved most successful, the number of visitors hitherto being more than 50,000. It has been well arranged to combine the generally attractive character of a display of manufactures and specimens of art or design with that of a large exhibition of the humbler but individually most interesting productions of the working classes...Specimens of manufactures, machinery in motion, musical instruments, furniture; architectural, marine, and other models; drawings, paintings sculpture, photographs, wood- carvings, stuffed birds and animals, needlework, and multitudes of things made by artisans of the West Riding in their leisure hours are exhibited...The exhibition is held in a large building which has been erected for the purpose from the design of Mr. William Watson...The lower floor is devoted to machinery in motion and heavy products. The upper floor, which is a single apartment, contains the principal part of the exhibition...the exhibition is held in six rooms, which contain about 17,500 square feet of floor and table space, and 17,000 square feet of wall space. The number of exhibitors, including the fine arts department and children, amount to nearly 2000'. From "Illustrated London News", 1865. The Wakefield Industrial Exhibition, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

OPENING OF THE NORTH-EAST LONDON EXHIBITION OF ARTS AND MANUFACTURES AT THE AGRICULTURAL HALL, 1865. CREATOR: UNKNOWN.

Opening of the North-East London Exhibition of Arts and Manufactures at the Agricultural Hall, 1865. 'The Hundredth Psalm was most effectively sung by the choir...The chairman of the committee, Mr. George King, then invited the distinguished personages, the Sheriffs of London and Middlesex, Archdeacon Hale, and others, to inspect the exhibition, during which operatic selections from "The Prophet" were played by the band of the Honourable Artillery Company. On the return of the procession to the platform the Lord Mayor made a few appropriate remarks, and called upon the Lord Chancellor to declare the exhibition open. The Ven. Archdeacon Hale offered up a special prayer for the Divine blessing upon the undertaking. The Chorale composed by his late Royal Highness the Prince Consort was sung by the choir. At its conclusion an address was given by the Lord Chancellor. The "Hallelujah Chorus" was then sung, and the Marquis of Salisbury, K.G., presented the cordial thanks of the committee and exhibitors to the Lord Chancellor and the Lord Mayor. The proceedings terminated with the singing of the National Anthem by the whole company. The exhibition is well worthy of a visit, especially for its Fine-Arts Department'. From "Illustrated London News", 1865. Opening of the North-East London Exhibition of Arts and Manufactures at the Agricultural Hall, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE PUNJAUB EXHIBITION OF ARTS AND INDUSTRY AT LAHORE: INTERIOR OF THE BUILDING, 1864. CREATOR: UNKNOWN.

The Punjaub Exhibition of Arts and Industry at Lahore: interior of the building, 1864. Engraving from a photograph by Messrs. Howard, Shepherd, and Bourne, showing '...the interior, looking along the main aisle. On the arches, between this and the side courts, are hung swords of native manufacture; while the tables and cases display rich brocades and horse-trappings, articles of pottery and silver from Cashmere, and the jewellery of Cashmere and Delhi. There are shawls from the looms of Umritsur, carpets, pictures, books, and illuminated manuscripts and many other specimens of native workmanship...[The exhibition] was opened by Sir Robert Montgomery, K.C.B., the Lieutenant-Governor of the province, on the 20th of January, and has been attended by nearly a thousand persons daily, comprising all classes of the natives, from the wealthy shawl merchant to the poor Sikh peasant...This exhibition is well calculated to advance the industrial prosperity of the province'. From "Illustrated London News", 1864. The Punjaub Exhibition of Arts and Industry at Lahore: interior of the building, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

STATUE OF THE LATE PRINCE CONSORT AT PERTH, BY W. BRODIE, F.S.A., 1864. CREATOR: MASON JACKSON.

Statue of the late Prince Consort at Perth, by W. Brodie, F.S.A., 1864. A '...statue which has been raised to the memory of the late Prince Consort by the city of Perth. The statue has been executed by Mr. William Brodie, R.S.A., of Edinburgh, whose work has justified the Perth committee in their selection of a native sculptor for the execution of a Scottish memorial of the lamented Prince. The material was supplied by a fine block of pure freestone from Redhall Quarry. The figure is nine feet in height. It represents the Prince attired in the robes of a Knight of the Ancient Order of the Thistle. The dress is the doublet and trunk hose of the Old Scottish Court; and the figure bears not only the insignia of the Scottish but also of the great English order of knighthood, the Garter being worn below the left knee. The collar and star of the Thistle show very effectively on the richly-embroidered doublet, and the mantle falls gracefully in rear of the figure. The right hand rests on a square column, or pedestal, and holds an open scroll, on which the outlines of the Exhibition building of 1851 may be traced. The likeness is excellent, and the whole figure serves well to recall the Prince just as he was removed from among us'. From "Illustrated London News", 1864. Statue of the late Prince Consort at Perth, by W. Brodie, F.S.A., 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

OPENING OF THE CRYSTAL PALACE AT AMSTERDAM FOR THE EXHIBITION OF ARTS AND INDUSTRY, 1864. CREATOR: UNKNOWN.

Opening of the Crystal Palace at Amsterdam for the Exhibition of Arts and Industry, 1864. 'The fashion set by England, in 1851, of erecting a Crystal Palace, in which to exhibit the varied productions of art and industry, has been tardily followed by Holland, a country whose inhabitants...are proverbially slow and sure in adopting any of the developments of enterprise in foreign lands...the building was officially opened...in the presence of about seven thousand spectators...Handel's "Hallelujah Chorus," and Mendelssohn's "Magnificat,"...were given with glorious effect...The palace is a magnificent development of the Byzantine style of architecture, and was built under the superintendence of M. Dutshoorn [sic]...The transept...is 380 ft. in length...It is surrounded by a very handsome gallery...supported by fluted cast-iron pillars...From the base of the arched crystal roof were hung "the flags of all nations," which greatly contributed to the festive character of the scene...the King of the Netherlands has conferred on Dr. Sarphati...the Order of the Netherlands Lion, by way of recognition of his meritorious and indefatigable exertions in securing for the capital of Holland this magnificent palace of art and industry'. From "Illustrated London News", 1864. Opening of the Crystal Palace at Amsterdam for the Exhibition of Arts and Industry, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE PUNJAUB EXHIBITION BUILDING AT LAHORE, 1864. CREATOR: UNKNOWN.

The Punjaub Exhibition Building at Lahore, [India], 1864. 'An exhibition of the products, manufactures and arts of the Punjaub is about to be held...The building is of brickwork...with two small annexes...There will also be a temporary annexe in...[which] it is also proposed to exhibit the processes of several of the most celebrated of the Punjaub manufactures, by having men actually at work at their respective trades, such as shawl embroidery work, wire-drawing, gold and silver brocade work (from Delhi), and gujerati-work (steel inlaid with gold)...Mr. C. Baines, C.E., of the Punjaub Railway, is the architect'. From "Illustrated London News", 1864. The Punjaub Exhibition Building at Lahore, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE EXHIBITION OF ARTS AND MANUFACTURES AT DUBLIN, 1864. CREATOR: UNKNOWN.

The Exhibition of Arts and Manufactures and Industry at Dublin, 1864. View of the Agricultural Hall, Earlsfort Terrace. 'The central portion was divided from its smaller adjuncts by wooden partitions...The general appearance of the hall is, however, greatly marred by the erection of a number of large cases for the exhibition of goods, as well as by the intrusion of a huge iron structure, which is the top of a lighthouse...Here, and in a number of stalls fitted up under the galleries, are displayed...[poplins; delicate laces; calicoes and linens; woollen goods...good serviceable flannels and hose; tweeds]...The south aisle contains...harness and saddlery; furniture; culinary apparatus; a variety of ornaments and chimneypieces of Irish and foreign marbles...The articles in the galleries...include specimens of bookbinding, of illuminations upon vellum photographs, carvings, embroidery, embossing [etc]...In the rear of the Agricultural Hall, the space known as the Shelburne-yard, now covered with iron and glass, and inclosing an area of 22,000 square feet, has been appropriated to machinery. The north aisle has been set apart as a picture-gallery...The collection contains about five hundred pictures, many of which are works of the highest merit'. From "Illustrated London News", 1864. The Exhibition of Arts and Manufactures at Dublin, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE SMITHFIELD CLUB CATTLE SHOW AT THE NEW AGRICULTURAL HALL, ISLINGTON, 1862. CREATOR: UNKNOWN.

The Smithfield Club Cattle Show at the new Agricultural Hall, Islington, [London], 1862. 'The interior of the building has more than answered all the expectations formed of it; and the arrangements about dividing the sheep pens and making avenues between will help to ease the crush which was experienced when the crowd was at its height. There is space still available behind, and ere long we quite expect that the Smithfield Club will begin to ask for more room, and the Company be only too happy to accommodate them. It seems thought that the centre of the hall will be the most appropriate place for Mr. Jonas Webb's statue...'. From "Illustrated London News", 1862. The Smithfield Club Cattle Show at the new Agricultural Hall, Islington, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

RUINS OF THE GREAT EXHIBITION BUILDING OF 1862, (1864). CREATOR: UNKNOWN.

Ruins of the Great Exhibition Building of 1862, [London], (1864). Engraving from a sketch '...looking in an easterly direction along the Cromwell-road...The grand central entrance appears in the foreground; and, beyond this, a portion of the tower at the comer of the Exhibition-road. In the background are the buildings attached to the Gardens of the Horticultural Society, which mark the sight of the Exhibition Refreshment Rooms. On Tuesday last the Engineers and labourers completed the clearing away the debris of the two towers in the Exhibition-road, which had been dislodged by gunpowder. Profiting by the experience gained in connection with these new experiments for removing masses of masonry, the tower was deposed in two divisions, the force of the explosive power at the base being considerably increased, the result being that, instead of being precipitated laterally, as on the last occasion, into the road, the columns crumbled down, so to speak, upon themselves with only a slight noise and scattering of the materials. Operations will be next taken for the demolition and removal of the towers in the Albert-road, and of the grand entrance'. From "Illustrated London News", 1864. Ruins of the Great Exhibition Building of 1862, (1864). Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

BLOWING UP THE EASTERN ARCH OF THE GREAT EXHIBITION BUILDING, 1864. CREATOR: UNKNOWN.

Blowing up the Eastern Arch of the Great Exhibition Building, [South Kensington, London], 1864. Demolition of an '...arch which supported the eastern gable end of the nave of the International Exhibition building. The arch was of brickwork, in Portland cement, semicircular in form; the span 59 ft...To have demolished this arch in the ordinary way would have necessitated the use of extensive scaffolding...It was therefore suggested that it would form a good experiment for the Royal Engineers. Mr. Freake, who has bought the materials of the building, and is pulling it down, willingly agreed to the proposal, and...a party of sappers...commenced work by boring four holes in each haunch of the arch to receive small charges of powder...The total amount of powder used was 19 lb...the part of the Exhibition-road in front of the arch having been cleared by the police in case of accident, the officer in charge of the party fired the charges simultaneously by means of an electric machine. The effect was very satisfactory, the haunches of the arch were broken and slightly pushed out, the crown opened, and the parts fell together, separating into several pieces in their fall'. From "Illustrated London News", 1864. Blowing up the Eastern Arch of the Great Exhibition Building, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PAVILION "JOHN GRIEVES", 1911. CREATOR: A. A. ANTONOV.

Pavilion "John Grieves", 1911. From a collection of photographs documenting the First West Siberian Agricultural, Forestry, and Industrial Trade Exhibition, which took place in Omsk in 1911. The exhibition was held from June 15 to August 1 of that year, and was a significant event in the life of the Siberian region. Nothing on this scale or this level of ambition had ever been staged in Siberia. Omsk State Museum of Regional History and Folklife Pavilion "John Grieves", 1911. Creator: A. A. Antonov. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PAVILION "VOLSKY PLANT A.B. SEIFERT", 1911. CREATOR: A. A. ANTONOV.

Pavilion "Volsky plant A.B. Seifert", 1911. From a collection of photographs documenting the First West Siberian Agricultural, Forestry, and Industrial Trade Exhibition, which took place in Omsk in 1911. The exhibition was held from June 15 to August 1 of that year, and was a significant event in the life of the Siberian region. Nothing on this scale or this level of ambition had ever been staged in Siberia. Omsk State Museum of Regional History and Folklife Pavilion "Volsky plant A.B. Seifert", 1911. Creator: A. A. Antonov. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MACHINE PAVILION R. WOLF, 1911. CREATOR: A. A. ANTONOV.

Machine pavilion R. Wolf, 1911. From a collection of photographs documenting the First West Siberian Agricultural, Forestry, and Industrial Trade Exhibition, which took place in Omsk in 1911. The exhibition was held from June 15 to August 1 of that year, and was a significant event in the life of the Siberian region. Nothing on this scale or this level of ambition had ever been staged in Siberia. Omsk State Museum of Regional History and Folklife Machine pavilion R. Wolf, 1911. Creator: A. A. Antonov. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PAVILION "KUZNETSOV BROTHERS IN OMSK", 1911. CREATOR: A. A. ANTONOV.

Pavilion "Kuznetsov Brothers in Omsk", 1911. From a collection of photographs documenting the First West Siberian Agricultural, Forestry, and Industrial Trade Exhibition, which took place in Omsk in 1911. The exhibition was held from June 15 to August 1 of that year, and was a significant event in the life of the Siberian region. Nothing on this scale or this level of ambition had ever been staged in Siberia. Omsk State Museum of Regional History and Folklife Pavilion "Kuznetsov Brothers in Omsk", 1911. Creator: A. A. Antonov. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

OPENING OF THE EXHIBITION, 1911. CREATOR: A. A. ANTONOV.

Opening of the exhibition, 1911. From a collection of photographs documenting the First West Siberian Agricultural, Forestry, and Industrial Trade Exhibition, which took place in Omsk in 1911. The exhibition was held from June 15 to August 1 of that year, and was a significant event in the life of the Siberian region. Nothing on this scale or this level of ambition had ever been staged in Siberia. Omsk State Museum of Regional History and Folklife Opening of the exhibition, 1911. Creator: A. A. Antonov. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE INTERNATIONAL EXHIBITION: MR. HARRY EMANUEL'S TROPHY, 1862. CREATOR: UNKNOWN.

The International Exhibition: Mr. Harry Emanuel's Trophy, 1862. '...the trophy...was composed of wood stained to look like ebony, inlaid with marble and enriched with bronze. Its form was square, and at the angles were placed plinths, supporting...caryatides, representing the Seasons. Over the carved cornice is a light and elegant dome, on the summit of which is a bronze copy of the celebrated and well-known Mercury (by John of Bologna), a hackneyed but very graceful figure, representing the God of Trade and Theft...Three sides of the trophy contained cases wherein several remarkable and fine jewels were exhibited, and the fourth opened to admit the assistants of Mr. Emanuel, who during the exhibition drove a very vigorous trade. Surrounding the trophy were several meritorious groups: the ivory Venus, the statuette of the Prince of Wales, and other objects of great merit. The height of the trophy is altogether upwards of 30ft., the caryatides are 7ft. high, and the Mercury the size of life'. From "Illustrated London News", 1862. The International Exhibition: Mr. Harry Emanuel's Trophy, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

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)

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)

THE INTERNATIONAL EXHIBITION: DECORATION, IN THE FURNITURE COURT, BY JOHN G. CRACE..., 1862. CREATOR: UNKNOWN.

The International Exhibition: decoration, in the Furniture Court, by John G. Crace - from a photograph by the London Stereoscopic Company, 1862. 'This decorative arrangement is formed into three portions (of which the central is the widest) by four pilasters, which bear the richest portion of the decoration; the upper part of the central section is occupied by an arch filled with ornamental griffins, and a shield bearing the initials of its producer, and the upper portions of the side compartments with panels, in the centre of which arc pictorial medallions. In style this decoration is French Renaissance...The ornament of the pilasters is in the richest colours, and is wrought upon a toothed gold ground. In the central columns boys are introduced, and in the side pilasters urns of flowers. The capitals are gold, and the bases imitations of rich marbles and bronze. This decoration is, unquestionably, gorgeous, yet it is not obtrusive. It is harmonious and well composed, and stands rather with the aspect of conscious worth than gaudy showiness'. From "Illustrated London News", 1862. The International Exhibition: decoration, in the Furniture Court, by John G. Crace..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: DRAWING-ROOM BALCONY PANEL BY W. ROBERTS..., 1862. CREATOR: UNKNOWN.

The International Exhibition: drawing-room balcony panel by W. Roberts, of Northampton, 1862. 'This is a simple work in cast iron, formed chiefly of a conventionally-treated flower, supported by interlacing bands. It is without any great pretensions, and is but one of many examples of beautiful casting which Mr. Roberts shows'. From "Illustrated London News", 1862. The International Exhibition: drawing-room balcony panel by W. Roberts..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: BELGIAN PULPIT BY MESSRS. GOYERS BROTHERS..., 1862. CREATOR: UNKNOWN.

The International Exhibition: Belgian pulpit by Messrs. Goyers Brothers of Louvain, 1862. 'The Belgian carved pulpit...may be said to be fully an architectural structure, enriched with carved mouldings and subjects, and with the application of a small amount of coloured ornament. Around the body of the pulpit figure-subjects occur in full relief, the four panels being respectively filled by the Marriage of the Virgin, the Annunciation, the Greeting of Mary and Elizabeth, and the Flight into Egypt...The mouldings and capitals consist of foliage conventionally treated, and subordinated to its position in a manner which is very pleasing; and the little ornaments of the upper portions of the chief supports of the stairs, in intaglio, are exceedingly meritorious...The little central panel of the canopy has a blue ground, and a dove in relief hovers in front of it, and beautifully typifies the Holy Ghost, which descended in this form. Architecturally, this work is well set out; and, while there are a few features about it for which there is no necessity, as it is not to be exposed to the weather, it must yet be regarded as a beautiful and highly meritorious object'. From "Illustrated London News", 1862. The International Exhibition: Belgian pulpit by Messrs. Goyers Brothers..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: DESIGN FOR THE EAST WINDOW OF ST. GEORGE'S CHURCH..., 1862. CREATOR: UNKNOWN.

The International Exhibition: design for the east window of St. George's Church, Doncaster, by Hardman and Co., of Birmingham, 1862. 'This window is designed and coloured strictly in accordance with the date (the fourteenth century) of the architecture of St. George's Church. It consists of eight lights, which are filled with the Passion of our Lord represented in eighteen groups - viz., the Entrance into Jerusalem, the Last Supper, Washing the Disciples' Feet, the Treachery of Judas, the Agony in the Garden, the Scourging, the Mocking, the Ecce Homo, the Condemnation, the Carriage of the Cross, the Crucifixion, the Taking Down from the Cross, the Entombment, the Sealing of the Sepulchre, the Resurrection, the Noli Me Tangere, the Ascension, the Descent of the Holy Spirit. In the wheel of the tracery is the half figure of our Lord as the true vine, from whom, connected by the branches, are the Apostles, the Evangelists, and St. Michael and St. George, the smaller openings being filled with angels. This window is erected to the memory of the Rev. Dr. Sharpe, late of the church'. From "Illustrated London News", 1862. The International Exhibition: design for the east window of St. George's Church..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: PLAN OF THE GALLERIES, 1862. CREATOR: UNKNOWN.

The International Exhibition: plan of the galleries, 1862. The International Exhibition was a world's fair in South Kensington, London. The site now houses museums including the Natural History Museum and the Science Museum. From "Illustrated London News", 1862. The International Exhibition: plan of the galleries, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: PORTIONS OF THE AUSTRIAN AND BELGIAN COURTS..., 1862. CREATOR: MASON JACKSON.

The International Exhibition: portions of the Austrian and Belgian Courts as seen from the Western Dome, 1862. '...the Austrian Court...is very advantageously situated for catching the eye of the visitor who comes down the nave from the eastern entrance. At the point where the north-western transept springs from the dome the Austrian Court extends a considerable way to the left of the transept, as the Belgian Court extends in the same direction to the right. On ascending the steps leading to the western dome an excellent view is obtained both of the galleries and the lower floor of the court, which come out with much brilliancy and effect. The view which we give...is taken from beneath the western dome looking down the north transept, and in the distance is the fine painted window which terminates the transept. In the foreground to the left is to be seen Leopold Kissling's group of statuary, Mars, Venus, and Cupid. In the centre is Lobmeyer [sic] of Vienna's crimson velvet screen, which forms a background to his grand display of chandeliers; and a little to the left is to be observed Neffen's stand of Bohemian glass. The picture includes also a considerable portion of the Belgian Court'. From "Illustrated London News", 1861. The International Exhibition: portions of the Austrian and Belgian Courts..., 1862. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: VIEW OF THE NAVE LOOKING EAST..., 1862. CREATOR: MASON JACKSON.

The International Exhibition: view of the Nave looking east - from a photograph by the London Stereoscopic Company, 1862. On the left is a display labelled 'Bougie de l'Etoile Belge'. On the right is a model of the new exchange at Berlin. The International Exhibition was a world's fair in South Kensington, London. The site now houses museums including the Natural History Museum and the Science Museum. From "Illustrated London News", 1862. The International Exhibition: view of the Nave looking east..., 1862. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: VIEW OF THE MEDIAEVAL COURT, 1862. CREATOR: MASON JACKSON.

The International Exhibition: view of the Mediaeval Court, 1862. The International Exhibition was a world's fair in South Kensington, London. The site now houses museums including the Natural History Museum and the Science Museum. From "Illustrated London News", 1862. The International Exhibition: view of the Mediaeval Court, 1862. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: ANGELS FROM THE HEREFORD SCREEN, 1862. CREATOR: UNKNOWN.

The International Exhibition: angels 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...At each side are angels hymning his glad welcome to the slues; and how full of wondering adoration is their gaze!...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: angels from the Hereford Screen, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

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)

THE INTERNATIONAL EXHIBITION: DETAIL OF THE GRILLE FROM THE HEREFORD SCREEN, 1862. CREATOR: UNKNOWN.

The International Exhibition: detail of the grille 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: detail of the grille from the Hereford Screen, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: ANGEL FROM THE HEREFORD SCREEN, 1862. CREATOR: UNKNOWN.

The International Exhibition: angel 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...At each side are angels hymning his glad welcome to the slues; and how full of wondering adoration is their gaze!...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: angel from the Hereford Screen, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

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)

THE INTERNATIONAL EXHIBITION - MARBLE CHIMNEYPIECE, BY LECLERCQ, IN THE BELGIAN COURT..., 1862. CREATOR: UNKNOWN.

The International Exhibition - marble chimneypiece, by Leclercq, in the Belgian Court - from a photograph by the London Stereoscopic Company, 1862. 'This is unquestionably a work of very great excellence and beauty, and is in that just style which commands admiration...The side supports are chimeras, terminated above in goats' heads and pier brackets blended into the female form. These latter supporting members are worthy of very careful consideration in view of their beauty and the excellent manner in which architectural supporting members are blended with the figures. A staylike armour appears as the dress of the figure, which, by its indurate character, ig admirably suited to bring about the union of the animal body with the more solid stone. The Italian scrollwork, with its tenderness of treatment and justness, the mouldings so fully suited to their positions, and the general massing out of the work, may be separately studied with advantage'. From "Illustrated London News", 1862. The International Exhibition - marble chimneypiece, by Leclercq, in the Belgian Court..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: GROUP OF PORCELAIN ARTICLES BY SIR JAMES DUKE AND NEPHEWS, 1862. CREATOR: UNKNOWN.

The International Exhibition: Group of porcelain articles by Sir James Duke and Nephews, 1862. '... a dessert service, together with a plateau in imitation of the Italian majolica ware...The plateau contains "The Worship of the Golden Calf," painted by Mr. George Eyre...The centrepiece consists of a rich base, on which rests a florid pedestal surrounded by three female figures and a tazza resting on the pedestal. The tazza and base are in porcelain and the pedestal and figures in Parian. The tazza is perforated and enriched with gold, magenta pencillings, and mauve bands; and also by medallions of fruit and flowers, and a floral border...The figures represent the attendants at the marriage festivity in the classic age, with the symbols of merriment; their girdles are gold, their coronets mauve and gold, and the drapery is bounded by a band of mauve bordered with gold. On the base of the corner-dishes rest three figures in a sitting posture - Peace, Industry, Commerce...The pedestals of the cream-bowls are surrounded by children birdnesting; and the other dishes are sustained by boys grouped with greyhounds. The whole of this service is very beautiful...the colours delicate and harmonious, and the enrichment chaste and subdued'. From "Illustrated London News", 1862. The International Exhibition: Group of porcelain articles by Sir James Duke and Nephews, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PLASTER MONUMENT OF SHAKSPEARE, MODELLED BY THE LATE J. E. THOMAS, 1862. CREATOR: ROBERT DUDLEY.

Plaster Monument of Shakspeare, modelled by the late J. E. Thomas, 1862. 'It was designed not merely as a portrait-statue, but as a national monument...the poet is elevated on a lofty and massive pedestal decorated with bas-reliefs, and there are...two lateral allegorical figures of Comedy and Tragedy...The great poet holds a pen in one hand and loose manuscript in the other...Great praise, however, is also due to the sculptor for...the felicitous composition, and the careful modelling of the principal characters, male and female, of Shakspeare's plays in the gilt bas-reliefs which decorate the front and back of what we may call the shaft of the pedestal...A melancholy interest attaches to this monument, for it is said indirectly to have hastened the sculptor's death. It is stated, on good authority, that the Royal commissioners for the International Exhibition, or their agents, had refused him space for it, after considerable discussion with him not of the most conciliatory nature, that he had been indisposed for two or three weeks previously from excessive labour and anxiety, and that he went home after his last interview with the authorities at Kensington, took to his bed, and died in a few days'. From "Illustrated London News", 1862. Plaster Monument of Shakspeare, modelled by the late J. E. Thomas, 1862. Creator: Robert Dudley. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: ARTICLES IN PARIAN BY W. H. GOSS, 1862. CREATOR: UNKNOWN.

The International Exhibition: articles in Parian by W. H. Goss, 1862. 'The Octagon Vase, Dessert-dish, Globe Vase. The dessert-dish consists of a tazza, supported by a group of caryatides, both of which are elaborately finished with chased gold and turquoise enamel, the drapery of the figures being sprinkled over with stars. The globe vase seems to us to be an object of peculiar interest, both on account of the exceeding beauty of its form and its apparent harmony with its use and mode of production. Clay is especially fitted for fabrication into forms of beauty by the agency of the potter's wheel, and by this mode of working forms which are infinitely more beautiful than those which can be got by casting or any other means are gained...the decoration of the vase is almost as consistent as its form, consisting of simple bands and festoons wrought in enamel jewels and chased gold. The other vase is of an octagonal form, yet the capacity and double funnel are well cared for, and the flowers on the panels are modelled with great tenderness and beauty, and are surrounded by rubies'. From "Illustrated London News", 1862. The International Exhibition: articles in Parian by W. H. Goss, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: VIEW OF THE PICTURE-GALLERY, LOOKING EAST, 1862. CREATOR: UNKNOWN.

The International Exhibition: view of the Picture-Gallery, looking east, 1862. '...the view...embraces the returned walls of the eastern tower, and, through the arched entrance, the loftier square saloon beneath that tower'. The International Exhibition was a world's fair held from 1 May to 1 November 1862 in South Kensington, London. The site now houses museums including the Natural History Museum, the Victoria & Albert Museum, and the Science Museum. From "Illustrated London News", 1862. The International Exhibition: view of the Picture-Gallery, looking east, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: CHIMNEYPIECE BY JACKSON AND SONS, 1862. CREATOR: UNKNOWN.

The International Exhibition: chimneypiece by Jackson and Sons, 1862. 'Our engraving sets forth a chimneypiece by Messrs. George Jackson and Sons, of Rathbone-place, moulded in carton pierre, a new material which seems well suited to fabrication into articles of this class. The general block of this work is good, and the upright treatment of the frieze is suggestive of strength, which is always pleasing when a weight has to be sustained. The large brackets, terminated above in lions' heads, spring direct from the base, and thus a sense of great security is conveyed. The mantel-shelf is peculiar in having projecting parts over the side brackets, and not the straight form, which is usual'. From "Illustrated London News", 1862. The International Exhibition: chimneypiece by Jackson and Sons, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: BOOKCASE BY HINDLEY AND SON, 1862. CREATOR: UNKNOWN.

The International Exhibition: bookcase by Hindley and Son, 1862. 'It is carved in light-coloured oak, and is in the mediaeval style: it stands 10ft. 6in. in height, is 7ft. long, and has the centre doors panelled with glass, over which is a light tracery of wood. The end doors below are carved solid and are minutely finished; and the scrolls, which now contain the word Hindley and the date 1862, are destined to receive mottoes. The architectural massing out of the structure is good, and the construction is well considered, support being given where occasion requires; and one feature which is frequently overlooked, and yet which is of the highest importance, is here attended to - i.e., that oƒ avoiding loose projecting ornaments, which are both in danger of injuring the occupant of the apartment they furnish and of being injured themselves'. From "Illustrated London News", 1862. The International Exhibition: bookcase by Hindley and Son, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: VIEW OF THE ENGLISH PICTURE-GALLERY, LOOKING WEST, 1862. CREATOR: UNKNOWN.

The International Exhibition: view of the English Picture-Gallery, looking west, 1862. 'The lower galleries at the two extremities of the building are rather confined, and already heated and close; but the principal galleries are everything that can reasonably be desired. These are certainly the most spacious and stately galleries in the world, not even excepting the long gallery of the Louvre itself. The Pitti and Uffizi at Florence, the galleries of Rome, Naples, Munich, Dresden, and other Continental cities, are, for the most part, divided into small compartments, and lose, therefore, the imposing effect of simple vastness. The apparent size of our own galleries is rather increased by the pale tea-green colour and "flatted" aërial tone of the walls. Anything like monotonousness is prevented by the division of the central entrance, the returning walls of the flanking towers, and in the English gallery the distribution at regular intervals against the walls of pieces of sculpture, before a background of dark maroon-coloured cloth. The "point of station" we have chosen is just within the eastern tower, and the view is looking west towards the arch of the entrance and the continuations of the line of galleries on the foreign side'. From "Illustrated London News", 1862. The International Exhibition: view of the English Picture-Gallery, looking west, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

CONSERVATORY, BY ORMSON, IN THE INTERNATIONAL EXHIBITION, 1862. CREATOR: UNKNOWN.

Conservatory, by Ormson, in the International Exhibition, 1862. '...the erection of conservatories may be considered the highest grade in horticultural architecture; it shows, in fact, that architecture has become the ally of horticulture... Henry Ormson's structure...is intended to stand alone. The length along the centre line is about 56ft., and the width from door to door about 39ft...The framework of this portion is of wood, painted drab and white. The central mass of roof is supported within upon fluted cast-iron pillars, with enriched capitals forming along each side six arches, corresponding with that which spans the apse at either end. The framework of this upper portion of the building, artistically cumulative in effect, is principally of iron...As to ventilation...the lower sashes are pivot-hung on them centres. There are fanlights above the first semi-dome along the whole length of the building, and again above the second dome. These are actuated by levers and cords which hang beside the pillars. The access of fresh air, so essential to vegetation, appears to be thus well provided for, and this is a point not generally insisted upon...Aëration, light, and elegance are all here admirably provided'. From "Illustrated London News", 1862. Conservatory, by Ormson, in the International Exhibition, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: ENTRANCE TO THE HORTICULTURAL SOCIETY'S GARDENS FROM THE..., 1862. CREATOR: UNKNOWN.

The International Exhibition: entrance to the Horticultural Society's Gardens from the Exhibition Building, 1862. The International Exhibition was a world's fair held from 1 May to 1 November 1862 in South Kensington, London. The site now houses museums including the Natural History Museum and the Science Museum. From "Illustrated London News", 1862. The International Exhibition: entrance to the Horticultural Society's Gardens from the..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: THE WESTERN DOME AND TRANSEPT, FROM A PHOTOGRAPH..., 1862. CREATOR: UNKNOWN.

The International Exhibition: the Western Dome and Transept, from a photograph taken shortly after the opening ceremony by the London Stereoscopic Company, 1862. The International Exhibition of 1862 was a world's fair held from 1 May to 1 November 1862 in South Kensington, London. The site now houses museums including the Natural History Museum and the Science Museum. From "Illustrated London News", 1862. The International Exhibition: the Western Dome and Transept, from a photograph..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

INTERIOR OF THE DOM, LÜBECK, BY SAMUEL READ, IN THE EXHIBITION OF THE SOCIETY OF..., 1862. CREATOR: MASON JACKSON.

Interior of the Dom, Lübeck, by Samuel Read, in the exhibition of the Society of Painters in Water Colours, 1862. Engraving of a painting. 'Among other interesting foreign church interiors by this gentleman exhibited at Pall-mall the "Interior of the Dom, or the Cathedral, of Lübeck" has the recommendation to many, even old, Continental travellers of unfamiliarity. Lübeck is, nevertheless, one of the most picturesque old towns in Germany, and deserves more attention than is usually given to it by travellers. The brick-built Dom still witnesses to the former importance of the Imperial free city, its side chapels containing the monuments of many of the patrician families of Lübeck, and the choir tombs of numerous Bishops and Canons. The portraits of two of the old burgesses hang on the flanking walls in our Engraving. The rood-loft between these is very interesting, with its elaborately-carved crucifix, kneeling effigies of the patron and patroness, and numerous other images, of various size, of saints, and canonised sinners too, probably, some of them. The screen of the choir is considered one of the best existing specimens of wood-carving of the Early German school, about the time of Lucas Cranach'. From "Illustrated London News", 1862. Interior of the Dom, Lübeck, by Samuel Read, in the exhibition of the Society of..., 1862. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: VIEW FROM THE ORCHESTRA ON THE OPENING DAY - FROM A PHOTO..., 1862. CREATOR: UNKNOWN.

The International Exhibition: view from the orchestra on the opening day - from a photograph by the London Stereoscopic Company, 1862. '...the scene during the performance of the special music beneath the eastern dome...[View looking] down on the Queen's commissioners...the Royal commissioners for the exhibition...and the more distinguished and privileged visitors, such as the Duchess of Cambridge, the Foreign Ministers, Peers, members of Parliament, &c....In the foreground, in front of Minton's unfinished majolica fountain, which was filled for the occasion with flowering plants, sit...the Queen's commissioners - the Duke of Cambridge, the Crown Prince of Prussia, Prince Oscar of Sweden, the Archbishop of Canterbury, and the Lord Chancellor...On a bench in front of them sit the commissioners of the exhibition and other principal personages...the Bishop of Londonderry being conspicuous in the picture. On each side are grouped the occupants of the estrade which was placed beneath the orchestra, and a view given of that portion of the galleries which look at the dome filled with spectators who, more fortunate than most of the occupants of places a short way beyond the dome, could both see and hear satisfactorily'. From "Illustrated London News", 1862. The International Exhibition: view from the orchestra on the opening day - from a photo..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

OPENING OF THE INTERNATIONAL EXHIBITION: ENTRANCE TO THE WESTERN ANNEXE, 1862. CREATOR: UNKNOWN.

Opening of the International Exhibition: entrance to the Western Annexe, 1862. The International Exhibition of 1862 was a world's fair held from 1 May to 1 November 1862 in South Kensington, London. The site now houses museums including the Natural History Museum and the Science Museum. From "Illustrated London News", 1862. Opening of the International Exhibition: entrance to the Western Annexe, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

OPENING OF THE INTERNATIONAL EXHIBITION: THE ORCHESTRA, 1862. CREATOR: MASON JACKSON.

Opening of the International Exhibition, [South Kensington, London]: the orchestra, 1862. 'The View which we give of the "Orchestra," which was situated under the eastern dome, will probably bear out an opinion which was generally expressed that, as seen from the nave, filled with apparently a countless number of handsomely-dressed ladies (the vocalists), formed a charming picture, to which the gentlemen singers and musicians, in their darker costumes, formed an appropriate frame'. From "Illustrated London News", 1862. Opening of the International Exhibition: the orchestra, 1862. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

INTERNATIONAL EXHIBITION - ROOF OF BUILDING, 1862. CREATOR: UNKNOWN.

International Exhibition - roof of building, 1862. The International Exhibition of 1862 was a world's fair held from 1 May to 1 November 1862 in South Kensington, London. The site now houses museums including the Natural History Museum and the Science Museum. From "Illustrated London News", 1862. International Exhibition - roof of building, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

GROUND PLAN OF THE INTERNATIONAL EXHIBITION BUILDING, 1862. CREATOR: JOHN DOWER.

Ground plan of the International Exhibition Building, [South Kensington, London], 1862. 'Block Plan of the Building, representing the area as arranged with courts, trophies, fountains, &c. It may be as well to mention, in reference to the dimensions of the building to which the plan refers, that the vista from dome to dome through the nave extends to 1070ft. The nave is 800ft. long, and the transepts each about 365ft. long, including the domes; the nave and the transepts are each 85ft. wide.' Plan showing displays by different nations: pottery, hardware and glass, steel, leather, precious metals, civil engineering, furniture, classic music etc, and refreshment rooms. From "Illustrated London News", 1862. Ground plan of the International Exhibition Building, 1862. Creator: John Dower. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PLAN OF THE GALLERIES OF THE INTERNATIONAL EXHIBITION BUILDING, 1862. CREATOR: JOHN DOWER.

Plan of the galleries of the International Exhibition Building, [South Kensington, London], 1862. 'Block Plan of the Building, representing the area as arranged with courts, trophies, fountains, &c. It may be as well to mention, in reference to the dimensions of the building to which the plan refers, that the vista from dome to dome through the nave extends to 1070ft. The nave is 800ft. long, and the transepts each about 365ft. long, including the domes; the nave and the transepts are each 85ft. wide.' Marked on the plan are: picture galleries; refreshment rooms; textile displays of woollen fabrics, silk and velvet, flax and hemp, clothing; printing and dyeing; paper and stationery, surgical instruments, watches etc. From "Illustrated London News", 1862. Plan of the galleries of the International Exhibition Building, 1862. Creator: John Dower. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION BUILDING: WEST PORTION OF THE WESTERN DOME, 1862. CREATOR: UNKNOWN.

The International Exhibition Building, [South Kensington, London]: west portion of the Western Dome, 1862. '...View beneath the Western Portion of the Western Dome as it appears when looked at from the nave, it being remembered that the dome springs from the intersection of the nave with the transepts'. From "Illustrated London News", 1862. The International Exhibition Building: west portion of the Western Dome, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)