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Front view of Stratford House (Large Print)
by Rnib BookshareThe image shows the birthplace of Shakespeare; it depicts a three-storey, half-timbered Tudor house with thick wooden beams, shown as wide, heavy lines. 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 roof with four chimneys on it. Set into the roof are three triangular gables, the one on the left has a window made of many panes of glass, like all the windows in the house. Down from this is the first floor with four windows. At the bottom left of the page, sticking out slightly, is a small, ground-floor extension to the house. Like the main roof, it is tiled. It has a door in the middle with two windows to the left of it and one to the right. In the bottom centre is another window with a door and a window to the right.
Front view of Stratford House (UEB Uncontracted)
by Rnib BookshareThe image shows the birthplace of Shakespeare; it depicts a three-storey, half-timbered Tudor house with thick wooden beams, shown as wide, heavy lines. 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 roof with four chimneys on it. Set into the roof are three triangular gables, the one on the left has a window made of many panes of glass, like all the windows in the house. Down from this is the first floor with four windows. At the bottom left of the page, sticking out slightly, is a small, ground-floor extension to the house. Like the main roof, it is tiled. It has a door in the middle with two windows to the left of it and one to the right. In the bottom centre is another window with a door and a window to the right.
Front view of Stratford House (UEB Contracted)
by Rnib BookshareThe image shows the birthplace of Shakespeare; it depicts a three-storey, half-timbered Tudor house with thick wooden beams, shown as wide, heavy lines. 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 roof with four chimneys on it. Set into the roof are three triangular gables, the one on the left has a window made of many panes of glass, like all the windows in the house. Down from this is the first floor with four windows. At the bottom left of the page, sticking out slightly, is a small, ground-floor extension to the house. Like the main roof, it is tiled. It has a door in the middle with two windows to the left of it and one to the right. In the bottom centre is another window with a door and a window to the right.
Corinthos by Barbara Hepworth
by Sheffield Vi ServiceThis is an image of an abstract stone sculpture by artist Barbara Hepworth. It is approximately globe-shaped with holes and curved grooves carved into it based on the Buddhist Ying and Yang symbol.
Tides, 1946 Painted Wood by Barbara Hepworth
by Sheffield Vi ServiceThis is an image of an abstract stone sculpture by artist Barbara Hepworth. It is approximately globe-shaped with holes and curved grooves carved into it. It stands on a square base, which is seen in perspective.
The Human Essence: The Sources of Science and Art
by George ThomsonThis book is a short introduction to Marxism that addresses its political, historical and ideological aspects of science and art.
Kali (SEB Contracted)
by RnibEarly 20th century. Santal region of eastern Bihar/western Bengal. Scroll - paint on recycled paper. Size: 107 cm long and 20 cm wide. Museum number: 1988. 7-3. 06. Although crudely executed this picture shows Kalis true nature: fascinating but frightening and attended by terrifying goblins. The scroll comes from the tribal Santal zone in western Bengal. Here scrolls are used both for storytelling and for death rituals. This one is part of a group of seven that was acquired by a British school-teacher stationed in this then remote area. The dominate colours on this painting are black and red, along with tones of blue and brown. The image of Kali fills the top two thirds of this long, narrow picture. She is shown facing the viewer with her feet turned slightly to her right. Kali is standing on the left arm of a male figure, her husband Shiva, who is lying on his back. Two black goblins are shown below Shiva. Kali is depicted naked with a black body. Two areas of her body appear transparent, a strip around her hips and the upper half of her body extending a short way down her arms, as the background of the painting can be seen through these areas. The black areas of the body also have small red patches on the knees, elbows and feet. Her head is black with white eyes and black pupils, white teeth, a red moustache and long red protruding tongue. She has large ears with three holes in each with hoop earrings through the lower holes. Her hair is beaded and pulled upwards into spikes which looks like a crown. Kali has four arms, two are down by her side and two are held above her head. Each arm has a wide bangle at the wrist and bands on the upper arm. In her lower left hand, she is holding a severed head. Around her neck and descending down to her knees is a large garland that is made up of more severed heads. There are thick anklets around each ankle. The tactile image focuses solely on Kali. The black area of her body and head are shown with solid texture along with her crown-like hair and the hand-held severed head. The eyes, holes in the ears, teeth, protruding tongue, bangles, arm bands and anklets are shown as hollows in the solid texture. The garland of severed heads is shown as a rough texture with hollows for individual heads. Braille labels: upper right arm, upper left arm, letter p (for protruding tongue), lower right arm, lower left arm, garland of severed heads, severed head, arm band, wrist band and anklet on left leg."
A seated male nude twisting around (tactile)
by RnibAbout 1504-1505. Pen and brown ink, brown and grey wash, heightened with lead white (partly discoloured) over leadpoint and stylus. Size: 42.1 x 28.7 cm. British Museum, PD 1887-5-2-116. This is one of several drawings exhibited here for Michelangelo's ""Bathers"" cartoon, the centrepiece of the never executed fresco of the Battle of Cascina for the Palazzo Vecchio, Florence. This is a life study for the pivotal figure seated at the centre of the composition. The way Michelangelo has used pen and white heightening to describe the model's glistening limbs is highly effective. However, his use of wash for the shaded area is less successful. This drawing shows a seated male nude with his legs and knees facing the viewer but with torso and head turned away from the viewer. His right arm is bent at the elbow and is raised to head height. His left arm is not shown as this is out of sight behind his torso. The figure's right leg is bent at the knee and is resting on the seat. The detail on the drawing is concentrated on the legs and twisting torso. The head and right hand are less defined, with the seat barely shown. The tactile image shows an outline of the figure defined by thick lines with muscle tone shown as rough texture. Thin lines give an idea where the seat is. Braille labels have been added: head, shoulder, right arm, buttocks, right leg, left leg and seat.
A flying angel and other studies (tactile)
by RnibAbout 1534-1536. Black chalk. Size: 40.7 x 27.2 cm. British Museum, PD 1860-6-16-5. The main study and the arm at the upper right relate to figures in the ""Last Judgement"". Both are for a flying angel in the upper right corner. Michelangelo must already have worked out the overall group: he did not include the tips of the right-hand fingers, because he knew they would be hidden by another figure in the finished work. This drawing is a collection of incomplete sketches of various nude poses and body detail. The most complete sketch consists of a nude figure that looks like it is flying in mid air. The arms are slightly bent at the elbows and are shown reaching out in front of the figure, with the fingers splayed. The left leg is bent back at the knee. The right leg is not shown along with the tips of the fingers on the right hand. The tactile image only shows the most complete figure. The outline of the figure is defined by thick lines with muscle tone shown as rough texture. Braille labels have been added: head, back, right arm, left hand, buttocks, right leg, and left leg.
A single lens reflex (UEB contracted)
by RnibThis is a cross section side view of a single lens reflex camera seen from the side with a labelled enlargement of the mirror, and a key. 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 camera can be found in the bottom left of the page. A ray of light enters the camera through the lenses at the right of the image. It is represented by a left-pointing arrow. The ray then strikes the mirror to the left, which is angled at 45 degrees. The ray is then reflected through 90 degrees up the page to the pentaprism (five-sided prism), where it is reflected off two of the internal surfaces and exits left through the viewfinder lens at the top left of the image. To the left of the viewfinder is an eye seen from the side and facing to the right. The ray enters the eye and projects an image on the retina (not shown) on the left of the eye. Part of the mirror in the centre of the camera's image is circled with a dashed line with a line going up and right to another dashed-line circle containing an enlarged view of the mirror section. The light ray is shown being reflected off the surface of the mirror. The angles of incidence and reflection are labelled with abbreviations, and there is a key to the abbreviations in the top left of the page.
A single lens reflex (UEB uncontracted)
by RnibThis is a cross section side view of a single lens reflex camera seen from the side with a labelled enlargement of the mirror, and a key. 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 camera can be found in the bottom left of the page. A ray of light enters the camera through the lenses at the right of the image. It is represented by a left-pointing arrow. The ray then strikes the mirror to the left, which is angled at 45 degrees. The ray is then reflected through 90 degrees up the page to the pentaprism (five-sided prism), where it is reflected off two of the internal surfaces and exits left through the viewfinder lens at the top left of the image. To the left of the viewfinder is an eye seen from the side and facing to the right. The ray enters the eye and projects an image on the retina (not shown) on the left of the eye. Part of the mirror in the centre of the camera's image is circled with a dashed line with a line going up and right to another dashed-line circle containing an enlarged view of the mirror section. The light ray is shown being reflected off the surface of the mirror. The angles of incidence and reflection are labelled with abbreviations, and there is a key to the abbreviations in the top left of the page.
A single lens reflex (large print)
by RnibThis is a cross section side view of a single lens reflex camera seen from the side with a labelled enlargement of the mirror, and a key. 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 camera can be found in the bottom left of the page. A ray of light enters the camera through the lenses at the right of the image. It is represented by a left-pointing arrow. The ray then strikes the mirror to the left, which is angled at 45 degrees. The ray is then reflected through 90 degrees up the page to the pentaprism (five-sided prism), where it is reflected off two of the internal surfaces and exits left through the viewfinder lens at the top left of the image. To the left of the viewfinder is an eye seen from the side and facing to the right. The ray enters the eye and projects an image on the retina (not shown) on the left of the eye. Part of the mirror in the centre of the camera's image is circled with a dashed line with a line going up and right to another dashed-line circle containing an enlarged view of the mirror section. The light ray is shown being reflected off the surface of the mirror. The angles of incidence and reflection are labelled with abbreviations, and there is a key to the abbreviations in the top left of the page.
Ambassadors by Hans Holbein the Younger (tactile)
by RnibDate: 1533. Medium: Oil on oak. Size: 207 cm high by 210cm wide. Information about the painting The painting portrays two educated, wealthy and powerful diplomats; Jean de Dintville, the French Ambassador to England and his friend, George de Selve, Bishop of Lavaur. Both men were in London in 1533 to safeguard relations between the King of France and Henry VIII at a time of great religious and political uncertainty. Jean de Dinteville commissioned this painting from Holbein (1497/8-1543) to hang in his chateau of Polisy. Overview description of the painting [The letter/letters given in brackets refer to labelling on the tactile images.] This huge panel, painted with meticulous attention to detail is one of the earliest portraits combining the depiction of two full-length figures that are also life-size in scale. Jean de Dentville is on our left and George de Selve on the right. They stand a step back from us on a pavement patterned with coloured pieces of stone, similar to the floor in Westminster Abbey. Facing to the front, they gaze out of the painting and engage us with inscrutable expressions. Between them is a large piece of furniture with two shelves on which are arrayed a variety of objects, giving an indication of their wide-ranging interests. Jean de Dentville rests his left elbow (LE) and George de Selve his right on the top shelf (R). At the bottom near the left corner of the painting, the perplexing image of a distorted skull stretches diagonally across the foreground to the right. Behind the two men, a rich, green damask curtain is parted in the top left corner to reveal a tiny silver crucifix (CF).
Andrea Quaratesi (tactile)
by RnibAbout 1528-1532. Black chalk. Size: 41.1 x 29.2 cm. British Museum, PD 1895-9-15-519. Quaratesi was from a rich Florentine banking family, and Michelangelo gave him drawing lessons in the mid-1520s (see image 6). The family reputedly sheltered the artist when the second Florentine republic fell in 1530 and the Medici regained power. The sitters identity is known from an inscription on an old copy of the drawing, making this the only certainly identifiable portrait by Michelangelo. The drawing is a detailed head and shoulders portrait of a young man dressed in costume of the period - a large flat hat, collared jacket with slightly puffed sleeves and a shirt with buttons under the jacket. His left shoulder is facing the viewer, his head turned slightly to his left. He is not looking directly at the viewer as he is looking over towards his left and has a very solemn look on his face. The tactile image uses lines to define the outline of the face and facial features with a solid texture to show the hat, buttons on shirt and collar of his jacket. Rough texture shows the hair, eyebrows and jacket. Braille labels are as follows: hat, ear, mouth, eye, nose, collar, and jacket.
Angel Over Canterbury by Sara Wicks (tactile)
by Rnib2001; by Sara Wicks (born 1965); mixed media on handmade paper, mounted in a grey wood box frame; paper: 29 cm high by 41 cm wide, frame: 47 cm high by 58 cm wide. The painting was commissioned as a cover for the Canterbury Festival brochure in 2001. Sara says: I wanted to celebrate the unique history of the city and decided to do this by collaging together the iconic architectural landmarks, centring on the Cathedral. The angel is a reference to the spiritual importance of the city. My choice of bright colour was to reinforce the positivity of the image as well as being eye-catching for the Festivs purposes. I made the piece by painting the different component images on separate bits of paper and collaging them together: the painting surface has gained in thickness and texture where I have reworked areas. This brightly coloured painting shows the River Stour as a royal blue strip along the bottom edge of the painting with black lines and shapes in it to give an idea of the water. Above the river are three iconic views of Canterbury set on a dark green strip - on the left is Dane John mound, in the centre Canterbury Cathedral, and on the right the West Gate Towers. Dane John is shown as a green mound with black spiral pathway leading to the rounded top that is surmounted by a white tiered memorial. Originally a prehistoric burial mound, it was landscaped in the 18th century under the direction of Alderman Simmons whose memorial now stands on the top. Canterbury Cathedral shown from the north side with its central tower (Bell Harry Tower) and western front. The cathedral has been outlined in black infilled with shades of brown. The windows and western door are shown in black and an idea of the leaded roof shown as grey with light blue highlights. The West Gate Towers, Canterbury's only surviving medieval gate is shown from the front (from St Dunstan's), and consists of two round towers with a gateway between. This is again outlined in black and infilled with a stone colour. The slits on each tower are gun loops, the first in England. The main gateway, which was originally protected with a heavy wooden door, drawbridge and murder holes (through which boiling oil could be poured on attackers) is shown in black. Arching over the whole scene is an Angel, dressed in a long white robe with bare feet, blowing a golden trumpet set against a yellow sky. The Angel has long brown hair that flows out behind her. The trumpet, held in both hands, points up to an orange sun in the top right hand corner of the painting. The circular sun has clearly depicted thick rays radiating out from it. The yellow sky turns to orange along the painting's top edge to form a contrasting border to the blue river at the bottom. The painting is signed and dated SW 01 in the bottom right hand corner. The tactile image is approximately half the size of the actual painting. A broken thick line shows the edge of the frame. The river is shown by a texture with a thick line for the river bank. A thick line also outlines the angel with thinner lines for the hair and facial features. Thinner lines also define the outlines of the cathedral, West Gate Towers, outline of the mound. The dark green strip above the river is shown by a different texture that is also used for the orange sky. The yellow sky has no texture. A further texture shows the white robe of the angel, the roof of the cathedral and Dane John mound with hollows for the spiral path. Solid texture shows the sun, the trumpet, the windows and doors on the cathedral and West Gate Towers, and the memorial on top of Dane John mound.
Art Deco Mirror (large print)
by RnibThis is an image of a mirror in the Art Deco style similar to designs found in many modern British homes of the 1930s and 1940s. 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 this mirrors design is based on simple geometric shapes influenced by Aztec and Ancient Egyptian art. The mirror is made from five sections of bevelled-edged glass (the edges of the glass have been cut at an angle to the flat face) with their horizontal bottom edges in line with the bottom of the page. The five-sided middle section of the mirror is in the central third of the page. Its side edges are vertical and it comes to a point at the top. There are two sections to each side of the central section. They are four-sided and are wider towards the top so that the overall shape of the mirror fans out towards the top.
Art Deco Mirror (UEB contracted)
by RnibThis is an image of a mirror in the Art Deco style similar to designs found in many modern British homes of the 1930s and 1940s. 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 this mirrors design is based on simple geometric shapes influenced by Aztec and Ancient Egyptian art. The mirror is made from five sections of bevelled-edged glass (the edges of the glass have been cut at an angle to the flat face) with their horizontal bottom edges in line with the bottom of the page. The five-sided middle section of the mirror is in the central third of the page. Its side edges are vertical and it comes to a point at the top. There are two sections to each side of the central section. They are four-sided and are wider towards the top so that the overall shape of the mirror fans out towards the top.
Art Deco vase (large print)
by RnibThis is an image of a typical Art Deco vase seen from the side. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. This style of vase would have been popular in the period between 1920 and 1940. Like many Art Deco designs it is based on geometric shapes. The base of the vase stands on a flat green surface at the bottom of the page; it is a four-sided shape, wider at the bottom than the top. Up the page from this is the bowl of the vase. Seen from the top it is basically a four-sided shape that is wider at the top. On the side facing you are two more geometric shapes applied to the side of the vase: another four-sided shape that is wider at the top and overlaying this a square shape. The vase has a glazed decoration in shades of brown and beige that has been made to look like marble.
Art Deco Mirror (UEB uncontracted)
by RnibThis is an image of a mirror in the Art Deco style similar to designs found in many modern British homes of the 1930s and 1940s. 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 this mirrors design is based on simple geometric shapes influenced by Aztec and Ancient Egyptian art. The mirror is made from five sections of bevelled-edged glass (the edges of the glass have been cut at an angle to the flat face) with their horizontal bottom edges in line with the bottom of the page. The five-sided middle section of the mirror is in the central third of the page. Its side edges are vertical and it comes to a point at the top. There are two sections to each side of the central section. They are four-sided and are wider towards the top so that the overall shape of the mirror fans out towards the top.
Art Deco vase (UEB uncontracted)
by RnibThis is an image of a typical Art Deco vase seen from the side. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. This style of vase would have been popular in the period between 1920 and 1940. Like many Art Deco designs it is based on geometric shapes. The base of the vase stands on a flat green surface at the bottom of the page; it is a four-sided shape, wider at the bottom than the top. Up the page from this is the bowl of the vase. Seen from the top it is basically a four-sided shape that is wider at the top. On the side facing you are two more geometric shapes applied to the side of the vase: another four-sided shape that is wider at the top and overlaying this a square shape. The vase has a glazed decoration in shades of brown and beige that has been made to look like marble.