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TARRADALE VIADUCT, ON THE MELBOURNE AND SANDHURST RAILWAY, AUSTRALIA, 1864. CREATOR: UNKNOWN.

Tarradale [sic] Viaduct, on the Melbourne and Sandhurst Railway, Australia, 1864. Engraving from a photograph by Morris and Co., of Elizabeth-street, Melbourne. '... the great northern line from Melbourne to Sandhurst, by way of Castlemaine...is eventually to be carried on to the Murrumbidgee River, and to provide for safe and cheap conveyance between Victoria and New South Wales. The town of Castlemaine, at the foot of Mount Alexander, is already a place of great commercial importance. Its site is well chosen for access to the northern and western gold-fields, as well as to the fertile agricultural plains of the Loddon and the Avoca, which lie behind it. Sandhurst, at the entrance of the Bendigo gold-field, is about twenty-six miles further on, through a picturesque country of grassy meadows and well-wooded hills. The Tarradale Viaduct...is reached before arriving at Castlemaine from the south. It is in the neighbourhood of some very rich quartz reefs, which have been worked so profitably that the roadside station of Tarradale has rapidly grown into a town...The Tarradale Viaduct is about 600 ft. in length and 100 ft. high. Its construction differs in no respect from that of many similar works in Great Britain'. From "Illustrated London News", 1864. Tarradale Viaduct, on the Melbourne and Sandhurst Railway, Australia, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

CHATEAU OF CHENONCEAUX, TOURAINE, FORMERLY INHABITED BY CATHERINE DE MEDICIS AND MARY STUART, 1864. CREATOR: UNKNOWN.

Chateau of Chenonceaux, Touraine, formerly inhabited by Catherine De Medicis and Mary Stuart, 1864. Engraving from a sketch by Mr. Campion, of Tenby. 'The Chateau of Chenonceaux...is built on a solid stone foundation of nine arches across the River Cher, which flows through the domain; and the grand entrance is approached by an ornamental bridge, which replaces the portcullis and drawbridge of ancient times. This mansion is considered one of the most perfect and beautiful specimens now extant of the old French chateau[x], as regards both its external architecture and internal decoration. It is not only replete with much historical interest - having belonged to Francis I, Diana de Poitiers, Catherine de Medicis, and Mary Stuart - but much of the interior remains in the same state as when occupied by its Royal possessors. The unfortunate Queen of Scots passed her youthful widowhood here, and in her boudoir the chair in which she sat, as well as the furniture of her oratory, retains the funereal emblems affixed at her death'. From "Illustrated London News", 1864. Chateau of Chenonceaux, Touraine, formerly inhabited by Catherine De Medicis and Mary Stuart, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE WAR IN DENMARK: RUINS OF THE LANGAA RAILWAY BRIDGE, IN JUTLAND, LATELY DESTROYED BY..., 1864. CREATOR: UNKNOWN.

The War in Denmark: ruins of the Langaa Railway Bridge, in Jutland, lately destroyed by the Prussians, 1864. 'The most uncivilised thing the Prussians have done in Jutland is the blowing up of the great iron railway-bridge at Langaa, a few miles south-west from Randers, on the line to Viborg...General Hegermann...was inexorable. He had given his word that he would destroy the line if there were not trains ready to run at the end of the armistice, and his word he would keep. An engineer officer was sent to blow up Langaa Bridge, a costly iron one of a single span across the River Guden...The work of destruction has been most completely done, at no small expense of powder, for the bridge was built, as English engineers are wont to build, with solidity and strength. A first explosion did but partly succeed. After blowing up the buttresses, one of the tubular girders was blown up with a charge of 60 lb. of powder'. From "Illustrated London News", 1864. The War in Denmark: ruins of the Langaa Railway Bridge, in Jutland, lately destroyed by..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

SCENE OF THE DISASTER AT BELOEIL BRIDGE...CANADA, 1864. CREATOR: UNKNOWN.

Scene of the disaster at Beloeil Bridge, near Montreal, on the Grand Trunk Railway of Canada, 1864. Engraving from a sketch. '...at the foot of Beloeil Mountain...the River Richelieu is spanned by an iron bridge...A drawbridge forms the connection...[with] the Montreal side...The rule is that this drawbridge should always be supposed to be open, and that the train should therefore come to a dead stand on approaching the bridge, and not attempt to proceed until the proper signal has been given...The train, however, did not pull up at all...the engine-driver, Burney...alleges that he found it impossible to stop the train in time...the train dashed on at a great pace, and...when it arrived at the drawbridge it was found to be swung round for some boats to pass. Down this yawning abyss the cars, with their living freight, dashed headlong. The locomotive and tender, with the first five cars (baggage), went in first, the six passenger-cars piling down on top of them with terrific violence, being precipitated a distance of some seventy feet...the cars fell on one of the barges, sinking it...eighty-six bodies [were] recovered from the river. The driver of the train escaped the death which had befallen so many of those committed to his charge'. From "Illustrated London News", 1864. Scene of the disaster at Beloeil Bridge...Canada, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

A NOVEMBER DAY IN NANT-FRANCON, BY J. C. REED, IN THE EXHIBITION OF THE INSTITUTE OF..., 1864. CREATOR: MASON JACKSON.

A November Day in Nant-Francon, by J. C. Reed, in the exhibition of the Institute of Painters in Water Colours, 1864. Engraving of a painting. 'North Wales is the most favourite resort of the English painter as well as tourist...There are few views so magnificent as those afforded in this vale. Indeed, with the exception of Llanberis Pass, the finest gorge in the whole country is that formed by the enormous block of mountain of which Carneddau, Davydd, and Llewelyn, are the centres, seen on the spectator's right hand in the picture, and the still more savage and precipitous chain on the left intervening between Llyn Ogwen and Llanberis, and which at one point seems as if about to close over the pass and block it up. The name of Nant-Francon - "the Glen of Beavers" - recalls the ancient time when the stream of the Ogwen was a haunt of these strange creatures...The terrors of the scene depicted in Mr. Reed's fine drawing are aggravated by the snows and rains of early winter, which are already whitening the slopes of the mountains, hanging murkily in the sky, swelling the streams into angry, foaming cataracts, and imparting to the whole scene a deeper and more sombre aspect of desolateness'. From "Illustrated London News", 1864. A November Day in Nant-Francon, by J. C. Reed, in the exhibition of the Institute of..., 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE COMBE FARM, BY G. CHESTER, IN THE ROYAL ACADEMY EXHIBITION, 1864. CREATOR: MASON JACKSON.

The Combe Farm, by G. Chester, in the Royal Academy Exhibition, 1864. Engraving of a painting. The "Combe," which is the subject of the admirably-painted landscape by Mr. George Chester (senior)...is...[in] Somersetshire...Its features are all familiar - the comfortable farmstead, which is the retreat of the true "sons of the soil," and the scene of, comparatively, still primitive and unsophisticated life. It is embosomed and almost hid among fine old elms, oaks, and other trees; sheltered by the woodland and the easy, graceful, slopes of swelling hills, which scarcely afford a glimpse of the blue distance, and only enough of the soft azure, the brilliant white and tender grey, to remind us of the showery English sky, which we love all the more, perhaps, for its feminine capriciousness. It is watered by a stainless streamlet, that bubbles round tiny boulders, or gushes in a pigmy cascade overhung with alders (in this view only old dead stumps), and crossed here and there by the rough plank bridge'. From "Illustrated London News", 1864. The Combe Farm, by G. Chester, in the Royal Academy Exhibition, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RETURN, (SEE "THE ROUNDHEAD'S PAROLE") - DRAWN BY SAMUEL READ, 1864, CREATOR: MASON JACKSON.

The Return, (see "The Roundhead's Parole") - drawn by Samuel Read, 1864. Illustration to a short story. 'The barges went heavily back to Chillington with the returning tide, not with Saxby and his men, and yet not empty, but each with a ghastly and groaning load - the dead, dying, and wounded Cavaliers whom Saxby and the garrison had laid low. A little after sunset a weary and straggling band...returned to the castle through the chestnut avenue to find the beacon flaring still. In the rear of this melancholy troop came the Chaplain. He leaned heavily on his stick, and now and then also supported himself by the arm of Wilfred the Broad, who walked beside him. The man kept stopping and looking at the Chaplain, as if he momentarily expected him to fall. He had been in the very thick of the fight, wearing armour that had concealed him, and had received a wound in the neck. But he had, though ceasing to fight, and while getting rid of his armour, declared it to be trifling, and refused to wait and return with the barges. He had not got half way across the courtyard, however, when he fell down in a faint'. From "Illustrated London News", 1864. The Return, (see "The Roundhead's Parole") - drawn by Samuel Read, 1864, Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE FATAL EXPLOSION AT ST. EDMUND'S MAIN COLLIERY, BARNSLEY, 1862. CREATOR: UNKNOWN.

The fatal explosion at St. Edmund's Main Colliery, Barnsley: trench cut to the Dearne and the Dove Canal for the purpose of flooding the pit, 1862. 'The last of the seventeen rescued persons was brought up from the Edmond's Main Colliery on the afternoon of Tuesday fortnight, and the proprietors, seeing the hopelessness of saving any more, took counsel of several mining engineers, and by their advice a number of men were set to work to cut a trench...This was an arduous task, as the cutting was required to be fourteen feet deep, and much of it through rock; besides which it implied the loss of all hope, and, consequently, gave great dissatisfaction to the friends of the missing men. A deputation of colliers waited upon the managers to request a further search to be made, but, as it was deemed both useless and dangerous, a negative answer was returned, which at one time it was feared would lead to a riot, a large crowd collecting round the office, one or whom threw a stone through the window... No doubt was entertained that that portion of the pit where the explosion commenced was completely inundated; but there were evidences of fire yet existing in. a portion of the upper workings, and the water was turned in on Friday'. From "Illustrated London News", 1862. The fatal explosion at St. Edmund's Main Colliery, Barnsley, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE SUSPENSION BRIDGE OVER THE AVON AT CLIFTON, 1864. CREATOR: MASON JACKSON.

The suspension bridge over the Avon at Clifton, 1864. Bridge connecting Bristol and Clifton. 'Mr. Brunel's...estimate was £57,000; but when £45,000 had been spent only the towers had been built, and the work came to a stop. His design was a chain bridge of a single span of 700 ft., two chains passing over two towers, and being anchored deep in the limestone rocks behind them. In 1843 all the money was gone, and the scheme was in abeyance for want of funds...Mr. Brunel, as it happened, had been the engineer of Hungerford Bridge; and when, therefore, its chains had to be pulled down and to give place to the bridge of the Charing-cross Railway, it occurred to Mr. Hawkshaw to have them applied to the completion of one of the greatest of all Mr. Brunel's bridge designs...The chains of Hungerford Bridge were purchased for £5000...The towers over which these chains pass are built after the massive and ponderous style of Egyptian architecture...The total span of the bridge is 702 ft. 3 in., and its height above the water is 260 ft. It is thus the longest and highest suspension-bridge in the world. All the iron work, wrought or cast, has been supplied by the Messrs. Cochrane'. From "Illustrated London News", 1864. The suspension bridge over the Avon at Clifton, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

SCENE FROM "THE WORKMEN OF PARIS", AT THE ADELPHI THEATRE; PARIS BY MOONLIGHT, 1864. CREATOR: UNKNOWN.

Scene from "The Workmen of Paris", at the Adelphi Theatre; Paris by Moonlight, 1864. London stage production. 'There are two novel and elaborate scenic effects, which greatly add to the attractions of the play. One of them...is a view of Paris by moonlight, taking in the Pont Neuf and the Cité, with the towers of Notre Dame in the background. The reality of this picture is heightened by the introduction of lighted lamps and similar appliances, producing a spectacle which in its kind has not been surpassed...Mr. Gates is the painter of this scene... The dramatic interest of the piece, with the powerful acting of Mr. Benjamin Webster, will probably continue to draw for many nights a crowded audience who may not care to discuss its moral teaching'. From "Illustrated London News", 1864. Scene from "The Workmen of Paris", at the Adelphi Theatre; Paris by Moonlight, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE LATE FLOOD OF THE ARNO AT FLORENCE – FROM A SKETCH BY E. W. COOKE, R.A., 1864. CREATOR: MASON JACKSON.

The late flood of the Arno at Florence - from a sketch by E. W. Cooke, R.A., 1864. View of '...the flood which visited that city from the sudden rise of the river Arno, caused by a storm of rain...[Mr. Cooke writes:] The pent-up waters of the Mugnone and Amo, with their numerous tributary torrents from the vast amphitheatre of mountains surrounding Florence, suddenly burst into the valley, and rushed with irresistible force through the several bridges, rising in about six hours to the height of 17 ft...The scene...presented the extraordinary appearance of a turbulent sea, not of water, but of mud, mingled with the debris of forests, vineyards, and gardens...On Sunday evening the Lung'Arno was covered; the torrent flowing over the parapet of the massive wall inclosing the river. Thousands of people could not reach their homes...The sketch (taken from my window, on the Lung'Arno, looking south) represents the beautiful work of Ammanati (built in 1569), the Ponte della Trinità, with the Church of Santo Spirito and the Hill of Bellosguardo in the distance...the damage was confined to the houses and streets which are contiguous to the Arno; but in the flat portion of the surrounding country a large amount of property was destroyed or injured'. From "Illustrated London News", 1864. The late flood of the Arno at Florence – from a sketch by E. W. Cooke, R.A., 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

DEMOLITION OF BLACKFRIARS BRIDGE, 1864. CREATOR: MASON JACKSON.

Demolition of Blackfriars Bridge, [London], 1864. View from the Surrey bank of the Thames, showing '...the scaffolding which has been erected facilitate the removal of materials...[Also visible are] the temporary wooden bridge...[and] the iron bridge of the London, Chatham, and Dover Railway...The old bridge, of which the remains are so quickly disappearing, was built about a hundred years ago, having been commenced in 1760 and finished in 1769...at this season, when the days are so short, [the men] have to work in the evening by the light of naphtha-lamps...A novel feature in the mechanical appliances here used is the introduction of steam-cranes, which travel upon railways laid along the beams at the top of the scaffolding, and are thus enabled to lift and carry the largest blocks of stone with unexampled rapidity...Three openings, each 70 ft. wide, are reserved for navigation, by order of the Thames Conservancy Board...Messrs. Thorne and Co. [are] the contractors...under the superintendence of Mr. F. W. Bryant'. From "Illustrated London News", 1864. Demolition of Blackfriars Bridge, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

VIADUCT OVER THE TAPTEE, FOR THE BOMBAY, BARODA, AND CENTRAL INDIA RAILWAY, 1862. CREATOR: UNKNOWN.

Viaduct over the Taptee, near Surat, for the Bombay, Baroda, and Central India Railway, 1862. 'This line, one of the most important of our Indian railways...is destined to carry to Bombay the produce of the teeming cotton-plains from which our finest Indian staple is procured...By employing Mitchell's hollow cast-iron piles...[the company's consulting engineer, Colonel Pitt Kennedy] at once overcame the most serious difficulty...Three of these piers of piles...having been firmly screwed home into the clay or shale...were filled with concrete, and formed the main supporting columns of the bridge, while strut or sloping piles...served...to resist the action of the fierce monsoon currents, and fend off the whirling masses of timber and loose trees so frequently torn up and carried down by the swollen torrents...This whole system of piles...form a firm, rigid pier, on which is supported the light lattice superstructure known as Warrenne's patent girder...The regularity and uniformity of all its parts enabled the natives (who are not quick at learning new methods), after a few trials, to become wonderfully expert, and attain a speed of construction almost marvellous. The entire structure over the Taptee...was put together in eight months'. From "Illustrated London News", 1862. Viaduct over the Taptee, for the Bombay, Baroda, and Central India Railway, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE ALBERT EDWARD BRIDGE OF THE COALBROOKDALE RAILWAY OVER THE SEVERN, 1864. CREATOR: UNKNOWN.

The Albert Edward Bridge of the Coalbrookdale Railway over the Severn, [Shropshire], 1864. Engraving '...from an excellent photograph taken by Mr. W. Fall, photographer, of Market-square, Ironbridge, Salop...It is singular that the bridge which forms the subject of our Illustration - the most recent and one of the most enterprising works of its class - is within sight of the first iron bridge that was constructed in England - one which was constructed by the same ironmasters in 1779, and which has given a name to the rising and important town of Ironbridge, on the banks of the Severn'. Cast iron bridge designed by John Fowler. From "Illustrated London News", 1864. The Albert Edward Bridge of the Coalbrookdale Railway over the Severn, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

OPENING OF SOUTHWARK BRIDGE TOLL FREE, 1864. CREATOR: MASON JACKSON.

Opening of Southwark Bridge toll free, 1864. Southwark Bridge over the River Thames in London links Southwark and the City. It was a commercial tolled operation which was trying to compete with the toll-free Blackfriars and London bridges nearby, but the company became bankrupt and its interests were acquired by the Bridge House Estates which made it toll free in 1864. From "Illustrated London News", 1864. Opening of Southwark Bridge toll free, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

TIMBER BRIDGE OVER THE RIVER WAI-AU-UA, PROVINCE OF NELSON, NEW ZEALAND, 1864. CREATOR: UNKNOWN.

Timber bridge over the River Wai-Au-Ua, province of Nelson, New Zealand, 1864. 'The River Wai-au-ua (or Dillon) is the largest in the province of Nelson. In several places, when flooded, it is one mile in width, and it has always been the most dangerous obstacle to travelling on the inland road between the provinces of Nelson and Canterbury. The Provincial Government having voted the sum of £1500 for a horse-bridge, Mr. J. Blackett, the provincial engineer, prepared a plan of one, which was entirely novel in its conception, and which had one great recommendation - economy in construction. The only tender, however, put in for the erection was for £3200; the Government declined this, and placed the entire charge of the work in the hands of Mr. Henry Handyside, C.E., of Nelson, who has erected the bridge...The quantity of timber used was 30,500 ft. of black birch, which is a strong and durable wood...This ingenious structure reflects very great credit upon Mr. Blackett, the designer; and not less upon its enterprising builder. Mr. Henry Handyside, who had...no slight difficulties to contend with not the least of which was the high price of labour.' From "Illustrated London News", 1864. Timber bridge over the River Wai-Au-Ua, province of Nelson, New Zealand, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

OLD BRIDGE, NUREMBERG, 1864. CREATOR: UNKNOWN.

Old bridge, Nuremberg, 1864. '...the Old-world city of Nuremberg...is rich in everything of the past, and owes nothing to the present...To find oneself there is to be thrown back 300 or 400 years, for it is a purely mediaeval city, surrounded by a wide ditch and feudal walls, the latter surmounted...by square and round towers, which are said to have been originally 365 in number. The streets speak of a generation long passed away. Here the eye rests on some gorgeous oriel of the most exquisite tracery; here, as we look up, we see the high-pitched roofs, with story on story of pointed dormers; here, again, some richly carved excrescence seems clinging to the eaves and rising high above them with its delicate spire...'. From "Illustrated London News", 1864. Old bridge, Nuremberg, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE CHARING-CROSS RAILWAY: THE SIGNAL STATION ON THE NORTH END OF THE BRIDGE, 1864. CREATOR: UNKNOWN.

The Charing-Cross Railway: the signal station on the north end of the bridge, [London], 1864. 'The signal station...is remarkable for the ingenious character of its arrangements. By the use of one of Saxby and Farmer's patent signalling instruments, one man is enabled to conduct the whole of the numerous trains in and out of the station without difficulty; whereas, by the old-fashioned plan at least half a dozen men at a time would have been required...Of course the labour cannot now be performed without considerable care; there are, therefore, three signalmen employed at this one station, who have to relieve each other in turn. Posted in a glass room right over the lines, and commanding a full view both up and down, the signalman is enabled not only to communicate with the next signal-box, but to manage the switches which lie at least 109 yards off. When a train is about to leave the station it whistles twice, to signify "ready to go"; whereupon...the signalman adjusts the signal and, if necessary, operates on the switches. The signals at the other end of the bridge (from the signal-box they call the Belvidere) show all to be right, and away the train goes, to be signalled from station to station in the same way'. From "Illustrated London News", 1864. The Charing-Cross Railway: the signal station on the north end of the bridge, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE CHARING-CROSS RAILWAY: COVERED WAY LEADING TO THE PLATFORM, 1864. CREATOR: UNKNOWN.

The Charing-Cross Railway: covered way leading to the platform, 1864. 'In no part of London has a greater improvement been made than upon the spot where Hungerford Market once stood. Not a vestige of the various structures now remain...the riverside between Villiers-street and Craven-street, has been altered, and the site is occupied by an immense railway station - the West-end terminus of the Charing-cross Railway...it stands about 100 ft. from the Strand roadway...it has about 200 ft. width of frontage, and...its ground floor will be set apart for booking-offices, refreshment-rooms, &c., and all its upper stories will be used for hotel purposes... At the bottom of Villiers-street is a communication by means of which steam-boat passengers use the Hungerford landing-pier...A person may now go from Charing-cross to Blackfriars, by means of the new railway, in three minutes; to London Bridge in ten minutes: to Spa-road in fourteen minutes; to Deptford in twenty-one minutes; and to Greenwich in twenty-five minutes'. From "Illustrated London News", 1864. The Charing-Cross Railway: covered way leading to the platform, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE CHARING-CROSS RAILWAY: TEMPORARY ENTRANCE TO THE STATION FROM VILLIERS-STREET, 1864. CREATOR: UNKNOWN.

The Charing-Cross Railway: temporary entrance to the station from Villiers-Street, [London], 1864. 'The temporary entrance to the station will hereafter serve only for empty cabs, which will by this way pass up towards the arrival-platform, on the western side, near where the Custom-house officials will be in readiness to examine luggage brought by the Continental trains. The cab-rank is now stationed beneath the first archway seen after entering the temporary inclosure. Passing by the rank, and under a shed to protect from the weather, we...[next] enter the tunnel-like roadway used for passengers, which we have named, perhaps too untechnically, the tunnel entrance'. From "Illustrated London News", 1864. The Charing-Cross Railway: temporary entrance to the station from Villiers-Street, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

HAMPTON COURT OLD BRIDGE, 1864. CREATOR: MASON JACKSON.

Hampton Court Old Bridge, 1864. Engraving of '...the old wooden toll-bridge at Hampton Court, which is now about to be removed by order of its proprietor, Mr. T. W. Allen, of Newlands Park, Buckinghamshire, who has resolved to build a new one of iron. The Act of Parliament for the construction of the first Hampton Court Bridge was obtained in the reign of George II., and that bridge was opened in December, 1753. It was replaced by the present bridge about thirty or forty years ago. This structure, entirely of timber, has eleven openings, varying from 25 ft. to 29 ft. span at water-line. Its width between parapets is 17 ft.; the height in the centre is considerable; and the gradients are steep. The total length of the bridge is 375 ft.; but the piers are so wide that they occupy 90 ft. solid of the available space'. From "Illustrated London News", 1864. Hampton Court Old Bridge, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE BRITISH ASSOCIATION AT BATH: PULTENEY-BRIDGE, 1864. CREATOR: UNKNOWN.

The British Association at Bath: Pulteney-bridge, 1864. 'This remarkable bridge, built in 1770, is named from its giving access to Pulteney-street and the buildings which were just then commenced in Bathwick parish. From the parallel lines of houses which are built on either side of it, and the uninterrupted level of the streets which it connects, a stranger would pass along Bridge-street unconscious of his crossing the Avon which flows beneath him. It is from below that the character of the bridge - as in our Illustration - is seen to advantage. It may be styled the Rialto of Bath, and has a most Italian and picturesque aspect'. From "Illustrated London News", 1864. The British Association at Bath: Pulteney-bridge, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE BRITISH ASSOCIATION AT BATH: AQUEDUCT OF THE KENNET AND AVON CANAL...NEAR BATH, 1864. CREATOR: UNKNOWN.

The British Association at Bath: aqueduct of the Kennet and Avon Canal, at Limpley Stoke, near Bath, 1864. 'The aqueduct of the Kennet and Avon Canal, over the River Avon, about a mile from Limpley Stoke and three miles from Bath, is greatly admired for the beauty of its elevation. It is the work of the late John Rennie. The engineering interest and character attached to this aqueduct have been since his time increased, for not only does it carry the waters of the Avon and Kennet Canal across the vale of the Avon, but it forms a bridge beneath which flows the Avon, and through a lateral arch passes the line of the Bath and Frome Railway. Beneath the high-backed bridge in the foreground of our Illustration lies the junction of the Somerset Coal Canal with that of the Kennet and Avon'. From "Illustrated London News", 1864. The British Association at Bath: aqueduct of the Kennet and Avon Canal...near Bath, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

NAVAL MILITIA GUARDING A N.Y. BRIDGE, 1917. CREATOR: BAIN NEWS SERVICE.

Naval Militia guarding a N.Y. bridge, 1917. Shows members of the New York Naval Militia guarding bridge from German sabotage during World War I. Naval Militia guarding a N.Y. bridge, 1917. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

U.S. ARMY ENTERS GERMANY, DEC 1918. CREATOR: BAIN NEWS SERVICE.

U.S. Army enters Germany, Dec 1918. The American 18th Infantry crossing the Moselle River into Germany after World War I. The town in the background is Gravenmacher, in the Grand Dutchy of Luxemburg. U.S. Army enters Germany, Dec 1918. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

FIELD MASS, 30 MAY 1918. CREATOR: BAIN NEWS SERVICE.

Field Mass, 30 May 1918. A procession of clergy at the military mass at the Battery, New York City, May 1918 during World War I. Field Mass, 30 May 1918. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

BRITISH ENGINEERS REPAIRING BRIDGE, BETWEEN C1915 AND 1918. CREATOR: BAIN NEWS SERVICE.

British engineers repairing bridge, between c1915 and 1918. British engineers fixing a bridge, probably during World War I. British engineers repairing bridge, between c1915 and 1918. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

BRITISH MILITARY BRIDGE, FLANDERS, 5 AUG 1917. CREATOR: BAIN NEWS SERVICE.

British military bridge, Flanders, 5 Aug 1917. British infantry soldiers crossing the bridge over the Yser canal at Boezinge, West Flanders, Belgium, August 5, 1917, during the Battle of Passehendaele during World War I. The bridge was constructed by the Royal Engineers after the British advance had passed the canal. British military bridge, Flanders, 5 Aug 1917. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

WRECKED BRIDGE OVER MORAWA [I.E., MORAVA], BETWEEN C1915 AND C1920. CREATOR: BAIN NEWS SERVICE.

Wrecked bridge over Morawa [i.e., Morava], between c1915 and c1920. A bridge over the Morava River, Serbia during World War I. Wrecked bridge over Morawa [i.e., Morava], between c1915 and c1920. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

GERMANS REBUILD BRIDGE AT LEMBERG, BETWEEN 1914 AND C1915. CREATOR: BAIN NEWS SERVICE.

Germans rebuild bridge at Lemberg, between 1914 and c1915. German soldiers on bridge at Lemberg, Austro-Hungarian Empire, (now Lviv, Ukraine), during World War I. Germans rebuild bridge at Lemberg, between 1914 and c1915. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

GERMAN BRIDGE OVER MAAS AT DINANT, BETWEEN 1914 AND C1915. CREATOR: BAIN NEWS SERVICE.

German Bridge over Maas at Dinant, between 1914 and c1915. A bridge over the Maas River in Dinant, Belgium during World War I. German Bridge over Maas at Dinant, between 1914 and c1915. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SPAHIS CROSS BOAT BRIDGE, COMPIEGNE, 1914. CREATOR: BAIN NEWS SERVICE.

Spahis cross boat bridge, Compiegne, 1914. Spahi soldiers crossing a boat bridge in Compie`gne, France during World War I. Spahis cross boat bridge, Compiegne, 1914. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

WRECKED BRIDGE, ANDENNE, BELG. [I.E., BELGIUM], BETWEEN C1914 AND C1915. CREATOR: BAIN NEWS SERVICE.

Wrecked bridge, Andenne, Belg. [i.e., Belgium], between c1914 and c1915. A damaged bridge in Andenne, Belgium during World War I. Wrecked bridge, Andenne, Belg. [i.e., Belgium], between c1914 and c1915. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

RAILROAD BRIDGE ACROSS KUMSA RIVER NEAR THE MEDVEZHYA GORA STATION, 1915. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Railroad bridge across Kumsa River near the Medvezhya Gora Station, 1915. Railroad bridge across Kumsa River near the Medvezhya Gora Station, 1915. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

YURYUZAN BRIDGE WITH EXCAVATION, 1910. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Yuryuzan Bridge with excavation, 1910. Yuryuzan Bridge with excavation, 1910. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

KRASNAIA CLIFF NEAR THE MINIAR STATION, BETWEEN 1905 AND 1915. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Krasnaia Cliff near the Miniar Station, between 1905 and 1915. Krasnaia Cliff near the Miniar Station, between 1905 and 1915. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PERM: HEADQUARTERS OF THE URAL RAILWAY ADMINISTRATION, 1910. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Perm: Headquarters of the Ural Railway Administration, 1910. Perm: Headquarters of the Ural Railway Administration, 1910. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

RAILROAD BRIDGE OVER THE SHUYA RIVER, 1915. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Railroad bridge over the Shuya River, 1915. Railroad bridge over the Shuya River, 1915. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SAWMILL ON THE KUMSA RIVER NEAR THE MEDVEZHIA GORA STATION, 1915. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Sawmill on the Kumsa River near the Medvezhia Gora Station, 1915. Sawmill on the Kumsa River near the Medvezhia Gora Station, 1915. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PLYOS: VIEW OF THE CITY WITH ITS MAIN CATHEDRAL, 1910. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Plyos: view of the city with its main cathedral, 1910. Plyos: view of the city with its main cathedral, 1910. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

BRIDGE ACROSS THE KATAV RIVER, NEAR THE FACTORY, 1910. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Bridge across the Katav River, near the factory, 1910. Bridge across the Katav River, near the factory, 1910. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SIDE VIEW OF THE RAILROAD BRIDGE BEING BUILT ACROSS THE TOBOL RIVER, YALUTOROVSK, 1912. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Side view of the railroad bridge being built across the Tobol River, Yalutorovsk, 1912. Side view of the railroad bridge being built across the Tobol River, Yalutorovsk, 1912. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

VIEW OF THE CITY OF TOBOLSK FROM THE NORTH, FROM THE BELL TOWER OF THE CHURCH..., 1912. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

View of the city of Tobolsk from the north, from the bell tower of the Church of the Transfiguration, 1912. View of Tobol'sk from the Bell Tower of the Church of the Transfiguration. From the time of its founding in 1587 until the late 1800s, Tobol'sk was one of the largest and most important cities in Siberia. For several centuries Tobol'sk served as the military, administrative, and political center of Russian rule in Siberia. This panoramic view shows the Irtysh River in the foreground and the broad, flat Siberian plain beyond the central part of the city. View of the city of Tobolsk from the north, from the bell tower of the Church..., 1912. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

VIEW OF THE MONASTERY FROM SVETLITSA [ISLAND, SAINT NIL STOLBENSKII MONASTERY, LAKE SELIGER], 1910. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

View of the monastery from Svetlitsa [Island, Saint Nil Stolbenskii Monastery, Lake Seliger], 1910. View of the Nilova Monastery. The Monastery of St. Nil' on Stolobnyi Island in Lake Seliger in Tver' Province, northwest of Moscow, illustrates the fate of church institutions during the course of Russian history. St. Nil (d. 1554) established a small monastic settlement on the island around 1528. In the early 1600s his disciples built what was to become one of the largest, wealthiest, monasteries in the Russian Empire. The monastery was closed by the Soviet regime in 1927, and the structure was used for various secular purposes, including a concentration camp and orphanage. In 1990 the property was returned to the Russian Orthodox Church and is now a functioning monastic community once more. View of the monastery from Svetlitsa [Island, Saint Nil Stolbenskii Monastery, Lake Seliger], 1910. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

VIEW OF SUZDAL ALONG THE KAMENKA RIVER, 1912. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

View of Suzdal along the Kamenka River, 1912. Stone churches, wooden houses, and a small bridge over the Kamenka River are photographed at the edge of the ancient Russian town of Suzdal', northeast of Moscow. Once an important and powerful principality, Suzdal' declined as Moscow rose in prominence and consolidated control over several principalities in central European Russia. View of Suzdal along the Kamenka River, 1912. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

T.V.R.R. BRIDGE, HEAD OF FOX GULCH, 1916. CREATOR: FRANK G. CARPENTER.

T.V.R.R. Bridge, head of Fox Gulch, 1916. T.V.R.R. Bridge, head of Fox Gulch, 1916. Creator: Frank G. Carpenter. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE VILLAGE OF ELEKMONAR, VALLEY OF THE MIDDLE REACHES OF THE KATUN RIVER, 1911-1913. CREATOR: SERGEI IVANOVICH BORISOV.

The Village of Elekmonar, Valley of the Middle Reaches of the Katun River, 1911-1913. From a collection of color postcards of the Altay, or Altai, Mountains region of southern Siberia early in the 20th century. In 1907, Borisov began his expedition in the Altay Mountains, which lasted until 1911. He took around 1,500 photographs during this expedition, which, upon his return to Barnaul, he presented to the public through the use of a magic lantern. The photographs depict views of nature in remote corners of the Altay Mountains and the Altay and Kazakh peoples indigenous to this region. Borisov offered the photographs to various European publishers for the production of postcards. Altai State Regional Studies Museum The Village of Elekmonar, Valley of the Middle Reaches of the Katun River, 1911-1913. Creator: Sergei Ivanovich Borisov. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

BRIDGE ACROSS A WATERFALL ON THE ARASAN RIVER, 1911-1913. CREATOR: SERGEI IVANOVICH BORISOV.

Bridge Across a Waterfall on the Arasan River, 1911-1913. From a collection of color postcards of the Altay, or Altai, Mountains region of southern Siberia early in the 20th century. In 1907, Borisov began his expedition in the Altay Mountains, which lasted until 1911. He took around 1,500 photographs during this expedition, which, upon his return to Barnaul, he presented to the public through the use of a magic lantern. The photographs depict views of nature in remote corners of the Altay Mountains and the Altay and Kazakh peoples indigenous to this region. Borisov offered the photographs to various European publishers for the production of postcards. Altai State Regional Studies Museum Bridge Across a Waterfall on the Arasan River, 1911-1913. Creator: Sergei Ivanovich Borisov. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

IRKUTSK THE RAILWAY TRACK IN GLAZKOVSKY SUBURB, 1904-1917. CREATOR: UNKNOWN.

Irkutsk The railway track in Glazkovsky suburb, 1904-1917. National Library of Russia Irkutsk The railway track in Glazkovsky suburb, 1904-1917. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

IRKUTSK PONTOON BRIDGE OVER THE ANGARA RIVER, 1904-1914. CREATOR: UNKNOWN.

Irkutsk Pontoon bridge over the Angara River, 1904-1914. National Library of Russia Irkutsk Pontoon bridge over the Angara River, 1904-1914. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

IRKUTSK RAILWAY BRIDGE OVER THE IRKUT RIVER, 1900-1904. CREATOR: UNKNOWN.

Irkutsk Railway bridge over the Irkut River, 1900-1904. National Library of Russia Irkutsk Railway bridge over the Irkut River, 1900-1904. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

IRKUTSK CROSSING THE ANGARA RIVER ON A BOAT, 1904-1914. CREATOR: UNKNOWN.

Irkutsk Crossing the Angara River on a boat, 1904-1914. National Library of Russia Irkutsk Crossing the Angara River on a boat, 1904-1914. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

IRKUTSK A PONTOON ACROSS THE ANGARA RIVER, 1904-1914. CREATOR: UNKNOWN.

Irkutsk A pontoon across the Angara River, 1904-1914. National Library of Russia Irkutsk A pontoon across the Angara River, 1904-1914. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

IRKUTSK PONTOON BRIDGE OVER THE ANGARA RIVER, 1902. CREATOR: UNKNOWN.

Irkutsk Pontoon bridge over the Angara River, 1902. National Library of Russia Irkutsk Pontoon bridge over the Angara River, 1902. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

IRKUTSK BRIDGE OVER THE USHAKOVKA RIVER, 1900-1904. CREATOR: UNKNOWN.

Irkutsk Bridge over the Ushakovka River, 1900-1904. National Library of Russia Irkutsk Bridge over the Ushakovka River, 1900-1904. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

VIEW OF THE CITY OF IRKUTSK FROM THE IRKUTSK BRIDGE. GLAZKOVSKOE SUBURB, 1900-1904. CREATOR: UNKNOWN.

Eastern Siberia. View of the city of Irkutsk from the Irkutsk Bridge. Glazkovskoe suburb, 1900-1904. National Library of Russia View of the city of Irkutsk from the Irkutsk Bridge. Glazkovskoe suburb, 1900-1904. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

IRKUTSK. GENERAL VIEW, 1904-1917. CREATOR: UNKNOWN.

Irkutsk. General View, 1904-1917. National Library of Russia Irkutsk. General View, 1904-1917. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

EASTERN SIBERIA. VIEW OF THE CITY OF IRKUTSK FROM THE IRKUTSK BRIDGE. GLAZKOVSKOE SUBURB, 1900-1904. CREATOR: UNKNOWN.

Eastern Siberia.View of the city of Irkutsk from the Irkutsk Bridge. Glazkovskoe suburb, 1900-1904. National Library of Russia Eastern Siberia. View of the city of Irkutsk from the Irkutsk Bridge. Glazkovskoe suburb, 1900-1904. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

IRKUTSK PONTOON BRIDGE OVER THE ANGARA RIVER, 1904-1917. CREATOR: UNKNOWN.

Irkutsk Pontoon bridge over the Angara River, 1904-1917. National Library of Russia Irkutsk Pontoon bridge over the Angara River, 1904-1917. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

EASTERN SIBERIA CITY OF IRKUTSK RAILWAY BRIDGE OVER THE IRKUT RIVER, 1900-1904. CREATOR: UNKNOWN.

Eastern Siberia City of Irkutsk Railway Bridge over the Irkut River, 1900-1904. National Library of Russia Eastern Siberia City of Irkutsk Railway Bridge over the Irkut River, 1900-1904. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

IRKUTSK PONTOON BRIDGE ON THE ANGARA RIVER, 1904-1917. CREATOR: UNKNOWN.

Irkutsk Pontoon bridge on the Angara River, 1904-1917. National Library of Russia Irkutsk Pontoon bridge on the Angara River, 1904-1917. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

IRKUTSK GENERAL VIEW OF THE CITY OF IRKUTSK, 1906. CREATOR: UNKNOWN.

Irkutsk General view of the city of Irkutsk, 1906. National Library of Russia Irkutsk General view of the city of Irkutsk, 1906. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

IRKUTSK. GENERAL VIEW OF THE CITY, 1900-1904. CREATOR: UNKNOWN.

Irkutsk. General View of the City, 1900-1904. National Library of Russia Irkutsk. General View of the City, 1900-1904. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

IRKUTSK. GENERAL VIEW, 1904-1917. CREATOR: UNKNOWN.

Irkutsk. General View, 1904-1917. National Library of Russia Irkutsk. General View, 1904-1917. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)