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Lord Shiva (Large print)

This image shows the figure of the seated Hindu god Shiva. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Shiva's head is in the top centre of the page. He has long straight black hair and a topknot. From the top of the topknot is an arc of water which goes up, to the right and down. When it hits the ground it forms the source of the sacred River Ganga. To the left of his head is a small crescent which symbolises the control of time. His face is blue and he has a third eye in his forehead representing wisdom. This is partly hidden by three short horizontal grey lines of ash symbolising his superhuman power. He has a tranquil smile despite his role as the destroyer of the world (so it can be reborn). His body is not blue but pale and sometimes white from a coating of ash. He has a cobra necklace which winds round his neck twice with its head to the left of his neck. The cobra represents his power. Shiva is naked apart from a simple animal skin loincloth. He has an arm and wrist bracelet on each arm. The arm to the left goes down and is bent at the elbow with the lower arm coming towards you. The hand is bent up so the palm shows and the fingers point upwards. This hand hides his nipple on the left. To the right of his bare chest, the arm on the right is straight, going down and right. The hand is open and palm upwards. He is sitting in a crossed-leg yogic position so each of his feet rests on the calf of the other leg. They are positioned sole upwards. He sits on a tiger skin which shows his victory over force. On the left of the page is a trident which represents the three functions of the Hindu triumvirate.

Lord Shiva (UEB Contracted)

This image shows the figure of the seated Hindu god Shiva. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Shiva's head is in the top centre of the page. He has long straight black hair and a topknot. From the top of the topknot is an arc of water which goes up, to the right and down. When it hits the ground it forms the source of the sacred River Ganga. To the left of his head is a small crescent which symbolises the control of time. His face is blue and he has a third eye in his forehead representing wisdom. This is partly hidden by three short horizontal grey lines of ash symbolising his superhuman power. He has a tranquil smile despite his role as the destroyer of the world (so it can be reborn). His body is not blue but pale and sometimes white from a coating of ash. He has a cobra necklace which winds round his neck twice with its head to the left of his neck. The cobra represents his power. Shiva is naked apart from a simple animal skin loincloth. He has an arm and wrist bracelet on each arm. The arm to the left goes down and is bent at the elbow with the lower arm coming towards you. The hand is bent up so the palm shows and the fingers point upwards. This hand hides his nipple on the left. To the right of his bare chest, the arm on the right is straight, going down and right. The hand is open and palm upwards. He is sitting in a crossed-leg yogic position so each of his feet rests on the calf of the other leg. They are positioned sole upwards. He sits on a tiger skin which shows his victory over force. On the left of the page is a trident which represents the three functions of the Hindu triumvirate.

Lord Shiva (UEB Uncontracted)

This image shows the figure of the seated Hindu god Shiva. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Shiva's head is in the top centre of the page. He has long straight black hair and a topknot. From the top of the topknot is an arc of water which goes up, to the right and down. When it hits the ground it forms the source of the sacred River Ganga. To the left of his head is a small crescent which symbolises the control of time. His face is blue and he has a third eye in his forehead representing wisdom. This is partly hidden by three short horizontal grey lines of ash symbolising his superhuman power. He has a tranquil smile despite his role as the destroyer of the world (so it can be reborn). His body is not blue but pale and sometimes white from a coating of ash. He has a cobra necklace which winds round his neck twice with its head to the left of his neck. The cobra represents his power. Shiva is naked apart from a simple animal skin loincloth. He has an arm and wrist bracelet on each arm. The arm to the left goes down and is bent at the elbow with the lower arm coming towards you. The hand is bent up so the palm shows and the fingers point upwards. This hand hides his nipple on the left. To the right of his bare chest, the arm on the right is straight, going down and right. The hand is open and palm upwards. He is sitting in a crossed-leg yogic position so each of his feet rests on the calf of the other leg. They are positioned sole upwards. He sits on a tiger skin which shows his victory over force. On the left of the page is a trident which represents the three functions of the Hindu triumvirate.

Lord Vishnu (UEB uncontracted)

This image shows the figure of a standing Hindu god Vishnu. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Vishnu is facing forward so all facial features, and all arms and both legs can be found. In the top centre of the image is his head. He wears a golden crown. To the left and right of his face he has wavy black hair. His skin is blue. He has two gold necklaces around his neck. The one nearest his neck has a gold decoration set with a red jewel. His chest is bare and he wears a long sleeveless jacket which comes down to his knees. He has a sash around his waist which is held in place by a large knot. The ends of the sash hang down from the knot. Around his waist and legs he wears a dhoti which is a long loincloth. At the centre bottom of the page his bare feet stand on a lotus flower. Vishnu has four arms. Each hand holds a different item. The hand in the top left holds a discus. The other arm is hanging down and the hand holds the handle to a mace decorated with red and green jewels. The hand on the upper arm on the right holds a conch shell. The other hand holds a lotus flower. The items Vishnu holds all have different symbolism.

Lord Vishnu (UEB Contracted)

This image shows the figure of a standing Hindu god Vishnu. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Vishnu is facing forward so all facial features, and all arms and both legs can be found. In the top centre of the image is his head. He wears a golden crown. To the left and right of his face he has wavy black hair. His skin is blue. He has two gold necklaces around his neck. The one nearest his neck has a gold decoration set with a red jewel. His chest is bare and he wears a long sleeveless jacket which comes down to his knees. He has a sash around his waist which is held in place by a large knot. The ends of the sash hang down from the knot. Around his waist and legs he wears a dhoti which is a long loincloth. At the centre bottom of the page his bare feet stand on a lotus flower. Vishnu has four arms. Each hand holds a different item. The hand in the top left holds a discus. The other arm is hanging down and the hand holds the handle to a mace decorated with red and green jewels. The hand on the upper arm on the right holds a conch shell. The other hand holds a lotus flower. The items Vishnu holds all have different symbolism.

Lord Vishnu (Large print)

This image shows the figure of a standing Hindu god Vishnu. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Vishnu is facing forward so all facial features, and all arms and both legs can be found. In the top centre of the image is his head. He wears a golden crown. To the left and right of his face he has wavy black hair. His skin is blue. He has two gold necklaces around his neck. The one nearest his neck has a gold decoration set with a red jewel. His chest is bare and he wears a long sleeveless jacket which comes down to his knees. He has a sash around his waist which is held in place by a large knot. The ends of the sash hang down from the knot. Around his waist and legs he wears a dhoti which is a long loincloth. At the centre bottom of the page his bare feet stand on a lotus flower. Vishnu has four arms. Each hand holds a different item. The hand in the top left holds a discus. The other arm is hanging down and the hand holds the handle to a mace decorated with red and green jewels. The hand on the upper arm on the right holds a conch shell. The other hand holds a lotus flower. The items Vishnu holds all have different symbolism.

Menorah (Large print)

This is a labelled image of the menorah. It is a seven-branched lamp stand, a symbol of Judaism and the emblem of the state of Israel 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 menorah is seen from the front so each of its seven branches can be found. The menorah's three legged base can be found at the bottom of the image. Going up the page from this is a stem that divides into seven branches. Further up the page, the branches have decorative tops with a burning candle fixed in each one.

Menorah (UEB uncontracted)

This is a labelled image of the menorah. It is a seven-branched lamp stand, a symbol of Judaism and the emblem of the state of Israel 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 menorah is seen from the front so each of its seven branches can be found. The menorah's three legged base can be found at the bottom of the image. Going up the page from this is a stem that divides into seven branches. Further up the page, the branches have decorative tops with a burning candle fixed in each one.

Menorah (UEB contracted)

This is a labelled image of the menorah. It is a seven-branched lamp stand, a symbol of Judaism and the emblem of the state of Israel 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 menorah is seen from the front so each of its seven branches can be found. The menorah's three legged base can be found at the bottom of the image. Going up the page from this is a stem that divides into seven branches. Further up the page, the branches have decorative tops with a burning candle fixed in each one.

Commentary on the Epistle to the Galatians

Mother Teresa (large print)

This image shows a portrait of Mother Teresa. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. She is facing you so all facial features can be found. Only her head and some of her shoulders are shown. Her head is covered by a nun's hood which has some blue strips on it. Her face has lots of wrinkles because she is an old lady. She is looking forward with brown eyes and a gentle smile. Her nun's hood wraps together under her chin. To the left and right her shoulders are covered by a nun's black robe. The image is surrounded by an image border.

Mother Teresa (UEB Contracted)

This image shows a portrait of Mother Teresa. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. She is facing you so all facial features can be found. Only her head and some of her shoulders are shown. Her head is covered by a nun's hood which has some blue strips on it. Her face has lots of wrinkles because she is an old lady. She is looking forward with brown eyes and a gentle smile. Her nun's hood wraps together under her chin. To the left and right her shoulders are covered by a nun's black robe. The image is surrounded by an image border.

Nativity scene (Large print)

This is an image of Mary and Joseph in a stable with the newly-born baby Jesus. 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 is surrounded by a dashed line image border. Mary is on the left of the page. She is seen from the side, kneeling and facing to the right. She is wearing a long robe and her head is covered so that only her face can be seen and only one of her eyes can be found. Her head is to the left of top centre and down from this is her shoulder with one hand poking out from her robe. Further down the page is her robe and in the bottom left of the page you can find one of her bare feet. Baby Jesus is in the bottom centre of the page. He is lying in a crib facing towards you, wrapped in a blanket. His head is on the right and one of his arms is uncovered at the top of his image. Up the page from the baby Jesus is a cow that is resting in the stable. Its head is facing towards you so that both of his horns, eyes and nose can be found. Part of the cow's back can be found to the right of its head. The rest of its body is hidden behind a fence. Joseph is on the right of the page. He is seen from the side, kneeling and facing to the left. He is wearing a long robe and his head is covered so that only his face can be seen and only one of his eyes can be found. His head is in the top right of the page. Down and left from this is one of his arms with his hand reaching out to touch the face of his baby. Further down the page is his robe and in the bottom right of the page you can find one of his bare feet.

Mother Teresa (UEB Uncontracted)

This image shows a portrait of Mother Teresa. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. She is facing you so all facial features can be found. Only her head and some of her shoulders are shown. Her head is covered by a nun's hood which has some blue strips on it. Her face has lots of wrinkles because she is an old lady. She is looking forward with brown eyes and a gentle smile. Her nun's hood wraps together under her chin. To the left and right her shoulders are covered by a nun's black robe. The image is surrounded by an image border.

Nativity scene (UEB Contracted)

This is an image of Mary and Joseph in a stable with the newly-born baby Jesus. 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 is surrounded by a dashed line image border. Mary is on the left of the page. She is seen from the side, kneeling and facing to the right. She is wearing a long robe and her head is covered so that only her face can be seen and only one of her eyes can be found. Her head is to the left of top centre and down from this is her shoulder with one hand poking out from her robe. Further down the page is her robe and in the bottom left of the page you can find one of her bare feet. Baby Jesus is in the bottom centre of the page. He is lying in a crib facing towards you, wrapped in a blanket. His head is on the right and one of his arms is uncovered at the top of his image. Up the page from the baby Jesus is a cow that is resting in the stable. Its head is facing towards you so that both of his horns, eyes and nose can be found. Part of the cow's back can be found to the right of its head. The rest of its body is hidden behind a fence. Joseph is on the right of the page. He is seen from the side, kneeling and facing to the left. He is wearing a long robe and his head is covered so that only his face can be seen and only one of his eyes can be found. His head is in the top right of the page. Down and left from this is one of his arms with his hand reaching out to touch the face of his baby. Further down the page is his robe and in the bottom right of the page you can find one of his bare feet.

Nativity scene (UEB Uncontracted)

This is an image of Mary and Joseph in a stable with the newly-born baby Jesus. 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 is surrounded by a dashed line image border. Mary is on the left of the page. She is seen from the side, kneeling and facing to the right. She is wearing a long robe and her head is covered so that only her face can be seen and only one of her eyes can be found. Her head is to the left of top centre and down from this is her shoulder with one hand poking out from her robe. Further down the page is her robe and in the bottom left of the page you can find one of her bare feet. Baby Jesus is in the bottom centre of the page. He is lying in a crib facing towards you, wrapped in a blanket. His head is on the right and one of his arms is uncovered at the top of his image. Up the page from the baby Jesus is a cow that is resting in the stable. Its head is facing towards you so that both of his horns, eyes and nose can be found. Part of the cow's back can be found to the right of its head. The rest of its body is hidden behind a fence. Joseph is on the right of the page. He is seen from the side, kneeling and facing to the left. He is wearing a long robe and his head is covered so that only his face can be seen and only one of his eyes can be found. His head is in the top right of the page. Down and left from this is one of his arms with his hand reaching out to touch the face of his baby. Further down the page is his robe and in the bottom right of the page you can find one of his bare feet.

Rangoli Guru (UEB Uncontracted)

This page shows a tactile image of an ancient guru. It is possibly connected to rangoli, a form of Indian folk art linked to the Hindu, Sikh and Jain religions.

Reliquary of the Holy Thorn (Tactile)

Paris, France; about 1390-97; gold, enamel, rock-crystal, pearls, rubies, and sapphires; about 30 cm high by 14 cm wide and 7 cm deep. Jean duc de Berry, the brother of Charles V of France, commissioned this opulent reliquary between 1390 and 1397. The relic, a thorn from Christ's Crown of Thorns, is mounted on a large sapphire behind a rock-crystal window at the centre of the piece. At the back of the reliquary is another compartment. It is sealed by two doors decorated with depictions of the archangel St Michael on the left and St Christopher bearing the infant Jesus on the right. Above them is an image of the face of Christ. This might suggest that a relic of the Sudarium, the cloth used by St Veronica to wipe Christ's face, was contained behind the doors. The reliquary's patron, Jean duc de Berry, is represented by his heraldry. His symbol, the fleur de lys, decorates two plaques set into the castellated base. Enamel has been applied all around the figures that adorn the reliquary. This technique is testimony to the skill of the Parisian goldsmiths at the end of the 1300s. The reliquary depicts the Last Judgement, when mankind would face Christ as judge. It was thought that at the Last Judgement Christ would reclaim the relics of his crucifixion from the Kingdom of France, which would then become the Kingdom of Heaven. This reliquary is highly elaborate and richly decorated with the theme of the Last Judgement. It is designed around a single thorn, about 5 cm long, that is mounted on a large circular sapphire and displayed in a niche behind an arched rock crystal window at the centre of the piece. The base is made of gold and is in the form of castle walls that basically consists of four turrets framing two arches that are either side of a central stepped doorway. Kneeling on each turret is a golden winged angel dressed in a white robe with blue fleur de lys patterning. The angels are holding curved golden trumpets to their lips that they are blowing to awaken the dead. The fleur de lys patterning is also shown on two rectangular plaques set between the turrets above the arches. Above the turrets is an emerald green mound on which there are coffin-shaped tombs with naked figures of the dead rising from them, their hands raised in astonishment. At the top of the mound, just below the bottom of the central niche, is a scroll with a Latin inscription over two lines that reads "Ista est una spinea corone / Domine nostri ihesu cristi" and this translate to "This is a thorn from the crown of Our Lord Jesus Christ". In the central domed niche, the thorn on the sapphire is in a setting with three figures and two angels against a gold background. The large sapphire sits centrally at the base of the niche with the thin brown pointed thorn rising more or less vertically from it. In the centre, seated on a rainbow with the thorn resting between his knees, is the bearded figure of Christ with a long white robe draped over his naked body with his bare feet, showing two wounds of his crucifixion, resting on a white sphere. His right hand is held up showing us his palm with a third wound of crucifixion and his left hand is held out to his side with the fourth wound just visible. The fifth wound is shown on the right hand side of Christ's upper body. Two angels, dressed in white with blue fleur de lys patterning, float either side above Christ's head holding instruments of the Passion - a lance on the left and a cross on the right. Kneeling at the base of the niche either side of the sapphire, with their hands together in worship and looking up at Christ, are the Virgin Mary (on the left) and John the Baptist (on the right). The Virgin Mary is dressed in a white cloak with green lining over red robes and John the Baptist is dressed in white and red robes.

Reliquary Panel of the Shrine of St Oda (Tactile)

Meuse valley (modern-day Belgium); 1165-1170, relics inserted after 1236; silver, silver-gilt, copper, copper-gilt, enamel, rock-crystal and horn; about 58 cm high by 38 cm wide and 6 cm deep. This panel was removed from a shrine dedicated to St Oda of Amay in Belgium. The panel shows St Oda flanked by female personifications of Religion and Charity. In small cavities within the borders of the panel are the relics of female saints, each labelled with a saint's name, and are said to include the breast milk of the Virgin Mary, on the right in the second cavity from the bottom. This gable-end of the shrine is extremely ornate and is shaped like the gable end of a house “ a triangle with the point at the top on top of a rectangle. The shrine has three distinct borders around the central scene of St Oda between the two figures of Religion and Charity. The outer border has panels of yellow/blue/white/black/red/green enamel decoration alternating with smaller panels containing an oval piece of smooth rock crystal. The second border, the same width as the outer border, has an intricate embossed pattern in silver-gilt. In this border are set the small containers covered by horn that contain the relics “ eight in total, three on each vertical side and one on either side of the gable. The third and inner border is thinner than the other two and consists of a simple embossed pattern in silver-gilt. The central scene has a decorative "canopy" over it consisting of an intricate pattern inset with ovals of rock crystal “ a large oval above St Oda with two smaller ones above the two figures. St Oda is shown taller than the two flanking figures and is facing you. The two figures, holding long scrolls in their hands, come up to St Oda's shoulders and are turned facing the saint. All figures have circular halos behind their heads and are wearing long elaborate robes. St Oda is wearing shoes while the other two figures are bare foot. St Oda holds a short scroll in her left hand. The tactile image is roughly half the size of the actual panel. The outer frame is shown as solid texture with hollows for the rock crystal ovals along with some of the patterning shown as solid shapes on a light. The second border is shown with a texture with hollows containing solid rectangles for the horn covered compartments. The inner border is shown by a thick solid line. The decorative canopy over the central scene is shown by solid texture with hollows for the rock crystal ovals. The three figures are shown with two textures (the same ones used on the outer and second frames) for their robes, a thick outline for their halos and solid texture for their hair, scrolls and St Oda's shoes. [Museum number: PE 1978,0502.7]

The route of the Exodus (UEB Contracted)

This image shows a map of the ancient Middle East. There is a locator dot shown, which will be at the top left when the image is the correct way up. The map is surrounded by an image border. There is a small key and a scale in the bottom left corner. The Mediterranean Sea is in the top left of the page. The Red Sea is in bottom centre of the page. The Dead Sea is in the top right of the page. The land is not textured. As it is today, Egypt fills the left of the page. Modern day Israel is in the top right of the page. The route taken is shown as a dashed line and the direction indicated by arrows. Towns on the route are marked by triangles.

The route of the Exodus (Large print)

This image shows a map of the ancient Middle East. There is a locator dot shown, which will be at the top left when the image is the correct way up. The map is surrounded by an image border. There is a small key and a scale in the bottom left corner. The Mediterranean Sea is in the top left of the page. The Red Sea is in bottom centre of the page. The Dead Sea is in the top right of the page. The land is not textured. As it is today, Egypt fills the left of the page. Modern day Israel is in the top right of the page. The route taken is shown as a dashed line and the direction indicated by arrows. Towns on the route are marked by triangles.

Study for Adam (Tactile)

About 1511. Red chalk. Size: 19.3 x 25.9 cm. British Museum, PD 1926-10-9-1. By making this drawing from a live model, Michelangelo could study the fluid motion of Adam stretching upwards in the <em>Creation of Adam</em>. On either side are studies for God's right arm and hand. Michelangelo manages to make the impossible position of Adam's upper body look convincing, because his observation of his muscular form and the play of light on it is compellingly realistic. He must have made further studies of the pose, including one of the head, which is only roughly indicated here. This drawing shows a very muscular nude male in a semi-reclining position. The nude has his right leg stretched out in front of him, with his left leg bent at the knee and pulled up close to his body. He is leaning of his right elbow with his right arm tucked up close to his body. His left arm appears to be resting on his right knee but it is actually raised up to head height. His head has not been drawn with the drawing of the nude ending at the neck. Either side of the figure are 2 hands drawn in isolation, the one on the left is more defined than the one on the right. The tactile image shows the nude with just the isolated hand on the left. Thick lines define the nude's outline with rough texture to show muscle tone. Braille labels are as follows: position of head, left arm, knee and leg, right leg and arm, and isolated hand.

The Risen Christ (Tactile)

About 1532-1533. Black chalk. Size: 41.4 x 27.4 cm. British Museum, PD 1895-9-15-501. Towards the end of Michelangelo's time in Florence he made a number of studies of the Risen Christ for a "Resurrection". The purpose of the drawings is unknown. Some may have been intended to help his old ally, Sebastiano del Piombo, with a commission (which was never fulfilled) to paint an altarpiece of this subject for a Roman church. This drawing shows an upright nude male. The way the figure is portrayed infers movement - the left leg is in front of the right leg which is bent slightly at the knee and the foot is bent at the toes; the left arm is bent at the elbow and raised to head height; the right arm is held out in front of the body with the fingers of the hand splayed out. The facial features are shown but the top of the head is incomplete. The tactile image shows an outline of the figure defined by thick lines with muscle tone shown as rough texture. Braille labels have been added: head, right arm, left elbow, right leg, and left leg.

The route of the Exodus (UEB Uncontracted)

This image shows a map of the ancient Middle East. There is a locator dot shown, which will be at the top left when the image is the correct way up. The map is surrounded by an image border. There is a small key and a scale in the bottom left corner. The Mediterranean Sea is in the top left of the page. The Red Sea is in bottom centre of the page. The Dead Sea is in the top right of the page. The land is not textured. As it is today, Egypt fills the left of the page. Modern day Israel is in the top right of the page. The route taken is shown as a dashed line and the direction indicated by arrows. Towns on the route are marked by triangles.

Three crosses on a hill (UEB Uncontracted)

This is an image of the three crosses on Calvary Hill in readiness for the crucifixion of Jesus Christ and the two thieves. 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 is surrounded by a dashed line image border. The crosses are shown in silhouette at dusk in the centre of the page. The sky is blue and pink with the sun in the left centre of the page and white and pink clouds stretching across the page. The hill is in purple shadow at the bottom of the page.