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(RM) 609539868
THE WOODS IN AUTUMN, BY HENRY JUTSUM, IN THE EXHIBITION OF THE BRITISH INSTITUTION, 1864. CREATOR: UNKNOWN.
The Woods in Autumn, by Henry Jutsum, in the Exhibition of the British Institution, 1864. Engraving of a painting. 'The season...is far advanced, as we see by the sparse foliage of sere and yellow leaves, the great dry, stubbly ferns; the carpeting of dead leaves, brown and red, drifted by the wind into every hollow, and the felling of the sapless trees. As late as the middle of November is the period chosen for commencing to fell the beech, the ash, and some other trees. The great silvery-barked trunks of several fine beeches lie about, lopped of their branches and ready for the timber merchant. Other fine stems, or "boles," as they are called in some districts of England, are being felled by the foresters, and to the left some noble "butts" are drawn away by a team of oxen. The felling of so many fine beeches, which look more than usually beautiful when - as in this picture - tipped with the evening sunlight, might be no very pleasant sight to some ardent lovers of woodland scenery. Their loss from the cleared space in the view before us is, however, more than compensated by the prospect thereby opened of true English landscape, with its undulating fields and hedgerows, its scattered trees and familiar village church-tower'. From "Illustrated London News", 1864. The Woods in Autumn, by Henry Jutsum, in the Exhibition of the British Institution, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609486095
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)
(RM) 609486090
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)
(RM) 609486085
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)
(RM) 609485135
THE BOATS OF H.M.S. SUTLEJ AND DEVASTATION ATTACKING AN INDIAN VILLAGE IN CLAYOQUOT..., 1864. CREATOR: UNKNOWN.
The boats of H.M.S. Sutlej and Devastation attacking an Indian village in Clayoquot Sound, Vancouver Island, 1864. Engraving from a sketch by Lieutenant Edward C. Hall. 'The British squadron...has lately been employed in chastising the Indian tribes...for some acts of piracy committed by them...Mr. Hankin...landed at the first native village they reached, in hopes of persuading the Indians to come to a parley or "waw-waw." But the village was deserted by its inhabitants...The Sutlej...stopped in front of the village...A native was seen there vehemently gesticulating as the ship drew near to the shore, and exclaiming, probably, at the loss of the canoes. Mr. Hankin...made him a prisoner, believing him to be one of the murderers, and brought him safe on board...After a "waw-waw" of nearly two hours they sent back a refusal to give up either. The Sutlej then came in and opened fire upon the village, which was soon knocked to pieces; but, to ensure its total destruction, Lieutenant Talbot, with boats, was sent in to set the huts on fire and bring away the canoes. In a few minutes the village was in flames and eleven canoes were towed off to the ship, the Indians firing but a few shots at Lieutenant Talbot's boat'. From "Illustrated London News", 1864. The boats of H.M.S. Sutlej and Devastation attacking an Indian village in Clayoquot..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
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