1.
Gargoyle
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Architects often used multiple gargoyles on buildings to divide the flow of rainwater off the roof to minimize the potential damage from a rainstorm. A trough is cut in the back of the gargoyle and rainwater typically exits through the open mouth, Gargoyles are usually an elongated fantastic animal because the length of the gargoyle determines how far water is thrown from the wall. When Gothic flying buttresses were used, aqueducts were cut into the buttress to divert water over the aisle walls. It is also connected to the French verb gargariser, which shares a Latin root with the verb gargle and is likely imitative in origin, the Italian word for gargoyle is doccione or gronda sporgente, an architecturally precise phrase which means protruding gutter. When not constructed as a waterspout and only serving an ornamental or artistic function, there are also regional variations, such as the hunky punk. Just as with bosses and chimeras, gargoyles are said to frighten off and protect those that it guards, such as a church, however, in common usage, the word gargoyle is generally used to describe any monstrous sculpture, whether intended as a waterspout or not. La Gargouille is said to have been the typical dragon with wings, a long neck. There are multiple versions of the story, either that St. Romanus subdued the creature with a crucifix, or he captured the creature with the help of the only volunteer, a condemned man. In each, the monster is led back to Rouen and burned, the head was then mounted on the walls of the newly built church to scare off evil spirits, and used for protection. In commemoration of St. Romain, the Archbishops of Rouen were granted the right to set a free on the day that the reliquary of the saint was carried in procession. The term gargoyle is most often applied to work, but throughout all ages some means of water diversion. In Ancient Egyptian architecture, gargoyles showed little variation, typically in the form of a lions head, similar lion-mouthed water spouts were also seen on Greek temples, carved or modelled in the marble or terracotta cymatium of the cornice. An excellent example of this are the 39 remaining lion-headed water spouts on the Temple of Zeus, there were originally 102 gargoyles or spouts, but due to the heavy weight, many have snapped off and had to be replaced. Many medieval cathedrals included gargoyles and chimeras, the most famous examples are those of Notre Dame de Paris. Although most have grotesque features, the term gargoyle has come to all types of images. Some gargoyles were depicted as monks, or combinations of animals and people. Unusual animal mixtures, or chimeras, did not act as rainspouts and are properly called grotesques. They serve more as ornamentation, but are now synonymous with gargoyles, both ornamented and unornamented water spouts projecting from roofs at parapet level were a common device used to shed rainwater from buildings until the early eighteenth century
2.
Baboon
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Baboons are African and Arabian Old World monkeys belonging to the genus Papio, part of the subfamily Cercopithecinae. The five species are some of the largest non-hominoid members of the order, only the mandrill. Previously, the closely related gelada and the two species of genus Mandrillus were grouped in the genus, and these Old World monkeys are still often referred to as baboons in everyday speech. They range in size and weight depending on species, the Guinea baboon is 50 cm and weighs only 14 kg, while the largest chacma baboon can be 120 cm and weigh 40 kg. Five species of Papio are commonly recognized, although there is disagreement about whether they are really full species or subspecies. They are P. ursinus, P. papio, P. hamadryas, P. anubis, many authors distinguish P. hamadryas as a full species, but regard all the others as subspecies of P. cynocephalus and refer to them collectively as savanna baboons. However, recent morphological and genetic studies of Papio show the hamadryas baboon to be closely related to the northern baboon species than to the southern species. In 2015 researchers found the oldest baboon fossil dating 2 million years ago, the traditional five-form classification probably under-represents the variation within Papio. However, current knowledge of the morphological, genetic, and behavioral diversity within Papio is too poor to make any final and these calluses are nerveless, hairless pads of skin that provide for the sitting comfort of the baboon. All baboon species exhibit pronounced sexual dimorphism, usually in size, males of the hamadryas baboon species also have large white manes. Baboons are terrestrial and are found in savannah, open woodland. Their diets are omnivorous, but mostly herbivorous, yet they eat insects and occasionally prey on fish, trout and salmon if available, shellfish, hares, birds, vervet monkeys and they are foragers and are active at irregular times throughout the day and night. They can raid human dwellings, and in South Africa, they have known to prey on sheep. Baboons in captivity have been known to live up to 45 years, baboons are able to acquire orthographic processing skills, which form part of the ability to read. Their principal predators are Nile crocodiles, lions, spotted and striped hyenas, leopards and they are considered a difficult prey for the leopard, though, which is mostly a threat to young baboons. Large males will often confront them by flashing their eyelids, showing their teeth by yawning, screeching, making gestures, although they are not a prey species, baboons have been killed by the black mamba. This usually occurs when a baboon accidentally rouses the snake, most baboons live in hierarchical troops. Group sizes vary between five and 250 animals, depending on circumstances, especially species and time of year
3.
Nathaniel Hitch
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Nathaniel Hitch was a British sculptor. Nathaniel Hitch was born in Ware, Hertfordshire in 1845, his father being George Hitch, showing an early talent for working with his hands, Hitch created a small model for the vestry of Ware Parish Church when he was 12 years age. In around 1860, Hitch was apprenticed to the sculptors, Farmer and Brindley in London who worked in wood, stone and metal creating art metalwork. Until Hitch developed his own commissions it is difficult to speculate as to what he worked on, Hitch would have carved out rough-hewn forms ready for the master carver to add the fine details and finishing touches to the sculpture. To further his skills, Hitch attended Borough Polytechnic, now London South Bank University between 1894 and 1901, this arranged by Farmer and Brindley. After Farmer and Brindley, Hitch was employed by the sculptor Thomas Nicholls, Hitchs career spanned the years 1871 to 1935 and although he considered himself primarily as an architectural sculptor, he was also a mason, sculptor, sculptors modeller and church decorator. For most of his life he ran a business in Battersea in Greater London. His association with Pearson spanned at least the period between 1880 and 1912, Hitch also worked with William Douglas Caröe, a student of Pearson, as well as H. Fuller Clark, T. H. United States Westminster Abbey - a Royal Peculiar in the City of Westminster, England He exhibited only once at the Royal Academy exhibition, showing a bust of F. Weekes Esquire there in 1884. The following quote was taken from the obituary for Hitch in The Times, Mr. Nathaniel Hitch, a native of Ware, in Hertfordshire, he came to London at the age of 14 and for over 70 years he worked continuously. His later work included the recumbent statues of Bishop Satterlee and Bishop Harding, Hitch was married and the father of at least nine children, one of which was Frederick Brook Hitch who worked with his father in his studio. Upon Nathaniel Hitchs death, Frederick focused his career on mainstream sculpture, rather than architectural sculptor
4.
Bavaria
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Bavaria is a free state and one of 16 federal states of Germany. Located in the German southeast with an area of 70,548 square kilometres and its territory comprises roughly a fifth of the total land area of Germany, and, with 12.9 million inhabitants, it is Germanys second most populous state. Munich, Bavarias capital and largest city, is the third largest city in Germany, the Duchy of Bavaria dates back to the year 555. In the 17th century CE, the Duke of Bavaria became a Prince-elector of the Holy Roman Empire, the Kingdom of Bavaria existed from 1806 to 1918, when Bavaria became a republic. In 1946, the Free State of Bavaria re-organised itself on democratic lines after the Second World War, Bavaria has a unique culture, largely because of the states Catholic majority and conservative traditions. Bavarians have traditionally been proud of their culture, which includes such as Oktoberfest. The state also has the second largest economy among the German states by GDP figures, modern Bavaria also includes parts of the historical regions of Franconia, Upper Palatinate and Swabia. The Bavarians emerged in a north of the Alps, previously inhabited by Celts. The Bavarians spoke Old High German but, unlike other Germanic groups, rather, they seem to have coalesced out of other groups left behind by Roman withdrawal late in the 5th century. These peoples may have included the Celtic Boii, some remaining Romans, Marcomanni, Allemanni, Quadi, Thuringians, Goths, Scirians, Rugians, the name Bavarian means Men of Baia which may indicate Bohemia, the homeland of the Celtic Boii and later of the Marcomanni. They first appear in written sources circa 520, a 17th century Jewish chronicler David Solomon Ganz, citing Cyriacus Spangenberg, claimed that the diocese was named after an ancient Bohemian king, Boiia, in the 14th century BCE. From about 554 to 788, the house of Agilolfing ruled the Duchy of Bavaria and their daughter, Theodelinde, became Queen of the Lombards in northern Italy and Garibald was forced to flee to her when he fell out with his Frankish overlords. Garibalds successor, Tassilo I, tried unsuccessfully to hold the frontier against the expansion of Slavs. Tassilos son Garibald II seems to have achieved a balance of power between 610 and 616, after Garibald II little is known of the Bavarians until Duke Theodo I, whose reign may have begun as early as 680. From 696 onwards he invited churchmen from the west to organize churches and his son, Theudebert, led a decisive Bavarian campaign to intervene in a succession dispute in the Lombard Kingdom in 714, and married his sister Guntrud to the Lombard King Liutprand. At Theodos death the duchy was divided among his sons, at Hugberts death the duchy passed to a distant relative named Odilo, from neighbouring Alemannia. He was defeated near Augsburg in 743 but continued to rule until his death in 748, saint Boniface completed the peoples conversion to Christianity in the early 8th century. Bavaria was in ways affected by the Protestant Reformation in the 16th century
5.
Chimera (mythology)
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The Chimera was, according to Greek mythology, a monstrous fire-breathing hybrid creature of Lycia in Asia Minor, composed of the parts of more than one animal. The seeing of a Chimera was an omen for disaster, elsewhere in the Iliad, Homer attributes the rearing of Chimera to Amisodorus. Her did Pegasus and noble Bellerophon slay, the author of the Bibliotheca concurs, descriptions agree that she breathed fire. The Chimera is generally considered to have been female despite the mane adorning her head, the inclusion of a close mane often was depicted on lionesses, sighting the Chimera was an omen of storms, shipwrecks, and natural disasters. While there are different genealogies, in one version the Chimera mated with her brother Orthrus and was the mother of the Sphinx, the Chimera finally was defeated by Bellerophon with the help of Pegasus, at the command of King Iobates of Lycia. Since Pegasus could fly, Bellerophon shot the Chimera from the air, safe from her heads, robert Graves suggests, The Chimera was, apparently, a calendar-symbol of the tripartite year, of which the seasonal emblems were lion, goat, and serpent. The Chimera was situated in foreign Lycia, but her representation in the arts was wholly Greek, an autonomous tradition, one that did not rely on the written word, was represented in the visual repertory of the Greek vase-painters. The Corinthian type is fixed, after some hesitation, in the 670s BC. The fascination with the monstrous devolved by the end of the century into a decorative Chimera-motif in Corinth. Two vase-painters employed the motif so consistently they are given the pseudonyms the Bellerophon Painter, a fire-breathing lioness was one of the earliest of solar and war deities in Ancient Egypt and influences are feasible. The lioness represented the war goddess and protector of both cultures that would unite as Ancient Egypt, sekhmet was one of the dominant deities in upper Egypt and Bast in lower Egypt. As divine mother, and more especially as protector, for Lower Egypt, Bast became strongly associated with Wadjet, in Etruscan civilization, the Chimera appears in the Orientalizing period that precedes Etruscan Archaic art, that is to say, very early indeed. The Chimera appears in Etruscan wall-paintings of the fourth century BC, in Medieval art, although the Chimera of antiquity was forgotten, chimerical figures appear as embodiments of the deceptive, even satanic forces of raw nature. Provided with a face and a scaly tail, as in Dantes vision of Geryon in Inferno xvii. The myths of the Chimera may be found in the Bibliotheca of Pseudo-Apollodorus, the Iliad by Homer, the Fabulae 57 and 151 by Hyginus, the Metamorphoses, and the Theogony 319ff by Hesiod. Virgil, in the Aeneid employs Chimaera for the name of ship of Gyas in the ship-race. Pliny the Elder cited Ctesias and quoted Photius identifying the Chimera with an area of permanent gas vents that still may be found by hikers on the Lycian Way in southwest Turkey, the vents emit burning methane thought to be of metamorphic origin. The fires of these were landmarks in ancient times and used for navigation by sailors, the Neo-Hittite Chimera from Carchemish, dated to 850–750 BC, which is now housed in the Museum of Anatolian Civilizations, is believed to be a basis for the Greek legend
6.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
7.
Architecture
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Architecture is both the process and the product of planning, designing, and constructing buildings and other physical structures. Architectural works, in the form of buildings, are often perceived as cultural symbols. Historical civilizations are often identified with their surviving architectural achievements, Architecture can mean, A general term to describe buildings and other physical structures. The art and science of designing buildings and nonbuilding structures, the style of design and method of construction of buildings and other physical structures. A unifying or coherent form or structure Knowledge of art, science, technology, the design activity of the architect, from the macro-level to the micro-level. The practice of the architect, where architecture means offering or rendering services in connection with the design and construction of buildings. The earliest surviving work on the subject of architecture is De architectura. According to Vitruvius, a building should satisfy the three principles of firmitas, utilitas, venustas, commonly known by the original translation – firmness, commodity. An equivalent in modern English would be, Durability – a building should stand up robustly, utility – it should be suitable for the purposes for which it is used. Beauty – it should be aesthetically pleasing, according to Vitruvius, the architect should strive to fulfill each of these three attributes as well as possible. Leon Battista Alberti, who elaborates on the ideas of Vitruvius in his treatise, De Re Aedificatoria, saw beauty primarily as a matter of proportion, for Alberti, the rules of proportion were those that governed the idealised human figure, the Golden mean. The most important aspect of beauty was, therefore, an inherent part of an object, rather than something applied superficially, Gothic architecture, Pugin believed, was the only true Christian form of architecture. The 19th-century English art critic, John Ruskin, in his Seven Lamps of Architecture, Architecture was the art which so disposes and adorns the edifices raised by men. That the sight of them contributes to his health, power. For Ruskin, the aesthetic was of overriding significance and his work goes on to state that a building is not truly a work of architecture unless it is in some way adorned. For Ruskin, a well-constructed, well-proportioned, functional building needed string courses or rustication, but suddenly you touch my heart, you do me good. I am happy and I say, This is beautiful, le Corbusiers contemporary Ludwig Mies van der Rohe said Architecture starts when you carefully put two bricks together. The notable 19th-century architect of skyscrapers, Louis Sullivan, promoted an overriding precept to architectural design, function came to be seen as encompassing all criteria of the use, perception and enjoyment of a building, not only practical but also aesthetic, psychological and cultural
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