- Table View
- List View
Arc de Triomphe (large print)
by RnibThis image is of the huge triumphal arch in Paris, France. There is a locator dot shown, which will be at the top left when the image is the correct way up. There is a very large relief sculpture at the base of the pillar of the arch on the left. It is called "The Triumph of Napoleon" and is a tribute to Bonaparte's many military victories. The spirit of Victory crowns Napoleon with a laurel wreath on the right, her arm on the left is reaching up towards Napoleon's head. Napoleon is wearing a Roman toga in the centre of the piece. Up from these two figures Fame blows a trumpet. There are several bowing and prostrate figures at Napoleon's feet, they have not been shown due to lack of space. There are other decorative elements of the sculptural relief. The wiggly line around the figures shows the extent of the entire piece. The sculptural relief “stands†on a tall plinth in the bottom left of the image. Up from this piece is a smaller sculptural relief framed in a rectangle of stonework. This is called “The Battle of Aboukir.†On the left is a man on a horse. To the right are two standing soldiers. There are many more figures in this piece which have not been shown because of lack of space. Up from this and going right across the width of the arch is a frieze of figures. There are bands of soldiers on foot, on horseback, musicians drumming or trumpeting the soldiers into battle. The sculptural figures are too small to be shown here although they would actually stand about a metre tall. Up from the frieze is a row of circles. These are stone shields each one representing military victory. Just above the archway are two angels. There is one on each side and they face and reach out to each other. Moving down the column on the right there is another smaller sculptural relief framed in a rectangle of stonework. This is depicts the funeral of Marceau. In the centre is a body laid out on a sort of bed. To the left is a standing figure looking at the body. To the right is a figure facing away from the body and leaning on another man in grief. The other figure is not shown. Several other figures are standing around, these are not shown either because of lack of space. Down from this piece is a second very large relief sculpture at the base of the pillar of the arch. It also “stands†on a tall plinth in the bottom right of the image. This is called "The Departure of the Volunteers of 1792". There are two standing figures. The one on the left is reaching out to the left. Up from these figures is a winged woman shouting and rallying the French people against an enemy from a foreign nation. There are several other figures and weapons which have not been shown due to lack of space. The wiggly line around the figures shows the extent of the entire piece. This piece is very famous and aroused a great deal of patriotism of its own among the Parisians that it earned its nickname of "La Marseillaise". The arch is very large: 164 feet (50m) high, 148 feet (45m) wide and 72 feet (22m) deep. In the bottom centre of the image is a medium family car for size comparison.
Arc de Triomphe (UEB uncontracted)
by RnibThis image is of the huge triumphal arch in Paris, France. There is a locator dot shown, which will be at the top left when the image is the correct way up. There is a very large relief sculpture at the base of the pillar of the arch on the left. It is called "The Triumph of Napoleon" and is a tribute to Bonaparte's many military victories. The spirit of Victory crowns Napoleon with a laurel wreath on the right, her arm on the left is reaching up towards Napoleon's head. Napoleon is wearing a Roman toga in the centre of the piece. Up from these two figures Fame blows a trumpet. There are several bowing and prostrate figures at Napoleon's feet, they have not been shown due to lack of space. There are other decorative elements of the sculptural relief. The wiggly line around the figures shows the extent of the entire piece. The sculptural relief “stands†on a tall plinth in the bottom left of the image. Up from this piece is a smaller sculptural relief framed in a rectangle of stonework. This is called “The Battle of Aboukir.†On the left is a man on a horse. To the right are two standing soldiers. There are many more figures in this piece which have not been shown because of lack of space. Up from this and going right across the width of the arch is a frieze of figures. There are bands of soldiers on foot, on horseback, musicians drumming or trumpeting the soldiers into battle. The sculptural figures are too small to be shown here although they would actually stand about a metre tall. Up from the frieze is a row of circles. These are stone shields each one representing military victory. Just above the archway are two angels. There is one on each side and they face and reach out to each other. Moving down the column on the right there is another smaller sculptural relief framed in a rectangle of stonework. This is depicts the funeral of Marceau. In the centre is a body laid out on a sort of bed. To the left is a standing figure looking at the body. To the right is a figure facing away from the body and leaning on another man in grief. The other figure is not shown. Several other figures are standing around, these are not shown either because of lack of space. Down from this piece is a second very large relief sculpture at the base of the pillar of the arch. It also “stands†on a tall plinth in the bottom right of the image. This is called "The Departure of the Volunteers of 1792". There are two standing figures. The one on the left is reaching out to the left. Up from these figures is a winged woman shouting and rallying the French people against an enemy from a foreign nation. There are several other figures and weapons which have not been shown due to lack of space. The wiggly line around the figures shows the extent of the entire piece. This piece is very famous and aroused a great deal of patriotism of its own among the Parisians that it earned its nickname of "La Marseillaise". The arch is very large: 164 feet (50m) high, 148 feet (45m) wide and 72 feet (22m) deep. In the bottom centre of the image is a medium family car for size comparison.
Architectural Features (tactile)
by Adrian FarnsworthThis is a ten-page tactile document showing examples of architectural features such as windows, doors and columns.
Art Deco doors (large print)
by RnibThis image shows a pair of Art Deco style doors in the entrance to a 1930's building. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Like many Art Deco designs the doors' design is based on simple geometric shapes: sections of circles, squares and rectangles. The pair of doors is in the centre of the page. At the bottom of each door there is a plain panel. Up the page from this is a glazed panel (having pieces of flat glass set in to it) with a border of long rectangles and a square at each corner. The rest of the panel is filled with a pattern of overlapping curves.
Art Deco doors (UEB contracted)
by RnibThis image shows a pair of Art Deco style doors in the entrance to a 1930's building. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Like many Art Deco designs the doors' design is based on simple geometric shapes: sections of circles, squares and rectangles. The pair of doors is in the centre of the page. At the bottom of each door there is a plain panel. Up the page from this is a glazed panel (having pieces of flat glass set in to it) with a border of long rectangles and a square at each corner. The rest of the panel is filled with a pattern of overlapping curves.
Art Deco doors (UEB uncontracted)
by RnibThis image shows a pair of Art Deco style doors in the entrance to a 1930's building. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Like many Art Deco designs the doors' design is based on simple geometric shapes: sections of circles, squares and rectangles. The pair of doors is in the centre of the page. At the bottom of each door there is a plain panel. Up the page from this is a glazed panel (having pieces of flat glass set in to it) with a border of long rectangles and a square at each corner. The rest of the panel is filled with a pattern of overlapping curves.
Bandstand (UEB contracted)
by RnibThe bandstand is octagonal (eight sided) with steps at the entrance and a strip of level paving surrounding it. Sitting up on a stone base made up of 6 courses of cut stone topped by coping stones, the wooden bandstand has an ornate metalwork balustrade, metal pillars and elaborate metal cornices supporting the roof. The roof is made of zinc, in a pagoda style, with ornate decoration around the dome that is topped with a weather vane. The bandstand is fully glazed with large wooden sash windows that split equally into two window panels. Each panel consists of 6 panes of glass across by 2 panes of glass deep. Stained glass window panels have been installed above the sash windows that were designed by children in Sheffield Children's Hospital using images related to nature and music. The tactile image shows 3 of the 8 sides of the bandstand. The following details have been shown: the weather vane, the zinc roof including the ridges running down from the dome, the ornate decoration around the dome of the roof, the sash windows, position of the stained glass panels, metal pillars, ornate metal cornice, ornate metal balustrade and stone base. The Weston Park Bandstand is one of the last surviving Victorian bandstands in Sheffield. Sheffield architects Flockton and Gibbs designed it in 1874. However, it was not built until about 1900 and was paid or by the profits from the original Sheffield tram system. The bandstand was made by James Allen and Sons of Glasgow at the Elmbank Foundry as one of a pair commissioned for Sheffield Parks (the other was in Hillsborough Park) and it is referred to in their catalogue as <em>model no.9 bandstand</em>. The design is unusual as it has sash windows which can be lowered into the basement section or left raised, presumably to project the sound in a given direction or to shelter the musicians. The bandstand was fully restored in 2008 as part of the park restoration project and is used for concerts and weddings throughout the year.
Big Ben - Clock Tower at the Palace of Westminster (Houses of Parliament), London (large print)
by RnibThis is an image of the Clock Tower at the Palace of Westminster. The rest of the palace,known as the Houses of Parliament, has not been shown. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. At the top of the page is the pointed spire, below this are some windows, another section of roof, and the face of the clock. The hands of the clock are shown in the nine o'clock position. Below the clock is the main section of the tower with Gothic arch shaped niches set into it.
Big Ben - Clock Tower at the Palace of Westminster (Houses of Parliament), London (UEB contracted)
by RnibThis is an image of the Clock Tower at the Palace of Westminster. The rest of the palace,known as the Houses of Parliament, has not been shown. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. At the top of the page is the pointed spire, below this are some windows, another section of roof, and the face of the clock. The hands of the clock are shown in the nine o'clock position. Below the clock is the main section of the tower with Gothic arch shaped niches set into it.
Big Ben - Clock Tower at the Palace of Westminster (Houses of Parliament), London (UEB uncontracted)
by RnibThis is an image of the Clock Tower at the Palace of Westminster. The rest of the palace,known as the Houses of Parliament, has not been shown. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. At the top of the page is the pointed spire, below this are some windows, another section of roof, and the face of the clock. The hands of the clock are shown in the nine o'clock position. Below the clock is the main section of the tower with Gothic arch shaped niches set into it.
Buckingham Palace (large print)
by RnibThis page shows an image of the building, Buckingham Palace. There is a locator dot shown, which will be at the top left when the image is the correct way up. In the top centre of the image a flag pole sticks up with a flag flying. This the Royal Standard when the Queen is at home and the Union flag when she is away. This is on a central part of the palace which is slightly higher than the rest of the building. Down from the flag pole is a pointed gable. This has the royal crest as a carved feature set on it. The detail of the crest is not shown. Down from the crest are two round columns. There are two windows between the columns, one above the other. There are decorative features carved above each window. To the left and right of the columns are two more windows. To the left and right of these windows are two flat decorative non-weight bearing columns. The area of the wall with the six windows is recessed and the two round columns support the large lintel at the base of the gable. At the bottom of the recessed wall there is a balcony in front of the bottom three windows. This is where the Queen and other members of the Royal Family sometimes make appearances and wave to the crowds. Down from the balcony is a large archway giving access to the Palace's central courtyard. It has a recess to the left and right, each with an oval decorative feature above. To the left of the central part of the palace is a wide section of wall with three rows of rectangular windows. There are also two rows of small windows. The central row of windows has a decorative feature carved in the stone above them. There are seven windows in the top rows. The bottom row has six windows with an archway replacing the central window. This smaller archway also gives access to the Palace's central courtyard. This section of the palace is finished at the roofline with a low stone colonnade. To the left of this section of wall is a feature similar to the central part of the palace. It does not have a flag pole and is generally slightly smaller. There is a round window set in the gable instead of the royal crest. It has the same pattern of two round columns and six windows and the central two windows also have decorative features carved above each one. The balcony is smaller and down from it is a large door into the building. It has a small window up from it and there is a window to the left and right. Up from each of these windows there is a small window. The building is symmetrical so the features to the left of the central part of the building are repeated in a mirrored pattern on the right. It is clad in Portland stone which is a pale grey with a hint of yellow colour.
Buckingham Palace (UEB contracted)
by RnibThis page shows an image of the building, Buckingham Palace. There is a locator dot shown, which will be at the top left when the image is the correct way up. In the top centre of the image a flag pole sticks up with a flag flying. This the Royal Standard when the Queen is at home and the Union flag when she is away. This is on a central part of the palace which is slightly higher than the rest of the building. Down from the flag pole is a pointed gable. This has the royal crest as a carved feature set on it. The detail of the crest is not shown. Down from the crest are two round columns. There are two windows between the columns, one above the other. There are decorative features carved above each window. To the left and right of the columns are two more windows. To the left and right of these windows are two flat decorative non-weight bearing columns. The area of the wall with the six windows is recessed and the two round columns support the large lintel at the base of the gable. At the bottom of the recessed wall there is a balcony in front of the bottom three windows. This is where the Queen and other members of the Royal Family sometimes make appearances and wave to the crowds. Down from the balcony is a large archway giving access to the Palace's central courtyard. It has a recess to the left and right, each with an oval decorative feature above. To the left of the central part of the palace is a wide section of wall with three rows of rectangular windows. There are also two rows of small windows. The central row of windows has a decorative feature carved in the stone above them. There are seven windows in the top rows. The bottom row has six windows with an archway replacing the central window. This smaller archway also gives access to the Palace's central courtyard. This section of the palace is finished at the roofline with a low stone colonnade. To the left of this section of wall is a feature similar to the central part of the palace. It does not have a flag pole and is generally slightly smaller. There is a round window set in the gable instead of the royal crest. It has the same pattern of two round columns and six windows and the central two windows also have decorative features carved above each one. The balcony is smaller and down from it is a large door into the building. It has a small window up from it and there is a window to the left and right. Up from each of these windows there is a small window. The building is symmetrical so the features to the left of the central part of the building are repeated in a mirrored pattern on the right. It is clad in Portland stone which is a pale grey with a hint of yellow colour.
Buckingham Palace (UEB uncontracted)
by RnibThis page shows an image of the building, Buckingham Palace. There is a locator dot shown, which will be at the top left when the image is the correct way up. In the top centre of the image a flag pole sticks up with a flag flying. This the Royal Standard when the Queen is at home and the Union flag when she is away. This is on a central part of the palace which is slightly higher than the rest of the building. Down from the flag pole is a pointed gable. This has the royal crest as a carved feature set on it. The detail of the crest is not shown. Down from the crest are two round columns. There are two windows between the columns, one above the other. There are decorative features carved above each window. To the left and right of the columns are two more windows. To the left and right of these windows are two flat decorative non-weight bearing columns. The area of the wall with the six windows is recessed and the two round columns support the large lintel at the base of the gable. At the bottom of the recessed wall there is a balcony in front of the bottom three windows. This is where the Queen and other members of the Royal Family sometimes make appearances and wave to the crowds. Down from the balcony is a large archway giving access to the Palace's central courtyard. It has a recess to the left and right, each with an oval decorative feature above. To the left of the central part of the palace is a wide section of wall with three rows of rectangular windows. There are also two rows of small windows. The central row of windows has a decorative feature carved in the stone above them. There are seven windows in the top rows. The bottom row has six windows with an archway replacing the central window. This smaller archway also gives access to the Palace's central courtyard. This section of the palace is finished at the roofline with a low stone colonnade. To the left of this section of wall is a feature similar to the central part of the palace. It does not have a flag pole and is generally slightly smaller. There is a round window set in the gable instead of the royal crest. It has the same pattern of two round columns and six windows and the central two windows also have decorative features carved above each one. The balcony is smaller and down from it is a large door into the building. It has a small window up from it and there is a window to the left and right. Up from each of these windows there is a small window. The building is symmetrical so the features to the left of the central part of the building are repeated in a mirrored pattern on the right. It is clad in Portland stone which is a pale grey with a hint of yellow colour.
Colonel Robert Hammond by Cornelius Johnson
by Rnib1640s; by Cornelius Johnson (1593-1661); oil on canvas in a gilded wooden frame; canvas 75 cm high by 60 cm wide and frame 88 cm by 73 cm. The artist, Cornelius Johnson, or Janssens, was one of the country's leading portrait painters in the time of King Charles I, and had been appointed picture drawer' to the king. Born in London of Dutch parents, Johnson lived for a time in the 1630s at Bridge, near Canterbury, and while there was kept busy painting portraits of the local gentry. A portrait by him of two children is displayed nearby. At the outbreak of the Civil War, Johnson returned to the Netherlands, where he remained until his death in 1661. In the head to waist portrait, Robert is shown, aged about 40 to 45, facing the viewer with his head turned very slightly to the left, his brown eyes looking away into the distance. His right arm is down by his side and his left arm is bent at the elbow revealing the top of a steel gauntlet that he is wearing over his left hand and lower arm. This protected the hand that controlled the horse and is decorated with brass rivets. Covering his chest is a steel breast plate that is decorated with two strips of riveted gold metal that edges the arm holes. The Royalist sash is tied around the base of the breastplate with the folds in the fine fabric clearly painted in gold and red. Around his neck and sitting on top of the breastplate is a high fine white linen collar with lace edging. The collar is tied at the front with two white ties with decorative toggles at the end that is the precursor of the necktie. His sleeves are decorated with horizontal bands of silver brocade – fabric woven with thread finely wrapped in metal. This would be tough and might have given some added protection to the arms, although it is mainly decorative. Underneath is a red lining that shows through the strips of brocade. He has a fashionably cut moustache and small goatee beard. His long brown hair edges his face, goes behind his right ear and rests behind him on the linen collar. The artist has painted Robert against a black background with light coming from the left. This light illuminates Robert's face, his white linen collar and the brocade on his right sleeve. On the shiny breastplate a thick white stripe has been painted to show the light reflecting on it. The tactile image is roughly one third the size of the actual portrait. The inscription has not been included. A thick broken line shows the bottom and side edges of the frame. Thick lines outline the main features in the image with finer lines for the hair, eyebrows, moustache and beard. Solid texture shows the facial features, decoration on the breastplate, two toggles and gauntlet with hollows for the rivets. A texture shows the breastplate with two further textures, one for the linen and lace collar and one for the brocade sleeves. Hollows in the texture for the brocade show the red lining. The sash is shown by lines depicting the folds in the fabric.
Buildings (UEB uncontracted)
by Markeaton SchoolThis is a three-page tactile document showing examples of castles on pages one and two and a half-timbered cottage on page three.
Close-Up of Barton Court (UEB Contracted)
by RnibThe manor of Barton Court is shown as five buildings, just above the river. The largest of the buildings is a three storey white house with a gabled red roof and large chimney. A large door and an idea of the timber framing and windows are painted in light brown. This house was built by Thomas Reade after his marriage in 1548 from stone taken from the tower of the old Abbey church. In front of the large house, on the left, is a smaller single storey white house with red roof and chimney. To the right of this single storey house are two circular dovecotes with pointed roofs, one painted cream and the other painted brown. Beneath the brown dovecote is a large white barn with red roof. An idea of the timber framing of the barn has been shown with brown lines. Behind the large house and barn are three individually painted trees. The 1st page is of a braille description, the second page is of a tactile image bordered by a thick line and shows the buildings of Barton Court, the river, the lock and the three trees. It is approximately the same size as the map. The same textures have been used as for the overview map with fine lines showing the detail on the buildings.
Close-Up of Radley Village (UEB Contracted)
by RnibThe isolated village of Radley is shown as a central church with four houses on either side, which is surrounded by trees on three sides. The white church has a tower to the left-hand side and has a blue (leaded) roof. A door and an idea of windows are painted in brown. The houses are white with a red roof and single chimney. Again the doors and an idea of windows are painted in brown. The Stonehouse family, who owned the manor of Radley, brought a law suit against John Blacknall after he raised the height of the lock downstream to Radley. This raised the water level of the river and flooded some of the Stonehouse family land. The tactile image is bordered by a thick line and shows the buildings of Radley village and the trees surrounding it. It is two times larger than the actual village on the map. The same textures have been used as for the overview map with fine lines showing the detail on the buildings.
Court Room One, The Supreme Court of the United Kingdom (UEB Contracted)
by RnibInside the entrance are rows of public wooden bench seating. The bench-ends have all been restored to their 1913 condition and are adorned with intricate carvings of heraldic animals such as lions, stags and griffons both along the top edges and on the arm-rests. On the end panels are depictions of English Kings, including Richard II and Stephen I. In front of the public seating are the semi-circular benches with room for eleven solicitors and client and beyond that, six barristers’ seats. Opposite the barristers are nine Justices’ seats. Nine is the highest number that can hear an appeal, five being the normal amount, with seven person cases occurring quite frequently. The number of Justices required is decided when a case is given permission to appeal, as is the number of days it will be heard. Behind the Justices are the desks for the Judicial Assistants and then on either side are desks for the Usher and Registrar. Along the side walls are shelf units to keep books and stationery. As the U.K. uses both statute law, (that made by Parliament) and case law, (laws which have evolved through previous landmark rulings), the Justices have to have access to a large library so that they can check on previous cases, not just from the U.K, but from Australia, Canada and other Commonwealth countries that may have relevance to a case today.
Court Room Three: The Supreme Court of the United Kingdom (UEB Contracted)
by RnibAt the back of the court are the three rows of public seating all at the same level as the lawyers and the Justices. There are five Justices seats, which is the average amount used by this court, the home of the Judicial Committee of the Privy Council (JCPC). Like the Supreme Court, the JCPC does not hold trials but instead debates the interpretation of a point of law or examines some aspect of the original trial in case there was a miscarriage of justice. At the beginning of the 20th century, it was said that the jurisdiction of the JCPC ranged over a third of the planet with Australia, Canada, India, New Zealand and parts of Africa all having right to appeal. Today, most of those countries are independent and have their own supreme courts, but, for twenty-eight places around the world, from UK territories such as the Falkland Islands or Gibraltar, through to independent countries such as Brunei, it is a court of final appeal. On the right side of the court room is a tall flagpole which flies the flag of the respective county or territory on the day of the hearing. This is to show that the law of that particular county is being applied that day, not that of the UK. This is important to remember as, for example, a case could come from Jamaica, where they still have the death-penalty, and so the Justices job would be to interpret and apply Jamaican law to see whether there was a point of law or aspect of the trial procedure that could dismiss or uphold this sentence.
Court Room Two: The Supreme Court of the United Kingdom (UEB contracted)
by RnibIn front of the court itself is a long glass wall that allows visitors to look into the court even when all the public seating has been taken. On the glass wall, furthest away from the door nearest the stairs, is an inscribed quotation from Eleanor Roosevelt: "Justice cannot be for one side alone but must be for both."This quote, labelled Q on the court room layout, is engraved on both sides of the glass wall so when looking at it one line will read correctly but the other will be back to front. As well as being a campaigner for civil rights, Mrs Roosevelt was also one of the first creators of the United Nations charter on human rights. One of the main purposes of UKSC (The Supreme Court of the United Kingdom United) was to allow greater public access. Before October 2009, the Law Lords (or Appellate Committee of the House of Lords as they were officially called) were the highest court in the land, and finding your way to the appropriate committee room within the Palace of Westminster was not always straightforward. The court room is entered by two tall doors (approximately 4.6 metres or 15 feet high) at either end of the glass wall. This room used to be two courts sitting one on top of each other, with the old ceiling running from the top of the doors. The architects which oversaw the refurbishment of the Guildhall, Feilden & amp; Mawson, skilfully removed the upper court room and created a single space with a bright and airy atmosphere. The benches and seating are laid out in semi-circles so that the overall layout gives the impression of a circle, creating an atmosphere of debate rather than anything more adversarial. Between the two entrance doors are three rows of public seating. Unlike other courts where the public are in a separate gallery, UKSC visitors sit and observe proceedings at the same level as the judges and lawyers. This was a deliberate decision when the courtrooms were being designed, to add to the sense of inclusiveness. In front of the public seating are nine chairs and benches for the solicitors and their clients. The solicitors are there to advise their client and do not address the justices. In front of the solicitors and their clients are the seven seats and benches for the barristers, or advocates. Barristers, who have rights of audience, i.e. the right to speak in court, are the ones who address the panel of Justices, trying to persuade them that their interpretation of the particular point of law is the correct one. As it is not a criminal court, the UKSC does not have a prosecution or defence, but an appellant (labelled A on the court room layout), who stands on the right facing the justices and a respondent (labelled R on the court room layout) on the left. Each speaks from a lectern in front of them on the bench. In front and facing the barristers is the Justices' bench with five tall Justices' chairs with a long desk, sideways to the bench in-between them, to give plenty of shelf space to put books, papers and documents relevant to the case that day. The seats have to be comfortable as a Justice may have to sit for four hours at a time, listening to complex legal and academic arguments. A case can go on for two weeks, though the average is two days. Behind the Justices, to the left, is one single desk and chair for the Court Usher. To the right of that, in an alcove, are five seats and desks for the Judicial Assistants, young lawyers who act as the Justices' legal researchers for one legal year. Court Room Two, in particular, shows off the identity of the new Supreme Court through an Illuminated glass reproduction of the UKSC emblem on the wall high up above the Justices' bench and also on the carpet in a more informal version designed by the artist Sir Peter Blake.
Cross section of a medieval castle (UEB Uncontracted)
by Monkeaton SchoolThis is a labelled cross section tactile diagram of a typical British medieval castle seen from the side. The castle’s castellated battlements are at the top of the page and the moat is to the bottom left and right.
David by Michelangelo (large print)
by RnibThis is an image of a marble sculpture of a standing man with his head at the top of the page and his feet at the bottom of the page. There is a locator dot shown, which will be at the top left when the image is the right way up. The man is facing forward. The head is upright and facing slightly to the right so one blank eye can be found but the other is largely hidden by the nose. He has medium length curly hair. He is naked with a sculpted cloth over his shoulder held by his bent arm on the right. The arm to the left hangs down straight. The body is slim and slightly muscular. The statue is in a classic pose with the bodys weight on the leg to the left and the right leg relaxed to the right. The hips are level, the waist is slightly to the right and the shoulders tilted to the left. The statue stands on a low plinth. There is a small stump of wood behind his leg on the left in the bottom centre of the page.
David by Michelangelo (UEB contracted)
by RnibThis is an image of a marble sculpture of a standing man with his head at the top of the page and his feet at the bottom of the page. There is a locator dot shown, which will be at the top left when the image is the right way up. The man is facing forward. The head is upright and facing slightly to the right so one blank eye can be found but the other is largely hidden by the nose. He has medium length curly hair. He is naked with a sculpted cloth over his shoulder held by his bent arm on the right. The arm to the left hangs down straight. The body is slim and slightly muscular. The statue is in a classic pose with the bodys weight on the leg to the left and the right leg relaxed to the right. The hips are level, the waist is slightly to the right and the shoulders tilted to the left. The statue stands on a low plinth. There is a small stump of wood behind his leg on the left in the bottom centre of the page.
David by Michelangelo (UEB uncontracted)
by RnibThis is an image of a marble sculpture of a standing man with his head at the top of the page and his feet at the bottom of the page. There is a locator dot shown, which will be at the top left when the image is the right way up. The man is facing forward. The head is upright and facing slightly to the right so one blank eye can be found but the other is largely hidden by the nose. He has medium length curly hair. He is naked with a sculpted cloth over his shoulder held by his bent arm on the right. The arm to the left hangs down straight. The body is slim and slightly muscular. The statue is in a classic pose with the bodys weight on the leg to the left and the right leg relaxed to the right. The hips are level, the waist is slightly to the right and the shoulders tilted to the left. The statue stands on a low plinth. There is a small stump of wood behind his leg on the left in the bottom centre of the page.
Doric, Ionic and Corinthian columns (UEB contracted)
by RnibOn this page are three images of the three types of carved stone columns used in ancient Greek architecture. They are seen from the side. A section, shown as a blank space, has been left out from the image of each column to allow them to be displayed at a larger size. Only the top and bottom of the columns are shown. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The image of the Doric column is on the left of the page. At the top of the image is the column’s capital. This part supports the stone lintel or architrave. It consists of sections that are square and circular as seen in plan view (from above) but appear rectangular in this side view. Down the page is the shaft of the column. It is round in cross section and is carved with vertical grooves called fluting. The image at the bottom of the page shows the bottom of the shaft. It rests directly on to the foundation and does not have a separate base. The Ionic column is in the centre of the page. At the top, the capital is carved into a scrolled design. Down the page is the fluted shaft of the column. The image at the bottom of the page shows the carved base of the column. At the right of the page is the Corinthian column. The capital is highly decorated. It is carved with a design of stylised acanthus leaves. Down the page is the fluted shaft of the column. The image at the bottom of the page shows the carved base of the column.