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THE SHAKSPEARE COMMEMORATION AT STRATFORD-ON-AVON: EXHIBITION...IN THE TOWNHALL, 1864. CREATOR: UNKNOWN.

The Shakspeare Commemoration at Stratford-On-Avon: exhibition of Shakspeare pictures and relics in the Townhall, 1864. Celebration of the tercentenary of William Shakespeare's birth. View of '...the handsome apartments of the Stratford Townhall, which are occupied by an exhibition of pictures and various articles of Shakspearean interest'. From "Illustrated London News", 1864. The Shakspeare Commemoration at Stratford-On-Avon: exhibition...in the Townhall, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

HENLEY-STREET, STRATFORD-ON-AVON, WITH SHAKSPEARE'S HOUSE, 1864. CREATOR: UNKNOWN.

Henley-Street, Stratford-On-Avon, with Shakspeare's House, 1864. Celebrating the tercentenary of Shakespeare's birth. 'The ultimate object of the Stratford Committee is to raise funds for the erection of a monument to Shakspeare in his native town. We present a View of the Site, at the top of Henley-street, where the monument is intended to be placed. The house in which Shakspeare was born is shown to the left'. From "Illustrated London News", 1864. Henley-Street, Stratford-On-Avon, with Shakspeare's House, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE SHAKSPEARE COMMEMORATION IN LONDON: MONUMENT OF SHAKSPEARE AT THE CRYSTAL PALACE, 1864. CREATOR: UNKNOWN.

The Shakspeare Commemoration in London: monument of Shakspeare at the Crystal Palace, 1864. Event celebrating the tercentenary of Shakespeare's birth. 'The Crystal Palace Company made this Saturday a shilling day instead of a half-crown day, as usual. They have now opened to public view the exact representation of Shakspeare's house, of the same size as the original, modelled by Mr. E. T. Parris, in the central transept, with the Shakspeare Court, which contains models of the bust on his tomb and of the tombs of his wife and daughter. Our Engraving shows the monument, by Mr. Thomas, now erected on the terrace. It was in the Great Exhibition of 1862'. From "Illustrated London News", 1864. The Shakspeare Commemoration in London: monument of Shakspeare at the Crystal Palace, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

GARIBALDI IN ENGLAND: GARIBALDI RECEIVING ADDRESSES AT THE CRYSTAL PALACE, 1864. CREATOR: UNKNOWN.

Garibaldi in England: Garibaldi receiving addresses at the Crystal Palace, 1864. '...we see the dais erected in front of the great orchestra, in the north transept, where Garibaldi is seated while the various deputations hand to him their written addresses as they pass across the platform in front of his chair. A deputation of Englishmen who served as volunteers in Garibaldi's army of 1860 in Naples is standing before him in our representation of the scene'. From "Illustrated London News", 1864. Garibaldi in England: Garibaldi receiving addresses at the Crystal Palace, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

GARIBALDI IN ENGLAND: GARIBALDI AT THE CRYSTAL PALACE ON SATURDAY LAST, 1864. CREATOR: UNKNOWN.

Garibaldi in England: Garibaldi at the Crystal Palace on Saturday last, 1864. The Italian patriot in a '...box erected at the north-west comer of the great transept, where he received the address and the gifts of the Italian committee'. The sign reads: 'United Italy'. From "Illustrated London News", 1864. Garibaldi in England: Garibaldi at the Crystal Palace on Saturday last, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

GARIBALDI'S VISIT TO LONDON: ARRIVAL AT CHARING-CROSS, 1864. CREATOR: UNKNOWN.

Garibaldi's visit to London: arrival at Charing-Cross, [London], 1864. View of '...the scene which took place at Charing Cross...when Garibaldi had arrived so far on his way to Stafford House. He is here seated in a four-horse carriage belonging to the Duke of Sutherland. Mr. John Richardson, the honorary secretary of the City reception committee, and Mr. Brinton, the Mayor of Southampton, were in the same carriage with him. His two sons, Menotti and Ricciotti, with one of his Italian secretaries and Sir Robert Nicholson, late a Captain in Garibaldi's army, followed in the next carriage'. Supporters have climbed the statue of King Charles I to welcome the Italian general. From "Illustrated London News", 1864. Garibaldi's visit to London: arrival at Charing-Cross, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

GARIBALDI'S BIRTHPLACE AT NICE, 1864. CREATOR: UNKNOWN.

Garibaldi's birthplace at Nice, 1864. 'Engraving from a sketch by Mr. Colebrooke Stockdale. The '...house at Nice, where Giuseppe Garibaldi was born, in the year 1807...[is] a large building which has always been used as an hotel or lodging-house for sailors frequenting that port. The parents of Garibaldi are understood to have been Genoese'. From "Illustrated London News", 1864. Garibaldi's birthplace at Nice, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

GARIBALDI IN ENGLAND: GARIBALDI IN THE BALCONY OF THE TOWNHALL OF NEWPORT, ISLE OF WIGHT, 1864. CREATOR: UNKNOWN.

Garibaldi in England: Garibaldi in the balcony of the townhall of Newport, Isle of Wight, 1864. View of '...the scene in front of the Townhall at Newport, when Garibaldi dined there with the Mayor and a large party on Thursday week. Great preparations had been made by that little town to celebrate his visit with a display of banners and a triumphal arch on the road by which he entered. The sketch taken by our Artist at the moment when he showed himself on the balcony will perhaps give some notion of the unwonted state of tumultuous exultation into which the inhabitants of Newport were thrown'. From "Illustrated London News", 1864. Garibaldi in England: Garibaldi in the balcony of the townhall of Newport, Isle of Wight, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

GARIBALDI IN ENGLAND: ARRIVAL OF GARIBALDI AT THE TOWNHALL, BARGATE, SOUTHAMPTON, 1864. CREATOR: UNKNOWN.

Garibaldi in England: arrival of Garibaldi at the townhall, Bargate, Southampton, 1864. View of '...the picturesque old Bargate, in Southampton, at eleven o'clock on the Monday, with a carriage-and-four, containing Garibaldi, his two sons, Mr. Brinton, the Mayor of Southampton, and Mr. Seely, proceeding to the Townhall, amidst the acclamations of a crowd of people in the streets'. From "Illustrated London News", 1864. Garibaldi in England: arrival of Garibaldi at the townhall, Bargate, Southampton, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE COURT AT BUCKINGHAM PALACE ON SATURDAY LAST: ARRIVAL OF THE FOREIGN AMBASSADORS, 1864. CREATOR: UNKNOWN.

The Court at Buckingham Palace on Saturday last: arrival of the foreign ambassadors, 1864. 'As a memorial of the occasion, last Saturday, when our Queen, to the gratification of all her people, returned, in a manner, to public life by holding a Court at Buckingham Palace for the first time since her widowhood began, we have engraved a sketch of the arrival of the Corps Diplomatique at the gates of the palace. It is unnecessary that we should make any further remark upon a scene which is so familiar to Londoners during the accustomed season for the visits of her Majesty to this city. We can but express our sincere congratulations, and hope that the Queen, having taken this step, will recover her former health and spirits'. In 1861, Albert, Prince Consort, died at the age of 42 after being diagnosed with typhoid fever. The Queen was devastated, and wore mourning dress for the rest of her life. From "Illustrated London News", 1864. The Court at Buckingham Palace on Saturday last: arrival of the foreign ambassadors, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE VOLUNTEER REVIEW AT BLACKHEATH, NEAR GUILDFORD, ON EASTER MONDAY, 1864. CREATOR: UNKNOWN.

The Volunteer Review at Blackheath, near Guildford, on Easter Monday, 1864. View of '...the military evolutions of Easter Monday on Blackheath - an open piece of undulating ground, adjoining Farley Heath, about four miles to the south-east of Guildford, approached, on three different sides, by steep and narrow lanes, through which many thousands of spectators, in addition to 18,000 volunteer riflemen - some from Guildford and some from the Chilworth station of the South-Eastern Railway - had assembled in the course of the forenoon...the incident chosen by our Artist is the file-firing of the London Rifle Brigade, nine companies strong, which formed part of the attacking division, under Major-General Rumley, in the sham fight. The defending party, under Major-General Russell, had been outflanked on their right wing, and were being slowly driven in towards the Grand Stand at the moment when this sketch was taken. Lieutenant- Colonel Macdonald was in command of the brigade which is most conspicuous in our Engraving'. From "Illustrated London News", 1864. The Volunteer Review at Blackheath, near Guildford, on Easter Monday, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

CRICKET-MATCH AT MELBOURNE BETWEEN THE ALL-ENGLAND ELEVEN AND TWENTY-TWO OF VICTORIA, 1864. CREATOR: UNKNOWN.

Cricket-match at Melbourne [in Australia,] between the All-England Eleven and Twenty-Two of Victoria, 1864. Engraving from a photograph by Messrs. Davies and Co, showing '...the cricket-match played on New-Year's Day and three following days, upon the ground of the Melbourne Cricket Club, between the All-England Eleven and a double number of the best cricket-players of Victoria province...[The play] resulted in a drawn match, the time having expired at six o'clock on the fourth day with six of the All-England wickets in their second innings yet to go down. But, since the All-England men had already scored 281 runs, while the Victoria men, who had completed both their innings, numbered only 289, there could be no doubt that the All-England would have come off the winners by a large majority if the game had been regularly finished. The weather was very pleasant; the ground was in perfect condition for playing; and the bright, green turf, surrounded with forest trees, made it an agreeable place of resort. The space within the chain fence, and the grand stand, which held three thousand persons, were thronged with spectators'. From "Illustrated London News", 1864. Cricket-match at Melbourne between the All-England Eleven and Twenty-Two of Victoria, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE VOLUNTEER REVIEW: THE HIGH-STREET OF GUILDFORD ON EASTER SUNDAY, 1864. CREATOR: UNKNOWN.

The Volunteer Review: the High-Street of Guildford on Easter Sunday, 1864. 'The town consists principally of this main street, which runs up the steep hill on the east bank of the River Wey. There are few better specimens of an old-fashioned English country town than this snug little capital of rustic Surrey...The Guildhall, built in Charles II.'s time..., is distinguished outside by its projecting clock-dial, with knots and decorations of gilt ironwork. Such is the town of Guildford, which from Good Friday to Easter Monday this year was thronged with holiday visitors far beyond its capacity of accommodating them...there were some detachments of volunteer artillery, both from London and Brighton, which arrived at Guildford on the Saturday afternoon. Various uniforms were to be seen in the street on the Sunday morning, when every loyal and patriotic volunteer made a point of going to church'. From "Illustrated London News", 1864. The Volunteer Review: the High-Street of Guildford on Easter Sunday, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

INTERIOR OF THE SHAKSPEARE PAVILION AT STRATFORD-ON-AVON, 1864. CREATOR: UNKNOWN.

The Shakspeare Pavilion at Stratford-on-Avon - interior, 1864. Building celebrating the tercentenary of William Shakespeare's birth,'...designed by Messrs. Thompson and Colbourne...the contractors are Messrs. Branson and Murray, of Birmingham; and Mr. Brothers, of Leamington, provides the internal decorations...It is of timber, on a foundation of masonry; in form twelve-sided, 152 ft. in diameter...and surmounted with a lantern for light and ventilation. The main roof is constructed of twelve framed principals, bolted to the upright timbers, with no horizontal tie, but with a strong continuous band of iron all round the circumference of the building, to resist the outward and downward thrust of the roof... The inside of the pavilion has sitting accommodation for about five thousand persons. The theatrical stage is 74 ft. in width and 56 ft. in depth; it communicates with a green-room, several ladies' and gentlemen's dressing-rooms, and other necessary offices. The orchestra will hold, for the concerts and oratorios, 550 performers; but the lower part of it may be removed during the balls and theatrical entertainments. The open space for dancing is 100 ft. in diameter. The boxes and galleries are shown in our Engraving'. From "Illustrated London News", 1864. Interior of the Shakspeare Pavilion at Stratford-on-Avon, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE SHAKSPEARE PAVILION AT STRATFORD-ON-AVON, 1864. CREATOR: UNKNOWN.

The Shakspeare Pavilion at Stratford-on-Avon, 1864. Building celebrating the tercentenary of William Shakespeare's birth,'...designed by Messrs. Thompson and Colbourne...the contractors are Messrs. Branson and Murray, of Birmingham; and Mr. Brothers, of Leamington, provides the internal decorations... The exterior, as may be seem in our Engraving, makes no pretensions to architectural beauty. It is but a wooden pavilion for the occasion of a single week. Yet it is well suited to the purpose, and substantial of its kind. Twenty thousand cubic feet of timber, twelve tons of wrought iron, and four tons of nails, have been used in its construction. It is of timber, on a foundation of masonry; in form twelve-sided, 152 ft. in diameter, besides the approaches, and surmounted with a lantern for light and ventilation. The main roof is constructed of twelve framed principals, bolted to the upright timbers, with no horizontal tie, but with a strong continuous band of iron all round the circumference of the building, to resist the outward and downward thrust of the roof. The stairs to approach the galleries are 10 ft. in width, and are placed outside the building, to give as much space as possible inside'. From "Illustrated London News", 1864. The Shakspeare Pavilion at Stratford-on-Avon, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

BURNING OF PENGWERN HALL, NEAR ST. ASAPH, THE SEAT OF LORD MOSTYN, 1864. CREATOR: UNKNOWN.

Burning of Pengwern Hall, near St. Asaph [in Wales], the seat of Lord Mostyn, 1864. 'This mansion, one of the noblest in the Vale of Clwyd, was the residence of the late Lord Mostyn, but has, since his death, been occupied by his brother, the Hon. T. P. Lloyd. It was built, in 1787...The house was partly of Corinthian architecture, but with a certain originality in the design of its front. It contained not only a great deal of costly furniture, plate, and jewels, but many choice paintings - Dutch, Italian, and English - besides the rare and valuable library of Welsh records and MSS. known as the Mostyn Collection. Fortunately, these treasures are for the most part saved. The fire having broken out at four or five o'clock in the afternoon, hundreds of people soon hastened to help in putting it out, or in getting out whatever they could, and a lady of the family, Miss Lloyd, of Cefn...is said to have shown extraordinary courage, by entering the burning house over and over again to fetch some cherished heirlooms of the house of Lloyd. The Hon. Mr. Lloyd and Miss Lloyd are much esteemed in the neighbourhood for their benevolence, and this fire is lamented as a public calamity throughout the Vale of Clwyd'. From "Illustrated London News", 1864. Burning of Pengwern Hall, near St. Asaph, the seat of Lord Mostyn, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE ROTTERDAM MUSEUM, LATELY DESTROYED BY FIRE, 1864. CREATOR: UNKNOWN.

The Rotterdam Museum, lately destroyed by fire, 1864. Engraving from a photograph. 'The city of Rotterdam has suffered an irreparable loss by the destruction of its museum in the Schieland Palace, which was burnt down...The Schieland Palace...was erected in 1662...In 1847, a collection of valuable paintings, bequeathed to the city by M. Boymans, was transferred to the halls of the palace to form the nucleus of the costly treasures of art which have now for the most part been destroyed. The collection gradually increased till it numbered about four hundred paintings...Many - it is said a hundred and fifty - of these paintings, as well as some of the valuable prints, were rescued from the fire, though most of them are in a damaged state. In this museum was also a large and unique collection of Japanese porcelain, which, together with several marble statues, was entirely destroyed...The museum was insured for £30,000, a sum far below its real value - which, in fact, no money can represent. It is supposed that the fire was caused by the carelessness of the workmen employed in repairing the upper part of the building. Nothing, however, but the four walls of the Schieland Palace is now standing; all within is a blackened mass of ruins'. From "Illustrated London News", 1864. The Rotterdam Museum, lately destroyed by fire, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE WAR IN SCHLESWIG: THE CHATEAU OF GLUECKSBURG, NEAR FLENSBURG, 1864. CREATOR: UNKNOWN.

The War in Schleswig: the Chateau of Gluecksburg, near Flensburg, 1864. Engraving from a photograph by M. Brandt. The castle '...is now occupied by a division of the Prussian army. This place stands on the southern shore of the Flensburg Fiord...It was there that the late King of Denmark died. The present King, as Duke of Sonderburg-Gluecksburg, takes his family name from this estate...Gliicksburg was originally founded, in the thirteenth century, as a convent of Cistercian monks. This was broken up at the Reformation, and the place became the property of Duke John of Sonderburg. The elder branch of his lineage having expired in 1778, this domain lapsed to the Crown; but in 1825, it was restored to the younger branch - namely, that of Sonderburg-Beck, from which the present King is descended. The castle, which was built in 1662, is a square and massive pile, almost entirely surrounded with water, a deep moat having been dug in the ground formerly consecrated for the churchyard of the ancient monastery. It is approached by a stone bridge over the moat. At each of the four corners of the building is a hectagonal tower, with a conical roof...the whole house, both within and without, has a stern and forbidding appearance'. From "Illustrated London News", 1864. The War in Schleswig: the Chateau of Gluecksburg, near Flensburg, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ILLUSTRATIONS OF THE WAR IN SCHLESWIG: THE CHÂTTEAU OF AUGUSTENBURG, ISLAND OF ALSEN, 1864. CREATOR: UNKNOWN.

Illustrations of the War in Schleswig: the Château of Augustenburg, Island of Alsen, 1864. 'The Château of Augustenburg, on the Isle of Alsen..., formerly belonged to the Duke of Augustenburg, father of the Prince whose claim to be Duke of Schleswig-Holstein is a contingency of this war'. The main three-winged building of Augustenborg Palace on Als Island, Denmark, was built from 1770 to 1776. From "Illustrated London News", 1864. Illustrations of the War in Schleswig: the Châtteau of Augustenburg, Island of Alsen, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE TAEPING WAR IN CHINA: PALACE OF THE TAEPING WANG AT NANKIN, LATELY CAPTURED…, 1864. CREATOR: MASON JACKSON.

The Taeping War in China: palace of the Taeping Wang at Nankin, lately captured by the Imperial Forces, 1864. From "Illustrated London News", 1864. The Taeping War in China: palace of the Taeping Wang at Nankin, lately captured…, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

VISIT OF THE PRINCE AND PRINCESS OF WALES TO SWEDEN: EMBARKATION IN THE ROYAL YACHT OSBORNE…, 1864. CREATOR: UNKNOWN.

Visit of the Prince and Princess of Wales to Sweden: embarkation in the royal yacht Osborne at Gottenborg - from a sketch by our special artist, 1864. The future King Edward VII and Queen Alexandra in Scandinavia. '...the landing-place in front of the yacht Osborne was kept by a detachment of Swedish artillery...The local authorities also erected stands with braziers in them, to show light to the procession, while the carriages of the Royal party moved from the railway station to the wharf. The Royal yacht contributed to this animated night-scene the fire of blue lights, which made it as bright as day, and threw over the upturned faces on the quay, and on the masts and rigging of the ships a glare, from which the scarlet uniforms of the narrow line of marines on the poop-deck shone out more brightly by contrast; and when, by-and-by, the band advanced to play on board during dinnertime, the glitter of the helmets and swords, added to the cocked hats and uniforms already upon deck, made up a very pretty piece of ship effect. The Royal party dined and slept on board the Osborne, which, early next morning, made a smooth passage across the Sound and entered the port of Elsinore'. From "Illustrated London News", 1864. Visit of the Prince and Princess of Wales to Sweden: embarkation in the royal yacht Osborne…, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: THE NEW ZEALAND COURT..., 1862. CREATOR: UNKNOWN.

The International Exhibition: the New Zealand Court - from a photograph by the London Stereoscopic Company, 1862. '...some articles of furniture, such as tables and cabinets containing stuffed birds...[can be seen] in the foreground...[The court] was gaily ornamented with banners inscribed with the names and arms of the provinces of the colony. Apart from the manufactured articles of native woods, of which were exhibited some beautiful specimens, the collection...[consisted] mainly of natural products, notable amongst which was gold from Otago and Terante, and auriferous quartz, minerals, ores, native copper...fossils, ironstone, fireclay, marble, agate, cornelians, silureous incrustations of sulphur, Waihohu coal, native woods from Taraire and Pohuntuhawa; wools in great variety, some of them shorn from a cross between Leicester and Merino sheep, which was especially noticeable; and then numerous examples of flax. Besides this there was an interesting collection of robes and garments worn by the natives, and an example of their war-canoes. Altogether the collection, though comparatively small, was well selected, and calculated to exhibit truthfully the characteristic productions and a good deal of the skill and industry of the colony'. From "Illustrated London News", 1862. The International Exhibition: the New Zealand Court..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: THE BRAZILIAN COURT..., 1862. CREATOR: UNKNOWN.

The International Exhibition: the Brazilian Court - from a photograph by the London Stereoscopic Company, 1862. 'The collection comprised diamonds, emeralds, topazes, amethysts, jasper, and gold;...coal from Laguna, iron ores, and malachite...vegetable acids and drugs, amidst which ipecacuanha was prominent. Then came the product of the sugarcane, in the shape of sugar and rum; there was excellent-looking coffee...and scented green tea from San Paulo...There were examples of fruits, seeds, gums, resins, and dyestuffs, indigo especially...there were exhibited agricultural implements which were creditable to the inventors...there can be no little skill in the Brazilian workers in gold-thread, for the embroidery and ornamental gold lace was remarkable for its taste in design and neatness of manufacture. Some improved smallarms, and models of ships from the naval arsenal, were also shown. Amongst the products wero cotton, white and yellow, including raw cotton from Pernambuco, and cotton piece goods from Rio Janeiro; and of manufactured articles we would point to the coloured morocco and other leathers, which were of excellent quality...the collection gave a very favourable idea of the internal resources of the empire of Brazil'. From "Illustrated London News", 1862. The International Exhibition: the Brazilian Court..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE PRINCE AND PRINCESS OF WALES AT AT THE GATE OF ROSENBORG CASTLE, 1864. CREATOR: UNKNOWN.

The Prince and Princess of Wales at at the gate of Rosenborg Castle, [Copenhagen, Denmark], 1864. The future King Edward VII and Queen Alexandra in Scandinavia. 'This edifice, built by King Christian IV., is approached through a park or public garden, and over a foot-bridge crossing a moat that at one time surrounded the castle and formed an important element in its defence. The building is in the style of Italian Renaissance, grafted on the ancient Gothic of Northern Europe. Inigo Jones, at that period chief architect to the King, is said to have furnished the plan for Rosenborg'. From "Illustrated London News", 1864. The Prince and Princess of Wales at at the gate of Rosenborg Castle, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE BRITISH ASSOCIATION AT BATH: SIR CHARLES LYELL DELIVERING THE PRESIDENTIAL ADDRESS..., 1864. CREATOR: UNKNOWN.

The British Association at Bath: Sir Charles Lyell delivering the presidential address in the theatre, 1864. 'The New Theatre Royal...was erected...upon the site of the former theatre, built by Mr. Dance, R. A., in 1805, and destroyed by fire...The present edifice was designed by Charles J. Phipps, F.S.A., architect; the auditory will seat commodiously 1750 persons; it has three tiers of boxes and galleries above the pit...The stage arrangements are elaborate and elegant, the house was crowded on the great evening meeting of the inauguration, many ladies being present. The more distinguished members of the association were seated on the stage, which was elegantly fitted up and lighted with gaseliers...[the President] Sir Charles Lyell read his Address with excellent emphasis, and evidenced what Sir William Armstrong described as Sir Charles's talent of "imparting the charm of lucid and elegant language to the communication of ideas." The address was not so much a synoptical view of the progress of all branches of science as an independent contribution to one of them - namely, a monograph on the Bath Waters: their history, the geological theories of their origin, and the geological phenomena to which such agencies are believed to contribute'. From "Illustrated London News", 1864. The British Association at Bath: Sir Charles Lyell delivering the presidential address..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE BRITISH ASSOCIATION AT BATH: NUNNEY CASTLE, 1864. CREATOR: UNKNOWN.

The British Association at Bath: Nunney Castle, 1864. 'At the distance of two miles from Frome is the picturesque village of Nunney. The old castle was erected by the family of De la Mere, and subsequently garrisoned by Charles I. After a stubborn resistance it was destroyed by the Parliamentary forces, in 1643. In the church, possessing, in common with many others in Somersetshire, a tower of great architectural beauty, are some remarkable monuments to the De la Mere family'. From "Illustrated London News", 1864. The British Association at Bath: Nunney Castle, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

BRAEMAR, FROM THE GARDEN OF THE INVERCAULD ARMS, 1864. CREATOR: UNKNOWN.

The Scottish Highlands near Balmoral - Braemar, from the Garden of the Invercauld Arms, 1864. '...the Invercauld Arms, in the little village named Castleton of Braemar, [is] the head-quarters of tourists in that picturesque region of the valley of the Dee. The "castle" is a high, bare-walled tower of recent erection. The deep, rocky ravine, fringed with copses, through which the turbulent stream of the Clunie dashes down to join the Dee with the distant mountains, for the most part green and wooded, which surround this place, make up a very effective scene'. From "Illustrated London News", 1864. Braemar, from the Garden of the Invercauld Arms, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

BICENTENARY FESTIVAL OF THE ROYAL ACADEMY OF ANTWERP: PROCESSION TO THE CATHEDRAL..., 1864. CREATOR: UNKNOWN.

Bicentenary Festival of the Royal Academy of Antwerp: procession to the Cathedral of Notre Dame on Monday, August 22, 1864. '...a religious thanksgiving service, or Te Deum, was solemnly performed...This view was taken on the Place de Meir, which had been decorated for the occasion, after a design by M. Fischer, with two columns of crimson and gold, each surmounted by a Belgian lion, ornamented at the base and capital with gilt palm-leaves and encircled with coronets. A variety of flags and banners were ranged at intervals along the side of the street. Looking down this vista towards the superb canopy of the high altar, and to the statue of Teniers with the effigies of the other founders of the Antwerp Academy seated in a semicircle around him, the effect was very imposing...The annual Kermesse, or festival of the patron saint of the municipality, an occasion which is always celebrated with much pomp...was combined in this instance with the two-hundredth anniversary of the foundation of the Antwerp Royal Academy of Arts, and with the jubilee, or fiftieth yearly meeting, of the Royal Society of Harmony; besides which, an exhibition of the works of living artists was opened by the Royal Society for the Encouragement of Art'. From "Illustrated London News", 1864. Bicentenary Festival of the Royal Academy of Antwerp: procession to the Cathedral..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

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)

GRAND FESTIVAL OF THE MUNICIPALITY AND ROYAL ACADEMY OF ANTWERP: RESTORATION OF THE OLD BOURSE, 1864 CREATOR: UNKNOWN.

Grand Festival of the Municipality and Royal Academy of Antwerp: temporary restoration of the Old Bourse during the fair, 1864. 'The most important [of] all the ceremonies, shows, and entertainments...was a fair "in the fashion of the sixteenth and seventeenth centuries", held amidst the ruins of the old Bourse of Antwerp, destroyed by fire a few years ago. The chief architectural features of that building have been restores, provisionally, by M. Looymans, so far as to reproduce the effect of its interior when occupied by the stalls of the tradesmen, with a crowd of purchasers or spectators on the floor...The annual Kermesse, or festival of the patron saint of the municipality, an occasion which is always celebrated with much pomp...was combined in this instance with the two-hundredth anniversary of the foundation of the Antwerp Royal Academy of Arts, and with the jubilee, or fiftieth yearly meeting, of the Royal Society of Harmony; besides which, an exhibition of the works of living artists was opened by the Royal Society for the Encouragement of Art'. From "Illustrated London News", 1864. Grand Festival of the Municipality and Royal Academy of Antwerp: restoration of the Old Bourse, 1864 Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RHINE: RHEINBECK, 1864. CREATOR: UNKNOWN.

The Rhine: Rheinbeck, 1864. 'The very name of "the Rhine" has a magic sound, expressive of all that is lovely and romantic. It is, par excellence, the river of Europe, along whose banks are gathered the most cherished traditions of the past and no little of our apprehensions for the future. Like a monarch among waters, it speeds on its way to the ocean through a proud line of feudal towers and vine-clad mountains, enriched by its multitude of tributary streams...for tourists, who come to enjoy the beauties of its scenery, the Rhine practically means that part of the river which lies between Cologne and Mayence. Not only is it here most picturesque, but every ruined tower, island, and rock has its history and legend, and every mile of either shore had a name and importance in the days of old'. From "Illustrated London News", 1864. The Rhine: Rheinbeck, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RHINE: THE LURLEIBERG, 1864. CREATOR: UNKNOWN.

The Rhine: the Lurleiberg, 1864. 'The very name of "the Rhine" has a magic sound, expressive of all that is lovely and romantic. It is, par excellence, the river of Europe, along whose banks are gathered the most cherished traditions of the past and no little of our apprehensions for the future. Like a monarch among waters, it speeds on its way to the ocean through a proud line of feudal towers and vine-clad mountains, enriched by its multitude of tributary streams...for tourists, who come to enjoy the beauties of its scenery, the Rhine practically means that part of the river which lies between Cologne and Mayence. Not only is it here most picturesque, but every ruined tower, island, and rock has its history and legend, and every mile of either shore had a name and importance in the days of old'. From "Illustrated London News", 1864. The Rhine: the Lurleiberg, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RHINE: RHEINSTEIN, 1864. CREATOR: UNKNOWN.

The Rhine: Rheinstein, 1864. 'The very name of "the Rhine" has a magic sound, expressive of all that is lovely and romantic. It is, par excellence, the river of Europe, along whose banks are gathered the most cherished traditions of the past and no little of our apprehensions for the future. Like a monarch among waters, it speeds on its way to the ocean through a proud line of feudal towers and vine-clad mountains, enriched by its multitude of tributary streams...for tourists, who come to enjoy the beauties of its scenery, the Rhine practically means that part of the river which lies between Cologne and Mayence. Not only is it here most picturesque, but every ruined tower, island, and rock has its history and legend, and every mile of either shore had a name and importance in the days of old'. From "Illustrated London News", 1864. The Rhine: Rheinstein, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RHINE: THE PFALZ, 1864. CREATOR: UNKNOWN.

The Rhine: the Pfalz, 1864. 'The very name of "the Rhine" has a magic sound, expressive of all that is lovely and romantic. It is, par excellence, the river of Europe, along whose banks are gathered the most cherished traditions of the past and no little of our apprehensions for the future. Like a monarch among waters, it speeds on its way to the ocean through a proud line of feudal towers and vine-clad mountains, enriched by its multitude of tributary streams...for tourists, who come to enjoy the beauties of its scenery, the Rhine practically means that part of the river which lies between Cologne and Mayence. Not only is it here most picturesque, but every ruined tower, island, and rock has its history and legend, and every mile of either shore had a name and importance in the days of old'. From "Illustrated London News", 1864. The Rhine: the Pfalz, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RHINE: THE FALKENBURG, 1864. CREATOR: UNKNOWN.

The Rhine: the Falkenburg, 1864. 'The very name of "the Rhine" has a magic sound, expressive of all that is lovely and romantic. It is, par excellence, the river of Europe, along whose banks are gathered the most cherished traditions of the past and no little of our apprehensions for the future. Like a monarch among waters, it speeds on its way to the ocean through a proud line of feudal towers and vine-clad mountains, enriched by its multitude of tributary streams...for tourists, who come to enjoy the beauties of its scenery, the Rhine practically means that part of the river which lies between Cologne and Mayence. Not only is it here most picturesque, but every ruined tower, island, and rock has its history and legend, and every mile of either shore had a name and importance in the days of old'. From "Illustrated London News", 1864. The Rhine: the Falkenburg, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RHINE: THE KATZ, 1864. CREATOR: UNKNOWN.

The Rhine: the Katz, 1864. 'The very name of "the Rhine" has a magic sound, expressive of all that is lovely and romantic. It is, par excellence, the river of Europe, along whose banks are gathered the most cherished traditions of the past and no little of our apprehensions for the future. Like a monarch among waters, it speeds on its way to the ocean through a proud line of feudal towers and vine-clad mountains, enriched by its multitude of tributary streams...for tourists, who come to enjoy the beauties of its scenery, the Rhine practically means that part of the river which lies between Cologne and Mayence. Not only is it here most picturesque, but every ruined tower, island, and rock has its history and legend, and every mile of either shore had a name and importance in the days of old'. From "Illustrated London News", 1864. The Rhine: the Katz, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

CITY OF CHIUSI, ETRURIA, BY T. M. RICHARDSON, FROM THE EXHIBITION..., 1864. CREATOR: W PALMER.

City of Chiusi, Etruria, by T. M. Richardson, from the exhibition of the Society of Painters in Water-Colours, 1864. Engraving of a painting. 'Away from the high road between Rome and Siena, and therefore seldom visited by the modern traveller, the city of Chiusi stands on the site of the ancient Clusium, one of the twelve cities of the Etruscan League, once the most important political capital in Etruria...Clusium is also memorable for the marvellous accounts in the pages of Pliny and Varro of the mausoleum and labyrinth of Porsena. The town is now literally undermined by subterranean passages; and although some of them were possibly connected with the sewerage of the ancient city, there are many others the purposes of which are still a mystery...It will be seen by our Engraving that Chiusi is most picturesquely situated on an acropolis-like eminence (the road to which is a long and steep ascent), and that it overlooks a small but beautiful lake, to which the city gives its name of Lago di Chiusi'. From "Illustrated London News", 1864. City of Chiusi, Etruria, by T. M. Richardson, from the exhibition..., 1864. Creator: W Palmer. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

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

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

ASCENT OF M. GODARD'S MONTGOLFIER BALLOON FROM CREMORNE GARDENS, 1864. CREATOR: UNKNOWN.

Ascent of M. Godard's Montgolfier balloon from Cremorne Gardens, [London], 1864. The '...heated-air, balloon, with which M. Eugène Godard ascended...[is] an enormous structure, made of silk...adorned with representations of the French eagle...In the centre of the car is an 18 ft. stove, including the chimney, 980 pounds in weight...The total weight of the balloon...is 4620lb...M. Godard ran rapidly round the solid wicker car, shouting orders through a speaking-trumpet...For a few seconds the balloon seemed to return to the gardens, and to descend towards the grass, while the stokers were seen desperately throwing the small trusses of compressed straw into the mouth of the fiery furnace...The excitement caused several ladies to faint, and a portion of the crowd to rush panic-stricken towards the hotel. In less than a minute, however, the "Eagle" had regained her buoyancy, and rose with extraordinary steadiness...The balloon safely descended at Greenwich. The presumed advantage of returning to the Montgolfier system is, that the inflation can be completed in less than an hour...With a gas-filled balloon the process of inflation is generally long and tiresome'. From "Illustrated London News", 1864. Ascent of M. Godard's Montgolfier balloon from Cremorne Gardens, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE TARPEIAN ROCK, ROME, 1864. CREATOR: MASON JACKSON.

The Tarpeian Rock, Rome, 1864. Engraving from a sketch by M. Mariani. 'This locality of sinister recollections is now only frequented by washer-women, who peacefully spread out their linen to dry on the spot where, as recorded by Titus Livius and other early historians, numbers of more or less celebrated Romans met with a traitor's death by being precipitated from the Tarpeian Rock...The topographical disposition of the spot scarcely induces the visitor to imagine that he is standing upon the rock itself...[It] is partly covered by some old houses which prevent it from being seen from the gardens above. These houses replace the high wall that formerly surmounted the rock. As regards the name given to this famous rock...in the year 746 b.c...the unfortunate Tarpeia was buried in the mountain, which has ever since borne the name of the Tarpeian Rock, and which became, afterwards, the spot whence traitors to their country were hurled to destruction. The incline that crosses the lane has been formed by rubbish thrown during several ages from the summit of the rock, which thus appears to have diminished greatly, more than forty feet of detritus having been at different times deposited at its base'. From "Illustrated London News", 1864. The Tarpeian Rock, Rome, 1864. Creator: Mason Jackson. (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)

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)

THE RAMSGATE STATION OF THE EAST KENT (LONDON, CHATHAM, AND DOVER) RAILWAY, 1864. CREATOR: UNKNOWN.

The Ramsgate Station of the East Kent (London, Chatham, and Dover) Railway, 1864. 'View of the new station at...Ramsgate...recently built by Messrs. Peto and Betts from the designs of Mr. John Newton...Our readers will observe that this illustration closely resembles Mr. Frith's celebrated picture of "The Ramsgate Sands" in most respects...[apart from] the new railway station [which] is seen immediately beneath the cliff...No more prominent example of the new fashion of carrying railways into the very heart of a town could possibly be found...It is proposed to make a refreshment-room at the station, which...will provide articles of light refection both for those who travel by the railway and for the many hundreds of persons who crowd the sands below daily during the bathing season...The direct line...connecting London with the towns of Margate, Broadstairs, and Ramsgate...has been largely patronised by the public in consequence of its providing a shorter route from the metropolis to those places by from seventeen to twenty-seven miles over any previously established system...by means of this new railway three of the most popular seaside resorts are opened up to Londoners under peculiarly favourable circumstances'. From "Illustrated London News", 1864. The Ramsgate Station of the East Kent (London, Chatham, and Dover) Railway, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

BRUNSWICK: PORTAL OF A HOUSE, 1864. CREATOR: UNKNOWN.

Brunswick: portal of a house, 1864. View in Braunschweig, Germany. From "Illustrated London News", 1864. Brunswick: portal of a house, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

BRUNSWICK:OLD HOUSES NEAR THE CATHEDRAL, 1864. CREATOR: UNKNOWN.

Brunswick:old houses near the cathedral, 1864. View in Braunschweig, Germany. From "Illustrated London News", 1864. Brunswick:old houses near the cathedral, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

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

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

LAKE FUSARO, SOUTHERN ITALY, THE LETHE OF VIRGIL, 1864. CREATOR: MASON JACKSON.

Lake Fusaro, Southern Italy, the Lethe of Virgil, 1864. Engraving from a sketch by M. Mariani. 'At present the Lake Fusaro has shaken off its romantic traditions, and, calmly majestic, contributes to the delights of the epicure. Instead of wandering spirits hovering about its banks, herds of wild boars frequent the woods that border the illustrious lake, and in it myriads of delicious oysters await the accomplishment of their destiny. The Court of Victor Emmanuel indulges, in this vicinity, in the pleasures of the chase; and the little villa shown in our Engraving serves as a place of rendezvous for the princely chasseurs, who refresh themselves with the game, the fish, and, above all, with the exquisite oysters of the locality. The Lethe is said to occupy the site of an ancient crater of a volcano; and a confirmation of this supposition may be gathered from the fact that in 1838 an immense quantity of the oysters was destroyed by the emanation of deleterious gases. Around the lake are a number of tombs, and the ruins of several Roman villas, ennobled by the classical recollections connected with the immortal names of Cicero, Horace, and Virgil'. From "Illustrated London News", 1864. Lake Fusaro, Southern Italy, the Lethe of Virgil, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE BARTLOW HILLS (GRAVE MOUNDS OF THE ROMANS), ESSEX, 1864. CREATOR: UNKNOWN.

The Bartlow Hills (Grave Mounds of the Romans), Essex, 1864. Engraving from a photograph by Mr. G. Collins, of '...four tumuli, arranged in a row and varying in size, the largest being 142 ft. in diameter at the base and 44ft. high...Excavations...distinctly prove them to be Roman works. Many curious and valuable sepulchral relics were discovered in them, but they were unfortunately lost in the fire which burned down Easton Lodge, near Dunmow, the seat of Viscount Maynard, on whose estates the hills are situated. It was feared that these venerable landmarks were condemned to destruction in order to accommodate a feeder of the Great Eastern Railway...the Archaeological Institute...at once addressed a remonstrance to the railway directors. At a recent meeting of the institute, Mr. Purnell, the secretary, read the correspondence which had passed with the Great Eastern Railway Company on the subject. The engineer-in-chief, in one of his letters, states that it was never his intention to injure the hills, but he admits his design to bring the proposed line between two of them. Here the matter at present rests. It is to bo hoped that the good feeling of the railway directors will cause them to spare these famous Roman grave-mounds'. From "Illustrated London News", 1864. The Bartlow Hills (Grave Mounds of the Romans), Essex, 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)

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

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

THE BIRTHPLACE OF DAVID ROBERTS, EDINBURGH, 1864. CREATOR: UNKNOWN.

The birthplace of David Roberts, Edinburgh, 1864. Engraving of a sketch by Mr. E. W. Cooke, R.A. 'The house is still in the state in which it was in 1859...It is situated in Church-lane, Stockbridge, once a detached village, but now part of the New Town of Edinburgh. The spot is close to the brook called the Water o' Leith, and near St. Bernard's Well. Our View is of the back of the house, showing the circular staircase. The front, which looks into a narrow street, is...adorned with a stone tablet, or lintel, over the doorway, bearing the legend, sculptured in relief: I FEAR GOD ONLYE - 1605. I.R. The house itself, however, is not so ancient as the date of this inscription. Mr. Roberts told a friend that it was built in 1790, out of the materials of some old houses in Marline's Wynd, which were taken down to make room for the South Bridge. In connection with this record of the painter's birthplace, it is pleasing to mention that when, by his own genius and industry, he had raised himself in social rank, he took care to make ample provision for his father and mother, settling upon the aged couple a sufficiently yearly allowance for their support'. From "Illustrated London News", 1864. The birthplace of David Roberts, Edinburgh, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

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

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

PEYTON FALLS, ALLEGHANY COUNTY, VIRGINIA, 1864. CREATOR: MASON JACKSON.

Peyton Falls, Alleghany County, Virginia, 1864. Engraving of a '...sketch, by an amateur artist, of Peyton Falls, in the Alleghany Mountains, Western Virginia. This romantic and beautiful cascade is on the Falling Spring, a brook tributary to Jackson's River. It is situated in the district or township which was once known as West Augusta...Peyton Falls is the highest cascade or waterfall in America, being 200 ft. in height, while that of Niagara is only 150 ft. The principal stream, however, is only about 10 yards wide at the top and a little more spread at the bottom of the fall. The water is bright and sparkling, and the stream in other parts is full of trout. Near the cascade there is a mineral spring of rare curative properties'. From "Illustrated London News", 1864. Peyton Falls, Alleghany County, Virginia, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

DISTRIBUTION OF PRIZES AT THE CRYSTAL PALACE TO THE LONDON RIFLE BRIGADE ON SATURDAY LAST, 1864. CREATOR: UNKNOWN.

Distribution of prizes at the Crystal Palace to the London Rifle Brigade on Saturday last, 1864. Prize-giving '...in the central transept of the Crystal Palace [in Sydenham], in the presence of a very large assembly of visitors. The Lady Mayoress, Mrs. W. S. Hale, officiated on this occasion. She occupied a chair of state in the centre of the raised dais in front of the Handel orchestra...The prizes, of the value of nearly £700, were arranged on tables right and left of the chair, and trophies and banners hung from every part of the grand orchestra...Many of the well-known shots, as they came up to receive their prizes, were loudly cheered; and when Private John Wyatt, the winner of the Queen's prize, presented himself to receive the gold medal as the best shot in the brigade, he was received with vociferous applause'. From "Illustrated London News", 1864. Distribution of prizes at the Crystal Palace to the London Rifle Brigade on Saturday last, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

SKETCHES FROM NEW YORK: A LAGER BEER BREWERY AT GUTTENBERG, ON THE HUDSON RIVER, 1864. CREATOR: UNKNOWN.

Sketches from New York: a lager beer brewery at Guttenberg, on the Hudson River, 1864. 'The Teutonic population of New York [and] the neighbouring Brooklyn, Hoboken, and Jersey City, amounts to about 150,000; every one of whom...may safely be counted upon, as one of the consumers of their national beverage...It has become an 'institution' of the land, and, during the summer months at least, its consumption by the other citizens of New York would alone keep a respectable number of breweries in full operation...As in Bavaria, so in New York, most of the great breweries have bier gartens or saloons annexed to them, in which the refreshing beverage is dispensed cool and fresh from the vaults. Conspicuous on the right bank of the Hudson River, about five miles above New York, stands a tall, white, tower-like structure, with a red roof. This is the great Guttenburg brewery, built against those grand rocks called the 'Palisades,' in which its immense cellars and storehouses are excavated. In the top story of this building...there is a spacious hall containing billiard-tables, a piano, and a bar for the lager beer and the pleasant vintages of the Rhine'. From "Illustrated London News", 1864. Sketches from New York: a lager beer brewery at Guttenberg, on the Hudson River, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE LOAN COLLECTION OF WORKS OF ART AT SOUTH KENSINGTON MUSEUM, 1862. CREATOR: UNKNOWN.

The Loan Collection of works of art at South Kensington Museum, [London], 1862. Display in what became the Victoria and Albert Museum, of pieces '...of the mediaeval renaissance, and more recent periods...in a miniature Crystal Palace, the rooms being lofty, spacious, well proportioned, and capitally lighted from the glass roof above...[There were] sculptures in marble and terra-cotta, carvings in ivory, art bronzes, furniture, objects of ancient Irish and Anglo-Saxon art, various works of mediaeval art; ecclesiastical utensils, &c.; "Henri Deux" ware...decorative plate...vases and other objects in rock crystal, sardonyx, &c.; snuffboxes and other articles of bijouterie, jewellery and personal ornaments, cameos, and engraved gems, decorative arms and armour, enamel of Limoges, Venetian and other glass ware, Palissy and Italian majolica ware, Parian "faience," Sevres porcelain; Chelsea, Worcester, and other old English porcelain; old Wedgwood ware, porcelain of various European manufactories; portrait miniatures - a most interesting collection; illuminations and illuminated manuscripts, decorative bookbindings, textile fabrics, ecclesiastical vestments, and a number of miscellaneous articles of rare beauty and value...'. From "Illustrated London News", 1862. The Loan Collection of works of art at South Kensington Museum, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

RESTORATION OF NOTRE DAME, PARIS: THE WESTERN FAÇADE, 1862. CREATOR: FELIX THORIGNY.

Restoration of Notre Dame, Paris: the Western Façade, 1862. '...the exterior and interior restoration...will have occupied exactly a quarter of a century when finished...[The work is] being proceeded with in all due haste; several years, however, will yet be required for its restoration to the rank it deserves to occupy as one of the most perfect specimens of Gothic art in France...M. Viollet-le-Duc, the eminent architect charged with this colossal undertaking...informs us that the restoration was commenced...in 1845...and will be completely terminated in 1869...This splendid facade, the finest portion of one of the most richly decorated of Christan edifices, and equally remarkable for the perfect unity of its sentiment and the grandeur of its proportions, was begun...in 1210...The stone spires originally intended to be added to the towers...were never erected. M. Viollet-le-Duc also kindly informs us that, if the western facade...had been totally reconstructed, the cost would have been twenty-five millions of francs at least; whereas the restoration of this portion (including the belfries in the towers) will have been accomplished, in the most satisfactory manner, for about two millions of francs (£80,000)'. From "Illustrated London News", 1862. Restoration of Notre Dame, Paris: the Western Façade, 1862. Creator: Felix Thorigny. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE CHIMPANZEE AND THE OURANG-OUTANG AT THE ZOOLOGICAL SOCIETY'S GARDENS, REGENT'S PARK, 1864. CREATOR: PEARSON.

The chimpanzee and the ourang-outang at the Zoological Society's Gardens, Regent's Park, 1864. 'The new monkey-house lately erected now contains specimens of both of the best known species of apes usually called "Anthropoid," from their resemblance to mankind. These are the ourang (Simia satyrus) and the chimpanzee (Troglodytes niger)...The ourang is a young female about four years old...In its native state the ourang is only found in Borneo and certain parts of Sumatra...The chimpanzee, also a young female...was brought into Liverpool by the last mail steamer from the West Coast of Africa, and there purchased for the society by the superintendent of the gardens, who was dispatched to secure the prize upon its arrival... It has been stated that the ourang and chimpanzee had never before been exhibited together; but this, we believe, is not strictly correct...In 1831...two so-called "orangutans" were exhibited at the Egyptian Hall, Piccadilly, one of which, from the details given, appear to have been, without doubt, a chimpanzee. This fact, however, it may be supposed, will scarcely prove any detraction from the interest excited by the present pair of "Anthropoids," who have already received a host of fashionable visitors'. From "Illustrated London News", 1864. The chimpanzee and the ourang-outang at the Zoological Society's Gardens, Regent's Park, 1864. Creator: Pearson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

VIEWS IN CHINA: THE LITTLE ORPHAN ROCK, ON THE RIVER YANG-TZE-KIANG, 1864. CREATOR: UNKNOWN.

Views in China: the Little Orphan Rock, on the River Yang-Tze-Kiang, 1864. Engraving from a sketch by Mr. F. L. Bedwell, of '...a view of the Little Orphan Rock - a most remarkable islet, situated in the River Yang-Tze-Kiang. It is about 400 ft. high, and inaccessible, except by one flight of steps. A few Buddhist monks live here, in a temple erected on a ledge near the summit'. From "Illustrated London News", 1864. Views in China: the Little Orphan Rock, on the River Yang-Tze-Kiang, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

VIEWS IN CHINA: THE CLIFF AND TEMPLE AT HUKAU, 1864. CREATOR: UNKNOWN.

Views in China: the cliff and temple at Hukau, 1864. Engraving from a sketch by Mr. F. L. Bedwell, of '...the Cliff and Temple at Hukau, which place, at the entrance of the Poyang Lake, has a very singular aspect. The River Yang-Tze-Kiang washes the foot of this cliff. The overhanging rock rises to a height of about 200 ft., and on the summit is perched a temple, occupied by a few priests. The water-marks on the side of the rock show most clearly the great height to which the river rises in the summer, whin swollen by the mountain torrents'. From "Illustrated London News", 1864. Views in China: the cliff and temple at Hukau, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)