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• Word - Accessible Word output, which can be unzipped and opened in any tool that allows .docx files

Ganesh (tactile)

Late 19th century. Calcutta, Bengal, Kalighat style. Watercolour on paper. Size: 129 cm high and 100 cm wide. Brooke Sewell Permanent Fund, 1995. 4-4. 01. The elephant-headed Ganesh is the god of new beginnings. Seated on his rat-vehicle, he is shown haloed and wearing the typical Bengali crown. This painting comes from the area around the goddess Kali's temple at Kalighat, on the banks (ghats) of the river Hooghly in Calcutta. The colours on the painting are tones of blue, red, grey and black on a cream background. Ganesh is facing the viewer with his head very slightly turned to his right and his trunk held out to his right. One tusk has been drawn over the base of the trunk, pointing to his right. His large fan-like ears are shown at the side of his head. Large eyebrows arch over slightly slit eyes, either side of the start of the trunk. Ganesh's mouth is just under the trunk near his neck. The trunk and face are painted in blue with the eyes and eyebrows in black and mouth in red. He is seated, his legs folded underneath his body in the lotus position with only his right foot showing, on a large blue cushion which is being carried on the back of a large rat. The rat is facing to the left of the painting and has been painted very lightly in blue making it look almost translucent. The rat's long tail is curled along the side of its body. Ganesh is naked apart from a piece of cloth covering his groin area and a thick black twisted rope belt around his waist. His body is painted in shades of red and he has a fat belly. On his head is a jewelled crown that is surrounded by a large circular "spikey" halo. A long necklace hangs from his neck down to his feet. Several thinner necklaces of different lengths are painted onto body as body decoration. Ganesh has four arms, two on each side of his body. He is holding something in each hand but only one of the items is clearly recognisable as a flower (lower right arm). Each arm has a bangle around the wrist and body decoration at the wrist, just above the elbow, upper arm and around the ankle. The tactile image, solid texture has been used for the body, arms and legs. Solid texture also shows his long trunk, eyes and eyebrows, nose, facial decoration, jewelled crown (with hollows for the jewels) and the halo. His ears are thick lines with thinner lines inside to show detail. The objects in Ganesh's hands are thick lines with hollow centres. A rough texture shows the rat-vehicle, rope belt, Ganesh's hair and tusk. A smoother texture shows the cushion. For simplicity, the cloth covering the groin, body decoration and necklace have been omitted. Braille labels: halo, left upper arm, right upper arm, arm, flower, cushion, and rat-vehicle.

Diwali (UEB Uncontracted)

This image shows lamps lit to celebrate the Hindu religious 'Festival of Lights' set against a night-time sky. 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 is surrounded by a dashed line image border. In the top left of the image is the symbol Om, signifying creation and the name of God. The right side of the image is filled with a multi-flamed lamp, seen from the side. At the top of the lamp are five flames fuelled by oil. Down from this, on a tray fixed to the lamp stand, are two small oil lamps; each one is decorated with a swastika, a Hindu symbol of good fortune. The star-filled sky is coloured blue at the top of the page, fading to pink at the bottom with two long clouds going across the bottom left part of the image.

Diwali (UEB Contracted)

This image shows lamps lit to celebrate the Hindu religious 'Festival of Lights' set against a night-time sky. 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 is surrounded by a dashed line image border. In the top left of the image is the symbol Om, signifying creation and the name of God. The right side of the image is filled with a multi-flamed lamp, seen from the side. At the top of the lamp are five flames fuelled by oil. Down from this, on a tray fixed to the lamp stand, are two small oil lamps; each one is decorated with a swastika, a Hindu symbol of good fortune. The star-filled sky is coloured blue at the top of the page, fading to pink at the bottom with two long clouds going across the bottom left part of the image.

Diwali (large print)

This image shows lamps lit to celebrate the Hindu religious 'Festival of Lights' set against a night-time sky. 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 is surrounded by a dashed line image border. In the top left of the image is the symbol Om, signifying creation and the name of God. The right side of the image is filled with a multi-flamed lamp, seen from the side. At the top of the lamp are five flames fuelled by oil. Down from this, on a tray fixed to the lamp stand, are two small oil lamps; each one is decorated with a swastika, a Hindu symbol of good fortune. The star-filled sky is coloured blue at the top of the page, fading to pink at the bottom with two long clouds going across the bottom left part of the image.

A Story of To-day

Crucifixion (tactile)

About 1538-1541. Black chalk. Size: 37 x 27 cm. British Museum, PD 1895-9-15-504. Michelangelo made this devotional image for his friend Vittoria Colonna. An aristocratic poet and religious reformer, she became his confidante in the mid-1530s. Unusually, Michelangelo shows the crucified Christ alive and suffering, at once human and divine. This imagery, as well as Michelangelo's late additions of the lamenting angels and a skull, may reflect Colonna's input into the design. This drawing depicts Christ on the cross with a skull at the base of the cross and 2 lamenting angels shown underneath the crossbeam of the cross. Christ is shown in detail but the angels are rather vague. The right hand is shown nailed to the cross, but the left hand looks as it is holding the nail. The right foot is over the left one, with the nail through them shown. Christ is wearing a translucent loincloth. The tactile image shows the outline of the cross with a thin line. A thicker line shows the outline of Christ with a rough texture showing muscle tone. A solid texture shows the skull, Christ's hair, loincloth and nails. Braille labels are as follows: head, right arm, left arm, right leg, left leg, cross, ground level, and skull.

A god from Rurutu (tactile)

Rurutu, Austral Islands. Late 18th to early 19th century. Wood Size: 117 cm high and 32 cm wide. Museum number Oc LMS.19. In August 1821, a group of people from Rurutu sailed to Ra'iatea, one of the Society Islands, to present their god images to the English missionary John Williams. The population of Rurutu had all converted to Christianity together, following a decision made by their leaders. This figure, known as A'a, was the major god image they presented. It was described by John Williams as ‘being the national god of Rurutu'. The figure has a detachable panel at the back that at the time it was presented to Williams, contained many other smaller figures. It may have originally been used to hold the bones of an important ancestor.A'a is one of the most famous objects in the British Museum's collections, celebrated by Europeans and Pacific islanders alike. It has influenced both poets and sculptors. Several visitors from Rurutu have come to the Museum to pay homage to A'a in recent years. The figure is still considered important in Rurutu today. The light brown carved wooden figure is facing the viewer. It has a large rounded head on an elongated slim body with a protruding belly, short legs that stop just below the knee and arms at the side of the body with 4 fingered hands resting on the protruding belly. The surface of the figure is smooth with no pattern. Attached to the surface, at regular intervals, are 30 smaller figures. The smaller figures on the face form the ears, eyes, nose, mouth and cheeks. The tactile image shows the outline of the figure as a thick line. The 25 of the 30 smaller figures are shown as solid texture. Braille labels have been added: head, ear, eyes, nose, cheek, mouth, arm, hand, leg, knee and genitals.

The Imitation of Christ

The Rise of David Levinsky

Green Man (UEB Uncontracted)

This page shows an image of the Green Man, an ancient theme of carvings often found in church architecture all over Europe. It is said to symbolise Spring and rebirth, and may have originated in pagan religions. This example is from a church in Vendome, France. 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 is surrounded by a dashed line image border. The image of the Green man is found filling the central part of the page. He shown here as green to aid reading, although the original is grey stone coloured. He is facing to the front so that both of his eyes, his nose and his mouth can be found. At the top of the image part of the carving goes across the page. Down from this are four leaves in a horizontal row on his forehead. Further down are his eyes, nose and mouth. There are crescent-shaped marks under each of his eyes that perhaps represent dark rings. There is an oak leaf growing from each of his cheeks, and two more with acorns, that grow from the corners of his mouth.

Green Man (UEB Contracted)

This page shows an image of the Green Man, an ancient theme of carvings often found in church architecture all over Europe. It is said to symbolise Spring and rebirth, and may have originated in pagan religions. This example is from a church in Vendome, France. 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 is surrounded by a dashed line image border. The image of the Green man is found filling the central part of the page. He shown here as green to aid reading, although the original is grey stone coloured. He is facing to the front so that both of his eyes, his nose and his mouth can be found. At the top of the image part of the carving goes across the page. Down from this are four leaves in a horizontal row on his forehead. Further down are his eyes, nose and mouth. There are crescent-shaped marks under each of his eyes that perhaps represent dark rings. There is an oak leaf growing from each of his cheeks, and two more with acorns, that grow from the corners of his mouth.

Green Man (Large Print)

This page shows an image of the Green Man, an ancient theme of carvings often found in church architecture all over Europe. It is said to symbolise Spring and rebirth, and may have originated in pagan religions. This example is from a church in Vendome, France. 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 is surrounded by a dashed line image border. The image of the Green man is found filling the central part of the page. He shown here as green to aid reading, although the original is grey stone coloured. He is facing to the front so that both of his eyes, his nose and his mouth can be found. At the top of the image part of the carving goes across the page. Down from this are four leaves in a horizontal row on his forehead. Further down are his eyes, nose and mouth. There are crescent-shaped marks under each of his eyes that perhaps represent dark rings. There is an oak leaf growing from each of his cheeks, and two more with acorns, that grow from the corners of his mouth."

The Large Catechism

The Life of Flavius Josephus

The Works of Victor Hugo

Father Christmas (UEB Uncontracted)

This picture shows Father Christmas standing up and facing forward dressed in his familiar costume. Next to him is a sack of presents. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. Father Christmas's red hat with its white bobble is at the top right of the page and down from this is his head, with two bushy white eyebrows, two eyes, red nose, moustache, mouth, long hair and flowing white beard. On either side of his beard is the fleecy white collar of his red coat, and down from this a wide belt. To the left and right he holds his hands and arms out from his side, showing the sleeves of his coat with fleecy white trim at the wrist. Down the page again is the white trim of his coat, his red trousers and his big brown boots. The sack of presents is at the bottom left of the page.

Father Christmas (UEB Contracted)

This picture shows Father Christmas standing up and facing forward dressed in his familiar costume. Next to him is a sack of presents. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. Father Christmas's red hat with its white bobble is at the top right of the page and down from this is his head, with two bushy white eyebrows, two eyes, red nose, moustache, mouth, long hair and flowing white beard. On either side of his beard is the fleecy white collar of his red coat, and down from this a wide belt. To the left and right he holds his hands and arms out from his side, showing the sleeves of his coat with fleecy white trim at the wrist. Down the page again is the white trim of his coat, his red trousers and his big brown boots. The sack of presents is at the bottom left of the page.

Father Christmas (Large Print)

This picture shows Father Christmas standing up and facing forward dressed in his familiar costume. Next to him is a sack of presents. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. Father Christmas's red hat with its white bobble is at the top right of the page and down from this is his head, with two bushy white eyebrows, two eyes, red nose, moustache, mouth, long hair and flowing white beard. On either side of his beard is the fleecy white collar of his red coat, and down from this a wide belt. To the left and right he holds his hands and arms out from his side, showing the sleeves of his coat with fleecy white trim at the wrist. Down the page again is the white trim of his coat, his red trousers and his big brown boots. The sack of presents is at the bottom left of the page.

Reindeer and sleigh (UEB Contracted)

This picture shows one of Father Christmas's reindeer on the left of the page harnessed to a sleigh which is filled with presents, on the right side of the page. It is facing left and viewed from the side so that only one of his eyes and one of his antlers can be seen. The reindeer's antlers are on the top left of the page with his left-facing head down the page from this. There is a leather strap, which is part of the harness, wrapped around his head and going right across the page to another strap around his brown body and then right again to the sleigh. The reindeer's four legs can be found at the bottom left of the page. The sleigh is facing to the left with an ornamental curve at the front. Its body is blue and decorated with yellow stripes. There are three presents up the page from this. At the bottom right of the page is one of the sleigh's runners, curved at the front, on which it glides across the snow.

Reindeer and sleigh (Large Print)

This picture shows one of Father Christmas's reindeer on the left of the page harnessed to a sleigh which is filled with presents, on the right side of the page. It is facing left and viewed from the side so that only one of his eyes and one of his antlers can be seen. The reindeer's antlers are on the top left of the page with his left-facing head down the page from this. There is a leather strap, which is part of the harness, wrapped around his head and going right across the page to another strap around his brown body and then right again to the sleigh. The reindeer's four legs can be found at the bottom left of the page. The sleigh is facing to the left with an ornamental curve at the front. Its body is blue and decorated with yellow stripes. There are three presents up the page from this. At the bottom right of the page is one of the sleigh's runners, curved at the front, on which it glides across the snow.

Islamic Mosque, front view (UEB Contracted)

Islamic Mosque, front view (UEB Contracted)

Islamic Mosque, front view (UEB Uncontracted)

Islamic Mosque, front view (UEB Uncontracted)

Islamic Mosque, front view (Large Print)

Islamic Mosque, front view (Large Print)

Jewish Synagogue, front view (UEB Contracted)

Jewish Synagogue, front view (UEB Contracted)

Jewish Synagogue, front view (UEB Uncontracted)

Jewish Synagogue, front view (UEB Uncontracted)