fschieber/wit-captions huggingface dataset:
Kerning contrastou com o rastreamento (espaçamento entre letras): com o espaçamento, a "percepção kerning" é perdida. Enquanto o rastreamento ajusta o espaço entre os caracteres uniformemente, independentemente dos caracteres, o kerning ajusta o espaço com base nos pares de caracteres. Existe um forte kerning entre o "V" e o "A", e não existe um kerning entre o "S" e o "T".
English: show "Tracking vs Kerning" perception
Comparação de um histograma (a esquerda) e uma estimativa de densidade por kernel (a direita) construídos usando os mesmos dados [-2.1, -1.3, -0.4, 1.9, 5.1, 6.2]. O Histograma foi criado usando o intervalo [-6,9] dividido em caixas de tamanho 2. Enquanto que a estimativa foi feita com 6 kernels gaussianos de desvio padrão 2.5 e de média nas abscissas descritas pelos dados.
Português: Comparação de um histograma (a esquerda) e uma estimativa de densidade por kernel (a direita) construídos usando os mesmos dados [-2.1, -1.3, -0.4, 1.9, 5.1, 6.2]. O Histograma foi criado usando o intervalo [-6,9] dividido em caixas de tamanho 2. Enquanto que a estimativa foi feita centrando 6 kernels gaussianos de desvio padrão 2.5 e com média nas abscissas descritas pelos dados. A curva suave em preto demonstra a estimativa de densidade, enquanto que as outras curvas demonstram os 6 kernels de densidade, a primeira foi escalonada por um fator de 30 enquanto os kernels foram escalonados por um fator de 5 para efeito visual.
A measuring cup, manufactured and sold in the United States (circa 1980) features graduations in both metric and US customary systems. Held in the right hand, a person would have the metric graduations in front, facing them. But in filling the measuring cup from another container, right-handed people would hold it in their left hand, and read from the customary graduations.
English: A measuring cup purchased in the United States circa 1980, showing both metric and U. S. Customary graduations. The bottom of the same measuring cup will be uploaded as :image:Measuring_cup_bottom.jpg. Copyright ©2006 by Daniel P. B. Smith and released under the GFDL.
Se comparan las escalas Celsius y Kelvin mostrando los puntos de referencia anteriores a 1954 y los posteriores para mostrar cómo ambas convenciones coinciden. De color negro aparecen el punto triple del agua (0, 01 °C, 273, 16 K) y el cero absoluto (-273, 15 °C, 0 K). De color gris los puntos de congelamiento (0, 00 °C, 273, 15 K) y ebullición del agua (100 °C, 373, 15 K).
En esta imagen, tomada desde el puente del camino a La Colaita pueden verse los estratos de greda, caliza y marga sobre los que se ha encajado una rambla. Y también pueden verse en el centro de la imagen algunos trabajos de conservación del cauce hechos por los propios agricultores que han construido muros de caliza gris, con el fin de limitar la erosión en el propio cauce.
Español: Imagen de la Rambla de La Colaita hacia el Este, mostrando los estratos de margas en un meandro, y también obras de protección contra la erosión, en el propio cauce
Kaiser Maximilian I. diktiert Marx Treitzsaurwein: „Schreib mein grab stifft vnnd sannd Jorgen Orden auch mein geschlecht vnnd stamen auserkoren.“ – „Schreibe von meinem Grabstift und St. Georgsorden, auch von meinem auserkorenen Geschlecht und Stamm.“ (Text auf der obersten Stufe des Throns) – Kolorierte Zeichnung, 1512. Österreichische Nationalbibliothek, Wien; Cod. 2835.
SS Frontbaum, bordjuletre laget til tyske frontsoldater under andre verdenskrig, dekorert med nazistiske og nasjonalistiske symboler: SS-runer (og teksten «SS kaller på deg»), prøyssiske jernkors og nasjonalfargene. Bildet viser også juletrekule pyntet med portrett av Adolf Hitler, juletretopp med jernkors og SS-symbol, og annet. Foto: Fra Lofoten Krigsminnemuseum i Svolvær
English: German SS Frontbaum ('battlefront tree'), a small artificial tabletop Christmas tree from the Third Reich period, produced for German front soldiers in World War II, with Nazi symbols as Weihnachtsbaumschmuck (Christmas ornaments), i.e. baulbes decorated with swastikas, SS runes (and the text Dich ruft die SS, 'SS calling you'), the German Reich's national colours red, white and black, etc. Also bigger baulbe with Prussian iron cross and Hitler portrait, and a tree-topper. On the wall are uniform badges and pennant for Kriegsmarine. In Nazi Germany, attempts were made to bring the traditional German celebration of Christmas in line with Nazi ideology. The commemoration of Jesus' birth as the Jewish Messiah was troubling for some members of the anti-semitic Nazi party NSDAP. Between 1933 and 1945, government officials attempted to remove these aspects of Christmas from civil celebrations and concentrate on cultural pre-Christian aspects of the festival. However, church and private celebrations remained Christian in nature.From the exhibitions at Lofoten World War 2 Memorial Museum (Lofoten Krigsminnemuseum) in Svolvær, Norway Photo taken on 8 May 2019. German Nazi era Christmas baulbe decorated with portrait of Göring, displayed in a cigar box also honouring Feld Marschall Hermann Göring.
HMS Sandwich fires into the French flagship Bucentaure (the vessel shown completely dismasted in foreground, left of centre) at the battle of Trafalgar. Bucentaure also fights HMS Victory (behind her) and HMS Temeraire (left side of the picture). In fact, Sandwich did not fight at Trafalgar; her presence in this painting is due to a mistake by Auguste Mayer, the painter.[2]
English: (unknown title) Auguste Mayer (1805-1890). Oil on canvas, 1836, 105 cm x 162 cm The actual title of the image is unknown, painted in 1836 by Auguste Mayer, it is suggested that the information about the painting was lost during WWII and it was given incorrect background and title when recovered. The picture is one of six that Mayer painted in 1836 about the struggle and fights of ship of the line Bucentaure during the Battle of Trafalgar (cf. Musée Nationale de la Marine website). The ship in the foreground on right (firing to the Bucentaure) is the British 2nd-rate Sandwich, not present at Trafalgar, actually being hulked for harbour duty at the time. It is therefore generally held that the Sandwich is actually the British 2nd-rate Temeraire, incorrectly titled by the artist, and the dismasted ship in foreground left is the French 74-gun 3rd-rate Redoutable. Research shows that the French ship in the foreground is actually Bucentaure, as the figurehead is that of Bucentaure, the ship is a two-decker fitting the description and design of Bucentaure and the men clustered around the mainmast fit with the events aboard the Bucentaure during the battle. Français : (titre inconnu) Auguste Mayer (1805-1890). Huile sur toile, 1836, 105 cm x 162 cm Le titre réel du tableau n'est pas connu. Peint en 1836 par Auguste Mayer, il est probable que l'information sur le tableau ait été perdue durant la Seconde Guerre mondiale, et que lorsque le tableau est réapparu, on lui ait attribué un contexte et un titre erronés. Ce tableau fait partie d'un ensemble de six. Les six tableaux représentaient les combats que livra le Bucentaure tout au long de la Bataille de Trafalgar (cf. le site internet du Musée Nationale de la Marine). Le navire figurant au premier plan et qui ouvre le feu sur le Bucentaure est un navire de deuxième classe, le Sandwich, qui n'était pas présent à Trafalgar, étant au port à ce moment-là. Il est généralement admis que le Sandwich est en fait le Temeraire, mal nommé par l'artiste, et que le navire démâté dans le fond à gauche est le Redoutable, un navire de troisième classe français armé de 74 canons. Les recherches montrent que le navire à l'avant-plan est en fait le Bucentaure, au vu de sa figure de proue, de sa ressemblance avec la description et la conception à double pont du Bucentaure, et de la présence des hommes attroupés autour du mât principal qui correspond avec la description des événements à bord du Bucentaure lors de la bataille.
Het bewerken van vlas en linnen op een centsprent (ca. 1830): ploegen, vlaszaad zaaien, eggen, wieden, oogsten (uittrekken), tot bosjes binden, met ijzeren kammen de zaadknoppen eraf halen, stengels laten rotten, drogen van het vlas, verhitten en uit de stengels knijpen, het vuil er uit kloppen, hekelen om het zacht te maken, spinnen, weven, bleken en naaien van het linnen.
Centsprent met 4 x 4 omkaderde houtsneden, met afbeeldingen van ploegen, vlaszaad zaaien, eggen, wieden, oogsten (uittrekken), tot bosjes binden, met ijzeren kammen de zaadknoppen eraf halen, stengels laten rotten, drogen van het vlas, verhitten en uit de stengels knijpen, het vuil er uit kloppen, hekelen om het zacht te maken, spinnen, weven, bleken en naaien van het lijnwaad. Bevat tweeregelige rijmende onderschriften.
نفترض أن مهمة من جزأين مستقلين أ وب، ب يأخذ ما يقارب من 25٪ من الوقت الكامل للحساب. مع الجهد، قد يكون المبرمج قادرا على جعل هذا الجزء خمس مرات أسرع، ولكن هذا يقلل من الوقت الكامل للحساب إلا قليلا. بالمقابل، قد لا يحتاج المرء لأداء لجهد كبير لجعل الجزء أ أسرع مرتين. وهذا سيجعل الحساب أسرع بكثير من أي استفادة مثلى للجزء ب، حتى ولو حصلت على أكبر تسريع للجزء ب (5 مرات مقابل 2).
Di barisan belakang. kiri ke kanan. 1. Zarifa Ghafari, 2. Lucy Kocharyan, 3. Kelley Eckels Currie, 4. Melania Trump, 5. Mike Pompeo, 6. Marie Royce,7. Shahla Humbatova, 8.Ximena Galarza, 9. Claire Ouedraogo dari Burkina Faso. Di barisan depan: 1. Sayragul Sauytbay, 2. Susanna Liew, 3. Amaya Coppens, 4. Jalilah Haider, 5. Amina Khoulani, 6. Yasmin al Qadhi, 7.Rita Nyampinga.
Secretary of State Michael R. Pompeo poses for a photo with First Lady of the United States Melania Trump and the 2020 Annual International Women of Courage awardees, at the Department of State on March 4, 2020. [State Department photo by Freddie Everett/ Public Domain]. There are nine people on the back row. from left to right. 1. Zarifa Ghafari, 2. Lucy Kocharyan, 3. Kelley Eckels Currie, 4. Melania Trump,5.Mike Pompeo, 6. Marie Royce,7. Shahla Humbatova, 8.Ximena Galarza, 9. Claire Ouedraogo of Burkina Faso Seven on the front row: 1. Sayragul Sauytbay, 2. Susanna Liew, 3. Amaya Coppens, 4. Jalilah Haider, 5. Amina Khoulani, 6. Yasmin al Qadhi, 7.Rita Nyampinga.
Dijagram u tačnoj razmeri: U stazama za kuglanje na deset čunjeva najbliži čunj je udaljen 60 stopa od linije prekršaja - više od 17 puta širina trake, koja je 41,5 inča.[1] Zbog optičke iluzije ́skraćivanja koju doživljava bacač kugle dok stoji na prilazu, činjevi izgledaju da su bliže jedni drugima, a uglovi ulaska kugle izgledaju dramatičnije nego što zapravo jesu.[2][3]
English: Scale diagram of ten-pin bowling lane and approach--WITH measurements included. Items are as close to scale as possible, though there is some round-off error due to two-digit-to-right-of-decimal-point limitation in Microsoft Powerpoint 2008. Sourcing for measurements may be found at USBC (bowl.com); direct link is in footnote below: United State Bowling Congress (USBC) (February 2012). "USBC Equipment Specifications and Certifications Manual" (PDF). bowl.com. pp. 26–29. Archived from the original on December 28, 2018.[1]
Charge regulation within the DH model for ψD = 20 mV and a monovalent salt of a concentration cB = 1 mM. From left to right: Dependence upon the separation distance of the surface change density, diffuse layer potential, and the disjoining pressure. Constant charge (CC, p = 1) and constant potential (CP, p = 0) boundary conditions, and superposition approximation (p = 1/2).
English: Double layer forces regulation calculation results
A classic historic racing Jaguar E-Type hustles over the top of the Dunlop Curve towards the Dunlop Bridge at Circuit de la Sarthe, Le Mans. Originally built in 1932 as an advertising footbridge at the entry to the curve, the iconic bridge was moved in 1965 to its present location at the top of the Dunlop Curve, and the entry to the short straight to the Dunlop Chicane.[32]
English: Le Mans (c.2000s)
This pyramid demonstrates the relationship between interpersonal communication and the stages of development. The downward formation of the triangle represents how much language is developed during that growth stage. The greatest amount of development occurs in the stage of infancy. As the triangle gets smaller, the development occurs less frequently and in a lesser amount.
English: This pyramid demonstrates the relationship between interpersonal communication and the stages of development. The downward formation of the triangle represents how much language is developed during that growth stage. The greatest amount of development occurs in the stage of infancy. As the triangle gets smaller, the development occurs less frequently and in a lesser amount.
Ein einfaches XMPP-Netzwerk mit den Servern jabber.org und draugr.de. Grüne Clients sind online, gelbe Clients schreiben sich gerade Nachrichten, und kleine grüne Subclients sind die einzelnen Ressourcen eines Benutzers. Das braune Netzwerk ist nicht mit dem Internet verbunden. Der Server draugr.de ist über XMPP-Transports mit anderen IM-Services (ICQ, AIM o. ä.) verbunden.
Paul Gauguin, 1894, Oviri (Sauvage), piedra parcialmente vidriada, 75 x 19 x 27 cm, Museo de Orsay, París. "El tema de Oviri es la muerte, salvajismo, barbarie. Oviri se postra sobre una loba muerta, mientras maldice a la vida de su cachorro." Tal vez, como Gauguin le escribe a Odilon Redon, se trata de algo que es "no muerte en la vida sino de vida en la muerte".[81]​[82]​
English: Paul Gauguin, 1894, Oviri (Sauvage), partially glazed stoneware (grès, céramique, terre cuite), 75 x 19 x 27 cm, Musée d'Orsay, Paris The theme of Oviri is death, savagery, wildness. Oviri stands over a dead she-wolf, while crushing the life out of her cub. As Gauguin wrote to Odilon Redon, it is a matter of "life in death". From the back, Oviri looks like Auguste Rodin's Balzac, a sort of menhir symbolizing the gush of creativity. Source
每一个精灵各代表生命之树的对应质点，且名字与质点有关：
1 Keter（王冠）：鸢一折纸
2 Chokhmah（智慧）：本条二亚
3 Binah（理解）：时崎狂三
4 Chesed（慈悲）：冰芽川四糸乃
5 Gevurah（严厉）：五河琴里
6 Tiphereth（美丽）：星宫六喰
7 Netzach（胜利）：镜野七罪
8 Hod（宏伟）：风待八舞（八舞耶俱矢、八舞夕弦）
9 Yesod（基础）：诱宵美九
10 Malkuth（王国）：夜刀神十香
而被视为生命之树起源的三层能量环：0 Ain（无）、00 Ain Soph（无限）以及000 Ain Soph Aur（无限光），则同时代表最初的精灵：崇宫澪（零）。
另有一质点Da'at（知识），但目前未知作者是否让它代表某一精灵。
反转后的精灵则代表邪恶之树的对应恶德（英语：Qliphoth）。
St. George's church was built in a Neo-Classical style, already being superseded by Gothic Revival at the time. It relieved the growing overcrowding in churches but proved a short-lived success, as a church-building boom sponsored by the Evangelicals ringed the town centre with ample new seating. The building, long-derelict, was incorporated into a supermarket in the 1980s.
English: St. George's Church (Sainsbury's), Wolverhampton The church was built from brick, encased in Tixall stone, http://www.tixall-ingestre-andrews.me.uk/tixall/txlqrry.html from 1828-1830. It closed in 1978, became derelict, then was incorporated into a new Sainsbury's supermarket, opening in 1988.
Prepona narcissus (ex Agrias narcissus), vista superior. Entre o século XIX e o século XX esta padronagem de coloração era indicativa do gênero Agrias, agora em desuso após estudo de sequenciamento de DNA.[6] Observe também os tufos de androcônia em suas asas posteriores (em amarelo), próximos ao corpo do inseto, característicos dos machos da tribo Preponini dos Charaxinae.
Deutsch:  ♂ - Dorsalansicht Fundort : Cacao, Crique Baguot, Französisch-Guayana.English:  ♂ - Dorsal side Locality : Cacao, Crique Baguot, French Guiana.Français :  ♂ - Face dorsale Localité : Cacao, Crique Baguot, Guyane, France. Muséum de Toulouse   Native nameMuséum de ToulouseLocationToulouse, FranceCoordinates43° 35′ 38″ N, 1° 26′ 57″ E Established1796:  established ; 1865:  opened to publicWeb pagewww.museum.toulouse.frAuthority control : Q422 VIAF: 130895847 ISNI: 0000 0001 2158 3469 SUDOC: 028667107 BNF: 120455376 Museofile: M7013 institution QS:P195,Q422 MNHT.CUT.2011.0.172
Fig. 1. Representación general de un sistema no homogéneo que consiste en un número de subsistemas. La interacción del sistema con el entorno es a través de intercambio de calor y otras formas de energía, el flujo de la materia, y los cambios de forma. Las interacciones internas entre los diversos subsistemas son de naturaleza similar y conducen a la producción de entropía.
English: Modified general thermodynamic system
František Josef se svou rodinou, 1861. Vlevo stojí František Josef, vedle něj jeho bratr Maxmilián s manželkou Charlottou, vpravo od ní Františkovi sourozenci Ludvík Viktor a Karel Ludvík. Pod nimi sedí zleva císařovna Alžběta, která má na klíně svého syna prince Rudolfa a dceru Giselu, vedle ní sedí císařova matka arcivévodkyně Žofie a jeho otec, arcivévoda František Karel
Deutsch: Kaiser Franz Joseph I. mit seiner Familie:Hintere Reihe, stehend von links nach recht: Kaiser Franz Joseph selbst, Erzherzog Ferdinand Max mit seiner Frau Charlotte von Belgien, Erzherzog Ludwig Victor and Erzherzog Karl Ludwig.In der vorderen Reihe von links nach rechts sitzen: die Kaiserin Elisabeth mit ihren Kindern Kronprinz Rudolf und Erzherzogin Gisela, und die Eltern Franz Josephs Erzherzogin Sophie and Erzherzog Franz Karl. English: Emperor Francis Joseph I. with his family: Back row, standing from left to right are Emperor Franz Joseph himself, Archduke Ferdinand Max and his wife Charlotte of Belgium, Archduke Ludwig Victor and Archduke Karl Ludwig.Front row, from left to right are Empress Elisabeth with her children Crown Prince Rudolf and Archduchess Gisela and the Emperor's parents, Princess Sophie of Bavaria and Archduke Franz Carl of Austria. Français : L'Empereur d'Autriche François Joseph Ier et sa famille: Second rang, debout de gauche à droite l' Empereur François Joseph lui-même, l'Archiduc Ferdinand Maximilien, futur empereur Maximilien du Mexique et sa femme Charlotte de Belgique, l'Archiduc Louis Victor et l'Archiduc Charles-Louis.Premier rang, de gauche à droite l'Impératrice Elisabeth (Sissi) avec ses enfants le Prince Héritier Rodolphe and l'Archiduchesse Gisèle ainsi que les parents de l'Empereur, la Princesse Sophie en Bavière et l'Archiduc François Charles d' Autriche. Magyar: I. Ferenc József császár és király családjával: Második álló sor, balról jobbra: Maga Ferenc József császár és király, Ferdinánd Miksa főherceg (utóbb mexikói császár) és felesége Sarolta belga királyi hercegnő, Lajos Viktor főherceg és Károly Lajos főherceg.Első sorban ülnek balról jobbra: Erzsébet császárné és királyné gyermekeivel, Rudolf trónörökössel és Gizella főhercegnővel, és a császár szülei: Zsófia bajor királyi hercegnő és Ferenc Károly osztrák főherceg.
Margaret of Valois, by François Clouet, c. 1570. Usually remembered for her scandalous and stormy life, Margaret was above all an active politician, acting as a mediator between Catholics and Huguenots. She was also an intellectual, a protector of the arts and also a writer and poet. Her most important work was her Memoirs, the first written in a modern style by a woman.[3]
Français : Portrait de Marguerite de Valois.
A U.S. Army Air Forces North American O-47A from the 126th Observation Squadron, Wisconsin National Guard. Unlike prewar observation squadrons, the 126th was not assigned to a National Guard division, rather it was assigned directly in support of the II Army Corps and performed various duties, including photographing portions of the Carolina Maneuvers in the autumn of 1941.
A U.S. Army Air Forces North American O-47A (s/n 37-365) from the 126th Observation Squadron, Wisconsin National Guard. Unlike prewar observation squadrons, the 126th was not assigned to a Guard division, rather it was assigned directly in support of the II Army Corps and performed various duties, including photographing portions of the Carolina Maneuvers in the autumn of 1941.
Sarcófago llamado de la receptio animae o de la Asunción (ha. 330-350 d. C.), procedente de una necrópolis cristiana cerca de la iglesia basílica de Santa Engracia, donde se encuentran en la actualidad. La iconografía muestra diversas escenas, entre las que se puede destacar la curación de la hemorroísa y Cristo, la receptio animae, la curación del ciego, las bodas de Caná.
Español: Sarcófago de la Receptio animae (s. IV), arte paleocristiano. Representación de escenas bíblicas. Se encuentra en la Basílica de Santa Engracia.
Plany Tejszabaini sporządzone przez Karmirblurską Ekspedycję Archeologiczną. Skala: długość boków kwadratów siatki odpowiada 50 m
     Spichlerz      Browar i magazyn piwa      Tłocznia oleju sezamowego      Spiżarnie do przechowywania wina 1 – brama centralna
 2 – pomocnicza brama zachodnia
 3 – dziedziniec wewnętrzny
 4 – rezydencja królewska, sala kolumnowa
 5 – archiwum
Mural monument to Sir Bevil Grenville in Kilkhampton parish church, Cornwall. Erected in 1714 by his grandson George Granville, 1st Baron Lansdown (1666–1735).[9] The heraldic achievement above displays the arms of Grenville impaling Smith of Exeter: Sable, a fess cotised between three martlets or.[35]  Above left hangs his funeral helm and above right his funeral gauntlets
Mural monument to Sir Bevil Grenville (1596-1643), south wall of Granville Chapel in Church of St James the Great, Kilkhampton, Cornwall. Erected in 1714 by his grandson George Granville, 1st Baron Lansdown (1666-1735) (J. Horace Round, Family Origins and Other Studies, ed. Page, William, 1930, The Granvilles and the Monks, p.142). Above left hangs his funeral helm, above right his funeral gauntlets.
The two plots at the top reveal the power-law behavior of the leadership persistence probability. To appreciate the role of m we give leadership persistence probability for two values (m=1 and m=100) in the same plot: (a) BA networks and (b) MDA networks. The two plots at the bottom are for the persistence exponent as a function of m in (c) BA networks and (d) MDA networks.
English: The two plots at the top reveal the power-law behaviour of the leadership persistence probability. To appreciate the role of m we give leadership persistence probability for two values (m=1 and m=100) in the same plot: (a) BA networks and (b) MDA networks. The two plots at the bottom are for the persistence exponent as a function of m in (c) BA networks and (d) MDA networks.
Un tablero de dibujo con una regla deslizante para dibujar paralelas horizontales (también denominado "paralex"). Grabado publicado en la revista técnica noruega Teknisk Ukeblad en 1893. En el artículo describía un nuevo tipo de aparato de dibujo vertical. El tablero estaba equipado con un mecanismo elevador, mejorando su ergonomía cuando había que realizar dibujos grandes.
English: Architect at his drawing board. This wood engraving was published on May 25, 1893, in Teknisk Ukeblad, Norway's leading engineering journal. It illustrates an article about a new kind of upright drawing board delivered by the firm J. M. Voith in Heidenheim a. d. Brenz (in south Germany). The board measures 1800 x 1250 mm, the total height is 2800 mm, and the weight 220 kg. Español: Arquitecto (dibujo de 1893) Deutsch: Ein Architekt am Zeichenbrett. Dieser Holzstich wurde am 25. Main 1893 im Teknisk Ukeblad, Norwegens führendem Ingenieursfachmagazin, veröffentlicht. Er illustrierte einen Artikel über eine neue Art aufrecht stehendem Zeichentisch, der von der Firma J. M. Voith aus Heidenheim a. d. Brenz hergestellt wurde. Die Auflagefläche des Tisches misst 1800 x 1250 mm bei einer Gesamthöhe von 2800 mm und einem Gewicht von 200 kg.
The pietà on the crucifixion cross. The Virgin Mary puts her right hand on her chest and holds her dead son's hand. Note the stigmata in Jesus' right hand. On the far left of the crosspiece is a statue of Mary Magdalene holding her pot of ointment.  In the pietà, there are depictions of Mary Magdalene and John the Evangelist on each side of Mary. They both touch Jesus' body
L'enclos paroissial de Saint Thegonnec dans le Finistère.