Esempio: <figure> (figure)
These search results reproduce every example of the use of <figure> in the Guidelines, including all localised and translated versions. In some cases, the examples have been drawn from discussion of other elements in the Guidelines and illustrating the use of <figure> is not the main focus of the passage in question. In other cases, examples may be direct translations of each other, and hence identical from the perspective of their encoding.
- 1 The TEI Infrastructure
- 3 Elements Available in All TEI Documents
- 4 Default Text Structure
- 5 Characters, Glyphs, and Writing Modes
- 11 Representation of Primary Sources
- 16 Linking, Segmentation, and Alignment
14 Tables, Formulæ, Graphics and Notated Music
14.3 Notated Music in Written Text
<div n="67">
<p> We now give some examples, from the works of the great masters, of
some of the most frequently used bowings. </p>
<figure n="Ex. 3">
<head>SCHUBERT: Symphony in B minor.</head>
<notatedMusic>
<ptr target="example_schubert.xml"/>
</notatedMusic>
</figure>
</div>
<p> We now give some examples, from the works of the great masters, of
some of the most frequently used bowings. </p>
<figure n="Ex. 3">
<head>SCHUBERT: Symphony in B minor.</head>
<notatedMusic>
<ptr target="example_schubert.xml"/>
</notatedMusic>
</figure>
</div>
14.4 Specific Elements for Graphic Images
14.4 Specific Elements for Graphic Images
14.4 Specific Elements for Graphic Images
<figure>
<graphic url="pullman.png"/>
<head>Above:</head>
<p>The drawing room of the Pullman house, the white and gold saloon
where the magnate delighted in giving receptions for several hundred
people.</p>
<figDesc>The figure shows an elaborately decorated room, at least
twenty-five feet side to side and fifty feet long, with ornate
mouldings and Corinthian columns on the walls, overstuffed armchairs
and loveseats arranged in several conversational groupings, and two
large chandeliers.</figDesc>
</figure>
<graphic url="pullman.png"/>
<head>Above:</head>
<p>The drawing room of the Pullman house, the white and gold saloon
where the magnate delighted in giving receptions for several hundred
people.</p>
<figDesc>The figure shows an elaborately decorated room, at least
twenty-five feet side to side and fifty feet long, with ornate
mouldings and Corinthian columns on the walls, overstuffed armchairs
and loveseats arranged in several conversational groupings, and two
large chandeliers.</figDesc>
</figure>
14.4 Specific Elements for Graphic Images
<figure>
<graphic url="Fig1.jpg"/>
<head>Figure One: The View from the Bridge</head>
<figDesc>A Whistleresque view showing four or five sailing boats in
the foreground, and a series of buoys strung out between
them.</figDesc>
</figure>
<graphic url="Fig1.jpg"/>
<head>Figure One: The View from the Bridge</head>
<figDesc>A Whistleresque view showing four or five sailing boats in
the foreground, and a series of buoys strung out between
them.</figDesc>
</figure>
14.4 Specific Elements for Graphic Images
<figure n="6.45">
<figure n="a">
<graphic url="./figs/6.45a.png"/>
<ab type="caption">Parallel</ab>
</figure>
<figure n="b">
<graphic url="./figs/6.45b.png"/>
<ab type="caption">Perspective</ab>
</figure>
<ab type="caption">The two canonical view volumes, for the (a)
parallel and (b) perspective projections. Note that -z is to the
right.</ab>
</figure>
<figure n="a">
<graphic url="./figs/6.45a.png"/>
<ab type="caption">Parallel</ab>
</figure>
<figure n="b">
<graphic url="./figs/6.45b.png"/>
<ab type="caption">Perspective</ab>
</figure>
<ab type="caption">The two canonical view volumes, for the (a)
parallel and (b) perspective projections. Note that -z is to the
right.</ab>
</figure>
14.4 Specific Elements for Graphic Images
<ref target="#IM1">Click
here <graphic url="fig1th.png"/> for enlightenment </ref>
<figure xml:id="IM1">
<graphic url="fig1.jpg"/>
</figure>
here <graphic url="fig1th.png"/> for enlightenment </ref>
<figure xml:id="IM1">
<graphic url="fig1.jpg"/>
</figure>
<figure>
<head>The View from the Bridge</head>
<figDesc>A Whistleresque view showing four or five sailing boats in the foreground, and a
series of buoys strung out between them.</figDesc>
<graphic url="http://www.example.org/fig1.png"
scale="0.5"/>
</figure>
<head>The View from the Bridge</head>
<figDesc>A Whistleresque view showing four or five sailing boats in the foreground, and a
series of buoys strung out between them.</figDesc>
<graphic url="http://www.example.org/fig1.png"
scale="0.5"/>
</figure>
<figure>
<head>La tour rouge, de Giorgio De Chirico</head>
<figDesc>Le tableau représente un donjon au pied duquel s'étend un espace quasiment vide,
hormis quelques détails</figDesc>
<graphic url="http://www.cineclubdecaen.com/cinepho/peint/dechericho/tourrouge.jpg"
scale="0.5"/>
</figure>
<head>La tour rouge, de Giorgio De Chirico</head>
<figDesc>Le tableau représente un donjon au pied duquel s'étend un espace quasiment vide,
hormis quelques détails</figDesc>
<graphic url="http://www.cineclubdecaen.com/cinepho/peint/dechericho/tourrouge.jpg"
scale="0.5"/>
</figure>
<figure>
<head>圖一: 橋上的視野</head>
<figDesc>前景有四五隻風帆，中間一堆救生圈串連。</figDesc>
<graphic url="http://www.example.org/fig1.png"
scale="0.5"/>
</figure>
<head>圖一: 橋上的視野</head>
<figDesc>前景有四五隻風帆，中間一堆救生圈串連。</figDesc>
<graphic url="http://www.example.org/fig1.png"
scale="0.5"/>
</figure>
<figure>
<graphic url="emblem1.png"/>
<head>Emblemi d'Amore</head>
<figDesc>A pair of naked winged cupids, each holding a
flaming torch, in a rural setting.</figDesc>
</figure>
<graphic url="emblem1.png"/>
<head>Emblemi d'Amore</head>
<figDesc>A pair of naked winged cupids, each holding a
flaming torch, in a rural setting.</figDesc>
</figure>
<figure>
<graphic url="chap3fig2.png"/>
<head>Dick Kennedy </head>
<figDesc>Gravure de E. Riou représentant un jeune homme assis sur une chaise, les
pieds sur une autre et tenant à la main une canne. En arrière plan, une théière, et
l'inscription <q>Map of Africa</q> .</figDesc>
</figure>
<graphic url="chap3fig2.png"/>
<head>Dick Kennedy </head>
<figDesc>Gravure de E. Riou représentant un jeune homme assis sur une chaise, les
pieds sur une autre et tenant à la main une canne. En arrière plan, une théière, et
l'inscription <q>Map of Africa</q> .</figDesc>
</figure>
1 The TEI Infrastructure
<figure>
<head>The TEI Logo</head>
<figDesc>Stylized yellow angle brackets with the letters <mentioned>TEI</mentioned> in
between and <mentioned>text encoding initiative</mentioned> underneath, all on a white
background.</figDesc>
<graphic height="600px" width="600px"
url="http://www.tei-c.org/logos/TEI-600.jpg"/>
</figure>
<head>The TEI Logo</head>
<figDesc>Stylized yellow angle brackets with the letters <mentioned>TEI</mentioned> in
between and <mentioned>text encoding initiative</mentioned> underneath, all on a white
background.</figDesc>
<graphic height="600px" width="600px"
url="http://www.tei-c.org/logos/TEI-600.jpg"/>
</figure>
<figure>
<head>Le logo TEI</head>
<graphic height="600px" width="600px"
url="http://www.tei-c.org/logos/TEI-600.jpg"/>
</figure>
<head>Le logo TEI</head>
<graphic height="600px" width="600px"
url="http://www.tei-c.org/logos/TEI-600.jpg"/>
</figure>
3 Elements Available in All TEI Documents
3.7 Simple Links and Cross-References
Similar forms, often called
<term rend="ldquo rdquo">rewriting systems</term>, have a long history
among mathematicians, but the specific form of <ptr target="#fig22"/>
was first studied extensively by Chomsky <ptr type="bibliog" target="#chom59"/>.
<!-- ... -->
<figure xml:id="fig22">
<graphic url="fig22.jpg"/>
</figure>
<!-- elsewhere, in the bibliography -->
<bibl xml:id="chom59">
<!-- citation for the book referenced above -->
</bibl>
<term rend="ldquo rdquo">rewriting systems</term>, have a long history
among mathematicians, but the specific form of <ptr target="#fig22"/>
was first studied extensively by Chomsky <ptr type="bibliog" target="#chom59"/>.
<!-- ... -->
<figure xml:id="fig22">
<graphic url="fig22.jpg"/>
</figure>
<!-- elsewhere, in the bibliography -->
<bibl xml:id="chom59">
<!-- citation for the book referenced above -->
</bibl>
<figure>
<media mimeType="image/png" url="fig1.png"/>
<head>Figure One: The View from the Bridge</head>
<figDesc>A Whistleresque view showing four or five sailing boats in the foreground, and a
series of buoys strung out between them.</figDesc>
</figure>
<media mimeType="image/png" url="fig1.png"/>
<head>Figure One: The View from the Bridge</head>
<figDesc>A Whistleresque view showing four or five sailing boats in the foreground, and a
series of buoys strung out between them.</figDesc>
</figure>
<figure>
<media type="graphic" mimeType="image/png"
url="fig1.png"/>
<head>維納斯</head>
<figDesc> 波提且利 1484-1486年 畫布、蛋彩 佛羅倫斯，烏菲滋美術館</figDesc>
</figure>
<media type="graphic" mimeType="image/png"
url="fig1.png"/>
<head>維納斯</head>
<figDesc> 波提且利 1484-1486年 畫布、蛋彩 佛羅倫斯，烏菲滋美術館</figDesc>
</figure>
<figure>
<graphic url="fig1.png"/>
<head>Figure One: The View from the Bridge</head>
<figDesc>A Whistleresque view showing four or five sailing boats in the foreground, and a
series of buoys strung out between them.</figDesc>
</figure>
<graphic url="fig1.png"/>
<head>Figure One: The View from the Bridge</head>
<figDesc>A Whistleresque view showing four or five sailing boats in the foreground, and a
series of buoys strung out between them.</figDesc>
</figure>
<figure>
<graphic url="fig1.png"/>
<head>Figure Une : Jan van Eyck, La Vierge du chancelier Rolin</head>
<p>Si, attiré par la curiosité, on a l'imprudence de l'approcher d'un peu trop prés, c'est fini, on est pris pour tout le temps que peut durer l'effort d'une attention soutenue ; on s'extasie devant la finesse du détail ... il va toujours plus loin, franchit une à une les croupes des collines verdoyantes ; se repose un moment sur une ligne lointaine de montagnes neigeuses; pour se perdre ensuite dans l'infini d'un ciel à peine bleu, où s'estompent de flottantes nuées. </p>
</figure>
<graphic url="fig1.png"/>
<head>Figure Une : Jan van Eyck, La Vierge du chancelier Rolin</head>
<p>Si, attiré par la curiosité, on a l'imprudence de l'approcher d'un peu trop prés, c'est fini, on est pris pour tout le temps que peut durer l'effort d'une attention soutenue ; on s'extasie devant la finesse du détail ... il va toujours plus loin, franchit une à une les croupes des collines verdoyantes ; se repose un moment sur une ligne lointaine de montagnes neigeuses; pour se perdre ensuite dans l'infini d'un ciel à peine bleu, où s'estompent de flottantes nuées. </p>
</figure>
<figure>
<graphic url="fig1.png"/>
<head>維納斯</head>
<figDesc> 波提且利 1484-1486年 畫布、蛋彩 佛羅倫斯，烏菲滋美術館</figDesc>
</figure>
<graphic url="fig1.png"/>
<head>維納斯</head>
<figDesc> 波提且利 1484-1486年 畫布、蛋彩 佛羅倫斯，烏菲滋美術館</figDesc>
</figure>
4 Default Text Structure
<titlePage>
<docTitle>
<titlePart type="main">THOMAS OF Reading.</titlePart>
<titlePart type="alt">OR, The sixe worthy yeomen of the West.</titlePart>
</docTitle>
<docEdition>Now the fourth time corrected and enlarged</docEdition>
<byline>By T.D.</byline>
<figure>
<head>TP</head>
<p>Thou shalt labor till thou returne to duste</p>
<figDesc>Printers Ornament used by TP</figDesc>
</figure>
<docImprint>Printed at <name type="place">London</name> for <name>T.P.</name>
<date>1612.</date>
</docImprint>
</titlePage>
<docTitle>
<titlePart type="main">THOMAS OF Reading.</titlePart>
<titlePart type="alt">OR, The sixe worthy yeomen of the West.</titlePart>
</docTitle>
<docEdition>Now the fourth time corrected and enlarged</docEdition>
<byline>By T.D.</byline>
<figure>
<head>TP</head>
<p>Thou shalt labor till thou returne to duste</p>
<figDesc>Printers Ornament used by TP</figDesc>
</figure>
<docImprint>Printed at <name type="place">London</name> for <name>T.P.</name>
<date>1612.</date>
</docImprint>
</titlePage>
<titlePage>
<docTitle>
<titlePart type="main">紅樓夢</titlePart>
<titlePart type="alt">又名石頭記</titlePart>
</docTitle>
<docEdition>清乾隆四十九年甲辰（1784年）夢覺主人序本正式題為《紅樓夢》，在此之前，此書一般都題為《石頭記》。</docEdition>
<byline>曹雪芹</byline>
<figure>
<head>HL</head>
<p>紅樓夢圖詠</p>
<figDesc>清光緒刊本的《紅樓夢》插圖，改琦畫。</figDesc>
</figure>
<docImprint>最早的抄本出現於清朝乾隆中期的 <date>甲戌年（1754年）。</date>
</docImprint>
</titlePage>
<docTitle>
<titlePart type="main">紅樓夢</titlePart>
<titlePart type="alt">又名石頭記</titlePart>
</docTitle>
<docEdition>清乾隆四十九年甲辰（1784年）夢覺主人序本正式題為《紅樓夢》，在此之前，此書一般都題為《石頭記》。</docEdition>
<byline>曹雪芹</byline>
<figure>
<head>HL</head>
<p>紅樓夢圖詠</p>
<figDesc>清光緒刊本的《紅樓夢》插圖，改琦畫。</figDesc>
</figure>
<docImprint>最早的抄本出現於清朝乾隆中期的 <date>甲戌年（1754年）。</date>
</docImprint>
</titlePage>
5 Characters, Glyphs, and Writing Modes
<charDecl>
<glyph xml:id="r1">
<localProp name="name"
value="LATIN SMALL LETTER R WITH ONE FUNNY STROKE"/>
<localProp name="entity" value="r1"/>
<figure>
<graphic url="r1img.png"/>
</figure>
</glyph>
<glyph xml:id="r2">
<localProp name="name"
value="LATIN SMALL LETTER R WITH TWO FUNNY STROKES"/>
<localProp name="entity" value="r2"/>
<figure>
<graphic url="r2img.png"/>
</figure>
</glyph>
</charDecl>
<glyph xml:id="r1">
<localProp name="name"
value="LATIN SMALL LETTER R WITH ONE FUNNY STROKE"/>
<localProp name="entity" value="r1"/>
<figure>
<graphic url="r1img.png"/>
</figure>
</glyph>
<glyph xml:id="r2">
<localProp name="name"
value="LATIN SMALL LETTER R WITH TWO FUNNY STROKES"/>
<localProp name="entity" value="r2"/>
<figure>
<graphic url="r2img.png"/>
</figure>
</glyph>
</charDecl>
<p> ... <g ref="#Filig">Fi</g>lthy riches...</p>
<!-- in the charDecl -->
<glyph xml:id="Filig">
<localProp name="Name"
value="LATIN UPPER F AND LATIN LOWER I LIGATURE"/>
<figure>
<graphic url="Filig.png"/>
</figure>
</glyph>
<!-- in the charDecl -->
<glyph xml:id="Filig">
<localProp name="Name"
value="LATIN UPPER F AND LATIN LOWER I LIGATURE"/>
<figure>
<graphic url="Filig.png"/>
</figure>
</glyph>
<p> ... <abbr>
<g ref="#per">per</g>
</abbr> ardua</p>
<!-- in the charDecl -->
<glyph xml:id="per">
<localProp name="Name"
value="LATIN ABBREVIATION PER"/>
<figure>
<graphic url="per.png"/>
</figure>
</glyph>
<g ref="#per">per</g>
</abbr> ardua</p>
<!-- in the charDecl -->
<glyph xml:id="per">
<localProp name="Name"
value="LATIN ABBREVIATION PER"/>
<figure>
<graphic url="per.png"/>
</figure>
</glyph>
<glyph xml:id="rstroke">
<localProp name="Name"
value="LATIN SMALL LETTER R WITH A FUNNY STROKE"/>
<localProp name="entity" value="rstroke"/>
<figure>
<graphic url="glyph-rstroke.png"/>
</figure>
</glyph>
<localProp name="Name"
value="LATIN SMALL LETTER R WITH A FUNNY STROKE"/>
<localProp name="entity" value="rstroke"/>
<figure>
<graphic url="glyph-rstroke.png"/>
</figure>
</glyph>
11 Representation of Primary Sources
<pb facs="#B49r"/>
<fw>De Geometrie 49</fw>
<head facs="#B49rHead"> DU SON ET ACCORD DES CLOCHES ET <lb/> des alleures des
chevaulx, chariotz & charges, des fontaines:& <lb/> encyclie du monde,
& de la dimension du corps humain.<lb/> Chapitre septiesme</head>
<div n="1">
<p>Le son & accord des cloches pendans en ung mesme <lb/> axe, est faict en
contraires parties.</p>
<p rend="it" facs="#B49rPara2">LEs cloches ont quasi fi<lb/>gures de rondes
pyra<lb/>mides imperfaictes & <lb/> irregulieres: & leur accord se
<lb/> fait par reigle geometrique. Com<lb/>me si les deux cloches C & D
<lb/> sont <w facs="#B49rW457">pendans</w> à ung mesme axe <lb/> ou essieu A B:
je dis que leur ac<lb/>cord se fera en co<ex>n</ex>traires parties<lb/>
co<ex>m</ex>me voyez icy figuré. Car qua<ex>n</ex>d <lb/> lune sera en
hault, laultre declinera embas. Aultrement si elles decli<lb/>nent toutes deux
ensembles en une mesme partie, elles seront discord, <lb/> & sera leur
sonnerie mal plaisante à oyr.<figure facs="#B49rFig1">
<graphic url="Bovelles49r-detail.png"/>
</figure>
</p>
</div>
<fw>De Geometrie 49</fw>
<head facs="#B49rHead"> DU SON ET ACCORD DES CLOCHES ET <lb/> des alleures des
chevaulx, chariotz & charges, des fontaines:& <lb/> encyclie du monde,
& de la dimension du corps humain.<lb/> Chapitre septiesme</head>
<div n="1">
<p>Le son & accord des cloches pendans en ung mesme <lb/> axe, est faict en
contraires parties.</p>
<p rend="it" facs="#B49rPara2">LEs cloches ont quasi fi<lb/>gures de rondes
pyra<lb/>mides imperfaictes & <lb/> irregulieres: & leur accord se
<lb/> fait par reigle geometrique. Com<lb/>me si les deux cloches C & D
<lb/> sont <w facs="#B49rW457">pendans</w> à ung mesme axe <lb/> ou essieu A B:
je dis que leur ac<lb/>cord se fera en co<ex>n</ex>traires parties<lb/>
co<ex>m</ex>me voyez icy figuré. Car qua<ex>n</ex>d <lb/> lune sera en
hault, laultre declinera embas. Aultrement si elles decli<lb/>nent toutes deux
ensembles en une mesme partie, elles seront discord, <lb/> & sera leur
sonnerie mal plaisante à oyr.<figure facs="#B49rFig1">
<graphic url="Bovelles49r-detail.png"/>
</figure>
</p>
</div>
16 Linking, Segmentation, and Alignment
<figure rend="float fullpage">
<graphic url="Images/compic.png"/>
<figDesc>The figure shows the page from the <title>Orbis
pictus</title> of Comenius which is discussed in the text.</figDesc>
</figure>
<graphic url="Images/compic.png"/>
<figDesc>The figure shows the page from the <title>Orbis
pictus</title> of Comenius which is discussed in the text.</figDesc>
</figure>