This image—rendered using a camera lucida—depicts a monument from the pre-Columbian Maya city, Xukpi, now known as Copán.

A large stone stela, facing forward, depicts a Maya deity decorated with myriad visual embellishments, its fists clenched upon its chest. The background depicts the small clearing in which the stela now stands, fading back into a thick forest.

This image—rendered using a camera lucida—depicts a monument from the pre-Columbian Maya city, Xukpi, now known as Copán.

This image, created by Robert Burford, gives panoramic views of both the Temple of Karnak and the city of Thebes. It was based upon the original drawings of Frederick Catherwood, unique in that they were created with the help of a camera lucida.

This image depicts the ruins of Hadleigh Castle. A reformulation of Constable's earlier painting of the same scene, this mezzotint explores new possibilities for the symbolic manipulation of landscape, specifically through the application of chiaroscuro. 

This image depicts the ruins of Hadleigh Castle in Essex, England.

This image depicts the ruins of the palace at Madurai, the oldest city in India. The palace itself was erected in 1636, and is represented here against a new, British-built structure that constitutes the background of the painting.

Cutting a nearly perfect diagonal across the picture plane from the top left corner, the ruins of the Temple of Peace, or Basilica of Maxentius, loom large on the canvas, casting a shadow on the groups of peasants and ghosts that have gathered at the foot of the ruin.

This painting depicts the Street of Tombs in Pompeii, Italy, with Mount Vesuvius in the background.

A view of the ruins of Tintern Abbey.

This image depicts the famous ruins of Stonehenge, but does so in a unique way. A line-engraving of J.M.W Turner’s Stone Henge, it is an image that simultaneously adheres to notions of the Romantic picturesque and undermines the expectations of the artistic technique made popular by Gilpin.