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(RM) 609545923
DESTRUCTION OF ST. MARY’S ROMAN CATHOLIC CATHEDRAL AT SYDNEY, NEW SOUTH WALES, 1865. CREATOR: UNKNOWN.
Destruction of St. Mary's Roman Catholic Cathedral at Sydney, New South Wales, 1865. Engraving of a drawing by Mr. J. Smedley, showing '...the conflagration in its most terrific aspect...The flames burst forth almost simultaneously...The roof was composed of shingles, which were quickly burnt through...as the outlines of the stately structure were vividly defined and skirted with flame, the sight was one of unsurpassed grandeur. Myriads of sparks ascended high into the air and fell in showers in the direction of Woolloomooloo Bay...From the top of the cathedral clouds of yellow flame and smoke issued, which shed a lurid lustre on all around...The reflection of the fire in the sky was visible for a distance of twenty miles at sea...the flames, like innumerable serpents of fire, hissed and crackled...The interior...was a vast furnace of fire, which glowed with intense heat; and the wind and flame roaring through the sacred pile, and the timbers crashing from above, made a noise which resembled the waves beating along the seashore as heard from afar...The cathedral, which had cost not much less, with its furniture and decorations, than £50,000, was not insured. It contained several pictures by the old masters, none of which have been saved'. From "Illustrated London News", 1865. Destruction of St. Mary’s Roman Catholic Cathedral at Sydney, New South Wales, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609543022
THE BEACON, BY J. ABSOLON, IN THE EXHIBITION OF THE INSTITUTE OF PAINTERS IN WATER COLOURS, 1864. CREATOR: W THOMAS.
The Beacon, by J. Absolon, in the Exhibition of the Institute of Painters in Water Colours, 1864. Engraving of a painting. 'For what, or for whom, has this buxom, comely lass brought her torch, all alone, to this desolate spot; for whom, or for what, with dilated eyes that bicker so brightly in the torch flare, is she...gazing so vehemently into the gathering shades of a...storm-portending night?...this is evidently a humble domestic beacon-light, not a fire to alarm and rouse a nation. Moreover, the venue is plainly...eagerly longed for, not dreaded; and it is fixed on the French...shore, as we infer from the costume - the jacket, the short, striped petticoat, and blue though not literary stockings worn by our heroine. Is this Normandy matelotte, then, looking out for and trying to guide safely to the haven of home a fisherman father, husband, brother, or lover, who has been...overtaken by bad weather?...it is much more probable that the painter intended to represent the wife, sweetheart, or relative of a French smuggler, who, thus fearful and anxious, has come at night to some harbourless part of the coast with her torch, the lighting of which is the preconcerted signal for running on shore with a cargo of English cotton or calico prints'. From "Illustrated London News", 1864. The Beacon, by J. Absolon, in the Exhibition of the Institute of Painters in Water Colours, 1864. Creator: W Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609540978
THE WAR IN DENMARK: REPULSE OF THE PRUSSIANS ON MARCH 28, VIEWED FROM THE DANISH REDOUBTS..., 1864. CREATOR: UNKNOWN.
The War in Denmark: Repulse of the Prussians on March 28, viewed from the Danish Redoubts, 1864. 'We have engraved this week a sketch by one of our own countrymen..., taken from one of the Danish redoubts. The foreground is filled up with a breastwork, a group of soldiers, and a mounted field-piece. The prospect is towards the Avnbierg or Ruhenberg hill on the left, the villages of West and East Dueppel in the centre, and the Bueffel Koppel wood farther off on the right...the masses of Prussian infantry...were broken and dispersed by the fire of Danish guns at once from the redoubts before them and from the war-steamer Rolf Krake, on their right flank. Beyond the gently swelling ground to the left are the waters of the inlet called the Venningbund, and in the extreme distance we perceive the twin steeples of Broacker Church...The small hamlet of East Dueppel, which lies in the middle, having been destroyed some days before, when the Prussians first occupied the Ruhenberg, could not afford them any shelter. They had formed their columns at three o'clock that morning in the village of West Dueppel, which was subsequently set on fire by the Danish shells, and which is seen burning'. From "Illustrated London News", 1864. The War in Denmark: Repulse of the Prussians on March 28, viewed from the Danish Redoubts..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609540588
THE ALABAMA DESTROYING THE TEXAN STAR, OR MARTABAN, IN THE MALACCA STRAITS..., 1864. CREATOR: UNKNOWN.
The Alabama destroying the Texan Star, or Martaban, in the Malacca Straits - the Kwan-Tung, Chinese war-steamer, in the distance, 1864. Engraving from a sketch by Commander Allen Young, R.N. who '...observed the Confederate man-of-war Alabama...[showing] foreign colours...At five in the afternoon the Kwan-Tung again came suddenly upon the Alabama, which, having captured a barque, was then in the act of destroying her. This barque, which proved to be the Texan Star, alias the Martaban, bound to Singapore with a rice cargo, was then lying in the position which our Engraving represents; her sails were clewed up, her anchor was down in about fifteen fathoms water, and the fire was breaking out at both ends. The crew having been removed, the Alabama cut the barque's boat adrift and steamed away at full speed...until midnight, when she was seen suddenly to alter her course towards Malacca, where it appears she landed the captured crew. The Texan Star when last seen was one mass of flame fore and aft, her masts had fallen by the board, and, while fast burning to the water's edge, she cast through the intense darkness of the night a brilliant gleam of light, at once a beacon to the navigator and a warning to all Federal ships in those waters'. From "Illustrated London News", 1864. The Alabama destroying the Texan Star, or Martaban, in the Malacca Straits..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609539938
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)
(RM) 609487339
THE TERRIBLE CALAMITY IN SANTIAGO, CHILI: RUINS OF LA COMPANIA [COMPAÑÍA] CHURCH, 1864. CREATOR: UNKNOWN.
The terrible calamity in Santiago, Chili: ruins of La Compania [Compañía] Church, 1864. Engraving of a photograph by Thomas Columbus Flelsby, of '...one of the most heartrending catastrophes ever recorded...On the 8th of December last the Church...took fire, and of the congregation...two thousand persons, mostly women, were burnt to death...[the church was] sumptuously decorated, whilst many thousand lights, tapers, and paraffin lamps, hung in festoons...illumined with a dazzling splendour the interior...The walls...were covered with rich drapery, and to this circumstance is in a great measure to be attributed the catastrophe which subsequently ensued...a crescent of lights placed at the foot of an image of the Virgin above the altar set some of the drapery on fire...in a few minutes the interior of the church was a mass of flames...The burning drapery, saturated with paraffin, fell in masses on the hapless congregation, whilst from the roof a rain of liquid fire poured upon their heads. Everyone strove with the energy of despair to reach the door and to force her way through the only outlet of escape...Within less than a quarter of an hour...nothing remained of more than two thousand women...than a mass of charred and blackened corpses'. From "Illustrated London News", 1864. The terrible calamity in Santiago, Chili: ruins of La Compania [Compañía] Church, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609486775
SCENE OF THE GREAT FIRE AT LIMOGES, FRANCE - FROM A SKETCH BY OUR SPECIAL ARTIST, 1864. CREATOR: SMYTH.
Scene of the Great Fire at Limoges, France - from a sketch by our special artist, 1864. 'The fire...destroyed nearly all that portion of the city comprised between the Church of St. Michel and the Palace of Justice...The cause of the fire has not hitherto been discovered, and, in all probability, never will be...the entire site of the ruins was still smoking and sending forth a tremendous heat, although the engines had not ceased throwing quantities of water upon the debris...from time to time the embers broke out afresh, emitting flames of the most fantastic shapes. In some spots everything has been so completely consumed that the ground has a whitened appearance, with here and there masses of metal protruding sufficiently to show that they had formed portions of kitchen utensils or of iron bedsteads...The enormous ruin calls up a vague reminiscence of Pompeii; similar masses of wall mark the lines of the former streets, and the yawning cellars occasion many a useless regret for the wines destroyed by relentless heat...it is a source of congratulation to reflect that no lives were lost, notwithstanding the dangers to which upwards of 2000 persons momentarily without refuge were necessarily exposed'. From "Illustrated London News", 1864. Scene of the Great Fire at Limoges, France - from a sketch by our special artist, 1864. Creator: Smyth. (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)
(RM) 609484950
THE EXPLOSION ON WEDNESDAY WEEK AT EDMUND'S MAIN COLLIERY, BARNSLEY, 1862. CREATOR: UNKNOWN.
The explosion on Wednesday week at Edmund's Main Colliery, Barnsley, 1862. 'Instantly a dense column of black smoke sprang from the cupola, like a gigantic tower, towards heaven. Its height is estimated at more than 100ft., and it remained for a few moments as clearly and sharply defined as the steeple of a church. The explosion was so violent that it not only forced back the current of air which was descending the downcast-shafts, but vomited from them also an immense volume of smoke, carried on a blast which hurled away the planks placed across the mouth of the shaft, snapping some of them in two like laths and tossing the others against the head of the gearing, whence they fell to the bottom of the shaft...In a few minutes the current resumed its natural course down the downcast-shafts; but the cupola continued to emit thick volumes of smoke until evening. The explosion is described by experienced persons as one of the most violent that had ever occurred in the mining districts of the North. In consequence of the explosion it has been determined to partially fill up the cupola-shaft, seal the mouths of the other two shafts, and flood the entire pit with water. The recovery of the bodies is delayed for months, but no more lives are lost'. From "Illustrated London News", 1862. The explosion on Wednesday week at Edmund's Main Colliery, Barnsley, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609484385
SCENE OF THE FIRE AT DOCKHEAD, BERMONDSEY, SKETCHED ON SATURDAY MORNING, 1864. CREATOR: UNKNOWN.
Scene of the fire at Dockhead, Bermondsey, [London], sketched on Saturday morning, 1864. 'a great fire broke out in the waterside premises of Messrs. Barry Brothers, wharfingers and saltpetre merchants...The warehouses...contained many thousand tons of saltpetre, and, as a strong wind was blowing...the piles and blocks of saltpetre caught fire one after another, sending forth immense volumes of brightly-coloured flame and scattering smoke, ashes, and sparks...Adjoining this capacious warehouse stood another...termed the H Extension Warehouse. This building was filled with several thousand bales of jute, and in less than a quarter of an hour it also was wrapped in flames...It was impossible...to prevent the fire from spreading...The steam fire-engine of Messrs. Roberts...was supported by two steam floating-engines...upon the floors becoming ignited in which the saltpetre was stored, loud and fearful explosions took place in rapid succession, which blew down heavy brick walls and lifted the tiles and roofs...The flames lighted up all the shipping in the Thames...the water itself shone like an immense stream of liquid gold...The damage, which was confined mainly to the warehouses just mentioned and their contents, is estimated at about £80,000'. From "Illustrated London News", 1864. Scene of the fire at Dockhead, Bermondsey, sketched on Saturday morning, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609483995
NERO AFTER THE BURNING OF ROME, BY CARL PILOTY, IN THE LATE INTERNATIONAL EXHIBITION, 1862. CREATOR: W THOMAS.
Nero after the Burning of Rome, by Carl Piloty, in the late International Exhibition, 1862. Engraving of a painting. '...the tyrant is represented stalking forth...to survey the desolation left by the flames, which still rage in the distance...he sweeps along without pity, horror, or remorse. Softly, like a prowling tiger, he treads over crumbling, tesselated pavement, and among fallen calcined capitals and architrave. There is a covert and furtive buoyancy in the bloated figure, which seems strangely belied by the rounded, unmanly, disproportionate arm hanging all so nerveless and flaccid. He is crowned with roses, and draped, as he was wont to appear in public, with white chamber robes of delicate texture, left trailing loosely...He is preceded by hard-featured, impassive, brutalised guards, and black slaves bearing torches, and followed by servile favourites and associates. Well may innocent little children quail and cower from the monster; well may mourners beside their dead relatives heap curses on his head. To the left of the foreground lie, among the charred ruins, a group of Christian martyrs...with the Imperial edict against the Christians fixed on the crossed timbers to which they are bound'. From "Illustrated London News", 1862. Nero after the Burning of Rome, by Carl Piloty, in the late International Exhibition, 1862. Creator: W Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
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