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Orion Nebula - the trapeze - The Trapezium region in M42 - Located 1500 years - light, Orion Nebula is the closest region of formation of stars of the Sun. In the center of the picture, the Trapeze of Orion. The Trapeze is among the youngest known open clusters, it is made up of 4 massive stars that make the nebula shine. The central 'star' of the three groups forming the asterism of Orion's sword is in reality a nebula, and is clearly nebulous to the unaided eye. At the heart of the most luminous nebulosity shimmer a handful of stars known as the Trapezium cluster, visible in binoculars. These are the brightest members of a substantial cluster of stars, most of which are still hidden in the dusty recesses of the Orion nebula against which they are seen. The stars of the Trapezium provide much of the energy which makes the brilliant Orion Nebula visible and are at a distance of about 1500 light years
Orion Nebula - the trapeze - The Trapezium region in M42 - Located 1500 years - light, Orion Nebula is the closest region of formation of stars of the Sun. In the center of the picture, the Trapeze of Orion. The Trapeze is among the youngest known open clusters, it is made up of 4 massive stars that make the nebula shine. The central 'star' of the three groups forming the asterism of Orion's sword is in reality a nebula, and is clearly nebulous to the unaided eye. At the heart of the most luminous nebulosity shimmer a handful of stars known as the Trapezium cluster, visible in binoculars. These are the brightest members of a substantial cluster of stars, most of which are still hidden in the dusty recesses of the Orion nebula against which they are seen. The stars of the Trapezium provide much of the energy which makes the brilliant Orion Nebula visible and are at a distance of about 1500 light years

PIX4617828: Orion Nebula - the trapeze - The Trapezium region in M42 - Located 1500 years - light, Orion Nebula is the closest region of formation of stars of the Sun. In the center of the picture, the Trapeze of Orion. The Trapeze is among the youngest known open clusters, it is made up of 4 massive stars that make the nebula shine. The central 'star' of the three groups forming the asterism of Orion's sword is in reality a nebula, and is clearly nebulous to the unaided eye. At the heart of the most luminous nebulosity shimmer a handful of stars known as the Trapezium cluster, visible in binoculars. These are the brightest members of a substantial cluster of stars, most of which are still hidden in the dusty recesses of the Orion nebula against which they are seen. The stars of the Trapezium provide much of the energy which makes the brilliant Orion Nebula visible and are at a distance of about 1500 light years / Bridgeman Images

ID: PIX4617828

Orion Nebula - the trapeze - The Trapezium region in M42 - Located 1500 years - light, Orion Nebula is the closest region of formation of stars of the Sun. In the center of the picture, the Trapeze of Orion. The Trapeze is among the youngest known open clusters, it is made up of 4 massive stars that make the nebula shine. The central 'star' of the three groups forming the asterism of Orion's sword is in reality a nebula, and is clearly nebulous to the unaided eye. At the heart of the most luminous nebulosity shimmer a handful of stars known as the Trapezium cluster, visible in binoculars. These are the brightest members of a substantial cluster of stars, most of which are still hidden in the dusty recesses of the Orion nebula against which they are seen. The stars of the Trapezium provide much of the energy which makes the brilliant Orion Nebula visible and are at a distance of about 1500 light years

Stories of King Arthur
Stories of King Arthur

XLA3760903: Stories of King Arthur, Theaker, Harry George (1873-1954) / Bridgeman Images

ID: XLA3760903

Stories of King Arthur

Theaker, Harry George (1873-1954)

William Shakespeare 's play (photo)
William Shakespeare 's play (photo)

KNT3818783: William Shakespeare 's play (photo), Kenton, Tristam / Bridgeman Images

ID: KNT3818783

William Shakespeare 's play (photo)

Kenton, Tristam

Vietnam: Thap Rua (Tortoise Tower) Ho Hoan Kiem, Hanoi
Vietnam: Thap Rua (Tortoise Tower) Ho Hoan Kiem, Hanoi

PFH1175634: Vietnam: Thap Rua (Tortoise Tower) Ho Hoan Kiem, Hanoi / Bridgeman Images

ID: PFH1175634

Vietnam: Thap Rua (Tortoise Tower) Ho Hoan Kiem, Hanoi

Siegfried slaying the dragon Fafner, late 19th century (illustration)
Siegfried slaying the dragon Fafner, late 19th century (illustration)

CCI1802959: Siegfried slaying the dragon Fafner, late 19th century (illustration) / Bridgeman Images

ID: CCI1802959

Siegfried slaying the dragon Fafner, late 19th century (illustration)

Gladius (engraving)
Gladius (engraving)

LLM3634569: Gladius (engraving), English School, (19th century) / Bridgeman Images

ID: LLM3634569

Gladius (engraving)

English School, (19th century)

Gustav Knuth in 'The Robbers', 1936 (b/w photo)
Gustav Knuth in 'The Robbers', 1936 (b/w photo)

SZT2998984: Gustav Knuth in 'The Robbers', 1936 (b/w photo) / Bridgeman Images

ID: SZT2998984

Gustav Knuth in 'The Robbers', 1936 (b/w photo)

William Shakespeare 's play (photo)
William Shakespeare 's play (photo)

KNT3818762: William Shakespeare 's play (photo), Kenton, Tristam / Bridgeman Images

ID: KNT3818762

William Shakespeare 's play (photo)

Kenton, Tristam

William Shakespeare 's play (photo)
William Shakespeare 's play (photo)

KNT3818787: William Shakespeare 's play (photo), Kenton, Tristam / Bridgeman Images

ID: KNT3818787

William Shakespeare 's play (photo)

Kenton, Tristam

Ava Gardner during a pause on the set of La Maja Desnuda, Italy, 1958 (b/w photo)
Ava Gardner during a pause on the set of La Maja Desnuda, Italy, 1958 (b/w photo)

MEP2657115: Ava Gardner during a pause on the set of La Maja Desnuda, Italy, 1958 (b/w photo) / Bridgeman Images

ID: MEP2657115

Ava Gardner during a pause on the set of La Maja Desnuda, Italy, 1958 (b/w photo)

Matt Busby
Matt Busby

XRE2022356: Matt Busby, Unknown photographer, (20th century) / Bridgeman Images

ID: XRE2022356

Matt Busby

Unknown photographer, (20th century)

Church consecration festival, 1535 (b/w photo)
Church consecration festival, 1535 (b/w photo)

SZT3018263: Church consecration festival, 1535 (b/w photo) / Bridgeman Images

ID: SZT3018263

Church consecration festival, 1535 (b/w photo)

After the ceremony of 14 July, Algerian veterans light the flame of remembrance on the tomb of the unknown soldier, 1930 (print)
After the ceremony of 14 July, Algerian veterans light the flame of remembrance on the tomb of the unknown soldier, 1930 (print)

XEE4186082: After the ceremony of 14 July, Algerian veterans light the flame of remembrance on the tomb of the unknown soldier, 1930 (print), French School, (20th century) / Bridgeman Images

ID: XEE4186082

After the ceremony of 14 July, Algerian veterans light the flame of remembrance on the tomb of the unknown soldier, 1930 (print)

French School, (20th century)

The battle between Scarcens and Moors in 635
The battle between Scarcens and Moors in 635

LAL295670: The battle between Scarcens and Moors in 635, McBride, Angus (1931-2007) / Bridgeman Images

ID: LAL295670

The battle between Scarcens and Moors in 635

McBride, Angus (1931-2007)

17th century lady playing
17th century lady playing

XLE3769934: 17th century lady playing / Bridgeman Images

ID: XLE3769934

17th century lady playing

Peter Lordmann in Giuseppe Verdi 's opera Falstaff as title character
Peter Lordmann in Giuseppe Verdi 's opera Falstaff as title character

BRQ3925285: Peter Lordmann in Giuseppe Verdi 's opera Falstaff as title character / Bridgeman Images

ID: BRQ3925285

Peter Lordmann in Giuseppe Verdi 's opera Falstaff as title character

General Sir Samuel James Browne (b/w photo)
General Sir Samuel James Browne (b/w photo)

PNP315912: General Sir Samuel James Browne (b/w photo), English Photographer, (19th century) / Bridgeman Images

ID: PNP315912

General Sir Samuel James Browne (b/w photo)

English Photographer, (19th century)

Saint Martin, 19th century (engraving)
Saint Martin, 19th century (engraving)

GEG1783005: Saint Martin, 19th century (engraving), French School, (19th century) / Bridgeman Images

ID: GEG1783005

Saint Martin, 19th century (engraving)

French School, (19th century)

William Shakespeare 's play (photo)
William Shakespeare 's play (photo)

KNT3818765: William Shakespeare 's play (photo), Kenton, Tristam / Bridgeman Images

ID: KNT3818765

William Shakespeare 's play (photo)

Kenton, Tristam

Thylacosmilus - Thylacosmilus atrox was a great predator with sword teeth close to marsupials, the size of a jaguar and weighing nearly 100 kilograms, who lived for about 30 million years until three million years ago. About the size of a jaguar, the bizarre looking Pliocene Argentinian marsupial carnivore, Thylacosmilus atrox, is a superb example of the concept of convergent evolution - descendents of unrelated organisms presumably under similar selection pressures “” converging”” on each other in form over time. Its skull looks remarkably like those of placental sabre-toothed cats, to which it was only distantly related. Key differences, however, did exist (e.g. long, rudder-like extensions of the chin protected the extremely long, dagger-like teeth)
Thylacosmilus - Thylacosmilus atrox was a great predator with sword teeth close to marsupials, the size of a jaguar and weighing nearly 100 kilograms, who lived for about 30 million years until three million years ago. About the size of a jaguar, the bizarre looking Pliocene Argentinian marsupial carnivore, Thylacosmilus atrox, is a superb example of the concept of convergent evolution - descendents of unrelated organisms presumably under similar selection pressures “” converging”” on each other in form over time. Its skull looks remarkably like those of placental sabre-toothed cats, to which it was only distantly related. Key differences, however, did exist (e.g. long, rudder-like extensions of the chin protected the extremely long, dagger-like teeth)

PIX4664378: Thylacosmilus - Thylacosmilus atrox was a great predator with sword teeth close to marsupials, the size of a jaguar and weighing nearly 100 kilograms, who lived for about 30 million years until three million years ago. About the size of a jaguar, the bizarre looking Pliocene Argentinian marsupial carnivore, Thylacosmilus atrox, is a superb example of the concept of convergent evolution - descendents of unrelated organisms presumably under similar selection pressures “” converging”” on each other in form over time. Its skull looks remarkably like those of placental sabre-toothed cats, to which it was only distantly related. Key differences, however, did exist (e.g. long, rudder-like extensions of the chin protected the extremely long, dagger-like teeth) / Bridgeman Images

ID: PIX4664378

Thylacosmilus - Thylacosmilus atrox was a great predator with sword teeth close to marsupials, the size of a jaguar and weighing nearly 100 kilograms, who lived for about 30 million years until three million years ago. About the size of a jaguar, the bizarre looking Pliocene Argentinian marsupial carnivore, Thylacosmilus atrox, is a superb example of the concept of convergent evolution - descendents of unrelated organisms presumably under similar selection pressures “” converging”” on each other in form over time. Its skull looks remarkably like those of placental sabre-toothed cats, to which it was only distantly related. Key differences, however, did exist (e.g. long, rudder-like extensions of the chin protected the extremely long, dagger-like teeth)

Cavalry Spider Helmet, 1600s (iron with black paint)
Cavalry Spider Helmet, 1600s (iron with black paint)

XCL491077: Cavalry Spider Helmet, 1600s (iron with black paint) , French School, (17th century) / Bridgeman Images

ID: XCL491077

Cavalry Spider Helmet, 1600s (iron with black paint)

French School, (17th century)

William Shakespeare 's play (photo)
William Shakespeare 's play (photo)

KNT3819459: William Shakespeare 's play (photo), Kenton, Tristam / Bridgeman Images

ID: KNT3819459

William Shakespeare 's play (photo)

Kenton, Tristam

Sri Lanka: Collecting coral from the sea, near Hikkaduwa, southern Sri Lanka (photo)
Sri Lanka: Collecting coral from the sea, near Hikkaduwa, southern Sri Lanka (photo)

PFH2641776: Sri Lanka: Collecting coral from the sea, near Hikkaduwa, southern Sri Lanka (photo) / Bridgeman Images

ID: PFH2641776

Sri Lanka: Collecting coral from the sea, near Hikkaduwa, southern Sri Lanka (photo)

Sri Lanka: Collecting coral from the sea, Hikkaduwa beach, southern Sri Lanka (photo)
Sri Lanka: Collecting coral from the sea, Hikkaduwa beach, southern Sri Lanka (photo)

PFH2641777: Sri Lanka: Collecting coral from the sea, Hikkaduwa beach, southern Sri Lanka (photo) / Bridgeman Images

ID: PFH2641777

Sri Lanka: Collecting coral from the sea, Hikkaduwa beach, southern Sri Lanka (photo)

Knight of the Order of Our Lady of Misericorde and Knight of the Order of the Glorious Virgin Mary. The Order of Our Lady of Misericorde (or Mercy) was founded in 1230 by Pierre Nolasque (1189-1256), governor of Aragon and Raymond de Penyafort (1175 or 1180-1275), brother preacher, for the redemption of the Christian brothers captive of the Moors, then became a purely religious order. The Order of the Glorious Virgin Mary was founded in 1233, by Barthelemy (died 1270), eveque of Vicenza (Italy) and was not approved by the Pope until 1268, the order was dedicated to restoring peace by the sword, with a ban on wearing golden spurs. Its members were nicknamed the Merry Brothers. Hand-coloured copper engraving, in “Images historiques des costumes des principaux peuples de l'Antiquite et du Middle Ages” by Robert Von Spalart, published in 1796.
Knight of the Order of Our Lady of Misericorde and Knight of the Order of the Glorious Virgin Mary. The Order of Our Lady of Misericorde (or Mercy) was founded in 1230 by Pierre Nolasque (1189-1256), governor of Aragon and Raymond de Penyafort (1175 or 1180-1275), brother preacher, for the redemption of the Christian brothers captive of the Moors, then became a purely religious order. The Order of the Glorious Virgin Mary was founded in 1233, by Barthelemy (died 1270), eveque of Vicenza (Italy) and was not approved by the Pope until 1268, the order was dedicated to restoring peace by the sword, with a ban on wearing golden spurs. Its members were nicknamed the Merry Brothers. Hand-coloured copper engraving, in “Images historiques des costumes des principaux peuples de l'Antiquite et du Middle Ages” by Robert Von Spalart, published in 1796.

FLO4706837: Knight of the Order of Our Lady of Misericorde and Knight of the Order of the Glorious Virgin Mary. The Order of Our Lady of Misericorde (or Mercy) was founded in 1230 by Pierre Nolasque (1189-1256), governor of Aragon and Raymond de Penyafort (1175 or 1180-1275), brother preacher, for the redemption of the Christian brothers captive of the Moors, then became a purely religious order. The Order of the Glorious Virgin Mary was founded in 1233, by Barthelemy (died 1270), eveque of Vicenza (Italy) and was not approved by the Pope until 1268, the order was dedicated to restoring peace by the sword, with a ban on wearing golden spurs. Its members were nicknamed the Merry Brothers. Hand-coloured copper engraving, in “Images historiques des costumes des principaux peuples de l'Antiquite et du Middle Ages” by Robert Von Spalart, published in 1796. / Bridgeman Images

ID: FLO4706837

Knight of the Order of Our Lady of Misericorde and Knight of the Order of the Glorious Virgin Mary. The Order of Our Lady of Misericorde (or Mercy) was founded in 1230 by Pierre Nolasque (1189-1256), governor of Aragon and Raymond de Penyafort (1175 or 1180-1275), brother preacher, for the redemption of the Christian brothers captive of the Moors, then became a purely religious order. The Order of the Glorious Virgin Mary was founded in 1233, by Barthelemy (died 1270), eveque of Vicenza (Italy) and was not approved by the Pope until 1268, the order was dedicated to restoring peace by the sword, with a ban on wearing golden spurs. Its members were nicknamed the Merry Brothers. Hand-coloured copper engraving, in “Images historiques des costumes des principaux peuples de l'Antiquite et du Middle Ages” by Robert Von Spalart, published in 1796.

Testing the keenness.. Every day at the factory of the Wilkinson Sword Company in Cramlington, outside Newcastle, 270 men who make the razor blades shave on duty as part of the production. From the many used blades a number are taken for examination in the laboratory. This is not all. A study is made when someone complains about a poor shave. Here the physiological background is studied. Sometimes the man is not feeling well, other times he might have been having a few late nights, or even a row with his wife. All these things add up to skin condition and whether they get a good shave or not. Our Picture Shows: Nearest the camera George Moffatt, next Robert Martin, Gordon Watson and Frank McAlroy. 6th March 1967 (b/w photo)
Testing the keenness.. Every day at the factory of the Wilkinson Sword Company in Cramlington, outside Newcastle, 270 men who make the razor blades shave on duty as part of the production. From the many used blades a number are taken for examination in the laboratory. This is not all. A study is made when someone complains about a poor shave. Here the physiological background is studied. Sometimes the man is not feeling well, other times he might have been having a few late nights, or even a row with his wife. All these things add up to skin condition and whether they get a good shave or not. Our Picture Shows: Nearest the camera George Moffatt, next Robert Martin, Gordon Watson and Frank McAlroy. 6th March 1967 (b/w photo)

MPX5162442: Testing the keenness.. Every day at the factory of the Wilkinson Sword Company in Cramlington, outside Newcastle, 270 men who make the razor blades shave on duty as part of the production. From the many used blades a number are taken for examination in the laboratory. This is not all. A study is made when someone complains about a poor shave. Here the physiological background is studied. Sometimes the man is not feeling well, other times he might have been having a few late nights, or even a row with his wife. All these things add up to skin condition and whether they get a good shave or not. Our Picture Shows: Nearest the camera George Moffatt, next Robert Martin, Gordon Watson and Frank McAlroy. 6th March 1967 (b/w photo) / Bridgeman Images

ID: MPX5162442

Testing the keenness.. Every day at the factory of the Wilkinson Sword Company in Cramlington, outside Newcastle, 270 men who make the razor blades shave on duty as part of the production. From the many used blades a number are taken for examination in the laboratory. This is not all. A study is made when someone complains about a poor shave. Here the physiological background is studied. Sometimes the man is not feeling well, other times he might have been having a few late nights, or even a row with his wife. All these things add up to skin condition and whether they get a good shave or not. Our Picture Shows: Nearest the camera George Moffatt, next Robert Martin, Gordon Watson and Frank McAlroy. 6th March 1967 (b/w photo)

Capt. John Avery and his crew taking one of the Great Mogul's ships, 1734 (engraving)
Capt. John Avery and his crew taking one of the Great Mogul's ships, 1734 (engraving)

XLF3784186: Capt. John Avery and his crew taking one of the Great Mogul's ships, 1734 (engraving), Basire, James (1730-1802) / Bridgeman Images

ID: XLF3784186

Capt. John Avery and his crew taking one of the Great Mogul's ships, 1734 (engraving)

Basire, James (1730-1802)

Evelyn Waugh in his study, 1959 (photo)
Evelyn Waugh in his study, 1959 (photo)

MGP617514: Evelyn Waugh in his study, 1959 (photo) , Gerson, Mark / Bridgeman Images

ID: MGP617514

Evelyn Waugh in his study, 1959 (photo)

Gerson, Mark

The Cossack Ball, 1924 (pencil, watercolour & gouache on card)
The Cossack Ball, 1924 (pencil, watercolour & gouache on card)

CH1195791: The Cossack Ball, 1924 (pencil, watercolour & gouache on card), Somov, Konstantin Andreevic (1869-1939) / Bridgeman Images

ID: CH1195791

The Cossack Ball, 1924 (pencil, watercolour & gouache on card)

Somov, Konstantin Andreevic (1869-1939)

Ak S.M. King Max II of Bavaria, uniform, coat, sabre (b/w photo)
Ak S.M. King Max II of Bavaria, uniform, coat, sabre (b/w photo)

ARV707301: Ak S.M. King Max II of Bavaria, uniform, coat, sabre (b/w photo), German Photographer / Bridgeman Images

ID: ARV707301

Ak S.M. King Max II of Bavaria, uniform, coat, sabre (b/w photo)

German Photographer

Leek Church - Gravestone: sepia drawing, 1847 (drawing)
Leek Church - Gravestone: sepia drawing, 1847 (drawing)

WSL5897585: Leek Church - Gravestone: sepia drawing, 1847 (drawing), Buckler, John (1770-1851) / Bridgeman Images

ID: WSL5897585

Leek Church - Gravestone: sepia drawing, 1847 (drawing)

Buckler, John (1770-1851)

Swynnerton Church - Effigy: pen and ink drawing, nd [19th cent] (drawing)
Swynnerton Church - Effigy: pen and ink drawing, nd [19th cent] (drawing)

WSL5898893: Swynnerton Church - Effigy: pen and ink drawing, nd [19th cent] (drawing), Fernyhough, John Robert (1808-75) / Bridgeman Images

ID: WSL5898893

Swynnerton Church - Effigy: pen and ink drawing, nd [19th cent] (drawing)

Fernyhough, John Robert (1808-75)

Panzer Parade in front of General Lutz and Guderian (b/w photo)
Panzer Parade in front of General Lutz and Guderian (b/w photo)

SZT2993468: Panzer Parade in front of General Lutz and Guderian (b/w photo) / Bridgeman Images

ID: SZT2993468

Panzer Parade in front of General Lutz and Guderian (b/w photo)

A yatagan or yataghan . Illustrated alphabet. Imageries reunited in Jarville-Nancy, beginning of the 20th century. Dim: 40 x 29 cm. Lithography on a bistre background
A yatagan or yataghan . Illustrated alphabet. Imageries reunited in Jarville-Nancy, beginning of the 20th century. Dim: 40 x 29 cm. Lithography on a bistre background

DUV4200575: A yatagan or yataghan . Illustrated alphabet. Imageries reunited in Jarville-Nancy, beginning of the 20th century. Dim: 40 x 29 cm. Lithography on a bistre background / Bridgeman Images

ID: DUV4200575

A yatagan or yataghan . Illustrated alphabet. Imageries reunited in Jarville-Nancy, beginning of the 20th century. Dim: 40 x 29 cm. Lithography on a bistre background

Marcus Sedgwick
Marcus Sedgwick

WIK3837457: Marcus Sedgwick, De Witt, Kathy / Bridgeman Images

ID: WIK3837457

Marcus Sedgwick

De Witt, Kathy

Richard the Lionheart raised himself in his bed and took a cup in his hand, illustration for 'The Talisman: A Tale of the Crusaders' by Sir Walter Scott (colour litho)
Richard the Lionheart raised himself in his bed and took a cup in his hand, illustration for 'The Talisman: A Tale of the Crusaders' by Sir Walter Scott (colour litho)

STC308596: Richard the Lionheart raised himself in his bed and took a cup in his hand, illustration for 'The Talisman: A Tale of the Crusaders' by Sir Walter Scott (colour litho), Vedder, Simon Harmon (1866-1937) / Bridgeman Images

ID: STC308596

Richard the Lionheart raised himself in his bed and took a cup in his hand, illustration for 'The Talisman: A Tale of the Crusaders' by Sir Walter Scott (colour litho)

Vedder, Simon Harmon (1866-1937)


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