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