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Cubism: Factory, Horta de Ebro by Pablo Picasso (UEB contracted)
by RnibThis is an image based on an early cubist picture, painted in 1909 by Spanish artist Pablo Picasso. It is a landscape showing a brick factory with three palm trees in the background. The forms in the picture have been broken down into simple geometric shapes, and perspective has been distorted so that objects are seen from several viewpoints at once. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Most of the colours in the picture are warm yellows, oranges and browns giving the impression of a landscape bathed in hot Spanish sunshine. The sun is shining from the right but cannot be seen, as it is out of the frame (border) of the picture. It lights the right hand sides of the buildings. The factory is seen from a high viewpoint. In the tactile version of the picture, the factory buildings are shown with two textures: a light dotted texture for the parts lit by the sun and a heavy vertically lined texture for the unlit areas. They have a heavy, thick outline. We have added a clear area around the buildings to make them easier to find. In the top centre of the image is the factory's chimney. To the left are the tops of two palm trees with their leaves fanning out from the tops of their trunks down the page. There is another tree to the right of the chimney. The factory buildings stretch across the page in the central part of the image with another large block in the bottom right corner. The remainder of the painting shows various areas of colour (textures in the tactile version) suggesting shadows, roads and earth.
Cubism: Factory, Horta de Ebro by Pablo Picasso (large print)
by RnibThis is an image based on an early cubist picture, painted in 1909 by Spanish artist Pablo Picasso. It is a landscape showing a brick factory with three palm trees in the background. The forms in the picture have been broken down into simple geometric shapes, and perspective has been distorted so that objects are seen from several viewpoints at once. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Most of the colours in the picture are warm yellows, oranges and browns giving the impression of a landscape bathed in hot Spanish sunshine. The sun is shining from the right but cannot be seen, as it is out of the frame (border) of the picture. It lights the right hand sides of the buildings. The factory is seen from a high viewpoint. In the tactile version of the picture, the factory buildings are shown with two textures: a light dotted texture for the parts lit by the sun and a heavy vertically lined texture for the unlit areas. They have a heavy, thick outline. We have added a clear area around the buildings to make them easier to find. In the top centre of the image is the factory's chimney. To the left are the tops of two palm trees with their leaves fanning out from the tops of their trunks down the page. There is another tree to the right of the chimney. The factory buildings stretch across the page in the central part of the image with another large block in the bottom right corner. The remainder of the painting shows various areas of colour (textures in the tactile version) suggesting shadows, roads and earth.
deal head of a woman (SEB contracted)
by RnibThis is a black chalk drawing (1525-1528) by Michelangelo. This is a very detailed drawing of a beautiful woman who is wearing a very elaborate, close-fitting headdress. It is a left-hand side profile of the woman, who is looking towards to left of the drawing. Her fine features are clearly defined along the close-fitting headdress and her long thick wavy hair that flows from underneath the headdress, forming a distinctive hairstyle. This hairstyle has a long plait of hair that forms a loop from her temple to the back of her neck. The headdress has a strap under her chin and straps across her forehead and top of her head. The main part of the headdress looks as if it is made of overlapping scales with some sort of ram's horn decoration on the top. Braille labels are as follows: hair, plait, neck, headdress, ram's horn shape, forehead strap, chin strap, eye, nose, lips, and chin.
Home Again, painting by Henry Nelson O'Neil (SEB contracted)
by RnibThis is ‘Home Again’(1858), a painting by Henry Nelson O'Neil. It focuses on the impact of overseas wars fought in the name of the British Empire. 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 ‘Eastward Ho!’. Eastward Ho!</em> caused a sensation at the Royal Academy when it was exhibited in 1858 at the height of the Indian Mutiny. The overview has been designed to show the layout of the painting by giving very basic information. When used in conjunction with the descriptive text, the overview should give the reader a more comprehensive idea of the painting than by just reading the descriptive text alone. Lines and textures have been used to show similar things in both overviews to enable them to be directly compared with each other. The character groups that feature in the detailed close-up images are shown in more detail than the other character groups with each group shown as a different texture and labelled 1-3. The other characters groups are shown just as an outline infilled with a light but rough texture with a braille label. The 3 detailed close-up images focus on 3 different stories that unfold in ‘Eastward Ho!’ and continue in ‘Home Again’. This painting again shows the side of a wooden sailing ship with the gangplank lowered down onto the quayside and the stern visible with a view into the distance behind the ship. The distant view shows more sailing ships moored near the quayside with passengers disembarking by a series of rowing boats overlooked by a tall watch-out tower flying a red flag. Hills surrounding the quayside can be seen in the far distance. The gangplank of the ship is crowded with soldiers, some accompanied by their families, desperate to go home. On the quayside are crowds of people waiting to greet their loved ones from the ship. Amongst the crowd are dockworkers who are helping to disembark the passengers and their families. (See overview and key.)
HMS Mauritius, the four inch guns by Stephen Bone (SEB contracted)
by RnibThis is an image of the painting ‘HMS Mauritius, the four inch guns‘ Painted in 1944 by Stephen Bone, an Official Naval War Artist in World War 2. During the summer of 1944, the light cruiser HMS Mauritius patrolled the English Channel and Bone spent time on board and recorded life at sea. The small size of the painting suggests that it was done on the spot and is one of several Bone made whilst aboard the ship. He focuses on the large guns and highlights their size by including small people on the right hand-side. The colours are based on a muted palette of greys, blues and greens. This reflects the dreary light conditions and weather the crew must have encountered whilst patrolling the English Channel. The four inches referred to in the title describes the diameter of the ammunition that was fired by the guns. The tactile image is nearly one and a half times smaller/larger than the actual painting and gives a very simplified overview. The sea and sky have no texture with a strip of texture for the land. This texture is also used for the life rafts and the gun turret. Two further textures show the deck and the upper deck with lines to give an idea of some of the structures on it. Solid texture shows the guns, the tall funnel, the sailors, the railings and mesh on the deck, detail on the turret, structures on the upper deck, the v-shaped straps on the life raft, and the ships in the distance. Key to image: D: deck FL: tall funnel FS: small funnel G1: guns in turret G2L guns behind life raft L1: life raft between guns L2: life raft strapped to base of tall funnel M: metal mesh R: railings S: ships in distance TE: turret entrance U: upper deck 1: two sailors near life raft 2: two sailors near gun turret 3: sailor in white jersey and cap near railings
Hinton St Mary Mosaic Roundel (SEB contracted)
by RnibThis is a Roman Britain (AD 350) stone and ceramic mosaic, approximately 1.5 metres in diametre.This is believed to be the earliest surviving depiction of Christ from Roman Britain. He is shown clean-shaven in the manner of a Roman emperor. The roundel was the centrepiece of a mosaic floor from a villa at Hinton St Mary in Dorset. The mosaic combines pagan and Christian images. Christ's identity is signified by the monogram behind his head, taken from the first two letters of his name in Greek. This circular mosaic is made up of cream, reddish brown and black tesserae (small pieces of square stone or ceramic) - the background is cream with black tesserae outlining the whole roundel, the figure and other detail while the reddish brown tesserae show shading. The figure is the head and upper body of a clean-shaven man dressed in a Roman high necked tunic and a stripy cloak draped over his shoulders. On either side of the figure's head is a circular fruit with three leaves budding from the top and recognisable as pomegranates, the symbol of eternal life. Two leaves on long stems curve round from the base of the fruit. The tactile image is seven and a half times smaller than the actual roundel. Thick solid lines show the outline detail of the whole roundel, the figure, the fruit and the letters with two textures infilling the outlines.
Hanged men, and studies of a woman and a child Masters of design (SEB contracted)
by RnibThis is an image of a drawing by Pisanello (1434-1438) it is pen and brown ink, over leadpoint on paper. It is 28.3 cm high by 19.3 cm wide. The hanged men drawing is connected to a background detail in the fresco, ‘St George and the Princess’, painted around 1434 to 1438 in the Pellegrini chapel in SanAnastasia, Verona. The drawing consists of 8 individual sketches that make use of most of the available space on the paper. At the top of the page is a row of 4 men each hanging from a gibbet with part of the rope around their necks clearly depicted. In the middle of the page, towards the left-hand side, are 2 further sketches of hanged men with part of the rope around their neck shown. At the bottom of the page, under the feet of the 2 hanged men, is a head and shoulders drawing of a child looking directly at the viewer. The tactile image shows just one of the hanged men - the side view of the hanged man in the middle of the page and shows the shape of the body. The man is approximately twice the size of that in the original drawing. A texture shows the tunic with lines showing some of its folds. A thick broken line shows the rope and the cord tying the hands behind the body. Thin lines on the legs show how the bones are showing through the decaying flesh.
Figures of Haida (SEB contracted)
by RnibThis is an image of the Figures of Haida from Canada (1850- 70) made from Argillite, 15 cm high, 14 cm wide and 4 cm deep. A mystifying and disturbing object, a man in European dress brandishes a pistol whilst he seems to be holding a woman by her hair. The Haida people of the northwest coast of North America who carved these Argillite figures were known as ruthless warriors and slavers themselves. They were described as the Native American equivalent of the Vikings hence their fascination with European ships. They also fiercely and cleverly defended their culture. It is believed that Haida craftsmen in this period made satirical and punning sculptures ridiculing European culture, which they believed lacked rationality. Two figures are carved out of smooth dark grey argillite and they stand on a small plinth. The man, on the left, is dressed in a long coat with large buttons, breeches, knee-length boots and wearing a top hat. In his right hand he holds a large pistol across his body at his waist. The pistol is pointing directly at a woman whom he is holding by the hair with his left hand. The woman is bent to her right as the man pulls her shoulder-length hair. She has her right arm up to the man's to try and push him away. Her left arm is bent at the elbow and rests on her hip. She is wearing a long dress gathered at the waist and a necklace. The tactile image is just over one and a quarter times larger than the actual figure. Both figures are shown in outline infill with two textures - one for the man and one for the woman. Their faces have been shown with no texture and their facial features shown with thin lines. The pistol and base of the figure has been shown by solid texture. The buttons on the man's coat are shown as hollows with solid centres.
Feeding Funnel (SEB contracted)
by RnibThis is an image of an early 19th century New Zealand feeding funnel made of Wood and haliotis shell. It is 25 cm long and 13 cm high. Tattooing was practised in many parts of Polynesia. In Aotearoa (New Zealand), men received full face tattoos. The technique involved puncturing the skin with bone chisels that had a serrated edge to hold and apply the coloured pigment. Because everyday things (like cooked food) neutralised the power of the gods, people being tattooed were prohibited from touching it. In Aotearoa (New Zealand), they were fed through special feeding funnels. The feeding funnel is carved from a reddish brown wood and consists of a shallow bowl with a gently tapering feeding tube extending from the base of the bowl. There is an elaborately carved head at the front of the bowl and a smaller carving at the back. The head has pronounced facial features and eyes made from pearl shell inlays. The funnel is decorated all over with lines and spirals. The tactile image shows the side view of the feeding funnel. The bowl and feeding tube are shown as solid texture with hollows to show some of the decoration. The elaborate head and rear smaller carving are shown as a rough texture with the eyes as hollows with a solid insert. Braille labels have been added: bowl, feeding tube, elaborate head with eye and smaller rear carving.
A Bird's eye view of Whitehaven by Matthias Read (SEB contracted)
by RnibThis is an image of the painting ‘A Bird's eye view of Whitehaven’ by Matthias Read (1669-1747). This oil on canvas painting is dated 1736. The scene was painted from the hill to the north of the town with the views down across the rapidly expanding town and out across the harbour. It gives an accurate record of the town's layout, particularly the grid pattern of streets imposed by Sir John Lowther and making Whitehaven Englands first fully planned town since the middle ages. The tactile image is a very simplified view of the painting showing the main elements in relation to each other. A thick line forms the border of the painting with very thin lines showing the outline of some of the clouds (labelled clouds). The sea (labelled ‘sea’) and water in the harbour (labelled ‘H’) is shown as a rough texture with no texture for the sky, the roads and gardens surrounding The Flatt (labelled ‘F’) and St Nicholas Church (labelled ‘C’). The hills (labelled hills) are shown with thick lines and a texture. The grid pattern of the town is shown as blocks of texture surrounded by a thin line. None of the detail of the individual buildings have been shown apart from The Flatt, St Nicholas Church and the windmill (labelled ‘W’) that are shown as solid texture along with the harbour walls, the watch tower, the small ship and two figures (labelled ‘M’).
Yueyang Tower (large print)
by RnibThis is an image of a famous Chinese tower with three floors. 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 tower is shown from the front. The floor plan is square so each side of the tower looks the same apart from a door on the front view. The top of the tower is in the top centre of the page. There is a decorative spike coming from the top centre of the roof. The roof is rounded in the centre and curves down and then up to a point to the left and right. Along the ridge of the roof is decorative tiling. Down from this roof is the wall of the top floor made from red-brown wood. There are four windows each with two wooden shutters which are closed. Down the page is the roof of the middle floor. This runs horizontally flat in the middle and then curves down and up to a point to the left and right. The roof is supported by six wooden pillars set on an open balcony. The balcony is bordered by a low wooden wall with decorative carvings. The wooden wall of the middle floor building is set back from the balcony as shown to the left and right. It has windows and doors onto the balcony but these are not shown for clarity. The roof of the ground floor is the same as the middle floor only slightly wider. It is also supported by six wooden pillars which are set on an open veranda. The ground floor building has a door in the centre with a window to the left and right. The building stands on a low stone plinth. In the bottom centre of the page there are three steps up to the veranda. The tower was built in 222 AD and has had numerous renovations. It was rebuilt in 1867.
Yueyang Tower (UEB contracted)
by RnibThis is an image of a famous Chinese tower with three floors. 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 tower is shown from the front. The floor plan is square so each side of the tower looks the same apart from a door on the front view. The top of the tower is in the top centre of the page. There is a decorative spike coming from the top centre of the roof. The roof is rounded in the centre and curves down and then up to a point to the left and right. Along the ridge of the roof is decorative tiling. Down from this roof is the wall of the top floor made from red-brown wood. There are four windows each with two wooden shutters which are closed. Down the page is the roof of the middle floor. This runs horizontally flat in the middle and then curves down and up to a point to the left and right. The roof is supported by six wooden pillars set on an open balcony. The balcony is bordered by a low wooden wall with decorative carvings. The wooden wall of the middle floor building is set back from the balcony as shown to the left and right. It has windows and doors onto the balcony but these are not shown for clarity. The roof of the ground floor is the same as the middle floor only slightly wider. It is also supported by six wooden pillars which are set on an open veranda. The ground floor building has a door in the centre with a window to the left and right. The building stands on a low stone plinth. In the bottom centre of the page there are three steps up to the veranda. The tower was built in 222 AD and has had numerous renovations. It was rebuilt in 1867.
Yueyang Tower (UEB uncontracted)
by RnibThis is an image of a famous Chinese tower with three floors. 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 tower is shown from the front. The floor plan is square so each side of the tower looks the same apart from a door on the front view. The top of the tower is in the top centre of the page. There is a decorative spike coming from the top centre of the roof. The roof is rounded in the centre and curves down and then up to a point to the left and right. Along the ridge of the roof is decorative tiling. Down from this roof is the wall of the top floor made from red-brown wood. There are four windows each with two wooden shutters which are closed. Down the page is the roof of the middle floor. This runs horizontally flat in the middle and then curves down and up to a point to the left and right. The roof is supported by six wooden pillars set on an open balcony. The balcony is bordered by a low wooden wall with decorative carvings. The wooden wall of the middle floor building is set back from the balcony as shown to the left and right. It has windows and doors onto the balcony but these are not shown for clarity. The roof of the ground floor is the same as the middle floor only slightly wider. It is also supported by six wooden pillars which are set on an open veranda. The ground floor building has a door in the centre with a window to the left and right. The building stands on a low stone plinth. In the bottom centre of the page there are three steps up to the veranda. The tower was built in 222 AD and has had numerous renovations. It was rebuilt in 1867.
World War II warship and aircraft carrier (UEB uncontracted)
by RnibThis page shows two images of ships 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. Both ships have their bow (front) on the right and the stern (back) on the left of the page. There is a thick horizontal line going from stern to bow up the middle of each ship. This is the level the ship would float at. The hull below the line would be underwater. The ship in the top of the page is a warship with lots of big guns. Sticking up from the stern deck on the left is a crane. To the right of this are two gun turrets with the gun barrels pointing horizontally to the left. The turrets would be able to rotate so the guns could fire in different directions. To the right of this is some superstructure rising to a tower with a radar dish on it. To the right of this the superstructure falls to deck level leaving a gap. Down from the gap is a small gun turret with the barrel pointing to the left at deck level. To the left is another small gun turret with the barrel pointing to the left at a slightly lower deck level. To the right of the gap is the funnel, it leans back slightly and has a slanted top. It sits on more superstructure. To the right in the top centre of the image is the radar and radio mast. Down from the mast at deck level is a small gun turret with the barrel pointing to the right. To the right is another small gun turret with the barrel pointing to the right at a slightly lower deck level. Up from this is the bridge. To the right of the superstructure are two gun turrets with the gun barrels pointing horizontally to the right. Like the rear turrets they would be also be able to rotate. The ship at the bottom of the page is an aircraft carrier. The deck is long and flat, and is used as a runway for the ship's planes. In the top centre is the superstructure. The runway goes from stern to bow on the other side of this narrow structure. Most of the cabins and rooms are below deck. There is a radio mast at the very top of the superstructure. Down and left from this is the funnel with a sloping top. At the front of the superstructure is the captain's bridge. Down from the deck at the stern there is a gallery built into the hull. To the right of this is a crane which stands on a semi-circular structure projecting out from the hull. To the right of the crane is a recess and opening into the hull. Goods can be swung into this area by the crane. In the centre of the hull is an area which projects out slightly from the hull. To the right is another gallery.
World War II warship and aircraft carrier (UEB contracted)
by RnibThis page shows two images of ships 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. Both ships have their bow (front) on the right and the stern (back) on the left of the page. There is a thick horizontal line going from stern to bow up the middle of each ship. This is the level the ship would float at. The hull below the line would be underwater. The ship in the top of the page is a warship with lots of big guns. Sticking up from the stern deck on the left is a crane. To the right of this are two gun turrets with the gun barrels pointing horizontally to the left. The turrets would be able to rotate so the guns could fire in different directions. To the right of this is some superstructure rising to a tower with a radar dish on it. To the right of this the superstructure falls to deck level leaving a gap. Down from the gap is a small gun turret with the barrel pointing to the left at deck level. To the left is another small gun turret with the barrel pointing to the left at a slightly lower deck level. To the right of the gap is the funnel, it leans back slightly and has a slanted top. It sits on more superstructure. To the right in the top centre of the image is the radar and radio mast. Down from the mast at deck level is a small gun turret with the barrel pointing to the right. To the right is another small gun turret with the barrel pointing to the right at a slightly lower deck level. Up from this is the bridge. To the right of the superstructure are two gun turrets with the gun barrels pointing horizontally to the right. Like the rear turrets they would be also be able to rotate. The ship at the bottom of the page is an aircraft carrier. The deck is long and flat, and is used as a runway for the ship's planes. In the top centre is the superstructure. The runway goes from stern to bow on the other side of this narrow structure. Most of the cabins and rooms are below deck. There is a radio mast at the very top of the superstructure. Down and left from this is the funnel with a sloping top. At the front of the superstructure is the captain's bridge. Down from the deck at the stern there is a gallery built into the hull. To the right of this is a crane which stands on a semi-circular structure projecting out from the hull. To the right of the crane is a recess and opening into the hull. Goods can be swung into this area by the crane. In the centre of the hull is an area which projects out slightly from the hull. To the right is another gallery.
World War II warship and aircraft carrier (large print)
by RnibThis page shows two images of ships 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. Both ships have their bow (front) on the right and the stern (back) on the left of the page. There is a thick horizontal line going from stern to bow up the middle of each ship. This is the level the ship would float at. The hull below the line would be underwater. The ship in the top of the page is a warship with lots of big guns. Sticking up from the stern deck on the left is a crane. To the right of this are two gun turrets with the gun barrels pointing horizontally to the left. The turrets would be able to rotate so the guns could fire in different directions. To the right of this is some superstructure rising to a tower with a radar dish on it. To the right of this the superstructure falls to deck level leaving a gap. Down from the gap is a small gun turret with the barrel pointing to the left at deck level. To the left is another small gun turret with the barrel pointing to the left at a slightly lower deck level. To the right of the gap is the funnel, it leans back slightly and has a slanted top. It sits on more superstructure. To the right in the top centre of the image is the radar and radio mast. Down from the mast at deck level is a small gun turret with the barrel pointing to the right. To the right is another small gun turret with the barrel pointing to the right at a slightly lower deck level. Up from this is the bridge. To the right of the superstructure are two gun turrets with the gun barrels pointing horizontally to the right. Like the rear turrets they would be also be able to rotate. The ship at the bottom of the page is an aircraft carrier. The deck is long and flat, and is used as a runway for the ship's planes. In the top centre is the superstructure. The runway goes from stern to bow on the other side of this narrow structure. Most of the cabins and rooms are below deck. There is a radio mast at the very top of the superstructure. Down and left from this is the funnel with a sloping top. At the front of the superstructure is the captain's bridge. Down from the deck at the stern there is a gallery built into the hull. To the right of this is a crane which stands on a semi-circular structure projecting out from the hull. To the right of the crane is a recess and opening into the hull. Goods can be swung into this area by the crane. In the centre of the hull is an area which projects out slightly from the hull. To the right is another gallery.
Weston Park Main War Memorial (UEB contracted)
by RnibThe main war memorial is made from a tapered square column of granite, approximately 9 metres in height, that sits on a wider plinth that is surrounded on all sides by four steps. Four short square pillars edge the side of the steps. Two life-size bronze statues of soldiers dressed in full military uniform, including tin hat with one carrying a rifle and the other a pistol, are positioned one on either side of the wider plinth. Although both are dressed ready for battle they are portrayed standing in a non-combat pose looking thoughtfully out across the park landscape. There are several raised bands of simple decoration that surround the column - behind and slightly above the soldiers and just below the domed top of the column. A bronze statue of the Roman winged goddess Victory stands on the domed top of the column. She is standing on tiptoes with her right leg held slightly out behind her. Her back is arched with her head looking upwards and her wings outstretched behind her. She is holding a victor's wreath high up above her head with her right arm and holds a sheath of corn down by her side with the other. She is wearing a loosely draped dress that clings to her figure. The tactile images gives a simplified overview of the main memorial showing one of the four sides with the soldier carrying the rifle and a side view of the Roman goddess. The main war memorial was erected in the park in 1922. The soldiers were students of the Sheffield College of Art posing for the sculptor.
Symbol of the Judicial Committee of the Privy Council (The Supreme Court of the United Kingdom) (UEB contracted)
by RnibIn Court Room Three of the UKSC (The Supreme Court of the United Kingdom) on the carpet in front of the Justices' bench is the symbol for the JCPC which is also the emblem for the Order of the Garter. King Edward III founded the Order in 1348 as a society, fellowship and college of knights. There are various stories as to the origin of the order, one of the most popular being that when the king was dancing with a lady of the court, her garter belt slipped off to the amusement of the male courtiers. The King turned on them angrily saying "Honi soit qui mal y pense" or œshamed be he who thinks evil. In a modern court setting perhaps, not enter with evil thoughts would be a more appropriate translation. The symbol consists of a garter in the form of a circular stylised belt with a buckle, holes to adjust the belt and an ornate strap-end.Around the belt in capital letters are the words 'HONI SOIT QUI MAL Y PENSE'. The inside of the circle has been divided into four equal quadrants. Top left and bottom right quadrants show three lions passant (in side profile walking to the left with the right front paw raised), for England, deriving from a royal seal used by Richard (the Lionheart). Top right shows a lion rampant (side profile standing erect facing to the left with front paws raised) in a border, first used by William of Scotland in the 12 century as a symbol of his country. Bottom left shows a harp complete with strings, usually used to represent the Kingdom of Ireland but here it represents Northern Ireland, the harp in its plain Gaelic form, rather than having a winged female attached as in earlier versions.Surmounting the circle is a royal crown. On the carpet, the symbol (160 by 102 centimetres or 5 feet 3 inches by 3 feet 4 inches) is on a dark green background. The detail is shown as black on different coloured backgrounds - light green for the garter, royal blue and light blue alternating in the quadrants, and red under the crown. The buckle, strap-ends and base of the crown are sandy-brown. The tactile image is nearly six times smaller than the symbol on the carpet.Thick lines show the structure of the symbol and lettering.Solid texture shows the crown, lions, harp, buckle, strap-ends and adjusting holes.
Supreme Court of the United Kingdom emblem (UEB contracted)
by RnibThe emblem was designed by Yvonne Holton, Herald Painter at the Court of Lord Lyon in Scotland and combines the four jurisdictions of the United Kingdom as follows: England: symmetrical, five petalled, red and white wild rose with a yellow centre on a green stalk with green leaves. (Established as the symbol for England, after Henry Tudor (Henry VII)'s defeat of the Plantagenet Richard III at the Battle of Bosworth Field in 1485.<li> Wales: the green leaves and white flesh of a leek. (Derived from the medieval legend that St David ordered his Welsh soldiers to wear leeks on their helmets during a battle against the Saxons.)</li> Scotland: a purple thistle on a green stalk with green leaves. (Associated with the tradition that an early Scottish army was saved when barefooted Viking invaders stepped on prickly thistles in the dark, crying out in pain and waking the defenders.)</li> Northern Ireland: a symmetrical five-petalled, light blue flax flower with a yellow centre on a stalk with green leaves. (Represents the linen-weaving industry which was so valuable that nineteenth century Belfast was known as ˜Linenopolis.' These four national elements are surrounded by an almost-circular frame shaped like an Omega, the last letter in the Greek alphabet. This symbolises the finality of the UKSC in the court system and also represents Libra, the astrological star sign, for the scales of justice. Surmounting the emblem is the Royal Crown. Supreme Court of the United Kingdom emblem
Supreme Court of the United Kingdom carpet design (UEB contracted)
by RnibThe carpet was designed by Sir Peter Blake, a member of the Pop Art movement from the 1960s. He is most famous for his design of The Beatle's Sgt. Pepper's album cover. The carpet's informal design is a repeating circular pattern with each circle divided equally into four quadrants. In each quadrant is a stylised version of the four elements of the UKSC emblem - a red rose flower head (symmetrical with five petals and a cream centre), a light blue flower head (symmetrical with five petals and a cream centre), a purple flower head (purple petals on a green circular head) and a leek (cream edible stem and short green leaves). The rose and flax flowers are on a light grey background while the thistle and leek are on a sandy background. Surrounding the circular patterns are royal blue and lime green borders that join the circles in an undulating pattern. The circles and borders sit on a dark green background. The tactile image shows four complete patterns and two part patterns surrounded by the two coloured borders. Each pattern is just over half the size of a single pattern in the carpet. Two textures show the blue and green borders. Thick lines show the division of the four quadrants. Solid texture with a further different texture show the flowers and leek.
Stonehenge (UEB uncontracted)
by RnibThis page shows several images. There is a side view of Stonehenge at the top of the page. There is a plan view at the bottom left and a small key at the bottom right of the page. There is a locator dot shown, which will be at the top left when the image is the correct way up. Eleven sarsens (vertical stones) go across the page from left to right. There are thirty sarsen stones or their place if they are now missing, but they are not all shown for tactile clarity. Two pairs on the left still have the horizontal lintel stone on them. Four on the right have a continuous line of three lintel stones. These sarsen stones form the outer ring in the plan view. Two of the trilithons are shown which are bigger and higher than the sarsen stones. The rest of the inner horseshoe of trilithons is not shown for tactile clarity. The trilithons are shown with a heavier border and different texture. In the centre of the image is a single megalith. It has a bump on the top surface which would have locked into a hole on the under surface of its lintel. As the three stones of the trilithon stand alone, their lintels go to the edge of the upright stone. The sarsen lintel stops in the top centre of the vertical stone, which would have allowed a continuous ring to be formed. To the left of the side view on the left of page is an adult human figure for scale. The plan view shows the stones of the outer ring and inner horseshoe in their original position. The key shows the current state of the stones standing or fallen. Some are now missing completely. The lintel stone on the uprights that have a lintel stone are shown by a dotted line. For clarity's sake the lintels are shown bigger than in reality. The dashed line of sight line shows where the view in the top image is seen from, looking straight at the megalith with the bump on top. Stonehenge was built 3,000 to 2,200 years ago. The sarsen stones weigh on average 28 tons. The largest of the trilithon stones is 23 feet (7.3 metres) high and weighs 50 tons. The diameter of the outer ring of sarsen stones is 107 feet (33 metres).
Stonehenge (UEB contracted)
by RnibThis page shows several images. There is a side view of Stonehenge at the top of the page. There is a plan view at the bottom left and a small key at the bottom right of the page. There is a locator dot shown, which will be at the top left when the image is the correct way up. Eleven sarsens (vertical stones) go across the page from left to right. There are thirty sarsen stones or their place if they are now missing, but they are not all shown for tactile clarity. Two pairs on the left still have the horizontal lintel stone on them. Four on the right have a continuous line of three lintel stones. These sarsen stones form the outer ring in the plan view. Two of the trilithons are shown which are bigger and higher than the sarsen stones. The rest of the inner horseshoe of trilithons is not shown for tactile clarity. The trilithons are shown with a heavier border and different texture. In the centre of the image is a single megalith. It has a bump on the top surface which would have locked into a hole on the under surface of its lintel. As the three stones of the trilithon stand alone, their lintels go to the edge of the upright stone. The sarsen lintel stops in the top centre of the vertical stone, which would have allowed a continuous ring to be formed. To the left of the side view on the left of page is an adult human figure for scale. The plan view shows the stones of the outer ring and inner horseshoe in their original position. The key shows the current state of the stones standing or fallen. Some are now missing completely. The lintel stone on the uprights that have a lintel stone are shown by a dotted line. For clarity's sake the lintels are shown bigger than in reality. The dashed line of sight line shows where the view in the top image is seen from, looking straight at the megalith with the bump on top. Stonehenge was built 3,000 to 2,200 years ago. The sarsen stones weigh on average 28 tons. The largest of the trilithon stones is 23 feet (7.3 metres) high and weighs 50 tons. The diameter of the outer ring of sarsen stones is 107 feet (33 metres).
Stonehenge (large print)
by RnibThis page shows several images. There is a side view of Stonehenge at the top of the page. There is a plan view at the bottom left and a small key at the bottom right of the page. There is a locator dot shown, which will be at the top left when the image is the correct way up. Eleven sarsens (vertical stones) go across the page from left to right. There are thirty sarsen stones or their place if they are now missing, but they are not all shown for tactile clarity. Two pairs on the left still have the horizontal lintel stone on them. Four on the right have a continuous line of three lintel stones. These sarsen stones form the outer ring in the plan view. Two of the trilithons are shown which are bigger and higher than the sarsen stones. The rest of the inner horseshoe of trilithons is not shown for tactile clarity. The trilithons are shown with a heavier border and different texture. In the centre of the image is a single megalith. It has a bump on the top surface which would have locked into a hole on the under surface of its lintel. As the three stones of the trilithon stand alone, their lintels go to the edge of the upright stone. The sarsen lintel stops in the top centre of the vertical stone, which would have allowed a continuous ring to be formed. To the left of the side view on the left of page is an adult human figure for scale. The plan view shows the stones of the outer ring and inner horseshoe in their original position. The key shows the current state of the stones standing or fallen. Some are now missing completely. The lintel stone on the uprights that have a lintel stone are shown by a dotted line. For clarity's sake the lintels are shown bigger than in reality. The dashed line of sight line shows where the view in the top image is seen from, looking straight at the megalith with the bump on top. Stonehenge was built 3,000 to 2,200 years ago. The sarsen stones weigh on average 28 tons. The largest of the trilithon stones is 23 feet (7.3 metres) high and weighs 50 tons. The diameter of the outer ring of sarsen stones is 107 feet (33 metres).
Inscribed Babylonian brick of Nebuchadnezzar
by RnibThis is an image of a brick from Babylon from 605 - 562 BC (Reign of Nebuchadnezzar). Nebuchadnezzar was intent on ensuring that his city and his name would last forever. He had inscriptions buried beneath the foundations of new buildings, following the local custom, and also had his bricks stamped with an inscription naming him as builder. Many thousands of the kings bricks bore a message with his name and titles. The cuneiform text is in very simple terms a series of straight lines and triangles of different shapes that form quite complex shapes. The tactile image follows exactly the patterns and shapes of the cuneiform script with just a few very minor changes to make sure that all of the elements can be felt. The cuneiform is slightly enlarged and is divided into 7 vertical rows (labelled 1-7 on the image). Straight lines separate each row and border the whole inscription. "King of Babylon", which is mentioned twice in the script, can be seen on rows 1 and 2 and rows 6 and 7, the last two "shapes" of rows 1 and 6 and all of rows 6 and 7. The last two "shapes" of rows 1 and 6 have fine diagonal lines in the centre which are shown as thin lines.
Constructivist design for 1928 Calendar Cover (large print)
by RnibThis is an image of a cover for a calendar designed by Hungarian artist Karl Dukai. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The image shows a highly stylised industrial landscape designed with simple geometric shapes, and the year and title of the calendar. Two colours are used: black and red ochre on a pale background. In the tactile version of the design, black is shown as a thick, horizontal lined texture and red ochre as a light dotted texture. At the top centre of the page are three triangles representing smoke. They point down to three tall shapes which are the chimneys of a factory. To the right of these is the print number 1, and down the page is the number 9, the first numbers of the year 1928. To the left of the chimneys are two objects constructed from sections of circles; maybe symbolising parts of machinery. Further down the page is a thick line going diagonally up the page from left to right. This is the factory’s roof. Down the page again are small rectangles in groups of two and three representing the factories windows. On the right of the factory are the print numbers 2 with 8 down the page. Stretching across the bottom of the design is the title ‘Nepszava Naptair’ (Peoples Voice Calendar) in upper case print letters. It was published by the socialist Hungarian newspaper Nepszava. The sparse geometric design of the cover is in the style of the Russian constructivists who considered art should be used for social purposes and often celebrated technology and industry.