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ecause of the Caribbean's cultural history, the islands are rich in buildings of architectural interest. The influence of the Spanish, French and British colonisers resonate in public buildings such as the cathedral in Port au Prince and other images in the archive such as the Turkish designed iron market in The Market, Port au Prince or the Georgian King's House in Spanish Town, Jamaica. In rural areas, structures such as the wattle and daub home shown in A Jamaican Farmer/Beekeeper and the wooden building on blocks in A Negro Hut pictured here, show how the peasantry at the lower end of the ecomonic scale lived. Between these extremes an urban middle class lifestyle can also be seen in Johnston's archive. A Country School, Jamaica captures an idyllic scene with Jamaican teachers supervising school children outside a handsome two-storey building while A Homestead in Haiti shows a gentrified middle class homestead. The wooden house is somewhat delapidated, but its generous verandah, concrete foundations and landscaped grounds suggest earlier wealth. Johnston's archive offers visual documentation of buildings from a past era and also give indications of lifestyles at the turn of the century.


oth orthodox and syncretic religions exist side by side in the Caribbean. West African spiritual influences have proved themselves as strong as mainstream religions such as Catholicism and are rooted in Caribbean urban and rural communities. Johnston was equally interested in the influence of Christian teaching and education in the shaping of the Caribbean personality, as he was in the importance of ritual

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practices of Haiti's Voodoo, Jamaica's Obeah and Cuba's Santeria religions. Johnston examined the way that less orthodox practices of Obeah, Santeria and Voodoo accommodated Christianity and was eager to dispel myths regarding occult practices and cannibalism. In Entrance to a Voodoo shrine shown here the mysterious signs and symbols that decorate the walls of the houmfort are a mix of African and Caribbean imagery.