Channel Squadron Gate, Nicosia. Photographer: Thomson, John
Scope & Content:
Genre: Architectural Photography View of the fortified gateway: 'Nicosia, the capital of Cyprus, stands in the centre of the island, on the Plain of Mesorea, four hundred feet above the sea. It is connected with Larnaca by a carriage-road, which has recently been repaired and rendered available...
Genre: Urban Topographical Photography View looking across the small harbour, with local craft at their moorings, towards the ramparts of the castle on the far side: 'Kerynia, at one time the capital of a small kingdom, but at present little beyond a village, boasts the only harbour on the nort...
Genre: Urban Topographical Photography View looking along the ramparts overlooking the harbour: 'The work of fortifying this stronghold has been carried out with a thoroughness which has defied the inroads of time, so that while the whole town has been laid waste, its outer wall still remains i...
No. 64. The Tour du Connetable and ramparts, Vannes. Photographer: Reeve, Lovell Augustus
Scope & Content:
Genre: Architectural Photography Stereoscopic view looking towards the fortified tower and chateau, mounted as the frontispiece to the text of the work. This view is duplicated at print 64 in the set of stereographs accompanying the narrative.
Ramparts and Tower of St. Vincent, St. Malo. Photographer: Taylor, H.
Scope & Content:
Genre: Architectural Photography Stereoscopic view looking along the top of the ramparts towards the tower, with shops on the left. For Reeve's description of this photograph, see p. 16 of accompanying text volume.
Genre: Urban Topographical Photography Facing p. 10. View looking over the houses of Koblenz, with the fortress of Ehrenbreitstein rising on the right (partially out of the frame).
[Bodrum Castle.] Photographer: Spackman, Benjamin L.
Scope & Content:
Genre: Architectural Photography View of a corner tower the castle of St Peter at Bodrum, much of whose building material came from the Mausoleum. Photograph uncredited, but probably by Spackman. For a watercolour by Pullan, showing a similar view, see no. 74 (f. 45, bottom).