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Mini and Pleated skirts (UEB contracted)
by RnibThere are two images of women's clothing on this page: a mini skirt on the left and a pleated skirt on the right. They are seen from the front. Both skirts have their waistbands at the top and their hems at the bottom of the images. 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 purple mini skirt is fitted over the hips and comes down to mid-thigh length or shorter. The first mini skirt designs were created by Briton Mary Quant in the 1960s. The pleated skirt fits over the hips and flares out slightly towards the bottom. It has a series of pleats starting about two thirds of the way down the skirt, which can open up to allow freedom of movement. A pleat is a type of fold, which is pressed and sewn into place. The pleats used in this design are called box pleats.
Mandarin and peplum jackets (UEB uncontracted)
by RnibThere are two images of women's clothing on this page: a mandarin style jacket on the left of the page and a peplum jacket on the right. Both jackets are seen from the front with their collars at the top of the images and their arms to either 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. The mandarin jacket has a rounded neck with a stand-up collar. It fastens up to the neck at the front with four toggles attached to silk cords. It has full length sleeves and is cut square at the bottom. The peplum jacket has a notched lapel with a seam going down from each shoulder to the waistline. It is fastened by two buttons and has decorative buttons on the cuffs of the long sleeves. The jacket flares out from the waist at the bottom like a skirt; this is the peplum, a recently popular style.
Mandarin and peplum jackets (UEB contracted)
by RnibThere are two images of women's clothing on this page: a mandarin style jacket on the left of the page and a peplum jacket on the right. Both jackets are seen from the front with their collars at the top of the images and their arms to either 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. The mandarin jacket has a rounded neck with a stand-up collar. It fastens up to the neck at the front with four toggles attached to silk cords. It has full length sleeves and is cut square at the bottom. The peplum jacket has a notched lapel with a seam going down from each shoulder to the waistline. It is fastened by two buttons and has decorative buttons on the cuffs of the long sleeves. The jacket flares out from the waist at the bottom like a skirt; this is the peplum, a recently popular style.
Mandarin and peplum jackets (large print)
by RnibThere are two images of women's clothing on this page: a mandarin style jacket on the left of the page and a peplum jacket on the right. Both jackets are seen from the front with their collars at the top of the images and their arms to either 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. The mandarin jacket has a rounded neck with a stand-up collar. It fastens up to the neck at the front with four toggles attached to silk cords. It has full length sleeves and is cut square at the bottom. The peplum jacket has a notched lapel with a seam going down from each shoulder to the waistline. It is fastened by two buttons and has decorative buttons on the cuffs of the long sleeves. The jacket flares out from the waist at the bottom like a skirt; this is the peplum, a recently popular style.
Halter-neck and vee-neck tops (UEB contracted)
by RnibThere are two images of women's clothing on this page: a halter neck top on the left and a vee-neck top on the right. Both tops are seen from the front with their neck openings at the top of the images and hems at the bottom. The sleeves of the vee-neck top are to each 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. The halter neck top is tightly fitted. It is sleeveless and has a wide neck opening with a strap that goes from above each breast around to the back of the neck. The vee-neck top has a large vee-shaped neck opening with the lower point of the vee between the breasts. Its sleeves come to just below the elbow.
Halter-neck and vee-neck tops (UEB uncontracted)
by RnibThere are two images of women's clothing on this page: a halter neck top on the left and a vee-neck top on the right. Both tops are seen from the front with their neck openings at the top of the images and hems at the bottom. The sleeves of the vee-neck top are to each 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. The halter neck top is tightly fitted. It is sleeveless and has a wide neck opening with a strap that goes from above each breast around to the back of the neck. The vee-neck top has a large vee-shaped neck opening with the lower point of the vee between the breasts. Its sleeves come to just below the elbow.
Halter-neck and vee-neck tops (large print)
by RnibThere are two images of women's clothing on this page: a halter neck top on the left and a vee-neck top on the right. Both tops are seen from the front with their neck openings at the top of the images and hems at the bottom. The sleeves of the vee-neck top are to each 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. The halter neck top is tightly fitted. It is sleeveless and has a wide neck opening with a strap that goes from above each breast around to the back of the neck. The vee-neck top has a large vee-shaped neck opening with the lower point of the vee between the breasts. Its sleeves come to just below the elbow.
'Framing Disability exhibition' Thomas Inglefield (born 1769) (tactile)
by RnibEtching with stipple; 1804; 17 cm by 11.6 cm; published by R S Kirby, London on 22 December 1804. This portrait of Thomas Inglefield depicts him as an artist, sat at his work table with his drawing materials around him. A further portrait of him (held by the Wellcome Library, London) from 1787 is etched by Inglefield himself, and is important as the subject plays a part in depicting his own disability. The caption included in this portrait states that: This extraordinary young man was born December. 18. 1769, at Hook, in Hampshire, without arms or legs, as here delineated, occasioned as his mother supposes by a fright she suffered when pregnant with him.' ˜Maternal imagination' was then a commonly held explanation for disability - a pregnant woman seeing a shocking or disturbing sight may give birth to a disabled child. Inglefield was an accomplished artist and engraver. The caption continues to elucidate: he has by industry acquired the arts of writing and drawing, holding his pencil between the stump of his left arm and his cheek & guiding it with the muscles of his mouth.' Like many people exhibiting themselves in the 18th century, Inglefield showed himself privately - in rooms at 8, Chapel Street, off Tottenham Court Road, London, ˜where ladies and gentlemen may see him and many more of his performances'. These prints would have been sold on the premises where he demonstrated his artistic skills to the public and presumably Thomas received a percentage of profits. Many people, including members of the Royal Society, collected disabled people's work for their private collections. In this print we see Inglefield at the age of 20 (according to the caption), dressed in what were probably his best clothes, a ruffled shirt, buttoned jerkin and breeches. Inglefield's clothes would have been specially tailored for his body, but this was the norm in the 18th century. ˜Off the peg' clothing was then a rarity except in large cities and towns, and working-class households made their own clothing. These portraits of Inglefield as creator and artist clearly demonstrate that he is a working man, not solely an exhibit, earning his living by writing, drawing and etching. Description of portrait Thomas is sitting on a raised platform with his head turned slightly to the left. He has a well-proportioned face with his shoulder length hair tied back with a bow in a ponytail that sits on his left shoulder. His breeches cover the stumps of his legs that are shown wide apart. He wears a buttoned jerkin over a ruffled shirt that is tied at the neck. The stumps of his arms, missing from just below the elbow, show below the short sleeves of the jerkins and the cuffs of the shirt. His left arm is held down by his left side bent slightly inwards. His right arm rests on an angled drawing board that has a sheet of paper on showing the portrait of a man. The drawing board is placed on a small circular pedestal table that is just behind the raised platform. On the table, next to the drawing boards, is a drawing implement and a smaller sheet of paper. To the left of Thomas's face and above the drawing board, is another sheet of paper with a sketch on it pinned to the wall. Tactile image details The tactile image is nearly twice the size of the actual etching. Thick lines outline the figure. Three textures show the clothes - one for the breeches, one for the jerkin and one for the shirt. The shirt texture also shows the raised platform. Solid texture shows the table, drawing board, buttons on jerkin, bow in hair and facial features. Thinner lines show the hair and the outline edge of sheet of paper on the drawing board. The sheet of paper pinned to the wall and the small sheet of paper and drawing implement on the table have been omitted.
'Framing Disability exhibition' Joseph Clark (died circa 1650) (tactile)
by RnibEtching by unknown artist; circa 1792; 14.5 cm by 10 cm. Joseph Clark lived in Pall Mall, London, during the first half of the 17th century. He was a contortionist and described as ˜the most extraordinary Posture Master that ever existed who exhibited every species of deformity and dislocation'. His nickname was ˜the wandering tumour'. Apparently, Clark had been able to contort his limbs and face since childhood, which suggests that he had what doctors might now label ˜hypermobility' or subluxation of the joints. In other words what would have once been considered a ˜talent' or ˜wonder' has been medicalised. Clark entertained by performing feats of contortion. With his ˜absolute command of all his muscles and joints' and ability to ˜disjoint almost his whole body' he could be hunch backed, pot bellied or sharp breasted. He would trick people such as tailors who had measured his ˜norm body for clothes, by claiming that they had measured him incorrectly. He would also beg as a disabled person from people he knew, and he was so convincing that they did not recognise him. It was said that the ˜powers of his face were more extraordinary than the flexibility of his body'. In this way, Clark was able to assume a number of identities. Apparently, James Moleyns (circa1580-1638), a famous surgeon of the day was so shocked at the sight of Clark that he would not attempt a cure - not that he could anyway. Clark was mentioned by the diarist and writer, John Evelyn (1620-1706) in his book, <em>Numismata</em> (1697), and his fame lasted well into the 18th century, as attested by this image dated 1792. Images of this sort, which appeared in <em>Wonderful Magazine</em>, might be stuck up in public places such as coffee shops or taverns. Description of portrait Clark is shown standing with a hunched back and protruding abdomen, his right leg in front of his left, facing to the right with his face in side profile. He has a large nose and long tongue protruding from his mouth. His hair is short and combed forward over his forehead. He wears a long-sleeved buttoned jerkin with the buttons sticking out along the front edge highlighting the curvature of his abdomen. A key on a cord is looped through a button hole of the jerkin is tied with a bow at the top of his chest. His right arm is bent at the elbow and held across his body with his right hand resting on his right upper thigh. He has stockinged legs with knee-length breeches and buckled shoes with a slight heel. His right foot is twisted backwards so that the toes of the foot are facing the toes of his left foot. Tactile image details The tactile image is just over twice the size of the actual etching. Thick lines outline the figure. Three textures show the clothes - one for the breeches, one for the jerkin and one for the stockings. Solid texture shows the eyes, tongue, buttons, key on cord and shoes. Thinner lines show the hair.
'Framing Disability exhibition' Johann Kleyser (tactile)
by RnibTitle on print: Kleyser, 1718; aquatint by unknown artist; circa 1718; 10 cm by 5.4 cm. This man is named as Johann Kleyser on the Showhistory website (www.showhistory.com) and he probably came from Germany. He was a highly intelligent and gifted man, but like many who exhibited themselves it was not enough for an audience just to witness his body: he had to put on a performance. Visitors who came to see him were entertained by Kleyser writing ˜very finely with his mouth and right and left foot, in five different languages'. He also shaved and combed his hair with his right foot, walked on his two big toes and balanced on one toe. He would hop on one leg whilst the other was draped around his neck. The small size of this image suggests that it was produced as a promotional handbill or souvenir. In terms of Kleyser's stated intellectual gifts, such as the ability to write in five languages, he shares much in common with John Valerius (born 1667), an earlier showman also born with no arms. Since they were almost contemporaries and may indeed have been alive at the same time, it is likely that the legendary feats of one merged with the other in show business promotion. Nothing is known of Kleyser's personal life or who travelled with him, but he was probably on the professional touring circuit of the time, perhaps eventually returning to his native country after making as much money as possible. Description of portrait Kleyser, a solemn-faced man past youth dressed in informal attire, is shown standing facing the viewer. At the bottom of the portrait is an inscription that reads: "J Kleyser, born without hands or arms, exhibited in London 1718." He wears a hat with a wide brim that stands up and decorated all the way round by feathers. Flowing out from under the hat, is a long, shoulder-length wig that surrounds his full and clean-shaven face. A long cravat, tied at the neck, hangs down over a sleeveless shirt highlighting the lack of arms. The shirt is tucked into a pair of knee-length breeches that have a three-buttoned fly. His legs are stockinged but his feet are bare, the stockings having been probably cut off at the ankle to allow the use of his feet and toes in place of hands and fingers. Tactile image details The tactile image is three times the size of the actual print. Thick lines outline the figure. Three textures show the clothes - one for the breeches, one for the sleeveless shirt and one for the stockings. Solid texture shows the facial features, hat and buttons. Thinner lines show the wig and feathers on hat.
'Framing Disability exhibition' Chang and Eng (1811-74) (tactile)
by RnibTitle on print: Theorie des resemblances; lithograph by C Motte; 1839; 25.8 cm by 24.6 cm; published Paris, 1831-44. Chang and Eng were born in Siam (Thailand) in 1811, and are the most famous co-joined twins in history, giving the term ˜Siamese twins' to popular culture. They were joined at the chest by a four-inch tube of flesh, enabling them to walk side by side. The twins were ˜discovered' as children by a showman and travelled the world, arriving in London in 1829, where they exhibited at the Egyptian Hall, Piccadilly. This image appears in a French book Theorie des resemblances, 1831-44, by the Portuguese politician and naturalist José Joaquim Gama Machado (circa1775-1861). Machado moved to Paris in 1806 and is here depicted within the print playing chess with Chang and Eng. He uses the twins to argue his ˜theorie des ressemblances': that the laws of similarities observed within animals can also apply to humans, and writes beneath the image: style="margin-left: 36pt" 'Their characters are similar; the two minds appear to be only one, as well as their wills. Several times I have played a chess game with them¦the calculation of the movements and the pieces, was almost the same every time. They would never talk to each other when they played. However, we should not be more surprised of the similarity of their characters than of seeing two widows (Brazilian birds) living in cages in two different places to lose their tails at the same day at the same time<em>.</em>' (English translation) When Chang and Eng first went to France, they were banned from exhibiting for fear of harming pregnant women who, it was supposed, might be shocked into giving birth to a disabled child. The idea, although largely discredited by the medical profession in the 19th century, still lingered in the public imagination. By 1839, Chang and Eng had fired their agent and were successfully managing their own careers. They became US citizens, adopted the name ˜Bunker' and purchased a farm in North Carolina. They married two sisters who did not get along, so the twins divided their time between two houses and fathered 22 children between them. They became very wealthy and were able to retire. However, they returned to exhibiting after their fortune was nearly lost during the American Civil War (1861-65) - they were said to have supported opposite sides. Chang and Eng died in 1874 after Chang, a heavy drinker, succumbed to a stroke.
Food pyramid (UEB uncontracted)
by RnibThis is a labelled diagram showing the proportion of food from each food group that should be eaten to provide a healthy diet. 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 diagram is in the form of a pyramid with the foods that should be eaten in smaller quantities at the top and foods that should be eaten in larger amounts at the bottom.
Food pyramid (UEB contracted)
by RnibThis is a labelled diagram showing the proportion of food from each food group that should be eaten to provide a healthy diet. 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 diagram is in the form of a pyramid with the foods that should be eaten in smaller quantities at the top and foods that should be eaten in larger amounts at the bottom.
Food pyramid (large print)
by RnibThis is a labelled diagram showing the proportion of food from each food group that should be eaten to provide a healthy diet. 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 diagram is in the form of a pyramid with the foods that should be eaten in smaller quantities at the top and foods that should be eaten in larger amounts at the bottom.
Female Reproductive Organs (SEB tactile)
by RnibA diagram showing the female reproductive organs, with textures used to differentiate, and labels showing various parts.
ECG trace for abnormal hearts (tactile)
by RnibThis diagram shows 2 ECG traces of abnormal hearts. They are shown vertically and there is a note at the top of the page saying that the page should be read sideways.
ECG trace for a normal person (tactile)
by RnibThis graph shows an ECG trace for a normal person. All of the parts of the ECG trace are labelled and there is a key at the top of the page. There is also a note saying that the page should be read sideways.
Doris Zinkeisen self-portrait (tactile)
by RnibAs girls in Scotland, Doris and her younger sister Anna had frustrated their governesses by drawing everywhere all the time, even on their wallpaper. Both sisters became well-known artists in London and volunteer nurses during the war. Doris and Anna used their skills as artists to record what they saw and experienced for future generations. Doris worked as the official artist for the St. John Ambulance Brigade and arrived in the concentration camp Belsen just after it was liberated. The British people who liberated Belsen in 1945 were shocked and angry at what they found. The camp had been without food and water for seven days. 50,000 people were still alive but many were sick with dysentery, typhus and tuberculosis. 20,000 bodies lay unburied. Doris wrote; ˜The shock of Belsen was never to be forgotten. First of all was the ghastly smell of typhus. The simply ghastly sight of skeleton bodies just flung out of the huts. The stable was used to wash any living creatures down before sending them into hospital to be treated. Each stall had a table on which to lay the patient - the German prisoners did the washing.' Her son describes the letters Doris wrote to her husband while she was at Belsen; ˜They are truly heartrending and reflect the agony she endured while doing her work as a war artist. She always told us that the sight was awful, but the smell she could never forget. She had nightmares for the rest of her life until she died in 1990.' Description of portrait The self-portrait was done while the artist was on a world tour, and much of it was painted in her hotel bedroom in Sydney, Australia. It is oil on canvas, measuring 43 inches by 35 inches (1072mm x 866mm) and is held by the National Portrait Gallery, London. Doris has painted herself standing sideways in front of cream drapes. She is looking directly out of the portrait, holding the left-hand edge of the drapes in her left hand as if she is going to move them aside to look behind them. Behind the cream drapes she has painted a black background. She is a compelling looking woman with blue eyes. Her dark brown short hair is styled off her face, looking like a close fitting hat. She is wearing red lipstick and her cheeks have rouge on them. Doris is wearing an elaborate shawl that covers the whole of her body apart from her long, slender neck, left shoulder and a small amount of cleavage. The shawl has a black background with a rich design of flowers and birds of paradise in stunning shades of blues, reds, oranges, greens and white. Under the shawl at her cleavage is a hint of a lace undergarment. Her hand at the drape has long slender fingers and she has a ring on her third finger. Tactile image details The tactile image focuses on Doris, the drapes and background have been left out. As the design of the shawl is so detailed, only 2 large flower heads and 2 birds of Paradise with very long tail feathers have been shown. The braille labels added are: hair, eyes, cheek, lips, neck, shawl, lace at cleavage, hand with ring, flower head, and bird of paradise.
Dialysis machine (tactile)
by RnibThis diagram shows the workings of a dialysis machine. It shows blood leaving a hand from its veins, passing through the dialysis machine and returning back in the vein. All parts of the dialysis machine are labelled.
Development of Girls and Boys (tactile)
by RnibThis two-page diagram consists of two graphs plotting the physical stages of male and female development, from child through to adult. Lines on the graph indicate growth in various areas.
Denim and prairie skirts (UEB uncontracted)
by RnibThere are two images of women's clothing on this page: a denim skirt on the left and a prairie style skirt on the right. Both skirts have their waistbands at the top and their hems at the bottom. 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 denim skirt is made from blue cotton denim. It is a knee length garment fitted over the hips. It has two patch pockets on the rear (not shown) with belt loops and slanted pockets like a pair of denim jeans. The prairie skirt is gathered in at the waistband. It is full, slightly flared and comes down to mid-calf length. It is has a flounce (a tier) towards the bottom of the skirt, which is again gathered in. The design is based on the heavily flounced fashions of early western America.
Denim and prairie skirts (large print)
by RnibThere are two images of women's clothing on this page: a denim skirt on the left and a prairie style skirt on the right. Both skirts have their waistbands at the top and their hems at the bottom. 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 denim skirt is made from blue cotton denim. It is a knee length garment fitted over the hips. It has two patch pockets on the rear (not shown) with belt loops and slanted pockets like a pair of denim jeans. The prairie skirt is gathered in at the waistband. It is full, slightly flared and comes down to mid-calf length. It is has a flounce (a tier) towards the bottom of the skirt, which is again gathered in. The design is based on the heavily flounced fashions of early western America.
Denim and prairie skirts (UEB contracted)
by RnibThere are two images of women's clothing on this page: a denim skirt on the left and a prairie style skirt on the right. Both skirts have their waistbands at the top and their hems at the bottom. 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 denim skirt is made from blue cotton denim. It is a knee length garment fitted over the hips. It has two patch pockets on the rear (not shown) with belt loops and slanted pockets like a pair of denim jeans. The prairie skirt is gathered in at the waistband. It is full, slightly flared and comes down to mid-calf length. It is has a flounce (a tier) towards the bottom of the skirt, which is again gathered in. The design is based on the heavily flounced fashions of early western America.
Circular and handkerchief skirts (UEB uncontracted)
by RnibThere are two images of women's clothing on this page: a circular skirt on the left and a handkerchief skirt on the right. Both skirts have their waistbands at the top and their hems at the bottom. 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 circular skirt is made from panels of fabric that are cut so when laid out flat, it forms a circular shape with a hole for the waist. When worn, the skirt is very full and falls in many folds to mid-calf length. The handkerchief skirt is made from four panels of light fabric cut so that the corners hang down as points with many folds.
Circular and handkerchief skirts (UEB contracted)
by RnibThere are two images of women's clothing on this page: a circular skirt on the left and a handkerchief skirt on the right. Both skirts have their waistbands at the top and their hems at the bottom. 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 circular skirt is made from panels of fabric that are cut so when laid out flat, it forms a circular shape with a hole for the waist. When worn, the skirt is very full and falls in many folds to mid-calf length. The handkerchief skirt is made from four panels of light fabric cut so that the corners hang down as points with many folds.