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Old England: A Pictorial Museum of Regal, Ecclesiastical, Baronial, Municipal and Popular Antiquities, Charles Knight (1791 – 1873) London, Charles Knight and Co., Ludgate Street, First Edition, 1845, two volumes, folio, pp. viii, 392; vi, 386, 24 chromoxylographs (incl. frontis.). Many wood-engraved text illustrations.
My copy has contemporary (worn) half-calf with gilt backs; there is some light foxing and dampstaining to the plates and margins of some leaves. Ref. Abbey, Life, 43; purchased D. & E Lake Toronto, 1992.
This book has been reprinted, but the reprint is out of print; you can search for a used copy on Amazon.
I have typed in the index to the book so that you can ask me for other scans if you like.
I have the first few sections online as Old England: A Pictorial Museum if you want to read the actual book!
The book starts with Druidical and Prehistoric remains and continues on to have Castles, Manors and stately homes, Churches, Abbeys and Cathedrals and much more.
Charles Knight also produced an illustrated edition of the Works of Shakspere, as he spelt it.
There is an entry in the Nuttall Encyclopædia for Charles Knight.
Some of the engravings were done by the Dalziel brothers; I have some images from their autobiography, A Record of Work.
Contents
Volume I
Book I. Before the Conquest.
Chapter I. The British Period. [Fig. 1]
Chapter II. The Roman Period. [Fig. 80]
Chapter III. The Anglo-Saxon Period. [Fig. 189]
Book II. The Period From the Norman Conquest to the Death of King John. A.D. 1066—1216.
Chapter I. Regal and Baronial Antiquities. [Fig. 334]
Chapter II. Ecclesiastical Antiquities. [Fig. 491]
Chapter III. Popular Antiquities. [Fig. 795]
Book III. The Period From the Accession of Henry III. to the End of the Reign of Richard II. A.D. 1216—1399.
Chapter I. Regal and Baronial Antiquities. Fig. 814]
Chapter II. Ecclesiastical Antiquities. [Fig. 929]
Chapter III. Popular Antiquities.
Book IV. The Period From the Accession of Henry IV. to the End of the Reign of Richard III. A.D. 1399—1485.
Chapter I. Regal and Baronial Antiquities. [Fig. 1150]
Chapter II. Ecclesiastical Antiquities. [Fig. 1279]
Chapter III. Popular Antiquities. [Fig. 1335]
Although some of the images here are from Volume II, I plan to move them into their own darling little folder, and will make a second table of contents.
This book is online at archive.org (Vol I and Vol II), although the OCR has done a really bad job, and the scans are lower resolution and not cleaned up. But you could use it to request a specific image, and I will scan it for you if it’s not here yet.
Title: Old England: A Pictorial Museum
City: London
Date: 1845
Total items: 408
Out of copyright (called public domain in the USA), hence royalty-free for all purposes usage credit requested, or as marked.
103.—Ruins of the Ancient Church of Reculver.
The Roman remains still existing at Reculver are less interesting than those at Richborough, chiefly because they are of less magnitude and are more dilapidated. Very close to the ruins of the ancient church, whose spires were once held in such reverence that ships entering the Thames were wont to lower their top-sails as they passed (Fig. 103), is [...]cester indicating a camp; that name changes when the camp has perished, and the great abbey is flourishing, to Raculfminster; the camp and the abbey have both perished, and we have come back to the Latin Regulbium, in its Anglicised form of Reculver. Some fiercer destruction even than that which swept away the abbey probably fell upon the Roman city. Gibson, speaking of the coins and jewellery which have been found at various times at Reculver, says, “These they find here in such great quantities that we must needs conclude it to have been a place heretofore of great extent, and very populous, and that it has one time or other underwent some great devastation, either by war or fire, or both. I think I may be confident of the latter, there being many patterns found of metals run together.” The antiquities of Regulbium are fully described in the elegant Latin treatise of Dr. Battely, ’Antiquitates Rutupinæ,’ 1711. [more...] [$]
Succeeding emperors left the Britons in the quiet advancement of their civilization, until Claudius (Fig. 118) was stirred up to the hazard of an invasion. In the sonorous prose of Milton—“He, who waited ready with a huge preparation, as if not safe enough amidst the flower of all his Romans, like a great Eastern king with armed elephants marches through [...] [more...] [$]
“In the neighbourhood of Llandaff were, in King’s time, several modern pig-sties, of a peculiar construction; and he held that the form of these was derived from the dwellings of the ancient Britons. (Fig. 55.) This form certainly agrees with the description which Strabo gives of the houses of the Gauls, which he says were constructed of poles and wattled work, of a circular form, and with a lofty tapering roof. On the Antonine column we have representations of the Gauls and the Gaulish houses, but here the roofs are for the most part with domes (Fig. 50). Strabo further says, “The forests of the Britons are their cities; for, when they have enclosed a very large circuit with felled trees, they build within it houses for themselves and hovels for their cattle. These buildings are very slight, and not designed for long duration.” Cæsar says, “What the Britons call a town is a tract of woody country, surrounded by a vallum and a ditch, for the security of themselves and cattle against the incursions of their enemies.” The towns within woods were thus fortresses; and here the Druidical worship in the broad glades, surrounded by mighty oaks which were their natural antiquities, was cultivated amidst knots of men, held together by common wants as regarded the present life, and common hopes with reference to the future (Fig. 56). [more...] [$]
Four men are playing at dice, a game called tric-trac. A discarded clay pipe on the floor, together with a wine-jug and an open tankard, hint at moral excesses. The men wear seventeenth-century costumes; one has a feather in his hat. The engraving is by S. Sly: probably the wood-engraving company of Stephen Sly, who also did a lot of work for the Illustrated London News. It is made after a [...]A Game of Tric-Trac. In the original painting the men are in a guardroom and there are plate mail and a spear in the foreground. [more...] [$]
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