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GRAND FESTIVAL OF THE MUNICIPALITY AND ROYAL ACADEMY OF ANTWERP…ANTWERP CROWNING TENIERS, 1864. CREATOR: UNKNOWN.

Grand Festival of the Municipality and Royal Academy of Antwerp: inauguration of an allegorical statue of Antwerp crowning the bust of Teniers, 1864. View of '...the inauguration of M. Van Arendonck's allegorical statue, or rather his group of sculpture, on the Grande Place...It was in 1664 that one of the greatest of Flemish painters, David Teniers the younger, obtained from the Royal Government a charter for the establishment of the Antwerp Academy, which has succeeded to the functions of the ancient Guild of Saint Luke, formerly renowned as a corporation and school of artists. The bicentenary festival of 1864 was, therefore, appropriately chosen for a public commemoration of the fame of Teniers in connection with the history of his native town. The Governor, the Burgomaster, the members of the Municipal Corporation, and deputations from the principal colleges...were present. The...[statue] consisting of a female figure, which stands for the city of Antwerp, placing a crown upon the bust of Teniers, was then uncovered amidst the applause of the assembled company'. From "Illustrated London News", 1864. Grand Festival of the Municipality and Royal Academy of Antwerp…Antwerp Crowning Teniers, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

FREE OPENING OF THE ROYAL HORTICULTURAL SOCIETY'S GARDENS ON THE ANNIVERSARY OF THE LATE..., 1864. CREATOR: UNKNOWN.

Free opening of the Royal Horticultural Society's Gardens on the anniversary of the late Prince Consort's birthday, 1864. '...the Horticultural Gardens at South Kensington, of which his Royal Highness was the founder, were opened to the public for the first time free of charge...it was estimated that not less than 120,000 people visited them in the course of the day...the vast crowd, composed of all classes, but especially of the middle and lower, with a large proportion of children, appeared thoroughly to enjoy themselves...scarcely any restriction was placed upon the visitors, who were free to go where they pleased...The pupils of several schools, that of the Duke of York among the rest, went in procession with their banners and bands, for which they had the express permission of the council. Other bands were stationed at various parts of the gardens, and played at intervals during the day. A body of metropolitan police were in attendance, but were so distributed over the grounds as to appear as little obtrusive as possible...the Old Hundredth Psalm, with a hymn composed by the Prince Consort, and the National Anthem, were sung with fine effect by the visitors on the upper terrace, the singing being led by trumpeters'. From "Illustrated London News", 1864. Free opening of the Royal Horticultural Society's Gardens on the anniversary of the late..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

STATUE OF THE LATE PRINCE CONSORT, AT BALMORAL, BY W. THEED, 1864. CREATOR: UNKNOWN.

Statue of the late Prince Consort, at Balmoral, by W. Theed, 1864. 'As a memorial of...[Prince Albert's] attachment to the Scottish Highlands, and his predilection for the sports of deerstalking and grouse-shooting...which cannot but be gratifying to the Scottish portion of her Majesty's subjects, we have engraved a representation of Mr. Theed's marble statue of that lamented Prince, lately placed in the corridor of Balmoral Castle. He appears here in the Highland costume, equipped for the chase, and accompanied by his favourite deer-hound. The fidelity of the likeness, as well as the spirit and grace of the attitude, set off by a manly and romantic fashion of dress, will sufficiently recommend this statue'. From "Illustrated London News", 1864. Statue of the late Prince Consort, at Balmoral, by W. Theed, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

STATUE OF THE LATE DUKE OF BEDFORD, AT TAVISTOCK, BY E. B. STEPHENS, A.R.A., 1864. CREATOR: UNKNOWN.

Statue of the late Duke of Bedford, at Tavistock, by E. B. Stephens, A.R.A., 1864. 'The figure, which is of bronze, is 7 ft. in height, and is placed on a granite pedestal 8 ft. in height, both pedestal and statue being composed of materials produced on the Bedford estate. The late Duke is represented in his robes as a Peer, with the insignia of the Order of the Garter. The likeness is a faithful one, and the whole representation is very striking. The work has given great satisfaction to the members of the Bedford family and to the large number of subscribers by whom it was ordered. The pedestal bears the following inscription: "In honour of Francis, seventh Duke of Bedford".' From "Illustrated London News", 1864. Statue of the late Duke of Bedford, at Tavistock, by E. B. Stephens, A.R.A., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

BUST OF H.R.H. THE PRINCESS OF WALES, BY MARSHALL WOOD, 1864. CREATOR: UNKNOWN.

Bust of H.R.H. the Princess of Wales, by Marshall Wood, 1864. '...the finished work in marble [will] be exhibited at the Royal Academy. It may, perhaps, be remembered that we praised the model as a work of art, but that we especially commended Mr. Marshall Wood's very honest and scrupulous fidelity to those minute characteristics of the living original which give individuality to a head almost ideal in its general proportions. Notwithstanding this, we took a slight exception to the sculptor's treatment of the mouth; but it is only just to state that we do not now at the finished bust, that objection which occurred to us of the model...We cannot refrain however, from adding that, although an unaccountable attempt has been made to depreciate this very creditable and meritorious bust of the Princess, the great majority of our contemporaries, including the Times have, during its exhibition, endorsed our original estimate of the model - namely, that it is, on the whole, the best likeness of her Royal Highness which has hitherto been executed'. From "Illustrated London News", 1864. Bust of H.R.H. the Princess of Wales, by Marshall Wood, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RUINS OF COPAN, CENTRAL AMERICA: SQUARE STONE WITH SIDES FACING THE POINTS OF THE COMPASS, 1864. CREATOR: UNKNOWN.

The Ruins of Copan, Central America: square stone with sides facing the points of the compass, 1864. Engraving from a photograph by Mr. Osbert Salvin. 'Just where the ruins stand...the valley opens out into a small alluvial plain of great fertility. Over this plain, wherever the vegetation has been left untouched, forest grows. It would be difficult to determine how far the ruins extend throughout the valley, as sculptured stones are to be seen all along the road leading to what appears to be the central point of the ruins...the natives point in the hills to a painted stone here and a carved stone there. The ruins of Copan comprise the walls of a supposed temple, 624 ft. in length, and many pyramidal structures...sculptured stones of all sizes lie scattered in profusion, some bearing hieroglyphics...With the exception of a few monoliths, hardly any of the ruins remain undisturbed. The terraces and pyramidal mounds have had their steps and stonework almost universally displaced. The mere force of the roots of the trees which grow upon and between the stones, or even the earthquakes to which they must have been subjected from time to time, seem insufficient to account for so general a dislocation'. From "Illustrated London News", 1864. The Ruins of Copan, Central America: square stone with sides facing the points of the compass, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RUINS OF COPAN, CENTRAL AMERICA: ALTAR-STONE, 1864. CREATOR: UNKNOWN.

The Ruins of Copan, Central America: altar-stone, 1864. Engraving from a photograph by Mr. Osbert Salvin. 'Just where the ruins stand...the valley opens out into a small alluvial plain of great fertility. Over this plain, wherever the vegetation has been left untouched, forest grows. It would be difficult to determine how far the ruins extend throughout the valley, as sculptured stones are to be seen all along the road leading to what appears to be the central point of the ruins...The traveller comes unexpectedly upon sculptured fragments in almost every direction, and the natives point in the hills to a painted stone here and a carved stone there. The ruins of Copan comprise the walls of a supposed temple, 624 ft. in length, and many pyramidal structures...sculptured stones of all sizes lie scattered in profusion, some bearing hieroglyphics...With the exception of a few monoliths, hardly any of the ruins remain undisturbed. The terraces and pyramidal mounds have had their steps and stonework almost universally displaced. The mere force of the roots of the trees which grow upon and between the stones, or even the earthquakes to which they must have been subjected from time to time, seem insufficient to account for so general a dislocation'. From "Illustrated London News", 1864. The Ruins of Copan, Central America: altar-stone, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RUINS OF COPAN, CENTRAL AMERICA: MONOLITH, 1864. CREATOR: UNKNOWN.

The Ruins of Copan, Central America: monolith, 1864. Engraving from a photograph by Mr. Osbert Salvin. 'Just where the ruins stand...the valley opens out into a small alluvial plain of great fertility. Over this plain, wherever the vegetation has been left untouched, forest grows. It would be difficult to determine how far the ruins extend throughout the valley, as sculptured stones are to be seen all along the road leading to what appears to be the central point of the ruins...The traveller comes unexpectedly upon sculptured fragments in almost every direction, and the natives point in the hills to a painted stone here and a carved stone there. The ruins of Copan comprise the walls of a supposed temple, 624 ft. in length, and many pyramidal structures...sculptured stones of all sizes lie scattered in profusion, some bearing hieroglyphics...With the exception of a few monoliths, hardly any of the ruins remain undisturbed. The terraces and pyramidal mounds have had their steps and stonework almost universally displaced. The mere force of the roots of the trees which grow upon and between the stones, or even the earthquakes to which they must have been subjected from time to time, seem insufficient to account for so general a dislocation'. From "Illustrated London News", 1864. The Ruins of Copan, Central America: monolith, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RUINS OF COPAN, CENTRAL AMERICA: A HEAD, WITH OTHER SCULPTURED STONES, 1864. CREATOR: UNKNOWN.

The Ruins of Copan, Central America: a head, with other sculptured stones, 1864. Engraving from a photograph by Mr. Osbert Salvin. 'Just where the ruins stand...the valley opens out into a small alluvial plain of great fertility. Over this plain, wherever the vegetation has been left untouched, forest grows. It would be difficult to determine how far the ruins extend throughout the valley, as sculptured stones are to be seen all along the road leading to what appears to be the central point of the ruins...the natives point in the hills to a painted stone here and a carved stone there. The ruins of Copan comprise the walls of a supposed temple, 624 ft. in length, and many pyramidal structures...sculptured stones of all sizes lie scattered in profusion, some bearing hieroglyphics...With the exception of a few monoliths, hardly any of the ruins remain undisturbed. The terraces and pyramidal mounds have had their steps and stonework almost universally displaced. The mere force of the roots of the trees which grow upon and between the stones, or even the earthquakes to which they must have been subjected from time to time, seem insufficient to account for so general a dislocation'. From "Illustrated London News", 1864. The Ruins of Copan, Central America: a head, with other sculptured stones, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE TOMB OF JAMES WARD, ESQ., R.A., KENSAL-GREEN CEMETERY, 1864. CREATOR: UNKNOWN.

The tomb of James Ward, Esq., R.A., Kensal-green Cemetery, [London], 1864. Monument consisting of '...a monumental headstone, in a coved recess of which has been sculptured by Mr. J. H. Foley R.A., in high relief, a figure of the Muse of Painting. She stands in a pensive attitude. The head, encircled with a laurel corona, is inclined forward, the eyes fixed on the grave beneath. In her left hand she holds a palette and sheaf of brushes. The drapery is disposed with Greek simplicity, and the whole figure has an air of antique grace; yet the gesture is touching in its natural pathos' We do not remember a more chaste and appropriate sculptural tribute to the dead...The late James Ward, who died in 1859, aged ninety-two, was for several years the oldest living Academician. He was an excellent engraver, but is deservedly better known as an animal-painter...He was elected an Associate of the Royal Academy in 1807, and an Academician in 1811'. From "Illustrated London News", 1864. The tomb of James Ward, Esq., R.A., Kensal-green Cemetery, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

STATUE OF SIR W. STEVENSON, LATE GOVERNOR OF THE MAURITIUS, 1864. CREATOR: UNKNOWN.

Statue of Sir W. Stevenson, late Governor of the Mauritius, 1864. 'The model has just been completed, at Rome, of a statue about to be erected in bronze, at Port Louis, the capital of the Mauritius, to the memory of, Sir William Stevenson, K.C.B...The work was intrusted to M. d'Epinay, who, by a most appropriate circumstance, is himself a native of the Mauritius. Sir William Stevenson's services, indeed, deserved some such memorial as this; though their best monument will doubtless be the good that will result from the administrative, educational, and financial reforms he effected; and, from the satisfactory manner in which he settled what, at the Mauritius, is the most practical and important of all questions, that of the immigration and regulation of Coolie labour'. ("Coolie" is an offensive term previously used in reference to unskilled labourers, often Indian or Chinese). From "Illustrated London News", 1864. Statue of Sir W. Stevenson, late Governor of the Mauritius, 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)

BOY ASLEEP, SCULPTURE, BY ALEXANDER MUNRO, IN THE ROYAL ACADEMY EXHIBITION, 1864. CREATOR: UNKNOWN.

Boy Asleep, sculpture, by Alexander Munro, in the Royal Academy Exhibition, 1864. 'This most charming, but at the same time most difficult, subject has been treated...with rare feeling and delicacy...[and] with close adherence to nature. The body and limbs of the child generally express the consentaneous relaxation of sleep. The left arm - with the hand filled with flowers placed across the bosom - is especially happy in its indication of perfect repose. The slight protrusion, too, of the soft cheek, through the pressure of the falling head on the neck and shoulder, has been closely observed and imitated from nature...We would invite the reader to observe, also, that Mr. Munro has added to the inherent charm of his subject by the graceful fancy shown in the accessories. He has suggested by the bunch of wild hyacinths (flowers sometimes employed, if we remember rightly, as emblematic of sleep) which the child holds in its chubby hand, and by the soft couch of ferns and flowers on which it lies, that it has tired itself out gathering its simple posy of "blue bells," and that, finding an inviting spot in its little ramble, it has thereupon given itself up to sleep'. From "Illustrated London News", 1864. Boy Asleep, sculpture, by Alexander Munro, in the Royal Academy Exhibition, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

RECENT DISCOVERIES IN THE BURIED CITY OF POMPEII: STATUETTE OF NARCISSUS, 1864. CREATOR: UNKNOWN.

Recent discoveries in the buried city of Pompeii: statuette of Narcissus, 1864. Engraving from a photograph '...placed at our disposal by the Rev. James Fletcher...great progress has been made in the task of bringing to light that abundant store of curious relics of antiquity which had remained for eighteen centuries buried in the ruins of Pompeii. The extent and importance of these operations, carried on under the direction of Cavaliere Fiorelli, with the advice of Signor Niccolini, the highest authority upon the subject, have been acknowledged throughout Europe by the students of Roman history and the connoisseurs of classic art...[The Narcissus is one of] a pair of bronze statuettes, each about two feet in height, which have been found in different places among the ruins of the buried city. The figure of Narcissus has been greatly admired for the grace of its proportions and the anatomical correctness of its forms, more especially apparent in the back view, which is displayed in our Engraving'. From "Illustrated London News", 1864. Recent discoveries in the buried city of Pompeii: statuette of Narcissus, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

RECENT DISCOVERIES IN THE BURIED CITY OF POMPEII: INTERIOR OF THE HOUSE OF CORNELIUS RUFUS, 1864. CREATOR: UNKNOWN.

Recent discoveries in the buried city of Pompeii: interior of the house of Cornelius Rufus, 1864. View of the interior of '...the house of Cornelius Rufus...The usual features of Roman domestic architecture, as in other mansions of grandees and rich men at Pompeii, may be easily recognised in this example. Here is the impluvium, or shallow basin, to catch rain-water, in the centre of the open court around which are disposed the private chambers of the family; the bust of Cornelius Rufus himself, on a pedestal inscribed with his name, is seen beyond. The sculptured griffins, or monsters with rams' horns and claws, are characteristic of the grotesque style of decoration imported into the Roman Empire from its Asiatic conquests. A marble slab laid across here would form a table'. From "Illustrated London News", 1864. Recent discoveries in the buried city of Pompeii: interior of the house of Cornelius Rufus, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

RECENT DISCOVERIES IN THE BURIED CITY OF POMPEII: STATUETTE OF SILENUS, 1864. CREATOR: UNKNOWN.

Recent discoveries in the buried city of Pompeii: statuette of Silenus, 1864. Engraving from a photograph '...placed at our disposal by the Rev. James Fletcher...great progress has been made in the task of bringing to light that abundant store of curious relics of antiquity which had remained for eighteen centuries buried in the ruins of Pompeii. The extent and importance of these operations, carried on under the direction of Cavaliere Fiorelli, with the advice of Signor Niccolini, the highest authority upon the subject, have been acknowledged throughout Europe by the students of Roman history and the connoisseurs of classic art...[The Silenus is one of] a pair of bronze statuettes, each about two feet in height, which have been found in different places among the ruins of the buried city. That of Silenus, bearing a tray on his head, is thought to have been a lamp-stand. It is remarkable that it shows the serpent and other Egyptian emblems'. From "Illustrated London News", 1864. Recent discoveries in the buried city of Pompeii: statuette of Silenus, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE LOAN COLLECTION, SOUTH-KENSINGTON: ALTO-RELIEVO, 1862. CREATOR: UNKNOWN.

The Loan Collection, South-Kensington: Alto-relievo, 1862. 'Alto-relievo; three cupids supporting the Papal tiara, cross-keys, and other insignia, a highly finished and most spirited carving by François du Quesnoy, called, "II Fiammingo." R. Napier, Esq'. From "Illustrated London News", 1862. The Loan Collection, South-Kensington: Alto-relievo, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE LOAN COLLECTION, SOUTH-KENSINGTON: SAMSON SLAYING A PHILISTINE, 1862. CREATOR: UNKNOWN.

The Loan Collection, South-Kensington, 1862. 'Bronze group of Samson slaying a Philistine; inscribed on the base "Adrianus Fries Hagiensis Batvvs f. 1612." This fine bronze, the work of Adrian Fries, is an imitation, on a reduced scale, with many variations, from the marble group by his master, Giovanni Bologna, mentioned in Vasari's notice of the latter artist. (This marble, upwards of 7ft. high, is also in this country, being the property of Sir William Worsley, Bart., at Hovingham Hall, near York.) Height, 2ft. 6in. The Trustees of the National Gallery of Edinburgh'. From "Illustrated London News", 1862. The Loan Collection, South-Kensington: Samson slaying a Philistine, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

EXHIBITION OF THE LINCOLN SCHOOL OF ART, 1864. CREATOR: UNKNOWN.

Exhibition of the Lincoln School of Art, 1864. '...the interior of the large room...occupied by the first public exhibition of paintings and drawings which are the work of the students...It is a fine room...and may be used on public occasions for exhibitions...The school was inspected...by Mr. S. Hart, R. A., the Professor of Painting at the Royal Academy, who expressed high approval of its progress...ninety-four students of the first grade passed a satisfactory examination in drawing...The number of students of the second or higher grade who passed their examination in free-hand drawing, object-drawing, geometry, perspective, and mechanical drawing was twenty-three...Among the students of the third or highest grade, no less than twenty-two medals were distributed for proficiency in the following departments: outline from copy; outline from cast; shading from cast; outline of human figure; outline of foliage; painting from cast; painting from nature; original designs; machines...we cannot but think that, in a place where there exist so many large establishments, in which a great amount of skilled labour is employed (one manufactory alone having more than 1000 men), it will be found to be of essential service to the working classes'. From "Illustrated London News", 1864. Exhibition of the Lincoln School of Art, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ANCIENT STATUES IN THE BRITISH MUSEUM, FROM THE FARNESE PALACE AT ROME, 1864. CREATOR: UNKNOWN.

Ancient statues in the British Museum, from the Farnese Palace at Rome, 1864. 'The pieces of sculpture which were lately bought for the British Museum from the collection in the Farnese Palace at Rome, belonging to the ex-King of Naples, are now at the Museum, and are thought to be of some importance. One of them is the celebrated Farnese Mercury, nearly identical in pose and scale with the Mercury in the Belvedere of the Vatican, and greatly resembling the celebrated statue in the gallery at Lansdowne House...[1st century Roman copy of a Greek sculpture]. The figure in the centre of our Engraving is a Faun, with the Infant Bacchus in his hand...[2nd century Roman copy after a Helenistic original. On the right is] an Apollo, a naked figure, of very fine proportions, but a good deal restored [Dionysus, Roman, 2nd century, restored as Apollo by Carlo Albacini in the 18th century]'. From "Illustrated London News", 1864. Ancient statues in the British Museum, from the Farnese Palace at Rome, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

INAUGURATION OF THE BUST OF HIS ROYAL HIGHNESS THE PRINCE OF WALES..., EDINBURGH, 1862. CREATOR: UNKNOWN.

Inauguration of the bust of His Royal Highness the Prince of Wales at the high school, Edinburgh, 1862. 'The coming of age of His Royal Highness the Prince of Wales [future King Edward VII] was generally observed...throughout Scotland...a fine bust of the Prince, which has been executed by Mr. John Steell, R.S.A., sculptor, as a memorial of the visit of his Royal Highness to Edinburgh in 1859 and of his connection with the High School, was presented to the municipal patrons of that institution, in name of the subscribers, by the Lord Advocate, in a most eloquent speech. The inaugural ceremony was witnessed by a very numerous assemblage, probably the largest that has taken place in the High School before or since the occasion of his Royal Highness's visit at the annual examination in July, 1859. The Lord Provost having replied in the name of the magistrates and council, Dr. Schmitz, Rector of the High School, returned thanks on behalf of himself and his colleagues. He spoke warmly in praise of the Prince's character and disposition'. From "Illustrated London News", 1862. Inauguration of the bust of His Royal Highness the Prince of Wales..., Edinburgh, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE HOP QUEEN, SCULPTURED BY G. HALSE, IN THE EXHIBITION OF THE BRITISH INSTITUTION, 1864. F CREATOR: UNKNOWN.

The Hop Queen, sculptured by G. Halse, in the Exhibition of the British Institution, 1864. '...it is not a portrait bust... [but] the beauty of the forms justifies it being so classified...[It] has so much fidelity to nature; and the crowning a child with the graceful hop-bines (as children are crowned with hawthorn, and styled "May Queens," in another season of the year) is so simple and probable an incident of rustic life, that the sculptor's work may as legitimately be considered a study direct from nature, without treatment or idealisation of any kind...The bust...recalls one of the most animated and picturesque scenes of rural life - the hop-picking of Kent and some other of the great plantations in England. The chubby child has drawn over its little head and snoods its laughing face with one of the cut bines at the hop-gathering, drawing the vinelike leaves and tendrils to its bosom; and so striking is the ensemble of crown-wreath and happy, radiant face of childish innocence, that the sculptor may well call the subject of his chisel, whether it be a creation of fancy or simply suggested by nature, "The Hop Queen".' From "Illustrated London News", 1864. The Hop Queen, sculptured by G. Halse, in the Exhibition of the British Institution, 1864. F Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

CHARING-CROSS, FROM A PICTURE BY CANALETTO, 1864. CREATOR: UNKNOWN.

Charing-Cross, from a picture by Canaletto, 1864. Engraving of a painting showing Northumberland House in London. 'The site of [the stone cross erected to Eleanor, Queen of Edward I] is now occupied by Hubert le Soeur's fine equestrian statue of Charles I...At the Restoration it was produced and set up at the expense of Government. To the north of the statue were the King's Mews, and at the end of St. Martin's-lane a number of picturesque houses and shops, the latter being the quarter of the workers in leather - saddlers, curriers, and shoemakers. Previous to the Paving Act there was a curious assemblage of signs projecting far into the street, among which that of the Golden Cross was conspicuous. Before the erection of Northumberland House its site was occupied by the Chapel of St. Mary of Rounceval...Henry Howard, Earl of Northampton, [later] built here a house, then called Northampton House...By the marriage of Algernon Percy, Earl of Northumberland, with Elizabeth, daughter of the Earl of Suffolk, it passed to the house of Percy, and has continued to be the London residence of that noble family.' It was demolished in 1874. From "Illustrated London News", 1864. Charing-Cross, from a picture by Canaletto, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE PRINCE AND PRINCESS OF WALES AT THORWALDSEN’S MUSEUM, COPENHAGEN, 1864. CREATOR: UNKNOWN.

The Prince and Princess of Wales at Thorwaldsen's Museum, Copenhagen, 1864. The future King Edward VII and Queen Alexandra inspecting '...the works of the great Danish sculptor, Thorwaldsen... the contents of the building...are divided into two parts; the first consisting of pieces of sculpture actually chiselled by Thorwaldsen, or copies in marble or plaster of his works; the second being the collection of objects of ancient and modern art which he amassed during his lifetime. Some idea of the extent of the Museum may be gained from the fact that, irrespective of the plaster casts, it includes no less than four groups, seventeen statues, eighteen busts, sixty-one bas-reliefs, and a frieze, in marble. The total number of Thorwaldsen's works collected here is about 650...The Prince and Princess of Wales, with the Queen of Denmark and Prince John, stayed about two hours in the Museum, passing from one to another of the small rooms, about twenty altogether, each of which contains one important statue or group, with bas-reliefs and other minor works around the walls'. From "Illustrated London News", 1864. The Prince and Princess of Wales at Thorwaldsen’s Museum, Copenhagen, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

BRINER SISTERS (FROM RIGHT TO LEFT) NINA, MARIA, SITTING ON THE GROUND EKATERINA KORNAKOVA, 1914. CREATOR: UNKNOWN.

Briner sisters (from right to left) Nina, Maria, sitting on the ground Ekaterina Kornakova, 1914. From a collection of 82 photos from the archive of Yul Brynner (1920-85), the famous Hollywood actor, Academy Award winner, and Vladivostok native, preserved in the V.K. Arseniev Primorsky Regional Unified Museum in Vladivostok. Yul Brynner, whose real name was Iulii Borisovich Briner, was the grandson of the Vladivostok businessman and public figure of the turn of the 19th and 20th centuries Iulii Ivanovich Briner (1849-1920), the owner of the lead and zinc mines in Tetiukh (present-day Dalnegorsk) and the shipping company and ship-repair shops in Vladivostok. Briner sisters (from right to left) Nina, Maria, sitting on the ground Ekaterina Kornakova, 1914. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MUSEUM OF TOBOLSK, 1912. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Museum of Tobolsk, 1912. Museum of Tobolsk, 1912. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

DEATH GOD YAMA, 16TH CENTURY. CREATOR: CHINESE MASTER.

Death god Yama, 16th century. Found in the Collection of the Potala-Palast, Lhasa. Death god Yama, 16th century. Creator: Chinese Master. (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

MAHASIDDHA DAMARUPA, FIRST QUARTER OF THE 16TH CENTURY. CREATOR: TIBETAN CULTURE.

Mahasiddha Damarupa, First quarter of the 16th century. Found in the Collection of the Das Kloster Mindroelling. Mahasiddha Damarupa, First quarter of the 16th century. Creator: Tibetan Culture. (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

DANTE ALIGHIERI (1265-1321), 1872. CREATOR: VELA, VINCENZO (1820-1891).

Dante Alighieri (1265-1321), 1872. Found in the Collection of the Galerie Canesso. Dante Alighieri (1265-1321), 1872. Creator: Vela, Vincenzo (1820-1891). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

PLATO (ROMAN COPY BASED ON GREEK ORIGINAL), LAST QUARTER OF THE 4TH CENTURY.. CREATOR: ROEMISCHE ANTIKE KUNST, KLASSISCHE SKULPTUR .

Plato (Roman copy based on Greek original), Last quarter of the 4th century.. Found in the Collection of the Musei Vaticani in Viale Vaticano, Rome. Plato (Roman copy based on Greek original), Last quarter of the 4th century.. Creator: Roemische Antike Kunst, Klassische Skulptur . (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

SUN WUKONG, THE MONKEY KING, A FICTIONAL CHARACTER IN THE CLASSIC NOVEL "JOURNEY TO THE WEST". CREATOR: UNKNOWN MASTER.

Sun Wukong, the Monkey King, a fictional character in the classic novel "Journey to the West". Found in the Collection of the Kaiyuan-Tempel, Quanzhou. Sun Wukong, the Monkey King, a fictional character in the classic novel "Journey to the West". Creator: Unknown Master. (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

STATUE OF THE TWELVE-ARMED AVALOKITESHVARA, 8TH CENTURY. CREATOR: TIBETAN CULTURE.

Statue of the twelve-armed Avalokiteshvara, 8th century. Found in the Collection of the Archaeological Museum, Nalanda. Statue of the twelve-armed Avalokiteshvara, 8th century. Creator: Tibetan Culture. (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

PHANES, THE ORPHIC DEITY, SECOND QUARTER OF THE 2ND CENTURY. CREATOR: KLASSISCHE ANTIKE KUNST.

Phanes, the Orphic deity, Second quarter of the 2nd century. Found in the Collection of the Galleria Estense, Modena. Phanes, the Orphic deity, Second quarter of the 2nd century. Creator: Klassische Antike Kunst. (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

LI TIEGUAI, 19TH CENTURY. CREATOR: CHINESE MASTER.

Li Tieguai, 19th century. Private Collection Li Tieguai, 19th century. Creator: Chinese Master. (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

CORYBANTIAN DANCE. TERRACOTTA CAMPANA RELIEF: THREE CURETES WITH SWORDS AND SHIELDS..., 50 BC-100. CREATOR: CLASSICAL ANTIQUITIES.

Corybantian dance. Terracotta Campana relief: three Curetes with swords and shields, protecting the infant Zeus, 50 BC-100. Found in the Collection of the British Museum. Corybantian dance. Terracotta Campana relief: three Curetes with swords and shields..., 50 BC-100. Creator: Classical Antiquities. (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

THE MONUMENT TO THE THIRD INTERNATIONAL, 1917. CREATOR: TATLIN, VLADIMIR EVGRAPHOVICH (1885-1953).

The Monument to the Third International, 1917. Found in the collection of the State Tretyakov Gallery, Moscow. The Monument to the Third International, 1917. Creator: Tatlin, Vladimir Evgraphovich (1885-1953). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

RUNDER PODEST MIT EINER WEIBLICHEN TORSO STATUE

Runder Podest mit einer weiblichen Torso Statue (KEYSTONE/CHROMORANGE/Besa Art)

REITERDENKMAL KARLS DES GROSSEN, PARIS / FOTO

Karl I. der Große, König der Franken (768–814), römischer Kaiser (ab 800)..2.4.742 (?) – Aachen 28.1.814...Blick auf Bäume und Reiterdenkmal Karls d. Gr. mit seinen Paladinen Roland und Olivier auf der Place du Parvis Notre-Dame in Paris...Skulptur, 1877, von Louis Rochet (1813–1878)..Nachtaufnahme, 1950er Jahre. (KEYSTONE/akg-images/Daniel Frasnay)

RUNDER PODEST MIT WEIBLICHEM TORSO, BELEUCHTET VON NEONLICHTERN

Runder Podest mit weiblichem Torso, beleuchtet von Neonlichtern (KEYSTONE/CHROMORANGE/Besa Art)

KONSTANTIN DER GROSSE, HAND / MARMOR, ROM

Konstantin I., der Große,.röm.–byzantinischer Kaiser,.Naissus um 280 – 25.2.337..- Rechte Hand einer Kolossalstatue aus dem Innenhof des Capitolpalastes in Rom, ca. 315 n. Chr. -.Marmor, H. 161 cm...Inv.Nr. MC 789/5;.Rom, Musei Capitolini. (KEYSTONE/akg-images/akg-images)

CHARLES JOSEPH ANTOINE LANSIAUX, SQUARE DU TEMPLE

Charles Joseph Antoine Lansiaux, 1855–1939...„Square du Temple, 3ème arrondissement, Paris." (Square du Temple, 3. Arrondissement, Paris), zwischen 1901 und 1950...Fotografie..PH14353,.Paris, Musée Carnavalet. (KEYSTONE/akg-images/akg-images)

JEAN EUGÈNE AUGUSTE ATGET, HÔTEL GEBAUT VON COLBERT. RUE DU MAIL 5, 2. ARRONDISSEMENT, PARIS

Jean-Eugène Auguste Atget, 1857–1927...„Hotel construit par Colbert. 5, rue du Mail, 2ème arrondissement, Paris” (Hôtel gebaut von Colbert. Rue du Mail 5, 2. arrondissement, Paris)...Fotografie, Albumindruck..PH5449,.Paris, Musée Carnavalet. (KEYSTONE/akg-images/akg-images)

CHARLES JOSEPH ANTOINE LANSIAUX, SQUARE DU TEMPLE

Charles Joseph Antoine Lansiaux, 1855–1939...„Square du Temple, 3ème arrondissement, Paris." (Square du Temple, 3. Arrondissement, Paris), zwischen 1901 und 1950...Fotografie..PH14354,.Paris, Musée Carnavalet. (KEYSTONE/akg-images/akg-images)

CHARLES JOSEPH ANTOINE LANSIAUX, RUE CAUMARTIN 19. ZEICHEN DER GALERIE DER MODERNEN KÜNSTLER

Charles Joseph Antoine Lansiaux, 1855–1939...„19 rue Caumartin. Enseigne de la galerie des artistes modernes, 9. Arrondissement, Paris.” (Rue Caumartin 19. Zeichen der Galerie der modernen Künstler, 9. Arrondissement, Paris.)...Fotografie..PH25010,.Paris, Musée Carnavalet. (KEYSTONE/akg-images/akg-images)

3D-RENDERING EINES WEIBLICHEN TORSOS, BELEUCHTET VON NEONLICHT UND UMGEBEN VON ANTIKEN IONISCHEN SÄULEN

3D-Rendering eines weiblichen Torsos, beleuchtet von Neonlicht und umgeben von antiken ionischen Säulen (KEYSTONE/CHROMORANGE/Besa Art)

INARI-FUCHS-STATUE VOR EINEM JAPANISCHEN SCHREIN MIT GROSSEM TORII-TOR BEI NACHT

Inari-Fuchs-Statue vor einem japanischen Schrein mit großem Torii-Tor bei Nacht (KEYSTONE/CHROMORANGE/Besa Art)

KIEW, PARK DES EWIGEN RUHMS, HOLODOMOR-DENKMAL / FOTO

Kiew (Ukraine)..Vichnoi Slavy – Park des Ewigen Ruhms..Hier befinden sich die Gedenkstätte für die im Krieg gefallenen Soldaten, die Ewige Flamme, das Grab des unbekannten Soldaten und das Denkmal für die während des Holodomor zwischen 1932–33.verhungerten Ukrainer)...Teilansicht: Das Denkmal für die Hungeropfer des Holodomor zwischen 1932–33...Foto, undat. (KEYSTONE/akg-images/Olivier Martel)

KNIENDER GEPANZERTER BOGENSCHÜTZE / CHINESISCH, QIN-DYNASTIE

Chinesische Skulptur,.Qin-Dynastie, um 220–210 v. Chr...- Figur eines knienden gepanzerten Bogenschützen. - ..Bräunlichgrauer Ton, ursprünglich kalt bemalt, Höhe 122 cm. ..Aus der Tonkriegerarmee des ersten chinesischen Kaisers Qin Shihuangdi...Ausgegraben 1977 beim Mauseoleum des Kaisers Qin Shihuangdi, Grabungssektor Nr. 2, in Lintong, Xian, Provinz Shaanxi...Lintong, Museum of Qin Figures. (KEYSTONE/akg-images/Roland and Sabrina Michaud / akg)

STEHENDER GEPANZERTER OFFIZIER / CHINESISCH, QIN-DYNASTIE

Chinesische Skulptur,.Qin-Dynastie, um 220–210 v. Chr...- Figur eines stehenden gepanzerten Offiziers. - ..Teilansicht. ..Dunkelgrauer Ton, ursprünglich kalt bemalt, Höhe 191 cm. ..Aus der Tonkriegerarmee des ersten chinesischen Kaisers Qin Shihuangdi...Ausgegraben 1979 beim Mauseoleum des Kaisers Qin Shihuangdi, Grabungssektor 1, in Lintong, Xian, Provinz Shaanxi...Lintong, Museum of Qin Figures. (KEYSTONE/akg-images/Roland and Sabrina Michaud / akg)

STEHENDER GEPANZERTER OFFIZIER / CHINESISCH, QIN-DYNASTIE

Chinesische Skulptur,.Qin-Dynastie, um 220–210 v. Chr...- Figur eines stehenden gepanzerten Offiziers. - ..Teilansicht. ..Dunkelgrauer Ton, ursprünglich kalt bemalt, Höhe 191 cm. ..Aus der Tonkriegerarmee des ersten chinesischen Kaisers Qin Shihuangdi...Ausgegraben 1979 beim Mauseoleum des Kaisers Qin Shihuangdi, Grabungssektor 1, in Lintong, Xian, Provinz Shaanxi...Lintong, Museum of Qin Figures. (KEYSTONE/akg-images/Roland and Sabrina Michaud / akg)

STEHENDER GEPANZERTER KRIEGER / CHINESISCH, QIN-DYNASTIE

Chinesische Skulptur,.Qin-Dynastie, um 220–210 v. Chr...- Figur eines stehenden gepanzerten Kriegers. - ..Teilansicht. ..Dunkelgrauer Ton, ursprünglich kalt bemalt, Höhe 196 cm. ..Aus der Tonkriegerarmee des ersten chinesischen Kaisers Qin Shihuangdi...Ausgegraben 1977 beim Mauseoleum des Kaisers Qin Shihuangdi in Lintong, Xian, Provinz Shaanxi...Lintong, Museum of Qin Figures. (KEYSTONE/akg-images/Roland and Sabrina Michaud / akg)

STEHENDER GEPANZERTER KRIEGER / CHINESISCH, QIN-DYNASTIE

Chinesische Skulptur,.Qin-Dynastie, um 220–210 v. Chr...- Figur eines stehenden gepanzerten Kriegers. - ..Teilansicht. ..Dunkelgrauer Ton, ursprünglich kalt bemalt. ..Aus der Tonkriegerarmee des ersten chinesischen Kaisers Qin Shihuangdi...Ausgegraben 1977 beim Mauseoleum des Kaisers Qin Shihuangdi in Lintong, Xian, Provinz Shaanxi...Lintong, Museum of Qin Figures. (KEYSTONE/akg-images/Roland and Sabrina Michaud / akg)

STEHENDER GEPANZERTER KRIEGER / CHINESISCH, QIN-DYNASTIE

Chinesische Skulptur,.Qin-Dynastie, um 220–210 v. Chr...- Figur eines stehenden gepanzerten Kriegers. - ..Teilansicht. ..Dunkelgrauer Ton, ursprünglich kalt bemalt. ..Aus der Tonkriegerarmee des ersten chinesischen Kaisers Qin Shihuangdi...Ausgegraben 1977 beim Mauseoleum des Kaisers Qin Shihuangdi in Lintong, Xian, Provinz Shaanxi...Lintong, Museum of Qin Figures. (KEYSTONE/akg-images/Roland and Sabrina Michaud / akg)

CHINES. TONKRIEGERARMEE, SOLDATEN

Chinesisch, Qin-Dynastie, 221–206 v. Chr...Tonkriegerarmee des Kaisers Qin Shihuang Di, “Erster Kaiser Chinas”; Teilansicht: Fußsoldaten...Gebrannter Ton. Grab Nr. 1 mit 6000 Kriegerstatuen und Pferden in Lebensgröße..Mausoleum des Qin Shihuang, entdeckt.1974 nahe Xi'an, Distrikt Lintong, Provinz Shaanxi. Foto, 2002. (KEYSTONE/akg-images/Suzanne Held)

CHINES. TONKRIEGERARMEE, SOLDATEN

Chinesisch, Qin-Dynastie, 221–206 v. Chr...Tonkriegerarmee des Kaisers Qin Shihuang Di, “Erster Kaiser Chinas”; Teilansicht: Fußsoldaten...Gebrannter Ton. Grab Nr. 1 mit 6000 Kriegerstatuen und Pferden in Lebensgröße..Mausoleum des Qin Shihuang, entdeckt.1974 nahe Xi'an, Distrikt Lintong, Provinz Shaanxi. Foto, 2002. (KEYSTONE/akg-images/Suzanne Held)

CHINES. TONKRIEGERARMEE, SOLDATEN

Chinesisch, Qin-Dynastie, 221–206 v. Chr...Tonkriegerarmee des Kaisers Qin Shihuang Di, “Erster Kaiser Chinas”; Teilansicht: Krieger und Pferde...Gebrannter Ton. Grab Nr. 1 mit 6000 Kriegerstatuen und Pferden in Lebensgröße..Mausoleum des Qin Shihuang, entdeckt.1974 nahe Xi'an, Distrikt Lintong, Provinz Shaanxi. Foto, 2002. (KEYSTONE/akg-images/Suzanne Held)

CHINES. TONKRIEGERARMEE, SOLDATEN

Chinesisch, Qin-Dynastie, 221–206 v. Chr...Tonkriegerarmee des Kaisers Qin Shihuang Di, “Erster Kaiser Chinas”; Teilansicht...Gebrannter Ton. Grab Nr. 1 mit 6000 Kriegerstatuen und Pferden in Lebensgröße..Mausoleum des Qin Shihuang, entdeckt.1974 nahe Xi'an, Distrikt Lintong, Provinz Shaanxi. Foto, 2002. (KEYSTONE/akg-images/Suzanne Held)

CHINES. TONKRIEGERARMEE, SOLDATEN

Chinesisch, Qin-Dynastie, 221–206 v. Chr...Tonkriegerarmee des Kaisers Qin Shihuang Di, “Erster Kaiser Chinas”; Teilansicht: Fußsoldaten...Gebrannter Ton. Grab Nr. 1 mit 6000 Kriegerstatuen und Pferden in Lebensgröße..Mausoleum des Kaisers Qin Shihuang, entdeckt 1974 nahe Xi'an, Distrikt Lintong,.Provinz Shaanxi. Foto, 2001. (KEYSTONE/akg-images/Laurent Lecat)

CHINES. TONKRIEGERARMEE, SOLDATEN

Chinesisch, Qin-Dynastie, 221–206 v. Chr...Tonkriegerarmee des Kaisers Qin Shihuang Di, “Erster Kaiser Chinas”; Teilansicht: Fußsoldaten...Gebrannter Ton. Grab Nr. 1 mit 6000 Kriegerstatuen und Pferden in Lebensgröße..Mausoleum des Kaisers Qin Shihuang, entdeckt 1974 nahe Xi'an, Distrikt Lintong,.Provinz Shaanxi. Foto, 2001. (KEYSTONE/akg-images/Laurent Lecat)

CHINES. TONKRIEGERARMEE, SOLDATEN

Chinesisch, Qin-Dynastie, 221–206 v. Chr...Tonkriegerarmee des Kaisers Qin Shihuang Di, “Erster Kaiser Chinas”; Teilansicht...Gebrannter Ton. Grab Nr. 1 mit 6000 Kriegerstatuen und Pferden in Lebensgröße..Mausoleum des Qin Shihuang, entdeckt.1974 nahe Xi'an, Distrikt Lintong, Provinz Shaanxi. Foto, 2001. (KEYSTONE/akg-images/Laurent Lecat)

CHINES. TONKRIEGERARMEE, SOLDATEN

Chinesisch, Qin-Dynastie, 221–206 v. Chr...Tonkriegerarmee des Kaisers Qin Shihuang Di, “Erster Kaiser Chinas”; Teilansicht...Gebrannter Ton. Grab Nr. 1 mit 6000 Kriegerstatuen und Pferden in Lebensgröße..Mausoleum des Kaisers Qin Shihuang, entdeckt 1974 nahe Xi'an, Distrikt Lintong,.Provinz Shaanxi. Foto, 2001. (KEYSTONE/akg-images/Laurent Lecat)

CHINES. TONKRIEGERARMEE, SOLDATEN

Chinesisch, Qin-Dynastie, 221–206 v. Chr...Tonkriegerarmee des Kaisers Qin Shihuang Di, “Erster Kaiser Chinas”; Teilansicht...Gebrannter Ton. Grab Nr. 1 mit 6000 Kriegerstatuen und Pferden in Lebensgröße..Mausoleum des Qin Shihuang, entdeckt.1974 nahe Xi'an, Distrikt Lintong, Provinz Shaanxi. Foto, 2001. (KEYSTONE/akg-images/Laurent Lecat)

GESATTELTES PFERD / CHINESISCH, QIN-DYN.

Chinesische Plastik,.Qin-Dynastie (221–206 v. Chr.)..Gesatteltes Pferd...Terrakotta, Höhe 174 cm, Gewicht 340 kg..Fundort: Mausoleum des 1. Kaisers Qin,.Grab Nr. 2, entdeckt 1974 nahe Xi'an,.Distrikt Lintong, Provinz Shaanxi..Lintong, Museum of Qin Figures. (KEYSTONE/akg-images/Laurent Lecat)

ARMEE KAISER QIN / GENERAL / HALBFIGUR/TON

Chinesische Plastik, Qin-Dynastie (221–206 v. Chr.)...General im Brustpanzer, Mitglied der Armee des Qin Shihuang Di, “Erster Kaiser Chinas” (Halbfigur)...Gebrannter Ton. Höhe, 197 cm. Grab Nr. 1,.Mausoleum des 1. Kaisers Qin, entdeckt.1974 nahe Xi'an, Distrikt Lintong, Provinz Shaanxi..Lintong, Museum of Qin Figures. (KEYSTONE/akg-images/Laurent Lecat)