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Welcome to our textGALLERY. Explore the images below through text and learn how image description can immerse the viewer in the subject and help make images accessible to all.
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The Arnolfini Portrait by Jan van Eyck.
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The Arnolfini Portrait, an oil on oak panel painting by Jan van Eyck, 1434.
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LONG DESCRIPTION
The description of the painting is presented in 3 main sections as follows.
Section 1. Context.
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A formal double portrait depicting a wealthy couple in a domestic interior. The painting is renowned for its intricate symbolism, masterful detail, and the artist's signature inscription above a central mirror. It is one of the most analysed works in Western art history.
Section 2. Structure.
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The composition is symmetrical, with the two finely dressed figures standing side by side in the centre of the frame, their joined hands forming the focal point. A convex mirror on the back wall anchors the central axis. The room extends around them: windows to the left, a canopied bed to the right, a chandelier above, and a small dog at their feet. The painting is rich with objects, including oranges, sandals, a rug, carved furniture, each rendered in meticulous detail.
Section 3. Walkthrough.
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The man stands on the left. He wears a dark plum-brown tabard with wide sleeves, trimmed with brown fur, over a black doublet. A large black hat with a wide brim sits atop his head. His face is pale and solemn, eyes downcast. His right hand is raised, palm outward, in a gesture of oath or greeting. His left hand extends to hold the woman's right hand, palm upward, in a formal clasp.
The woman stands on the right. She wears a vivid green gown with elaborate gathered fabric at the skirt, trimmed with white fur at the hem and cuffs. Beneath it, blue sleeves are visible. A white linen headdress frames her face, her hair hidden. Her expression is composed, gaze lowered. Her left hand rests on her stomach. She wears a delicate gold necklace and two gold rings grace the fingers of her left hand.
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Between them, a small brown dog, a Brussels griffon, stands alert, staring directly at the viewer.
The room is a wealthy Flemish interior. To the left, a window with open wooden shutters lets in light; oranges rest on the sill and sideboard below. A cherry tree is glimpsed through the open window shutters, and the top of the window is adorned with stained-glass of circular design. To the right, a four-poster bed with deep red curtains and bedding dominates the corner. A red upholstered chair with carved finials sits behind the couple. An ornate rug with red, blue, and gold patterns covers part of the wooden floor. Two pairs of discarded shoes, wooden pattens near the man, red leather slippers near the woman, lie in the foreground.
Above, a brass chandelier with six branches holds a single lit candle.
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On the back wall, a convex mirror reflects the entire room in miniature, including the backs of the couple and two additional figures, one in blue, one in red, standing in a doorway facing into the scene. The mirror's ornate frame contains 10 small roundels depicting scenes from the Passion of Christ.
Above the mirror, in elegant script, the artist has written: Johannes de eyck fuit hic 1434. This translates from the Latin as Jan van Eyck was here, 1434.
Description ends.
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Alice meets the Cheshire Cat.
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Alice looks up at the grinning Cheshire Cat sitting on a bough of a tree. He is a very large cat, with thick dark fur and black stripes across his back. His tail curls down towards Alice. His big round eyes watch Alice avidly and his wide grin reveals a phalanx of very sharp teeth. Alice stands very politely before him. Her hands are clenched behind her and her feet are pressed closely together. She appears to be slightly nervous, but she is still curious to meet this smiling creature.
DESCRIPTION ENDS
ART
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The Milbanke and Melbourne Families by George Stubbs.
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The Milbanke and Melbourne Families, an oil on canvas painting by the English artist, George Stubbs, about 1769.
LONG DESCRIPTION
The description of the painting is presented in 3 main sections as follows.
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Section 1. Context.
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A group portrait commemorating the marriage of Elizabeth Milbanke and Peniston Lamb, 1st Lord Melbourne, in April 1769. Painted in the English conversation piece tradition, the work shows the newly married couple with Elizabeth's father and brother. Stubbs exhibited the painting as A Conversation at the Society of Artists in 1770. Elizabeth was just 16 when she married the 24-year-old Peniston; she would later achieve fame in fashionable society, and her son William Lamb became Prime Minister and adviser to Queen Victoria. The painting measures 97.2 by 147.3 centimetres and is held by the National Gallery, London.
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Section 2. Structure.
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The composition arranges four figures, three horses, and a dog along a countryside pathway in a shallow horizontal band echoing the structure of a classical frieze. The scene is framed by a large oak tree dominating the left side, its branches spreading above the figures to visually link the two families. A rocky outcrop on the right may represent Creswell Crags on the Nottinghamshire-Derbyshire border, alluding to Lord Melbourne's connections with Derbyshire. The figures form two groups: Elizabeth and her father on the left beside a phaeton carriage, and her brother John in the centre with her husband Peniston mounted on horseback to the right.
Section 3. Walkthrough.
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Left group: Elizabeth Milbanke and Sir Ralph Milbanke.
On the far left, Elizabeth Milbanke sits in a phaeton, a high-built four-wheeled open carriage. She wears a rose-pink silk dress with a white silk jacket and an elegant hood. Grey gloves cover her hands as she holds the reins. A grey pony stands before her carriage, contrasting with her husband's more impressive mount. She looks directly out at the viewer rather than at her husband across the canvas. Beside her stands her father, Sir Ralph Milbanke, 5th Baronet of Halnaby, his gloved hands resting on the edge of the carriage. He wears a black tricorn hat and a beige long-coat over a blue and yellow waistcoat. His gaze is directed across the picture toward his new son-in-law, helping to unify the composition.
Centre: John Milbanke.
Elizabeth's elder brother John stands at the centre of the composition. He wears a black tricorn hat, a pale blue long-coat, and matching yellow waistcoat and breeches. Black riding boots cover his feet, and his legs are casually crossed at the ankle. His gloved right hand rests on the neck of his grey horse, which grazes quietly beside him. His left hand sits confidently at his hip, holding a riding crop. He stares directly out of the painting at the viewer.
Right: Peniston Lamb.
On the right, Peniston Lamb, 1st Lord Melbourne, sits astride a chestnut horse of Arabian stock, distinguished by its long neck, concave head profile, and delicate ears. Both horse and rider are captured in profile, facing left toward his new wife. He wears a blue long-coat with golden buttons, a cream waistcoat trimmed in gold, and a black tricorn hat also trimmed in gold. His gaze is fixed upon Elizabeth. At his horse's feet, a brown and white hunting dog lies on the ground, its upward glance toward Lord Melbourne complementing Sir Ralph's gaze across the canvas to further connect the group. Behind them, a scattering of simple white flowers dots the background, and the rocky outcrop rises in the distance.
Setting and sky.
The large oak tree dominates the left side of the painting, its broad branches spreading above the central figures and serving to visually unite the two families. The sky in the upper right corner shows a patch of pale blue, with darker clouds encroaching from the left. Sunlight glints off the edges of the white clouds.
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Description ends.
ART
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Imaginary Landscape, Italian Harbour Scene by Claude-Joseph Vernet.
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Imaginary Landscape, Italian Harbour Scene, an oil on canvas painting by the French artist, Claude-Joseph Vernet, 1746.
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LONG DESCRIPTION
The description of the painting is presented in 3 main sections as follows.
Section 1. Context.
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Claude-Joseph Vernet, widely considered the greatest marine painter in 18th-century France, travelled to Italy in 1734 and spent nearly two decades sketching its coastlines, ruins, and harbours. His work was influenced by Claude Lorrain and is characterised by brilliant colouring, atmospheric light, and lively anecdotal figures integrated seamlessly into the landscape. This painting is a capriccio, an imaginary scene composed from nature studies into a picturesque arrangement rather than depicting a real location. The circular temple echoes the Temple of Vesta at Tivoli, which Vernet visited in 1737 and whose iconic silhouette became a visual shorthand for Italy in 18th-century art. The painting measures approximately 96 by 121 centimetres and is held by the Minneapolis Institute of Art.
Section 2. Structure.
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The composition balances architecture on the left with open sky and sea on the right. A ruined circular temple atop ancient ramparts dominates the upper left, while towering clouds fill the upper right. The lower half depicts the harbour itself: cliffs and a waterfall on the lower left, a stone pier with boats and figures on the lower right. The painting is densely populated with small figures engaged in fishing, trading, and leisure. Vernet was praised for making human figures so completely a part of the scene.
Section 3. Walkthrough.
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The description is organised into 4 quadrants to navigate the painting’s complexity.
Quadrant 1: Upper left. The temple and ramparts.
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A circular temple in a state of gentle dilapidation stands atop ancient harbour ramparts, its form echoing the Temple of Vesta at Tivoli. The rampart wall is constructed from a series of broad arches, now weathered and overgrown. The temple features a colonnaded façade and a long ornate window. Figures stand on a balcony, gazing out to sea. To the left, a pergola draped with vines adjoins the structure. Behind it, a bank of tall cypress trees rises against the sky. A flight of stone steps curls up the cliff face from the beach below, connecting the harbour to the temple.
Quadrant 2: Upper right. The sky.
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The upper right is dominated by towering white cumulus clouds against a pale, warm sky. Two seabirds wheel high above the harbour. The soft, golden light is characteristic of Vernet's atmospheric style.
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Quadrant 3: Lower right. The harbour and pier.
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A stone pier extends into the harbour. At its end, two men haul fishing nets, assisted by two men in a small fishing boat tethered alongside. Further along the pier, a trader in Levantine robes converses with another man, a reminder of the Mediterranean's role as a crossroads of commerce.
In the harbour, a sloop-style vessel lies at anchor, its white sails at half-mast. A man in a rowing boat calls up to its occupants. Beyond, a larger ship is moored at the harbour mouth, her sails full, flying a red flag with a white cross. A small rowing boat, heavy with passengers, sits low in the water beside her starboard side. On the beach, men haul another rowing boat ashore near an abandoned anchor.
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In the foreground, 6 figures occupy a rocky outcrop. On the left, a man and woman stand with fishing rods; she points at a fish being placed on the rock by a young fisherman who holds a large net. Between them, a man and 2 women sit elegantly dressed, a pair of picnic baskets at their side: leisure and labour side by side, a hallmark of Vernet's humanised landscapes.
Quadrant 4: Lower left. The cliffs and waterfall.
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High slate-grey cliffs form the left boundary of the painting. A waterfall cascades over them into a dark pool below. A young man, stripped to the waist, sits at the pool's edge with a grey dog. In the gloom, a man stands in a small rowing boat on the water.
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On the bank behind, a woman balances a ceramic pot on her head as a small white dog runs toward her. Another woman sits in the shade of a large rock. In the distance, two women stand beside an ornate fountain built into the rampart wall, its water flowing through a carved opening into a semi-circular basin below.
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Description ends.
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The Attributes of the Arts and the Rewards Which Are Accorded Them, by Jean-Baptiste-Siméon Chardin.
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The Attributes of the Arts and the Rewards Which Are Accorded Them, an oil on canvas painting by the French artist, Jean-Baptiste-Siméon Chardin, 1766.
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LONG DESCRIPTION
The description of the painting is presented in 3 main sections as follows.
Section 1. Context.
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An allegorical still life in which carefully selected objects represent the major arts and the honours bestowed upon their practitioners. Jean-Baptiste-Siméon Chardin, one of the foremost French painters of the 18th century, was renowned for his ability to transform everyday objects into subjects of profound beauty. This painting, completed in 1766, presents emblems of painting, sculpture, architecture, goldsmithing, and drawing arranged on a wooden sideboard. At its centre is a plaster cast of Mercury by Jean-Baptiste Pigalle, a friend of Chardin's and the first sculptor to receive the Order of Saint Michael, the highest honour an artist could then achieve. The cross of this order appears prominently in the composition, making the painting both a celebration of the arts and a tribute to Pigalle's achievement. The work measures approximately 113 by 145 centimetres and is held by the Minneapolis Institute of Art.
Section 2. Structure.
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The composition arranges objects across a wooden sideboard against a dark background, creating a horizontal sweep from left to right. A white plaster sculpture dominates the centre, flanked by objects representing different artistic disciplines: painting to the left, architecture beneath and around the sculpture, and goldsmithing and drawing to the right. The subdued palette of browns, creams, and greys is punctuated by accents of red from book edges and a portfolio. Chardin's characteristic soft diffusion of light illuminates the objects, lending them a quiet dignity.
Section 3. Walkthrough.
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Left: The attributes of painting.
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Two small leather-bound books with red page edges stand on their fore edges, leaning against an artist's wooden paint box. One book has a dark blue bookmark ribbon. A small, well-worn notebook sits in front of the books, its edges curled with use. Draped over the books is a length of thick black ribbon bearing a medal at one end: the Cross of the Order of Saint Michael, designed with 4 white and pale blue arms forming a cross, with a blue circle and red centre. The medal is mounted on a gold fixture, representing the rewards accorded to artistic achievement.
The paint box has a key protruding from its lock. Atop it rests an artist's palette, its thumb hole bristling with a dozen used brushes. The edge of the palette is smeared with primary colours, yellow, red, and blue, and a splotch of white. At the centre, the colours have been mixed. A palette knife lies on top of the box.
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Centre: The attribute of sculpture.
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A white plaster model of Mercury, the messenger of the gods, dominates the composition. The sculpture is a cast of a work by Jean-Baptiste Pigalle, Chardin's friend and fellow academician. Mercury sits on a rock, his muscular body twisted as he reaches down to attach his winged sandals. He wears a winged cap and gazes into the distance, appearing to ready himself for flight.
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Below and around the sculpture: The attributes of architecture.
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The sculpture rests on a sheaf of architectural drawings spread across the sideboard. Five coins are scattered across the papers alongside a small open case containing mechanical drawing instruments, including a compass. A golden set-square and a protractor lean against the base of the sculpture. A ruler lies beneath a red-edged leather-bound book positioned to the right of the sculpture. Two large rolls of paper sit atop the book.
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Right: The attributes of goldsmithing and drawing.
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An ornate bronze pitcher stands to the right of the sculpture, representing the art of goldsmithing. Its handle depicts a great cat, and its spout is formed from the open mouth of a horned creature. Beyond the pitcher, a yellow book stands on its fore edge. A red portfolio, symbolising the art of drawing, leans against the books at the far right. It contains papers and is held closed by two pale ribbons knotted in bows.
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Description ends.
ART
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Mary, Queen of Heaven by Master of the Legend of Saint Lucy.
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Mary, Queen of Heaven, an oil on panel painting by the Master of the Saint Lucy Legend, about 1485–1500.
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LONG DESCRIPTION
The description of the painting is presented in 3 main sections as follows.
Section 1. Context.
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A monumental devotional painting depicting Mary's Assumption into Heaven and her pending Coronation by the Holy Trinity. The Master of the Saint Lucy Legend was an anonymous Early Netherlandish painter active in Bruges from the 1480s into the early 16th century, named after an altarpiece depicting the life of Saint Lucy in the Sint-Jakobskerk in Bruges. His style combines the influence of Jan van Eyck, Rogier van der Weyden, Hugo van der Goes, and Hans Memling, characterised by oval faces with heavily lidded eyes, elaborate brocade fabrics, and jewel-toned robes. The painting's fine detail, particularly in the angels' garments and wings, is an admired characteristic of Netherlandish art of the period. The hymn visible on the angels' sheets has been identified as Ave Regina Caelorum (Hail, Queen of the Heavens). The work measures approximately 199 by 162 centimetres and is held by the National Gallery of Art, Washington, D.C.
Section 2. Structure.
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The composition is vertical and symmetrical, with Mary as the central and largest figure. She is surrounded by angels arranged in concentric rings: 8 supporting angels immediately around her, 4 singing angels behind her head, and additional musician angels on either side. The upper portion of the painting depicts the heavenly realm where God the Father and Christ the Son await to crown Mary, with the Holy Spirit represented as a dove. Below, an earthly landscape stretches into the distance. The painting divides naturally into 3 zones: the heavenly throne at the top, Mary and her attendant angels in the centre, and the earthly world below.
Section 3. Walkthrough.
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The earthly realm.
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At the bottom of the painting, a green and peaceful landscape stretches into the distance. A sparkling river winds through the scene, and a grand residence is visible among rocky hills. Small figures can be seen walking and riding in the gardens, representing the world Mary is leaving behind.
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Mary.
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Mary stands at the centre of the composition, the largest figure in the painting. She wears a crimson robe beneath a dark cloak trimmed with gold. Her gaze is downturned, her hands pressed together in prayer. Her auburn hair, parted in the middle, falls over her shoulders and is crowned with a jewelled circlet. Her feet rest upon a golden crescent moon, a traditional symbol of the Immaculate Conception. Behind her head blazes a sun rendered in gold leaf, creating a radiant halo.
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The supporting angels.
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8 angels hover around Mary, 4 on each side, supporting her with their hands as she ascends. They wear elaborate silk robes in reds, greens, and golds, their wings rendered in exquisite detail, some green, some orange, some blue, and one on the left edged with peacock feathers. The symmetrical arrangement of the angels creates a sense of celestial order.
The musician angels.
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On the left side of the painting, an angel plays a small portable organ. On the right, two angels play musical instruments: one a lute, another a shawm. Further behind, accompanying the singing angels, four more musicians play: on the right, a vielle (an early form of violin) and a shawm; on the left, a harp and a shawm.
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The singing angels.
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Directly behind Mary's head, a quartet of angels sing from hymn sheets bearing the text of Ave Regina Caelorum (Hail, Queen of the Heavens). The meticulous detail of the painting allows the hymn to be identified.
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The heavenly realm.
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At the top of the painting, clouds part to reveal the Kingdom of Heaven. A throne, supported by three angels in flowing blue robes, holds God the Father and Christ the Son. Both wear crimson robes trimmed in gold and golden crowns. They hold a golden crown between them, ready to place it upon Mary's head. Above the crown hovers a white dove, representing the Holy Spirit and completing the Trinity. Flanking the throne are two groups of angels: those on the left sing as a choir, while those on the right play a variety of musical instruments. Their robes range from pink to yellow to blue.
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Description ends.
diagramGALLERY
DIAGRAM
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Napoleon's Invasion of Russia in 1812
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A figurative map of the successive losses in men of the French Army in the Russian campaign 1812–1813, drawn by Charles Joseph Minard in 1869.
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LONG DESCRIPTION
The description of the infographic is presented in 3 main sections as follows.
Section 1. Context.
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The infographic, often cited as one of the greatest statistical graphics ever created, visualises the catastrophic losses suffered by Napoleon's army during the 1812 invasion of Russia. It combines geography, troop numbers, temperature, and time into a single image, telling the story of an army of over 400,000 men reduced to fewer than 10,000 survivors. The graphic was created by Charles Joseph Minard, a retired French civil engineer, and published in Paris on 20 November 1869.
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Section 2. Structure.
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The infographic consists of 2 main elements arranged vertically.
The upper section is a flow map showing the army's route across the western Russian landscape, from the Neman River in the west to Moscow in the east, and back again. Two coloured bands represent the army: a red band for the eastward invasion, a black band for the westward retreat. The width of each band is proportional to troop numbers, with one millimetre representing 10,000 soldiers. Place names and troop figures are annotated along the route. Rivers are marked where crossings occurred.
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The lower section is a temperature graph aligned with the retreat route. It shows the temperature in degrees below zero on the Réaumur scale, with dates marked. A conversion scale on the right provides equivalents in Réaumur, Celsius, and Fahrenheit.
The 2 sections are linked spatially: locations on the retreat path in the upper map align vertically with their corresponding temperatures and dates below.
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Section 3. Walkthrough.
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The Invasion of Russia (red band, left to right).
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The French army crosses the River Neman at Kaunas with 422,000 men. A label at the records that the Cossacks crossed the frozen Neman at a gallop. The band flows eastward, narrowing as losses mount. At Vilnius, troop strength is 400,000; a secondary band branches south, representing Prince Jérôme's detachment. The main army continues through Hlybokaye and Polotsk. At Vitebsk, numbers have fallen to 175,000. The band continues to Smolensk at 145,000, then to Dorogobuzh, across the River Moskva at Gagarin with 127,100, through Vyazma and Mozhaysk, arriving at Moscow with 100,000 men. The band terminates at Moscow on the right side of the map.
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The Retreat from Moscow (black band, right to left).
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The black band begins at Moscow and traces the retreat westward. Initial figures show 96,000 at Maloyaroslavets, then 87,000 at Mozhaysk. The band narrows sharply as winter sets in: 55,000 at Vyazma, 37,000 at Smolensk, 24,000 at Orsha after crossing the River Dnieper. A slight widening to 50,000 at Studzionka marks where Prince Jérôme's remnants rejoin after crossing the River Berezina. The band then narrows again through Maladzyechna at 28,000, Smarhon at 12,000, and Vilnius where two figures appear: 14,000 then 8,000. The band ends at Kaunas with approximately 10,000 survivors, having recrossed the Neman.
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The Temperature Graph.
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The lower graph shows temperatures during the retreat, plotted against dates. Key readings include: 0 degrees R on 18 October at Mozhaysk; minus 9 R on 9 November; minus 21 R on 14 November at Smolensk; minus 20 R on 28 November at the Berezina crossing; minus 24 R on 1 December; minus 30 R on 6 December; and minus 26 R on 7 December near Vilnius.
A conversion table on the right shows:
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0 degrees R = 0 degrees C = 32 degrees F
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Minus 10 R = minus 13 C = 10 F.
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Minus 20 R = minus 25 C = minus 13 F.
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Minus 30 R = minus 38 C = minus 36 F.
Description ends.
DIAGRAM
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Components of the Neuron.
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An illustrated diagram of a neuron showing the cell body, dendrites, axon, myelin sheath, and terminal buttons, with labels describing the function of each component.
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LONG DESCRIPTION
The description of the diagram is presented in 3 main sections as follows.
Section 1. Context.
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The diagram illustrates the structure of a neuron, the basic functional unit of the nervous system. Neurons transmit information through electrical and chemical signals. The diagram shows how a signal travels from one neuron to another, labelling each structural component and its function.
Section 2. Structure.
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The diagram shows two neurons arranged horizontally on a white background. The primary neuron on the left is shown in full, with its components labelled. A second neuron on the right is partially visible, demonstrating how neurons connect to one another. Both neurons are illustrated in shades of yellow and orange. Black leader lines connect each label to its corresponding structure. A curved red-brown arrow indicates the direction of signal transmission along the axon.
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The primary neuron can be divided into three regions: the cell body on the left, the axon in the centre, and the terminal buttons on the right where it approaches the second neuron.
Section 3. Walkthrough.
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The 7 components are presented as follows.
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Cell body (soma). On the far left, the cell body appears as an irregular yellow shape with a darker orange circular nucleus at its centre. The cell body, also known as the soma, contains the nucleus and is the metabolic centre of the neuron.
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Dendrites. Extending outward from the cell body are numerous thin, branching projections. These are the dendrites. They receive messages from other cells and conduct signals toward the cell body.
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Axon. Extending from the cell body toward the right is the axon, a long tube-like structure. The axon passes messages away from the cell body to other neurons, muscles, or glands.
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Myelin sheath. The axon is covered by a series of segmented yellow sheaths, resembling beads on a string. This is the myelin sheath, which covers the axon of some neurons and helps speed neural impulses.
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Action potential. A curved red-brown arrow beneath the axon indicates the action potential, the electrical signal travelling down the axon from the cell body toward the terminal buttons.
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Terminal buttons. At the far right end of the axon, the structure branches into several small bulb-shaped endings. These are the terminal buttons, which form junctions with other cells.
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Second neuron. To the right of the terminal buttons, a second neuron is partially visible. Its dendrites extend toward the terminal buttons of the first neuron, illustrating how signals pass from one neuron to the next. The label notes these are dendrites from another neuron.
Description ends.
DIAGRAM
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The Major Structures of the Human Brain.
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An anatomical diagram showing the major structures of the human brain in mid-sagittal cross-section, with 10 labelled regions colour-coded and positioned within a profile outline of a human head facing left.
LONG DESCRIPTION
The description of the anatomical diagram is presented in 3 main sections as follows.
Section 1. Context.
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This diagram provides an overview of the brain's major anatomical regions. The mid-sagittal view reveals internal structures that are not visible from the exterior, allowing the viewer to understand how the cerebral lobes, deep brain structures, brainstem, and cerebellum are arranged in relation to one another. This type of diagram is commonly used in introductory neuroscience and psychology to orient learners to brain anatomy before studying specific functions.
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Section 2. Structure.
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The diagram presents a mid-sagittal (side) cross-section of the brain, viewed from the left side. The brain is positioned within a simple line drawing of a human head in profile, facing left. This silhouette provides orientation, showing the brain's position relative to the forehead, skull, and neck.
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10 structures are labelled. Each label is positioned adjacent to its structure with a leader line where needed. The structures are colour-coded to aid visual distinction as follows:
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Frontal lobe: light green.
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Parietal lobe: light blue.
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Occipital lobe: green.
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Cerebellum: yellow
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Corpus callosum: pink
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Thalamus: orange.
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Pituitary gland: teal.
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Pons: blue.
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Medulla: purple.
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Spinal cord: dark teal.
The illustration style is schematic and simplified, with smooth colour blocks rather than realistic anatomical detail.
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Section 3. Walkthrough.
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The 4 lobes of the cerebral cortex occupy the upper and outer portions of the brain. The frontal lobe sits at the front, extending from behind the forehead to roughly mid-skull, occupying approximately one-third of the brain's volume. The parietal lobe lies behind and above the frontal lobe, covering the top-central region. The occipital lobe forms the rear of the brain, positioned behind the parietal lobe.
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Deep within the brain, the corpus callosum forms a curved band beneath the cerebral cortex, connecting the two hemispheres. Below this, the thalamus occupies the brain's centre. The pituitary gland, a small structure, hangs beneath the thalamus.
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The brainstem descends from beneath the thalamus toward the neck. The pons sits at the top of the brainstem, in front of the cerebellum. The medulla continues below the pons, tapering into the spinal cord, which extends downward out of the skull.
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The cerebellum sits at the back of the brain, behind the brainstem and below the occipital lobe. It is smaller and more compact than the cerebral lobes.
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The following list presents all labelled structures and their functions.
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Frontal lob: Higher cognitive functions including reasoning, planning, movement, and speech production.
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Parietal lobe: Sensory processing, spatial awareness, and integration of sensory information.
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Occipital lobe: Visual processing.
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Cerebellum: Coordination of movement, balance, and motor learning.
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Corpus callosum: Connects the two cerebral hemispheres, enabling communication between them.
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Thalamus: Relay station for sensory and motor signals to the cerebral cortex.
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Pituitary gland: Master endocrine gland, regulating hormones throughout the body.
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Pons: Relay signals between the cerebrum and cerebellum; involved in sleep and arousal.
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Medulla: Controls autonomic functions including breathing, heart rate, and blood pressure.
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Spinal cord: Transmits signals between the brain and the rest of the body.
​​​​​​​​​​​​​​​​​DESCRIPTION ENDS
DIAGRAM
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The Anatomy of the Human Eye.
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An anatomical diagram showing a cross-section of the human eye, with 9 labelled structures and an illustration of how the retina inverts an image.
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LONG DESCRIPTION
The description of the anatomical diagram is presented in 3 main sections as follows.
Section 1. Context.
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This diagram illustrates the internal anatomy of the human eye. The cross-sectional view reveals how light enters through the front of the eye and is focused onto the retina at the back. A green three-lobed leaf is used to demonstrate how the retina receives images inverted and reversed. This type of diagram is commonly used in introductory biology and psychology to explain visual perception.
Section 2. Structure.
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The diagram presents a horizontal cross-section of the eye, viewed from above. The eye is oriented with the front (anterior) on the left and the back (posterior) on the right. The optic nerve extends from the back of the eye toward the right of the image.
9 structures are labelled, with leader lines connecting each label to its location. The diagram uses a schematic style with colour to distinguish tissue types: the outer layers in blue and white, the interior cavity in pink with visible blood vessels, the lens in light blue, and the optic nerve in cream and orange tones.
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Outside the eye, a green leaf appears on the left. Two lines trace from the leaf through the pupil and lens to the retina, where a smaller, inverted image of the leaf appears.
Section 3. Walkthrough.
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Light enters the eye through the cornea, the curved transparent outer layer at the front. Behind the cornea, the iris forms a ring of tissue surrounding the pupil, the central opening through which light passes. The lens, an elliptical structure shown in light blue, sits behind the pupil and focuses light onto the retina.
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The muscles to adjust lens are shown as a pinkish band above the lens. These ciliary muscles change the shape of the lens to focus on objects at different distances.
The posterior cavity, which makes up the bulk of the eye, contains a clear gel called the vitreous humour. The retina lines the inner surface of this cavity and is shown with fine red blood vessels across its surface. The fovea is a small depression in the retina where vision is sharpest. The blind spot marks where the optic nerve connects to the retina; this area contains no photoreceptors.
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The optic nerve exits from the back of the eye and carries visual information to the brain.
The diagram demonstrates image inversion by showing a green leaf outside the eye and its projection onto the retina. The projected image appears smaller, upside down, and reversed left-to-right.
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The following list presents all labelled structures and their functions.
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Cornea: Transparent outer layer that refracts light entering the eye.
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Iris: Coloured ring of muscle that controls the size of the pupil.
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Pupil: Central opening that allows light to enter the eye.
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Lens: Focuses light onto the retina by changing shape.
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Muscles to adjust lens: Ciliary muscles that control the shape of the lens for focusing.
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Retina Light-sensitive layer containing photoreceptors that convert light to neural signals.
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Fovea: Central pit in the retina with highest concentration of cone cells for detailed vision.
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Blind spot: Area where the optic nerve connects; contains no photoreceptors.
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Optic nerve to brain: Transmits visual information from the retina to the brain.
Description ends.
DIAGRAM
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Maslow's Hierarchy of Needs.
ALT TEXT
A pyramid diagram illustrating Maslow's Hierarchy of Needs, with 5 colour-coded tiers ranging from physiological needs at the base to self-actualisation at the apex.
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LONG DESCRIPTION
The description of the pyramid diagram is presented in 3 main sections as follows.
Section 1. Context.
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Maslow's Hierarchy of Needs is a motivational theory in psychology proposed by Abraham Maslow in 1943. The pyramid structure illustrates his argument that human needs are hierarchical: basic physiological and safety needs must be satisfied before higher-level needs for belonging, esteem, and self-actualisation become motivating factors. The model remains widely used in psychology, education, and management.
Section 2. Structure.
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The diagram presents a pyramid divided into 5 horizontal tiers, narrowing from bottom to top. Each tier is colour-coded, progressing from green at the base through yellow to orange at the apex. The tier labels appear outside the pyramid on the left, with horizontal lines connecting each label to its tier. The definitions for each tier appear as text within the pyramid itself.
Section 3. Walkthrough.
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The pyramid is read from base to apex, reflecting the theory that lower needs must be met before higher needs become priorities.
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Tier 1, Physiological, forms the broad base of the pyramid. This level addresses the need to satisfy hunger and thirst.
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Tier 2, Safety, sits above the base. This level encompasses the need to feel that the world is organised and predictable, and the need to feel safe, secure, and stable.
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Tier 3, Love/belonging, occupies the middle of the pyramid. This level covers the need to love and be loved, to belong and be accepted, and the need to avoid loneliness and alienation.
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Tier 4, Esteem, sits in the upper portion of the pyramid. This level addresses the need for self-esteem, achievement, competence, and independence, as well as the need for recognition and respect from others.
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Tier 5, Self-actualisation, forms the apex. This level represents the need to live up to one's fullest and unique potential.
Description ends.
DIAGRAM
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Freddie Mercury Wants.
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ALT TEXT
A humorous flowchart illustrating what Freddie Mercury wants, does not want, and is not sure about, based on Queen song lyrics.
LONG DESCRIPTION
The description of the flowchart is presented in 3 main sections as follows.
Section 1. Context.
This playful flowchart categorises Freddie Mercury's desires and uncertainties as expressed through Queen song lyrics. The chart humorously applies a logical decision-tree structure to the emotional and often exuberant content of the band's music.
Section 2. Structure.
The flowchart develops from top to bottom across 3 main levels. All boxes are dark green with white text. Grey arrows connect the levels.
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Level 1 contains a single box labelled Freddie Mercury. Level 2 contains 3 category boxes: Wants, Doesn't Want, and Isn't Sure About. Level 3 contains 6 outcome boxes representing specific lyrical references. An illustrated icon of Freddie Mercury appears in the upper left corner, depicting a simplified face with dark hair and his signature moustache.
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Section 3. Walkthrough.
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Freddie Mercury wants:
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To break free.
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To ride his bicycle.
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It all, now.
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To make a supersonic man outta you.
Freddie Mercury doesn't want:
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You to stop him now.
Freddie Mercury isn't sure about:
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Living forever.
Description ends.
DIAGRAM
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Freddie Mercury Wants to find, knows, and believes.
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ALT TEXT
A humorous flowchart illustrating what Freddie Mercury wants to find, knows about himself, and believes, based on Queen song lyrics.
LONG DESCRIPTION
The description of the flowchart is presented in 3 main sections as follows.
Section 1. Context.
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This playful flowchart categorises Freddie Mercury's self-knowledge and beliefs as expressed through Queen song lyrics. The chart humorously applies a logical decision-tree structure to the emotional and often exuberant content of the band's music.
Section 2. Structure.
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The flowchart develops from top to bottom across 4 main levels. All boxes are dark green with white text. Grey arrows connect the levels.
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Level 1 contains a single box labelled Freddie Mercury. Level 2 contains 3 category boxes: Wants to Find, Knows He, and Believes. Level 3 contains 7 outcome boxes representing specific lyrical references. Level 4 contains 2 additional boxes that extend from 2 of the Believes outcomes.
An illustrated icon of Freddie Mercury appears in the lower left corner, depicting a simplified face with dark hair and his signature moustache.
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Section 3. Walkthrough.
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The flowchart develops as follows.
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Freddie Mercury wants to find:
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Somebody to love.
Freddie Mercury knows he:
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Is a poor boy. Nobody loves him. He is a poor boy. From a poor family.
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Works hard every day of his life. He works 'til he aches in his bones.
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Is well versed in etiquette.
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Is a racing car passing by like Lady Godiva.
Freddie Mercury believes:
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Flash will save every one of us. Ah-ah!
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Beelzebub has a devil put aside for me. For meeeee.
Description ends.
DIAGRAM
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Wish You Were Here.
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ALT TEXT
A flowchart visualising the structure and lyrics of the song, Wish You Were Here, by Pink Floyd, organised into 3 verses with contrasting pairs, exchanges, and a cyclical refrain.
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LONG DESCRIPTION
The description of the flowchart is presented in 3 main sections as follows.
Section 1. Context.
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This flowchart visualises the lyrical structure of the song, Wish You Were Here, by Pink Floyd. The diagram maps the song's philosophical contrasts and questions into a decision-tree format, revealing the underlying pattern of choices and exchanges that run through the verses.
Section 2. Structure.
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The flowchart develops from top to bottom across 3 verses, indicated by brackets on the left margin labelled first verse, second verse, and third verse. All boxes are white with black outlines and black text. Black arrows connect the elements.
The first verse presents 4 pairs of contrasting choices arranged as horizontal pairs. The second verse presents 4 further pairs of contrasts, followed by a question with 2 options. The third verse shifts to a predominantly linear structure with one circular loop, descending to a final conclusion. An X symbol appears at the bottom of the chart.
Section 3. Walkthrough.
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The first verse opens with the question: So, so you think you can you tell? 4 pairs of contrasts follow, each connected by double-headed arrows:
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heaven or hell.
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blue skies or pain.
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green field or cold steel rail.
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smile or veil.
The second verse opens with the question: Did they get you to trade? 4 more pairs follow:
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heroes for ghosts.
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hot ashes for trees.
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hot air for cool breeze.
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cold comfort for change.
A further question follows: did you exchange? 2 options are presented:
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a walk-on part in the war.
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a lead role in a cage.
The third verse shifts structure. A linear sequence begins: how I wish, then you were here. Two boxes labelled lost soul point inward to a central box labelled swimming, which connects down to fishbowl. A circular loop connects year and after year, representing repetition. The sequence continues: running over, the same old ground.
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The closing section poses the question: What have we found? The answer follows: The same old fears. The final box reads: Wish you were here. An X marks the spot below.
Description ends.
photoGALLERY
PHOTO
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Harold Lloyd.
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A black and white film still from the 1923 film Safety Last. ​The actor Harold Lloyd, wearing black-rimmed glasses and a dark suit, hangs precariously from the clock hands of a clock suspended high above a city street scene. ​Below him on the street, trams, cars and pedestrians are oblivious to the events above. ​Lloyd, his feet kicking, turns in the direction of the camera as the clock face starts to tilt further. ​The image became one of the most iconic of the silent film era.
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DESCRIPTION ENDS
PHOTO
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The Rolling Stones
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The Rolling Stones perform onstage at the Royal Tennis Hall in Stockholm, Sweden in 1966. ​
Mick Jagger, wearing sunglasses and a striped blazer, crouches at the center of the stage. ​
To the left of Jagger, Brian Jones plays guitar and looks across at his band-mates. Keith Richards, wearing a dark suit with a high collar, concentrates on his own guitar. Bill Wyman, playing his bass guitar in his distinctive style, turns to Charlie Watts on drums (obscured from view). ​Behind the band hangs a poster for Bildjournalen, a popular youth magazine in Sweden in the 1960s.
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DESCRIPTION ENDS
PHOTO
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John + Yoko
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John Lennon (left of image) and Yoko Ono (right) sit up in bed during their 1969 honeymoon peace protest in the Presidential Suite of the Amsterdam Hilton Hotel. Both Lennon and Ono are wearing pyjamas. Lennon, his shoulder length hair parted in the centre, wears his trademark wire-rimmed round glasses and Ono wears her long dark hair down. A guitar lays across the couple’s legs and a tape recorder sits at the foot of the bed. A large basket of flowers lays beside Ono on the bed and further bouquets of flowers can be seen surrounding the bed. A black telephone sits on the floor beside the bed. Behind the couple are floor to ceiling windows looking out over Amsterdam and two slogans are taped to the windows. One reads “Hair Peace” and the other “Bed Peace” in capital letters.
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DESCRIPTION ENDS
