View allAll Photos Tagged worktable
Up at our Harrogate showroom some images of the recently revamped displays – the combination of new furniture and new finishes from the Chalon colour palette look great:
Dark colours and contemporary knobs ensure that this design remains clean and sharp but keeps its timeless appeal.
I recently went to an Empty Spools Seminar at Asilomar in Pacific Grove, CA and took a class in free motion machine quilting with Jill Schumacher. Great class!
Blogged here: My first attempt at trapunto, learned at a Jill Schumacher class.
Blogged here: www.lemontreetales.com/lemon_tree_tales/2013/03/empty-spo...
Public Domain image from The Rijksmuseum. Digitally enhanced by rawpixel.
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Higher resolutions with no attribution required can be downloaded: www.rawpixel.com/category/53/public-domain
Still Life with Carp
Abraham van BEYEREN
The Hague, 1620-21 - Overschie, 1690
H. 0.73 m; W. 0.61 m
Abraham van Beyeren specialized in paintings of fish, notably during his earliest period. This picture is a fine example, painted when Van Beyeren was a young artist, circa 1645-1650, under the influence of Pieter de Putter.
Later in his career, he extended his subject-matter to include sumptuous banqueting-tables, and ornate still-lifes featuring virtuoso depictions of abundant, luxurious foodstuffs and objects.
A massive rustic table, probably a kitchen worktable, supports a deceptively haphazard pile of fish – a pike, lying diagonally across the front of the composition, with its stomach cut open; a bream (or perhaps another carp) with its head sticking out over the left-hand side of the tabletop; three small perch with faint stripes along their backs, and red fins; two roach with orange-colored eyes, and a chub lying on its back, apparently emerging from a sort of net. This pile of freshwater fish has apparently been freshly caught. Their gleaming, silvery scales look disconcertingly alive. The fish are arranged in a clever composition of criss-crossing diagonals, with a subtle, almost monochrome palette of colors. The interplay of delicate tones and fleeting reflections bathes the picture in a strange, almost aquatic light.
www.louvre.fr/en/oeuvre-notices/still-life-carp
"The Musée du Louvre, or officially Grand Louvre — in English, the Louvre Museum or simply the Louvre — is one of the world's largest museums, the most visited art museum in the world and a historic monument. A central landmark of Paris, it is located on the Right Bank of the Seine in the 1st arrondissement (district). Nearly 35,000 objects from prehistory to the 19th century are exhibited over an area of 60,600 square metres (652,300 square feet).
The museum is housed in the Louvre Palace (Palais du Louvre) which began as a fortress built in the late 12th century under Philip II. Remnants of the fortress are still visible. The building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of antique sculpture.
The museum opened on 10 August 1793 (the first anniversary of the monarchy's demise) with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801. The size of the collection increased under Napoleon and the museum was renamed the Musée Napoléon. After the defeat of Napoléon at Waterloo, many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and gifts since the Third Republic, except during the two World Wars. As of 2008, the collection is divided among eight curatorial departments: Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan, and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings.
By 1874, the Louvre Palace had achieved its present form of an almost rectangular structure with the Sully Wing to the east containing the square Cour Carrée and the oldest parts of the Louvre; and two wings which wrap the Cour Napoléon, the Richelieu Wing to the north and the Denon Wing, which borders the Seine to the south. In 1983, French President François Mitterrand proposed the Grand Louvre plan to renovate the building and relocate the Finance Ministry, allowing displays throughout the building. Architect I. M. Pei was awarded the project and proposed a glass pyramid to stand over a new entrance in the main court, the Cour Napoléon. The pyramid and its underground lobby were inaugurated on 15 October 1988. The second phase of the Grand Louvre plan, La Pyramide Inversée (The Inverted Pyramid), was completed in 1993."
The Louvre Pyramid (Pyramide du Louvre) is a large glass and metal pyramid, surrounded by three smaller pyramids, in the main courtyard (Cour Napoléon) of the Louvre Palace (Palais du Louvre) in Paris. The large pyramid serves as the main entrance to the Louvre Museum. Completed in 1989, it has become a landmark of the city of Paris.
Visitors entering through the pyramid descend into the spacious lobby then re-ascend into the main Louvre buildings. The Louvre museum states that the finished pyramid contains 673 glass panes (603 rhombi and 70 triangles)."
Wikipedia
aspen, colorado
late 1975
inside nick's "mad lab"
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
Dennis will return to Kenya in a week or so. Here I am
sitting with Dennis at Josephine & Caroline's worktable.
Photo taken by Irene.
here is another sketch from one of my old sketchbooks; this is dated from the summer of 1984 and is a pen & ink sketch of my drawing board, adjustable light and a worktable on which I had been working on a scale model for a house renovation project
Welcome to our second set - "Building a Mill Creek 16.5". After finishing two Chesapeake 16 kayaks for the kids, Mom and I decided we wanted a double kayak that we could also sail. The Chesapeake Light Craft Mill Creek 16.5 design seems to have what we were looking for. We reassembled the worktable, ordered the plans and started construction on January 20, 2007.
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
Akseli Gallen-Kallelan työhuone ja ateljee Kalelassa Ruovedellä.
Kalela on Akseli Gallen-Kallelan entinen erämaa-ateljee ja oman perheen koti. Kalela on taitelijan itse-suunnittelema kelohonkarakennus.
Kuvauspaikka: Kalela, Ruovesi
ajoitus:
kuvaaja: luultavasti Akseli Gallen-Kallela
mitat: 120 x 87 mm
tekniikka: valokuvavedos
merkintöjä: omist: Gallen-Kallela
inventointinumero: kot. 6/51
kokoelma: Akseli Gallen-Kallelan valokuvakokoelma
tutki lisää / explore further:
Tiedätkö lisää tästä kuvasta? Kerro meille!
Do you have information on this photo? Let us know
Benchmarx 72W x 30D x 30H with overhead light, power strip, light/magnifier combo, drawer and cabinet storage
The central worktable in this design cleverly links the functional areas of food storage wet preparation and cooking together.
We had so much fun with this shoot in client 'Ws' home, that we also dressed and shot for our Christmas card!
We decided to make this worktable available at a special promotional price because it was so popular
details on the online shop on the web site
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
I repeat...NEVER think that even the super heavy plastic shelving is strong enough. I keep piling things on them. so far, so good. I "should" have attached them to the walls though as the instructions advised. :-0
These are only 1 year old! I wonder if any structural engineers could advise me...
*HAVOC!*
(Sorry for the lame action pose shoot *LoL*)
----------------------
This is a project that I had on my mind (and worktable) for quite a long time! Thanks to Dal Lee, who encouraged me to show my Havoc, I finally got myself together to cut her hair and take the photos ; ).
For those who don't know, the original Havoc is a fashion doll from the Seventies and is closely related (not by blood but by manufacturing ; )) to Mary Quant's "Daisy". There are some great sites out there where you can find more info on the original doll.
I stumbled across the original Havoc many years ago and remembered her when Poppy Parker got into the "Lotta Danger" and "Girl from INTEGRITY" storyline. Since Lotta's arch enemy Sebina and her brother Sebastian are the Havoc siblings, it's pretty safe to think that David B. had Havoc in mind when her worked on Lotta.
To make it short: Havoc is a secret agent whose real name is not known and she works as a journalist (at least sometimes) while her true job is kicking the evil a**es all over the world. The backside of the doll packaging had some cool comics that showed Havoc in action and wow, this girl means business! She's great!
My own girl got a midnight blue lycra bodysuit with working zipper (completely sewn by hand, I went crazy with this outfit *lol*) and white boots. That's her standard battle suit. I made a 1/6 scale version of her pink shirt (from the motorcycle set), too, but haven't made the rest of the items yet (jeans, leather jacket and so on).
I'm not quite sure, if I want to make her more outfits based on her original ones, or not. The trehcncoat with red hat is iconic!
Big thanks go to my brother, who recreated the Havoc logo so I could complete the suit and to Dal Lee for giving me the needed push towards completing the project.
No art work made today - just work on the space itself. Brought over the newly painted cubbies. The rest of the place is very sparse. But this anchor in the corner makes me feel good. And the blue chair is where I eat breakfast and take my lake pictures.
You can hit all sizes and read the titles on my shelf.
Which I really need to move somewhere closer to me... but for the moment, it's free of ambient sunlight and over by my worktable where I need to be doing more stuff anyways (like Lilia's tattoos and blushinnnng.)
Dolls left to right: little Aster (Bobobie Elfkin), Michael (DZ 72cm Cosmo), Aiden (MNF Luka / DZ hybrid), Lilia (Soom Trachy surprised head / Bobobie Isabella body hybrid), Alice (Bobobie Isabella)
Foreground: WorkBar seats up to 10 people
Background (right): Lounge seats apps 15 people casually
Background (left): 8 open WorkTables with mobile pedestals
Background (far left): meeting room for 3-4 people, flanked by private offices
Ring of Bright Water Dream
I’m with a group of people, following them in a cave. There are lights and rooms; we are in one room and it is very messy. There is no furniture in the room and the floor is covered in litter. We leave the room and go out to the cave entrance. It is dark but I can see a river and a forest beyond. I realize that I don’t have my purse and I leave the group to go back to the cave to retrieve it. I feel trepidation as I did not ask the group to wait for me. I go back to the messy room. Looking in it seems darker than before. I can’t see my purse from the doorway and I step further into the room. I go into an antechamber that I had not noticed previously and find my black backpack atop a pile of junk on a worktable.
I grab my bag and head back to join the group but I lose my way. I find a red door that I had not seen before and I hesitate. I can hear voices coming from the other side. Entering I find myself in a lobby. A young blonde woman is vacuuming the carpet. Her hair is in pigtails and she is wearing a pink maid’s uniform. I ask her for directions; she is grumpy and says that she is too busy and does not have the time. She tells me that her boss will be mad at her and she points to him. He is taking a shower. He is a slender man of medium height with brown hair. She appears to be afraid of him and he seems to be angry. Because of her fear, I feel apprehensive. I persist in asking her for directions and she points to a sign that is above the portico. The sign has three directions, the first, to ‘Horsey Way’, has arrows that are pointed both to the left and to the right. She said I needed to take ‘Horsey Way’ and then she resumes vacuuming, turning away from me. I decide to go right but it leads to an escalator coming up. I turn around and go to the left. Her boss is there and he looks at me. I feel embarrassed and worried. I tuck my head down and walk past him. He is dressed in a black T-shirt and watches me leave but says nothing.
I make my way back to the river but I can tell it is not the same place as I had been with the group. The thought occurs to me that previously I was further up the river. A truckload of lumber passes by. It is an old truck and as it comes closer I can see that it is filled with men. I walk along the river going in the same direction as the truck believing I am headed towards town. There are runners and other people along the path. I come into town, it feels as though I am returning after having been gone. I pass a restaurant and look in the window. I can see a group of people singing and I know that these people are my friends and that I used to sing with them. I hear one of them mention my name and though I cannot hear them I know they are talking about me.
I walk further down the street and then I find myself in a room. It is a dim wood-paneled room, like a lodge. On a log are two otters, one smaller than the other. Two people are there, one a photographer. I rush into the room crying ‘Ring of bright water, ring of bright water’ and take the larger otter into my arms. I am crying with joy. The little otter is crawling all over the log. The photographer says ‘How long have you been separated?’ and I reply ‘One year’. I look down and see the otter stretched out on my lap with the top half of his body spilling out of my lap and down my leg; his eyes are closed and he is smiling.
SYMBOLS:
Cave: Deep mind exploration, the unconscious. Heroine's underground plight.
Purse: Sense of identity
Mess, Rubbish: Unworthiness, unwanted feelings, cleaning up one's life
River: Life processes
Forest: Sense of being lost
Door: Closed door is considerations, obstacles. An open door is opportunities
Lobby: Trying to make something known, the social side, welcoming the opinions of others
Unknown Man: Negative as pushy, aggressive, forcing, controlling, difficult situation. Positive as linking to one's own strength.
Unknown Woman: Oneself at that age. i.e. the feelings you had at that period of your life.
Truck: Heavy workload
Restaurant: What people think
Otter: Ability to deal with changing life events or emotions - the river of life. Looking within for answers or strength.
Acrylic on canvas, 11x14
Worktable, made from Ikea countertop and bottom kitchen cabinet. Holds all my notions, purse making hardware, button making supplies, photography light box and finished inventory. Shelving towers hold other tools and supplies and fabric stash. Blogged
All of the ironwork in our hanging racks is produced by hand by local craftsmen. The provide decoration and useful task lighting.
boston, massachusetts
january 1971
metalsmith / jewelry maker
meeting house gallery, beacon hill
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
boston, massachusetts
january 1971
metalsmith / jewelry maker
meeting house gallery, beacon hill
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
I wonder how long the worktable will stay this clear? Not long, I assure you.
Blogged: Sommer Designs
Utrecht University Library – Wiel Arets Architects
Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004
The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.
The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.
The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.
The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.
On the table: a small sewing basket, an open embroidery box with embroidery silk and probably a needle threader or a crochet hook fixed on the quilted silk cover - and an unfinished embroidery. A big basket with top under the table.
Az asztalon egy kis varrókosárka, egy nyitott hímződoboz talán nyeles tűbefűzővel vagy horgolótűvel a fedél steppelt, selyemmel borított belső részére rögzítve, egy megkezdett hímzés, és egy nagy fedeles kosár az asztal alatt.
Photographer, people and location unidentified.
Blank reverse.
Cabinet card, 1880s
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
Basix 66W x 36D x 36H with phenolic resin work surface, 2 x 2 tubular steel frame, 3 custom placed grommet holes, leveling casters
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
Finally finished the fabric drops to hide all the storage. It holds a ton of stuff under there....including sleeping kittens.
So, from the sublime to the ridiculous--whilst I was slaving away to get authentic looking faux opal in polymer, I cast my eye upon some glass cabs lying on my worktable...and thought, I'll bet there's a fast and easy way for my students to make opal--who says you can't teach an old chandelier new tricks?:)
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
The coarse ropes wore harshly at Fumolatro's wrists. Hours of struggling against their hold had served only to gnaw at his skin like hungry fire ants at a fallen beast.
He was bound to the base of iron column that supported a section of an elaborate array of catwalks and scaffolding upon which rested crates and cartons and the engine of a massive crane, the great neck of which swung out over the cavern floor. Attached to the crane by metal cables was a large flat bottomed cage. It appeared to be the only means of reaching the catwalk.
The interior of the cavern was vast, the smooth walls betrayed the history of its formation. For uncounted millennia the ocean had swept through the fissures in the porous rock, and eviscerated the interior. Eventually through other more dramatic geological forces the land mass had been driven up to it's current elevation to the point where the sea was barely level with the cavern floor. Only one connection to the Atlantic remained - the pool into which Fumolatro had fallen and from which he was so ingloriously rescued by his captor, The Silver Talon.
The space was illuminated by torches suspended from the iron frameworks. Stationed around the interior the professor could see sections of roughly constructed flooring, on which stood machinery, tarpaulins, tools, cases, tables and cabinets; an entire workshop's worth of equipment. Many items he recognized immediately, others the purpose of which he could only speculate. What horrible deeds did the man he had once called a friend have planned? For what dark purpose could these devices be destined?
By all evidence, he was alone. The only sound beyond his own stressful breathing was the rhythmic slosh of the ocean as it entered and withdrew from the wide orifice in the cavern floor. In the hours he he'd spent writhing in vain attempts to free himself he seen the sea water retreat completely from sight and slowly rise again. Clearly the daily action of the tides caused the waters to completely vacate the tunnel that connected the cavern to the sea, and then slowly return.
Above him, on the iron scaffold that supported the crane, he spotted a walkway that terminated at another opening on the cavern wall - an exit.
Voices came from the far side of the where a wide arch led out into a darkend passage. Shouting, struggle, the conversants were at odds... seconds later he spotted the all to familiar 'silver talons' that had been horrifically grafted directly to Emil's fingers - they reached out into the air in front of him for balance as he dragged another prisoner behind. The Professor's heart fell. There, battered but conscious, was he dearest friend, the Reverend Oryza.
Like a valueless sack of refuse Reynard dropped the poor cleric on the floor aside a large worktable. He was bound with same rough black ropes that held the professor.
As Reynard moved into the glow of the torchlight, the professor could see that the horrible surgery that had permanently affixed the dreaded talons was not the only unnatural alteration to his body. A framework of iron surrounded his left leg up to his thigh, where it appeared to be attached to an articulated joint and from there bolted straight into his pelvic bone. A sickening feeling ran through the professor's innards. Reynard was limping. Clearly the weight of the frame was great. On his right arm a similar structure was mounted, this though, was partially covered in plates like some horrid metal skin. The hand, if it still was a hand, appeared more as a trap such as would be used to snare wolves. It was this harsh 'claw' he had used to drag the priest through the passage.
Reynard was working at a something. Several small engines were set in motion. The sound of pumps began competing with the noise of the sea. He climbed aboard the cage at the base of the crane and with the thrust of a lever it began to climb - up over the pit of swirling sea water pit and onward up to the scaffold. There he unpacked several crates. He was gathering small items into his metal claw.
"Emil", the professor called out.
Reynard stopped moving. His hunched form breathed in deeply. "EMIL IS DEAD!" he shouted without turning. "'All that he was is gone!"
"Where is Metalica?!" the professor demanded.
Reynard turned staring down at Fumolatro, and with a slight tilt of his head, smiled. "Patagonia... She left more than week ago on the request of an old friend to come visit. Sadly for her, the old friend is at school in Kroenenburgh. Angelus, you look puzzled."
The professor slowly began to realize the extent of the deception. "The woman on The Borealis.... and at the Opera?" He asked.
"Angelus you really are tragically dim" Reynard returned to his work as he continued to speak. "That was my consort, Belladonna Aconite of course. She is quite gifted isn't she?"
Oryza, still on the cave floor, called up. "And you have no idea of the whereabouts of Gunther Wasserstrom do you?"
"Ah the monk shows some wits after all!" Reynard replied snidely as he reentered the cage and descended from the higher level. "Of course not. Do you really think I'd have involved any of you if I already had the old man?"
"I'm not a monk, Emil. I'm a priest of an Institute of Consecrated Life, technically."
The professor, still cringing at the term 'old man' being used for his dear friend and mentor Wasserstrom, spat out the question, 'What is it you want?"
Oryza rolled to his side. Managing to prop himself up on an elbow he looked across the room at the professor, "He wants us to locate him...and the book."
"Bravo! Oh Bravo Padre. But you're only half correct. I want Angelus to find him." Spinning on his metal heel Reynard limped across the room, then after spilling the items he'd collected onto a nearby work bench, heaved the Reverend off the floor and onto a large wooden table, and staring into his eyes said, "I have other plans for 'his holiness' here."
The professor, his mind filling with rage, shouted back, "I will never help you!"
Reynard answered by looking down at Oryza saying, "Oh but will Angelus... or the priest dies."
"No!" screamed Fumolatro, "No! You fiend!"
Seemingly unshaken, the Reverend, unblinking, looked into Reynard's eyes and replied, "I'm willing to die if it will serve God's purpose for me to do so. But may God have mercy on your soul, Emil."
"GOD?" Reynard shrieked, "I AM GOD!! I am the new creator! My own creator! I have torn down the faulty shell of YOUR God and remade my self in a new image! Stronger! Better! A new being! I am the Neo-Homo-Superioris!" Reynard, in his madness, was screaming to unseen masses.
“Now, Angelus…" He shouted as he limped his was across the floor.
The professor’s eyes grew wide as Reynard threw back his cloak to reveal the velvet sheath of a pulwar hanging from his belt. His twisted grin revealed several sharp and shining metal teeth as he withdrew the ancient weapon, its polished blade shimmering in the dull torchlight of the cave, and lowered it dangerously close to the professors throat.
From his vantage point on the table Oryza watched in horror as with one deft move the blade was drawn upward like an executioner’s ax. Sure that Reynard in his madness now intended to kill the professor, the priest braced himself for the gruesome sight that was to follow. Sparks flew as the blade, scraping down the back of the metal column against which the professor was tied, passed straight through the ropes that had bound him. Reynard lifted the blade and examined it, as if admiring its usefulness. “…you will assist me.”
What is this? the professor asked himself. Is he really so mad as to free me AND expect me to assist him somehow?
Using the sword as a pointer, he directed the professor to the table supporting Fr. Oryza. “Bind him!” Reynard commanded.
Fumolatro was horrified to see the filthy wooden table on which his friend lay. It was actually a primitive surgical bed. The sides were fitted with brass rings used for holding the leather restraints required to keep patients immobilized while surgeons made swift work with their blades and saws.
Reynard awkwardly manuvered his way to the Professor’s left side and began to uncoil the upper restraints. The Professor was sickened at the prospect of willingly assisting the monster his former friend had become. As he moved to wrap the first restraint under the Reverend’s calf his hand felt the outline of a long metal object in the hem of the priest’s robe. ‘Allon’s dagger!’ he though to himself. (A flawless weapon forged in Toledo, it had been a gift from the devoted staff of the Cathedral at Salamanca following the Affair of the Spanish Wraith.) His captors had failed to discover it!
With as much stealth as he could manage, the professor obscured his actions as he slipped the blade from the hem the robe. Oryza, sensing the professor’s action cautiously met his eye. Without a word the two conceived a plan and set it in motion.
Knowing he must distract Reynard into a position of vulnerability, Oryza closed his eyes and quietly, but audibly, began to pray: “Sancte Michael Archangele, defende nos in proelio, contra nequitiam et insidias diaboli esto praesidium. Imperet illi Deus, supplices deprecamur: tuque, Princeps militiae coelestis, Satanam aliosque spiritus malignos, qui ad perditionem animarum pervagantur in mundo, divina virtute, in infernum detrude. Amen.”
Reynard leaned in slightly, snarling in Oryza’s face. “You waste your breath holy man.”
His eyes opened, and looking Reynard in the face asked: “Do I?”
The professor, with the dagger gripped firmly in hand, was agonized by the act he was about to undertake. He drew in his breath, raised the blade above his head and whispered: “May God forgive me.” Down went the knife into the back of their captor!
A scream! Reynard fell forward dropping his weight upon the poor priest. Another scream as he rose up. Then… laughter. Screeching, twisted, evil laughter.
With an animalian roar and one swing of his massive metal craw Reynard struck the professor square in the chest throwing him back into the cave wall. Like a magician flourishing his cape, Reynard tore off his cloak and ripped the shirt from his chest.
Their blood ran cold at the sight.
Upon his chest and back, no skin shone. Where there should have been flesh and muscle was metal, fused to his body as if melted into wax. On his back, layered sheets of iron and on his chest a gleaming sliver breastplate. How far had this horrid perversion of man into machine progressed?
Seething and spitting with each breath, he retrieved the dagger from the floor. Then grasping it in all that remained of his ‘human’ hand, hoisted it over the Reverend’s chest, he looked down at Fumolatro and whispered…. “My turn.”
(the story continues - here)