Coloring Page Description: an eagle is the symbol for The Gospel of John in the Bible, florets, banner
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as much as possible before printing it folks. If you have a question
about this adult coloring page, just type into the comment box located
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can.
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as much as possible before printing it folks. If you have a question
about this adult coloring page, just type into the comment box located
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can.
Coloring Page Description: an acanthus design, fleur de lis, by Kathy Grimm
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Coloring Page Description: a radial design, peacock, bird, fowl, feathers, by Kathy Grimm
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Coloring Page Description: here is the traditional symbol for the Gospel of Luke, an ox with wings, mosaic patterns
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as much as possible before printing it folks. If you have a question
about this adult coloring page, just type into the comment box located
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can.
Advertising for pen nibs by Hungarian
Joseph Schuler, 1910.
A dip pen or nib pen usually consists of a metal nib with capillary channels like those of fountain pen nibs, mounted on a handle or holder, often made of wood. Other materials can be used for the holder, including bone, metal and plastic, while some pens are made entirely of glass. Generally speaking, dip pens have no ink reservoir; therefore the user has to recharge the ink from an ink bowl or bottle in order to continue drawing or writing.
However, there are simple, tiny tubular reservoirs that illustrators
sometimes clip onto dip pens; these allow drawing for several minutes
without recharging the nib. Recharging can be done by dipping into an inkwell;
however, some illustrators and cartoonists, who are the main current
users of such pens, are more likely to charge the pen with an
eyedropper, a syringe, or a brush, which gives them more control over
the amount of ink applied. Thus, "dip pens" are not necessarily dipped.
Many illustrators call them "nib pens."
Dip pens emerged in the early 19th century, when they replaced quill pens, or in some parts of the world reed pens. They were generally used prior to the development of fountain pens in the later 19th century, and are now mainly used in illustration, calligraphy, and comics.
The dip pen has certain advantages over a fountain pen. It can use
waterproof, pigmented, particle-and-binder-based, inks, such as
so-called "India ink", drawing ink, or acrylic inks, which would destroy a fountain pen by clogging it up, as well as the traditional iron gall ink, which can cause corrosion
in fountain pens. They are also more sensitive to variations of
pressure and speed, producing a line that naturally varies in thickness.
They can also produce a finer line than any fountain pen.
There is also a wide range of readily exchangeable nibs available so
different types of lines and effects can be created. The nibs and
handles are far cheaper than most fountain pens, and allow color changes
much more easily.
The steel pen is first attested in Daniel Defoe's book "A Tour
Through the Whole Island of Great Britain - 1724-26". In Letter VII
Defoe wrote: "the plaster of the ceilings and walls in some rooms is so
fine, so firm, so entire, that they break it off in large flakes, and it
will bear writing on it with a pencil or steel pen." In Newhall Street,
John Mitchell pioneered mass production of steel pens in 1822; prior to
that the quill
pen had been the most common form of writing instrument. His brother
William Mitchell later set up his own pen making business in St Paul's
square. The Mitchell family is credited as being the first manufacturers
to use machines to cut pen nibs, which greatly sped up the process.
Various models of dip pens.
The Jewellery Quarter and surrounding area of Birmingham,
England was home to many of the first dip pen manufacturers, which some
companies establishing there to produce pens. Some of those companies
were Joseph Gillott's
(established in 1827), Sir Josiah Mason (1827), Hink Wells & Co.
(1836), Baker and Finnemore (1850), C. Brandauer & Co. (1850), D. Leonardt & Co. (1856).
Baker and Finnemore operated in James Street, near St Paul's Square. C Brandauer & Co Ltd., founded as Ash & Petit, traded at 70 Navigation Street. Joseph Gillott & Sons Ltd.
made pen nibs in Bread Street, now Cornwall Street. Hinks Wells &
Co. traded in Buckingham Street, Geo W Hughes traded in St Paul's
Square, D. Leonardt & Co./Leonardt & Catwinkle traded in George Street and Charlotte Street, and M Myers & Son. were based at 8 Newhall Street. By 1830 John and William Mitchell, Joseph Gillott, and Josiah Mason were the major manufacturers in Birmingham.
In Germany the industrial production of dip pens started in 1842 at the factory of Heintze & Blanckertz in Berlin.
By the 1850s, Birmingham existed as a world centre for steel pen and steel nib manufacture. More than half the steel nib pens manufactured in the world were Birmingham-made. Thousands of skilled craftsmen and women were employed in the industry. Many new manufacturing techniques were perfected in Birmingham, enabling the city's factories
to mass-produce their pens cheaply and efficiently. These were sold
worldwide to many who previously could not afford to write, which
encouraged the development of education and literacy. By 1860 there were
about 100 companies making steel nibs in Birmingham, but 12 large firms
dominated the trade. In 1870 Mason, Sommerville, Wiley, and Perry,
merged to form Perry & Co. Ltd. which later became one of the largest manufacturers in the world, with near 2,000 employees.
Richard Esterbrook
manufactured quill pens in Cornwall. In the 19th century, he saw a gap
in the American market for steel nib pens. Esterbrook approached five
craftsmen who worked for John Mitchell in Navigation Street with a view
to setting up business in Camden, New Jersey,
USA. Esterbrook founded his company in 1858, and it grew to become one
of the largest steel pen manufacturers in the world. In 1971 it went out
of business.
The oblique dip pen was designed for writing the pointed pen styles of the mid 19th to the early 20th century such as Spencerian Script, although oblique pen holders can be used for earlier styles of pointed penmanship such as the copperplate scripts
of the 18th and 19th centuries. As the name suggests, the nib holder
holds the nib at an oblique angle of around 55° pointing to the right
hand side of the penman. This feature helps greatly in achieving the
steep angle required for writing certain scripts, but more importantly,
it prevents the right hand nib tine from dragging on the paper as can be
experienced when using a straight nib holder with a straight nib for
this purpose.
The decreasing production of dip pens and the subsequent demise of the industry in Birmingham is often blamed on the invention of the ballpoint pen in 1938 by the Hungarian Laszlo Biro.
One improved version of the dip pen, known as the original "ballpoint",
was the addition of a curved point (instead of a sharp point) which
allows the user to have slightly more control on upward and sideways
strokes. This feature, however, produces a thicker line rather than the
razor-sharp line produced by a sharp point. Wikipedia
Video from http://www.calligraphy-corner.com/ "To
make the most beautiful marks possible, I highly recommend the
traditional "dip pen". However, there are so many options out there it
can be completely overwhelming. In this video, I'll show you the only
nib you'll need to start doing calligraphy now, how to load the nib with
ink, and how to keep them clean!"
There is nothing, perhaps, which so kindles the interest and enthusiasm of the student as
to surround himself with the required drawing materials, while even the experienced man who
is accustomed to the everyday use of these accessories can hardly gaze upon a new clean sheet of paper
and pencils pointed ready for his hand without an itching to commence, a desire to seize a pencil and
he at it, for there is something about such materials to lure one on to urge one to do his best.
In fact the appeal of all such things is so strong that the beginner is almost sure, unless guided by
his instructor, to buy too great a variety and quantity of materials and is inclined to attach too much
importance to them, for important as they are (and no man can do good work with poor tools), the
truth of the matter is that few and comparatively inexpensive things are needed for such work, and especially for the earlier problems. But these few
should be the best of their respective kinds, for the difficulties that beset the beginner are so many and
great that it would be a grave mistake for him to handicap himself by using anything of an inferior
nature, as even the best materials are none too easily mastered.
Acquire paper stumps also. These
are used for blending while
drawing.
If the student has no teacher to aid him in his selection he is usually safe in securing the standard
drawing pencils and papers and the like which are carried in stock by reliable dealers in artists' supplies. After a time he will develop a liking for certain kinds for certain purposes and will eventually choose without hesitation the pencil and paper
best suited to the subject to be drawn and the sort of drawing to be made. And whether one works
with an instructor or without, his personal preferences will become more and more marked from year
to year, and the more difficult it will be for him to adapt himself to materials with which he is not perfectly familiar. This unfortunately causes some
artists of mature years to heartily condemn everything to which they are unaccustomed, which is
hardly fair, for that which is worthless to one may be excellent for another. After the early problems are over, then, it is often well to experiment until
a certain familiarity with all the standard materials is gained. Those which are here recommended will do for most of the problems of the beginner while others are discussed in later chapters.
Drawing pencils are usually graded
from 6B, the softest and blackest, to 9H, the
hardest and firmest, with fifteen grades between,
or seventeen in all, arranged as follows: 6B, SB,
4B, 3B, 2B, B, HB, F, H, 2H, 3H, 4H, 5H, 6H,
7H, 8H, 9H. Of these the soft pencils are best
suited to freehand work, though some papers demand much harder pencils than others. In fact,
the choice of pencils depends almost entirely on
the character of paper to be used, a smooth, glossy
paper demanding a much softer pencil than is
needed for work on rough paper which has considerable "tooth." For quick sketches, one soft
pencil, perhaps a 2B or B or HB, will sometimes
do for the whole drawing, but a carefully finished
sketch showing considerable detail may require as
many as seven or eight pencils grading all the way
from 3B or 2B to 4H or 5H. In such a drawing
most of the work would be done with the softer
pencils, the harder ones being used for the light,
transparent tones and fine detail. A little experimenting will usually show what pencils are best
suited to the paper to be used and to the subject
to be drawn. The fact that the weather makes a
great difference in the pencils required is not usually recognized, but it is true that pencils that are
just right on a dry day will prove too hard when
the air is damp and the paper filled with moisture.
Pencils of different manufacture vary in their grad-
ing so it is generally best to use those of one make
on a drawing. Cheap pencils seldom prove satis-
factory as the lead is variable and often so gritty
as to scratch the paper.
Almost any drawing paper will do, but
the choice depends mainly on the size and character of the drawing to be made. For small sketches
it is best, as a rule, to use smoother paper than for
large work, in fact it is almost impossible to draw
fine detail on extremely rough paper. A glazed
paper, however, is seldom desirable as the shiny
surface is dulled in an objectionable manner if the
eraser is used. Sometimes, however, very crisp,
snappy sketches are made on glazed paper, but a
soft pencil is required for such work. Extremely
rough paper is occasionally satisfactory for a large
drawing, but a medium-rough surface is best for
general work. Some tracing papers are very good
and have the advantage that the sketch can be first
blocked out on one sheet and then rendered on a
second sheet placed over the first. The drawings
by the author illustrating this text were made for
the most part on "kid finish" Bristol Board, which
has the advantage of being stiff and durable, with a
firm surface.
It is often well to have several standard sizes
for sketch sheets, one small enough to slip into
the pocket, and one or two larger sizes. Drawing
paper of the Imperial size of 22 in. x 30 in. can be
cut without waste to several convenient proportions,
such as 15 in. x 22 in., 11 in. x 15 in. and 7 l / 2 in. x
11 in. Some draftsmen prefer to have punched
sheets to be used in a standard notebook cover,
8 in. x 105/2 in., being satisfactory. The sketch
hooks and pads for sale in all art stores are good
for small work.
As a rule it is best to avoid the use of
erasers so far as possible, as erasing often injures
the paper surface, but art gum or a soft white
eraser is necessary for removing construction lines
and for cleaning the sheet. A fairly hard red or
green eraser may be required sometimes for correcting errors, and a soft "kneaded" rubber is very
useful in lifting superfluous tone from a portion
of a drawing. An erasing shield is an essential
if changes are to be made.
A soft brush is needed for keeping the
drawing free from dust as tiny specks often cause
spots and streaks as the pencil passes over them.
The paper should always be dusted with care after
erasing is done.
It is usually a good idea to fasten the drawing
to a board of convenient size with thumb tacks.
Be sure that the board is very smooth, for unless
it is so or the paper very thick, the grain of the
wood may show in the final drawing. When using thin or medium-weight drawing paper it is best
to put an extra sheet or two under the drawing to
insure a good surface.
Sketches done with soft pencils rub and
soil so easily after they are completed that it is
customary to spray or "fix" them. An atomizer
and bottle of fixative can be obtained in any art
store but the fixative usually sold tends to turn the
drawing slightly yellow and also causes a gloss or
.shine if too much is applied. A French fixative
made for spraying pastels has the advantage of
being more transparent and of causing less shine,
but is quite expensive.
A scratch pad of sandpaper is
essential as an aid in pointing the pencils. These
are sold in a convenient form with handles so
attached as to make their use possible without soiling the hands. A sheet of fine sandpaper or a file
may be substituted for the block if desired.
Knife Obviously a sharp knife will be useful
for trimming the paper, sharpening the pencils, lifting thumbtacks, etc. by Guptill
"Derwent have put together a set of 5 essential Drawing Tools designed to enhance your creative enjoyment." video by Ken Bromley Art Supplies
These ornaments are from the Book of Durham, 7th Century.
The Durham Gospels is a very incomplete late 7th century insular Gospel Book, now kept in the Durham Cathedral Dean and Chapter Library (MS A.II.17). A single folio of this manuscript is now in Magdalene College, Cambridge (Pepysian MS 2981). Only two of the fully decorated pages survive: a Crucifixion (the oldest in English art) and the initial to John, and both of these are in poor condition. There were probably originally evangelist portraits and carpet pages, as in other Insular Gospel books conceived on a similar scale. The book was produced at Lindisfarne and brought to Durham when the monks of Lindisfarne removed to Durham because of Viking attacks. The Durham Gospels were written by the same scribe that wrote the Echternach Gospels.
The Durham Cathedral Library A. II. 10. Gospel Book Fragment
is another manuscript (MS A.II.10) in the cathedral library which is
sometimes referred to as the "Durham Gospels", but more usually as the
"Durham Gospel Fragment".
When mankind discovered the art of embodying its knowledge in writing progress toward civilization began. The preservation of the discoveries and acquirements of one generation for the enlightenment of succeeding generations, made possible through the art of writing, has enabled man to acquire an intellectual development that has gradually given to him mastery over the world.
Papyrus growing wild on the banks
of the Nile in Uganda.
Primitive man began his groping for a written language with the making of pictures, crude and simple to be sure, but fairly representative of what they were supposed to stand for. From this humble beginning man gradually progressed upward in the search for expressive signs and marks, the passing generations recording their deeds in ancient pictures, sound marks, hieroglyphics, cuneiform marks, syllabary signs, etc., until they reached the ancient Phoenician alphabet, and still following an upward course gradually evolved the Greek alphabet and then the Roman, which, with very little change, is our alphabet of today.
Obviously, early writing materials were as crude as the writing itself, and consequently we find that the surface of a stone, a bone, or a shell, a flat piece of wood, bark or leaf of a tree, a plate of metal, the facet of a gem, any one of a thousand things that could be used was employed for this purpose. The Egyptians and Greeks were in the habit of using even the fragments of broken pottery for their less important records. But the materials most used before the invention of paper were the Assyrian clay tablet, papyrus, and vellum.
Paper is said to have been invented by the Chinese at an unknown but very early date. It was introduced to Europe by the Arabs about the tenth century A. D. It was made of linen rags and did not vary much from the rag paper of today, except in finish. Paper was not much used in Europe until the invention of printing. Being much less substantial than vellum it did not commend itself to the makers of manuscript books. Paper was, however, immediately found to be much better suited to printing than any other material and with the advent of the printed book it very quickly superseded other materials for the purpose. Owing to its resemblance to papyrus it was given this name; the word being derived from the name of this ancient paper-making plant.
Late in the nineteenth century some new materials in wood and other flexible fibers treated with chemicals and loaded with clay were adapted for making into sheets. These new materials have largely superseded the linen and cotton rags and are today the recognized paper-making material of commerce. Much of the paper made from these materials is far inferior to rag paper. The inferior qualities at any rate lack durability, even when not exposed to wear. They are good enough for the great number of uses where permanence is not required, but should not be used for books of permanent value records and historical matter, where there must be no doubt of the quality of the fiber employed and of the care used in manufacture. A fifteenth century book of rag paper is practically as good today as it was the day it was printed. Most of the paper now in use possesses no such lasting qualities. by Wheelright
"From books, to confetti, to origami, our lives wouldn't be the same without paper. Modern day paper making began in ancient China. And even though today most paper is made in factories, there are those who carry on the ancient tradition, with beautiful results. China Uncencored presents another lost episode of Journey to the East."
"Pocket brush pens are the modern version of traditional brushes,
combining a brush tip with a marker pen body where ink cartridges can be
installed. In this video, we will highlight six main characteristics
you should consider when choosing a pocket brush pen. To learn more about pocket brush pens for calligraphy or art, head over to JetPens Blog to check out our articles." http://www.jetpens.com/blog/guide-to-...
It is a matter of great importance that the paper on which painting is done should be well considered, in order that as few difficulties as possible may arise. The word difficulty is used here as the result of much experience, as pitfalls and mortification meet one at every turn when the paper takes the color washes in an eccentric way. More will be said later on, and examples given showing the bewildering manner in which certain papers behave. All these difficulties, however, vanish as more experience is gained, but in the earliest efforts it is absolutely necessary that a paper be used which shall present as few peculiarities as possible. And here it may be said, that without any doubt the student in his early water-color work must use a pure white paper with a moderately smooth surface, which should be of one of the lighter makes, and not rough. It is more satisfactory, however, for the student to make his own choice, but always within this limitation: that the paper must be white, moderately smooth, and capable of taking a wash easily, and this any art or hobby store will be able to supply. The list of papers given at the bottom of the page are arranged in order of difficulty, No. 1 being suitable for the beginner, and so on in sequence.
Certain papers should in the earlier stages of study be avoided by the student. Tinted papers are bad because they give an appearance of quality to work which otherwise would have nothing to recommend it. Such papers are also likely to induce the use of body color, which cannot be too severely condemned. The matter of body color will be duly considered later on. Heavy card stock is another white paper which is admirable for water-color painting, but owing to its want of substance, in case there is any washing out to be done, this paper is apt to be disappointing for the beginner. For advanced students, David Cox paper is beautiful in its substance, although difficult to work, as the washes when first applied have a different appearance from that which they assume when dry. Moreover, this paper is very difficult to wash, so that the perfection of effects in its use is obtained only when the work is quite direct and no lifting of color is necessary.
Very absorbent papers should be avoided until a complete mastery of technique has been acquired, and the surface, or substance of the medium worked on has ceased to afford any real difficulty to the painter. As the student advances in knowledge and experience the particular paper used becomes a matter of individual taste, and then endless indeed are the varieties from which to choose.
Before leaving the subject, it may be as well to point out that many of the pure white papers, being very finely prepared and dressed in order to get the brilliant whiteness, are rendered more or less difficult to work on owing to this process of manufacture. In order, however, to make such papers quite workable, it is only necessary to give them a good bath in cold water, when most of the offending material will be removed. With these few remarks of what are considered the best papers to be used in the early days of working in water-colors, and those which should be avoided, the student is left to learn by inquiry and experience which quality, tone, and surface are best suited to his requirements. by Rich
http://www.jerrysartarama.com/discoun... - "Choosing the best watercolor paper for your next art project. If
you've ever stood in an art supply store staring at the watercolor
paper options, wondering where to begin, then this free art lesson with
Steve Filarsky is just for you! Taken from his full-length DVD, The
Basics of Watercolor, this video will demonstrate how the different
weights and presses of the paper behave, so you can determine what works
best for you. This is an informative art lesson for artists of all
skill levels!"
Coloring Page Description: interwoven botanical shapes with a cross at its center, radial design for coloring
Don't forget to drag the png. into a Word Document an enlarge the image
as much as possible before printing it folks. If you have a question
about this adult coloring page, just type into the comment box located
directly below this post and I'll try to get back to you as soon as I
can.
Cuneiform script is one of the earliest systems of writing, distinguished by its wedge-shaped marks on clay tablets, made by means of a blunt reed for a stylus. The name cuneiform itself simply means "wedge shaped", from the Latin cuneus "wedge" and forma "shape," and came into English usage probably from Old French cunéiforme.
Emerging in Sumer in the late 4th millennium B.C.E. (the Uruk IV period), cuneiform writing began as a system of pictographs.
In the third millennium, the pictorial representations became
simplified and more abstract as the number of characters in use grew
smaller, from about 1,000 in the Early Bronze Age to about 400 in Late Bronze Age (Hittite cuneiform). The system consists of a combination of logophonetic, consonantal alphabetic and syllabic signs.
The original Sumerian script was adapted for the writing of the Akkadian, Eblaite, Elamite, Hittite, Luwian, Hattic, Hurrian, and Urartian languages, and it inspired the Ugaritic and Old Persian alphabets. Cuneiform writing was gradually replaced by the Phoenician alphabet during the Neo-Assyrian Empire.
By the 2nd century C.E., the script had become extinct, and all
knowledge of how to read it was lost until it began to be deciphered in
the 19th century.
Between half a million and two million cuneiform tablets are estimated to have been excavated in modern times, of which only approximately 30,000 – 100,000 have been read or published. The British Museum holds the largest collection, c. 130,000, followed by the Vorderasiatisches Museum Berlin, the Louvre, the Istanbul Archaeology Museums, the National Museum of Iraq, the Yale Babylonian Collection (c.40,000) and Penn Museum. Most of these have "lain in these collections for a century without being translated, studied or published," as there are only a few hundred qualified cuneiformists in the world. Read more . . .
The literal translation of the inscribed cuneiform on this brick is included above, in my father's hand. My father enjoyed
transliterating ancient language forms in his free time. However, he did not know Cuneiform; he had to have some
help interpreting this tablet at Yale University in the early 1980s.
The Table of Nations found in Genesis 10 from the King James Bible
1 Now these are the generations of the sons of Noah, Shem, Ham, and Japheth: and unto them were sons born after the flood.
2 The sons of Japheth; Gomer, and Magog, and Madai, and Javan, and Tubal, and Meshech, and Tiras.
3 And the sons of Gomer; Ashkenaz, and Riphath, and Togarmah.
4 And the sons of Javan; Elishah, and Tarshish, Kittim, and Dodanim.
5 By these were the isles of the Gentiles divided in their lands; every one after his tongue, after their families, in their nations.
6 And the sons of Ham; Cush, and Mizraim, and Phut, and Canaan.
7 And the sons of Cush; Seba, and Havilah, and Sabtah, and Raamah, and Sabtechah: and the sons of Raamah; Sheba, and Dedan.
8 And Cush begat Nimrod: he began to be a mighty one in the earth.
9 He was a mighty hunter before the LORD: wherefore it is said, Even as Nimrod the mighty hunter before the LORD.
10 And the beginning of his kingdom was Babel, and Erech, and Accad, and Calneh, in the land of Shinar.
11 Out of that land went forth Asshur, and builded Nineveh, and the city Rehoboth, and Calah,
12 And Resen between Nineveh and Calah: the same is a great city.
13 And Mizraim begat Ludim, and Anamim, and Lehabim, and Naphtuhim,
14 And Pathrusim, and Casluhim, (out of whom came Philistim,) and Caphtorim.
15 And Canaan begat Sidon his first born, and Heth,
16 And the Jebusite, and the Amorite, and the Girgasite,
17 And the Hivite, and the Arkite, and the Sinite,
18 And the Arvadite, and the Zemarite, and the Hamathite: and afterward were the families of the Canaanites spread abroad.
19 And the border of the Canaanites was from Sidon, as thou comest to Gerar, unto Gaza; as thou goest, unto Sodom, and Gomorrah, and Admah, and Zeboim, even unto Lasha.
20 These are the sons of Ham, after their families, after their tongues, in their countries, and in their nations.
21 Unto Shem also, the father of all the children of Eber, the brother of Japheth the elder, even to him were children born.
22 The children of Shem; Elam, and Asshur, and Arphaxad, and Lud, and Aram.
23 And the children of Aram; Uz, and Hul, and Gether, and Mash.
24 And Arphaxad begat Salah; and Salah begat Eber.
25 And unto Eber were born two sons: the name of one was Peleg; for in his days was the earth divided; and his brother's name was Joktan.
26 And Joktan begat Almodad, and Sheleph, and Hazarmaveth, and Jerah,
27 And Hadoram, and Uzal, and Diklah,
28 And Obal, and Abimael, and Sheba,
29 And Ophir, and Havilah, and Jobab: all these were the sons of Joktan.
30 And their dwelling was from Mesha, as thou goest unto Sephar a mount of the east.
31 These are the sons of Shem, after their families, after their tongues, in their lands, after their nations.
32 These are the families of the sons of Noah, after their generations, in their nations: and by these were the nations divided in the earth after the flood.
Coloring Page Description: This burial of Jesus is by Fra Angelico (1387-1455). I have also included my restored image of the actual painting for those students who would like to color their own version of this important painting with a similar combination of colors.
Don't forget to drag the png. into a Word Document an enlarge the image
as much as possible before printing it folks. If you have a question
about this adult coloring page, just type into the comment box located
directly below this post and I'll try to get back to you as soon as I
can.
I've restored this piece teachers are welcome to include it in their Power Points and video.
Don't forget to drag the png. into a Word Document an enlarge the image
as much as possible before printing it folks. If you have a question
about this adult coloring page, just type into the comment box located
directly below this post and I'll try to get back to you as soon as I
can.
Traditionally, Japanese is written in a format called tategaki(縦書き),
which is inspired by the traditional Chinese system. In this format,
the characters are written in columns going from top to bottom, with
columns ordered from right to left. After reaching the bottom of each
column, the reader continues at the top of the column to the left of the
current one.
Modern Japanese also uses another writing format, called yokogaki(横書き). This writing format is horizontal and reads from left to right, as in English. A book printed in tategaki opens with the spine of the book to the
right, while a book printed in yokogaki opens with the spine to the
left.
Don't forget to drag the png. into a Word Document an enlarge the image
as much as possible before printing it folks. If you have a question
about this adult coloring page, just type into the comment box located
directly below this post and I'll try to get back to you as soon as I
can.
Coloring Page Description: A plethora of acanthus plus a small fruit dish by comparison by Kathy Grimm enjoy.
Don't forget to drag the png. into a Word Document an enlarge the image
as much as possible before printing it folks. If you have a question
about this adult coloring page, just type into the comment box located
directly below this post and I'll try to get back to you as soon as I
can.
Coloring Page Description: cross and crown adult coloring page, mosaic tile, offices of Christ
The threefold office (Latin: munus triplex) of Jesus Christ is a Christian doctrine based upon the teachings of the Old Testament of which Christians hold different views. It was described by Eusebius and more fully developed by John Calvin.
Read more...
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as much as possible before printing it folks. If you have a question
about this adult coloring page, just type into the comment box located
directly below this post and I'll try to get back to you as soon as I
can.
Coloring Page Description: adult coloring page, a lovely Madonna from the 1500s, floral frame, flaming halo, rosary, angels, crown with floral motif, woodblock print
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as much as possible before printing it folks. If you have a question
about this adult coloring page, just type into the comment box located
directly below this post and I'll try to get back to you as soon as I
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Coloring Page Description: butterfly, text reads "Love Your Neighbor", found in Mark 12:31 and Matthew 22:39, by Kathy Grimm
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as much as possible before printing it folks. If you have a question
about this adult coloring page, just type into the comment box located
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Coloring Page Description: An ancient ship sails on a dangerous mission, on board are the sons of men and the sons of the devil. The sailors show their true colors during a storm.
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as much as possible before printing it folks. If you have a question
about this adult coloring page, just type into the comment box located
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The above cutis from the Poliphilo, Edit. Ald. 1499.Vol. I
Coloring Page Description: a scribe sits and writes with a quill, text added to the coloring page from The Book of Psalm "Your word I have treasured in my heart, That I may not sin against You." Psalm 119:11 (New American Standard Bible)
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as much as possible before printing it folks. If you have a question
about this adult coloring page, just type into the comment box located
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Coloring Page Description: arabesque motif incorporating plums, grapes, ivy and leaves, This is not a mandala but a radial design folks. Many cultures have circular, repeating patterns. This one was influenced by Moorish decorations.
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"Plate 13 is reproduced from a French Apocalypse of the fourteenth century, with a text in French prose. The writing is gothic, much changed from the style of the thirteenth century, and less regular and elegant. The picture is thoroughly French, of the time when English illuminators had yielded up their supremacy to the men of the French school. We see the fine outlines and features as we are accustomed to see them in thirteenth century work, offering; in their delicate style a curious contrast to the broad free paintiness of the illustration in plate 12. The Apocalypse, from which the plate is taken, is a French work of the middle of the fourteenth century, showing a good deal of the feeling of the preceding century, but tending visibly towards the manner of the time when Charles Y of France
and his brothers were associated with manuscripts of an unusually beautiful kind."
"Plate 4 is taken from a copy, written on vellum at Nablus, of the Samaritan Pentateuch. Both in language and in letters it represents the old Hebrew of the days of Solomon, long anterior to the time when Ezra introduced from Chaldgea the square characters now called Hebrew; the ancient letters having been preserved by a small remnant in North Palestine. The writing resembles that of the Phoenicians, and the example given on plate 4, notwithstanding its lateness, does not exhibit a very much modified form of the character."
"Plate 5 is from an Abyssinian MS. of the sixteenth century, on the Life of the Virgin. The real origin of the artistic decoration is unmistakable. It is what we call Byzantine, but ought rather to be called AEgypto-Grecian. The people of Abyssinia, who were mainly Southern Arabs or Sabasans, received their instruction in art along with their Christianity a few centuries after the beginning of the era, and they have never abandoned them. As for the writing which appears on the plate, it is in the old Geez or Ethiopic language, and descended from that of the Sabaaan people whose monumental inscriptions in Himyaritic language and characters are now attracting considerable interest."
"Plate 6 is from a Greek Gospelbook written on vellum, which was brought to England from Cyprus by Cesnola. The ornamental border at the top is somewhat freer and less stiff in style than those which we find in most of the Byzantine MSS. ; and the writing is neater and less negligent than if it had been executed in the eleventh or twelfth century. It slopes a little backwards and has the breathings in their antique form as halves of the letter H. Hence I have assigned it to the latter part of the tenth century."
"On plate 7, I have given a reduction after Westwood of a page from an Irish MS. now in the Archiepiscopal Library at Lambeth. Although it is of comparatively late date (the ninth century), and the writing is the Irish script in its second or wholly minuscule stage, the ornamentation is sufficient to show what Irish work had been and still was. The marvelously elaborate convolutions and interlacements, the dexterous use of colors, the utter absence of gold, and the introduction of grotesque animal figures, are all seen in this plate from the Gospelbook of MacDurnan. (While I write I am reminded of a personal experience which I may be forgiven for setting down in print. When Westwood's great book had come out, I was one day speaking with an English lady of high social position, cultivated and accomplished in many branches of knowledge, to whom after mentioning Westwood I expressed my admiration of what the Irish calligraphers had done in the seventh and eighth centuries, when art was so low in most of the other lands of Europe. The lady listened with patient good-breeding, till I paused, and then said quietly, "I presume that you are yourself an Irishman!" She had evidently mistaken one unfamiliar accent for another, and her remark was a polite criticism upon my credulity or veracity.)"
"Plate 21 (which ought to have been inserted in succession to plate 7) reproduces a miniature from a Breviary written about 1150-60 for Isengrim, Abbot of the Benedictine Monastery at Ottenbeuern in Suabia. The miniature reproduced is a picture of the Ascension, and shows the Savior standing in an almond-shaped frame, supported and borne aloft by four angels. The Virgin and the Apostles are looking upwards from below, and the picture is enclosed within a square blue border, this being-lighted by ornamental fretwork in white. The faces are generally well drawn, and the rapt attention in the eyes of the uplookers is very skilfully depicted. The colors used are blue, green, yellow, red, chestnut, and white. The whole effect is reminiscent of Anglo-Saxon work, and one might easily, at first sight, mistake it for a picture out of an English book of the tenth century. A somewhat similar design of the same subject is found in King Athelstan's Psalter an Anglo-Saxon MS. of the late ninth century, now in the British Museum; but the Suabian illustration is decidedly inferior in taste and delicacy of treatment. It shows, however, such a kinship that we are inclined to believe in a nearer connection between German and English art than between German and French Carolingian."
