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THE NEW CHURCH OF ST. MICHAEL AND ALL ANGELS, SHOREDITCH, 1865. CREATOR: UNKNOWN.

The new Church of St. Michael and All Angels, Shoreditch, [London], 1865. View of the '...finished exterior...Architecturally, it is perhaps one of the finest churches lately built in London, being large enough to accommodate 1000 worshippers without any galleries, though only seated at present for 750...The materials used are brick and stone inside and out...The architect is Mr, James Brooks, of Serle-street, Lincoln's-inn-fields'. From "Illustrated London News", 1865. The new Church of St. Michael and All Angels, Shoreditch, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE GLOUCESTER MUSIC FESTIVAL: SOUTH PORCH, GLOUCESTER CATHEDRAL, 1865. CREATOR: UNKNOWN.

The Gloucester Music Festival: South Porch, Gloucester Cathedral, 1865. An '...exterior view, showing the South Porch of that venerable edifice, with the crowd which daily assembled in front of it, keeping, however, a portion of the thoroughfare open for the entrance and departure of the company. This porch - a very fine specimen of English Perpendicular architecture - was built about the year 1420, by Abbot Morwent...The porch has an upper chamber, and side windows of peculiar tracery, the mullions of which continue the arrangement of the panelling of the walls; it is supported by buttresses at the angles, and surmounted with pinnacles rising from an open parapet, the whole enriched with niches and canopies; the arms of England, France, and Gloucester Abbey sculptured in the spandrils of the doorway'. From "Illustrated London News", 1865. The Gloucester Music Festival: South Porch, Gloucester Cathedral, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE GLOUCESTER MUSIC FESTIVAL: THE NAVE OF THE CATHEDRAL LOOKING WEST, 1865. CREATOR: UNKNOWN.

The Gloucester Music Festival: the nave of the Cathedral looking west, 1865. '...sacred music was performed each day in the cathedral...The nave, of winch our Artist has furnished a View, with the audience or congregation which thronged its benches on the days of the musical festival, is materially different from those of most other Norman cathedrals in England; the lofty and massive piers being carried so high as to leave the triforium a comparatively small space, instead of its being, as at Norwich, Ely, and Peterborough, nearly equal in dimensions to the nave-arcade below. The large window at the west end was erected, at the expense of the Rev. Canon T. M. Brown, as a memorial of the late Bishop Monk. The design represents various incidents of Old and New Testament history; it is the work of Mr. Wailes'. From "Illustrated London News", 1865. The Gloucester Music Festival: the nave of the Cathedral looking west, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE GLOUCESTER MUSIC FESTIVAL: THE CLERESTORY, GLOUCESTER CATHEDRAL, 1865. CREATOR: UNKNOWN.

The Gloucester Music Festival: the Clerestory, Gloucester Cathedral, 1865. View of '...the clerestory, in which a number of ladies and gentlemen found tolerable accommodation during the musical performances...This part of the edifice was constructed in the first half of the thirteenth century, the monks themselves, as we leam from an ancient chronicle, having laboured at it with their own hands. What these pious builders would have thought of the compositions of Mendelssohn and Spohr, or the execution of Mdme. Titiens and Miss Louisa Pyne, it were too curious to inquire'. From "Illustrated London News", 1865. The Gloucester Music Festival: the Clerestory, Gloucester Cathedral, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

MEETING OF THE BRITISH ASSOCIATION AT BIRMINGHAM: THE PRIORY CHURCH, MALVERN, 1865. CREATOR: UNKNOWN.

Meeting of the British Association at Birmingham: the Priory Church, Malvern, 1865. '...the geologists...where they were received by Dr. Harvey B. Hall...The fine Gothic priory church was inspected, and its very rich and light architecture was much admired. The nave is in the Norman style, and the roof exquisitely ornamented; its florid Gothic central tower, 124 ft. high, is surmounted with battlements and pinnacles. Of the rest of the monastery, originally endowed by Edward the Confessor, the great gateway alone remains, a pure example of the Pointed style; and, considering its antiquity, is remarkable for retaining, in many places, its original freshness. Malvern was in the Saxon times a wilderness, thick set with trees; and, viewed from the north-east, the abbey church stands environed with graceful foliage'. From "Illustrated London News", 1865. Meeting of the British Association at Birmingham: the Priory Church, Malvern, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

HANDSWORTH CHURCH, BIRMINGHAM, THE BURIAL-PLACE OF JAMES WATT, 1865. CREATOR: UNKNOWN.

Handsworth Church, Birmingham, the burial-place of James Watt, 1865. 'The tomb of James Watt, adorned by Chantrey's noble statue, is in a small chapel at the south side of the chancel of Handsworth Church. Here the narrow limits of the chapel, with its window overshadowed by trees, enhance the solemn and imposing character of the figure. On the sides of the chancel are tablets to the memory of Boulton and Murdock. This is a fitting spot to contemplate the lives of these men, associated as they were at the neighbouring works of Soho. Boulton had there established the first model manufactory, which was visited as such by men of eminence from all countries. Murdock first arranged an apparatus for the production of coal gas, and Watt improved and applied the powers of the steam-engine. It is not too much to presume that the united labours of these men may have been to some extent the foundation of the pre-eminence of the great manufacturing town. The lesson to be learned from their lives may be read in the motto engraved on the massive base on which the statue of Watt is placed - "Ingenio et labore" [by natural ability and hard work].' From "Illustrated London News", 1865. Handsworth Church, Birmingham, the burial-place of James Watt, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

REVIEW OF FRENCH TROOPS ON THE PLACE NAPOLEON AT CHERBOURG, 1865. CREATOR: UNKNOWN.

Review of French troops on the Place Napoleon at Cherbourg, [northern France], 1865. 'The subject of our Illustration...from a sketch by our special artist... is a military, not a naval, display - being the review of the French troops forming the garrison of Cherbourg, who were paraded and put through the usual manoeuvres on the Place d'Armes. The officers of the English and French squadrons paid frequent visits to each other's ships in the course of the day, and exchanged various official compliments'. From "Illustrated London News", 1865. Review of French troops on the Place Napoleon at Cherbourg, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PULBOROUGH CHURCH, VISITED BY THE SUSSEX ARCHAEOLOGICAL SOCIETY, 1865. CREATOR: UNKNOWN.

Pulborough Church, visited by the Sussex Archaeological Society, 1865. 'The annual meeting of the Sussex Archaeological Society took place at Amberley, near Arundel [in Sussex], on Thursday week. The numerous party of visitors arriving from London, Brighton, Chichester, and elsewhere by the morning trains stopped at Pulborough station, and went to look at several objects of interest in the village of Pulborough where the Rev. P. Royston kindly acted as their guide. The parish church, dedicated to St. Mary, was the first visited. It is a very ancient structure, and has the peculiarity of its chancel being not parallel with the nave but at an angle of six or seven degrees...By an inscription in the belfry we are informed that "William Ayling, William Harwood, Thomas Lucas, Charles Strudwick, Richard Andrew, John Mersh, Thomas Bennet - Beavtyfied this belfry in ye year 1735."...The tower in which the bells are hung is seventy-two feet high...There is a curious lych-gate in the churchyard of Pulborough. Mr. Gordon Hills, architect, explained the points of interest in the church'. From "Illustrated London News", 1865. Pulborough Church, visited by the Sussex Archaeological Society, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE MURDER OF A MISSIONARY BY THE MAORIS IN NEW ZEALAND: CAPTURE OF THE REV. MR. VOLKNER..., 1865. CREATOR: UNKNOWN.

The murder of a missionary by the Maoris in New Zealand: capture of the Rev. Mr. Volkner on board the schooner Eclipse, at Levy's Wharf, Opotiki, 1865. 'The war of races which has been going on for two or three years past in several provinces of the northern island of New Zealand does not seem likely to arrive at a speedy termination... Captain Levy and Mr. S. Levy were told that the two missionaries [Volkner and Grace] would be shot. Captain Levy in vain remonstrated and begged the Maoris to refrain from this bloody act. In order to purchase the lives of his two passengers, he gave up the vessel and its cargo...to be plundered by the Maoris... This bribe seems to have had its effect... But another party...presently came...and...asked for Mr. Volkner...The unfortunate gentleman eagerly ran out, thinking for a moment that he was about to be set free...They then told him that they were going to kill him. He stopped near the church and asked them to allow him five minutes for prayer...There were now about 800 natives on the ground, who at once marched him under the tree... The poor fellow commenced shaking hands with many of them...and he even had hold of some of their hands whilst they were hauling him to the fatal branch'. From "Illustrated London News", 1865. The murder of a missionary by the Maoris in New Zealand: capture of the Rev. Mr. Volkner..., 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE MURDER OF A MISSIONARY BY THE MAORIS IN NEW ZEALAND: SAVAGE DANCE...PAI MARIRE FANATICS, 1865. CREATOR: UNKNOWN.

The murder of a missionary by the Maoris in New Zealand: savage dance of the Pai Marire Fanatics, 1865. 'The war of races which has been going on for two or three years past in several provinces of the northern island...does not seem likely to arrive at a speedy termination...While General Cameron has failed to make any sure progress in the campaign which was to have cleared the country between Wellington and Taranaki, other districts, especially in the neighbourhood of Auckland, have been disturbed by the revolt of a large number of the Maori population, who seem to have relapsed into worse than their original savagery...The hideous superstition now prevailing, which takes the name of the "Pai Marire" from the Virgin Mary, of whom they have heard from a French Catholic missionary lately amongst them, is held to sanctify the commission of any crime or offence...Prompted by this deadly fanaticism, the natives have committed a horrible crime at Opotiki...The victim was a missionary clergyman, the Rev. Carl Sylvius Volkner, a native of Cassel, Germany...the Maoris had all taken an oath the day before to kill every minister or soldier who came there...There were now about 800 natives on the ground, who at once marched him under the tree...'. From "Illustrated London News", 1865. The murder of a missionary by the Maoris in New Zealand: savage dance...Pai Marire Fanatics, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE NEW WESLEYAN CHAPEL, AT ASTON VILLA, LOZELLS, BIRMINGHAM, 1865. CREATOR: UNKNOWN.

The new Wesleyan Chapel, at Aston Villa, Lozells, Birmingham, 1865. 'The Wesleyan Methodists of Birmingham have lately built themselves a new place of worship at Aston Villa, in Lozells, a suburb of that town. It was opened, on the last day of May, with special services for the occasion, and there was a festive repast in the adjoining school-room. We give an Illustration of the new building, which has cost £4000. Its foundation-stone was laid by Mr. Naish, a member of the Town Council, in April last year. Mr. J. G. Bland was the architect employed. This is the second new chapel which has been opened at Birmingham within the last six months by the same active and zealous religious body'. From "Illustrated London News", 1865. The new Wesleyan Chapel, at Aston Villa, Lozells, Birmingham, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE NEW CHURCH OF ST. STEPHEN, CARLISLE, BUILT BY MISS BURDETT COUTTS, 1865. CREATOR: UNKNOWN.

The new church of St. Stephen, Carlisle, built by Miss Burdett Coutts, 1865. 'The exterior presents an agreeable contrast of colour, by the judicious use of red and white stone. The general style of architecture is geometric Gothic...The most striking feature is the square tower at the James-street end...On the north side of the church, in Hewson-street, we find the main entrance to the church, and this is the side on which the building is seen to the best advantage. The entrance is by a porch, with a pitched roof, the doorway being a Gothic arch, with a dog-tooth moulding supported upon pillars of polished Aberdeen granite, with the capitals carved...On the north side there are three two-light windows. Buttresses between the windows give boldness to the design of this part of the building...The appearance of the building is improved by the introduction of bands of green slates into the roof, and the long lines of the spire, in which the contrasted white and red stone are very effective, are relieved by transverse bands of white. A handsome palisading incloses the ground. The interior will accommodate 600 worshipers. The architect is Mr. James Nelson, jun., of Carlisle'. From "Illustrated London News", 1865. The new church of St. Stephen, Carlisle, built by Miss Burdett Coutts, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE ELECTIONS IN THE METROPOLITAN BOROUGHS: WESTMINSTER...THE NOMINATION IN COVENT-GARDEN, 1865. CREATOR: UNKNOWN.

The Elections in the Metropolitan Boroughs: Westminster election: the nomination in Covent-Garden, [London], 1865. 'At the Westminster nomination, Mr. Scott Turner, High Bailiff, presided. Captain Robert Grosvenor was proposed by Serjeant Tozer and seconded by Mr. Bidgood; Mr. John Stuart Mill was proposed by Dr. Brewer and seconded by Mr. Malleson; Mr. W. H. Smith was proposed by Mr. J. Lettsom Elliott and seconded by Mr. Twining. Captain Grosvenor, Mr. Mill, and Mr. Smith addressed the electors in turn, but only the reporters could hear them. A show of hands was taken, and was declared to be in favour of Captain Grosvenor and Mr. Smith'. From "Illustrated London News", 1865. The Elections in the Metropolitan Boroughs: Westminster...the nomination in Covent-Garden, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE LAST RESTING-PLACE OF THE LATE EARL CANNING IN THE NORTH TRANSEPT OF WESTMINSTER ABBEY, 1862. CREATOR: UNKNOWN.

The last resting-place of the late Earl Canning in the North Transept of Westminster Abbey, 1862. 'The mortal remains of the ex-Viceroy of India were on the 21st June committed to the grave at the foot of his father's statue...the same grave at the head of which Charles John Canning, the orphan Eton boy, stood thirty-five years ago, supported by the Dukes of Clarence and Sussex, and surrounded by distinguished statesmen, amongst whom was Lord Palmerston, who has been spared to take part in the touching and solemn ceremonial of Saturday week'. From "Illustrated London News", 1864. The last resting-place of the late Earl Canning in the North Transept of Westminster Abbey, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

CHAPEL OF THE HIGH ALTAR IN THE CATHEDRAL OF TOLEDO, BY S. READ,...WATER COLOURS, 1864. CREATOR: W PALMER.

Chapel Of The High Altar In The Cathedral Of Toledo, by S. Read, in the Exhibition of the Society of Painters in Water Colours, 1864. Engraving of a painting. 'The view in...the sombre and impressive interior of the great cathedral...is taken from within the immense grille which divides the choir from the transept...Here, as in every other part of the cathedral, objects are only seen through a "dim religious light," such is the massive character of the architecture and the quantity of stained glass...only a few women hooded in their mantillas, with a still smaller number of men trailing their ponchos, and an occasional mendicant monk, assemble to the service from the great choral books before the high altar. We have only to add that Mr. Read's drawing is distinguished by the same excellent qualities as his large work of last year, while the tone is more aerial and suggestive of space'. From "Illustrated London News", 1864. Chapel Of The High Altar In The Cathedral Of Toledo, by S. Read,...Water Colours, 1864. Creator: W Palmer. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE SOUTH-EASTERN RAILWAY COMPANY'S WORKS ON THE RIVER: VIEW FROM SOUTHWARK BRIDGE..., 1864. CREATOR: MASON JACKSON.

The South-Eastern Railway Company's Works on the River: view from Southwark Bridge, looking east, 1864. 'The Engraving...presents a view of the piles and scaffolding erected for the purpose of building a bridge [ie the Cannon Street Railway Bridge], which is to connect the Charing-cross Railway and the South-Eastern Railway...with the intended City station in Cannon-street...A part of London Bridge, with the Tower in the distance, is seen behind the huge timber framework that stretches half way from the Surrey to the Middlesex side. The warehouses of Adelaide Wharf and those of the Old Swan Pier, below and above bridge respectively, look down upon the traffic of steam-boats which ply to and from the floating platforms or pontoons moored for the passengers' landing. Fishmongers' Hall is just seen above the houses at the Old Swan. The spires and turrets of half-a-dozen City churches, with the Monument, "London's pillar," lifting its head above them all, complete this familiar scene, one feature of it alone being unfamiliar - the works now going on for the construction of the railway bridge'. From "Illustrated London News", 1864. The South-Eastern Railway Company's Works on the River: view from Southwark Bridge..., 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

LAYING THE FOUNDATION-STONE OF AN ENGLISH CHURCH, PHILIPPOLIS, ORANGE FREE STATE, SOUTH AFRICA, 1864 CREATOR: UNKNOWN.

Laying the foundation-stone of an English church, Philippolis, Orange Free State, South Africa, 1864. Engraving from a photograph by the Rev. C. Clulee. 'President Brand was on his way from Cape Town to the seat of his future government, and as he had to pass through Philippolis and Fauresmith, he was received with public festivities as he went. On this occasion Mr. Clulee and his churchwardens asked his Honour to lay the corner-stone of their new English church in the town, which he consented to do...On the Monday, Jan. 26, being the festival of the Conversion of St. Paul, the foundation-stone of the new church of St. Paul's was laid, by President Brand...Our Engraving represents the whole procession as it stood during the ceremony. His Honour stands on the Right Rev. Bishop Twells' left hand, Mr. Clulee on the right. The Bishop first delivered a suitable address in English, and a translation of it was read aloud (in Dutch) by the churchwarden...After this a few prayers were said by his Lordship, the sun being so hot it was necessary to proceed as quickly as might be, then his Honour laid the stone, and afterwards made a very cordial speech (first in English, then in Dutch), in which he expressed much good feeling towards the English Church'. From "Illustrated London News", 1864. Laying the foundation-stone of an English church, Philippolis, Orange Free State, South Africa, 1864 Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE WAR IN DENMARK: VIEW OF AALBORG, IN JUTLAND, NOW OCCUPIED BY THE PRUSSIAN ARMY, 1864. CREATOR: UNKNOWN.

The War in Denmark: view of Aalborg, in Jutland, now occupied by the Prussian army, 1864. Engraving of a sketch '...by Mr. C. Murray from the pleasure-gardens to the south of the town, looking across the Luemfjorden to the opposite town of Sundby...The town of Aalborg, which is the principal place in Jutland, [is] now occupied by the Prussian and Austrian troops. Aalborg is situated on the south side of the narrow entrance of the Luemfjord (pronounced Lymfiord), a vast inland lake, which is connected by straits and firths both with the German Ocean and the Baltic, thus separating the most northerly part of Jutland from the mainland of that peninsula, and enabling vessels which draw 12 ft. of water to pass from the North Sea into the Cattegat. The town itself contains about ten thousand inhabitants. It is the seat of a bishopric, and has a gymnasium or college, a good library, a school of navigation, an hospital, and several other public institutions. A considerable trade is carried on, and a productive herring fishery; the town derives its name from the immense quantities of eels which are taken in the neighbouring waters'. From "Illustrated London News", 1864. The War in Denmark: view of Aalborg, in Jutland, now occupied by the Prussian army, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE EPISCOPALIAN CHURCH OF ST. MARY, CARDEN-PLACE, ABERDEEN, 1864. CREATOR: UNKNOWN.

The Episcopalian Church of St. Mary, Carden-Place, Aberdeen, 1864. 'Our Engraving shows its external design, the merit of which belongs chiefly to the Rev. F. G. Lee who is an accomplished amateur architect; though he had the able professional assistance of Mr. Alexander Ellis. The building is principally in the middle-pointed style of Gothic architecture, with some of the details partaking of Italian and Scotch character...Externally, on the north and south sides, the large gables of the transepts, flanked on each side by projecting buttresses crowned by massive square pinnacles, mark the divisions of the church - the nave running westward, and the chancel to the east. The nave is divided into five bays by the clerestory windows, which are alternately circular and coupled lancets - three circular and two pairs of lancets on each side...The transepts externally present each a large circular window, 12 ft. in diameter, with four lancets underneath. The masonry, is rubble-granite, but the parts are marked by the use of bands of red and white freestone and black granite. These stones are also alternated in the formation of the circular and other windows and principal details throughout...The interior will accommodate between 700 and 800 persons'. From "Illustrated London News", 1864. The Episcopalian Church of St. Mary, Carden-Place, Aberdeen, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ON THOUGHTS OF CHARITY INTENT, BY MISS E. BROWNLOW - FROM THE FEMALE ARTISTS' EXHIBITION, 1864. CREATOR: W THOMAS.

On Thoughts of Charity Intent, by Miss E. Brownlow - from the Female Artists' Exhibition, 1864. A '...charming little picture, very effectively painted by Miss Emma Brownlow...It is particularly to be observed that the Norman or Breton peasant girl...is a very young and a very little personage. We may see, as she stands in her thick wooden sabots, that her quaint white cap rises hardly above the poor-box into which bigger folk drop their alms in passing, and that the great hinge of the church door is nearly half as tall as she is; but these are the only objects with which her height is to be measured. It is the more essential to remark the juvenility of the little maiden, because her cap - to English eyes an old-fashioned one - her womanly dress and housewifely pocket, her kindly thoughtfulness - feeling, as she does, for perhaps her only sou or liard - seem all beyond her years. It is understood that our little heroine has gone to matins or to mass, or to say her prayers to the Virgin in some quiet side-chapel, all alone; and, as she leaves the house of God, this little Christian "remembers the poor." Examples for so doing she has had in plenty. Our Roman Catholic neighbours do not let the spider's web form over the hole of the poor-box'. From "Illustrated London News", 1864. On Thoughts of Charity Intent, by Miss E. Brownlow - from the Female Artists' Exhibition, 1864. Creator: W Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE WAR IN DENMARK: PUBLIC FUNERAL AT COPENHAGEN OF OFFICERS AND SOLDIERS KILLED AT DUEPPEL, 1864. CREATOR: UNKNOWN.

The War in Denmark: public funeral at Copenhagen of officers and soldiers killed at Dueppel, 1864. Engraving from a sketch by Mr. Simonsen. 'It represents the scene in St. Anne's-square, Copenhagen, at the funeral of fourteen of the Danish officers and soldiers killed in the defence of the redoubts at Dueppel on April 18. The funeral took place on the 27th of that month, setting forth from the Garrison Church, which is directly opposite the house of the British Legation. From early morning on that day, flags half mast high had been displayed by the shipping in the port and from many houses in the city...[After the [church service] the coffins were brought out and carried through the streets leading to the Garrison Churchyard...The King and the Landgrave, with their Aides-de- Camp, walked immediately after the last coffin, followed by the Bishop of Copenhagen and numerous clergymen, the Ministers of State, officers of the Army and Navy, the University, the Courts, the President and Town Councillors, and numerous associations with their emblems. These had stood en haye, forming a lane until the long procession had passed them. At the churchyard the ceremony ended with three volleys of musketry'. From "Illustrated London News", 1864. The War in Denmark: public funeral at Copenhagen of officers and soldiers killed at Dueppel, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

LUEBECK: THE CATHEDRAL, 1864. CREATOR: UNKNOWN.

Luebeck: the Cathedral, 1864. '...we turn to the Cathedral, a lofty building of red brick, and enter by the noble porch...We must not omit mention of a fresco, on the south side, which preserves the singular tradition that the cathedral was built by Henry the Lion on the very spot where he had caught a wonderful stag, let loose by Charlemagne 400 years previously, with a jewelled collar about its neck and a cross between its horns, and bearing this inscription: "Hoc Caesar me donabat".' From "Illustrated London News", 1864. Luebeck: the Cathedral, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

LUEBECK: PORCH OF THE CATHEDRAL, 1864. CREATOR: UNKNOWN.

Luebeck: porch of the Cathedral, 1864. '...we turn to the Cathedral, a lofty building of red brick, and enter by the noble porch depicted in our Engraving. The interiors of Continental cathedrals, have, as with us, considerable sameness, though each has some one or more features of interest not to be found in any other...We must not omit mention of a fresco, on the south side, which preserves the singular tradition that the cathedral was built by Henry the Lion on the very spot where he had caught a wonderful stag, let loose by Charlemagne 400 years previously, with a jewelled collar about its neck and a cross between its horns, and bearing this inscription: "Hoc Caesar me donabat".' From "Illustrated London News", 1864. Luebeck: porch of the Cathedral, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE WAR IN DENMARK: INTERIOR OF WEST DUEPPEL CHURCH, USED BY PRUSSIAN SOLDIERS AS A DORMITORY, 1864. CREATOR: UNKNOWN.

The War in Denmark from a sketch by our special artist with the allied German armies: interior of West Dueppel Church, used by Prussian soldiers as a dormitory, 1864. View of the interior of a '...Lutheran parish church in Schleswig...The foreign soldiers, who have turned this building into a barrack-room, lie dozing, for the most part, upon heaps of straw, the floor having been cleared, we suppose, by the removal of the partitions and pews, to afford greater space for their accommodation. Three of them are lounging in the central aisle; one is eating, while the other two are smoking their pipes. The present Illustration no doubt shows one of the common incidents of warfare, but it will appear, to the eyes of many of our readers, a scandalous and disagreeable scene, though it is one which should not be omitted from our pages, for the sake of historical truth'. From "Illustrated London News", 1864. The War in Denmark: interior of West Dueppel Church, used by Prussian soldiers as a dormitory, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE BISHOP OF OXFORD LAYING THE FOUNDATION-STONE OF AN ENGLISH CHURCH AT BRUSSELS, 1864. CREATOR: UNKNOWN.

The Bishop of Oxford laying the foundation-stone of an English church at Brussels, 1864. Engraving from a photograph by Messrs. Ghèmar. 'A numerous company of English residents and others had assembled to witness the ceremony, and to hear the Bishop's eloquent address. The new building, at his suggestion, is to bear the name of "Church of the Resurrection." The form of prayers here used was that which has been introduced for similar occasions in the diocese of Oxford. After reading the prayers the stone was lowered to its place, and struck by his Lordship three times in the name of the Holy Trinity. The Bishop further spoke at some length of the religious bearings of this interesting performance. The church, when erected, will prove a handsome and convenient structure, with accommodation for 700 persons; the total length of nave and chancel being more than 100 ft., while the roof internally is 75 ft. high. The architect is Mr. R. Jewell Withers, of London. The style is that of the thirteenth century, with some of the peculiar features of the Belgian and German church architecture of that period. The Revs. C. E. and J. C. Jenkins are to be the Chaplains of the new church'. From "Illustrated London News", 1864. The Bishop of Oxford laying the foundation-stone of an English church at Brussels, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RAILWAY WORKS AT BLACKFRIARS AND OPENING TOWARDS LUDGATE HILL...FROM THE TEMPORARY BRIDGE, 1864. CREATOR: MASON JACKSON.

The railway works at Blackfriars and opening towards Ludgate Hill, viewed from the temporary bridge, [London], 1864. View '...overlooking, on its eastern side, the permanent railway-bridge which the London, Chatham, and Dover Company are erecting, to bring their line south of the Thames - now open to the Elephant and Castle - into connection with its projected City terminus at Ludgate-hill...a great many houses have been cleared away...The facade and majestic dome of St. Paul's were never seen to better advantage than from this new point of observation, since the removal of some of the intervening houses which concealed the portico when the spectator was upon old Blackfriars Bridge. The spire of St. Martin's, Ludgate, and the small square tower of St. Benet's, which was built by Wren, are included in this View...To the right hand we see the bank of the river just above Purfleet Wharf. This View exhibits some features of old and new London in curious juxtaposition, and it is an illustration of the progress of one of the greatest -works of railway construction in this City'. From "Illustrated London News", 1864. The railway works at Blackfriars and opening towards Ludgate Hill...from the temporary bridge, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE WAR IN DENMARK: REPULSE OF THE PRUSSIANS ON MARCH 28, VIEWED FROM THE DANISH REDOUBTS..., 1864. CREATOR: UNKNOWN.

The War in Denmark: Repulse of the Prussians on March 28, viewed from the Danish Redoubts, 1864. 'We have engraved this week a sketch by one of our own countrymen..., taken from one of the Danish redoubts. The foreground is filled up with a breastwork, a group of soldiers, and a mounted field-piece. The prospect is towards the Avnbierg or Ruhenberg hill on the left, the villages of West and East Dueppel in the centre, and the Bueffel Koppel wood farther off on the right...the masses of Prussian infantry...were broken and dispersed by the fire of Danish guns at once from the redoubts before them and from the war-steamer Rolf Krake, on their right flank. Beyond the gently swelling ground to the left are the waters of the inlet called the Venningbund, and in the extreme distance we perceive the twin steeples of Broacker Church...The small hamlet of East Dueppel, which lies in the middle, having been destroyed some days before, when the Prussians first occupied the Ruhenberg, could not afford them any shelter. They had formed their columns at three o'clock that morning in the village of West Dueppel, which was subsequently set on fire by the Danish shells, and which is seen burning'. From "Illustrated London News", 1864. The War in Denmark: Repulse of the Prussians on March 28, viewed from the Danish Redoubts..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE WAR IN DENMARK: PRUSSIAN LOOK-OUT ON BROACKER CHURCH SPIRE..., 1864. CREATOR: UNKNOWN.

The War in Denmark: Prussian look-out on Broacker Church spire - from a sketch by our special artist, 1864. A '...look-out man climbing the church spire of Broacker to obtain a bird's-eye view of the country around...By opening a door in the side of the steeple, which fell back into a horizontal position and so served as a platform, and by planting a ladder upon it he had got to the top of the steeple; then began the ascent of the finial, and that was more difficult, but its base is an iron ball, looking like a cauldron with the cover on, and upon this he had managed to get and thence firmly to fix two wooden bars, by means of a cord, transversely on the iron rod, forming two steps, which enabled him to reach the ornament before mentioned. Upon this he sat, with one arm round the rod, calmly sweeping the enemy's lines with a long telescope. On the platform of the steeple a soldier lay upon his back looking up at this adventurous climber, and probably transmitting his communications to some one within'. From "Illustrated London News", 1864. The War in Denmark: Prussian look-out on Broacker Church spire..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

MONUMENT TO THE LATE ARCHBISHOP MUSGRAVE IN YORK MINSTER, 1864. CREATORS: UNKNOWN, MATTHEW NOBLE.

Monument to the late Archbishop Musgrave in York Minster, 1864. Engraving from a photograph by Mr. John Draffin. 'The sculptor is Mr. Noble. This structure consists of a base of carved Caen stone, surmounted with a recumbent figure of the late Archbishop in Carrara marble. The stonework, which is 8 ft. 10 in. by 3 ft. 6 in., is surrounded with sixteen columns of alabaster, between each of which are shields bearing the arms of the see of York and the family of the late Archbishop, surmounted by the mitre. The heads of the columns are elaborately carved in the floriated style, representing the honeysuckle, ivy, thorn-leaf, and vine. The thorn-leaf carving is also inserted round a projecting moulding, which supports the figure. Each corner of the base is also carved with a flowing leaf, and the angle of the cusps in the quatrefoils is also similarly carved. The figure, which is 7 ft. 6 in. long, is represented as reclining on its back upon a mattress in tinted marble, the head and upper part of the shoulders resting upon a cushion, at each of the four corners of which hangs a tassel. The Bible, pressed with both hands, lies upon the breast of the deceased Archbishop, who is attired in the full canonical costume of his office'. From "Illustrated London News", 1864. Monument to the late Archbishop Musgrave in York Minster, 1864. Creators: Unknown, Matthew Noble. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE WAR IN SCHLESWIG: CHAPEL AT GRAVENSTEIN USED AS A PRUSSIAN BARRACK..., 1864. CREATOR: UNKNOWN.

The War in Schleswig: chapel at Gravenstein [in Denmark] used as a Prussian barrack - from a sketch by our special artist, 1864. View '...of the interior of the chapel, which in these days has been converted into a guard-room for the Prussian soldiers. A group of them seated at the altar seem to be writing letters to their friends'. From "Illustrated London News", 1864. The War in Schleswig: chapel at Gravenstein used as a Prussian barrack..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

MONUMENT IN ST. CHAD'S CHURCH, SHREWSBURY, TO...OFFICERS AND MEN...WHO FELL DURING THE INDIAN...1864 CREATOR: UNKNOWN.

Monument In St. Chad's Church, Shrewsbury, to the officers and men of the 53rd (Shropshire) Regiment who fell during the Indian Mutiny, 1864. 'A monument has just been erected in the vestibule of St. Chad's Church,...at the expense of Lieutenant-General Sutherland, C.B., and other officers of the 53rd Regiment, in memory of the officers, non-commissioned officers, and privates of the regiment who fell in action or died from the effects of their wounds and exposure in the performance of their duty during the Indian mutiny in 1857, 1858, and 1859. The funeral urn stands on a simple pedestal, with military sashes thrown over it, with the regimental badge above, and the Queen's colours and those of the 53rd on each side. On the right stands an officer leaning, in a mournful attitude, upon one arm, which rests on the tablet recording the names of the dead. On the left hand is a Colour-Sergeant leaning on his rifle reversed. Various weapons of war are scattered at their feet. The sculptor is Mr. Manning, of York-terrace, Regent's Park. The work is executed in fine white Carrara marble, with a background of black marble'. From "Illustrated London News", 1864. Monument In St. Chad's Church, Shrewsbury, to...officers and men...who fell during the Indian...1864 Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE WOODS IN AUTUMN, BY HENRY JUTSUM, IN THE EXHIBITION OF THE BRITISH INSTITUTION, 1864. CREATOR: UNKNOWN.

The Woods in Autumn, by Henry Jutsum, in the Exhibition of the British Institution, 1864. Engraving of a painting. 'The season...is far advanced, as we see by the sparse foliage of sere and yellow leaves, the great dry, stubbly ferns; the carpeting of dead leaves, brown and red, drifted by the wind into every hollow, and the felling of the sapless trees. As late as the middle of November is the period chosen for commencing to fell the beech, the ash, and some other trees. The great silvery-barked trunks of several fine beeches lie about, lopped of their branches and ready for the timber merchant. Other fine stems, or "boles," as they are called in some districts of England, are being felled by the foresters, and to the left some noble "butts" are drawn away by a team of oxen. The felling of so many fine beeches, which look more than usually beautiful when - as in this picture - tipped with the evening sunlight, might be no very pleasant sight to some ardent lovers of woodland scenery. Their loss from the cleared space in the view before us is, however, more than compensated by the prospect thereby opened of true English landscape, with its undulating fields and hedgerows, its scattered trees and familiar village church-tower'. From "Illustrated London News", 1864. The Woods in Autumn, by Henry Jutsum, in the Exhibition of the British Institution, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE WAR IN NEW ZEALAND: RANGARIRI, FROM THE WAIKATO, 1864. CREATOR: UNKNOWN.

The War in New Zealand: Rangariri, from the Waikato [River], 1864. Scene of '...General Cameron's victory on the 20th of November...[The] new redoubt, which General Cameron has begun to construct, is in the centre, marked by a flag; with the British encampment on the rising grounds, and the Maori redoubt seen beyond...on our right...[is] the old Maori Church, and the graveyard where those killed in the fight are buried. On our left hand some flat-bottomed gun-boats and canoes are moored. The British head-quarters are in the large square tent upon the hill towards our left...The British...stormed the rifle-pits facing the Waikato River...300 men of the 40th had landed...and those of the Maoris who could not get into their "Keep" were compelled to fly across the swamp...General Cameron ordered an attempt to take this stronghold by assault...the Royal Artillery, armed with revolvers...attacked it and failed...another party of sailors...threw hand-grenades into the redoubt. All these attacks, however, were baffled by the overwhelming fire of the Maoris, and by the difficulty of approaching their position...Every officer who took the lead here was either killed or dangerously wounded...The fortress...thus cost a large expenditure of English blood'. From "Illustrated London News", 1864. The War in New Zealand: Rangariri, from the Waikato, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE TERRIBLE CALAMITY IN SANTIAGO, CHILI: RUINS OF LA COMPANIA [COMPAÑÍA] CHURCH, 1864. CREATOR: UNKNOWN.

The terrible calamity in Santiago, Chili: ruins of La Compania [Compañía] Church, 1864. Engraving of a photograph by Thomas Columbus Flelsby, of '...one of the most heartrending catastrophes ever recorded...On the 8th of December last the Church...took fire, and of the congregation...two thousand persons, mostly women, were burnt to death...[the church was] sumptuously decorated, whilst many thousand lights, tapers, and paraffin lamps, hung in festoons...illumined with a dazzling splendour the interior...The walls...were covered with rich drapery, and to this circumstance is in a great measure to be attributed the catastrophe which subsequently ensued...a crescent of lights placed at the foot of an image of the Virgin above the altar set some of the drapery on fire...in a few minutes the interior of the church was a mass of flames...The burning drapery, saturated with paraffin, fell in masses on the hapless congregation, whilst from the roof a rain of liquid fire poured upon their heads. Everyone strove with the energy of despair to reach the door and to force her way through the only outlet of escape...Within less than a quarter of an hour...nothing remained of more than two thousand women...than a mass of charred and blackened corpses'. From "Illustrated London News", 1864. The terrible calamity in Santiago, Chili: ruins of La Compania [Compañía] Church, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE EAGLE LECTERN IN NEW COLLEGE CHAPEL, OXFORD, 1864. CREATOR: UNKNOWN.

The Eagle lectern in New College Chapel, Oxford, 1864. 'An Eagle Lectern...has recently been presented to New College by the Senior Fellow, the Rev. W. Bigg Wither. It is the work of an amateur, the Rev. R. Baker, of Hargrave, Northamptonshire, Curate of Shelton, Bedfordshire, who exercises his art for the benefit of the restoration-fund of Hargrave Church. The bird is studied from the living eagle, and is almost a reproduction of the one exhibited in the International Exhibition of 1862. The lectern was designed by Mr. E. F. Law, of Northampton, and was highly appreciated by the committee of the Northamptonshire Architectural Society. It consists of a centre octagonal pedestal, upon the cap of which the eagle stands with expanded wings. This pedestal is supported on four sides by flying buttresses...each of which is surmounted by the figure of an angel, representing, on the north, Mercy; on the south, Praise; on the east, Prayer; and on the west, Justice. The lectern is of a large size, standing eight feet high, and is well proportioned'. From "Illustrated London News", 1864. The Eagle lectern in New College Chapel, Oxford, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE GREAT SCHOOLS OF ENGLAND, THE CHAPEL AT RUGBY SCHOOL, 1862. CREATOR: UNKNOWN.

The Great Schools of England, the Chapel at Rugby School, 1862. Private school in Rugby, Warwickshire. From "Illustrated London News", 1862. The Great Schools of England, the Chapel at Rugby School, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RIGHT REV. DR BROMBY, THE NEW BISHOP OF TASMANIA, 1864. CREATOR: UNKNOWN.

The Right Rev. Dr Bromby, the new Bishop of Tasmania, 1864. Dr. Bromby...was consecrated in Canterbury Cathedral on the 29th of June last...[He] was introduced on that occasion by Bishop Nixon, his predecessor in the see of Tasmania, and by the Bishop of Gloucester and Bristol, whose diocese has been for some time past the scene of his labours as the Principal of the Church of England Normal Training College, at Cheltenham'. Charles Bromby was the last Colonial bishop to be nominated by the British crown. From "Illustrated London News", 1864. The Right Rev. Dr Bromby, the new Bishop of Tasmania, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

CHURCH MISSIONARY STATION ON THE WAIKATO RIVER, NEW ZEALAND, 1864. CREATOR: UNKNOWN.

Church missionary station on the Waikato River, New Zealand, 1864. 'The mission-house of Pepepe is one of the most picturesque spots on the River Waikato. It is situated on a rocky knoll, overhanging the broad river, not far from its junction with the Waipa, and is surrounded by green, mossy slopes, and glens of tree ferns, while dark and sombre forests clothe the steep sides of the adjoining hills. At some little distance, near the neighbouring native village, is the church, and farther on down the river is the pah of the late renowned chief and Maori King, Te Whero-whero. All the banks of the Waikato are thickly peopled with the native inhabitants, and the Waikatos are the most powerful and numerous of the New Zealand tribes'. From "Illustrated London News", 1864. Church missionary station on the Waikato River, New Zealand, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ST. PAUL'S WORKING MEN'S CHURCH, BIRKENHEAD, 1864. CREATOR: UNKNOWN.

St. Paul's Working Men's Church, Birkenhead, 1864. 'This church was opened on the 10th December by the Bishop of Chester, and contains on the ground floor upwards of 600 sittings, which are wholly free. The situation is well chosen, being at the corner of Argyle-street, the principal fashionable business street, and Market-street, the street in which most of the working men do their shopping, and in which many of them reside. The church is constructed of brick, with window and other dressings of stone. The roof is an open-timbered one. There are no doors to the pews. In an elevated basement there are two lofty, well-lighted schoolrooms, well adapted for prayer-meetings and similar uses. The site and endowment were the gift of Mr. Thomas Brassey. The cost of the church has been defrayed by private individuals, and by the proceeds of a bazaar held in the park, which realised more than £1100. Mr. Walter Scott, of Birkenhead and Liverpool, who designed the new hospital at Birkenhead, is the architect'. From "Illustrated London News", 1864. St. Paul's Working Men's Church, Birkenhead, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

WINTER, DRAWN BY A. HUNT, 1864. CREATOR: MASON JACKSON.

Winter, drawn by A. Hunt, 1864. 'The sun is sinking-in the wintry sky, And all the landscape lies enwrapp'd in snow; The day is dying, and to see it die Come youth and age, who watch the fading glow. Age looks forth wistfully, and longs to go Thus gently, silently, to peaceful rest: Youth, full of hope, unconscious of life's woe, Gazes in gladness on the glowing west. Old age is weary - he has played his part - Life's wintry day is drawing to its close; But spring is shining in the child's young heart, Like dewdrops gleaming on the budding rose. The night is coming; but the morn is near, When light, and life, and hope shall reappear'. From "Illustrated London News", 1864. Winter, drawn by A. Hunt, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ST. MARY TOWER CHURCH, IPSWICH, RECENTLY RESTORED, 1864. CREATOR: MASON JACKSON.

St. Mary tower church, Ipswich, recently restored, 1864. 'In the north wall is a very fine line of windows, in the Perpendicular style, which is the general style of the restorations...The south wall remains to be transformed into a counterpart of the north wall, and it is intended to remove the south porch, and to do great works to the tower, leaving the south aisle corresponding with the north...The outside of the church is at present a motley mixture of the exquisite fresh work of the restoration and the dim, dilapidated rubble of the old structure. The roof of the nave, however, is finished, or nearly so; and the fabric of the north aisle and that of the west end of the nave are completed, although a great amount of decorative work remains to be executed. Mr. R. M. Phipson was the architect'. From "Illustrated London News", 1864. St. Mary tower church, Ipswich, recently restored, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ENGLISH CHURCH AT GUZERAT, 1864. CREATOR: UNKNOWN.

English church in the civil station of Guzerat, [India], 1864. 'In 1860, Sir Robert Montgomery, K.C.B., the present lieutenant Governor of the Punjaub, brought to the notice of the supreme Government the question of accommodation for Protestant worship in the Punjaub provinces, and, feeling a very deep interest in the work, obtained sanction for the construction of churches at all stations where no such accommodation had been provided. Thus, through Sir R. Montgomery's exertions, no less than fifteen small churches were constructed at civil stations in the Punjaub during 1861. The Guzerat Church is one of the number, and was built by Captain E. H. Paske, Deputy Commissioner of the district, on plans furnished by [the British] Government'. From "Illustrated London News", 1864. English church at Guzerat, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

TOMBS OF ENGLISH OFFICERS AT GUZERAT, 1864. CREATOR: UNKNOWN.

Tombs of English officers at Guzerat, [India], 1864. 'The Guzerat district is distinguished as being the battle-field of British conquest in the Punjaub. Here took place the engagement at Sudoolapore, in December, 1848, followed by the sanguinary battle of Chillianwallah, and ending with the fight at Guzerat, where the Sikhs lost the kingdom they had won and consolidated eighty-five years before...Our Illustration represents the tombs of some of the [British] officers and men who fell in the battle at Guzerat. These graves are all inclosed by a substantial masonry wall, and are kept in good preservation'. From "Illustrated London News", 1864. Tombs of English officers at Guzerat, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE THAMES EMBANKMENT WORKS, VIEWED FROM KING'S COLLEGE, 1864. CREATOR: MASON JACKSON.

The Thames Embankment Works, viewed from King's College, [London], 1864. '...when the embankment is finished, running as it will from Pimlico to Blackfriars-bridge, and beyond it, the relief to the crowded Strand and Fleet-street will be enormous. A commencement has been made with this important undertaking'. On the left-hand side is St Paul's Cathedral. From "Illustrated London News", 1864. The Thames Embankment Works, viewed from King's College, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

NEW CHURCH OF ST. PETER, ON THE SITE OF VAUXHALL GARDENS, 1864. CREATOR: UNKNOWN.

New Church of St. Peter, on the site of Vauxhall Gardens, [London], 1864. 'The architect is Mr. Pearson, of Harley-street, who has, with the builders, Messrs. Longmire and Burge, formed a church which, whether ecclesiologically or architecturally regarded, is one of the best specimens of modem art...The chancel is apsidal, and for some distance above the foot-pace of the altar, which is on five steps, is prepared for fresco-painting; while three stained-glass windows are already in hand for filling up the east end lights. Very handsome and substantial choir stalls of carved oak are to the westward of the sanctuary, in which the architect has placed three stone sedilia. The pillars supporting the nave arcade are massive, but are not yet finished. The font stands at the south-west, just inside the Galilee porch. The pulpit is a massive work in stone, by Poole, with a mosaic representing the Sermon on the Mount; and the open benches will be for ever free and unappropriated to all classes of the neighbourhood without distinction - poor as well as rich. There is a semi-transept on the north side, in which is the entrance to the vestry, and which is calculated to hold 300 school children'. From "Illustrated London News", 1864. New Church of St. Peter, on the site of Vauxhall Gardens, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ST. JOHN'S ROMAN CATHOLIC CHURCH, SOUTH PARADE, BATH, 1864. CREATOR: UNKNOWN.

St. John's Roman Catholic Church, South Parade, Bath, 1864. The Church of St. John the Evangelist '...is situated in an open space of ground on the South Parade, having a new street at the west end in a line with Duke-street. The design includes a tower and spire, upwards of 200 ft. high, and it is especially remarkable for the multitude of gables. Taking the north side, we have first the gable of the baptistery, next the gable of the porch, then the three gabled bays of the north aisle, and then the large gable of the transept, with its magnificent circular window. Beyond this are two gables on the side of the Ladye Chapel, and over them the gabled windows of the chancel. The west front has the tower in the centre, with the baptistery and chapel of St. Benedict at the sides. The west entrance is surmounted by the crocketed gable exhibiting some beautiful carvings in the spandril...The architect of the building is Mr. C. F. Hansom, of Clifton, Bristol; the contractors are Messrs. Bladwell and Ambrose. This church is reckoned one of the finest of those which the Roman Catholics have erected in England during the last few years'. From "Illustrated London News", 1864. St. John's Roman Catholic Church, South Parade, Bath, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

DHURUMSALLA CHURCHYARD, THE BURIAL-PLACE OF THE LATE VICEROY OF INDIA, 1864. CREATOR: UNKNOWN.

Dhurumsalla Churchyard, the burial-place of the late Viceroy of India, 1864. Engraving from a photograph by Mr. G. D. Lyon. 'The Earl of Elgin, Viceroy and Governor-General of India, died at Dhurumsalla, on the 20th of November last, and was buried the following day in Dhurumsalla churchyard, "in a sweet spot selected by Lady Elgin herself, at his request"...So gradually did he sink that all the arrangements for his grave, tomb, and funeral were ready several days before his death. It was his particular wish that his tomb might be plain and simple, his funeral perfectly private and unostentatious. But very few mourners stood around his grave. A plain but massive stone will cover it, and a cross 27 ft. high will be the only monument to mark his resting-place. On the top of the hill, immediately over the church, is situated the house in which Lord Elgin died'. From "Illustrated London News", 1864. Dhurumsalla Churchyard, the burial-place of the late Viceroy of India, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ANCIENT YEW-TREE AT PALMERSTON, 1864. CREATOR: UNKNOWN.

Ancient yew-tree at Palmerston, [Ireland]. 1864. Engraving from a sketch by Mr. Wakeman. 'Adjoining the church, a few yards to the south-eastward, stands a venerable yew-tree, now almost withered, and which has probably given name to the place. In Ireland, the yew-tree is almost invariably styled "palm," and on Palm Sunday the Roman Catholics, men and women, usually attach a sprig of the yew to their hats or bonnets. That this tree is coeval with the church there can be little doubt; and, as the latter exhibits the architectural peculiarities of a period certainly not later than the twelfth century, the Palmerston yew must be considered as one of the oldest trees remaining in the country'. From "Illustrated London News", 1864. Ancient yew-tree at Palmerston, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PALMERSTON CHURCH, NEAR DUBLIN, 1864. CREATOR: UNKNOWN.

Palmerston Church, near Dublin, [Ireland], 1864. Engraving from a sketch by Mr. Wakeman. 'Of the ancient village the church only remains. It is an ante-Norman structure, consisting of nave and chancel...The chancel arch is semicircular, and its sides are inclined-a peculiarity indicative of very high antiquity when found in Irish ecclesiastical remains. The doorway, which is now stopped up, was placed, as usual, in the centre of the west gable. It is square-headed, like the doorways of many of the celebrated round towers of Ireland, and its sides also incline. The windows, which are of the lancet form, appear to have been remodelled at the close of the twelfth or beginning of the thirteenth century'. From "Illustrated London News", 1864. Palmerston Church, near Dublin, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

SUSA, AT THE FOOT OF MONT CENIS, 1864. CREATOR: MASON JACKSON.

Susa, at the foot of Mont Cenis, [Italy], 1864. View of '...the point where the modem road crosses the old one. It shows the cathedral and the...three entrances into Italy; the ancient one, under the arch of Cottius, dedicated to a Roman Emperor (that in the right of the Engraving); that which passes under the arch in the centre...and the present great road, made by a French Emperor. Susa is an exceedingly picturesque and interesting town, containing about 4000 inhabitants, is very well built, and decidedly clean for an Italian town; its situation is magnificent, being surrounded by craggy eminences, between which are deep gorges through which the road winds with a regular ascent, and down the bottoms of which the river Doria-Riparia...comes dashing and foaming among the rocks...on its way to the plains below. There is a huge mass of ruins on a rocky ridge which overhangs the town, the remains of Fort la Brunette, formerly considered one of the strongest fortresses in Italy...Above...tower up mountain upon mountain, the largest, called the Roche Melon, shuts in the valley from the plains of Italy. The bases and lower slopes of these mountains are covered with farms, rich woods, pastures, and vineyards'. From "Illustrated London News", 1864. Susa, at the foot of Mont Cenis, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE CONVENT OF ST. ONOFRIO, NEAR ROME, IN WHICH TASSO DIED, 1864. CREATOR: MASON JACKSON.

The Convent of St. Onofrio, near Rome, in which Tasso died, 1864. Engraving from a sketch by M. Mariani. 'The painful tale of the life and sufferings of Torquato Tasso, one of Italy's most graceful bards, will ever remain a stigma upon the annals of that nation during the sixteenth century. Born in 1511, and dying on the 25th of April, 1595, he passed the meridian of his life (from 1579 to 1586) shut up as a madman at Ferrara. The persecution and imprisonment of Tasso by the Duke Alphonso, his ultimate release through the intervention of the Duke of Mantua and the supplications of all Italy, the preparations for his triumph during his retreat at the Convent of St. Onofrio, his death there on the eve of its celebration, and his subsequent immortality, are all matters with which the reader is undoubtedly well acquainted...The hospitality of the monks to Tasso was repaid at the revolution, when the French spared (exceptionally) the Convent of St. Onofrio, on account of the conduct of its former generous occupants towards [Tasso]...The convent of St. Onofrio is a small, refuge, calm, tranquil, and sufficiently far from the rumours of the city to render it a fitting spot for a poet's closing scene'. From "Illustrated London News", 1864. The Convent of St. Onofrio, near Rome, in which Tasso died, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

BURIAL OF THE LATE KING OF DENMARK: THE COFFIN BEING BORNE TO THE MAUSOLEUM..., 1864. CREATOR: UNKNOWN.

Burial of the late King of Denmark: the coffin being borne to the mausoleum at the close of the funeral service in Roeskilde Catheral, 1864. 'At half-past ten a.m., after the arrival of his Majesty King Christian and all the Royal Princes, the procession was marshalled, and proceeded on foot to the superb and venerable cathedral, and were met at the principal porch by the Bishop of Iceland and a numerous body of clergy, who preceded the procession to the high altar, below which the sarcophagus was placed. The cathedral, where the Diplomatic Body had previously assembled, was soon thronged, and the funeral service commenced with a cantata of great power, after which Bishop Martensen, primate of the Danish clergy, preached most impressively, and, after the coffin had been removed to the Royal mausoleum, concluded with prayers and the benediction. The cathedral of Roeskilde contains the ashes of nearly all the Kings of the family of Oldenburg who, during four centuries, have reigned over the Danish monarchy; and now it has received the mortal remains of Frederick VII., who was the last King of the ancient dynasty'. From "Illustrated London News", 1864. Burial of the late King of Denmark: the coffin being borne to the mausoleum..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

MONUMENT TO THE LATE PRINCE CONSORT IN WHIPPINGHAM CHURCH, ISLE OF WIGHT, BY W. THEED, 1864. CREATOR: UNKNOWN.

Monument to the late Prince Consort In Whippingham Church, Isle of Wight, by W. Theed, 1864. 'Mr.Theed is the sculptor of the monument to the late Prince Consort, which was erected in February last. The architectural parts are by Mr. A. J. Humbert, who designed and superintended the rebuilding of the church. We have engraved a representation of this monument. Its design requires no words of explanation; but, with regard to the materials, it should be stated that the figures of angels (in relief) holding the crown of stars over the medallion of the Prince are of pure white marble, while the cornice of rue (forming a part of the Prince's arms) has been executed in alabaster, and the ground in gold. The spandrils and diaper-work are also of alabaster, with the ground in gold. The four small columns which support the arcade are of Portuguese Imperial red marble, the four outer columns are in Irish and Genoa green marble, and the arms of the Queen and Prince Consort are partially gilt. The whole height of the monument is 9 ft., by 7 ft. 3 in. in breadth'. From "Illustrated London News", 1864. Monument to the late Prince Consort In Whippingham Church, Isle of Wight, by W. Theed, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

VIEW OF LIMA, THE CAPITAL OF PERU, 1864. CREATOR: UNKNOWN.

View of Lima, the capital of Peru, 1864. Engraving from a sketch by David Powell, '...taken from the foot of the hill, San Cristoval, at the end of the old Alameda...The principal buildings...are the cathedral...and the church of San Francisco, which is by far the finest building of its kind in the New World. In the distance we see the high ground of the island of San Lorenzo, protecting the anchorage at Callao. The Alameda, which runs along the river and constitutes the foreground of our View, is, unfortunately, a place to be avoided on account of the rascals who frequent it. The outline of the buildings in Lima is very picturesque; but the detail is very coarse...In the foreground is an iron-foundry, which we may remark as an instance of the European inventions which are coming into general use in these new countries of South America'. From "Illustrated London News", 1864. View of Lima, the capital of Peru, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE CHURCH OF ST. JUDE, GRAY’S-INN-ROAD, 1864. CREATOR: UNKNOWN.

The Church of St. Jude, Gray's-Inn-Road, [London], 1864. 'This church...is situated in a district, having a population of 9000, assigned from the parish of St. Pancras by the Ecclesiastical Commissioners, with an endowment from them of £300 a year...The chief entrance to the church is from the Gray's-inn-road by an open cloister. The tower is at the south-east angle, and is 100 ft. in height, terminating with an iron finial. Mr. Joseph Peacock was the architect, and the builders were Messrs. Carter. The cost of the church was £6000, and that of the site £2700'. From "Illustrated London News", 1864. The Church of St. Jude, Gray’s-Inn-Road, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

WYCLIFFE CHAPEL, BIRMINGHAM, 1864. CREATOR: UNKNOWN.

Wycliffe Chapel, Birmingham, 1864. 'This building is in the fourteenth-century style of Gothic architecture...The chapel is used by the Baptists, and stands at the comer of Saint Luke's-street, in Bristol-road, Birmingham. It seats about 800 persons...A platform at the end of the chapel, opposite the end gallery, affords space for the pulpit - of carved stone, beautifully cut by Wood, of Lichfield - and for the baptistery, of white marble. The roofs of the chapel are divided into three, those over the galleries being arched and groined in wood, and that over the centre part being framed and panneled. The platform in the chapel, the baptistery, the lead flat at the roof-ridge where the ventilators stand, many of the gables, the outside fence, and other parts of the building, including the iron columns, had been enriched by wrought metal-work, manufactured by Mr. Thomas Brawn, of Clement- street, Birmingham. The works were built at a cost of £6000, by Messrs. Hardwick and Son, of Birmingham, under the directions of Mr. James Cranston, architect, also of Birmingham'. From "Illustrated London News", 1864. Wycliffe Chapel, Birmingham, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

VIEWS AT THE SEAT OF THE WAR IN NEW ZEALAND: VILLAGE ON THE WAIKATO RIVER, 1864. CREATOR: UNKNOWN.

Views at the Seat of the War in New Zealand: village on the Waikato River, 1864. Engraving from a photograph by Mr. A.E. Smith. 'At the back of the Engraving of the Waikato village and church is represented a portion of the Heads, which begin at the mouth of the river'. From "Illustrated London News", 1864. Views at the Seat of the War in New Zealand: village on the Waikato River, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ST. GILES'S CHURCH, DALLINGTON, SUSSEX, 1864. CREATOR: UNKNOWN.

St. Giles's Church, Dallington, Sussex, 1864. Church rebuilt from designs by Edward Habershon. 'It consists of nave, north aisle, and chancel; the tower and spire, which are of the Tudor period, being left standing. The old church had fallen into a ruinous condition, and, from the slender resources of the inhabitants of the parish, it was most unlikely that they would be able, without extraneous help, to repair the neglect of past generations. Such help was, however, procured by the exertions of the Vicar, the Rev. R. R. Tatham, and at the cost of friends who knew the extreme necessity of the case. It is probable that a church has existed on this spot since the Norman conquest...The church which now stands on this beautiful spot is a very substantial and pretty structure'. From "Illustrated London News", 1864. St. Giles's Church, Dallington, Sussex, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ST. SAVIOUR’S CHURCH, CLAPHAM, 1864. CREATOR: UNKNOWN.

St. Saviour's Church, Clapham, [London], 1864. 'The new church in Cedars-road, Clapham-common was built by the Rev. Wentworth Bowyer, Rector of Clapham, at a cost of about £10,000. The architect is Mr. James Knowles, jun. The style is Second Pointed. The building is cruciform, its length being 120ft. and its width 49 ft.; while the length of the transepts is 77 ft. It has a large central tower, 120 ft. high and 30 ft. square. The whole is built of Kentish rag, with Bath stone dressings, the interior piers being of Portland stone. The stained-glass windows are by Messrs. Clayton and Bell. In this church, placed temporarily under the tower, is an altar-tomb, bearing on it a recumbent effigy of Mrs. Bowyer, co-foundress of the church, who died just before its completion. The carving of the tomb, the pulpit, and the font, which are all of stone, is very good, and the general effect of the interior is remarkably fine. Of the external appearance our Engraving gives a faithful representation'. From "Illustrated London News", 1864. St. Saviour’s Church, Clapham, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE SOUTH-EASTERN RAILWAY WORKS ON DOWGATE-HILL, 1864. CREATOR: MASON JACKSON.

The South-Eastern Railway works on Dowgate-Hill, [London], 1864. Preparations for '...the proposed railway bridge across the Thames, by which the Charing-cross and South-Eastern Railway traffic is to have access to the future City terminus in Cannon-street. The piers and abutments of the bridge are approaching their completion, and much progress has been made with the viaduct...a very large space has been cleared of houses, and the Engraving shows but the last section of the clearings, between Dowgate-hill on the west side and Little Bush-lane on the east, the view being taken from the tramway near the entrance of the works in Upper Thames-street, looking north. A portion of Cannon-street, with St. Swithin's Church behind it, is seen through the opening caused by the most recent demolitions in the centre of the background...To the left hand is the timber centreing upon which the arches of the viaduct are to be formed, the contractors for all this brickwork being Messrs. Wise...The excavations are performed by Mr. Redding...The station and hotel, to be built by Mr. Lucas, will occupy a site of 100 ft. square, and the front will stand back from Cannon street about 75 ft., leaving an ample space...for the accommodation of carriages in waiting'. From "Illustrated London News", 1864. The South-Eastern Railway works on Dowgate-Hill, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

HELMINGHAM CHURCH, SUFFOLK, 1864. CREATOR: UNKNOWN.

Helmingham Church, Suffolk, 1864. '...the present Rector, [Rev. George Cardew] fancying he could perceive everywhere traces of very early occupation, determined to prove the point by excavation. The result has verified his conjectures: wherever he has dug he has found ancient remains, embracing a wide period, from the flint spear-head of the early Briton to the Bellermine pottery of Henry and Elizabeth...It is the traces of Roman occupation, however, which are most numerous. Unmistakable signs of the presence of this people have been found in almost every excavation; and the countless fragments of their pottery...[and] heaps of oyster- shells, prove that it was not a single family, but a considerable population, that in those early times occupied the spot. Some Romans of rank and position must also have been here...Helmingham Church having evidently been built on some sacred spot of the heathen, as was frequently the case with early Christian churches. That these ancient remains were not previously discovered or noticed is very surprising; for - to say nothing of them very shallow depth - one rector had built a summer-house in and over four of the graves, and another planted a hedge of laurels in the very midst of a row of skeletons!'. From "Illustrated London News", 1864. Helmingham Church, Suffolk, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

DEMOLITION OF HUNGERFORD MARKET: VIEW LOOKING TOWARDS THE STRAND, 1862. CREATOR: MASON JACKSON.

Demolition of Hungerford Market: view looking towards the Strand, [London], 1862. 'The disappearance of Hungerford Market...is perhaps not a subject of much, if any, regret...On its site there is about to rise a grand West-end Metropolitan Railway terminus [Charing Cross station]...The structure which has been recently demolished occupied the site of a market-place built in 1608 by Sir Edward Hungerford...the old hall and a colonnade remained until about 1830...[when] the late building was erected...there was a dreary makeshift aspect even in the corridors of the quadrangles...But the car of the great railway Juggernaut has passed over the whole space and laid it desolate, as may be seen from our Engraving, which is taken from a point river-wards, and looking towards the Strand; the steeple of St. Martin's Church and the dome and ball of the Electric Telegraph Office peering over the houses, the back view of which occupies the centre of the picture, while the first arches of the London Bridge and Charing-cross Railway, which crosses the river at this point by a viaduct which is to supersede the Suspension-bridge, are to be seen creeping close up to the verge of the great thoroughfare which leads from Trafalgar-square to Temple-bar'. From "Illustrated London News", 1862. Demolition of Hungerford Market: view looking towards the Strand, 1862. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

NEW ENGLISH CHURCH AT ST. PIERRE, CALAIS, 1862. CREATOR: UNKNOWN.

New English church at St. Pierre, Calais, 1862. 'This elegant edifice has been recently erected for the use of the English operatives employed in the lace factories at St. Pierre...strange as it may seem, one-tenth of the population of St. Pierre is English - chiefly lace-makers from Nottingham and from Scotland...The destitute condition of these people, cut off from all spiritual provision, attracted the attention of the promoters of the Colonial and Continental Church Society...[as] it was felt that a church was greatly needed...The Society for Promoting Christian Knowledge granted £100; several liberal donations were given in England; and a considerable sum was subscribed locally...and finally, on Nov. 5, the church was opened, with English and French services...The interior is seated to hold 450 persons, a large portion of the area being free. The whole church was erected for the moderate sum of £800, the undertaking having been with the architect and builder veritably a labour of love'. From "Illustrated London News", 1862. New English church at St. Pierre, Calais, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

OLD CHRISTMAS, 1862. CREATOR: UNKNOWN.

Old Christmas, 1862. Lyrics by John George Watts, music by Thomas Murby. 'Fling wide the portals of the heart, Let fullest bliss abound, For December's frosty air The laughing bells resound. The stars are burning overhead, Their love-lit lamps divine, eighteen hundred years ago O'er Bethel they did shine. So Sorrow and Care, your presence we spare, For Christmas is with us once more. We'll greet the old fellow, So portly and mellow, And welcome him in at the door. Fling wide the portals of the heart; And every thought of ill That through the year hath stolen there Drive forth with earnest will. Let all the good and kind and true This season calls to birth, Throng in one glorious angel-group About your blazing hearth... Fling wide the portals of the heart, 0 Wealth, and where you find A needy fellow, drop your mite For love and humankind. Let hall and cottage, chief and churl, Quaff now the gen'rous cup That bright-eyed Gladness brims with wine, And Joy holds, tempting, up...Fling wide the portals of the heart, And young and old draw near, Exchanging smile for smile, perchance, Exchanging tear for tear: The tear, the sacred tear that flows When bosoms thrill with bliss. The tear that tells when lips are mute, How great our happiness'. From "Illustrated London News", 1862. Old Christmas, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)