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Royal Albert Hall (UEB uncontracted)
by RnibThis page shows two images of the Royal Albert Hall. There is a front view at the top and a plan view at the bottom of the page. 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 top image is a large glass domed roof. Down from this is red brick with some decorative terracotta features. The building then widens with another red brick wall. This section has four small windows and is topped by terracotta decorations including a frieze which goes right around the building. It shows a series of human figures doing different things and depicts the 'triumph of the arts and sciences'. This detail is not shown. The next section of red brick wall has a line of arched windows framed in terracotta. To the left, centre and right are large portico entrances. The central one is shown from the front. The one to the left and right are shown from the side. This is because the building has an oval shape. The plan view at the bottom of the page helps explain this. Also due to the round shape of the building the windows nearer the left and right edge of the building appear to be narrower. They are in fact all the same width but those to the left and right are shown more from the side and so appear narrow. The plan view at the bottom of the page also helps to explain this. The central entrance at this level has a large rectangular window with a narrow window to the left and right. They are framed in terracotta. There are terracotta decorations above, and to the left and right of the windows. Down from these windows is a large arch which forms one of the four entrances. The arch is lined with terracotta and has terracotta decorations to the left and right. To the left of the arch is a line of tall rectangular windows which are also framed in terracotta. Like the arched windows they appear narrower for the same reason. On the left of the image is the arched entrance to the side of the side entrance. Like the central entrance the arch is lined with terracotta and has terracotta decorations to the left and right. Up from the side arch is a single arched window framed in terracotta. At the bottom of the image between the side and central entrances there are seven windows of different sizes. 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. To the left of the central entrance is a family car shown at scale to demonstrate how large the building is. The plan view in the bottom half of the image shows the inside of the hall from above. The external entrances can be found at the top, bottom, left and right, sticking out from the oval shaped hall. The arena in the middle of the image is flat and without permanent seating. It is the lowest part of the hall. The seating around the bottom and sides of the image gets higher towards the external wall. This means there is room for offices near the wall underneath the upper seating.
Polynesian Feather God.
by RnibThis is an image of a late 18th Century head of a Polynesian Feather God. The tactile image shows all the details of the face. The tiny feathers covering the head have been shown as a texture with a rougher texture for the exposed fibres and basketry frame at the base of the head. Braille labels have been added: eye-brow, nose, shell eye with wooden peg pupil, mouth outlined in dog teeth, neck, and edge of basketry frame. For Polynesians, feathers were charged with the presence of the gods. In the Hawaiian Islands, some images of major gods were clothed in feathers. This god, which probably represents Ku, the god of war, also acted as a body into which the god could be summoned. Feathered god images like this were carried into battle or in procession, and were sometimes offered human sacrifices. The head is a basketry frame covered in netting to which thousands of tiny red and yellow feathers have been attached. The features on this head make it look very fierce and threatening. The large oval eyes are made from pearl shells that are held in place by black wooden pegs, which also act as pupils. Above the eyes are heavy black eye-brows that meet at the top of the nose. The nose is long, broad and angular and nearly touches the top of the mouth. The mouth is open and shaped like a downward crescent that is edged all the way around with dog teeth. The fibres making up the netting and the basketry frame can just be seen at the base of the head.
Royal Albert Hall (UEB contracted)
by RnibThis page shows two images of the Royal Albert Hall. There is a front view at the top and a plan view at the bottom of the page. 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 top image is a large glass domed roof. Down from this is red brick with some decorative terracotta features. The building then widens with another red brick wall. This section has four small windows and is topped by terracotta decorations including a frieze which goes right around the building. It shows a series of human figures doing different things and depicts the 'triumph of the arts and sciences'. This detail is not shown. The next section of red brick wall has a line of arched windows framed in terracotta. To the left, centre and right are large portico entrances. The central one is shown from the front. The one to the left and right are shown from the side. This is because the building has an oval shape. The plan view at the bottom of the page helps explain this. Also due to the round shape of the building the windows nearer the left and right edge of the building appear to be narrower. They are in fact all the same width but those to the left and right are shown more from the side and so appear narrow. The plan view at the bottom of the page also helps to explain this. The central entrance at this level has a large rectangular window with a narrow window to the left and right. They are framed in terracotta. There are terracotta decorations above, and to the left and right of the windows. Down from these windows is a large arch which forms one of the four entrances. The arch is lined with terracotta and has terracotta decorations to the left and right. To the left of the arch is a line of tall rectangular windows which are also framed in terracotta. Like the arched windows they appear narrower for the same reason. On the left of the image is the arched entrance to the side of the side entrance. Like the central entrance the arch is lined with terracotta and has terracotta decorations to the left and right. Up from the side arch is a single arched window framed in terracotta. At the bottom of the image between the side and central entrances there are seven windows of different sizes. 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. To the left of the central entrance is a family car shown at scale to demonstrate how large the building is. The plan view in the bottom half of the image shows the inside of the hall from above. The external entrances can be found at the top, bottom, left and right, sticking out from the oval shaped hall. The arena in the middle of the image is flat and without permanent seating. It is the lowest part of the hall. The seating around the bottom and sides of the image gets higher towards the external wall. This means there is room for offices near the wall underneath the upper seating.
Eastward Ho! painting by Henry Nelson O'Neil
by RnibThe paintings, Eastward Ho! (1857) and Home Again (1858), focus on the impact of overseas wars fought in the name of the British Empire. O'Neil was praised especially for his ability to capture a wide range of emotions, including optimism, patriotism, fear and relief in the faces and movement of his characters. This painting has 4 tactile images - an overview of the whole painting and 3 detailed close-up images of specific character groups - and should be studied alongside the sister painting. Henry Nelson ONeil (1817-1880) was a leading Victorian painter of historical scenes. Eastward Ho! caused a sensation at the Royal Academy when it was exhibited in 1858 at the height of the Indian Mutiny. The painting shows a close-up of the side of a wooden sailing ship with the gangplank lowered down onto the quayside. On board the ship, crowded along the side, are soldiers preparing to depart for India. On the gangplank, the main focus of the painting, are the families of the soldiers leaving the ship after saying farewell to their loved ones. On the quayside are dockworkers helping to prepare the ship for departure. (See overview and key.) The right half of the painting mainly consists of the side of the ship with the dark wooden planking structure clearly depicted. A round porthole has been shown half way down along with another oval porthole near the top. Two anchor-shaped flat metal braces bridge two of the planks under the oval porthole. Hanging ropes and pulleys are also shown with a large block and tackle with twin ropes running vertically up the side of the ship. The hook of the block and tackle is attached to a rope loop at the bottom of the gangplank and would have been the means by which it was lowered and raised. The left half of the painting shows the concentration of detail with the gangplank and the people on it the main focus. The gangplank is a long wooden stairway with the side of the ship forming a hand support on one side and a single rope handrail forming a support on the other. The very top and bottom of the gangplank cannot be seen. At the bottom of the gangplank is a dockworker who is wearing trousers held up by red braces and a black jersey. The lady is the only figure painted in full as all the other people are only partially shown and/or are obscured by each other. Her head is partially covered by a cream bonnet with wide ribbons tied under her chin in a large bow. The bonnet sits on the back of her head to reveal her fashionable centre-parted hair with hair puffed over her ears. On the gangplank, immediately behind is a soldier's wife who leaving the ship with a baby cradled in her right arm and an older child, a daughter, standing by her side. The wife is stretching her left arm up the side of the ship in order to hold her husband's hand for the last time. Behind the lady and children are four more figures on the gangplank. A widow and her daughter, who have said goodbye to their son and brother. Behind the widow is a war veteran, a "Chelsea Pensioner", dressed in the distinctive scarlet coat and black tricorne hat. Behind the widow, her daughter and the war veteran, is a young lady in elegant clothes who is being kissed goodbye by her husband who is also holding her hand. Standing by the side of the gangplank in the bottom left corner of the painting is a dockworker smoking a clay pipe. The scene is completed by other figures around the top and bottom of the painting. At the bottom, the head of a bonneted lady is shown looking up
Royal Albert Hall (large print)
by RnibThis page shows two images of the Royal Albert Hall. There is a front view at the top and a plan view at the bottom of the page. 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 top image is a large glass domed roof. Down from this is red brick with some decorative terracotta features. The building then widens with another red brick wall. This section has four small windows and is topped by terracotta decorations including a frieze which goes right around the building. It shows a series of human figures doing different things and depicts the 'triumph of the arts and sciences'. This detail is not shown. The next section of red brick wall has a line of arched windows framed in terracotta. To the left, centre and right are large portico entrances. The central one is shown from the front. The one to the left and right are shown from the side. This is because the building has an oval shape. The plan view at the bottom of the page helps explain this. Also due to the round shape of the building the windows nearer the left and right edge of the building appear to be narrower. They are in fact all the same width but those to the left and right are shown more from the side and so appear narrow. The plan view at the bottom of the page also helps to explain this. The central entrance at this level has a large rectangular window with a narrow window to the left and right. They are framed in terracotta. There are terracotta decorations above, and to the left and right of the windows. Down from these windows is a large arch which forms one of the four entrances. The arch is lined with terracotta and has terracotta decorations to the left and right. To the left of the arch is a line of tall rectangular windows which are also framed in terracotta. Like the arched windows they appear narrower for the same reason. On the left of the image is the arched entrance to the side of the side entrance. Like the central entrance the arch is lined with terracotta and has terracotta decorations to the left and right. Up from the side arch is a single arched window framed in terracotta. At the bottom of the image between the side and central entrances there are seven windows of different sizes. 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. To the left of the central entrance is a family car shown at scale to demonstrate how large the building is. The plan view in the bottom half of the image shows the inside of the hall from above. The external entrances can be found at the top, bottom, left and right, sticking out from the oval shaped hall. The arena in the middle of the image is flat and without permanent seating. It is the lowest part of the hall. The seating around the bottom and sides of the image gets higher towards the external wall. This means there is room for offices near the wall underneath the upper seating.
Doris Zinkeisen self-portrait (tactile)
by RnibThis is an image of a self portrait of Doris Zinkeisen, an official artist for the concentration camp Belsen just after it was liberated. 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. 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. 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.
Dennis Knight - Portrait Photograph (tactile)
by RnibThis is an image of Dennis Knight a fighter pilot with the Royal Air Force during World War 2. The image follows the detail of the photograph very carefully. The braille labels added are: side parting in hair, ear, eye, nose, lips and teeth, shirt collar, jacket collar, tie, RAF wings over top of pocket, and button. This is a black and white photograph of young Dennis Knight in his RAF fighter pilot officer's uniform. It is a head and shoulders portrait of Dennis. He is smiling for the picture, but is looking out towards the left of the photograph past the camera. The background of the photograph is plain so that Dennis is the focus of the picture. He has short hair that is parted on the right-hand side. He is wearing a shirt with a tie and jacket. On the jacket, the first of the brass buttons is seen and the RAF wings badge above the left breast pocket. Dennis Knight was a fighter pilot with the Royal Air Force. In March 1941, the Knight family was told that their only son Dennis was missing in action. That day, his sister wrote in her diary,I don't believe it! It is inconceivable. Dennis was 19 when his plane went down on a patrol near Malta. Before he left, Dennis had told his mother, 'if anything happens to me, I should be most annoyed if you grieved for me'. The family did mourn their loss, but they also found ways to keep Dennis memory alive.
Colonel Robert Hammond by Cornelius Johnson (UEB contracted)
by RnibA Portrait of Robert Hammond 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. 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 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. 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.
Colouring Book (tactile)
by Markeaton SchoolThis is an eight page book with line illustrations suitable to be used for colouring play. There is a camel, two butterflies, two zebras, a swan, a hot air balloon, and a ladybird.
Nelson and Napoleon exhibition French gunboat (UEB contracted)
by RnibThis image shows a side view looking down into a 1:32 (approximately) scale model of the gunboat. On the image, 2 distinct textures have been used - solid raised texture and a very rough texture. In the descriptions, the words "solid", and "very rough" have been used. The gunboat is a large wooden rowing boat (very rough with lines) with a rudder (solid) at the stern that is steered by a wooden pole (solid). The boat is shown without its oars but the 14 rollocks, that hold the oars, can be seen on either side. A metal cannon (solid) is mounted towards the stern.
Liverpool Castle ground plan (UEB uncontracted)
by RnibThis is a tactile ground plan of the former Liverpool Castle, erected in the 1230s and demolished in the eighteenth century.
Ionic columns with architrave (lintels) (UEB uncontracted)
by RnibThis is an image of four carved stone Ionic columns supporting an architrave. 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 stylobate stretches across the bottom of the page. This is the paved foundation that supports the columns. Above this are the column bases. The shafts of the four columns go up the page. They are decorated with vertical grooves called fluting. At the top of each column is a capital “a top section carved with a scroll design. At the top of the image are the rectangular lintel stones. Each one sits on two pillars. Together they form part of the architrave, which is the bottom section of the entablature. This horizontal structure supports the roof.
Ionic columns with architrave (lintels) (UEB contracted)
by RnibThis is an image of four carved stone Ionic columns supporting an architrave. 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 stylobate stretches across the bottom of the page. This is the paved foundation that supports the columns. Above this are the column bases. The shafts of the four columns go up the page. They are decorated with vertical grooves called fluting. At the top of each column is a capital “a top section carved with a scroll design. At the top of the image are the rectangular lintel stones. Each one sits on two pillars. Together they form part of the architrave, which is the bottom section of the entablature. This horizontal structure supports the roof.
Ionic columns with architrave (lintels) (large print)
by RnibThis is an image of four carved stone Ionic columns supporting an architrave. 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 stylobate stretches across the bottom of the page. This is the paved foundation that supports the columns. Above this are the column bases. The shafts of the four columns go up the page. They are decorated with vertical grooves called fluting. At the top of each column is a capital “a top section carved with a scroll design. At the top of the image are the rectangular lintel stones. Each one sits on two pillars. Together they form part of the architrave, which is the bottom section of the entablature. This horizontal structure supports the roof.
Rose Window - Rennie Mackintosh (UEB uncontracted)
by RnibThis page shows a stained glass window based on a design by Scottish architect Charles Rennie Mackintosh. 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 window panel is made from leaded stained glass. This technique uses pieces of coloured glass held together by thin strips of lead. At the top left of the design is a stylised rose flower with red and pink petals. It is constructed of overlapping curves and at its centre is a grid of small rectangles. The stem of the rose is represented by an oval shape, which curves down from the rose shape to the bottom of the image then up right and then left to the top of the rose. Across the centre of the image is a horizontal band with horizontal lines to the left and right. The background of the design is very pale green and the band is coloured pale mauve with a green section where the stem crosses the band on the left and a blue section on the right. Mackintosh lived from 1868 to 1928. He was connected to both the Arts and Crafts, and the Art Nouveau movements although his very distinctive graceful and elegant style in some ways foreshadows the later modern style of Art Deco.
Rose Window - Rennie Mackintosh (UEB contracted)
by RnibThis page shows a stained glass window based on a design by Scottish architect Charles Rennie Mackintosh. 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 window panel is made from leaded stained glass. This technique uses pieces of coloured glass held together by thin strips of lead. At the top left of the design is a stylised rose flower with red and pink petals. It is constructed of overlapping curves and at its centre is a grid of small rectangles. The stem of the rose is represented by an oval shape, which curves down from the rose shape to the bottom of the image then up right and then left to the top of the rose. Across the centre of the image is a horizontal band with horizontal lines to the left and right. The background of the design is very pale green and the band is coloured pale mauve with a green section where the stem crosses the band on the left and a blue section on the right. Mackintosh lived from 1868 to 1928. He was connected to both the Arts and Crafts, and the Art Nouveau movements although his very distinctive graceful and elegant style in some ways foreshadows the later modern style of Art Deco.
Rose Window - Rennie Mackintosh (large print)
by RnibThis page shows a stained glass window based on a design by Scottish architect Charles Rennie Mackintosh. 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 window panel is made from leaded stained glass. This technique uses pieces of coloured glass held together by thin strips of lead. At the top left of the design is a stylised rose flower with red and pink petals. It is constructed of overlapping curves and at its centre is a grid of small rectangles. The stem of the rose is represented by an oval shape, which curves down from the rose shape to the bottom of the image then up right and then left to the top of the rose. Across the centre of the image is a horizontal band with horizontal lines to the left and right. The background of the design is very pale green and the band is coloured pale mauve with a green section where the stem crosses the band on the left and a blue section on the right. Mackintosh lived from 1868 to 1928. He was connected to both the Arts and Crafts, and the Art Nouveau movements although his very distinctive graceful and elegant style in some ways foreshadows the later modern style of Art Deco.
Plan of Weston Park (UEB contracted)
by RnibWeston Park was developed from the grounds of Weston Hall, a grand house built in the early 1800's for Thomas Harrison, an important saw maker. After the death of his daughter Elizabeth on 1873, the City Council bought the grounds of the house and commissioned Robert Marnock, the famous landscape designer, to create one of Sheffield's first public parks. The park was opened on Monday 6 September 1875 Quote from the Sheffield Daily Telegraph 7 Sept. 1875: ˜The weather was fine. The park looked in its gayest summer dress. The walks were freshly gravelled, the flower-beds were trim and well ordered.' Marnock was one of the greatest park and garden designers of the 19th century. He also designed many other parks in Sheffield including the Sheffield Botanical Gardens and High Hazels Park. He was still working as a garden designer up to his retirement, aged 79! Marnock developed the ˜gardenesque' style of landscape design which features winding parks and trees scattered across grass lawns in an informal style. The layout of the park today differs very little from the original design. Quote from "Round Sheffield Parks" by Antaeus (1910): "There is a certain quality of distinction about Weston Park. There is a subtle sense of gentlehood, not finding expression in pride of place but in quiet refinement that puts visitors at ease and aptly accords with the prettiness of our bijou park. The Park has been used for many large events since it became a public park. These include the Whit Sings, a V.E. day celebration (1945), displays of modern sculpture and rock concerts in the bandstand. The Park also had some interesting features that have now been lost. These include the observatory (erected 1880, removed during World War II) and an ornamental fountain erected circa1875 and removed in 1935 (to allow enlargement of the Museum).
Plan of a Roman Bath House (UEB contracted)
by RnibThe image shows a plan of a typical Roman Bath House. There is a locator dot shown, which will be at the top left when the image is the correct way up. The entrance to the Bath House (aditus) is in the bottom right of the page. It is a small area with a door to the changing room (apodyterium) on the left. To the top right of the changing room is a door to a small storeroom. This is where the aromatic oils used in the bath house would be kept. To the top left of the changing room is a door to a small lobby area (vestibule) which is an entrance way into the baths from the changing rooms. Left from here is the cool room (frigidarium) with a cold pool. Up from the cool room is the warm room (tepidarium). There is a tepid pool here. To the right of this is a hot but normally dry room (laconicum). Up from the warm room is another hot room (caldarium), this time with a hot pool. This room usually has a cold fountain (labrum) as well. The water from the fountain is used to splash on the face for refreshment. Right from here is another hot room (alveus) with really hot baths. Not all bath houses have this type of room. Right from here is the furnace room (Praefurnium). This is where the fires to heat the rooms and baths are. There is a door into the room from the outside in the top left of the room. Notice that the nearer a room is to the furnace room the hotter it and its water is. Hot air is circulated under the floor and into wall cavities via channels (hypocausts), so the nearer a room is to the furnace the hotter this air will be. Only the three hot rooms have hot air wall spaces.
Plan of a Roman Bath House (large print)
by RnibThe image shows a plan of a typical Roman Bath House. There is a locator dot shown, which will be at the top left when the image is the correct way up. The entrance to the Bath House (aditus) is in the bottom right of the page. It is a small area with a door to the changing room (apodyterium) on the left. To the top right of the changing room is a door to a small storeroom. This is where the aromatic oils used in the bath house would be kept. To the top left of the changing room is a door to a small lobby area (vestibule) which is an entrance way into the baths from the changing rooms. Left from here is the cool room (frigidarium) with a cold pool. Up from the cool room is the warm room (tepidarium). There is a tepid pool here. To the right of this is a hot but normally dry room (laconicum). Up from the warm room is another hot room (caldarium), this time with a hot pool. This room usually has a cold fountain (labrum) as well. The water from the fountain is used to splash on the face for refreshment. Right from here is another hot room (alveus) with really hot baths. Not all bath houses have this type of room. Right from here is the furnace room (Praefurnium). This is where the fires to heat the rooms and baths are. There is a door into the room from the outside in the top left of the room. Notice that the nearer a room is to the furnace room the hotter it and its water is. Hot air is circulated under the floor and into wall cavities via channels (hypocausts), so the nearer a room is to the furnace the hotter this air will be. Only the three hot rooms have hot air wall spaces.
Georgian house (large print)
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.
Interior at Paddington by Lucien Freud (UEB contracted)
by RnibPainted in 1950-51, oil paint on canvas, size 152.4 cm by 114.3 cm. Lucien Freud is the grandson of the psychologist Sigmund Freud. He was born in Berlin but his parents moved to London in 1932. Freud became a British citizen in 1939. He has spent most of his career working in Paddington, an inner-city area of London. His cityscapes and portraits are painted in an intensely realistic style and do not flatter his sitters. He likes to paint friends and relatives. This was one of 60 works by different artists made for the 1951 "Festival of Britain". The event was organised as a way of looking to the future after the Second World War. The sitter for this painting was his friend Harry Diamond, a cockney photographer. The painting took six months to complete and was done with a muted palette. Diamond posed for it almost daily. He complained that Freud made his legs look too short but Freud said they were too short. The setting is Freud's London studio and reflects the austerity of London in 1950. Diamond is shown full length on the left of the painting at the edge of what looks like an alcove in the studio. He is standing on a red carpet that stops short of the bottom edge of the painting to reveal the wooden dark stained floor boards (FB). The edge of the carpet is rucked up in several places.
Graffiti in Los Angeles by Rime (large print)
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.
Graffiti in Los Angeles by Rime (UEB uncontracted)
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.
Godfrey Sykes Memorial (UEB contracted)
by RnibWaist high metal railings surround the tiered square base of the memorial. Above the railings and the tiered base are four relief bronze castings on each face. The four castings show a head and shoulders relief of Godfrey Sykes, an inscription about his life, a relief of the tools of his trade and an inscription about the monument. Above the stone base and the castings, the memorial, through a series of graduated banding, becomes a tall circular column made of terracotta (Italian for œbaked earth and made from natural clay), approximately 6 metres high. On the column are three main bands of decoration encircling the column at regular intervals that depict figures at the stages of youth (top band), maturity (middle band) and old age (lower band) in the style of a Greek frieze. These 3 bands are separated by relief decoration of foliage and other decorative designs that overlay a pattern of vertical ridges. Above the last of the vertical ridge patterns, the column widens out slightly and is highly decorated with scrolls and acanthus leaves. Above this is a plain area of terracotta that forms the support base of a large copper urn that sits on the very top of the memorial. The tactile image shows the basic shape of the memorial with the bronze relief and three main bands of decoration shown as textures. The metal railings have been shown with the base of the memorial behind them omitted. Godfrey Sykes (1824-1866) was one of Sheffield's famous craftsmen. He was apprenticed to a Sheffield engraver and trained in decorative metalwork techniques. He was a talented designer and won many awards, gaining a national reputation for his work. In 1859 he moved to London where he supervised the decorative design of the Victoria and Albert Museum. Queen Victoria and Price Albert took great interest in this new museum and visited Sykes at the museum and at his home. Sykes died, aged 41, of Bright's Disease (acute kidney failure). He is buried in Brompton Cemetery in London, beneath a stone designed by Gamble, one of Sykes assistants, who worked with him in London. This monument is by James Gamble and based on some of Sykes' own designs. It was erected in the park in 1875. Terracotta was used to make the original gateways to the park at Winter Street and Western Bank. The Winter Street gateway and lodge were demolished in 1952 in order to construct the University Library. The Western Bank gateway can still be found at location 6 (South East Entrance Gates) of this tour.