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THE FIREWORKS, JANUARY 21, 1782.

The Fireworks, January 21, 1782. Creator: Jean-Michel Moreau. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

FUNERAL OF MR. BRAIDWOOD, THE LATE CHIEF OF THE LONDON FIRE BRIGADE, IN ABNEY-PARK CEMETERY, 1861. BRAIDWOOD DIED IN THE TOOLEY STREET FIRE. 'SELDOM IF EVER BEFORE IN LONDON HAS SUCH A MARKED TRIBUTE OF PUBLIC RESPECT BEEN PAID TO A PRIVATE INDIVIDUAL. TH

Funeral of Mr. Braidwood, the late Chief of the London Fire Brigade, in Abney-Park Cemetery, 1861. Creator: Unknown. Funeral of Mr. Braidwood, the late Chief of the London Fire Brigade, in Abney-Park Cemetery, 1861. Braidwood died in the Tooley Street fire. 'Seldom if ever before in London has such a marked tribute of public respect been paid to a private individual. The London Rifle Brigade, the Tower Hamlets Volunteers, all the public and private fire brigades...formed part of the procession, which extended upwards of a mile in length. Every avenue...was blocked by a dense and almost impenetrable crowd, while throughout the entire length of the route along which it was to pass every path was thronged...The cortege, which was of a very imposing character, consisted of...about 1500 policemen; the firemen connected with the various brigades; the hearse and fifteen mourning-coaches...As the procession slowly approached...the bands pealing forth the Dead March, the mass of spectators, as if by an involuntary movement, all uncovered [ie took off their hats], and along the rest of the route this silent token of respect was everywhere observed. On reaching Abney Park the procession turned...down Church-street to the southern gates of the cemetery...the coffin was borne [into the Presbyterian Chapel] by the firemen of the London Brigade'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ERUPTION OF MOUNT VESUVIUS NEAR THE FOOT OF THE HILL, BETWEEN RESINA AND TORRE DE GRECO, AS SEEN FROM THE MARINELLA AT NAPLES, 1861. ENGRAVING FROM A SKETCH BY MR. ROSKILLY. 'IN TWO OR THREE MINUTES THE SMOKE HAD REACHED THE HEIGHT SHOWN IN THE ILLUSTRATI

Eruption of Mount Vesuvius near the foot of the hill, between Resina and the Torre de..., 1861. Creator: Unknown. Eruption of Mount Vesuvius near the foot of the hill, between Resina and Torre de Greco, as seen from the Marinella at Naples, 1861. Engraving from a sketch by Mr. Roskilly. 'In two or three minutes the smoke had reached the height shown in the Illustration...[a] new crater...burst out on the old lava...The aspect of the village of Torre del Greco is something fearful...Not one house was left uninjured, and a great number were destroyed...the horizon was perfectly obscured, the mouth of the bay hidden by smoke and ashes...[Vesuvius] burst out in double fury, throwing up stones and its ashes...obscuring the midday sun...you could hardly obtain a better idea of the destruction of Pompeii, as given by an eyewitness, Pliny, than the scene that was presented to our view...The whole way from Naples was full of carts of household furniture belonging to those who had deserted the town and fled from the eruptions and earthquakes...Vesuvius was...making most appalling noises, as if the earth was shaken to its very centre...ashes and smoke [were thrown up], and...red-hot stones, as big as one's head, fell around us...Ten minutes afterwards it burst forth, and the place on which I had been standing was literally covered with red-hot stone or lava...'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

DESTRUCTION BY FIRE OF THE QUEEN RAILWAY HOTEL AT CHESTER, [CHESHIRE], 1861. 'ON MONDAY WEEK THE QUEEN RAILWAY HOTEL, A MAGNIFICENT BUILDING, OPENED LAST SUMMER, AT CHESTER, WAS TO A GREAT EXTENT DESTROYED BY FIRE. THE CATASTROPHE ORIGINATED ABOUT FIVE O'

Destruction by fire of the Queen Railway Hotel at Chester, 1861. Creator: Unknown. Destruction by fire of the Queen Railway Hotel at Chester, [Cheshire], 1861. 'On Monday week the Queen Railway Hotel, a magnificent building, opened last summer, at Chester, was to a great extent destroyed by fire. The catastrophe originated about five o'clock from an overheated flue in the kitchen. The Mayor, the magistrates, and the militia were all quickly on the spot, with the Chester fire-engines. The Birkenhead and Crewe engines were telegraphed for and soon arrived. The Saltney engines were also present in good time. Captain Humberston, M.P., heading a small body of volunteers, supported the police, and every effort was made to protect the property. There was just time to save the plate and a large part of the furniture. At one period the railway station itself, which cost above a quarter of a million, was deemed in danger. The interior of the original part of the hotel is destroyed, but the large new wing is safe, so that the establishment may be soon reopened. The building is partially insured in the London and Liverpool Fire Office'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE FALL OF A HOUSE IN HIGH-STREET, EDINBURGH: SEARCHING FOR THE DEAD AND WOUNDED BY TORCHLIGHT, 1861. CROWDS WATCH AS MEN CARRYING FLAMING TORCHES SEARCH THROUGH DEBRIS.

The fall of a house in High-Street, Edinburgh: searching for the dead and wounded by..., 1861. Creator: Unknown. The fall of a house in High-Street, Edinburgh: searching for the dead and wounded by torchlight, 1861. Crowds watch as men carrying flaming torches search through debris. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ENTRY OF THE KING OF PRUSSIA INTO KOENIGSBERG: THE PROCESSION AT THE GRUNE THOR - FROM A SKETCH BY OUR SPECIAL ARTIST, 1861. 'THE WIDE STREETS OF THE VORSTADT [IN WHAT IS NOW KALININGRAD] DO NOT EXTEND BEYOND THE GRUENE-BRIDGE OVER THE RIVER PREGEL, WHICH

Entry of the King of Prussia into Koenigsberg: the procession at the Grune Thor - from a..., 1861. Creator: Unknown. Entry of the King of Prussia into Koenigsberg: the procession at the Grune Thor - from a sketch by our special artist, 1861. 'The wide streets of the Vorstadt [in what is now Kaliningrad] do not extend beyond the Gruene-bridge over the River Pregel, which there forms the entrance into the old city, on the city side of which the first building is the Exchange, on platforms in front of which were collected the mercantile men of the town and their families, whose appearance gave every evidence of comfort and of wealth. In the river, both above and below the bridge at this point, the vessels that are employed in the trade of the place were moored, and, as their yards were manned and they were gaily decked out with colours, the scene was much enlivened there. Among the most conspicuous of these vessels were the Prussian steamer Der Preusse and the English screw-steamer Zealand'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE CORONATION OF THE KING OF PRUSSIA: HIS MAJESTY ENTERING KOENIGSBERG [NOW KALININGRAD] BY THE BRANDENBURG GATE - FROM A SKETCH BY OUR SPECIAL ARTIST, 1861. 'THE KING AND THE CROWN PRINCE...IT IS DEEPLY TO HE REGRETTED THAT KING WILLIAM OF PRUSSIA UTTER

The Coronation of the King of Prussia: His Majesty entering Koenigsberg by the Brandenburg..., 1861. Creator: Unknown. The Coronation of the King of Prussia: His Majesty entering Koenigsberg [now Kaliningrad] by the Brandenburg Gate - from a sketch by our special artist, 1861. 'The King and the Crown Prince...It is deeply to he regretted that King William of Prussia utterly misconceives the basis upon which regal authority ultimately rests, and that, in haughty defiance of the reason of the age, he should have deemed it necessary or becoming to enunciate in his own behalf the obsolete doctrine of "divine right." The family of the Hohenzollern is not so ancient, nor have their possessions come to them, in all cases, by so clear a warrant, as to entitle him to preface his formal assumption of the ancestral sceptre with the declaration, "The rulers of Prussia receive their crown from God. To-morrow, therefore, I shall take the crown from the Lord's table, and place it on my head. This is the meaning of the expression 'King by the grace of God,' and therein lies the sanctity of the crown, which is inviolable." We are willing to suppose that this is rather the statement of a theory than the breathing forth of a spirit, and that it would be safer to infer from it that the Prussian Monarch is a pedant than that he intends to play the tyrant'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE BURNING OF CAPESTHORNE HALL, CHESHIRE: THE SOUTH FRONT, 1861. 'THE STATELY MANSION...WAS...THE SCENE OF A TERRIBLE FIRE, WHICH COMPLETELY GUTTED THE SPACIOUS AND HANDSOME BUILDING, AND RESULTED IN DAMAGE AMOUNTING TO SEVERAL THOUSAND POUNDS...THE ONLY

The Burning of Capesthorne Hall, Cheshire: the South Front, 1861. Creator: Unknown. The Burning of Capesthorne Hall, Cheshire: the South Front, 1861. 'The stately mansion...was...the scene of a terrible fire, which completely gutted the spacious and handsome building, and resulted in damage amounting to several thousand pounds...the only inmates of the hall when the catastrophe occurred were the owner Arthur Henry Davenport, Esq. and a guest, and the usual servants. The fire...must have been in existence some time before discovered by the footman...[who] raised the alarm...but...within an hour or two the flames issued forth from almost every window in front of the mansion and from the roof...Engines from Macclesfield and Congleton were procured...[but] the only hope left was to concentrate every effort upon preventing the spread of the fire beyond the body of the hall, the interior of which began to fill with smoke...Nearly all the articles of worth...have been preserved...The drawing-room was denuded of its furniture, glasses, paintings, carpet, and ornaments before the flames burst through the door...The ante-room, the library, and Mr. Davenport's study are entirely gutted, nothing now remaining in them but charred beams, and the smouldering remains of the beds, bedding, and furniture for the rooms that were above'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

REMOVAL OF A CHAPEL AT MELTON, NEAR WOODBRIDGE, SUFFOLK, 1861. ENGRAVING FROM A PHOTOGRAPH BY MR. COBB. '...THE PRIMITIVE METHODIST CHAPEL WAS REMOVED, IN A MASS, 15FT. FROM ITS ORIGINAL FOUNDATION. THE REMOVAL WAS RENDERED NECESSARY BY THE VERDICT OF A J

Removal of a chapel at Melton, near Woodbridge, Suffolk, 1861. Creator: Unknown. Removal of a chapel at Melton, near Woodbridge, Suffolk, 1861. Engraving from a photograph by Mr. Cobb. '...the Primitive Methodist Chapel was removed, in a mass, 15ft. from its original foundation. The removal was rendered necessary by the verdict of a jury, who...pronounced it a nuisance to a gentleman's house standing on adjoining ground...The base course around the chapel was entirely cut away, and beams...were inserted longitudinally...whilst support was further gained by transverse beams placed at intervals. The former beams...were laid to a rise of 1 in 180, so that the building had not only to be moved in a horizontal direction, but uphill also. The walls were firmly bolted together...The removal was effected by the application of two screw-jacks to one side of the building (pushing it forward) and three pairs of double screws to the other side (pulling it), the beams on which the building travelled being well greased to prevent friction...In three hours after commencing, the chapel was safely lodged on its new foundations, and presenting not even a scratch or the appearance of a crack; and a good deal of credit is due to Messrs. Collins, millwrights, for the easy and successful apparatus by which the building was removed'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

OPENING OF THE FIRST ITALIAN EXPOSITION OF INDUSTRY AND ART AT FLORENCE BY VICTOR EMMANUEL, 1861. '...HALF THE ASSEMBLED THOUSANDS WERE OF THE SOFTER BUT LESS EASILY CLOSE-PACKED SEX - FOR EVERY TICKET GAVE THE HEARER THE PRIVILEGE OF TAKING IN A LADY ON

Opening of the Italian Exposition at Florence by Victor Emmanuel, 1861. Creator: Unknown. Opening of the first Italian Exposition of Industry and Art at Florence by Victor Emmanuel, 1861. '...half the assembled thousands were of the softer but less easily close-packed sex - for every ticket gave the hearer the privilege of taking in a lady on his arm...As soon as the "Re galantuomo" had entered, and, declining to seat himself on his throne, taken up his position, standing a little in front of and almost among the crowd of spectators, the burst of vivas, the waving of pocket-handkerchiefs, and the shouts of "Vittorio Emmanuele, Re d'ltalia!" were such as to show that the chosen King of united Italy has lost not a jot of the popularity he enjoyed when first he visited and took possession of his new Tuscan States...the Marchese Cosimo Ridolfi...one of the leading promoters of the exposition, addressed the King in an excellently short and to-the-purpose speech...It should be especially mentioned that...there were no military present. There was the King, and there were the thousands of his assembled subjects...But there were no soldiers. And it must be remembered that the people were thus trusted and left to themselves infinitely more than we law-abiding Englishmen ever venture on doing; for Italy has as yet no police except military'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PRESENTATION OF COLOURS TO THE 36TH REGIMENT BY THE PRINCE OF WALES AT THE CURRAGH CAMP, 1861. THE FUTURE KING EDWARD VII AT AN ARMY BASE IN COUNTY KILDARE, IRELAND. ENGRAVING FROM A PHOTOGRAPH BY CAPTAIN FENTON, OF THE 86TH REGIMENT. 'THE USUAL PRELIMINA

Presentation of Colours to the 36th Regiment by the Prince of Wales at the Curragh Camp, 1861. Creator: Unknown. Presentation of Colours to the 36th Regiment by the Prince of Wales at the Curragh Camp, 1861. The future King Edward VII at an army base in County Kildare, Ireland. Engraving from a photograph by Captain Fenton, of the 86th Regiment. 'The usual preliminary ceremonies having been gone through, and the colours consecrated by the Rev. Horace Wheeler, the Chaplain, his Royal Highness presented them to Ensigns Dumergue and Bond, speaking as follows: "Colonel Hort, officers, non-commissioned officers, and privates of the 36th Regiment, it affords me very sincere gratification, after having served for some months in the brigade to which you belong, to present those colours to you. Be assured that I shall ever look back to my intercourse with yourselves and the various corps composing the fine division assembled in this camp with feelings of unmingled pleasure, and I gladly avail myself of this opportunity of expressing my thanks for the cordial welcome given me on my joining the ranks for the purpose of obtaining a practical acquaintance with the duties of your noble profession. Time will not admit of entering into a detailed narrative of all the valuable services rendered by your regiment to their Sovereigns and country".' From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

FATAL RAILWAY ACCIDENT AT KENTISH-TOWN, ON THE NORTH AND SOUTH WESTERN JUNCTION LINE: SCENE OF THE DISASTER ON MONDAY NIGHT, 1861. A BALLAST-TRAIN WAS STRUCK BY A PASSENGER TRAIN. THE ENGINE '...LEAPED FROM THE RAILS...AND ROLLED DOWN THE EMBANKMENT...WIT

Fatal railway accident at Kentish-Town, on the north and south western junction line: scene..., 1861 Creator: Unknown. Fatal railway accident at Kentish-Town, on the north and south western junction line: scene of the disaster on Monday night, 1861. A ballast-train was struck by a passenger train. The engine '...leaped from the rails...and rolled down the embankment...with a hideous dull sound and...frightful screeches...four carriages, in which were a number of passengers [followed]...The moans of the dying, the cries of the wounded, and the lamentations of those who missed their relatives, were to be heard on every side...Men were engaged in dragging corpses from under wheels...Many ladies ran about with linen for the doctors to bandage the wounded...At the time of going to press the number of killed on the spot and deaths consequent on injuries was twelve. Of those who have sustained injuries...there are reckoned nearly a hundred...We give an Illustration of the scene of this disastrous event - upon very special and public grounds. It is not our custom to minister to any morbid taste for the delineation of horrors; but in this instance we believe that no means should be left untried to fix upon the minds of the people of this country the now obvious and absolute necessity of legislative and administrative interference in the regulation of railways'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE IMPERIAL FETES AT PARIS: SCENE AT THE ESPLANADE DES INVALIDES, 1861.

The Imperial Fetes at Paris: scene at the Esplanade des Invalides, 1861. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

REVIEW OF THE CUMBERLAND RIFLE VOLUNTEERS IN RICKERBY PARK, CARLISLE, 1861. ENGRAVING FROM A SKETCH BY MR. W . H. NUTTER. '...THE WHOLE BATTALION WAS INSPECTED BY MAJOR HARMAN, THE GOVERNMENT INSPECTOR FOR THE NORTHERN DISTRICT, IN THE PRESENCE OF FROM 10

Review of the Cumberland Rifle Volunteers in Rickerby Park, Carlisle, 1861. Creator: Unknown. Review of the Cumberland Rifle Volunteers in Rickerby Park, Carlisle, 1861. Engraving from a sketch by Mr. W . H. Nutter. '...the whole battalion was inspected by Major Harman, the Government Inspector for the Northern District, in the presence of from 10,000 to 12,000 spectators...the volunteers, in varied uniforms of grey and scarlet, gave a picturesqueness to the scene, as they moved across the greensward, now wheeling and forming into line, now breaking out into long scattered bodies of skirmishers, and re-forming into close masses and impenetrable squares...The most interesting part of the proceedings of the day was, perhaps, the "marching past"...Major Harman...took up his position near the saluting-flag, and the whole battalion marched past in quick and afterwards in double-quick time...When subsequently the whole force on the ground, including cavalry and artillery, marched past in slow time, in review order, with the bands playing in the centre of the square, the scene was an imposing one. The volley-firing and skirmishing were performed with great precision, and, considering that this was the first gathering of the kind, the battalion drill was executed in a most praiseworthy manner'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE NATIONAL RIFLE ASSOCIATION MEETING ON WIMBLEDON COMMON: SKIRMISHERS FORMING SQUARES TO RESIST CAVALRY, 1861. MILITARY REVIEW IN LONDON. 'A CAVALRY ATTACK WAS THREATENED...FILE-FIRING INSTANTLY COMMENCED WITH A SUSTAINED DEAFENING UPROAR THAT WAS TREME

The National Rifle Association meeting on Wimbledon Common: skirmishers forming squares..., 1861. Creator: Unknown. The National Rifle Association meeting on Wimbledon Common: skirmishers forming squares to resist cavalry, 1861. Military review in London. 'A cavalry attack was threatened...file-firing instantly commenced with a sustained deafening uproar that was tremendous, and seemed to shake the very air. From this the fusillade after some minutes changed to firing by companies and regiments in volleys, and some of these were given with such a solidity and singleness that they rather sounded like the discharge of a single enormous piece of artillery than a simultaneous fire from 500 muskets. These repeated volleys were at last supposed to have the desired effect upon the enemy, for the bugle sounded to cease firing, and a long jingling rattle ran along the line, softening into a mere tinkle in the distance, as the whole mass fixed bayonets'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PRESENTATION OF THE PRIZES BY THE DUKE OF CAMBRIDGE IN FRONT OF THE GRAND STAND, 1861. NATIONAL RIFLE MATCH ON WIMBLEDON COMMON, LONDON. 'SHORTLY AFTER THREE THE ROYAL ENSIGN WAS RAISED, THE BAND OF THE HON. ARTILLERY COMPANY PLAYED A FEW STRAINS OF "GOD

Presentation of the prizes by the Duke of Cambridge in front of the grand stand, 1861. Creator: Unknown. Presentation of the prizes by the Duke of Cambridge in front of the grand stand, 1861. National Rifle Match on Wimbledon Common, London. 'Shortly after three the Royal ensign was raised, the band of the Hon. Artillery Company played a few strains of "God Save the Queen," and the Duke of Cambridge stepped upon the dais. Ranged in a long line...were the successful competitors, who awaited their prizes. The diversity of figure and dress gave some force to the idea that our national marksmen have gathered from far and wide. Here was an active Lancashire lad in the serviceable grey uniform of his corps; there an aristocratic young man in faultless morning costume; here an Australian rifleman with his plain felt helmet; here a kilted Highlander with his claymore girded on his side, and there an elegant-looking officer in the scarlet regimentals of a volunteer corps...To each and all, in proportion to their supposed desert, a tribute of applause was given by the lookers-on...His Royal Highness, in speaking generally of the success attending the second annual assembly of the association, observed that the competition throughout had been wonderfully close, and that many who had not won prizes had nevertheless proved themselves to be excellent shots'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

FOUR PANELS WITH THE PASSION OF CHRIST FROM A PREDELLA, 1426. THESE FOUR PANELS ARE FROM A “PREDELLA,” THE LOWEST SECTION OF AN ALTARPIECE TYPICALLY PAINTED WITH SCENES FROM THE LIVES OF THE HOLY FIGURES REPRESENTED IN THE ALTARPIECE’S CENTRAL SECTION. TH

Four Panels with the Passion of Christ from a Predella, 1426. Creator: Giovanni di Paolo. Four Panels with the Passion of Christ from a Predella, 1426. These four panels are from a “predella,” the lowest section of an altarpiece typically painted with scenes from the lives of the holy figures represented in the altarpiece’s central section. This predella, from an altarpiece painted by Giovanni di Paolo in 1426 for the chapel of the Pecci-Paganucci family in the church of San Domenico in Siena, depicts several episodes from the life of Christ. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE CARPENTER HANSHICHI OF FUKAGAWA SEIZES HIS DAUGHTER'S ATTACKER, C1875. SERIES: THE POSTAL NEWS, NO. 780.

The Carpenter Hanshichi of Fukagawa Seizes His Daughter's Attacker, c1875. Creator: Tsukioka Yoshitoshi. The Carpenter Hanshichi of Fukagawa Seizes His Daughter's Attacker, c1875. Series: The Postal News, no. 780. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE GIRL SAKU RESCUING A BABY FROM THE RIVER, PUBLISHED IN 1875. SERIES: THE POSTAL NEWS, NO. 729.

The Girl Saku Rescuing a Baby from the River, published in 1875. Creator: Tsukioka Yoshitoshi. The Girl Saku Rescuing a Baby from the River, published in 1875. Series: The Postal News, no. 729. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE LOYAL WIFE KOTO RECOGNIZES HER LONG-LOST HUSBAND AS A RICKSHAW DRIVER, PUBLISHED IN 1875. SERIES: THE POSTAL NEWS, NO. 621.

The Loyal Wife Koto Recognizes Her Long-Lost Husband as a Rickshaw Driver, published in 1875. Creator: Tsukioka Yoshitoshi. The Loyal Wife Koto Recognizes Her Long-Lost Husband as a Rickshaw Driver, published in 1875. Series: The Postal News, no. 621. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MIYAMOTO HANAKO CHASTENING A DRUNKARD, 1875. SERIES: THE POSTAL NEWS, NO. 425.

Miyamoto Hanako Chastening a Drunkard, 1875. Creator: Tsukioka Yoshitoshi. Miyamoto Hanako Chastening a Drunkard, 1875. Series: The Postal News, no. 425. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

ISE SHRINE FESTIVAL, BETWEEN 1767 AND 1770.

Ise Shrine Festival, between 1767 and 1770. Creator: Utagawa Toyoharu. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

DANS UNE SALLE DE SPECTACLE, 1854. SCENE IN A THEATRE. FROM PARIS L'ÉTÉ, NO. 2.

Dans une salle de spectacle, 1854. Creator: Honore Daumier. Dans une salle de spectacle, 1854. Scene in a theatre. From Paris l'été, no. 2. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

'LE COURONNEMENT DE CHARLES IV EN HONGRIE ; CHARLES 1 , SUCCESSEUR DE FRANCOIS-JOSEPH, ETAIT COURONNE, LE 30 DECEMBRE 1916,ROI DE HONGRIE, SOUS LE NOM DE CHARLES IV', 1916. FROM "L'ALBUM DE LA GUERRE 1914-1919, VOLUME 1" [L'ILLUSTRATION, PARIS, 1924].

'Le couronnement de Charles IV en Hongrie ; Charles 1, successeur de Francois-Joseph, etait couronn Creator: Unknown. 'Le couronnement de Charles IV en Hongrie ; Charles 1, successeur de Francois-Joseph, etait couronne, le 30 decembre 1916,roi de Hongrie, sous le nom de Charles IV', 1916. From "L'Album de la Guerre 1914-1919, Volume 1" [L'Illustration, Paris, 1924]. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

'LA MORT DE L'EMPEREUR D'AUTRICHE ; LE NOUVEAU COUPLE IMPERIAL ET LES REPRESENTANTS DES PUISSANCES CENTRALES SUIVENT LE CERCUEIL DE FRANCOIS-JOSEPH', 1916. FROM "L'ALBUM DE LA GUERRE 1914-1919, VOLUME 1" [L'ILLUSTRATION, PARIS, 1924].

'La mort de l'empereur d'autriche ; le nouveau couple imperial et les representants des puissances c Creator: Vereenigde Fotobureaux Amsterdam. 'La mort de l'empereur d'autriche ; le nouveau couple imperial et les representants des puissances centrales suivent le cercueil de Francois-Joseph', 1916. From "L'Album de la Guerre 1914-1919, Volume 1" [L'Illustration, Paris, 1924]. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE ECLIPSE OF THE SUN ON JULY 18 IN SPAIN - THE ECLIPSE AT AGUILAR - FROM A SKETCH BY OUR SPECIAL ARTIST, 1860. 'THE LANDSCAPE, OR THAT PART OF IT CLOSE TO US, WAS OF A DARK OLIVE GREEN; THE DISTANT PORTION AND HILLS WERE OF A WELL-DEFINED PURPLE. THE OU

The Eclipse of the Sun on July 18 in Spain - the eclipse at Aguilar - from a sketch by our..., 1860. Creator: Unknown. The Eclipse of the Sun on July 18 in Spain - the eclipse at Aguilar - from a sketch by our special artist, 1860. 'The landscape, or that part of it close to us, was of a dark olive green; the distant portion and hills were of a well-defined purple. The outline of the hills in front, including the opposite rock (known by the name of the Anvil), was perfectly defined, projected as they were on a bright yellow sky, the colour of which was altogether different from the golden tint of sunset, being lighter and whiter, and far more splendid...Above this yellow horizon the clouds appeared more grave, but equally surprising. The heavy cumuli clouds which had been so disastrous to us for the view of the totality were now so splendid that we unconsciously forgot our misfortune. Various shades of purple made their appearance, and they seemed, but for the circumstance of their colour, as clouds of dark and dense smoke projected on the clear sky. Two stars were seen between the interstices of the clouds. The silence of the assembled crowd, their upturned and apparently livid countenances, the darkness, which seemed unnatural - all those circumstances combined during the three eventful moments of total obscurity was a sight never to be forgotten'. From "Illustrated London News", 1860. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

LEIBNITZ, PERCHT AT PERCHTENLAUF (KRAMPUSLAUF, KRAMPUS RUN, MASK PROCESSION) IN THE MAIN SQUARE, VISITORS IN SOUTH STYRIA, STYRIA, AUSTRIA

Leibnitz, Percht at Perchtenlauf (Krampuslauf, Krampus run, mask procession) in the main square, visitors in South Styria, Styria, Austria (KEYSTONE/mauritius images/VOLKER PREUSSER)

SKI ALPIN WELTCUP 19 CRANS-MONTANA

Ausser halb des Weltcups findet am 27. November 1977 in Crans-Montana die sogenannten "Word Series"-Bewerbe der Frauen im Slalom statt. Abbi Fischer aus den USA mit der Startnummer 1 in Aktion vor Zuschauern. (KEYSTONE/Str)

BARCELONA OLD TOWN, PARADE, FESTIVAL

Barcelona Altstadt, Umzug, Fest Barcelona old town, parade, festival (KEYSTONE/mauritius images/DIETER REIMPRECHT)

CEREMONIAL BALL GAME, 200 B.C. - A.D. 500.

Ceremonial Ball Game, 200 B.C. - A.D. 500. Ceremonial Ball Game, 200 B.C. - A.D. 500 Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

IMPERIAL HEAD-QUARTERS AT THE CAMP AT CHALONS, [FRANCE] - FROM A DRAWING BY M. BEAUCÉ, 1860. 'THE FIRST POINT OF ATTRACTION TO VISITORS TO THE CAMP IS THAT PART KNOWN AS THE QUARTIER IMPÉRIAL...IT IS SITUATED ABOUT A MILE FROM THE VILLAGE OF GRAND-MOURMEL

Imperial Head-quarters at the Camp at Chalons, [France] - from a drawing by M. Beaucé, 1860. 'The first point of attraction to visitors to the Camp is that part known as the Quartier Impérial...It is situated about a mile from the village of Grand-Mourmel Imperial Head-quarters at the Camp at Chalons - from a drawing by M. Beaucé, 1860. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE REVIEW OF RIFLE VOLUNTEERS BY THE QUEEN AT EDINBURGH - THE TROOPS MARCHING PAST HER MAJESTY, 1860. FROM A SKETCH BY B. CLAYTON. 'THE VOLUNTEER ARRAY WAS COMMANDED IN CHIEF BY GENERAL SIR GEORGE WETHERALL, AND THE TWO DIVISIONS RESPECTIVELY BY LORD ROK

The Review of Rifle Volunteers by the Queen at Edinburgh - the Troops marching past Her Majesty, 1860. From a sketch by B. Clayton. 'The volunteer array was commanded in chief by General Sir George Wetherall, and the two divisions respectively by Lord Rok The Review of Rifle Volunteers by the Queen at Edinburgh - the Troops marching past Her Majesty,1860 Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE VOLUNTEER SHAM FIGHT IN CAMDEN PARK - SKIRMISHERS COVERING THE RETREAT, 1860. FAKE BATTLE BY BRITISH SOLDIERS IN KENT. '...THE APPOINTED SCENE OF OPERATIONS [WAS] A VALLEY, ONE SLOPE OF WHICH WAS FRINGED BY BICKLEY WOOD, AND THE OTHER BOUNDED BY ONE O

The Volunteer Sham Fight in Camden Park - skirmishers covering the retreat, 1860. Fake battle by British soldiers in Kent. '...the appointed scene of operations [was] a valley, one slope of which was fringed by Bickley Wood, and the other bounded by one o The Volunteer Sham Fight in Camden Park - skirmishers covering the retreat, 1860. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE REVIEW BY HER MAJESTY OF RIFLE VOLUNTEERS AT EDINBURGH: VIEW LOOKING TOWARDS ARTHUR'S SEAT AND SALISBURY CRAGS, 1860. FROM A SKETCH BY B. CLAYTON. 'LOOKING BEYOND THE CROWD TO THE HIGHEST POINT OF SALISBURY CRAGS, AWAY TO THE EXTREME RIGHT YOUR EYE RE

The Review by Her Majesty of Rifle Volunteers at Edinburgh: view looking towards Arthur's Seat and Salisbury Crags, 1860. From a sketch by B. Clayton. 'Looking beyond the crowd to the highest point of Salisbury Crags, away to the extreme right your eye re The Review by Her Majesty of Rifle Volunteers at Edinburgh: view looking towards..., 1860. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE EMBARKATION OF THE PRINCE OF WALES AT THE QUEEN'S WHARF, ST. JOHN'S, NEWFOUNDLAND, 1860. THE FUTURE KING EDWARD VII VISITS NORTH AMERICA. ENGRAVING FROM A SKETCH BY MR. DELANEY. 'WHEN THE PRINCE, WITH THE EARL OF ST. GERMANS AND HIS EXCELLENCY AND LAD

The Embarkation of the Prince of Wales at the Queen's Wharf, St. John's, Newfoundland, 1860. The future King Edward VII visits North America. Engraving from a sketch by Mr. Delaney. 'When the Prince, with the Earl of St. Germans and his Excellency and Lad The Embarkation of the Prince of Wales at the Queen's Wharf, St. John's, Newfoundland, 1860. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE ECLIPSE OF THE SUN ON JULY 18 IN SPAIN - THE ECLIPSE AT AGUILAR - FROM A SKETCH BY OUR SPECIAL ARTIST, 1860. 'THE LANDSCAPE, OR THAT PART OF IT CLOSE TO US, WAS OF A DARK OLIVE GREEN; THE DISTANT PORTION AND HILLS WERE OF A WELL-DEFINED PURPLE. THE OU

The Eclipse of the Sun on July 18 in Spain - the eclipse at Aguilar - from a sketch by our special artist, 1860. 'The landscape, or that part of it close to us, was of a dark olive green; the distant portion and hills were of a well-defined purple. The ou The Eclipse of the Sun on July 18 in Spain - the eclipse at Aguilar - from a sketch by our..., 1860. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

'LA ROUMANIE DANS LA GUERRE; LE PRINCE ROYAL CAROL, HERITIER FE LA COURONNE, DEFILANT A LA TETE SA COMPABNIE, A L'OCCASION D'UNE REVUE', 1916. FROM "L'ALBUM DE LA GUERRE 1914-1919, VOLUME 1" [L'ILLUSTRATION, PARIS, 1924].

'La Roumanie dans la Guerre; Le prince royal Carol, heritier fe la couronne, defilant a la tete sa compabnie, a l'occasion d'une revue', 1916. From "L'Album de la Guerre 1914-1919, Volume 1" [L'Illustration, Paris, 1924]. 'La Roumanie dans la Guerre; Le prince royal Carol, heritier fe la couronne, defilant a la tete sa c Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

TORTURE SCENE, C17TH CENTURY.

Torture scene, c17th century. Torture scene, c17th century. Creator: Anon. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE BEHEADING OF ST JOHN THE BAPTIST, EARLY-MID 18TH CENTURY.

The Beheading of St John the Baptist, early-mid 18th century. The Beheading of St John the Baptist, early-mid 18th century. Creator: Giovanni Battista Tiepolo. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE UNVEILING OF THE EQUESTRIAN STATUE OF CARL XIV JOHAN OF SW. IN 1854, UNKNOWN DATE.

The Unveiling of the Equestrian Statue of Carl XIV Johan of Sw. in 1854, Unknown date. The Unveiling of the Equestrian Statue of Carl XIV Johan of Sw. in 1854. Creator: Karl Stefan Bennet. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE ACCLAMATION OF KING CARL XIV JOHAN OF SWEDEN IN 1818, UNKNOWN DATE.

The Acclamation of King Carl XIV Johan of Sweden in 1818, Unknown date. The Acclamation of King Carl XIV Johan of Sweden in 1818. Creator: Karl Stefan Bennet. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

REVIEW IN LADUGÅRDSGAERDE FIELDS DURING CZAR NICOLAUS' VISIT IN 1838, UNKNOWN DATE.

Review in Ladugårdsgaerde Fields during Czar Nicolaus' Visit in 1838, Unknown date. Review in Ladugårdsgaerde Fields during Czar Nicolaus' Visit in 1838. Creator: Karl Stefan Bennet. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

OPEN-AIR PAINTER. WINTER-MOTIF FROM ÅSOEGATAN 145, STOCKHOLM, 1886.

Open-Air Painter. Winter-Motif from Åsoegatan 145, Stockholm, 1886. Open-Air Painter. Winter-Motif from Åsoegatan 145, Stockholm, 1886. Creator: Carl Larsson. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

HORSEWOMAN, 1919.

Horsewoman, 1919. Horsewoman, 1919. Creator: Gosta von Hennigs. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PEASANTS PLAYING BOULES, C17TH CENTURY.

Peasants playing boules, c17th century. Peasants playing boules, c17th century. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

A DANCING BEAR, 1865.

A Dancing Bear, 1865. A Dancing Bear, 1865. Creator: August Jernberg. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

DANCING COUNTRYMEN AND SPECTATORS AT A VILLAGE, 1746-1810. POSSIBLY A SKETCH FOR A PRINT.

Dancing countrymen and spectators at a village, 1746-1810. Possibly a sketch for a print. Dancing countrymen and spectators at a village, 1746-1810. Creator: Jean-Jacques de Boissieu. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

ROWING COMPETITION, 1829-1879. SPECTATORS WATCH FROM A GRANDSTAND WITH DUTCH FLAGS AND FROM SLOOPS IN THE WATER.

Rowing competition, 1829-1879. Spectators watch from a grandstand with Dutch flags and from sloops in the water. Rowing competition, 1829-1879. Creator: Ary Pleijsier. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

VIEW OF A MOCKERY OF CHEATERS ON A SQUARE IN VENICE, 1759-C.1796. THREE FIGURES RIDE DONKEYS.

View of a mockery of cheaters on a square in Venice, 1759-c.1796. Three figures ride donkeys. View of a mockery of cheaters on a square in Venice, 1759-c.1796. Creators: Louis-Joseph Mondhare, Anon. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

VIEW OF THE PORT DES INVALIDES IN PARIS WITH THE PARIS FRIGATE ON FEBRUARY 18, 1761, (1761-1805). THE SHIP IS LAUNCHED WITHOUT MASTS. THERE ARE SEVERAL BOATS WITH SPECTATORS ON THE WATER.

View of the Port des Invalides in Paris with the Paris Frigate on February 18, 1761, (1761-1805). The ship is launched without masts. There are several boats with spectators on the water. View of the Port des Invalides in Paris with the Paris Frigate on Feb 18, 1761, (1761-1805). Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

STREET QUARREL IN LONDON, 1826. 'LONDRES / DISCUSSION ORAGEUSE'. 'STORMY DISCUSSION' BETWEEN A MAN AND A WOMAN WITH BYSTANDERS. PRINT NO. 6 IN A SERIES OF SEVEN MEETINGS IN PARIS AND LONDON.

Street quarrel in London, 1826. 'Londres / Discussion Orageuse'. 'Stormy discussion' between a man and a woman with bystanders. Print no. 6 in a series of seven meetings in Paris and London. Street quarrel in London, 1826. Creator: Henry Bonaventure Monnier. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

VIEW OF A TOURNAMENT SCHOOL, 1742-1801. MEN ON HORSEBACK DOING TARGET PRACTICE.

View of a tournament school, 1742-1801. Men on horseback doing target practice. View of a tournament school, 1742-1801. Creator: Anon. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

VIEW OF A FENCING SCHOOL, 1742-1801. MEN WITH WEAPONS PRACTICE IN A ROOM.

View of a fencing school, 1742-1801. Men with weapons practice in a room. View of a fencing school, 1742-1801. Creator: Anon. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

FIGHTING MEN AND SPECTATORS, 1805.

Fighting men and spectators, 1805. Fighting men and spectators, 1805. Creator: Christian Gottfried Heinrich Geissler. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

CARRIAGE OF THE PRINCE, WHO DRIVES FROM THE DRIVEWAY OF HUIS TEN BOSCH, 1855.

Carriage of the Prince, who drives from the driveway of Huis ten Bosch, 1855. Carriage of the Prince, who drives from the driveway of Huis ten Bosch, 1855. Creator: Charles Rochussen. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

CADETS FORMED INTO LINE IN FRONT OF THE 'ZEERECHT' BUILDING ON THE SLIJPSTEENMARKT, AMSTERDAM, 1796.

Cadets Formed into Line in front of the 'Zeerecht' Building on the Slijpsteenmarkt, Amsterdam, 1796. Cadets Formed into Line in front of the 'Zeerecht' Building on the Slijpsteenmarkt, Amsterdam, 1796. Creator: Jonas Zeuner. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE FREDERIKSPLEIN, AMSTERDAM, DURING THE ENTRY OF QUEEN WILHELMINA, 5 SEPTEMBER 1898, 1898-1900. OTHER TITLE(S): THE FREDERIKSPLEIN, AMSTERDAM, DURING THE ENTRY OF QUEEN WILHELMINA, 5 SEPTEMBER 1898.

The Frederiksplein, Amsterdam, during the Entry of Queen Wilhelmina, 5 September 1898, 1898-1900. Other Title(s): The Frederiksplein, Amsterdam, during the Entry of Queen Wilhelmina, 5 September 1898. The Frederiksplein, Amsterdam, during the Entry of Queen Wilhelmina, 5 September 1898, 1898-1900. Creator: Otto Eerelman. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

'THE BULL LEAPING THE BARRIER; NOTES ON SPAIN', 1875. FROM, 'ILLUSTRATED TRAVELS' BY H.W. BATES. [CASSELL, PETTER, AND GALPIN, C1880, LONDON]

'The Bull leaping the barrier; Notes on Spain', 1875. From, 'Illustrated Travels' by H.W. Bates. [Cassell, Petter, and Galpin, c1880, London] 'The Bull leaping the barrier; Notes on Spain', 1875. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

'THE BANDERILLERO IN THE CHAIR; NOTES ON SPAIN', 1875. FROM, 'ILLUSTRATED TRAVELS' BY H.W. BATES. [CASSELL, PETTER, AND GALPIN, C1880, LONDON]

'The Banderillero in the chair; Notes on Spain', 1875. From, 'Illustrated Travels' by H.W. Bates. [Cassell, Petter, and Galpin, c1880, London] 'The Banderillero in the chair; Notes on Spain', 1875. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

'DUEL WITH THE NAVAJA; NOTES ON SPAIN', 1875. FROM, 'ILLUSTRATED TRAVELS' BY H.W. BATES. [CASSELL, PETTER, AND GALPIN, C1880, LONDON]

'Duel with the Navaja; Notes on Spain', 1875. From, 'Illustrated Travels' by H.W. Bates. [Cassell, Petter, and Galpin, c1880, London] ''Duel with the Navaja; Notes on Spain', 1875. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

'LES ALPINS FRANCAIS AUX ETSTS-UNIS; DEVANT LE PERRON DE L'HOTEL DE VILLE DE BROOKLYN, LE 2 MAI 1918', 1918. FROM "L'ALBUM DE LA GUERRE 1914-1919, VOLUME 2" [L'ILLUSTRATION, PARIS, 1924].

'Les alpins francais aux etsts-unis; devant le perron de l'Hotel de Ville de Brooklyn, le 2 mai 1918', 1918. From "L'Album de la Guerre 1914-1919, Volume 2" [L'Illustration, Paris, 1924]. 'Les alpins francais aux etsts-unis; devant le perron de l'Hotel de Ville de Brooklyn..., 1918. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

'LES ALPINS FRANCAIS AUX ETSTS-UNIS; DEBARQUES DU "ROCHAMBEAU" CENT CHASSEURS FRANCAIS, VENUS POUR PRENDRE PART A LA "CAMPAGNE DU TROISIEME EMPRUNT DE LA LIBERTE", A LA DEMANDE DU GOUVERNEMENT AMERICAIN, DEFILENT, LE 1ST MAI, DANS LES RUES DE NEW-YORK, AU

'Les alpins francais aux etsts-unis; debarques du "Rochambeau" cent chasseurs francais, venus pour prendre part a la "campagne du troisieme emprunt de la Liberte", a la demande du gouvernement americain, defilent, le 1st mai, dans les rues de New-York, aux acclamations de la foule', 1918. From "L'Album de la Guerre 1914-1919, Volume 2" [L'Illustration, Paris, 1924]. 'Les alpins francais aux etsts-unis; debarques du "Rochambeau" cent chasseurs francais..., 1918. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

SKETCHES IN CHINA - A THIEF WHIPPED THROUGH THE STREETS OF CANTON, 1858. ENGRAVING OF A SKETCH '...RECEIVED BY THE LAST OVERLAND MAIL FROM OUR SPECIAL ARTIST AND CORRESPONDENT IN CHINA, WHO, IN A LETTER DATED CANTON, OCT. 28, WRITES: "A MAN WITH A GONG GO

Sketches in China - a Thief whipped through the Streets of Canton, 1858. Engraving of a sketch '...received by the last Overland Mail from our Special Artist and Correspondent in China, who, in a letter dated Canton, Oct. 28, writes: "A man with a gong goes in front, and is followed by the thief, with his [pig]tail cut off, his back bared, receiving chastisement from a rattan cane".' From "Illustrated London News", 1858. Sketches in China - a Thief whipped through the Streets of Canton, 1858. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

LAUNCH OF THE "PARAMATTA" STEAM-SHIP AT BLACKWALL ON MONDAY WEEK, 1858. PADDLE STEAM-SHIP, BUILT BY THE THAMES IRON AND SHIPBUILDING COMPANY, LAUNCHED IN THE RIVER LEA (WHICH MEETS THE RIVER THAMES AT BOW CREEK IN LONDON). SHE WAS '...BUILT FROM THE DESIG

Launch of the "Paramatta" Steam-ship at Blackwall on Monday week, 1858. Paddle steam-ship, built by the Thames Iron and Shipbuilding Company, launched in the River Lea (which meets the River Thames at Bow Creek in London). She was '...built from the designs of Mr. Rennie, the Royal Mail Packet Company's engineer...the ship was released from the detaining dogshore, and slowly and majestically descended the incline. Then followed for a few moments a most exciting scene; for, immediately on the arrival of her forecradles at the bottom of the ways, the gigantic vessel gave a tremendous lurch to port, and impressed the breathless spectators with an idea that she must go over altogether; but after a few violent lists she righted herself, and the next minute was brought safely and quietly to a complete stand-still by the powerful checkropes with which it is necessary to supply vessels launched in this little river...The dimensions and power of the Paramatta are as follow: Length over all, 345 feet; between perpendiculars, 330 feet; on keel, 303 feet 9 inches (for tonnage); breadth of beam, 43 feet 9 inches; depth of hold, 36 feet 6 inches; and engines of 800-horse power'. From "Illustrated London News", 1858. Launch of the "Paramatta" Steam-ship at Blackwall on Monday week, 1858. Creator: Smyth. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)