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(RM) 609546028
A VISIT TO PENN'S MARINE ENGINE FACTORY, AT GREENWICH:...GREAT CYLINDER FOR A...STEAM-ENGINE, 1865. CREATOR: UNKNOWN.
A visit to Penn's Marine Engine Factory, at Greenwich: casting a great cylinder for a marine steam-engine, 1865. Illustration representing '...the molten metal being poured into the mould ...the mass of metal, while of immense magnitude, has to be cast with all the exactness and perfection that can be given to the smallest castings...The iron...is melted in several cupolas... and the molten iron runs through small canals into the foundry, where they empty themselves into two immense cauldrons...The pouring so large a mass of metal equally into the mould is a most important matter, and is executed by the principal founder, for irregularity or too quickly running the metal would not only spoil the casting, but might endanger the lives of those present. The operation...requires from twenty to thirty tons of iron to fill the mould...The scene during the few minutes occupied in filling the mould is particularly fine in effect; the hitherto dark foundry being suddenly lit up with the glare of the rivers of liquid iron running over the lips of the cauldrons... the bright glow of the molten iron, almost white in its intense heat, lights up the features and forms of the workmen and numerous visitors in a wondrous manner'. From "Illustrated London News", 1865. A visit to Penn's Marine Engine Factory, at Greenwich:...great cylinder for a...steam-engine, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609544673
ANNUAL INSPECTION OF THE MIDDLESEX INDUSTRIAL SCHOOL AT FELTHAM, 1865. CREATOR: UNKNOWN.
Annual Inspection of the Middlesex Industrial School at Feltham, 1865. 'The annual inspection of the school established at Feltham, near Hounslow,..."to make provision for the care, reformation, and education of juvenile offenders," took place on Wednesday week. Any boy of age between seven and fourteen who is convicted of any criminal offence may be committed to this school for a period of not less than one year and not more than three. The school is built and supported entirely at the cost of the county rate...The number of inmates averages about 560 boys, under the charge of thirty-three resident and thirteen non-resident officers...The cost of maintenance and management is at the rate of £20 per head. The inspection...showed that the school is in a very satisfactory state. The ordinary forenoon routine of teaching was strictly observed, while the different workshops were also kept busy till the dinner hour: after which the boys were paraded and marched to chapel, headed by the band, and saluting the company as they went past a flagstaff erected in the ground. After Divine worship they were assembled for singing, their vocal performances being directed by the master, who stood on a chair in front of the line'. From "Illustrated London News", 1865. Annual Inspection of the Middlesex Industrial School at Feltham, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609544388
EXHIBITION AT ALTON TOWERS...IN AID OF THE WEDGWOOD INSTITUTE...PICTURE-GALLERY AND ARMOURY, 1865. CREATOR: UNKNOWN.
Exhibition at Alton Towers, Staffordshire, in aid of the Wedgwood Institute of Burslem - the Picture-Gallery and Armoury, 1865. '...it is intended that the building itself shall illustrate the constructive as well as the decorative uses of ceramic art...Earl Granville had done much to further this scheme, having allowed the exhibition committee to borrow some of the art- treasures from the museum at South Kensington...in respect of Wedgwood ware, a larger show was rarely if ever seen. There are also some excellent specimens of Staffordshire ware, from the best local manufacturers...The Armoury is devoted to a large collection of electrotyped copies of famous mediaeval work in armour from the South Kensington collection, the originals of which are in the Musee d'Artillerie, Paris, the Louvre, and the South Kensington Museum. One of the finest is an embossed shield, the original of which is by Benvenuto Cellini, at Windsor Castle. A few specimens of the English school will also attract attention. In the Picture-Gallery there is a choice collection of oil paintings, towards which liberal contributions have been made by the Department of Science and Art'. From "Illustrated London News", 1865. Exhibition at Alton Towers...in aid of the Wedgwood Institute...Picture-Gallery and Armoury, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609544367
EXHIBITION AT ALTON TOWERS...IN AID OF THE WEDGWOOD INSTITUTE...THE OCTAGON ROOM, 1865. CREATOR: UNKNOWN.
Exhibition at Alton Towers, Staffordshire, in aid of the Wedgwood Institute of Burslem - the Wedgwood ware in the Octagon Room, 1865. '...it is intended that the building itself shall illustrate the constructive as well as the decorative uses of ceramic art...the Wedgwood ware and other illustrations of the ceramic art are placed in the Octagon, the old specimens occupying a large case in the middle of the room...The centre case contains a numerous variety of cameos, dejeuner services in dark and light coloured jasper ware, and fine pieces of basaltes in sphinxes and vases, a pair of which, with decorations illustrative of the mythology of wine and water, are among the choicest articles in the exhibition. There are also a few specimens of the cream-coloured ware, some very handsome porphyry vases, and some copies of antique vases, with encaustic painting. One of the most attractive articles in the Octagon is a white marble chimney-piece, inlaid with exquisite plaques of sage-green jasper ware. On the top of this mantelpiece are two large and very handsome blue and white vases, made for the father of the present Earl of Harrowby... there are also specimens of modern ware from Messrs. Copeland's, Messrs. Minton's, and Messrs. Wedgwood's works'. From "Illustrated London News", 1865. Exhibition at Alton Towers...in aid of the Wedgwood Institute...the Octagon Room, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609543337
FOOT-RACES AT THE ANNUAL FESTIVAL OF THE ASYLUM FOR IDIOTS, EARLSWOOD, 1864. CREATOR: UNKNOWN.
Foot-Races at the annual festival of the Asylum for Idiots, Earlswood, 1864. 'The annual festival provided by a kind and judicious management for the inmates of the Earlswood Asylum, near Redhill, took place on Thursday week. A numerous company of the friends and patrons of that institution, with other visitors, had come to witness the enjoyment of these poor young folks in the sports and pastimes of the day. There were games of cricket, football, and croquet, Aunt Sally, Punch and Judy, races, and jumping-matches for prizes. The patients appeared to enter into these games with considerable pleasure, and with an unexpected display of skill and intelligence...The Earlswood Asylum now holds 377 inmates, who are divided into classes, and accommodated according to their rates of payment - those paying the lowest being placed on the same footing as the non-paying inmates. The visitors, who went over the whole house, were fully satisfied with the arrangements for the different classes - private bed-rooms and sitting-rooms for those who can afford them, large airy dormitories, comfortably furnished for the second-class, and for the third-class and elected patients apartments quite as comfortable, but not quite so elegant'. From "Illustrated London News", 1864. Foot-Races at the annual festival of the Asylum for Idiots, Earlswood, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609543308
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)
(RM) 609487255
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)
(RM) 609487250
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)
(RM) 609484005
THE LOAN COLLECTION OF WORKS OF ART AT SOUTH KENSINGTON MUSEUM, 1862. CREATOR: UNKNOWN.
The Loan Collection of works of art at South Kensington Museum, [London], 1862. Display in what became the Victoria and Albert Museum, of pieces '...of the mediaeval renaissance, and more recent periods...in a miniature Crystal Palace, the rooms being lofty, spacious, well proportioned, and capitally lighted from the glass roof above...[There were] sculptures in marble and terra-cotta, carvings in ivory, art bronzes, furniture, objects of ancient Irish and Anglo-Saxon art, various works of mediaeval art; ecclesiastical utensils, &c.; "Henri Deux" ware...decorative plate...vases and other objects in rock crystal, sardonyx, &c.; snuffboxes and other articles of bijouterie, jewellery and personal ornaments, cameos, and engraved gems, decorative arms and armour, enamel of Limoges, Venetian and other glass ware, Palissy and Italian majolica ware, Parian "faience," Sevres porcelain; Chelsea, Worcester, and other old English porcelain; old Wedgwood ware, porcelain of various European manufactories; portrait miniatures - a most interesting collection; illuminations and illuminated manuscripts, decorative bookbindings, textile fabrics, ecclesiastical vestments, and a number of miscellaneous articles of rare beauty and value...'. From "Illustrated London News", 1862. The Loan Collection of works of art at South Kensington Museum, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601163264
THE INTERNATIONAL EXHIBITION: BRITISH COLUMBIA AND PRINCE EDWARD ISLAND COURTS..., 1862. CREATOR: UNKNOWN.
The International Exhibition: British Columbia and Prince Edward Island Courts, 1862. The collection from British Columbia [in the colonial department]...consisted mainly of natural productions and articles of rude manufacture by the native Indians...[These included] curious masks worn at their religious ceremonies, specimens of their canoes, of a kind of cloth woven and ornamented by them, examples of their weapons...a large map of the district..., and specimens of woods, amongst which was a gigantic section of a tree which furnishes an admirable wood...Some of the woods were exhibited...worked up into articles for use and ornament. There were also specimens of the gold found in the colony...The collection from Prince Edward Island consisted chiefly of corn, pulse, agricultural seeds, flour, meal, pearl-barley, pork, and dairy produce, and linen and woollen manufactures...There were, also, furniture and screens made of native wood, agricultural machines and implements, harness, ships' tackles, horseshoes, preserved fish, textile materials, an article called bay-tree tallow, honey, &c. In brief, the articles exhibited were of the more severely useful description...but the collection spoke well for the industrial skill of the colony'. From "Illustrated London News", 1862. The International Exhibition: British Columbia and Prince Edward Island Courts..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RMc) 601162969
THE INTERNATIONAL EXHIBITION: BRITISH GUIANA AND BARBADOES COURTS..., 1862. CREATOR: UNKNOWN.
The International Exhibition: British Guiana and Barbadoes Courts - from a photograph by the London Stereoscopic Company, 1862. Display entered through an '...arch formed by the feathery grass-blades of the sugarcane...[On the right] is what may be called a statue of a negress in the conventional costume of the colony. Behind this is a collection of stuffed birds, embracing a number of specimens of the endless varieties which throng the river-colonies of Demerara, Berbice, and Essequibo...The grasses and fibres which grow in rich abundance in the colony are also exhibited, and many of them are shown as manipulated by the native Indians, or "Bucks," as they are familiarly called - a race fast dying out - especially in the shape of hammocks and baskets...on the left centre of the picture...[are] several glass shades beneath which are placed specimens of the flowers of the island, beautifully executed in wax...In another case will be found specimens in wax of the fruits of the island...and an excellent imitation of a section of the sugarcane...It may be as well to state that Barbadoes has always been a cotton-growing country, and, though the quantity produced is small, the quality has always been esteemed good'. From "Illustrated London News", 1862. The International Exhibition: British Guiana and Barbadoes Courts..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162109
THE INTERNATIONAL EXHIBITION: PORTIONS OF THE AUSTRIAN AND BELGIAN COURTS..., 1862. CREATOR: MASON JACKSON.
The International Exhibition: portions of the Austrian and Belgian Courts as seen from the Western Dome, 1862. '...the Austrian Court...is very advantageously situated for catching the eye of the visitor who comes down the nave from the eastern entrance. At the point where the north-western transept springs from the dome the Austrian Court extends a considerable way to the left of the transept, as the Belgian Court extends in the same direction to the right. On ascending the steps leading to the western dome an excellent view is obtained both of the galleries and the lower floor of the court, which come out with much brilliancy and effect. The view which we give...is taken from beneath the western dome looking down the north transept, and in the distance is the fine painted window which terminates the transept. In the foreground to the left is to be seen Leopold Kissling's group of statuary, Mars, Venus, and Cupid. In the centre is Lobmeyer [sic] of Vienna's crimson velvet screen, which forms a background to his grand display of chandeliers; and a little to the left is to be observed Neffen's stand of Bohemian glass. The picture includes also a considerable portion of the Belgian Court'. From "Illustrated London News", 1861. The International Exhibition: portions of the Austrian and Belgian Courts..., 1862. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160498
THE INTERNATIONAL EXHIBITION: GREAT SUGAR-MILL, BY MIRRLEES AND TAIT, OF GLASGOW, 1862. CREATOR: UNKNOWN.
The International Exhibition: Great Sugar-Mill, by Mirrlees and Tait, of Glasgow, 1862. 'The use of this mill is to express the juice from the cane...an endless travelling-table...carries the canes up to the three great revolving rollers, between which it is drawn, and while passing between them subjected to the maximum pressure considered necessary...The mill is driven by steam power...which consists of a six-columned high-pressure beam-engine...The whole is exhibited in motion, and...attracts a large amount of attention...[The machine] strikes the spectator with a sort of awe; for its terrific crushing powers are evident to the unscientific visitors, and they naturally shrink away from it lest coat-tails or crinoline should accidentally he nipped between those terrible rollers. At the back...is an extensive range of apparatus, partially seen in our Engraving. It consists of three large copper vacuum-pans, with all the necessary fittings. A gallery has been erected round the pans to enable visitors to inspect them. The whole is of copper and brass, polished and burnished to the highest attainable pitch of brightness...these machines are used on the plantations where the sugar is grown, and the product exported either as sugar, molasses, or rum'. From "Illustrated London News", 1862. The International Exhibition: Great Sugar-Mill, by Mirrlees and Tait, of Glasgow, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160294
THE INTERNATIONAL EXHIBITION: VIEW OF THE ENGLISH PICTURE-GALLERY, LOOKING WEST, 1862. CREATOR: UNKNOWN.
The International Exhibition: view of the English Picture-Gallery, looking west, 1862. 'The lower galleries at the two extremities of the building are rather confined, and already heated and close; but the principal galleries are everything that can reasonably be desired. These are certainly the most spacious and stately galleries in the world, not even excepting the long gallery of the Louvre itself. The Pitti and Uffizi at Florence, the galleries of Rome, Naples, Munich, Dresden, and other Continental cities, are, for the most part, divided into small compartments, and lose, therefore, the imposing effect of simple vastness. The apparent size of our own galleries is rather increased by the pale tea-green colour and "flatted" aërial tone of the walls. Anything like monotonousness is prevented by the division of the central entrance, the returning walls of the flanking towers, and in the English gallery the distribution at regular intervals against the walls of pieces of sculpture, before a background of dark maroon-coloured cloth. The "point of station" we have chosen is just within the eastern tower, and the view is looking west towards the arch of the entrance and the continuations of the line of galleries on the foreign side'. From "Illustrated London News", 1862. The International Exhibition: view of the English Picture-Gallery, looking west, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
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