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THE SHAKSPEARE COMMEMORATION AT STRATFORD-ON-AVON: SCENE FROM "THE COMEDY OF ERRORS"...1864. CREATOR: UNKNOWN.

The Shakspeare Commemoration at Stratford-On-Avon: scene from "The Comedy of Errors", as performed in the Festival Pavilion, 1864. Celebrating the tercentenary of William Shakespeare's birth. Play performed by the company of the Princess's Theatre. 'It is the scene in which Antipholus of Syracuse, being mistaken for his brother of Ephesus by the wife of the latter, is accosted, very much to his astonishment, with conjugal entreaties and reproaches, by Adriana, whom he never saw before in his life. She has been scolding him for his neglect, and she now insists upon taking his arm and leading him home to dinner; while Dromio, no less astonished than his master, cries out that they have got into fairyland, and are transformed, in mind and shape, by some fallacious arts of magic. This Dromio (of Syracuse) is Mr. Charles Webb, whom nobody can distinguish from his brother Henry, the Dromio of Ephesus; Mr. George Vining is the Antipholus of Syracuse, and the Adriana is Miss Caroline Carson. "The Comedy of Errors," as performed at the Princess's and at the Stratford festival, is not the entire work of Shakspeare, but an abridgment or condensation, forming but a single act'. From "Illustrated London News", 1864. The Shakspeare Commemoration at Stratford-On-Avon: scene from "The Comedy of Errors"...1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

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)

THE SHAKSPEARE COMMEMORATION AT STRATFORD-ON-AVON: MR. E. F. FLOWER, THE MAYOR OF STRATFORD, 1864. CREATOR: UNKNOWN.

The Shakspeare Commemoration at Stratford-On-Avon: Mr. E. F. Flower, the Mayor of Stratford, 1864. Portrait of '...Edward Fordham Flower, the Mayor of Stratford-on-Avon, who has exerted himself so much in the last six months to make all the arrangements for the Shakspeare festival...[He] settled at Stratford-on-Avon, where, two years before, he had inscribed his name in the visitors' book in Shakspeare's house as "Citizen of the World." The Duke of Wellington's Government had just then taken the tax off brewery beer. Until then there had been few public breweries in Warwickshire; but, in 1832, Mr. Flower opened a brewery. He went steadily on, and ultimately achieved a fair amount of success. At the end of thirty years he gave up the brewery to two of his sons...He is a magistrate for the county of Warwick, and has been four times Mayor of Stratford-on-Avon, having served in the years '51 and '52, after which he retired from holding office in the town until two years ago. Then, in anticipation of the "Tercentenary" [of William Shakespeare's birth], a numerously-signed requisition from the inhabitants was sent to induce him again to become Mayor, that he might take a leading part in celebrating this occasion'. From "Illustrated London News", 1864. The Shakspeare Commemoration at Stratford-On-Avon: Mr. E. F. Flower, the Mayor of Stratford, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE LATE ALARIC ALEXANDER WATTS, 1864. CREATOR: UNKNOWN.

The late Alaric Alexander Watts, 1864. Engraving from a photograph by Messrs. J. and C. Watkins. Alaric Watts was '...the editor...of "The Literary Souvenir"...It was the first of the annuals; and the plan of such a serial miscellany, when proposed to him by Messrs. Hurst and Robinson, was a novelty in England...Mr. Watts's notion was, that poems and short prose sketches by popular writers of the day might here be associated with highly finished line-engravings from the best examples of the English school of painting. Some of the finest works of Turner, Leslie, Stothard, Roberts, Lawrence, Collins, Danby, and Martin were engraved, at his suggestion, by the hands of Heath, Finden, Watt, Goodall, and Pye, and were published in the "Literary Souvenir." The sale of this annual reached on one occasion the number of 14,000 copies. After its discontinuance, in 1834, Mr. Watts edited, for three years, the Cabinet of Modern Art. He was at the same time editor of the United Service Gazette, and remained its editor until 1843. He was subsequently connected with the Standard and other newspapers. A handsome collected edition of Mr. Watts's poetical pieces appeared in 1851, with the title of "Lyrics of the Heart".' From "Illustrated London News", 1864. The late Alaric Alexander Watts, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE SHAKSPEARE COMMEMORATION: SCENE FROM..."KING HENRY IV.", PART I, PLAYED AT DRURY LANE..., 1864. CREATOR: UNKNOWN.

The Shakspeare Commemoration: scene from Shakspeare's play of "King Henry IV.", Part I, as played at Drury Lane - Battle of Shrewsbury, in the last act, 1864. 'In our review of the performance at Drury Lane of this wonderful historical drama, we noticed not only the admirable manner in which the play is acted throughout, but the skill and effect with which, in the last act, the Battle of Shrewsbury was managed. The general melée was prepared for by stage arrangements which gave the greatest effect to it, both in regard to the suddenness of its appearance and the completeness of its accessories...[we] give the reader some notions of this remarkable scene by an Engraving...Such a representation cannot, it is true, give any great prominence to the principal actors; but it can display the confusion and the grandeur of the battle-field, which here scarcely shows as a stage-scene at all, but, in consequence of the excellent arrangements to which we have alluded, looks like the reality itself. Stage illusion has never been carried to a higher point, nor have the resources of our national stage ever been devoted to a worthier object. It is highly creditable to the management and to the public by whose patronage it has been supported'. From "Illustrated London News", 1864. The Shakspeare Commemoration: scene from..."King Henry IV.", Part I, played at Drury Lane..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PORTRAITS OF SHAKSPEARE, 1864. CREATOR: UNKNOWN.

Portraits of Shakspeare, 1864. '...according to the best authorities, there is not even a portrait for which it can be asserted that he sat...The centre...[portrait] is the most authenticated and the earliest representation of the poet that we have. It is the bust in the chancel of Stratford Church, over against his tomb...The next portrait is that prefixed to the folios of 1623...it is in the right upper comer...[and] is the print by [Martin] Droeshout...The portrait which belongs to the nation, and which was asserted to be that of Shakspeare, we have engraved to the left of the bust. It is generally called the Chandos picture...On the left of the Droeshout picture we have engraved one from a print by Marshall...[from] the 1640 edition of Shakspeare's poems...The Somerset portrait, on the right of the bust...[is] stated to have been painted by Cornelius Jansen...The Felton Head, which is in the right lower corner, is from a fine painting, said to be by Burbage, but possessing, unfortunately, very little documentary evidence...Our last head, to the left of the Felton...is after a print by Simon, and was for a long time in possession of Cosway, who asserted that it was painted by Zoest, or, as he and others persist in spelling it, Zoust'. From "Illustrated London News", 1864. Portraits of Shakspeare, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE LAST SHEET OF SHAKSPEARE'S WILL, 1864. CREATOR: UNKNOWN.

The last sheet of Shakspeare's will, 1864. Facsimile of '...the only piece of paper upon which our great poet's name is traced undeniably by his own hand...It is only lately that the Judge of the Probate Court has given permission to have the will photographed...The following is a modernised copy: Item, I give unto my wife my second best bed, with the furniture. Item, I give and bequeath to my said daughter Judith my broad silver- gilt bowl. All the rest of my goods, chattels, leases, plate, jewels, and household-stuff whatsoever, after my debts and legacies paid, and my funeral expenses discharged, I give, devise, and bequeath to my son-in-law, John Hall, gent., and my daughter Susanna his wife, whom I ordain and make executors of this my last will and testament. And I do entreat and appoint the said Thomas Russel, Esq., and Francis Collins, gent., to be overseers hereof. And do revoke all former wills, and publish this to be my last will and testament In witness whereof I have hereunto put my hand, the day and year first above written. By me, William Shakspere - Witness to the publishing hereof, Fra. Collyns, Julius Shaw, John Robinson, Hamnet Sadler, Robert Whatcoat'. From "Illustrated London News", 1864. The last sheet of Shakspeare's will, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

CAST OF SHAKSPEARE'S FACE, 1864. CREATOR: UNKNOWN.

Cast of Shakspeare's face, 1864. Death mask of English playwright, poet and actor William Shakespeare (1564-1616). The cast from the face of Shakspeare, supposed to have been taken after his death, has been photographed and published by the London Stereoscopic Company'. From "Illustrated London News", 1864. Cast of Shakspeare's face, 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)

SHAKSPEARE SALVER AND JUG, 1864. CREATOR: UNKNOWN.

Shakspeare salver and jug, 1864. Commemoration of the Tercentenary of Shakespeare's birth. 'The ale jug and salver, manufactured by Messrs. Minton, Hollis [sic], and Co., of Stoke-upon-Trent, were designed by Mr. Frederick Brett Russell, in commemoration of the tercentenary festival. The material of which they are made is gris de Flandres, enriched with blue enamel. Their form and style of ornamentation are in strict accordance with the art of the Elizabethan period. The bowl of the jug is encircled with a laureated band, with the inscriptions "Will. Shakspeare, born 1564," on one side, and "Tercentenary, 1864," on the other, but connected in the centre by a cartouche, which contains a medallion of the poet. The neck of the jug is jewelled, as is the handle, at the thumbpiece of which there is a smaller cartouche, with the monogram "V. R." The remaining ornamentation of the jug consists chiefly of a conventional treatment of scallop-shells. The salver bears in its centre a medallion of Shakspeare inclosed in a border of laurel, and on its rim, between four escutcheons, which are inscribed with "E. R.," "W. R.," "V. R.," and the arms of Shakspeare, we read that sentence of Ben Jonson, "He was not of an age, but for all time."' From "Illustrated London News", 1864. Shakspeare salver and jug, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

MESSRS. HUNT AND ROSKELL’S SHAKSPEARE MEDAL, 1864. CREATOR: UNKNOWN.

Messrs. Hunt and Roskell's Shakspeare medal, 1864. Commemoration of the Tercentenary of Shakespeare's birth. 'Medal, designed by Mr. John Bell and executed by Mr. L. C. Wyon. Its obverse side presents a head of Shakspeare, the likeness, in profile, being copied from the Stratford bust, combined with the Chandos portrait. Under this is a facsimile of his autograph signature, inclosed in a wreath of wild flowers, among which are the primrose, cowslip, wild rose, honeysuckle, water-lily, hemlock, foxglove, bramble-berries, meadowsweet, and bindweed twining about a hazel wand. The titles of all Shakspeare's plays and poems are inscribed on the face of the medal around the head of the poet. On the reverse side is the figure of Shakspeare glorified, sitting upon a cloud, with three female figures, which personate the three centuries; two of them have already laid their wreaths upon the scroll that lies open on his knee; but the third, which is the present century, puts a wreath upon his head'. From "Illustrated London News", 1864. Messrs. Hunt and Roskell’s Shakspeare medal, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE SEAL OF THE NATIONAL SHAKSPEARE COMMITTEE, 1864. CREATOR: UNKNOWN.

The Seal of the National Shakspeare Committee, 1864. Commemoration of the Tercentenary of Shakespeare's birth. 'We have engraved the design of the official seal of the National Shakspeare Committee. It is by Mr. John Leighton. It exhibits the Stratford bust of the poet, supported by the Muses of Tragedy and Comedy, both of them furnished with wings, and crowned with tongues of fire. The emblem of Eternity, a Serpent coiled in a circle, encompasses this group. The "Swan of Avon" is below it; while above it are the arms of Shakspeare, and the monograms of Queen Elizabeth and Queen Victoria. Around the whole are inscribed the well-known sentences: "He was a man, take him for all in all, We shall not look upon his like again. Not for an age, but for all time".' From "Illustrated London News", 1864. The Seal of the National Shakspeare Committee, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE SHAKSPEARE COMMEMORATION IN LONDON: UNVEILING A BUST OF SHAKSPEARE..., AGRICULTURAL HALL, 1864. CREATOR: UNKNOWN.

The Shakspeare Commemoration in London: unveiling a bust of Shakspeare at the Agricultural Hall, 1864. View of a ' musical and dramatic fete at the Agricultural Hall, Islington...[There] were dramatic recitals by Mr. Henry Marston, Mr. James Bennett, Mr. J. L. Toole, and Mr. Paul Bedford (by the kind permission of B. Webster, Esq.). At ten o'clock the colossal Tercentenary Bust, modelled for the occasion by Mr. Charles Bacon, was crowned by the people at the hands of Tragedy and Comedy, and the grand chorale "England's Minstrel King" was sung by a monster choir...The hall was decorated with one hundred Shakspearean banners. The famous hostelries of Shakspeare's time, including the Boar's Head, East Chepe; the Falcon, the Mermaid, the Devil, and the Tabard, in Southwark, were revived, to supply, in addition to the ordinary refreshments, sack, canary, capons, venison pasties, and other dishes and liqueurs of the Elizabethan era, the attendants being clad in the costume of the period. The band and chorus, of 2000, was conducted by Mr. Benedict'. From "Illustrated London News", 1864. The Shakspeare Commemoration in London: unveiling a bust of Shakspeare..., Agricultural Hall, 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)

THE SHAKSPEARE COMMEMORATION IN LONDON: PLANTING AN OAK ON PRIMROSE HILL, 1864. CREATOR: UNKNOWN.

The Shakspeare Commemoration in London: planting an oak on Primrose Hill, [London], 1864. The Working Men's Committee plants an oak tree '...in honour of the English poet...Mr. Phelps, the most popular of English Shakspearean actors, had consented to perform the office...The southern face of the hill was covered with people...A large square space, below the steep ascent, was inclosed with an iron railing, and reserved for those who paid their shilling to enter...Mr. George Cruikshank...wore his volunteer uniform...But Mr. Phelps, who is deservedly a favourite of the London working men-having taught them to understand and enjoy Shakspeare by his high-minded management of Sadler's Wells - was received with the most enthusiastic welcome...he stood before the applauding multitude, and waited while the tree, with much of the soil of Windsor clinging to its roots, was lifted and set upright in a hole which had been dug for its reception...That vast multitude...testified to the intense feeling of devotion and reverence they had for the memory of their illustrious countryman; and the committee felt, acting for their countrymen at large, that to no fitter hands than those of Mr. Phelps could be consigned the work of the day...(Protracted cheering)'. From "Illustrated London News", 1864. The Shakspeare Commemoration in London: planting an oak on Primrose Hill, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE SHAKSPEARE COMMEMORATION: BANQUET IN THE PAVILION, STRATFORD-ON-AVON...EARL OF CARLISLE..., 1864 CREATOR: UNKNOWN.

The Shakspeare Commemoration: banquet in the pavilion at Stratford-on-Avon...the Earl of Carlisle proposing "The Memory of Shakespeare", 1864. '...the pavilion...had been so constructed that it might serve the purposes, alternately, of a dining-hall, a theatre, and a ball-room. The upper table, reserved for the president and most distinguished guests, was placed in front of the stage, in place of the movable orchestra. Behind the table were the reporters, and behind these again were the choir of Stratford church, who enlivened the proceedings with some vocal music. The floor in front of the orchestra, where the pit is situated when the pavilion is used as a theatre, were eight tables, placed at right angles to the president's table; and some other tables were placed on the stage itself, or in front of the grand tier of boxes. About 700 ladies and gentlemen sat down to eat, while there were hundreds more as spectators in the galleries. The interior of the pavilion...was seen to great advantage when filled with company and converted to the purpose of a social entertainment. The stage was backed with a landscape scene, which gave to the banquet at the tables immediately adjoining somewhat the aspect of a fête champêtre'. From "Illustrated London News", 1864. The Shakspeare Commemoration: banquet in the pavilion, Stratford-on-Avon...Earl of Carlisle..., 1864 Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

TABLEAU OF SHAKSPEARE CHARACTERS, DESIGNED BY JOHN GILBERT, 1864. CREATOR: W THOMAS.

Tableau of Shakspeare characters, designed by John Gilbert, 1864. Illustration celebrating the tricentenary of Shakespeare's birth. 'In the foreground...[is] the unhappy Prince of Denmark...while poor Ophelia, frenzied with his neglect of her, plays with her silly posies, and sings her wild song before she dies...the vindictive Jew sharpening his knife and poising his scales...beneath the pelting of the pitiless storm, accompanied by the Fool and the Madman at midnight on the bare heath, old Lear declares the raging tempest less unkind than his ungrateful daughters...Above, the jealous Moor, turning a dreadful glance upon his innocent and imploring wife, receives the poisonous falsehood which a traitor is pouring into his ear...As we see on the left hand King Henry VIII., leaning upon the shoulder of Wolsey, we expect the Cardinal's fall under that dangerous weight of royal favour. On the right hand...Here are the phantoms of witchcraft that met the gaze of Macbeth; here is Puck, laden with the ass's head to be fixed on the shoulders of that ass Bottom; here is Ariel, the delicate and crafty sprite, hovering at the magician's hand'. From "Illustrated London News", 1864. Tableau of Shakspeare characters, designed by John Gilbert, 1864. Creator: W Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

GARIBALDI IN ENGLAND: THE MEETING OF GARIBALDI AND TENNYSON AT FARINGFORD HOUSE, ISLE OF WIGHT, 1864 CREATOR: MASON JACKSON.

Garibaldi in England: the meeting of Garibaldi and Tennyson at Faringford House, Isle of Wight, 1864. Italian hero General Garibaldi at Tennyson's house in Freshwater. From "Illustrated London News", 1864. Garibaldi in England: the meeting of Garibaldi and Tennyson at Faringford House, Isle of Wight, 1864 Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

LECTERN AND BIBLE PRESENTED TO THE PRINCE OF WALES, 1864. CREATOR: UNKNOWN.

Lectern and Bible presented to the Prince of Wales, 1864. 'We have engraved a photograph of the carved oak Lectern or reading-desk, with the Bible upon it, which were, along with a Common Prayer-book, lately presented to the Prince of Wales by the Earl of Dalhousie, the Earl of Shaftesbury, Lord Charles Russell, the Hon. A. Kinnaird, and other gentlemen, in the name of more than eight thousand subscribers of one shilling each, as a token of their loyal attachment to the son of our Queen, with their earnest congratulations upon his marriage. The deputation, about twenty in number, had an interview with his Royal Highness at Marlborough House...when their address was read to him by Mr. Richard Nugent, the hon. secretary...The Bible, Prayer-book, and lectern were all prepared by Messrs. S. Bagster and Sons, of Paternoster-row. The first is a large-paper copy of Bagster's edition, "The Comprehensive Bible." with notes, references, maps, and parallel passages. It is finely bound and decorated with exquisite taste. The Lectern is of a Gothic design, from drawings by Mr. G. R. Clarke. It bears the arms of the Prince, with coronet and plume, at each end; the finials at the top are lily blossoms and buds'. From "Illustrated London News", 1864. Lectern and Bible presented to the Prince of Wales, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

WEDDING PRESENTS FROM THE QUEEN TO THE PRINCESS OF WALES: SILVER VASE..., 1864. CREATOR: UNKNOWN.

Wedding presents from the Queen to the Princess of Wales: silver vase to accompany the centrepiece, 1864. An 'admirable piece of workmanship [consisting of] a silver centrepiece, of tazza form, richly chased and partially gilt...The side ornaments to accompany this piece are vases of Etruscan form, and bear on the foot of each a shield, on which are the Royal arms...and on the cover of the vase is a figure of a Welsh bard holding the harp of his country. The plate has been designed by A. J. Barrett, and executed...by Messrs. Hunt and Roskell'. From "Illustrated London News", 1864. Wedding presents from the Queen to the Princess of Wales: silver vase..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE AMBASSADORS FROM MADAGASCAR, 1864. CREATOR: UNKNOWN.

The Ambassadors from Madagascar, 1864. Engraving from carte-de-visite photographs by M. Chambay. 'Their Excellencies Rainandrianandraina and Rainiferingia, the Ambassadors to Queen Victoria from Queen Rasoahery (her name is, literally translated, "The Strong-minded Woman"), arrived at Southampton by the Poonah about a fortnight ago. They have not yet been presented at Court; but they appeared one evening on the seats appropriated to the use of foreign diplomatists and other distinguished visitors who wish to hear a debate in our House of Commons...It will be observed that these representatives of Madagascar, who can speak a little English, dress in European costume. They are pleasant, jovial-looking men, of middle age. Their dark complexions and thick lips are characteristic of the Malagasy race. Rainandrianandraina, who has his hat on the table, is a nobleman of the Fourteenth Honour and Aide-de-Camp to the Prime Minister. His colleague, Rainiferingia, who wears white trousers, is also a distinguished person at the Madagascar Court...It is understood that they are charged with a special mission of some political importance'. From "Illustrated London News", 1864. The Ambassadors from Madagascar, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

A TRAIN OF THOUGHT, BY J. D. WATSON, IN THE WINTER EXHIBITION, 1864. CREATOR: W THOMAS.

A Train of Thought, by J. D. Watson, in the Winter Exhibition, 1864. '...the subject of this picture...is simply a young, intelligent, and gallant-looking fellow, dressed in Elizabethan doublet, raff, trunk hose, and slashed shoes, sitting on a carved chest or cabinet, and nursing one leg in an attitude of meditation. He seems to have fallen into a "train of thought," suggested by the book he has been reading. His thoughtful physiognomy, his books, his dress, and bearing allow us to conjecture that, like Raleigh and other celebrities of the time, he may be at once scholar and soldier, an author and literary student, and at the same time a courtly, gallant, and adventurous man of the world. What book is he reading?...The book is shut, and he keeps his index-finger between the leaves, so that we cannot tell what it is; and we must be content to peruse the reader's face, and guess at his "Train of Thought." We must add, in justice to the artist, that...his skill as a draughtsman on wood is shown in our Engraving; and we may add that he is as much at home in water, colours as in oil, or with "the point".' From "Illustrated London News", 1864. A Train of Thought, by J. D. Watson, in the Winter Exhibition, 1864. Creator: W Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

VIEWS OF MERTON COLLEGE, OXFORD: THE LIBRARY, 1864. CREATOR: MASON JACKSON.

Views of Merton College, Oxford: the Library, 1864. 'Two sides of [the Mob Quadrangle] are occupied by the Library, built by William Rede, Fellow of the college in 1319, and afterwards Bishop of Chichester. He is said to have been his own architect. It is one of the earliest and perhaps now the most genuine, ancient library in the kingdom, and is the prototype of our public libraries. The more ancient window retains some original armorial glass'. From "Illustrated London News", 1864. Views of Merton College, Oxford: the Library, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ALFRED TENNYSON, THE POET LAUREATE, 1864. CREATOR: MASON JACKSON.

Alfred Tennyson, the Poet Laureate, 1864. Engraving of the English poet Alfred, Lord Tennyson (1809-1892) from a photograph '...by W. Jeffrey, of Great Russell-street; published by Messrs. Marion and Co., of Soho-square'. From "Illustrated London News", 1864. Alfred Tennyson, the Poet Laureate, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

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

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

THE ESCAPE, BY R. BEAVIS, FROM THE EXHIBITION OF THE ROYAL ACADEMY, 1864. CREATOR: W THOMAS.

The Escape, by R. Beavis, from the Exhibition of the Royal Academy, 1864. Engraving of a painting depicting a '...chivalric and important personage - a [Scottish] Border chieftain, we should say - one who, though here obliged to ride for his life, loves fighting even more than plundering. Our impression is confirmed by the quotation which follows the title in the catalogue of the recently-closed Exhibition...: "his sole delight, The moonlight raid, the morning fight". This is a quotation from the fourth canto of Scott's "Lay of the Last Minstrel," and applied to the brave old Lord of Harden...we own to always feeling a fresh and thrilling interest in the Border-stories of daring exploit and hairbreadth escape. And in seeing the imminent peril of this chief, so vividly placed before us by Mr. Beavis, and that, too, threatening a Border hero, who, judging by the blazing buildings in the distance, appears, single-handed, to have done mischief enough for many, and who even now seems half disposed to turn upon his pursuers - can we help sympathising even with the apparent wrongdoer, or expressing a wish that the carbine-bullet will miss, so that...he may soon laugh at his pursuers, and, as the title seems to promise, may safely effect his "escape"?'. From "Illustrated London News", 1864. The Escape, by R. Beavis, from the Exhibition of the Royal Academy, 1864. Creator: W Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

GOODWOOD RACES: THE CHESTERFIELD CUP, 1864. CREATOR: UNKNOWN.

Goodwood Races: The Chesterfield Cup, 1864. 'The Chesterfield Cup is a group in oxydised silver, representing a knight rescuing a lady from a dragon. The subject is taken from Spenser's "Faerie Queen," and the horse and the figure of the woman clinging to her preserver have been admirably managed by Mr. H. Armstead, to whom the work of modelling was intrusted by Mr. Harry Emanuel, of Bond-street. It was won very easily by Mr. Whittaker's King of Utopia, against whom 16 to 1 was obtainable in a field of twenty-five'. From "Illustrated London News", 1864. Goodwood Races: The Chesterfield Cup, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE TASK OF ERINNA, THE GREEK POETESS, SCULPTURED BY H. S. LEIFCHILD,...ROYAL ACADEMY, 1864. CREATOR: UNKNOWN.

The Task of Erinna, The Greek Poetess, sculptured by H. S. Leifchild, from the exhibition of the Royal Academy, 1864. 'Erinna was...connected with the Lesbian school of Sappho...she is described as a native of Telos, a small island of the AEgean, and as dying, at the early age of nineteen, a victim to an excited imagination and the restraints imposed upon its indulgence. Instead of being permitted to engage in her favourite pursuits, she was kept closely employed at the spindle and other household avocations. To account, therefore, for the familiar allusions to her among the ancients as a Lesbian or Mitylenaean, we must conclude that her family settled in Mitylene. It would very naturally follow that simple, honest, Dorian parents should guard against the risk of their daughter being drawn into the neighbouring vortex of refined dissipation...there can be little doubt of the very free character and habits of the most gifted mistress of erotic verse and her Lesbian circle of female associates...It...[is] natural that..."a maiden of fervid temperament, conscious of her capacity to shine among the most brilliant members of the Sapphic sisterhood and exposed on every side to its seductive attraction, should pine under the disappointment".' From "Illustrated London News", 1864. The Task of Erinna, The Greek Poetess, sculptured by H. S. Leifchild,...Royal Academy, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

MESSRS COPE'S CHRISTMAS ENTERTAINMENT TO THEIR WORKPEOPLE AT ST. GEORGE'S HALL, LIVERPOOL, 1864. CREATOR: UNKNOWN.

Messrs Cope's Christmas entertainment to their workpeople at St. George's Hall, Liverpool, 1864. 'Mr. J. C. Cowper, the tragedian, recited, with great taste and feeling, Tennyson's ode, "The Death of the Old Year." This was succeeded by slow organ music, amidst which "the Old Year" reached the dais, where he stood and gazed round for a minute. As a deep-toned gong struck twelve, he turned and, lifting the curtains of the tent, retired as he disclosed the "New Year," a bright little creature, in a costume resembling that of Britannia. At this moment the light once more sprung up in the hall, the whole audience sang "Rule Britannia" and the National Anthem, while the fairy New Year entered a triumphal car, and was drawn across the hall, followed by the other figures in the pageant...The refreshments, even for such a large company, were ample, and admirably dispensed, and the dawn found some indefatigable dancers full of brisk appreciation of an entertainment which was successful, not only for the pleasure it afforded the guests, but as an expression of genuine and hearty interest between employers and workpeople'. From "Illustrated London News", 1864. Messrs Cope's Christmas entertainment to their workpeople at St. George's Hall, Liverpool, 1864. Creator: Unknown. (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)

SCENE FROM TENNYSON'S 'DORA', BY A. H. BURR, 1864. CREATOR: W THOMAS.

Scene from Tennyson's 'Dora', by A. H. Burr, 1864. Engraving of a painting. The '...reconciliation scene...We remember nothing finer in the whole exhibition than that rugged head of old farmer Allen, with the writhing of the hard muscles of the face, the tearful eyes, and clamped mouth - presenting so true an index of the contention between stern, resentful pride and newly-awakened remorse - hopeless regret and yearning paternal affection. The successful rendering of that most difficult thing in art - mixed emotion - is the more remarkable, because the artist places the old man (and, by-the-way, suggestively and poetically) with his back against the cheerful daylight of the window, and illumines his features only with the reflection from the fire over which at his desolate hearth he so bitterly broods. The expressions and gestures of Mary and Dora show equal insight and power of representing the unspoken but unmistakable language of the heart. Nor are any of the technical qualities of the picture inferior to its high mental characteristics...The dénouement of this domestic drama, or idyl, is that "Those four abode Within one house together; and as years Went forward, Mary took another mate; But Dora lived unmarried till her death".' From "Illustrated London News", 1864. Scene from Tennyson's 'Dora', by A. H. Burr, 1864. Creator: W Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE HOME THAT WAITS FOR ME, 1864. CREATOR: UNKNOWN.

The Home that Waits for Me, 1864. Sheet music: words by Mary Sidwell, music composed by M. W. Balfe. 'I feel our joyful meeting near, My mother bids me come, One happy week of all the year, I live with her at home. I leave the children here to play, They will be running wild; Yet must their teacher go away, Herself to be a child. I dwell in service her with those Who are not like my own; And when at eve the lessons close, I sit and think alone. I sit and think alone...I sit and think alone...For some I love are far away, And some from earth are sped; And on a sad and sacred day, We saw our father dead. He told us, just before, his grief, To leave our mother poor; But friends have kindly brought relief, And I can help the store. I go to make her heart rejoice; My holiday is this: I come, I hear a gentle voice; I feel a tender kiss; I cry, and fall into her arms, Where once a babe I lay; There all our troubles and alarms Are sweetly sobb'd away; And looking up thro' happy tears, I see the dear old face That haunts me ever, all the years, I labour in my place. Ah, mother, could we ever part? With you I still must be; I always carry in my heart the home that waits for me'. From "Illustrated London News", 1864. The Home that Waits for Me, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

HACCO, THE DWARF: MAUD AND ROBERT, 1864. CREATOR: SWAIN.

Hacco, The Dwarf: Maud and Robert, 1864. Illustration by G. J. Pinwell to a book by Henrietta Lushington. From "Illustrated London News", 1864. Hacco, The Dwarf: Maud and Robert, 1864. Creator: Swain. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE YOUNG YACHTSMEN: GRANVILLE AND THE BEAR, 1864. CREATOR: UNKNOWN.

The Young Yachtsmen: Granville and the Bear, 1864. Illustration to a book by Anne Bowman. From "Illustrated London News", 1864. The Young Yachtsmen: Granville and the Bear, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

HOME THOUGHTS: THE CHILD AMONG THE ROCKS, 1864. CREATOR: DALZIEL BROTHERS.

Home Thoughts: the Child among the Rocks, 1864. Illustration to a book of poetry: "Home Thoughts and Home Scenes", in original poems...blazing outside with scarlet and gold and sparkling inside with poetical gems and brilliant specimens of Illustrative talent, will make a right royal present. The Illustrations, by A. B. Houghton, engraved by the Brothers Dalziel, are excellent in quality and profuse in number. Mr. Houghton's children seem positively to live. The poetical accompaniment to our Engraving of "The Child Among the Rocks" is the composition of Dora Greenwell, and it will be seen from the opening lines: Underneath thy feet are rocks, and o'er thee Hang the heavy cliffs, &., how picture and poesy harmonise'. From "Illustrated London News", 1864. Home Thoughts: the Child among the Rocks, 1864. Creator: Dalziel Brothers. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

KING CHEER - DRAWN BY JAMES GODWIN, 1864. CREATOR: MASON JACKSON.

King Cheer - drawn by James Godwin, 1864. Illustration to a poem by George MacDonald. 'King Cheer he reigned in Aureoland, "With a cup for a sceptre in his hand; A jolly King at trencher and cup-He ate enough, but he drank all up, Till his head began to totter and shake, And his hands and his feet to stiffen and ache. The doctors were called, but they dared not say, "Your Majesty drinks too much tokay."...And Christmas Eve had brought no mirth, And the King thought nothing was good in the earth. Up rose the fool, whose every word Was three parts wise and one part absurd...The fool went down and opened the gate. In came a bowed man, hungry and cold, And he knelt at the dais all floored with gold. The fool caught up the King's golden plate, And set it before him. The hungry man ate. And the King beheld, with a pleased surprise, How he ate with his mouth, and his cheeks, and his eyes. And he rose himself, and took him the cup-"Drink it out," said he, " and I'll fill it up."...And hence the blissful custom was bred That at Christmas time, when the holly is red, The palace-gates stood open wide, And the poor came in from every side...And such a king in the world was none'. From "Illustrated London News", 1864. King Cheer - drawn by James Godwin, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

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

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

OLD CHRISTMAS, 1862. CREATOR: UNKNOWN.

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

FACE TO FACE: EFFIE BLOUNT'S EXPLANATION, 1862. CREATOR: UNKNOWN.

Face to Face: Effie Blount's Explanation, 1862. Illustration to a short story by John Saunderss. From "Illustrated London News", 1862. Face to Face: Effie Blount's Explanation, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

LORD RIVERDALE'S REPENTANCE: THE LAST HOME OF THE RIVERDALES - DRAWN BY SAMUEL READ, 1862. CREATOR: W THOMAS.

Lord Riverdale's Repentance: the Last Home of the Riverdales - drawn by Samuel Read, 1862. Illustration to a short story by William J. Stewart. 'The pale wintry sunlight was streaming in through the open doorway of the old church...So they had laid her here, then, at her mother's feet...He remembered that when they sent to him and asked should she rest by her mother's side, he had answered them, angrily - no!...True, she had died, and young. But from no fault of his...But it was not to give the rein to thoughts like these, be sure, that John Lord Riverdale had travelled hither this wintry day to the last home of his lordly race...the wintry sunlight had gone, and the old church felt very damp and chill...The night closed in with strange and startling rapidity; the shadows of the old tombs and rare carved work were blotted out abruptly; the western windows, a few moments back warm with a mellow light, grew chilly grey...He had stood so long in that posture, leaning forward on his stick, that, when he essayed to move, his muscles were stiff and declined to perform their office...'. From "Illustrated London News", 1862. Lord Riverdale's Repentance: the Last Home of the Riverdales - drawn by Samuel Read, 1862. Creator: W Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

LORD RIVERDALE'S REPENTANCE: GEORGE RESCUING HIS GRANDFATHER, DRAWN BY A. HUNT, 1862. CREATOR: MASON JACKSON.

Lord Riverdale's Repentance [by William J. Stewart]: George rescuing his grandfather, drawn by A. Hunt, 1862. 'That hand was nearer to him at that moment than he dreamt. The thought of George so filled his mind as for a moment to exclude all consideration of his danger. He was recalled to it by a crashing blow upon the window, shattering it. His time had come, then. He turned to meet his death. The window was flung up then, and not death, but George Cowper, with hope of life and rescue, leaped into the room. The old man fell back. "Good Heaven!" he cried, "you here?"..."If you will be calm, Sir," [George] said, "no life need be lost"...He led him to the window and bade him look out. Some yards off the old Lord saw a projecting ledge of roof, reached from below by other similar ledges, upon which were gathered figures watching them. To this spot there ran beneath the window a narrow sloping ledge, not a dozen inches wide, upon which there did not seem purchase for a goat, much less a human foot. But by that perilous path, clinging to the frail ivy boughs above him, George Cowper had come to his aid'. From "Illustrated London News", 1862. Lord Riverdale's Repentance: George rescuing his grandfather, drawn by A. Hunt, 1862. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

BIRKETT FOSTER'S "PICTURES OF ENGLISH LANDSCAPE": THE STEPPING-STONES, 1862. CREATOR: DALZIEL BROTHERS.

Birkett Foster's "Pictures of English Landscape": the Stepping-stones, 1862. Among books recently published and plainly intended to sell as a "Christmas present" or "New-Year's gift" is the volume from which we have borrowed an Illustration, "Birket Foster's Pictures of English Landscape," engraved by the Brothers Dalziel, with Pictures in Words by Tom Taylor (Routledge and Co.). We have selected one of the best engravings of this book...It is entitled "The Stepping-stones;" and we subjoin Mr. Taylor's versified accompaniment: "Still broad'ning on with every rood. None may the brook o'erleap, Even when innocent of flood, It's summer shallows sleep. Answ'ring the whispers of the beech, With whisper'd ripple-tones, From wavelets that scarce midway reach The sun-warmed stepping-stones. Too shallow, if it willed, to drown, The babes that cross its play; Too clear to hide one pebble strewn Along its harmless way. Ah! youth of man, and youth of stream Who dreams, while smooth and clear The summer-shallowed waters gleam. The winter spate so near? When every rounded stepping-stone, Where babies fearless stood, To fierce desire a barrier grown. Serves but to chafe the flood".' From "Illustrated London News", 1862. Birkett Foster's "Pictures of English Landscape": the Stepping-stones, 1862. Creator: Dalziel Brothers. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

BALDWIN'S "AFRICAN HUNTING": NATIVE CHASED BY BUFFALO COW AND CALF, 1862. CREATOR: JOHANN BAPTIST ZWECKER.

Baldwin's "African Hunting": native chased by buffalo cow and calf, 1862. 'Among the most interesting and exciting books recently published is Mr. Baldwin's journal of his hunting in South Africa in various regions...inhabited by Boers and Kaffirs [offensive term for Africans]. The interest of the narrative is rather increased than diminished from the circumstance that part of the ground had been traversed by Dr. Livingstone. Mr. Baldwin penetrated twelve degrees north of Port Natal, and as far as the Falls of the Zambesi, being the second European who has reached that marvellous scenery since its discovery in 1855, and the first from the east coast...The author speaks in the highest terms of the colony of Natal, describing it as the garden of Africa. The book contains...a number of spirited wood-engravings by Mr. Zwecker...[one of which] we have selected...A Kaffir servant, who had wounded a cow buffalo, is seen scrambling up into a tree, tearing his legs badly in doing so, to avoid the animal, which, with its calf or heifer, charged him. Having managed to throw up his gun before him, he reloaded and shot them both, else they might have kept him there a couple of days or more...This very entertaining volume is published by Mr. Bentley'. From "Illustrated London News", 1862. Baldwin's "African Hunting": native chased by buffalo cow and calf, 1862. Creator: Johann Baptist Zwecker. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE LIGHT OF OTHER DAYS - FROM A PAINTING BY J. T. LUCAS, 1864. CREATOR: MASON JACKSON.

The Light of Other Days - from a painting by J. T. Lucas, 1864. 'Old Watchman, thou who watchest not, We smile on thy non-vigil now: Sleep on, nor dream, thou slumbrous sot, That roystering Bucks prepare a row. Clutch not in thought the Dandy's fee, Nor seek to stop the fiery Blood, Nor wake to find thy Box and thee Down in the London kennel's mud...Of many a boon we Britons owe To one whom all good Britons praise, 'Tis not the least that at a blow He quenched the Light of Other Days. A better guardian fills your place, We're glad to know you 've passed away: But keep a copy of your face To help our mirth on Christmas Day. S. B.'. From "Illustrated London News", 1864. The Light of Other Days - from a painting by J. T. Lucas, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

SHAKSPEARE'S SONGS AND SONNETS, ILLUSTRATED, 1862. CREATOR: UNKNOWN.

Shakspeare's Songs and Sonnets, illustrated, 1862. Messrs. Sampson Low, Son, and Co. have just published an elegantly-bound edition, with illustrations by Mr. John Gilbert, of the songs and sonnets of Shakspeare - the beautiful lyrics scattered through the plays with which we are all familiar...It need scarcely be said that Mr. Gilbert's illustrations are, as usual, pleasing and generally fanciful...and that they are remarkable for graceful facility and beauty of execution. We give two samples...[one] illustrates Puck's song in "Midsummer Night's Dream": "Now the hungry lion roars, And the wolf behowls the moon; Whilst the heavy plowman snores, All with weary task foredone. Now the wasted brands do glow, Whilst the scritch-owl, scritching loud, Puts the wretch that lies in woe In remembrance of a shroud. Now it is the time of night, That the graves all gaping wide; Every one lets forth his sprite, In the churchway paths to glide; And we fairies, that do run By the triple Hecate's team, From the presence of the sun, Following darkness like a dream, Now are frolic; not a mouse Shall disturb this hallow'd house. I am sent, with broom before, To sweep the dust behind the door'. From "Illustrated London News", 1862. Shakspeare's Songs and Sonnets, illustrated, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

SHAKSPEARE'S SONGS AND SONNETS, ILLUSTRATED, 1862. CREATOR: UNKNOWN.

Shakspeare's Songs and Sonnets, illustrated, 1862. 'Messrs. Sampson Low, Son, and Co. have just published an elegantly-bound edition, with illustrations by Mr. John Gilbert, of the songs and sonnets of Shakspeare - the beautiful lyrics scattered through the plays with which we are all familiar...It need scarcely be said that Mr. Gilbert's illustrations are, as usual, pleasing and generally fanciful...and that they are remarkable for graceful facility and beauty of execution. We give two samples, one an illustration of "King Lear" - the King, Fool, and the song: "Blow, blow, thou winter wind, Thou art not so unkind As man's ingratitude; Thy tooth is not so keen, Because thou art not seen, Although thy breath be rude. Heigh-ho, sing heigh-ho, unto the green holly: Most friendship is feigning, most loving mere folly. Then heigh-ho the holly! This life is most jolly. Freeze, freeze, thou bitter sky, That dost not bite so nigh As benefits forgot; Though thou the waters warp, Thy sting is not so sharp As friends remember'd not. Heigh-ho! &c".' From "Illustrated London News", 1862. Shakspeare's Songs and Sonnets, illustrated, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE LOAN COLLECTION, SOUTH-KENSINGTON: QUEEN ELIZABETH'S PRAYER-BOOK, 1862. CREATOR: UNKNOWN.

The Loan Collection, South-Kensington, 1862. 'Queen Elizabeth's Prayer-book, bound in gold and enamelled, the workmanship of George Heriot. This interesting specimen of an historical goldsmith's skill contains a collection of prayers and meditations composed expressly for the Queen's use by the Lady Elizabeth Tirwit, her governess; she was a Falconbridge, and her arms, a lion with two tails, are printed inside. The prayers were printed in 1574 by A. Barker, whose device is seen on several leaves, a man stripping the bark from a tree, and the couplet, "A Barker if you will. In name but not in skill". This book was worn by the Queen suspended by a chain from her girdle through the two rings which are at the top. The cover is of gold, ornamented with coloured enamel figures in full relief. In front is represented the Raising of the Serpent in the Wilderness, an emaciated figure in the foreground, another is praying...On the back is represented the Judgment of Solomon...The edges and back...are decorated with black enamels. George Heriot was the favourite goldsmith and banker of James I. of England, and the founder of that noble institution "George Heriot's Hospital," at Edinburgh. (From the Duke of Sussex's collection.) George Field, Esq.'. From "Illustrated London News", 1862. The Loan Collection, South-Kensington: Queen Elizabeth's prayer-book, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE LOAN COLLECTION, SOUTH-KENSINGTON: MISSAL OF CLAUDE, QUEEN OF FRANCIS I., 1862. CREATOR: UNKNOWN.

The Loan Collection, South-Kensington, 1862. 'A magnificent missal, painted on vellum, with illuminated capitals, and whole leaves painted with illustrations from Scripture history, beautifully finished, 15th century. The cover is ornamented with black enamel scrolls on the borders and back, set with rubies and turquoises alternately, equidistant; on the sides are two large oval red cornelian intaglios of the Crucifixion, with St. Francis receiving the stigmata, and an altar of the Virgin and Child, on one side of which is St. Catherine, with palm-branch, sword, and wheel; on the other a male saint holding a palm-branch, with a castle, inscribed: "O, mater Dei, memento mei". In the angles are cherubs. Above and below the intaglios are two lines of gold letters on white enamel: "Adoramus te, Christo..." and "Maria, mater gratis...". On the clasp is a large cut garnet. Horace Walpole, in whose collection it was formerly, says: "This precious Prayer-book belonged to Claude, Queen of France, wife of Francis I., and seems to have belonged to Thuanus." It was bought by him at Dr. Mead's sale, in 1755; and at the sale of the Strawberry Hill collection, in 1842, it became the property of the Earl of Waldegrave. Frances, Countess of Waldegrave'. From "Illustrated London News", 1862. The Loan Collection, South-Kensington: Missal of Claude, Queen of Francis I., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

A PICTORIAL: THE WORD, 1864. CREATOR: MASON JACKSON.

A Pictorial: the Word, 1864. Christmas entertainment. From "Illustrated London News", 1864. A Pictorial: the Word, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

AUNT SALLY'S CHRISTMAS-BOXES: JOHN CRASS'S DISCOMFITURE - DRAWN BY A. HUNT, 1862. CREATOR: UNKNOWN.

Aunt Sally's Christmas-boxes: John Crass's Discomfiture - drawn by A. Hunt, 1862. Illlustration to a short story by Mark Lemon. From "Illustrated London News", 1862. Aunt Sally's Christmas-boxes: John Crass's Discomfiture - drawn by A. Hunt, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE BISHOPS OF THE FIVE DIOCESES OF THE UNITED CHURCH OF ENGLAND AND IRELAND IN CANADA, 1862. CREATOR: UNKNOWN.

The Bishops of the Five Dioceses of the United Church of England and Ireland in Canada, 1862. 'We have just received excellent photographs, taken by Mr. Notman, Montreal, of the Bishops...and we engrave their Portraits...The Hon. and Right Rev. John Strachan, D.D., is the senior of the Bishops...being eighty-four on his last birthday; he was consecrated as the first Bishop of Toronto in 1839. The Right Rev. G. J. Mountain, D.D...was consecrated as third Bishop of Quebec in 1836. The Right Rev. Benjamin Cronyn, D.D., was consecrated as first Bishop of Huron in 1857; and the Right Rev. J. T. Lewis, LL.D., was consecrated at Kingston, C.W., as first Bishop of Ontario on the 25th of last March, being the first time that any episcopal consecration has ever taken place in Canada. The Right Rev. Francis Tulford, D.D., was consecrated first Bishop of Montreal in 1850; and in 1860 he and his successors were constituted, by Royal Letters Patent, Metropolitans of the United Church of England and Ireland in Canada. As Metropolitan, his Lordship presided over the late provincial synod at Montreal, which commenced its session on Wednesday, Sept. 10, and was prorogued by him on the 17th'. From "Illustrated London News", 1862. The Bishops of the Five Dioceses of the United Church of England and Ireland in Canada, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

SQUIRE MAYDUKE'S DAUGHTER: WILL TEAGUE'S HOUSE - DRAWN BY SAMUEL READ, 1862. CREATOR: MASON JACKSON.

Squire Mayduke's Daughter: Will Teague's House - drawn by Samuel Read, 1862. Illustration to a short story by Augustus Mayhew. From "Illustrated London News", 1862. Squire Mayduke's Daughter: Will Teague's House - drawn by Samuel Read, 1862. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

CHRISTMAS STORY-TELLING - DRAWN BY J. E. MILLAIS, 1862. CREATOR: DALZIEL BROTHERS.

Christmas Story-telling - drawn by J. E. Millais, 1862. Victorian family entertainment. From "Illustrated London News", 1862. Christmas Story-telling - drawn by J. E. Millais, 1862. Creator: Dalziel Brothers. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE LATE WALTER SAVAGE LANDOR, 1864. CREATOR: UNKNOWN.

The late Walter Savage Landor, 1864. Engraving from a photograph by Mr. Herbert Watkins. 'Our readers may...look with some interest upon the portrait of a man of great originality and force of mind, who, having won a high rank in classical English literature, and taken his part in the battles of opinion for seventy years, died, the other day, at the great age of ninety, and left a name which will abide longer than those of some more facile and popular writers. He was born on the 30th of January, 1775, at Ipsley Court, Warwickshire; he died, on the 17th of September last, at Florence. Ten years ago, in anticipation of his own death, the poet composed three lines, which may perhaps serve for his epitaph: "Nature I loved, and next to Nature, Art; I warmed both hands before the fire of Life. It sinks, and I am ready to depart".' From "Illustrated London News", 1864. The late Walter Savage Landor, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE STOCKTON RACE CUP, 1864. CREATOR: UNKNOWN.

The Stockton Race Cup, 1864. Horse racing trophy. 'The Stockton cup, won by Bandarilla on Thursday, Sept. 1, was manufactured by Messrs. E. and E. Emanuel, of Portsmouth designed and modelled by Mr. H. O. Hale. The group of sculpture with which it is adorned takes its subject from a passage in the fifth book of Homer's "Iliad," describing the Grecian chiefs Nestor and Diomed riding in the same war-chariot'. From "Illustrated London News", 1864. The Stockton Race Cup, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

VALENTINE'S MORN, DRAWN BY MARCUS STONE, 1864. CREATOR: MASON JACKSON.

St. Valentine's Morn, drawn by Marcus Stone, 1864. 'In old times it was customary for a lover to place himself on Valentine's morn under his mistress's window, that he might be the first person to behold her on that day, and so be entitled to claim her as his Valentine for the year. "Beneath thy window, Sweetheart mine! I've watched since dawn of day, To greet thee as my Valentine And homage to thee pay; For thou art dearer to my heart Than all my tongue can say! The sun, just peeping o'er the hill, Smiles warmly on the sky; I long for such a smile from thee - A glance from thy bright eye - To drive the shadows from my heart And force my doubts to fly. Beneath thy lattice as I wait All nature slowly wakes; Far in the west retreating night Her dusky mantle shakes; Appear! and add to all the joy That rosy morning makes.Sweetheart! It needs but thy bright eyes To make the day complete; The changing colours of the dawn To me are not so sweet As those dear orbs of thine, which I Am waiting here to greet. Come forth, and let the blushing day Thy rival charms behold; Where thou art not the sun is dim, And all his rays are cold; Without thee all the world's a waste - A dark and dismal wold"'. From "Illustrated London News", 1864. Valentine's Morn, drawn by Marcus Stone, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

MARSHALL, BETWEEN C1915 AND C1920. CREATOR: BAIN NEWS SERVICE.

Marshall, between c1915 and c1920. Marshall, between c1915 and c1920. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

WILLIAMS, BETWEEN C1915 AND C1920. CREATOR: BAIN NEWS SERVICE.

Williams, between c1915 and c1920. Shows singer Irene Williams. Williams, between c1915 and c1920. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SIDONIE ESPERO, BETWEEN C1915 AND C1920. CREATOR: BAIN NEWS SERVICE.

Sidonie Espero, between c1915 and c1920. Shows actress Sidonie Espero. Sidonie Espero, between c1915 and c1920. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

A NUN OF POMORSKII-POCROVSKII CONVENT ON THE UPPER REACHES OF THE UBA RIVER, 1910. CREATOR: UNKNOWN.

A Nun of Pomorskii-Pocrovskii Convent on the Upper Reaches of the Uba River, 1910. The monasteries of the Pomorskie Sect of Old Believers, visited by archeographers from Novosibirsk, were the successors to the Pokrovskii women's monastery built there at the very beginning of the twentieth century with the financial support of Savva Morozov, a well-known textile mill owner who belonged to the Pomorskie Sect. A Nun of Pomorskii-Pocrovskii Convent on the Upper Reaches of the Uba River, 1910. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

GOSPEL BELONGING TO METROPOLITAN IONA IN THE VESTRY OF THE ASSUMPTION CATHEDRAL..., 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Gospel belonging to Metropolitan Iona in the vestry of the Assumption Cathedral in the Kremlin, Rostov Velikii, 1911. Gospel belonging to Metropolitan Iona in the vestry of the Assumption Cathedral..., 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

GOSPEL BELONGING TO THE NUN VARSANOFIIA, THE TSAREVNAS' GOVERNESS, TRINITY MONASTERY..., 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Gospel belonging to the nun Varsanofiia, the tsarevnas' governess, Trinity Monastery, Aleksandrov, 1911. Gospel belonging to the nun Varsanofiia, the tsarevnas' governess, Trinity Monastery..., 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PICTURES FROM THE 1603 GOSPEL, VESTRY OF THE IPATIEVSKY MONASTERY. KOSTROMA, 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Pictures from the 1603 Gospel, vestry of the Ipatievsky Monastery. Kostroma, 1911. Pictures from the 1603 Gospel, vestry of the Ipatievsky Monastery. Kostroma, 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PICTURES FROM THE 1603 GOSPEL, SACRISTY OF THE IPATIEVSKY MONASTERY, KOSTROMA, 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Pictures from the 1603 Gospel, sacristy of the Ipatievsky Monastery, Kostroma, 1911. Pictures from the 1603 Gospel, sacristy of the Ipatievsky Monastery, Kostroma, 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)