The blind are those who want, or are deficient in, the sense of sight. Blindness may vary in degree from the slightest impairment of vision to total loss of sight; it may also be temporary or permanent. It is caused by defect, disease, or injury to the eye, to the optic nerve, or to that part of the brain connected with it. Old age is sometimes accompanied with blindness, occasioned by the drying up of the humours of the eye, or by the opacity of the cornea, the crystalline lens, etc. The blind are often distinguished for a remarkable mental activity, and a wonderful development of the intellectual powers. Their touch and hearing, particularly, become very acute.
As early as 1260 an asylum for the blind (L'hospice des Quinze-Vingts) was founded in Paris by St Louis for the relief of the Crusaders who lost their sight in Egypt and Syria; but the first institution for the instruction of the blind was the idea of Valentin Hauy, brother of the celebrated mineralogist. In 1784 he opened an institution in which the blind were instructed not only in appropriate mechanical employments, as spinning, knitting, making ropes or fringes, and working in paste-board, but also in music, in reading, writing, ciphering, geography, and the sciences. For instruction in reading he procured raised letters of metal; for writing he used particular writing-cases, in which a frame, with wires to separate the lines, could be fastened upon the paper; for ciphering there were movable figures of metal, and ciphering-boards in which the figures could be fixed; for teaching geographymaps were prepared upon which mountains, rivers, cities, and the boundaries of countries were indicated to the sense of touch in various ways, etc.
Similar institutions were soon afterwards founded in Amsterdam, Berlin, Brussels, Copenhagen, Dresden, Edinburgh, Liverpool, London, Vienna, and in many towns of the United States. By 1900 there were comparatively few large cities that did not possess a school or institution of some kind for the blind.
At the start of the 20th century the attitude towards the blind was rather patronising, and one source may be quoted as saying 'the occupations in which the blind are found capable of engaging are such as the making of baskets and other kinds of wicker-work, brushmaking, rope and twine making, the making of mats and matting, knitting, netting, fancy work of various kinds, cutting fire-wood, the sewing of sacks and bags; the carving of articles in wood, etc'. However, it was also recognised that more skilled tasks could also be performed by blind persons, and the same source notes that 'Piano-tuning is also successfully carried on by some, and the cleaning of clocks and watches has even been occasionally practised by them'.
Around 1900 an impetus was given, in Britain, to the higher education of the blind by the formation of the British and Foreign Blind Association, the establishment of a college for the Blind Sons of Gentlemen at Worcester, and the Royal Normal College and Academy of Music for the Blind, Upper Norwood.
Various systems were devised for the purpose of teaching the blind to read, some of which consisted in the use of the ordinary Roman alphabet, with more or less modification, and some of which employ types quite arbitrary in form. In all systems the characters rise above the surface of the paper so as to be felt by the fingers. The type adopted by Hauy was the script or italic form of the Roman letter. This was introduced into England by Sir C. Lowther, who printed the Gospel of St. Matthew in 1832 with type obtained from Paris. Before this Gall of Edinburgh made use of an embossed alphabet based on the ordinary Roman small letters, in which all curves were replaced by angular lines, and in 1834 he published the Gospel of St John in this character. Subsequently he introduced various improvements, and in particular the letters were produced with serrated surfaces, thus giving greater distinctness. Alston of Glasgow, Howe of Boston, and others also used the Roman form; but the former (who was the first to print the whole Bible, in 1840) adopted the Roman capitals, while the latter adopted the small letters, printing in this type the Bible and many other books. Of alphabets deviating entirely or nearly so from the Roman letter, one consists of a stenographic shorthand invented by Lucas of Bristol; another was a phonetic shorthand devised by Frere of London. In Dr. Moon's alphabet some of the characters are Roman, others are based on or suggested by the Roman characters. The Braille system, widely adopted by the laye 20th century, is one in which the letters are formed by a combination of dots. Dr. Moon's system from its simplicity and the size of its characters is in very general use in books for the blind. There are also systems by which the blind are enabled to write, and the writing may be either in relief so as to be read by the blind, or in characters that may be read by those who see. Research Blind
Blind Men was a British situation comedytelevision show created by Chris England and Neil Hancock about two rival window-blind salesmen. Blind Men starred Jeremy Swift and Jesse Birdsall, and ran from 1997 to 1998. Research Blind Men
Dominant ideology means the principal ideas, values and morals in a given society. It is a particular version of reality but only one of a number of possible versions. These ideas may, however, be so well established that members of society believe them to be naturally given and beyond question (like when people thought the earth was flat). It is possible for different ideologies to exist within a given society different versions of reality but they lack the persuasive power and generalised acceptance enjoyed by the
dominant ideology. Marxist sociologists have pointed out that ideologies are rarely neutral, and serve to justify and support the interests of a powerful social group over less-powerful groups. The dominant ideology thesis asserts that working-class subordination in capitalist societies is largely the outcome of the cultural dominance achieved by the capitalist class. For Marx, the ruling ideas in a given society are always the ideas of the ruling social group. This theory is well supported by evidence of the general blindacceptance of the 'goodness' of pharmaceuticals purveyed by the immensely powerful pharmaceutical industries in the west, despite negative evidence such as dependency and side effects. Feminine sociologists make a similar point, but starting from a different premise. Some sociologists, such as Abercrombie, criticise the dominant ideology thesis, arguing that its proponents overestimate the extent to which different groups are integrated into the dominant culture, and underestimate the extent to which different
groups can generate ideas which run counter to dominant ideologies. However, evidence to support this criticism is sparse, but contrary evidence is widespread in the persecution of Copernicus, Galileo, and the 20th century AIDS dissidents, all of which questioned a dominant ideology only to be hounded and ridiculed at the time. Research Dominant Ideology
Engraving is the art of representing objects and depicting characters on metal, wood, precious stones, etc, by means of incisions made with instruments variously adapted to the substances operated upon and the description of work intended.
Impressions from metal plates are named engravings, prints, or plates those printed from wood being called indifferently wood engravings and wood-cuts. While, however, these impressions are not altogether dissimilar in appearance, the processes are distinct. In plates the lines intended to print are incised, and in order to take an impression the plate is daubed over with a thick ink which fills all the lines. The surface is then wiped perfectly clean, leaving only the incised lines filled with ink. A piece of damp paper is now laid on the face of the plate, and both are passed through the press, which causes the ink to pass from the plate to the paper. This operation needs to be repeated for every impression, for the wood block, on the contrary, the spaces between the lines of the drawing are cut out, leaving the lines standing up like type, the printing being from the inked surface of the raised lines, and effected much more rapidly than plate printing.
Engraving on wood, intended for printing or taking impressing from, long preceded engraving on metals. The art is of eastern origin, and at least as early as the 10th century engraving and printing from wood blocks was common in China. We first hear of wood engraving being cultivated in Europe by the Italians and Germans in the 13th century. For a hundred and fifty years, however, there is small indication of the practice of the art, which was at first confined to the production of block-books, playing cards, and religious prints. In the 15th century the art of printing from engraved plates was discovered in Florence by Maso Finiguerra.
Engraving had long been used as a means of decorating armour, metal vessels, etc, the engravers generally securing duplicates of their works before laying in the niello (a species of metallic enamel) by filling the lines with dark colour, and taking casts of them in sulphur. The discovery of the practicability of taking impressions upon paper led to engraving upon copper plates for the purpose of printing from.
The date of the earliest known niello proof upon paper is 1452. The work of the Florentine engravers, however, was almost at once surpassed in Venice and elsewhere in North Italy by Andrea Mantegna, Girolamo Mocetto, Giovanni Batista del Porto, and others. In Marc Antonio Raimondi, who wrought under the guidance of Raphael, and reproduced many of his works, the art reached its highest point of the earlier period, and Rome became the centre of a new school, which included Marco da Ravenna, Giulio Bonasone, and Agostino de Musis.
In the meantime, in Germany the progress of the art had been not less rapid. Of the oldest school the most important engraver is Martin Schongauer. He was, however, surpassed a generation later by Albert Durer who excelled both in copper and wood engraving, especially in the latter. Among his most famous contemporaries and successors were Burgkmair and Lucas Cranach. The Dutch and Flemish schools, of which Durer's contemporary Lucas van Leyden was the head, did much to enlarge the scope of the art, either by paying increased attention to the rendering of light and shade, and the expression of local colour, as in the case of Cornelius Cort and Bloemart; or by developing freedom and expression of line, as in the case of Goltzius and his pupils.
Rubens influenced engraving through the two Bolswerts, Vorstermann, Pontius, and de Jode, who engraved many of his works on a large size. Towards the end of the 17th century etching, which had before been rarely used, became more common, and was practised with great success by Rembrandt and other painters of that period. In France Noel Garnier founded a school of engraving about the middle of the 16th century; but it produced no work of any high distinction until the reign of Louis XIV, when Nanteuil's pupil Gerard Edelinck and Gerard Audran flourished. The former was skilled in using his graver to produce colour effects, the latter is famed for his engravings from Nicolas Poussin and Le Brun. But these were all surpassed about the middle of the 18th century by Wille, a German resident in Paris.
Before the middle of the 17th century England produced little noteworthy work, availing herself principally of the work of foreign engravers, of whom many took up temporary and even permanent residence. The first English engraver of marked importance was William Hogarth, whose works are distinguished for character and expression. Vivares, a Frenchman by birth, laid the foundation of the English school of landscape-engraving, which was still further developed by William Woollet, who was also an excellent engraver of the human figure.
In historical engraving a not less remarkable advance was made by Sir Robert Strange, and Richard Earlom produced some admirable works in mezzotint. In succession to these came William Sharp, James Bazire, Bartolozzi, James Heath, Bromley, Raimbach, and others.
The substitution of steel for copper plates around 1820 to 1830 gave the power of producing a much larger number of fine impressions, and opened new possibilities for highly-finished work.
During the closing years of the 18th century line engraving attained a depth of colour and fulness of tone in which earlier works generally are deficient, and during the following century it reached a perfectness of finish which it had not previously attained. A picture, whether figure or Landscuape, may be translated by line engraving with all its depth of colour, delicacy of tone, and effect of light and shade; the various textures, whether of naked flesh, silk, satin, woollen, or velvet, all successfully rendered by ingenious modes of laying the lines and combinations of lines of varying strength, width, and depth. Among engraverswho have produced historical works of large size and in the line manner the names of Raphael Mrghen, Longhi, Anderloni, Garavaglia, and Toschi, in Italy; of Forster, Henriquel-Dupont, Bridoux, and Blanchard, in France; of John Burnet, J H Robinson, Doo, J H Watt, and Lumb Stocks, in England, stand pre-eminent.
Among historical and portrait engravers in the stipple or dotted manner the names of H T Ryall, Henry Robinson, William Holl and Francis Holl, may well be mentioned.
In the period 1820 to 1860 landscape engraving attained a perfection in Great Britain which it had not attained in any other country, or at any other time. Among landscape engravers the names of George Gooke, William Miller, E Goodall, J Cousen, K Brandard, and William Forrest hold the foremost places. In mezzotinto engraving Samuel Cousins is unrivalled.
In the period 1830 to 1845 various publications called Annuals, composed of light literature in prose and verse, and illustrated by highly-finished engravings in steel, were very popular. The engravings were necessarily of small size, and are generally of great excellence. A number of them both figure and landscape are executed with such finish and completeness as to be esteemed perfect works. The unrivalled illustrations of Rogers' Poems and Rogers' Italy after Turner and Stothard belong to this period. Many of the originals of the engravings in the Annuals were finished pictures of large size.
A great part of the difficulty in engraving on a small scale from a large picture, consists in determining what details can be left out, and still preserve the full effect and character of the original. The most noted engravers for work of small size are Charles Heath, Charles Bolls, W Finden, E Finden, E. Portbury, J Goodyear, F Engleheart, Henry Le Keux, E Goodall, and W Miller.
After 1870 many plates were produced by a combination of etching and dry point, a comparatively cheap and rapid process. Such works were fashionable and very popular with collectors. But while some of them have been excellent of their kind, the process is of limited resource, and the best works in this manner will not stand comparison with the masterpieces of line engraving. Through lack of encouragement, change of fashion, and the adoption of other methods of reproduction such as photography, line engraving rapidly becoming a lost art in Great Britain. The men who made line engraving famous died, and there was no sufficient inducement for younger men to pursue that art. In France and in Germany some able line engravers were still in practice at the start of the 20th century.
Line Engraving, as implied by the term, is executed entirely in lines. The tools are few and simple. They consist of the graver or burin, the point, the scraper, and the burnisher; an oil-stone or hone, dividers, a parallel square, a magnifying lens; a bridge on which to rest the hand; a blind or shade of tissue paper, to make the light fall equally on the plate, callipers for levelling important erasures, a small steelanvil, a small pointed hammer, and punches. In etching, the following articles are required: a resinous mixture called etching-ground, capable, when spread very thinly over the plate, of resisting the action of the acids used; a dauber for laying the ground equally; a hand-vice; some hair-pencils of different sizes, and bordering wax, made of burgundy-pitch, bees'-wax, and a little oil.
In engraving, the plate, which is highly polished and must be free from all scratches, is first prepared by spreading over it a thin layer of ground. The surface is then smoked, and the outline of the picture transferred to it by pressure from the paper on which it has been drawn in fine outlines by a black-lead pencil. The picture is then drawn on the ground with the etching-needle, which removes the ground in every form produced by it, and leaves the bright metal exposed. A bank of wax is then put round the plate and diluted acid poured on it, which eats out the metal from the lines from which the ground has been removed, but leaves the rest of the plate untouched. The plate is then gone over with the graver, the etched lines clearly defuned, broken lines connected, new lines added, etc. Sometimes the plate is rebitten more than once, those parts which are sufficiently bitten in the first treatment being stopped with varnish, and only the selected parts exposed to after-biting. Finally the burnisher is brought into play alternately with the graver and point to give perfectness and finish.
Such is the process for landscape engraving. In historical and portrait engraving of the highest class, the lines are first drawn on the metal with a fine point and then cut in by the graver, first making a fine line and afterwards entering and re-entering till the desired width and depth of lines is attained. Much of the excellence of such engravings depends on the mode in which the lines are laid, their relative thickness, and the manner in which they cross each other. In historical engraving etching is but little used, and then only for accessories and the less important parts.
In Soft-ground Etching the ground, made by mixing lard with common etching-ground, is laid on the plate and smoked as before, but its extreme softness renders it very liable to injury. The outline of the subject is drawn on a piece of rough paper larger than the plate. The paper is then damped, and laid gently over the ground face upwards, and the margins folded over and pasted down on the back of the plate. When the paper is dry and tightly stretched the bridge is laid across, and with a hardish pencil and firm pressure the drawing is completed in the usual manner. The pressure makes the ground adhere to the back of the paper at all parts touched by the pencil, and on. the paper being lifted carefully off, these parts of the ground are lifted with it, and the corresponding parts of the plate thus left bare are exposed to the subsequent action of the acid. The granulated surface of the paper, causing similar granulations in the touches on the ground, gives the character of a chalk-drawing. The biting-in is effected in the same manner as already described, and the subject is finished by re-biting and dotting with the graver.
Stipple, or Chalk Engraving, in its pure state, is exclusively composed of dots, varying in size and form as the nature of the subject demands, but few stipple plates are now produced without a large admixture of line in all parts, flesh excepted. A great advance, however, was made in stipple engraving by the introduction of large and varied forms of dotting in the draperies, the results almost rivalling line engraving in richness and power.
The Mixed Style is based on mezzotinto, which, still forming the great mass of shading, is in this method combined with etching in the darker, and stipple in the more delicate parts. By this combination a plate will produce a larger number of good impressions than were it done entirely in mezzotinto.
The wood best adapted for engraving is box. It is cut across the grain in thicknesses equal to the height of type, these slices being subjected to a lengthened process of seasoning, and then smoothed for use. Every wood engraving is the representative of a finished drawing previously made on the block; the unshaded parts being cut away, and the lines giving form, shading, texture, etc, left standing in relief by excavations of varied size and character, made between them by gravers of different forms. Drawings on wood are made either with black-lead pencil alone or with pencil and indian ink, the latter being employed for the broader and darker masses. It is now much the practice to photograph drawings made in black and white upon the wood instead of making the drawing on the wood block. When the drawing is put on the wood by washes or by photography instead of being entirely done by pencil lines, the engraver has to devise the width and style of lines to be employed instead of cutting in facsimile, as is the case when the drawing is made entirely in lines. The tools required for wood engraving are similar but more numerous than those of the engraver on copper or steel. Research Engraving
Amphibia (the amphibians) is a class of vertebrate animals, which in their early life breathe by gills or branchiae, and afterwards partly or entirely by lungs. The Frog, breathing in its tadpole state by gills and afterwards throwing off these organs and breathing entirely by lungs in its adult state, is an example of the latter phase of amphibian existence. The Proteus of the underground caves of Central Europe exemplifies forms in which the gills of early life are retained throughout life, and in which lungs are developed in addition to the gills. A second character of this group consists in the presence of two occipital condyles, or processes by means of which the skull articulates with the spine or vertebral column; Reptiles possessing one condyle only. The class is divided into four orders: the Ophiomorpha (or serpentiform), represented by the Blind-worms, in which limbs are wanting and the body is snake-like ; the Urodela or Tailed Amphibians, including the Newts, Proteus, Siren, etc; theAnoura, or Tailless Amphibia, represented by the Frogs and Toads; and the Labyrinthodontia, which includes the extinct forms known as Labyrinthodons. Research Amphibia
Anomalepidae is the 'American Blind Snakes' family of reptiles of the suborder Serpentes (snakes). The members are similar to the members of the family Typhlopidae, but some members possess a single tooth in the lower jaw. The family contains roughly twenty species in four genera which are native to Central and South America. Research Anomalepidae
Abbreviations
Research Billabong
