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DIE ROEMISCHEN ANSICHTEN (VIEWS OF ROME)/ RUINE DEL PALAZZO DE'CESARI IN ROMA, 1810. CREATOR: JOSEPH ANTON KOCH.

Die Roemischen Ansichten (Views of Rome)/ Ruine del Palazzo de'Cesari in Roma, 1810. From a series of 20 etchings in the series Die Roemischen Ansichten (Views of Rome). It depicts the ruins of the Palace of the Caesars on the Palatine Hill, Rome. Die Roemischen Ansichten (Views of Rome)/ Ruine del Palazzo de'Cesari in Roma, 1810. Creator: Joseph Anton Koch. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

LES CHANTRES ESPAGNOLS - LE LUTRE (THE SPANISH CANTORS, OR THE LECTERN), 1865. CREATOR: ALPHONSE LEGROS.

Les chantres Espagnols - Le Lutre (The Spanish cantors, or The lectern), 1865. A group of Spanish cantors – leaders of prayer – sitting together in a monastery. They appear to be rehearsing as two monks are standing at the lectern reading from a large book – possibly the copy of the Gospels - while the others are sitting in pews holding candlesticks. Les chantres Espagnols - Le Lutre (The Spanish cantors, or The lectern), 1865. Creator: Alphonse Legros. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

A MONK PRAYING, ST. FRANCIS, C.1877. CREATOR: FRANCIS SEYMOUR HADEN.

A monk praying, St. Francis, c.1877. The isolated figure of an austere monk - who the title indicates is Haden's image of St Francis of Assisi - looking up towards a tree with a crucifix; his right hand rests open on his chest, in devotion. A monk praying, St. Francis, c.1877. Creator: Francis Seymour Haden. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

VIRGIN AND CHILD WITH SAINTS FRANCIS, ANDREW, PAUL, PETER, STEPHEN, AND LOUIS OF TOULOUSE, C1317-21 CREATOR: UGOLINO DA SIENA.

Virgin and Child with Saints Francis, Andrew, Paul, Peter, Stephen, and Louis of Toulouse, c. 1317-21. Six Christian saints occupy arched panels on both sides of the Virgin Mary and infant Jesus, as angels peer down from above. Jesus reappears in the center of the upper tier, surrounded by Hebrew prophets. This painting’s rounded panels and triangular pinnacles suggest the architecture of its original location—it was made for the altar of a church. Altarpieces like this one, with gold backgrounds that would have reflected flickering candlelight, were designed to encourage churchgoers in their devotions. Virgin and Child with Saints Francis, Andrew, Paul, Peter, Stephen, and Louis of Toulouse, c1317-21 Creator: Ugolino da Siena. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MONK HOLDING A CROSS, 1445. CREATOR: DOMENICO VENEZIANO.

Monk holding a Cross, 1445. Monk holding a Cross, 1445. Creator: Domenico Veneziano. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SAINT MARTIN AND THE BEGGAR WITH SAINT ANTHONY, 1580. CREATOR: BASSANO, JACOPO, IL VECCHIO (AROUND 1510-1592).

Saint Martin and the beggar with Saint Anthony, 1580. Found in the Collection of the Museo Civico, Bassano del Grappa. Saint Martin and the beggar with Saint Anthony, 1580. Creator: Bassano, Jacopo, il vecchio (around 1510-1592). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

THE MEETING OF SAINT FRANCIS WITH SAINT DOMINIC, C.1665. CREATOR: PRETI, MATTIA (1613-1699).

The meeting of Saint Francis with Saint Dominic, c.1665. Found in the Collection of the Galleria Nazionale di Palazzo Spinola, Genova. The meeting of Saint Francis with Saint Dominic, c.1665. Creator: Preti, Mattia (1613-1699). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

SOUTH SIDE OF KING'S COLLEGE CHAPEL, 1815. CREATOR: MACKENZIE, FREDERICK (AROUND 1788-1854).

South Side of King's College Chapel, 1815. Private Collection South Side of King's College Chapel, 1815. Creator: Mackenzie, Frederick (around 1788-1854). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

THE SLEEPING HERMIT, 1750. CREATOR: VIEN, JOSEPH MARIE (1716-1809).

The sleeping hermit, 1750. Found in the Collection of the Musée du Louvre, Paris. The sleeping hermit, 1750. Creator: Vien, Joseph Marie (1716-1809). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

THE VISION OF SAINT BERNARD , C.1490-1495. CREATOR: PERUGINO (CA. 1450-1523).

The Vision of Saint Bernard, c.1490-1495. Found in the Collection of the Alte Pinakothek, Munich. The Vision of Saint Bernard, c.1490-1495. Creator: Perugino (ca. 1450-1523). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

SAINT FRANCIS RECEIVING THE STIGMATA, 1600. CREATOR: EL GRECO, DOMINICO (1541-1614).

Saint Francis receiving the Stigmata, 1600. Found in the Collection of the Museu de Arte de São Paulo. Saint Francis receiving the Stigmata, 1600. Creator: El Greco, Dominico (1541-1614). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

FATHER JEAN-GRÉGOIRE TARRISSE, 1648.

Father Jean-Grégoire Tarrisse, 1648. Creator: Jean Morin. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PLAQUE WITH TWO MONKS, C.1800.

Plaque with Two Monks, c.1800. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE MONK SHIN UPAGOK (SANSKRIT: UPAGUPTA), 19TH CENTURY.

The Monk Shin Upagok (Sanskrit: Upagupta), 19th century. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MONK, 12TH CENTURY OR LATER.

Monk, 12th century or later. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SAINT FRANCIS OF ASSISI APPEARING BEFORE POPE NICHOLAS V, WITH DONORS (LA APARICIÓN DE SAN FRANCISCO DE ASÍS AL PAPA NICOLÁS V, CON DONANTES), 1628.

Saint Francis of Assisi Appearing before Pope Nicholas V, with Donors, 1628. Creator: Antonio Montufar. Saint Francis of Assisi Appearing before Pope Nicholas V, with Donors (La aparición de San Francisco de Asís al Papa Nicolás V, con donantes), 1628. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SAINT FRANCIS OF ASSISI, 1585-1590.

Saint Francis of Assisi, 1585-1590. Creator: Workshop of Annibale Carracci. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SAINT ANTHONY OF PADUA TAKING THE HABIT OF THE FRANCISCAN ORDER, C1515-1525. INSIDE A TYPICAL RENAISSANCE CHURCH COMPLETE WITH AN ALTARPIECE OF THE MADONNA AND CHILD BETWEEN TWO SAINTS, SAINT ANTHONY OF PADUA (BORN FERNANDO MARTINS DE BULHÕES, 1195-1231),

Saint Anthony of Padua Taking the Habit of the Franciscan Order, c1515-1525. Creator: School of the Romagna. Saint Anthony of Padua Taking the Habit of the Franciscan Order, c1515-1525. Inside a typical Renaissance church complete with an altarpiece of the Madonna and Child between two saints, Saint Anthony of Padua (born Fernando Martins de Bulhões, 1195-1231), takes his vows as a Franciscan monk. The saint is shown kneeling humbly before his superior who offers the order's distinctive brown habit. According to legend, Anthony was a Dominican before adopting the Franciscan rule, hence the two Dominicans standing behind Anthony holding their dinstictive black and white habit which he has cast off. A group of Franciscans stand at the right and sing in celebration while a group of finely dressed young, presumably representing the rich social environment of Anthony's upbrining in Lisbon, are shown near the door of the church at the left. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

A FRANCISCAN MONK PREACHING, C1515-1525. WITHIN A SPACIOUS AND UNADORNED HALL, A FRANCISCAN MONK PREACHES TO A GROUP OF ECCLESIASTICS AND LAYMEN. IN ACCORDANCE WITH RENAISSANCE SOCIAL HIERARCHIES, WOMEN ARE SEATED ON THE GROUND WHILE MEN ARE SEATED ON BEN

A Franciscan Monk Preaching, c1515-1525. Creator: School of the Romagna. A Franciscan Monk Preaching, c1515-1525. Within a spacious and unadorned hall, a Franciscan monk preaches to a group of ecclesiastics and laymen. In accordance with Renaissance social hierarchies, women are seated on the ground while men are seated on benches or standing. The monk looming over the crowd from a simple wooden pulpit gestures upward toward God, the source of his authority, and rests his other hand on a piece of paper marked with a red seal. The paper is likely a papal bull, or decree, investing the monk’s arguments with the authority of the church. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SAINT JOHN THE EVANGELIST DICTATING TO PROCHORUS; THE ANNUNCIATION, 16TH CENTURY. AT THE CENTRE OF THIS SMALL-SCALE TRIPTYCH, SAINT JOHN AND THE DEACON PROCHORUS SIT IN A CAVE ON THE ISLAND OF PATMOS WHERE JOHN TRANSCRIBED THE BOOK OF REVELATION.

Saint John the Evangelist Dictating to Prochorus; the Annunciation, 16th century. Creator: Unknown. Saint John the Evangelist Dictating to Prochorus; the Annunciation, 16th century. At the centre of this small-scale triptych, Saint John and the deacon Prochorus sit in a cave on the island of Patmos where John transcribed the Book of Revelation. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SAINT JOHN THE THEOLOGIAN DICTATES HIS GOSPEL TO PROCHOROS, 1475-1525 (?) OR 19TH CENTURY.

Saint John the Theologian dictates his Gospel to Prochoros, 1475-1525 (?) or 19th century. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

REDEEMED, 1886.

Redeemed, 1886. Creator: Rudolf Bacher. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SCENE FROM GOETHE'S "GOETZ VON BERLICHINGEN", 1864.

Scene from Goethe's "Goetz von Berlichingen", 1864. Creator: Philipp Foltz. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

TEMPTATION OF SAINT ANTHONY, 1864.

Temptation of Saint Anthony, 1864. Creator: Karl Schonbrunner. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MONK SAINT, 1430.

Monk saint, 1430. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

WALDESRUHE (MADONNA WITH CHILD, ST. ADELHEID AND ST. FRANCIS), 1835. THE TITLE OF THE PICTURE, WALDESRUHE, (FOREST PEACE) REFERS TO THE THICKET OF A CONIFEROUS FOREST IN WHICH THE GROUP OF SAINTS FOUND EACH OTHER.

Waldesruhe (Madonna with child, St. Adelheid and St. Francis), 1835. Creator: Joseph von Fuhrich. Waldesruhe (Madonna with child, St. Adelheid and St. Francis), 1835. The title of the picture, Waldesruhe, (forest peace) refers to the thicket of a coniferous forest in which the group of saints found each other. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE MONASTERY SOUP, 1838.

The monastery soup, 1838. Creator: Josef Danhauser the Younger. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

RETURNING CRUSADERS, 1864.

Returning crusaders, 1864. Creator: Johann Till. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PORTRAIT OF FATHER ARNOUL DE LOO, N.D.

Portrait of Father Arnoul de Loo, n.d. Creator: Pierre Imbert Drevet. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MONKS ON THE STAIRCASE OF THE VILLA OF MAECENAS AT TIVOLI, C. 1826.

Monks on the Staircase of the Villa of Maecenas at Tivoli, c. 1826. Creator: Francois-Marius Granet. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE FRANCISCAN SCULPTOR AND HIS MODEL, BY H. S. MARKS, FROM THE EXHIBITION OF THE ROYAL ACADEMY, 1861. ENGRAVING FROM A PAINTING. 'IT WAS A STRANGE CONCEIT WHICH LED MR. MARKS, A DESERVEDLY RISING ARTIST, TO FASHION THIS AMUSING PICTURE OF A YOUNG FRANCIS

The Franciscan Sculptor, by H. S. Marks, from the exhibition of the Royal Academy, 1861. Creator: Dalziel Brothers. The Franciscan Sculptor and his Model, by H. S. Marks, from the exhibition of the Royal Academy, 1861. Engraving from a painting. 'It was a strange conceit which led Mr. Marks, a deservedly rising artist, to fashion this amusing picture of a young Franciscan monk labouring in the sculptor's art for the adornment of his monastery, and with one of the lay brothers of the establishment for his model. It was a strange conceit, and very cleverly and with infinite humour has he carried it out. The young sculptor, with an ill-suppressed smile on his intelligent face, is by vigorous blows of the mallet converting the docile model into a gargoyle, or water-spout, just in the slightest degree exaggerating the comical features and still more comical expression of the original. Aged monks stand by, looking on with evident satisfaction and glee, whilst a youth standing on a rude ladder is a respectful observer of a practical joke in which he does not presume actively to participate. The story is capitally told, and the working out in every particular is of the highest artistic merit. This picture was one of the most noteworthy objects in the Royal Academy Exhibition'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PORTRAIT OF A TIBETAN MONK, 12TH CENTURY. WEARING THE ROBES OF A TIBETAN BUDDHIST MONK, THE INDIVIDUAL DEPICTED IN THIS PORTRAIT WAS PROBABLY A TEACHER OF THE KADAMPA ORDER. THE PAINTING’S PATRON, PERHAPS A DISCIPLE OF THE MONK, IS SEEN IN THE LOWER LEFT

Portrait of a Tibetan Monk, 12th century. Creator: Unknown. Portrait of a Tibetan Monk, 12th century. Wearing the robes of a Tibetan Buddhist monk, the individual depicted in this portrait was probably a teacher of the Kadampa order. The painting’s patron, perhaps a disciple of the monk, is seen in the lower left corner, gazing toward the teacher. Sitting before an altar and holding an offering lamp, he too wears monk's robes but has the long hair of a layman. The four deities to the right of the altar are especially important within the Kadampa tradition: from left to right we see the goddess or female bodhisattva White Tara, the male bodhisattva Shadakshari Avalokiteshvara, the goddess-bodhisattva Green Tara, and the wrathful buddha Achala. Seated along the top register are the five celestial buddhas and a four-armed goddess, probably Prajnaparamita (“Perfect Wisdom”), considered the mother of all buddhas and the embodiment of wisdom. Below them, the historical Buddha, Shakyamuni, and the blue medicine buddha flank the monk at the centre. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

HVASHANG, 18TH CENTURY. CHILDREN PLAY AROUND THE PORTLY HVASHANG, WHO HOLDS A LEMON. A TIBETAN ADDITION TO AN OLD GROUP OF SIXTEEN BUDDHIST SAINTS, HVASHANG WAS THOUGHT BY SOME TO HAVE LIVED IN CHINA AROUND THE 14TH CENTURY. BELOW HIM ARE TWO OF THE KINGS

Hvashang, 18th century. Creator: Unknown. Hvashang, 18th century. Children play around the portly Hvashang, who holds a lemon. A Tibetan addition to an old group of sixteen Buddhist saints, Hvashang was thought by some to have lived in China around the 14th century. Below him are two of the kings of the four quarters of space. They serve as protectors in Hvashang's spiritual quest, in which he is directed by the figures above--a Buddha (Akshobhya) and a Bodhisattva (Maitreya). Origianlly this painting was part of a set that included all sixteen saints. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MONKS AT PRAYER IN A CLOISTER, 1834.

Monks at Prayer in a Cloister, 1834. Creator: Karl Eduard Biermann. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

UPAGUPTA BINDS MARA TO A MOUNTAINTOP, 19TH CENTURY. THIS DYNAMIC PAINTING ILLUSTRATES A STORY OF THE FORMER LIVES OF THE BUDDHA, KNOWN AS THE JATAKA TALES. IN THESE POPULAR STORIES, WHICH NUMBER IN THE HUNDREDS, THE BUDDHA TAKES VARIOUS FORMS—HUMAN, DIVIN

Upagupta Binds Mara to a Mountaintop, 19th century. Creator: Unknown. Upagupta Binds Mara to a Mountaintop, 19th century. This dynamic painting illustrates a story of the former lives of the Buddha, known as the Jataka tales. In these popular stories, which number in the hundreds, the Buddha takes various forms—human, divine, and animal—to carry out virtuous acts of charity, courage, and humility, setting an example for humankind. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SAINT LOUIS OF TOULOUSE, SAINT FRANCIS, AND THE BLESSED JOHN CAPISTRANO, C1499-1500. THIS TRIPTYCH (AN ALTARPIECE WITH THREE PANELS) OF THREE FRANCISCAN HOLY MEN WAS PROBABLY PLACED ON THE HIGH ALTAR OF A FRANCISCAN CHURCH. DEPICTED AS IF BATHED IN NATURA

Saint Louis of Toulouse, Saint Francis, and the Blessed John Capistrano, c1499-1500. Creator: Cristoforo Caselli. Saint Louis of Toulouse, Saint Francis, and the Blessed John Capistrano, c1499-1500. This triptych (an altarpiece with three panels) of three Franciscan holy men was probably placed on the high altar of a Franciscan church. Depicted as if bathed in natural light, the architectural setting with the three saints opens up to a serene landscape. Inside the church, this illusionistic opening would have given the painting the character of a divine vision. Saint Francis of Assisi, the founder of the Franciscan order, is depicted with the stigmata (wounds similar to those of Christ in the hands, feet, and side), which he received during a vision towards the end of his life. Rose petals are scattered across the floor. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE VISION OF SAINT BERNARD, C1520. SEATED AT A READING DESK IN FRONT OF A LANDSCAPE, ST. BERNARD OF CLAIRVAUX (1090-1153) HAS A VISION OF THE VIRGIN MARY ATTENDED BY TWO ANGELS. THE SAINT, WHO WEARS THE WHITE HABIT OF THE CISTERCIAN ORDER OF MONKS, WAS K

The Vision of Saint Bernard, c1520. Creator: Domenico Puligo. The Vision of Saint Bernard, c1520. Seated at a reading desk in front of a landscape, St. Bernard of Clairvaux (1090-1153) has a vision of the Virgin Mary attended by two angels. The saint, who wears the white habit of the Cistercian order of monks, was known for his devotion to the Virgin, and several mystical visions of her were ascribed to him. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SHICHIRI OBORO (IMAGE 1 OF 2), 1857. ACTORS NAKAMURA ENJAKU AS DESHI NITCHO AND BANDO MITSUGORO VI VI AS DESHI NICHIZO; ICHIKAWA DANZO VI AS TAIJIN, ACTUALLY NICHIREN SHONIN; AND NAKAMURA FUKUSUKE I AS NANAZATO-HIME

Shichiri Oboro (image 1 of 2), 1857. Creator: Utagawa Kunisada. Shichiri Oboro (image 1 of 2), 1857. Actors Nakamura Enjaku as Deshi Nitcho and Bando Mitsugoro VI VI as Deshi Nichizo; Ichikawa Danzo VI as Taijin, actually Nichiren Shonin; and Nakamura Fukusuke I as Nanazato-hime (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PRIEST AND MONK BY A TEMPLE VERANDA, 19TH CENTURY.

Priest and Monk by a Temple Veranda, 19th century. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

ICHIKAWA DANJURO IX AS MASASHIBO BENKEI IN KANJINCHO, 1890.

Ichikawa Danjuro IX as Masashibo Benkei in Kanjincho, 1890. Creator: Tsukioka Yoshitoshi. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

GOJO BRIDGE, AN EPISODE FROM THE LIFE OF YOSHITSUNE, 1881.

Gojo Bridge, an Episode from the Life of Yoshitsune, 1881. Creator: Tsukioka Yoshitoshi. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SEIGEN AND SAKURAHIME; ANGEL WITH TWO CHILDREN, 1868. SERIES: VALOR IN CHINA AND JAPAN.

Seigen and Sakurahime; Angel with Two Children, 1868. Creator: Tsukioka Yoshitoshi. Seigen and Sakurahime; Angel with Two Children, 1868. Series: Valor in China and Japan. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

ONIWAKA AND CARP; TAIRA NO KOREMOCHI AND THE DEMON, 1868. SERIES: VALOR IN CHINA AND JAPAN.

Oniwaka and Carp; Taira no Koremochi and the Demon, 1868. Creator: Tsukioka Yoshitoshi. Oniwaka and Carp; Taira no Koremochi and the Demon, 1868. Series: Valor in China and Japan. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

NICHIREN IN EXILE AT SADO, 1882. SERIES: SKETCHES BY YOSHITOSHI.

Nichiren in Exile at Sado, 1882. Creator: Tsukioka Yoshitoshi. Nichiren in Exile at Sado, 1882. Series: Sketches by Yoshitoshi. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

ONIWAKAMARU OBSERVING THE GREAT CARP IN THE POND, 10TH MONTH, 1889. SERIES: NEW FORMS OF THE THIRTY-SIX GHOSTS.

Oniwakamaru Observing the Great Carp in the Pond, 10th month, 1889. Creator: Tsukioka Yoshitoshi. Oniwakamaru Observing the Great Carp in the Pond, 10th month, 1889. Series: New Forms of the Thirty-six Ghosts. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MONK INSTRUCTING A BOY DRESSED IN A CASSOCK, C1865.

Monk Instructing a Boy Dressed in a Cassock, c1865. Creator: Otto Brandt. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

ROBIN HOOD AND THE CURTAL FRIAR, FROM "THE BOY'S BOOK OF BALLADS", 1860. 'OF THE ROMANTIC CHARACTERISTICS OF JOHN GILBERT'S ILLUSTRATIONS IT IS OF COURSE UNNECESSARY TO SAY A WORD, EXCEPT THAT WE THINK WE SEE PARTICULAR MARKS OF CARE AND FINISH IN THE DET

Robin Hood and the Curtal Friar, from "The Boy's Book of Ballads", 1860. Creator: W Thomas. Robin Hood and the Curtal Friar, from "The Boy's Book of Ballads", 1860. 'Of the romantic characteristics of John Gilbert's illustrations it is of course unnecessary to say a word, except that we think we see particular marks of care and finish in the details of each picture. We engrave a very spirited specimen of the illustrations, one which pertains to the ballad of "Robin Hood and the Curtal Friar," and the gist of which is to be found in the following lines: "The friar took Robin Hood on his back, Deep water he did bestride, And spake neither good word nor bad Till he came to the other side. Lightly leap'd Robin off the friar's back; The friar said to him again, "Carry me over the water, fine fellow, Or it shall breed thee pain".' Illustration from "The Boy's Book of Ballads. Illustrated with Sixteen Engravings from Drawings" by John Gilbert, (Bell and Daldy). Published in "Illustrated London News", 1860. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ENTRY OF VICTOR EMMANUEL INTO NAPLES - SKETCHED IN THE TOLEDO BY OUR SPECIAL ARTIST, FRANK VIZETELLY, 1860. '...ON WEDNESDAY, NOVEMBER 7...BOTH KING VICTOR EMMANUEL AND GARIBALDI ENTERED NAPLES TOGETHER...THE STREETS...WERE FESTOONED WITH FLOWERS, AND EVE

Entry of Victor Emmanuel into Naples - sketched in the Toledo..., 1860. Creator: Unknown. Entry of Victor Emmanuel into Naples - sketched in the Toledo by our special artist, Frank Vizetelly, 1860. '...on Wednesday, November 7...both King Victor Emmanuel and Garibaldi entered Naples together...The streets...were festooned with flowers, and evergreens hung from window to window..."Viva Victor Emmanuel!" "Viva Garibaldi!" "Viva Italia Unita!" Such were the cries which rose, not from one, but from a united body of many thousands, who waved their hats and handkerchiefs and flags...I had an admirable view of the King and the Liberator face to face...The difference in the two expressions could not fail to strike the most insensible. I looked at Victor Emmanuel's unvarying face and bold glance, and said - he is the Rè Galantuomo; but I looked on Garibaldi, and felt all the moral grandeur of his character'. From "Illustrated London News", 1860. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE REVOLUTION IN SICILY - THE SICILIANS DEMOLISHING THE FORT OF CASTELLAMARE AT PALERMO - FROM A SKETCH BY T. NAST, 1860. 'IT MAY BE REMEMBERED THAT THE DEMOLITION OF THE FORT OF CASTELLAMARE WAS SOME TIME BACK DECREED. ON THE 3RD OF JULY A NUMBER OF PAL

The Revolution in Sicily - the Sicilians demolishing the Fort of Castellamare at Palermo..., 1860. Creator: Unknown. The Revolution in Sicily - the Sicilians demolishing the Fort of Castellamare at Palermo - from a sketch by T. Nast, 1860. 'It may be remembered that the demolition of the fort of Castellamare was some time back decreed. On the 3rd of July a number of Palermitans - soldiers, priests, peasants, women, and children - headed by a band of music, went to demolish the works in question, and for several days they laboured at the task with hearty goodwill - lively recollections of the murderous fire of shot and shell which had recently been poured from it on their devoted town proving a sharp sput to their zeal. But as the fort of Castellamare constitutes the only defence of the city towards the sea the work of destruction was suspended by superior order'. From "Illustrated London News", 1860. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ROMANESQUE CLAY ROOF TILES AS MONK AND NUN ROOFING

Romanische Tondachziegel als Moench- und Nonneneindeckung Romanesque clay roof tiles as monk and nun roofing (KEYSTONE/mauritius images/BUSSE & YANKUSHEV)

SCHWEIZ MEGGEN SICHT AUF EIGER MOENCH UND JUNGFRAU

Eiger Moench und Jungfrau im Morgenlicht von Meggen aus gesehen. Aufgenommen am 8. November 2023. (KEYSTONE/Caroline Mohnke)

SCHWEIZ MEGGEN SICHT AUF EIGER MOENCH UND JUNGFRAU

Eiger Moench und Jungfrau im Morgenlicht von Meggen aus gesehen. Aufgenommen am 1. November 2023. (KEYSTONE/Caroline Mohnke)

ACT IX: HONZO'S SUICIDE IN FRONT OF HIS FAMILY; YURANOSUKE DRESSED AS A KOMUSO MAKING PREPARATIONS TO ATTACK MORONAO, BETWEEN CIRCA 1835 AND CIRCA 1839.

Act IX: Honzo's Suicide in Front of His Family; Yuranosuke Dressed as a Komuso Making Preparations to Attack Moronao, between circa 1835 and circa 1839. Act IX: Honzo's Suicide in Front of His Family; Yuranosuke Dressed as a..., between c1835 and c1839. Creator: Ando Hiroshige. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SURUGA-CHO IN THE EASTERN CAPITAL, BETWEEN CIRCA 1858 AND CIRCA 1859. FROM THIRTY-SIX VIEWS OF MT. FUJI.

Suruga-cho in the Eastern Capital, between circa 1858 and circa 1859. From Thirty-six Views of Mt. Fuji. Suruga-cho in the Eastern Capital, between circa 1858 and circa 1859. Creator: Ando Hiroshige. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE GHOST OF SEIGEN HAUNTING SAKURAHIME, 1889. FROM NEW FORMS OF THIRTY-SIX GHOSTS.

The Ghost of Seigen Haunting Sakurahime, 1889. From New Forms of Thirty-six Ghosts. The Ghost of Seigen Haunting Sakurahime, 1889. Creator: Tsukioka Yoshitoshi. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

ICHIKAWA DANJURO IX AS MUSASHIBO BENKEI IN KANJINCHO, 1887. FROM LIVES OF MODERN PEOPLE.

Ichikawa Danjuro IX as Musashibo Benkei in Kanjincho, 1887. From Lives of Modern People. Ichikawa Danjuro IX as Musashibo Benkei in Kanjincho, 1887. Creator: Tsukioka Yoshitoshi. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

TAIRA NO TADAMORI AND THE OIL THIEF, 1885. FROM YOSHITOSHI'S WARRIORS TREMBLING WITH COURAGE. TAIRA NO TADAMORI(1096-1153) FOUND SOMETHING LIGHTING STRANGELY IN THE DARK AT NIGHT. HE THOUGHT IT MIGHT BE YOKAI OR SOMETHING, BUT ACTUALLY IT WAS AN OLD MONK

Taira no Tadamori and the Oil Thief, 1885. From Yoshitoshi's Warriors Trembling with Courage. Taira no Tadamori(1096-1153) found something lighting strangely in the dark at night. He thought it might be Yokai or something, but actually it was an old monk Taira no Tadamori and the Oil Thief, 1885. Creator: Tsukioka Yoshitoshi. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MUSASHIBO BENKEI BATTLING WITH YOUNG USHIWAKA ON GOJO BRIDGE, 1878. FROM A MIRROR OF GREAT WARRIORS OF JAPAN.

Musashibo Benkei Battling with Young Ushiwaka on Gojo Bridge, 1878. From A Mirror of Great Warriors of Japan. Musashibo Benkei Battling with Young Ushiwaka on Gojo Bridge, 1878. Creator: Tsukioka Yoshitoshi. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SAITO ONIWAKAMARU ON A CARP, 1873. FROM NOTES BY YOSHITOSHI.

Saito Oniwakamaru on a Carp, 1873. From Notes by Yoshitoshi. Saito Oniwakamaru on a Carp, 1873. Creator: Tsukioka Yoshitoshi. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE STORY OF THE COURTESAN JIGOKUDAYU AND PRIEST IKKYU, 1886. FROM A NEW SELECTION OF EASTERN BROCADE PICTURES.

The Story of the Courtesan Jigokudayu and Priest Ikkyu, 1886. From A New Selection of Eastern Brocade Pictures. The Story of the Courtesan Jigokudayu and Priest Ikkyu, 1886. Creator: Tsukioka Yoshitoshi. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE DANCING POT AT THE TEMPLE NINNAJI, 1882. FROM SKETCHES BY YOSHITOSHI.

The Dancing Pot at the Temple Ninnaji, 1882. From Sketches by Yoshitoshi. The Dancing Pot at the Temple Ninnaji, 1882. Creator: Tsukioka Yoshitoshi. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

A CIVILIZED DARUMA, 1882. FROM SKETCHES BY YOSHITOSHI.

A Civilized Daruma, 1882. From Sketches by Yoshitoshi. A Civilized Daruma, 1882. Creator: Tsukioka Yoshitoshi. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

OTA DOKAN DECIDES TO STUDY POETRY, 1887. FROM A NEW SELECTION OF EASTERN BROCADE PICTURES.

Ota Dokan Decides to Study Poetry, 1887. From A New Selection of Eastern Brocade Pictures. Ota Dokan Decides to Study Poetry, 1887. Creator: Tsukioka Yoshitoshi. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

HINO KUMAWAKAMARU AND THE PRIEST CALLING BACK THE BOAT, 1885. FROM YOSHITOSHI'S WARRIORS TREMBLING WITH COURAGE. THE BOY HINO KUNIMITSU(1320-1363) CALLING THE SHIP TO STOP BECAUSE OF ESCAPING FROM THE ENEMY ON SADO ISLAND. HE HAD SUCCEEDED IN AVENGING HIS

Hino Kumawakamaru and the Priest Calling Back the Boat, 1885. From Yoshitoshi's Warriors Trembling with Courage. The boy Hino Kunimitsu(1320-1363) calling the ship to stop because of escaping from the enemy on Sado island. He had succeeded in avenging his Hino Kumawakamaru and the Priest Calling Back the Boat, 1885. Creator: Tsukioka Yoshitoshi. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)