[et_pb_section fb_built=”1″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” module_alignment=”center” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/www.huronresearch.ca\/impressions\/wp-content\/uploads\/sites\/123\/2025\/07\/Syria-Illustrated-Collage.jpg” alt=”Collage image of Syria Illustrated” title_text=”Syria Illustrated Collage” align=”center” _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row module_id=”introduction” _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
Photographer’s note<\/strong>: Due to the fine linework that exists in these engravings, more specifically sky renderings, there will often be times where the photographs taken display moir\u00e9 patterns<\/strong>. When viewing these engravings with the human eye, these areas would normally look like shading or tonal changes, but due to the shape of the light sensor on a DSLR (which projects a grid pattern) and that we often have to shoot images at a slight angle (we utilize foam cradles for the safety of these items), this type of fine linework can appear “wavy” due to pattern overlap. In photography this effect is referred to as the moir\u00e9 pattern<\/strong>. If you would like to learn more, check out this article<\/a> about moir\u00e9 by Nikon USA.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”2_5,3_5″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_5″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” width=”100%” global_colors_info=”{}”]<\/p>\n <\/em><\/p>\n Syria, The Holy Land, Asia Minor &c., Illustrated in a Series of Views Drawn from Nature by W.H. Bartlett, William Purser and Thomas Allom. With Descriptions of the Plates by John Carne<\/em> first appeared, in parts, between 1836 and 1838. Published by Fisher, Son & Co, London, Paris & America, it marked another entry in a string of works by Carne that documented his extended travels outside of England. Starting in 1826, with his Letters from the East<\/em>, the next decade would see a number of single and multi-volume publications ranging from The Exiles of Palestine: a Tale of the Holy Land<\/em> (1831) to Letters from Switzerland and Italy<\/em> (1834). What made the 1836 publication different, however, was its extensive use of illustration. Returning to the title page (image 1)<\/span>, it is worth noting the priority given to the artists. This is a work that is illustrated first and described second. Such reliance on a team of artists for topographical works of this period is not uncommon and yet we can easily ignore their importance when we start, as I did at the beginning of the post, by positioning this printed work as one of Carne\u2019s creations. In fact, the illustrations were an essential reason as to why this book sold in the 1830s and why it continues to attract book buyers today. So, let\u2019s begin with the art.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/www.huronresearch.ca\/impressions\/wp-content\/uploads\/sites\/123\/2025\/07\/Image-1-Title-Page.png” alt=”Image of Syria Illustrated title page” title_text=”Image 1 – Title Page” align=”center” _builder_version=”4.27.4″ _module_preset=”default” width=”80%” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row module_id=”engravers” _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n <\/p>\n Syria, The Holy Land, Asia Minor &c., Illustrated in a Series of Views Drawn from Nature<\/em> includes more than 120 steel line engravings. Most of the illustrations were based on original watercolours produced by William Henry Bartlett (1809-1854). Following years as an apprentice under John Britton (1771-1857), Bartlett would travel extensively between the 1830s and 1850s, creating illustrations explicitly to be produced as engravings.[1]<\/span><\/sup><\/a> In fact, if we look closely at one of the earliest illustrations in volume 1 [Ruins of Balbec] (image 2)<\/span> we can see the collaboration at work. \u201cW.H. Bartlett\u201d appears in the bottom left corner, while \u201cJ. Sands\u201d name appears in the bottom right. In other words, Bartlett produced the original drawing which Robert Sands (1782-1855) then engraved into steel.[2]<\/span><\/sup><\/a> While it would be easy to dismiss Sands as a kind of secondary assistant, as one who just transfers the genius of Bartlett, we might think otherwise when we consider the technical skill and time required to engrave an image of this quality. Engravers used a tool known as a burin to carve lines into metal plates which would then be inked on a rolling\/intaglio press. From the late sixteenth century to the early nineteenth century the dominant medium for such engravings was copper, but from 1820 to 1840 publishers increasingly switched to steel as the plates could be used for a larger number of impressions. In the example shown here we can begin to appreciate the potential of steel engravings for capturing detail, as in this separated capital from one of the columns, or the facial expressions of locals. Such detail should also attune us to the labour involved in such creations. While Bartlett produced most of the illustrations for volume 1, the execution of his art into steel depended on a small army of some 56 forgotten artists.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_code _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”] \nIntroduction<\/h1>\n
The Engravers<\/h1>\n