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SIR JOHN SOANE'S MUSEUM IN LINCOLN’S-INN-FIELDS: THE BREAKFAST-ROOM, 1864. CREATOR: SMYTH.

Sir John Soane’s Museum in Lincoln's-Inn-Fields: the Breakfast-Room, 1864. 'The Breakfast-Room has some interesting prints, pictures, and drawings; a richly-mounted pistol, once belonging to Peter the Great and Napoleon I., of whom there is a portrait in his twenty-eighth year, painted by Gorma, a Venetian artist, and valued by Josephine as an excellent likeness; also a miniature of Napoleon, painted at Elba, in 1814, by Isabey'. From "Illustrated London News", 1864. Sir John Soane's Museum in Lincoln’s-Inn-Fields: the Breakfast-Room, 1864. Creator: Smyth. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

SIR JOHN SOANE'S MUSEUM IN LINCOLN’S-INN-FIELDS: THE SARCOPHAGUS-ROOM, 1864. CREATOR: MASON JACKSON.

Sir John Soane's Museum in Lincoln's-Inn-Fields: the Sarcophagus-Room, 1864. View of '...the Sepulchral Chamber, in the lower part of the Museum, which contains the splendid ancient Egyptian sarcophagus, discovered by Belzoni in 1817 in a Royal tomb in the valley of Biban el Malook, near Gounou, Thebes. It was bought by Sir John Soane of Mr. Salt, the traveller, in 1824, for the sum of £2000. When first discovered, this sarcophagus was considered by Dr. Young to be the tomb of Psamnis. Recently, on May 10, Mr. Joseph Bonomi, the excellent Curator of the Soane Museum, illustrated to the Syro-Egyptian Society Belzoni's very animated description of the sarcophagus by a section and plan of the catacomb, which is excavated to a depth of one hundred yards into the solid rock. The sarcophagus is completely covered with hieroglyphics...Two subjects of particular interest were pointed out, one as representing the ancient Cosmical philosophy, and the other as exhibiting in a very perfect manner the doctrine of the Metempsychosis...The sarcophagus is formed of a large mass of arragonite. The seventeen fragments which formed part of the cover have recently been put together, under the direction of Mr. Bonomi, and can be inspected in a room above stairs'. From "Illustrated London News", 1864. Sir John Soane's Museum in Lincoln’s-Inn-Fields: the Sarcophagus-Room, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

SIR JOHN SOANE'S MUSEUM IN LINCOLN'S-INN-FIELDS: THE MONKS' PARLOUR, 1864. CREATOR: WATKINS.

Sir John Soane's Museum in Lincoln's-Inn-Fields: the Monks' Parlour, 1864. 'We now descend to the Monks' Parloir, which has its ceiling and walls mostly covered with fragments and casts of ecclesiastical and other structures, carvings in wood and ivory, and engraved brasses; vases found in ancient Peruvian tombs, painted glass, &c.; and a fine Flemish carving, in wood, of the Crucifixion'. From "Illustrated London News", 1864. Sir John Soane's Museum in Lincoln's-Inn-Fields: the Monks' Parlour, 1864. Creator: Watkins. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

INSPECTION OF CIVIL SERVICE VOLUNTEERS BY THE PRINCE OF WALES...QUADRANGLE OF SOMERSET HOUSE, 1864. CREATOR: UNKNOWN.

Inspection of Civil Service Volunteers by the Prince of Wales in the Quadrangle of Somerset House, [London], 1864. '...a vast quantity of coloured bunting had been employed in...the decoration of the buildings, and in the fitting up of a beautiful kiosk, with raised dais...[and] seats were arranged, accommodating a large number of spectators. The windows, and even the roofs, of the buildings were also crowded...The field state gave a total of four hundred men, of whom sixty were recruits recently passed into the line...our Artist has sketched their appearance when they had faced to the front, formed fours, and prepared to receive cavalry in the way which, in future warfare, with troops properly trained in musketry, will supersede the square, the two front ranks kneeling, the two rear ranks ready for file firing...the Prince [honorary Colonel and future King Edward VII] addressed them as follows: " Gentlemen of the Civil Service Regiment...I have observed that all ranks have paid great attention to their drill, and have acquired an exceedingly satisfactory degree of steadiness. Your muster to-day is very good"...The regiment gave three times three cheers, and presented arms when the Prince and Princess retired'. From "Illustrated London News", 1864. Inspection of Civil Service Volunteers by the Prince of Wales...Quadrangle of Somerset House, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

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

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

THE ROYAL VISIT TO CAMBRIDGE - COLLEGE BOAT CLUBS MARCHING PAST THE PRINCE AND PRINCESS..., 1864. CREATOR: UNKNOWN.

The Royal Visit to Cambridge - college boat clubs marching past the Prince and Princess of Wales, 1864. 'In the grounds of St. John's College...was one of the most brilliant scenes...namely, the marshalling of the University boats in honour of the Royal visitors. This spectacle was much more gay and splendid than the ordinary annual procession of the boats which took place about three weeks before...The Prince and Princess of Wales [future King Edward VII and Queen Alexandra], who were in King's grounds, where a marquee had been erected, watched this animated pageant from the banks, and when the boats returned and formed a sort of bridge across the river, the men tossing their oars and cheering lustily, their Royal Highnesses bowed repeatedly, evidently delighted with what they saw. The Prince and the distinguished Doctors of Law who accompanied him wore their scarlet robes. Three cheers for the Queen, and three more for the Prince and Princess of Wales, followed, and then the boats all paddled away in the order in which they had advanced'. From "Illustrated London News", 1864. The Royal Visit to Cambridge - college boat clubs marching past the Prince and Princess..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

MARRIAGE OF THE COUNT DE PARIS WITH THE PRINCESS ISABELLE D'ORLEANS: THE RETURN TO CLAREMONT, 1864. CREATOR: UNKNOWN.

Marriage of the Count de Paris with the Princess Isabelle d'Orleans: the return to Claremont, 1864. '...Louis Philippe Albert d'Orleans, the Count de Paris, son of the Duke of Orleans and grandson of King Louis Philippe, was married to his first cousin, Princess Maria Isabella Francesca d'Assisi, daughter of the Duke de Montpensier, and niece, by her mother's side, to the Queen of Spain...After the ceremony...the young Count and Countess de Paris entered their carriage to return to Claremont, amidst all manner of festive demonstrations - cheering, and firing of cannon, and ringing of bells - in the little town of Kingston-upon-Thames. The road all the way from Kingston, through Esher, to Claremont was crowded with people...[Our illustration] shows the arrival of the bridal party at Claremont on their return; the young newly-married couple have alighted, and are just entering the house...The guests, about one hundred in number, were entertained at breakfast under a marquee at the back of Claremont House; after which the bride and bridegroom left home to spend their honeymoon in the north of England'. From "Illustrated London News", 1864. Marriage of the Count de Paris with the Princess Isabelle d'Orleans: the return to Claremont, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

MARRIAGE OF THE COUNT DE PARIS WITH THE PRINCESS ISABELLE D'ORLEANS: TRIUMPHAL ARCH AT ESHER, 1864. CREATOR: UNKNOWN.

Marriage of the Count de Paris with the Princess Isabelle d'Orleans: triumphal arch at Esher, 1864. '...Louis Philippe Albert d'Orleans, the Count de Paris, son of the Duke of Orleans and grandson of King Louis Philippe, was married to his first cousin, Princess Maria Isabella Francesca d'Assisi, daughter of the Duke de Montpensier, and niece, by her mother's side, to the Queen of Spain...After the ceremony...the young Count and Countess de Paris entered their carriage to return to Claremont, amidst all manner of festive demonstrations - cheering, and firing of cannon, and ringing of bells - in the little town of Kingston-upon-Thames. The road all the way from Kingston, through Esher, to Claremont was crowded with people; and in some places it was adorned with banners and triumphal arches, one of which, that near Esher, was of a costly as well as tasteful design...[Our illustration] is a view of this triumphal arch, with the carrriages approaching from Claremont on their road to Kingston...The guests, about one hundred in number, were entertained at breakfast under a marquee at the back of Claremont House; after which the bride and bridegroom left home to spend their honeymoon in the north of England'. From "Illustrated London News", 1864. Marriage of the Count de Paris with the Princess Isabelle d'Orleans: triumphal arch at Esher, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE VOLUNTEER REVIEW IN HYDE PARK: GENERAL VIEW, 1864. CREATOR: UNKNOWN.

The Volunteer Review in Hyde Park [London]: general view, 1864. '...the Prince and Princess of Wales came not only to witness the affair, but his Royal Highness took an active part in it as commander of his own brigade. This circumstance, with the general popularity of the young couple, as well as the growing interest that is felt in the volunteer movement drew together a...[large] multitude of all ranks and classes of the people...[The engraving shows] the Prince [future King Edward VII] with his immediate companions as they...passed in front of the seats reserved for spectators... As soon as the Royal party arrived at the flagstaff, the volunteers gave the usual salute and the united bands of the Household Brigade played the Rational Anthem. The Prince of Wales, accompanied by Prince Louis and the Duke of Cambridge, rode along the front and rear of the assembled troops, inspecting the different corps with considerable interest, and when he had arrived at the Hon. Artillery Company his Royal Highness placed himself at the head of the corps, of which he is Colonel. The Hon. Artillery Company led off the Prince of Wales's Brigade ...The first battalion of the Hon. Artillery Company was warmly cheered'. From "Illustrated London News", 1864. The Volunteer Review in Hyde Park: general view, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE VOLUNTEER REVIEW IN HYDE PARK: THE PRINCE OF WALES AND HIS STAFF, 1864. CREATOR: UNKNOWN.

The Volunteer Review in Hyde Park [London]: the Prince of Wales and his staff, 1864. '...the Prince and Princess of Wales came not only to witness the affair, but his Royal Highness took an active part in it as commander of his own brigade. This circumstance, with the general popularity of the young couple, as well as the growing interest that is felt in the volunteer movement drew together a...[large] multitude of all ranks and classes of the people...the Prince and Princess of Wales arrived, amidst a salute of guns fired at the Knightsbridge Barracks. They came from Marlborough House, the Prince on horseback, wearing the uniform of Colonel of the Hon. Artillery Company, which resembles very nearly, as Londoners are aware, the uniform of the Grenadier Guards. His Highness also wore the blue ribbon of the Order of the Garter, and he was mounted on a superb chestnut-coloured charger. He looked both a soldier and a Prince. He rode into the park with the Duke of Cambridge, Commander-in-Chief of her Majesty's forces, who was attired as a Field Marshal, with the Garter ribbon on his breast; and they were accompanied by Prince Louis of Hesse, the husband of our Princess Alice, dressed as a Prussian General of artillery'. From "Illustrated London News", 1864. The Volunteer Review in Hyde Park: the Prince of Wales and his staff, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

LUEBECK: THE RATH-HAUS, 1864. CREATOR: UNKNOWN.

Luebeck: the Rath-Haus, 1864. 'On arriving at the market-place, the first object which attracts the attention of the visitor is the Rath-haus, or Senate-house, a noble Gothic building, faced with red and green bricks, and buttressed...with a number of tower-like structures that terminate in elegant pinnacles. This grand old pile puts a bold face upon the decay of the city of which it was and is one of the chief ornaments, and looks as though it could tell many a tale of its former self that would make the ears of these degenerate days tingle with envy. It could speak of the eighty-five representatives of the League, who from every great city of the Middle Ages...assembled here in the Hall of the Hansa to impose tariffs, to arrange commercial treaties, to regulate customs, to make war or peace, and to keep the blue highway clear for the march of King Commerce. Verily it had a voice in that old time, which Prince, and Emperor, and Czar were fain to listen to with respect; for then the chapman was a man of might, who could wield a stouter weapon than a yard measure and barter blows with a heavy tare and tret against all customers. The Rath-haus could tell, peradventure, of the wondrous wine which lay stored in the Rathkeller beneath'. From "Illustrated London News", 1864. Luebeck: the Rath-Haus, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

LUEBECK: THE CATHEDRAL, 1864. CREATOR: UNKNOWN.

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

LUEBECK: HOLSTEIN THOR, 1864. CREATOR: UNKNOWN.

Luebeck: Holstein Thor, 1864. View of '...the noble Holstein Thor, which stands before us as we quit the Luebeck station and gives us an earnest of the grandeur which awaits us within the walls of Luebeck. This gateway, like most of the buildings here, is of red and glazed bricks, arranged in various devices. It forms a singularly striking and picturesque object as we enter this glorious old city'. From "Illustrated London News", 1864. Luebeck: Holstein Thor, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

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

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

THE SHAKSPEARE COMMEMORATION AT STRATFORD-ON-AVON: VISIT TO CHARLECOTE, 1864. CREATOR: UNKNOWN.

The Shakspeare Commemoration at Stratford-On-Avon: visit to Charlecote, 1864. Celebrating the tercentenary of William Shakespeare's birth. View of '...the famous mansion of Charlecote, visited by many hundreds of people on this occasion'. Shakespeare was said to have poached rabbits and deer in the park as a young man, and to have been brought before the magistrates. From "Illustrated London News", 1864. The Shakspeare Commemoration at Stratford-On-Avon: visit to Charlecote, 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)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

DER BERÜHMTE BERLINER FERNSEHTURM

Der berühmte Berliner Fernsehturm (KEYSTONE/CHROMORANGE/Marcel Ibold)

DRACHENBAUM AUS ICOD DE LOS VINOS AUF TENERIFFA. ER IST ÜBER 16 M HOCH UND STRECKT SEINE KRONE WEIT IN DEN HIMMEL.

Drachenbaum aus Icod de los Vinos auf Teneriffa. Er ist über 16 m hoch und streckt seine Krone weit in den Himmel. (KEYSTONE/CHROMORANGE/Claudia Nass)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

THE RHINE: RHEINBECK, 1864. CREATOR: UNKNOWN.

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

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

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

THE RHINE: RHEINSTEIN, 1864. CREATOR: UNKNOWN.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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