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Georgian House (UEB uncontracted)
by RnibThis is an image of a large house shown from the front. 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 house is made from red brick and pale stone blocks. In the bottom centre of the image is the royal blue door. There are two steps leading up to the door. To the left and right of the door there are two columns supporting the decorative triangular stone roof of a large porch. Up the page from the door there is a semi-circular window made from four panels. To the left and right of the steps to the door is a stone plinth at the base of the building. To the left and right of the door are two windows. These are sliding sash windows (the bottom half slides up and the upper half slides down to open). There are six small panels of glass in each half. Each window is framed by decorative stone block work. Up the page from the door and windows there are two horizontal lines of stonework and some blocks of stonework. Up again is the next floor. It has five windows that are the same as the ground floor but the stonework framing is simpler. Up the page is a line of stonework, and then the five smaller windows of the next floor. These are also sliding sash windows but have only three small panels of glass in each half. They have simple stonework framing. Up the page from these windows is a thick horizontal line of stonework. Up the page from the middle three windows is a triangular brick gable end. Its upper edge is finished with a line of stonework. It has a single round window made from four panels in the middle. To the left and right is a small wall of brick finished with a small stone column to the far left and right. The corner edges of the building to the far left and right, for the entire height of the building, are finished in stonework.
Graffiti in Los Angeles by Rime (UEB contracted)
by RnibThis page shows an image based on graffiti by New York artist Rime of his name, in Los Angeles, USA. 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 artist has spray painted his nom de plume or street name, Rime, on a wall. In this image it spreads across the centre of the page. At the bottom of the page an area of pavement can be found, and across the top of the page are some railings fixed to the wall. The letters in the design are very ornate, highly stylised and very difficult to read. They curl into each other, with the R extending under the M and I. The bottom of and sides the letters have been painted with overlapping circles to resemble bubbles. The letters are painted in yellow at the top and dark pink and red at the bottom. Down and left from the letters has been painted a black shadow and the whole design is outlined in light and dark blue.
Georgian house (UEB contracted)
by RnibThis is an image of a large house shown from the front. 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 house is made from red brick and pale stone blocks. In the bottom centre of the image is the royal blue door. There are two steps leading up to the door. To the left and right of the door there are two columns supporting the decorative triangular stone roof of a large porch. Up the page from the door there is a semi-circular window made from four panels. To the left and right of the steps to the door is a stone plinth at the base of the building. To the left and right of the door are two windows. These are sliding sash windows (the bottom half slides up and the upper half slides down to open). There are six small panels of glass in each half. Each window is framed by decorative stone block work. Up the page from the door and windows there are two horizontal lines of stonework and some blocks of stonework. Up again is the next floor. It has five windows that are the same as the ground floor but the stonework framing is simpler. Up the page is a line of stonework, and then the five smaller windows of the next floor. These are also sliding sash windows but have only three small panels of glass in each half. They have simple stonework framing. Up the page from these windows is a thick horizontal line of stonework. Up the page from the middle three windows is a triangular brick gable end. Its upper edge is finished with a line of stonework. It has a single round window made from four panels in the middle. To the left and right is a small wall of brick finished with a small stone column to the far left and right. The corner edges of the building to the far left and right, for the entire height of the building, are finished in stonework.
Eiffel Tower, France (UEB uncontracted)
by RnibThis image shows the Eiffel Tower. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. It is 320 metres high with three viewing platforms. This simplified diagram demonstrates the pattern of the wrought iron lattice, with spaces textured to represent the internal structure of the tower. The tower tapers, from a wide base to a small platform at the top. It is viewed from the side so only two of the four legs are visible. At the bottom of the page, an arch joins the two legs and supports the lowest platform. The upper legs of the tower reach to the second platform up the page. The open girders continue up as a single column, narrowing until it reaches a small platform with an antenna at the very top.
Eiffel Tower, France (UEB contracted)
by RnibThis image shows the Eiffel Tower. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. It is 320 metres high with three viewing platforms. This simplified diagram demonstrates the pattern of the wrought iron lattice, with spaces textured to represent the internal structure of the tower. The tower tapers, from a wide base to a small platform at the top. It is viewed from the side so only two of the four legs are visible. At the bottom of the page, an arch joins the two legs and supports the lowest platform. The upper legs of the tower reach to the second platform up the page. The open girders continue up as a single column, narrowing until it reaches a small platform with an antenna at the very top.
Eiffel Tower, France (large print)
by RnibThis image shows the Eiffel Tower. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. It is 320 metres high with three viewing platforms. This simplified diagram demonstrates the pattern of the wrought iron lattice, with spaces textured to represent the internal structure of the tower. The tower tapers, from a wide base to a small platform at the top. It is viewed from the side so only two of the four legs are visible. At the bottom of the page, an arch joins the two legs and supports the lowest platform. The upper legs of the tower reach to the second platform up the page. The open girders continue up as a single column, narrowing until it reaches a small platform with an antenna at the very top.
Edinburgh Castle (UEB uncontracted)
by RnibThis page shows an image of the front of the castle. There is a locator dot shown, which will be at the top left when the image is the correct way up. The image is surrounded by an image border. The entrance to the castle is in the bottom right of the image. It is in a separate gatehouse in front of the main castle. A very small part of the car park, where the Royal Edinburgh Military Tattoo is held, is at the very bottom of the image. There is a dry moat between the car park and the gatehouse so there is a short bridge between the two leading to the arched entrance. To the left and right of the entrance are two tall niches each with a statue in. The statures are not shown. To the left and right of the niches are two narrow vertical defensive slits. They would protect someone inside firing through them at attackers on the outside. Up from the entrance are three windows. The middle one has a coat of arms shield in front of it. The top of the building is has low castellation. The top of the building up from the entrance is slightly higher than the rest. It ends to the left and right with a small rounded turret. The stonework of this building has a hint of yellow, where the rest of the castle is plain grey. Up from and behind the gatehouse is a high wall. On the left it curves backwards. Along the top of the wall is a series of arched holes. Each one would have an old fashioned cannon poking out. The cannons are not shown. Up from and to the left of this wall is the rest of the main castle. It sits on a rocky outcrop which drops away steeply down and to the left. There is a small section of slated roof at the top left of the castle. Down from and to the right are a pattern of windows high up in the castle wall. Two sections of the top of the castle have castellation. Up from the castellation on the left is a small tower which also has castellation. It has a flag pole which is flying the Scottish St Andrews flag. To the right of the main castle are two small buildings with slate roofs. Most of them are hidden by other parts of the castle.
Edinburgh Castle (large print)
by RnibThis page shows an image of the front of the castle. There is a locator dot shown, which will be at the top left when the image is the correct way up. The image is surrounded by an image border. The entrance to the castle is in the bottom right of the image. It is in a separate gatehouse in front of the main castle. A very small part of the car park, where the Royal Edinburgh Military Tattoo is held, is at the very bottom of the image. There is a dry moat between the car park and the gatehouse so there is a short bridge between the two leading to the arched entrance. To the left and right of the entrance are two tall niches each with a statue in. The statures are not shown. To the left and right of the niches are two narrow vertical defensive slits. They would protect someone inside firing through them at attackers on the outside. Up from the entrance are three windows. The middle one has a coat of arms shield in front of it. The top of the building is has low castellation. The top of the building up from the entrance is slightly higher than the rest. It ends to the left and right with a small rounded turret. The stonework of this building has a hint of yellow, where the rest of the castle is plain grey. Up from and behind the gatehouse is a high wall. On the left it curves backwards. Along the top of the wall is a series of arched holes. Each one would have an old fashioned cannon poking out. The cannons are not shown. Up from and to the left of this wall is the rest of the main castle. It sits on a rocky outcrop which drops away steeply down and to the left. There is a small section of slated roof at the top left of the castle. Down from and to the right are a pattern of windows high up in the castle wall. Two sections of the top of the castle have castellation. Up from the castellation on the left is a small tower which also has castellation. It has a flag pole which is flying the Scottish St Andrews flag. To the right of the main castle are two small buildings with slate roofs. Most of them are hidden by other parts of the castle.
Edinburgh Castle (UEB contracted)
by RnibThis page shows an image of the front of the castle. There is a locator dot shown, which will be at the top left when the image is the correct way up. The image is surrounded by an image border. The entrance to the castle is in the bottom right of the image. It is in a separate gatehouse in front of the main castle. A very small part of the car park, where the Royal Edinburgh Military Tattoo is held, is at the very bottom of the image. There is a dry moat between the car park and the gatehouse so there is a short bridge between the two leading to the arched entrance. To the left and right of the entrance are two tall niches each with a statue in. The statures are not shown. To the left and right of the niches are two narrow vertical defensive slits. They would protect someone inside firing through them at attackers on the outside. Up from the entrance are three windows. The middle one has a coat of arms shield in front of it. The top of the building is has low castellation. The top of the building up from the entrance is slightly higher than the rest. It ends to the left and right with a small rounded turret. The stonework of this building has a hint of yellow, where the rest of the castle is plain grey. Up from and behind the gatehouse is a high wall. On the left it curves backwards. Along the top of the wall is a series of arched holes. Each one would have an old fashioned cannon poking out. The cannons are not shown. Up from and to the left of this wall is the rest of the main castle. It sits on a rocky outcrop which drops away steeply down and to the left. There is a small section of slated roof at the top left of the castle. Down from and to the right are a pattern of windows high up in the castle wall. Two sections of the top of the castle have castellation. Up from the castellation on the left is a small tower which also has castellation. It has a flag pole which is flying the Scottish St Andrews flag. To the right of the main castle are two small buildings with slate roofs. Most of them are hidden by other parts of the castle.
Ebenezer Elliott Statue (UEB contracted)
by RnibThe life-size statue of Ebenezer Elliott is mounted on a large square stone plinth that is surrounded by two small steps with 4 black metal bollards in each corner. The word "Elliott" has been engraved in capital letters half way up the stone plinth. Ebenezer is shown in his later years in a thoughtful pose sitting on one of his favourite rocks in the Rivelin Valley north-west of Sheffield. His right leg is slightly elevated with his right foot resting on a raised part of the rock. He is resting his right hand on his right knee. He is dressed in informal clothes of the Victorian era - an undershirt, a neck tie tied loosely around his neck, a waistcoat with 3 buttons, a long coat with tails and long straight trousers. The tactile image shows the upper part of the stone plinth and the statue, the steps and bollards have been omitted. The word "Elliott" has been shown as raised letters. Ebenezer Elliott (1781-1849) owned an iron foundry in Sheffield and was also a poet. He campaigned strongly against the Corn Laws, which put a tax on corn and made bread more expensive. The Corn Laws were introduced in 1815 to protect British corn prices from cheaper grain imports. This enabled farmers to get a better price for their crops but meant that bread was more expensive to buy. The House of Lords finally repealed the Corn Laws in 1846, three years before Elliott’s death. At the age of six Elliott contracted smallpox, which temporarily blinded him but left him permanently disfigured. After attending 4 different schools and “learning nothing but vagabondism” he was sent to work in his father’s factory. He received no wages, only occasional pocket money, until the age of 23. Despite his early school life Elliott resolved to “undertake the great task of self-instruction” and wrote his first poem ˜Vernal walk” in 1797, aged 17. Elliott’s poetry on the Corn Laws resulted in his nickname of the ˜Paupers Poet” or the ˜Corn Law Rhymer.” He wrote over 315 poems in his lifetime. Some of his poems were adapted to popular tunes and were sung at the start of political rallies. John Betjeman refers to Ebenezer Elliott in his poem ˜An Edwardian Sunday, Broomhill, Sheffield.” This is a section of the poem: Your own Ebenezer Looks down from his height On back street and alley And chemical Valley Laid out in the light; On ugly and pretty Where industry thrives In this hill-shadowed city Of razors and knives After Elliott's death in 1849, £600 was raised to pay for the statue that originally was situated in Sheffield's Market Place but was moved to the park in 1875.
Doric, Ionic and Corinthian columns (UEB uncontracted)
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.
Doric, Ionic and Corinthian columns (large print)
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.
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.
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.
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 (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.
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.
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.
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 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.
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.
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.
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.
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.
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.