Cataloging Cultural Objects

For educational purposes only. Do not distribute.

Cataloging Cultural Objects:

An In-Depth Look at Applying CCO & CDWA for Manuscripts, Prints, Drawings, Rare Books

Patricia Harpring Managing Editor, Getty Vocabulary Program June 2009

Table of Contents

• CCO in Context • Physical Characteristics • CDWA and other standards • Display vs. Indexing • Rules and Application • Date of Creation • Minimal Record • When Date Is Uncertain • Establishing the Focus of • Locations re. the Work Record the Record • Description (Descriptive Note) • Establishing relationships • Information about View Applying Work Type • What is the Subject? • What is Class? • Description, Identification, • Recording the Creator Interpretation • People Not creators • Is There Always a Subject? • Anonymous and Unknown • Authorities Creators • Indexing • Recording and Creating • Specificity and Exhaustivity Titles • Works That Have No Title • Titles vs. Inscriptions

CCO/CDWA in Context

http://www.getty.edu/research/conducting_research/standards/cdwa Categories for the Description of Works of Art CDWA

The CCO is the grandchild of CDWA

http://www.getty.edu/research/conducting_research/standards/cdwa Categories for the Description of Works of Art CDWA

CDWA includes CDWA is a discussion comprehen- and brief sive set of cataloging over 530 rules for elements for elements cataloging art For Works Small subset and authority are “core” information ©2009 J. Paul Getty Trust

http://www.getty.edu/research/conducting_research/standards/cdwa Categories for the Description of Works of Art CDWA CDWA includes numerous cataloging examples Illustrating application of rules, use of vocabularies (in authorities)

CCO Elements (categories of data)

Chapter 1: Object Naming Chapter 6: Subject Work Type / Title Subject Chapter 2: Creator Information Chapter 7: Class Creator / Creator Role Class Chapter 3: Physical Characteristics Chapter 8: Description Measurements / Materials and Description / Other Descriptive Techniques / Notes State and Edition/ Additional Chapter 9. View Information Physical Characteristics View Description / View Type / Chapter 4: Stylistic and View Subject / View Date Chronological Information Authority 1: Personal and Style / Culture / Date Corporate Name Authority Chapter 5: Location and Geography Authority 2: Geographic Place Current Location / Creation• CCO is moreAuthority prescriptive than CDWA Location / Discovery Location/• Less comprehensiveAuthority with 3: Concept 116 elements Authority vs. over Former Location 530 subcategoriesAuthority 4: Subject Authority • Based on the CDWA core and the VRA Core Categories

• Visual Resources Association (VRA) Core Categories, published by ALA 2006 • As with CDWA, CCO includes advice for vocabulary use and prescribes fields and structure of authorities populated by vocabularies

Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images

What is CCO? • Manual for describing, documenting, and cataloging cultural works and their visual surrogates • Primary focus is art and architecture, including but not limited to prints, manuscripts, paintings, sculpture, photographs, built works, and other visual media • Also covers many other types of cultural objects, including artifacts and functional objects from the realm of material culture

Who should use CCO? • Designed for use by professionals in museums, visual resources collections, archives, and libraries • that have a primary emphasis on art, architecture, and material culture

Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images

• Rules for core data elements needed to describe cultural objects • Lists of terminology sources • Rules for vocabularies and authority control • Maps to CDWA Core and VRA Core 4 metadata element sets • Can be used with other descriptive standards and metadata element sets

Cataloging Cultural Objects Introduction

Part 1: General Guidelines I. How to Use This Guide II. What Are You Cataloging? III. Minimal Descriptions IV. Work and Image V. Related works VI. Database Design and Relationships VII. Authority Files and Controlled Vocabularies VIII. Examples of Work Records

The Guide is divided into three parts

Part 2: Elements (categories of data) Chapter 1: Object Naming Work Type / Title Chapter 2: Creator Information Creator / Creator Role Chapter 3: Physical Characteristics Measurements / Materials and Techniques / State and Edition/ Additional Physical Characteristics Chapter 4: Stylistic and Chronological Information Style / Culture / Date Chapter 5: Location and Geography Current Location / Creation Location / Discovery Location/ Former Location Chapter 6: Subject Subject Chapter 7: Class Class Chapter 8: Description Description / Other Descriptive Notes Chapter 9. View Information View Description / View Type / View Subject / View Date

Cataloging Cultural Objects

Part 3: Authorities

Authority 1: Personal and Corporate Name Authority Authority 2: Geographic Place Authority Authority 3: Concept Authority Authority 4: Subject Authority

• When using CCO, for additional data elements and guidelines, see CDWA

http://www.getty.edu/research/conducting_research/standards/cdwa

CDWA Lite is XML schema for exchange of art object What is CDWA Lite? information Based on CDWA and CCO

• Records are intended for contribution to union catalogs and other repositories • Uses the Open Archives Initiative (OAI) harvesting protocol • Images can be harvested at the same time

http://www.getty.edu/research/conducting_research/standards/cdwa

• Specification and schema are available on the CDWA site

What is VRA Core 4.0 relationship to CCO?

What is VRA Core 4.0 relationship to CCO? • data standard consisting of a metadata element set • emphasizes image (visual surrogate), as well as the work • ultimate purpose is for data exchange

http://www.getty.edu/research/conducting_research/standards/intrometadata/3_crosswalks/index.html Other Standards AACR/RDA

A comparison to CCO: • Both are data content (i.e., cataloging) standards, conceptually linked to data structure standards (for AACR, primarily MARC; for CCO, primarily CDWA) • Implicit in both is the use of certain data value standards (for AACR, the use of the LC authorities and TGM are implied; for CCO, the use of any number of authorities—including local authorities—is implied)

http://www.getty.edu/research/conducting_research/standards/intrometadata/3_crosswalks/index.html Other Standards AACR/RDA

A comparison to CCO: • Unlike AACR, CCO devotes a considerable amount of the manual to building and implementing authorities • Unlike AACR, CCO explicitly deals with indexing versus display issues • For AACR and CCO, “work” means something different

http://www.getty.edu/research/conducting_research/standards/intrometadata/3_crosswalks/index.html Other Standards AACR/RDA

A comparison to CCO: CCO/CDWA “work” = FRBR “item” (CCO means art work, art object) CDWA “multiples” ~ FRBR “manifestation” CCO/CDWA focus on the physical works, so there is no real counterpart to FRBR “work” and “expression” (use “subject” for literary references)

http://www.getty.edu/research/conducting_research/standards/intrometadata/3_crosswalks/index.html Other Standards DACS: DESCRIBING ARCHIVES: A Content Standard Society of American Archivists PART I – Describing archival materials Introduction to describing archival materials 1. Levels of description 2. Identity elements A comparison3. Content and structure to elements CCO: • CCO4. emphasizesConditions of access rules and for use it em-levelelements description, but includes5. Acquisition group-level and appraisal too elements • CCO6. focusesRelated materials on art, elements archit ecture, and cultural objects • CCO7. includesNote elements information regarding the construction of authorities8. Description control elements • WherePART CCO II – Describingoverlaps creatorswith DA CS, there is little if any disagreementIntroduction to describing creators 9. Identifying creators

CCO/CDWA Audience

Why use CCO/CDWA if I have my own local practices? Benefit from being compatible with broader community, data sharing, compliant with standards CCO/CDWA are intended for a diverse audience: museums, archives, libraries, VR collections, others who catalog cultural heritage

Images from metmuseum.org © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

CCO/CDWA Audience

Why use CCO/CDWA if I have my own local practices? • You may look to CCO/CDWA for rules for all cataloging needs • Or use CCO/CDWA in conjunction with other standards, to supply instruction where your other rules are lacking

Images from metmuseum.org © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

CCO/CDWA Audience

Why use CCO/CDWA if I have my own local practices? • Based on best practice. Local practice may be less than ideal, may be driven by technical limitations • Often differences are reconcilable, simply a question of parsing existing data in CCO/CDWA-compliant form rather than editing the existing data • Catalog once, export in various formats and for various standards

Creating CCO/CDWA compliant data from existing data

CCO preference: Measurements display: 33.5 (height) x 12.5 cm (diameter at shoulders) (13 3/16 x 4 15/16 inches) Value: 33.5 Unit: cm Type: height Extent: shoulders Value: 12.5 Unit: cm Type: diameter

http://www.getty.edu/research/conducting_research/standards/intrometadata/3_crosswalks/index.html Mapping to CCO and CDWA

The CCO elements map to other standards Metadata Standards Crosswalk

http://www.getty.edu/research/conducting_research/standards/intrometadata/3_crosswalks/index.html Mapping to CCO and CDWA

Some elements have no match e.g., Components or Provenance in CDWA

CCO/CDWA: Rules and Application

* Minimal Record * Establishing the Focus of the Record

Include minimal descriptions

Work Type Title Creator Creation Date Subject Current Location Measurements Materials

Required “elements” Examples tend to be fuller

Vase of Flowers. Jan van Huysum (Dutch, 1682-1749). 1722. Oil on panel, 31 1/4 x 24 inches (79.4 x 60.9 cm). J. Paul © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. Getty Museum (Los Angeles, CA), 82.PB.70. © 2009 J. Paul Getty Trust. All rights reserved.

Establish your focus Focus of the record: Image? Miracles of a Saint. Unknown German. 12th century. Work? Single item? Group of items? Component?

• Are you creating a record for the slide of the illumination? Or a work? • Which work? Are you creating a record for the page as a component? Or for the volume as a whole? • Maybe for a group?

Establish your focus

Work Record: Record Type [controlled]: item Class [cont.]: manuscripts Miracles of a Saint. Unknown German. 12th century. *Work Type [link to authority]: illumination *Titles : Initial E with Miracles of a Saint *Creator Display: unknown German *Role [controlled]: artist [link to Person/Corp. Authority]: unknown German *Creation Date: 1150s [controlled]: Earliest: 1150 ImageLatest: Record: 1159 Image Number: 602232r Image Type *Subject [link to authorities] religion/mythology saint miracles bed Maintain separate [link]: slide *Current Location [link to authority]: Ertel Morka Museum (Berlin, Image Source [link]: Michaels, Ann. The Germany)records for work Illuminated Tradition. Seattle: University of Creation Location: Germany Washington Press, 1996 Page: 113 *Measurementsand the image Image Format [link]: Cibachrome (TM) [controlled]: Value: Unit: Type: 35 mm *Materials and Techniques: gold leaf and tempera on parchment Image Measurements: 2 x 2 inches [link to authority] gold leaf tempera (paint) parchment [controlled]: Value: 2 Unit: inches Related Image [link to Image Record]: 602232r Type: height *View Description: detail *View Type [link]: detail Not necessarily representative of the actual record in the Bainbridge Bunting Memorial Slide*View Library, College Subject: of Fine Arts, InitialUniversity ofE New Mexico; image ©Fienup-Riordan, © J. Paul Getty Trust, author: Patricia Harpring.Ann. *Do TheView not Living distribute. TraditionDate of [controlled] Yup’ik Masks. Seattle:: University1996 of Washington Press, 1996

Establish your focus Record Type or Catalog Level: What is the catalog level of your Work Record? item volume group subgroup collection set series multiples component

* Establishing Relationships per CCO/CDWA

• Work records are linked to each other – hierarchical and other relationships

Personal and Corporate Name Image Authority Records

Geographic

s s Place Authority

i i Work Records

r r Source Records

o o Concept

t t Authority

Subject Authority

Entity-Relationship model from CDWA and CCO

When to catalog whole and parts separately Create separate records When each part contains unique information that would be difficult to clearly delineate a single record When separate records are necessary to manage the works within the repository When the parts are not physically joined to the whole, separate records to track loans, conservation, provenance separately When separate records will aid in the retrieval of the information and its display to the end user

When to catalog whole and parts separately Criteria can include whether the artist, dates, style, media, subject, or location differ between the whole and the parts of a work

When to catalog whole and parts separately Criteria can include whether the artist, dates, style, media, subject, or location differ between the whole and the parts of a work • Catalog only the group as a group-level record? May catalog in phases

Phase 1 = group Phase 2 = box Phase 3 = item

Work Record Record Type: collection Class: photographs European art *Work Type:cartes-de-visite *Title: Peruvian Portrait Cartes-de-Visite *Creator Whole/part Display: relationships:Eugenio Courret (French, active ca. 1861- ca.collection-level, 1900 in Peru) and group-level, Courret H ermanos (Peruvian, active 1863volume-level-ca. 1873) record *Role Individual [link]: photographer items may [link] be: Courret, Eugenio *Role [link]: studio [link]: Courret Hermanos *Creationcataloged Date: ca.separately 1870-ca. 1880 and [controlled] : Earliest: 1865 Latest: 1885 *Subjectlinked [link to to theauthorities] groupportraits travel Peru (South America) veiled women matador Native Andean soldier camp follower mother and child *Current Location [link to authority]: Getty Research Institute, Research Library, Special Collections (Los Angeles, California) ID: 91-F46 *Material / Technique: cartes-de-visite (photographs) [link]: cartes-de-visite *Measurements: 11 items, 9 x 8 cm each (3 1/2 x 3 1/8 inches) [controlled]: Extent: each Value:9 Unit:cm Type:height | Value: 8 Unit:cm Type:width | Extent: items Value: 11 Type:count Inscriptions: versos read: E. Courret, Fotográfo, 197 Calle de la Union (Mercaderes), 71 Calle del Palacio, Lima, República Peruana, Exposición 1869 Medalla de Honor, Exposición 1872 Medalla de Oro (9 items); Courret© J. Paul GettyHermanos Trust, author: Patricia[same Harpring. Do address] not distribute. with monogram; E Courret

Work Record Record Type: collection Class: photographs European art *Work Provide Type:cartes access-de -forvisite *Titleitems: Peruvian & components Portrait Cartes-de-Visite *Creator Display: Eugenio Courret (French, active ca. 1861- If cataloging only ca. 1900 in Peru) and Courret Hermanos (Peruvian, active the group, items 1863-ca. 1873) *Role [link]must: photographer be accessible [link]: Courret, Eugenio *Role [link]too: studio [link]: Courret Hermanos *Creation Date: ca. 1870-ca. 1880 [controlled]: Earliest: 1865 Latest: 1885 *Subject [linkAlso to authorities]for multiple-portraits travel Peru (South America) veiled women matador part Native itemsAndean andsoldier folios camp follower mother and child *Current Location [link to authority]: Getty Research Institute, Research Library, Special Collectionsor (Los prints Angeles, inCalifornia) volumes ID: 91-F46 *Material Use/ Technique: repeatingcartes-de field:-visite (photographs) [link]: cartes-de-visite *Measurements:e.g., gelatin11 items, 9silver x 8 cm each (3 1/2 x 3 1/8 inches) [controlled]print,: Extent: platinumeach Value :9print, Unit:cm Type:height | Value: 8 Unit:cm Type:width | Extent: items Value: 11 Type:count Inscriptions:albumenversos read: print E. Courret, Fotográfo, 197 Calle de la Union (Mercaderes), 71 Calle del Palacio, Lima, República Peruana, Exposición 1869 Medalla de Honor, Exposición 1872 Medalla de Oro (9 items); Courret© J. Paul GettyHermanos Trust, author: Patricia[same Harpring. Do address] not distribute. with monogram; E Courret

Record Type: component Class: prints and drawings work type: engraving Title: Spring Flowers in a Chinese Vase Creator: Maria Sibylla Merian (German, 1647-1717) Creation Date: 1680 Medium: hand-colored engraving Measurements: folio 32.6 x 21.3 Record cm (12 13/16 x 8 3/8 inches) for the Subject: •still life •botanical •flowers • print is nsects •tulips •iris •vase •wasp •beetle Current Location: Natural History linked to Museum (London, England) separate Relationship Type: record broader context for the Related Work: New Book of Flowers. Nuremburg: 1680. book as Relationship Number: a whole volume 3 plate 2

Record Type: set Class: decorative arts Work Type: tea service silver Title: Traveling tea service Relationships Creation Location: Paris (France) CreationTraveling Dae: 1728/1729 Tea Service Creator: probably by: Martin Berthe, master in 1712 Measurements: Overall (Teapot):Teapot 10 x 16.8 x 10.3 cm (3 15/16 x 6 5/8 x 4 1/16 in.) Overall (Tea Canister): 9 x 5.9 x 4.9 cm (3 9/16 x 2 5/16 x 1 15/16 in.) Overall (SugarTea bowl): Caddy 10 cm (3 15/16 in.) Overall (Tea bowl and saucer): 4.9 cm (1 15/16 in.) Overall (Scent flask): 13.7 cm (5 3/8 in.) Overall (SpoonsJapanese (each)): 11.7 cm Imari (4 5/8 in.) Sugar Bowl and Cover Overall (Box): 15.4 cm (6 1/16 in.) Materials: silver and ebonized wood; porcelain; glass; kingwood; rosewoodChinese Famille- Verte Tea Bowl and Saucer Inscriptions/Marks: Maker's Mark: a crowned fleur-de-lys, 2 grains, [M]B, a bunch ofSilver-mounted grapes ? (Dennis 50): Underside. Warden's Scent Mark: Flask 1728-29, a crowned M (Dennis 57): Underside. Charge Mark: 1727-32, an A crowned on the side (Dennis 57): Underside, partially effaced. Discharge Mark: for medium-sizedTwo work, 1727-32,Spoons a crowned martlet (Dennis 57): Underside. Countermark: 1727-32, a crowned bell (Dennis 343): flange of lid. Description: Traveling tea service consisting of a teapot; tea canister; suagrbowl;Wooden teabowl and saucer; Box scent flask; two spoons; box. Current Location: Museum of Fine Arts (Boston, Massachusetts); Elizabeth Parke Firestone and Harvey S. Firestone, Jr. Collection, 1993; Accession number: 1993.520.1-8 Ownership History: By 1955, with Jean-Louis Bonnefoy, Au Vieux Paris, Paris; November 1955, sold by Au Vieux Paris to Elizabeth Parke Firestone (1897-1990) and Harvey S. Firestone, Jr. (1898-1973), Akron, OH and Newport, RI; 1993; gift of the Estate of Elizabeth Parke Firestone and Harvey S. Firestone, Jr. (Accession date: May 26, 1993)

Whole/Part Records for a set Relationships indicated with indentation

Work Record Record Type [controlled]: series Class [controlled]: prints *Work Type [link to authority]: color woodcuts Relationships *Title : Thirty-six Views of Mount Fuji: First Series Alternate Title: First Series: Mt. Fuji Views *Creator Display: Katsushika Hokusai (Japanese, 1760– 1849); Published by Eijudo Japan *Role [controlled]: painter [link]: Hokusai, Katsushika Role: [cont.] publisher [link]: Eijudo Japan *Creation Date 1827-1837 [controlled]: Earliest: 1827 Latest: 1837 *Subject [links] Mount Fuji ocean genre scenes meisho-e *Current Location [link to authority]: not applicable Style: Edo *Measurements: 36Work prints, Record average plate size: 24 x 37 cm [cont.] Extent:Record items Type Value: [controlled] 36 Unit::item N/A ClassType: [controlled] : prints and count drawings Asian art Qualifier: average *Work dimensions Type [link]: Extent:color woodcut plate mark Value: 24 Unit: *Title cm: GreatType: Wave height at Value:Kanagawa 37 Unit: cm Type: width Title: In the Hollow of a Wave off the Coast at Kanagawa *Materials and Techniques:Title Type woodcuts,:alternate polychrome ink and color on paper *Creator Display: Katsushika Hokusai (Japanese, 1760-1849); [link] ink colorpublished (pigment) by Nishimura paper Eijudowoodcuts (Japanese, 19th century) Description: Hokusai*Role produced [link]: twoprintmaker series of Views [link] :ofHokusai, Mt. Katsushika Fuji. This is the* firstRole series. [link]: publisher [link]: Nishimura Eijudo *Creation Date: ca. 1831/1833 [controlled]: Earliest: 1828 Latest: 1836 *Subject [links]: seascape wave fishermen boat Mount Fuji (Chubu, Japan) Kanagawa (Kanto, Japan) Style [link]: Edo Whole/Part Culture [link]: RecordsJapanese *Current Location [link]: Metropolitan Museum of Art, New for a York,series New York, and USA) ID:a JP1847part *Measurements: 25.7 x 37.9 cm (10 1/8 x 14 15/16 inches) [controlled]: Value: 25.7© J. Paul Unit Getty:cm Trust, author:Type Patricia:height Harpring. | Do not distribute.

Record Type: multiples Relationships Class: prints and drawings Work Type: drypoints Title: Christ Presented to the People Creator: Rembrandt van Rijn (Dutch, 1606– 1669) Christ Presented to the People Description: RembrandtState 1 treated this large drypoint almost as a painting, making marked changes to theState composition 2 as he reconceived the scene over and over. In the sixth state of theState print, 3he removed much of the original crowdState that 4stood directly below the main event and replaced it with two brick arches over anState unidentified 5 chasm. Between the arches he also added a sculpted male figure, lightly coveredState ov6er in this, the final, state. The iconographic significance of these changes remainsState a mystery, 7 but compositionallyState they serve 8 to thrust the viewer into direct confrontation with Christ's fate. Source: Metropolitan Museum of Art online

Whole/Part Records for a multiples “group”

Work Record Record Type [controlled]:group Class [controlled]: prints and drawings American art *Work Type [link]: design drawings models *Title: Pei’s Drawings and Models for the East Building, National Gallery of Art Relationships *Creator Display: I. M. Pei & Partners (American, establishedDrawings 1955); chief architecand t:other I. M. Pei (American, born in Chinadocuments in 1917) from the *Role [link]: architectural firm [link]: I. M. Pei & Partners *Role [link]office: chief architectof I.M. [link]Pei: Pei, for I. M. the *Creation Date: 1968-1978 (inclusive dates) [controlled]East: Qualifier: Building,inclusive NationalEarliest: 1968 Latest: 1978 *SubjectGallery[links]: East of Building, Art National Gallery of Art (Washington, DC, USA) *Current LocationEarly [link] drawings: Archives, National Gallery of Art (Washington, DC,Later USA) drawingsID:unavailable *Measurements: 152 items; various dimensions [controlled] ExtentArchitectural:items Value: 152 models Type: count *Materials and Techniques: various Description: 152 design drawings and models for the East Building project that I. M. Pei & Partners gave to the archives of the National Gallery of Art in 1986. Related Work: Relationship Type [controlled]: depicts [link to Work Record]: Pei, I. M. (American, born 1917 in China); East Building, National Gallery of Art (Washington, DC, USA); completed in 1978cc

Images: Copyright © 2009 National Gallery of Art, Washington D.C. 1. I. M. Pei. Early Hierarchical relationships conceptual sketch for building plan, National Gallery of Art East Building. Fall 1968. Crayon and graphite on tracing paper. 2. I. M. Pei & Partners. National Gallery of Art East between groups, sub-groups, Building Design Team. Working studies. ca. October 1968. Felt-tip pen on tracing paper. 3. I. M. Pei & Partners. National Gallery of Art East Building Design Team. Study, "Stepping and items down the geometry for light." Pen on tracing paper. 4. I. M. Pei & Partners. Scale model of East and West Buildings showing final © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. design for Third Street facade, spring 1971.

Image: Pendant Mask: Iyoba, 16th century; Edo, court of Benin; Nigeria; ivory, iron, copper; Michael C. Rockefeller Memorial Collection, Gift of Nelson A. Rockefeller, 1972; Metropolitan Museum of Art (New York, New York) (1978.412.323); Photo by The Photograph Studio, Metropolitan Museum of Art, copyright © 2004 The Metropolitan Museum of Art. All rights reserved; Ivory Mask,. British Museum, London. Image from http://www.thebritishmuseum.ac.uk/compass/

Class*: manuscripts Object may be Work Type*: charter Title or Names*: Magna Carta copied from Creation-Creator/Role*: composite work, another known Creation-Date*: 1297 work Subject Matter*: rights, law Current Location*: National Archives and Multiples Record Administration, Washington, DC. on (prints), indefinite loan from the Perot Foundation Measurements*: 22.4 x 17.3 cm versions, linked Materials and Techniques*: ink on to each other parchment with discretion Descriptive Note: Exemplification of 1215; The British Library Cotton MS Augustus II.106; One of four surviving exemplifications issued over the Great Seal of King John on and after 23 June 1215.

Related Work: Magna Carta

Class: prints and drawings Work Type: •design drawing •preliminary drawing Title: Section and Elevation of the Drum Decide the level and Dome of St. Peter’s Title Type: descriptive Creator: Michelangelo (Florentine of detail with sculptor, painter, architect, 1475-1564) Date: mid 1550s which you need Medium: incised lines, charcoal with traces of brown ink on paper to record Measurements: 270 x 267 cm Type, Purpose, Method of Representation: relationships Descriptive Note: This is the only known drawing where… Subject/Built Work: •section •elevation •Dome (St. Peter’s Basilica, Rome) Related Work: Dome (St. Peter’s Basilica, Rome) Relationship type: design for Record building Current Location: Musée des Beaux Arts (Lille, France) Collection Wicar, 93-94 depicted as a separate work? Class: prints and drawings Work Type: measured drawing Title: External elevation of the Two drawings: model for St. Peter’s Title Type: descriptive Link both to Creator: circle of Etienne Dupérac Subject: •elevation •Model of St. Peter’s the work? Related Work: Model of St. Peter’s Date: probably late 1560s Medium: brown ink on paper Descriptive Note: Probably done in preparation for the series of … Current Location: Metropolitan Museum of Art (New York, New York, USA); 49.92.91

Class: prints and drawings Work Type: •design drawing •preliminary drawing Title: Section and Elevation of the Drum But actually, and Dome of St. Peter’s Title Type: descriptive Creator: Michelangelo (Florentine one drawing is sculptor, painter, architect, 1475-1564) Date: mid 1550s of the model Medium: incised lines, charcoal with traces of brown ink on paper Measurements: 270 x 267 cm The model is Type, Purpose, Method of Representation: linked to the Descriptive Note: This is the only known drawing where… Subject/Built Work: •section •elevation dome •Dome (St. Peter’s Basilica, Rome) Related Work: Dome (St. Peter’s Basilica, Rome) Relationship type: design for Current Location: Musée des Beaux Arts (Lille, France) Collection Wicar, 93-94

Class: sculpture Class: prints and drawings Work Type: half model Work Type: measured drawing Title: Half Model for the Dome and Title: External elevation of the Drum for St. Peter’s, Rome model for St. Peter’s Title Type: Title Type: descriptive descriptive Creators: Michelangelo and Creator: circle of Etienne Dupérac Giacomo della Porta; Luigi Vanvitelli Subject: •elevation •Model of St. Date: 1558-1561 Peter’s Medium: linden wood, gesso, paint Related Work: Model of St. Peter’s Measurements: 5 x 4 x 2 m (without Date: probably late 1560s modern base) Scale: 1:15 Medium: brown ink on paper Current Location: Musei Vaticani Descriptive Note: Probably done in (Vatican City, Italy) preparation for the series of … Subject: Dome of St. Peter’s Current Location: Metropolitan Related Work: Dome of St. Peter’s Museum of Art (New York, New Descriptive Note: The model was York, USA); 49.92.91 probably completed under the direction of Michelangelo during …

Class: prints and drawings Work Type: •design drawing •preliminary drawing Title: Section and Elevation of the Drum and Dome of St. Peter’s Title Type: descriptive Creator: Michelangelo (Florentine sculptor, painter, architect, 1475-1564) Date: mid 1550s Medium: incised lines, charcoal with traces of brown ink on paper Measurements: 270 x 267 cm Type, Purpose, Method of Representation: Descriptive Note: This is the only known drawing where… Subject/Built Work: •section •elevation •Dome (St. Peter’s Basilica, Rome) Related Work: Dome (St. Peter’s Basilica, Rome) Relationship type: design for Current Location: Musée des Beaux Arts (Lille, France) Collection Wicar, 93-94 And the dome Class: sculpture Class: prints and drawings Work Type: half model has part/whole Work Type: measured drawing Title: Half Model for the Dome and Title: External elevation of the Drum for St. Peter’s, Rome model for St. Peter’s Title Type: Title Type: descriptive relationships descriptive Creators: Michelangelo and Creator: circle of Etienne Dupérac Giacomo della Porta; Luigi Vanvitelli with St. Peter’s Subject: •elevation •Model of St. Date: 1558-1561 Peter’s Medium: linden wood, gesso, paint Related Work: Model of St. Peter’s Measurements: 5 x 4 x 2 m (without Basilica and Date: probably late 1560s modern base) Scale: 1:15 Medium: brown ink on paper Current Location: Musei Vaticani Complex Descriptive Note: Probably done in (Vatican City, Italy) preparation for the series of … Subject: Dome of St. Peter’s Current Location: Metropolitan Related Work: Dome of St. Peter’s Museum of Art (New York, New Descriptive Note: The model was York, USA); 49.92.91 probably completed under the direction of Michelangelo during …

List of suggested relationship types is in CCO and CDWA

study for

study is

Jean-Auguste-Dominique Ingres; Study for the Dress and the Hands of Madame Moitessier; 1851; graphite on tracing paper, squared in black chalk; 13 15/16 x 6 5/8 inches; J. Paul Getty Museum (Los Angeles, Jean-Auguste-Dominique Ingres; Madame Moitessier; 1851; Samuel H. Kress California); 91.GG.79 Collection, National Gallery of Art (Washington, DC); 1946.7.18

* Applying Work Type * What Is Class?

WorkWork TypeType Work Type

Work Record identifies what the Record Type [controlled]: item Class [controlled]: decorative arts numismatics work is • RecordEuropean art Type: item *Work Type [link]: medal *Title: Medal of Emperor Rudolf II (1552-1612) physical form, *Creator Display: unknown Czech •Class*Role [link]: goldsmith: decorative [link]: unknown Czech arts function, or media *Creation Date: early 17th century [controlled]: Earliest: 1600 Latest: 1630 numismatics*Subject [links]: numismatic object RudolfEuropean II (Holy Roman art Emperor, 1552-1612) power victory Capricorn (Zodiac) Caesar Augustus (Roman emperor, 63 BCE-14 CE) peace laurel wreath *Current Location [link]: J. Paul Getty Museum (Los Angeles, •California,*Work USA) ID:92.NJ.87 Type: medal Creation Location: Prague (Czechoslovakia) *Measurements: 4.15 cm x 3.32 cm (1 7/8 in. x 1 3/8 inches) [controlled]: Value: 4.15 Unit:cm Type:height | Value: 3.32 Unit:kg Type: width *Materials and Techniques: cast gold Material [links]: gold Technique [links]: burnishing casting Inscriptions: obverse: RUDOLPHUS II ROM IMP AUG REX HUNG BOE, (Rudolf the Supreme Emperor of the Romans, King of Hungary and Bohemia); reverse: ASTRUM FULGET CAES (The Emperor's Star Shines Brightly) Description: The subject of the obverse are the Habsburg Emperor Rudolf II wearing a laurel wreath. The subject of the reverse is the ram, zodiac sign of the constellation Capricorn, referring to Augustus Caesar, who was conceived under this sign, suggesting an analogy between Rudolf and Caesar. The Habsburg Emperor Rudolf II minted this medal in imitation of ancient rulers, celebrating his power and dominion. He wears a laurel wreath, sign of victory and peace, and the chain and pendant of the Order of the Golden Fleece. The casting is of very high quality, evident in the subtleVocabulary differentiation of textures controlled on the medal. Description Source [link]: J.Paul Getty Museum online. www.getty.eduwith (accessedan authority 24 January 2009)

physical form, function, or media

WorkRecord Record Type: item Record Type [controlled]: item ClassClass [controlled]: prints: prints and and drawings drawings European art European art *Work Type [link]: etching *Title: Shell (Murex brandaris) *Creator*Work Display: TypeWenceslaus: Hollar etching (Bohemian, 1607-1677) *Role [link]: printmaker [link]: Hollar, Wenceslaus *Creation Date: ca. 1645 [controlled]: Earliest: 1640 Latest: 1650 *Subject [links]: animal still life shell Murex brandaris (marine mollusk) Culture [link]: Bohemian *Current Location [link]: National Gallery of Art (Washington, DC, USA) ID: 1992.17.2 *Measurements: plate: 9.5 x 13.6 cm ( 3 3/4 x 5 3/8 inches) [controlled]:Extent:plate Value:9.5 Unit:cm Type: height | Value: 13.6 Unit:cm Type:width *Materials and Techniques: etching on laid paper Material [links]: etching laid paper Technique [links]: etching Description: Pliny’s dye-producing “purpura” was probably this species, Murex brandaris.

physical form, function, or media

Work Record Record Type [controlled]: item Class Record[controlled]: decorative Type arts: itemceramics Islamic art *Work Class Type [link]: : lamp decorative arts ceramics *Title: Mosque Lamp *Creator Display: unknown Islamic Syrian or Egyptian art *Role [link]: artist [link]: unknown Syrian *Role*Work [link]: artist Type [link]::unknown lamp Egyptian *CreationWork Date: ca. Type1285 (Mamluk: period) [controlled]: Earliest: 1280 Latest: 1295 *Subject [links]: object (utilitarian) lamp light mosque furnishings Culture [link]: Syrian Egyptian Islamic *Current Location [link]: Metropolitan Museum of Art (New York, New York, USA) ID: 17.190.985 *Measurements: 26.7 cm (height) (10 1/2 inches) [controlled]: Value: 26.7 Unit:cm Type: height *Materials and Techniques: free-blown glass, enameled and gilded; tooled on the pontil Material [links]: enamel glass gold Technique [links]: tooling free-blown glass Inscriptions: states that it was made for the mausoleum of a Syrian official. Description: This lamp is a metaphor. In the Koran, God's light is likened to "a niche in which is a lamp, the lamp is in a glass, and the glass is as if it were a brightly shining star." Description Source [link]: Metropolitan Museum of Art online. www.metmuseum.org (accessed 10 February 2004) © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Record Type: item May be multiple Class: prints and drawings architectural drawings American art work types for *Work Types: one item *Work Types: measured drawing Record Type: item Class: architectural drawingsrecord American drawing art section work types: measured drawing record drawing section Inscribed Title: Barn at Darington Court , Faversham, Kent Descriptive Title: Sections and details of Barn at Darington Court Creator: W. G. Prosser (American, 20th century) Date: 20th century Medium: pen and black ink Measurements: 240 x 260 cm Scale: 2 1/2 in. = 10 feet Current Location: Royal Commission of Historic Monuments (London, England) Descriptive Note: Commissioned by the RCHM to record this threatened building.

Class: Prints, Drawings, and Photographs Record TypeWork Type:: item Title: Birth and Baptismal Certificate Class: Creator:prints Francis and Portzline drawings (American (Pennsylvania German), active 1838 -1855) CreationAmerican Location: Pennsylvania, art United States Creation Date: 1840/1855 *Work TypesMaterials: watercolor: wash, pigments in gum medium, and ink on wove paper frakturMeasurements: (document) sheet: 12 13/16 x 15 9/16 inches (32.5 x 39.5 cm) birth certificateCurrent Location: Pennsylvania Museum of Art (Pennsylvania, Pennsylvania, USA). 1928-10-90; Gift of J. Stogdell Stokes, 1928 baptismalDescription: certificate The colorful drawings known today as fraktur (so called because of the "fractured" Gothic script employed) were created as blessings, rewards of merit, or personal records of confirmation, marriage, or baptism, as in this example. Like many fraktur artists, Francis Portzline taught school and had special skills in lettering and painting. In his work, the surrounding birds, butterflies, and flowers reinforce the celebratory nature of the religious ceremony. Such records were important for membership in the Lutheran or Reformed Churches; their texts also offered spiritual guidance for their owners.

• Work type may change over time • Include terms for original and current type Record Type: item Class: Manuscripts Near Eastern works Work Types: manuscript palimpsest prayer book homilary Title: RecordMS 575. Codex Armenicus Type Rescriptus.: item Palimpsest. Creator: Unknown scribes, created at the Monastery of St. Catherine, Mt.Sinai, Egypt; Authors: Johannes Chrysostomus: Homilies on the Psalter Class ; Parakletikon:: Melkitemanuscripts Liturgical Prayers, Including Near a Tract on the Mobilitas Demon DateEastern of Creation: 6th workscentury, 1st half of 10th century Medium: palimpsest; ink on vellum. Binding: Barking, Essex, 1990, green cloth gilt folding case by Aquarius. Measurements:*Work Text Types 1: 18 ff., 23x17: cm, 2 columns, (19x16 cm), 25 lines in Armenian uncial (Erkathgir): Text 2: ., single column, (18x13 cm), 19-23 lines in manuscriptSyriac estrangela book script, with palimpsest7 interlinear decorations. Language: Text 1: (underlying text 6th century, Armenian; Text 2: (overlying text Syriac) Provenance:prayer 1. Monastery book of St. Catherine, homiliary Mt. Sinai (6th – 19th c.); 2. Friedrich Grote, Germany (ca. 1900); 3. Walther Adam, Magdeburg and Goslar (1918/30-1964); 4. Carl Wilhelm Adam, Goslar (1964-1987); 5. F. Dörling, Hamburg 1.6.1987:29; 6. Sam Fogg, London. Description: The Codex Armenicus Rescriptus is a parchment originating at the Monastery of St. Catherine at Mt. Sinai. The original text on the parchment was an Armenian version of the Homilies on the Psalter by John Chrisostomos. It was later overwritten with Melkite liturgical prayers in Syriac. The Armenian text dates from the 6th century, the golden age of the ArmenianWas language. originally The Syriac text datesa set from the of 10th century. Among the earliest examples of Armenian literature. Text 2 is the oldest evidence of the Melchite liturgy in Syriac. There are 20 MSS from Mt. Sinai in Thehomilies; Schøyen Collection. Besides the monastery's own famous library (4300 MSS), only The British Library (8 MSS) and The National Library of Russia, second St. Petersburg, havetext comparable is aholdings. prayer Sources: Context: 93 ff. from the same MS: Karl W. Hirsemann, Leipzig, cat. 500(1922):42,book now in Den Haag, the Meerman-Westreenen Museum. The pres Assfalg: Syrische Handschriften, pp. 211-13, No. 109-110, S 11 & 13. Exhibited: Conference of European National Librarians, Oslo. Sept. 1994

• Work type may change over time • Use terms for original and current type Record Type: item Class: Manuscripts Near Eastern works Work Types: manuscript palimpsest prayer book homilary Title: MSRecord 575. Codex Armenicus Type Rescriptus.: item Palimpsest. Creator: Unknown scribes, created at the Monastery of St. Catherine, Mt.Sinai, Egypt; Class Authors: Johannes: Chrysostomus:manuscripts Homilies on the PsalterNear ; Parakletikon: Melkite Liturgical Prayers, Including a Tract on the Mobilitas Demon Date of Creation: 6th century, 1st half of 10th century Medium:Eastern palimpsest; inkworks on vellum. Binding: Barking, Essex, 1990, green cloth gilt folding case by Aquarius. Measurements:*Work Text Types 1: 18 ff., 23x17: cm, 2 columns, (19x16 cm), 25 lines in Armenian uncial (Erkathgir): Text 2: ., single column, (18x13 cm), 19-23 lines in Syriac estrangela book script, with 7 interlinear decorations. Language:manuscript Text 1: (underlying text 6th century, palimpsest Armenian; Text 2: (overlying text Syriac) Provenance: 1. Monastery of St. Catherine, Mt. Sinai (6th – 19th c.); 2. Friedrich Grote, Germanyprayer (ca. 1900); book 3. Walther Adam, homiliary Magdeburg and Goslar (1918/30- 1964); 4. Carl Wilhelm Adam, Goslar (1964-1987); 5. F. Dörling, Hamburg 1.6.1987:29; 6. Sam Fogg, London. Description: The Codex Armenicus Rescriptus is a parchment originating at the Monastery of St. Catherine at Mt. Sinai. The original text on the parchment was an Armenian version of the Homilies on the Psalter by John Chrisostomos. It was later overwritten with Melkite liturgical prayers in Syriac. The Armenian text dates from the 6th century, the golden age of the Armenian language. The Syriac text dates from the 10th century. Among the earliest examples of Armenian literature. Text 2 is the oldest evidence of the Melchite liturgy in Syriac. •ThereIf are the 20 MSS function from Mt. Sinai in Theor Schøyen physical Collection. charac Besides teristics of a work have changed the monastery's own famous library (4300 MSS), only The British Library (8 MSS) and overThe National time, Library ofrecord Russia, St. Petersburg, both have the comparable orig inal and subsequent Work Types holdings. Sources:• Context:List 93historical ff. from the same MS: sequence Karl W. Hirsemann, in Leipzig, reverse cat. chronological order 500(1922):42, now in Den Haag, the Meerman-Westreenen Museum. The pres Assfalg:• Syrischeor with Handschriften, the pp. most 211-13, No. important 109-110, S 11 & 13. Work Type first Exhibited:• TheConference changing of European Na tionaluse Librarians, or characteristics Oslo. Sept. 1994 of the work may be explained in the descriptive note © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

For educational purposes only. Do not distribute.

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w Work Types:

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p churchRecord Display Type Date: from: item 4th century

t h

[Earliest: 300 Latest: 1500 ]

m o

r Class: manuscripts

f Class:

mosque Display Date: under Ottomans

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a r [Earliest: 1400 Latest:1934]

F Near Eastern works

u museum Display Date: since 1934

s t e [Earliest: 1934 Latest: 9999]

Y *Work Types:

k Names/Titles: n

a church r

F Hagia Sophia Type: preferred

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t Display Date: from 4th century

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Ayasofya Language: Turkish

o [Earliest: 300 Latest: 1500 ]

t o h Agia Sofia P mosque Agia Sophia Sancta SophiaDisplay Language: Date:Latin under Ottomans Current Location:[Earliest: Istanbul (Marmara 1400 region, Latest: Turkey) 1934Location ]type: geographic Display Creator: museum architects: Anthemios of Tralles (Byzantine architectDisplay and mathematician Date: sincein Asia Minor, 1934 ca. 474- ca. 534) and Isidoros of Meletus, the Elder (Byzantine architect and[Earliest: engineer in 1934Asia Minor,Latest: active mid-6th 9999 ] century) Related People/Corporate Bodies: Anthemios of Tralles Role: architect Isidoros of Miletus Role: architect

* Class: decorative arts Class Recordfurniture Type: item * Work Type: roll-top desk Class* Title: Roll-Top: Deskdecorative arts * Creator Display: David Roentgen (German, 1743-1807, active furniturein Paris) European art Class categorizes a * Creation Date: ca. 1780-1785 *Work* Subject Type: desk, writing,: roll-top sciences desk work in a broader * Current Location: J. Paul Getty Museum (Los Angeles, scheme California, USA) ID: 72.DA.47 * Measurements: 165.1 x 150.3 x 85.1 cm * Materials and Techniques: veneered with mahogany, with gilt bronze mounts Description: This Neoclassical desk has a writing surface that can be pulled out, triggering a mechanism that automatically withdraws the roll top, thereby displaying drawers and pigeonholes ...

In some cases, a * Class: decorative arts short controlled list Recordfurniture Type: item * Work Type: roll-top desk may suffice (no Class* Title: Roll-Top: Deskdecorative arts variant terms, very * Creator Display: David Roentgen (German, 1743-1807, active furniturein Paris) European art short list) * Creation Date: ca. 1780-1785 *Work* Subject Type: desk, writing,: roll-top sciences desk * Current Location: J. Paul Getty Museum (Los Angeles, California, USA) ID: 72.DA.47 Class: Vocabulary controlled * Measurements: 165.1 x 150.3 x 85.1 cm * Materials and Techniques: veneered with mahogany, with gilt with Controlled List bronze mounts Description: This Neoclassical desk has a writing surface that can be pulled out, triggering a mechanism that automatically withdraws the roll top, thereby displaying drawers and pigeonholes ...

Class: May have works on paper multiple medicinal objects Class Ethiopian works terms Work Type: magic scroll

• Based on organizational scheme of a particular repository or collection; purpose is to place work within a broader context • Group the work with other works on the basis of similar characteristics, including materials, form, shape, function, region of origin, cultural context, or historical or stylistic period

Museum of Natural and Cultural History. University of Oregon. http://darkwing.uoregon.edu/mnh/ © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Class: Record Indian and Himalayan Type Art : item Work Type: What is “Indian and Title: AClass Prince Restrains: a Rampagingpaintings Elephant Himalayan Art” in Creator: unknown, India, Rajasthan, Kota Creation Date:Indian ca. 1780 and Himalayan Art one repository may Creation Location: India Materials: opaque watercolor, gold, and silver-colored paint on be “Asian Art” in paper*Work Type: illumination Measurements: 11 7/8 x 17 1/2 inches (30.2 x 44.5 cm) another Current Location: Philadelphia Musem of Art (Philadelphia, Pennsylvania); 2004-149-65; Alvin O. Bellak Collection, 2004 Description: From early in Indian history, elephant training was considered a science and entire books were written on the subject. Elephant combats of various sorts were a popular sport among Indian rulers. Elephants, however, have a tendency to become enraged if hurt, startled, or during breeding times and this elephant has clearly run amok. Nothing deters him: not the pointed goad wielded by his princely rider, nor the whirling firecrackers of his keepers, nor the whip of a rider whose black horse shies from the enraged beast.

Class: Prints, Drawings, and Photographs Title: Alberti Dvreri pictoris et architecti praestantissimi De vrbibvs...", 1535 What is “prints, Artist: RecordAlbrecht Dürer (German, Type 1471–1528): item Publication Location: Paris: Officina Christiani Wecheli Creation Date: 1535 drawings, and Materials: Class illustrated book;: 78 pages;prints, H: 13 3/4 in. (35drawings, cm) Current Location: Metropolitan Museum of Art (New York, New York). photographs” in a Purchased with income from the Jacob S. Rogers Fund (125.97 D932) Description:and methods photographs of constructing letterforms, from "Institutionum museum may be “rare Geometricarum" Albrecht Dürer, painter, draftsman, printmaker, and writer, was perhaps the greatest German artist. He created paintings and drawings books” or “special of *theWork highest quality Type and made major: contributionsillustrated to the development book of printmaking, particularly engraving. In 1525 Dürer published "Underweysung collections” in a library der Messung, mit dem Zirckel und Richtscheyt in Linien Ebenen und gantzen Corporen [Institutionum Geometricarum . . . ]," an introductory manual of geometric theory and its practical application for young artists. His treatise "Etliche Underricht, zu Befestigung der Stett, Schlosz und Flecken [De Urbibus, arcibus, castellisque . . . ]," on military fortification, was published about 1527. The Library's copy contains the Latin editions of both the military and geometric treatises published in Paris in the mid-1530s. The earlier manual was intended to give artists a strong base in the theory and application of geometry. In it Dürer discusses the generation of ellipses, the geometry of three-dimensional bodies, and the practical application of geometry in architecture. The last section of "Underweysung der Messung" is the first scientific treatment of perspective by a northern European artist, and its very placement in his treatise on geometry emphasizes the importance of perspective as a branch of mathematics, not merely as a technique of painters and architects. The practical application of geometrical theory reappears in Dürer's work on fortification, the first book in German on the subject. He relied heavily on Italian literature, but the "Etliche Underricht" was the first printed book in any language to bring together elements of the art of fortification from various sources and to present them as a system. Although it has been previously rebacked, the Library's copy is bound in a contemporary blind-tooled calfskin. Relationship Numbers: Pages 136–37,

* Recording the Creator * People Not Creators * Anonymous and Unknown Creators

Display vs. Indexing

Controlled fields vs. free-text fields

Controlled fields contain indexing terms, key data values drawn from standard vocabularies, and formatted to allow for successful retrieval

Free-text fields are note fields, not controlled Used to communicate nuance, uncertainty, and ambiguity to end users

Display vs. Indexing

Display refers to how the data looks to the end user in the database, on a Web site, on a wall or slide label, or in a publication Information for display should be in a format that is easily read and understood by users Free-text or concatenated from controlled fields

Indexing refers to the process of evaluating information and designating indexing terms by using controlled vocabulary that will aid in finding and accessing the cultural work record By human labor, not to the automatic parsing of data into a database index

CREATOR INFORMATION

Class: paintings *Work Type: watercolor *Creator*Title Display: Nous Quatre a: Paris *Creator Display: Palmer Hayden (American, 1890- Palmer Hayden1973) (American, 1890-1973)*Creation Date: 1935 *Subject: portraits, African Americans, card playing, billiards Role:Currentpainter Location: Metropolitan Museum of Art, New York (New York); Joseph H. Hazen Foundation, NameInc. [link to authority]: *Measurements: 43.18 x 35.56 cm (17 x 14 inches) Hayden,*Materials and Palmer Techniques: watercolor on paper Style: Harlem Renaissance

Creator Display for end- Creator information user legibility, nuance includes the identification Indexing of role and name of the maker and his/her using authorities roles © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Creator may be an individual, or a firm or other corporate or administrative body e.g., photographic studio, architectural firm

*Creator Display: Haines Record Type [controlled]:item Class [controlled]: photographs PhotographyAmerican Co. art (American, *Work Type [link]: gelatin silver print 19th-20th *Title century): Panoramic Photograph of the White House, Washington, DC *Role: photographers *Creator Display: Haines Photography Co. (American, 19th-20th century) [link]: *HainesRole: photographers Photography Co. [link]: Haines Photography Co. *Creation Date: ca. 1909 [controlled]: Earliest: 1904 Latest: 1914 *Subject [links]: architecture White House (Washington, DC, USA) panoramic view Culture [link]: American *Current Location [link]: Library of Congress (Washington, DC, USA) ID: unavailable *Measurements: 15.85 x 55.88 cm (6 1/4 x 22 inches) [controlled]: Value:15.85 Unit:cm Type:height Value: 55.88 Unit:cm Type:width *Materials and Techniques: gelatin silver print Technique [links]: gelatin silver print Related Work: Relationship Type [controlled]: depicts [link to Work Record]: White House (Washington, DC, USA); 1792-1817

*Creator Display: architect: Willoughby J. Edbrooke (American, 1843-1896); draftsman: Chauncey G.

Graham (American,Record Type [controlled]:item active 1890s) Class [controlled]: prints and drawings American art *Role: architect*Work Type [link] : working [link]: drawing Edbrooke, Willoughby J. *Title: Plan and Sections of Concrete Foundation for the U.S. Post Office, Cedar Rapids, Iowa *Role: draftsman*Creator Display: architect: [link]: Willoughby Graham,J. Edbrooke (American, Chauncey G. 1843-1896); draftsman: Chauncey G. Graham (American, active 1890s) *Role: architect [link]: Edbrooke, Willoughby J. *Role: draftsman [link]: Graham, Chauncey G. Includes*Creation multiple Date: 1892 [controlled]: Earliest: 1892 Latest: 1892 *Subject [links]: architecture section plan U.S. Post Office creators(Cedar Rapids, Iowa, USA) Culture [link]: American *Current Location [link]: National Archives and Records and role ofAdministration each (Washington, DC, USA) ID:unavailable *Measurements: 59.44 x 91.44 cm (23 3/8 x 36 inches); scale: 3/4 creator (e.g.,inch = 1 foot [controlled]:Value:59.44 Unit:cm Type:height | Value: 91.44 architect andUnit:cm Type:width | Scale: numeric Value: .75 Unit: inch Type:base | Value: 1 Unit: foot Type:target draftsman)*Materials and Techniques: ink and color washes on paper Material [links]: ink wash paper Inscriptions: scale: 3/4 in = 1 ft. Description: The purpose of this drawing was to convey basic construction information, but the draftsman has created a thing of beauty. Related Work: Relationship Type [controlled]: depicts [link to Work Record]: U.S. Post Office (Cedar Rapids, Iowa, USA); 1890s Image from : Lowry, Bates. Building a National Image: Architectural Drawings for the American © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. Democracy, 1789-1912. Washington: National Building Museum, 1985.

Class*: manuscripts Work Type*: illumination Title*Creator or Names*: The ElephantDisplay Clock: :Leaf from the Book of the Knowledge of Ingenious Mechanical Devices *Creatorilluminator: Display: probably unknown illuminator: probably unknown Syrian (active 14th century CE)Syrian (active 14th century CE) author: Mamluk Abu'l Izz Isma'il al-Jazari; author:copyist: Farkh Mamluk ibn Àbd al-Latif Abu'l(Syrian, 14th Izz century); Isma'il Role: illuminator [link]: unknown Syrian Role:al-Jazari;copyist [link]: Farkh ibn Àbd al-Latif Role:copyist:author [link]: MamlukFarkh Abu'l ibn Izz Isma'il Àbd al-Jazari al-Latif Creation-Date*: 715 A.H. / A.D. 1315 Subject(Syrian, Matter*: elephant, 14th mechanical century); clock, timekeeping, human male, automaton CurrentRole: Locationilluminator*: Metropolitan Museum[link]: ofunknown Art (New York, NY),Syrian 57.51.23 MeasurementsRole: copyist*: 30 cm x 19.7 [link]: cm Farkh ibn Àbd al- MaterialsLatif and Techniques*: Ink, colors, and gold on paper Descriptive Note: The various parts of this clock move and make a Role:sound everyauthor half hour, [link]: reminiscentMamluk of the elaborate Abu'l clocks Izz foundIsma'il on medieval al-Jazari town halls in Europe... Related Work: part of book: al-Jazari, Kitab fi ma'rifat al-hiyal al- handasiyya (The Book of Knowledge of Ingenious Mechanical Devices, also known as The Automata)

When is author included as creator? If the work is textual, and if the author is known

Class*: manuscripts Work Type*: illumination Title*CreatorAuthor or Names*: The Elephant Displayand Clock: the :Leaf fromtextual the Book of the work may be Knowledge of Ingenious Mechanical Devices *Creatorilluminator:included Display: in probably Creator, unknown Subject, and illuminator: probably unknown Syrian (active 14th century RelatedCE)Syrian (active Textual 14th References century CE) (a bib- author:author: Mamluk Mamluk Abu'l Izz Isma'il Abu'l al-Jazari; Izz Isma'il copyist:liographic Farkh ibn Àbd al-Latif record) (Syrian, 14th century); Role: illuminator [link]: unknown Syrian Role:al-Jazari;copyist [link]: Farkh ibn Àbd al-Latif Role:copyist:author [link]: Mamluk Farkh Abu'l ibn Izz Isma'il Àbd al-Jazari al-Latif Creation-Date*: 715 A.H. / A.D. 1315 Subject(Syrian, Matter*: elephant, 14th mechanical century); clock, timekeeping, human male, automaton CurrentRole: Locationilluminator*: Metropolitan Museum[link]: ofunknown Art (New York, NY),Syrian 57.51.23 MeasurementsRole: copyist*: 30 cm x 19.7 [link]: cm Farkh ibn Àbd al- MaterialsLatif and Techniques*: Ink, colors, and gold on paper Descriptive Note: The various parts of this clock move and make a Role:sound everyauthor half hour, [link]: reminiscentMamluk of the elaborate Abu'l clocks Izz foundIsma'il on medieval al-Jazari town halls in Europe... Related Work: part of book: al-Jazari, Kitab fi ma'rifat al-hiyal al- handasiyya (The Book of Knowledge of Ingenious Mechanical Devices, also known as The Automata)

When is author included as creator? If the work is textual, and if the author is known

Record Type [controlled]:volume Class [controlled]: prints and drawings European art rare books Include printmakers and publisher in *Work Type [link]: book etchings maps plans panoramas *Title: Theatrum civitatum nec non admirandorum Neapolis et Siciliae regnorum Title: Views of the Cities and Sights of the Realmcreator of Naples and Sicily area,Title with appropriate roles Type:descriptive *Creator Display: Joan Blaeu (Dutch, 1596-1673), with Bastiaen Stopendaal (Dutch,*Creator 1637-before 1707)Display : Joan Blaeu (Dutch, 1596-1673), with * Roles : printmaker Bastiaenpublisher Stopendaal[link]: Blaeu, Joan (Dutch, 1637-before 1707) * Role : printmaker [link]: Stopendaal, Bastiaen *Creation Date: 1663 [controlled]: Earliest: 1663 Latest: 1663 *Subject:* Roles[links]: : cityscapesprintmaker landscapes Sicily (Italy) Naples (Campania, Italy) maps *Current Location [link]publisher: Getty Research Library, Special[link]: CollectionsBlaeu, (Los Angeles, Joan California, USA) ID: 92-B27718 Publication* Role Location : [link]printmaker: Amsterdam (North Holland, [link]: Netherlands)Stopendaal, Bastiaen *Measurements: 78 pages, 2 folded leaves [controlled] Extent: pages Value:78 Type:count *Materials and Techniques: hand-colored etchings, texts are printed Material [links]: paper Technique [links]: etching printing hand coloring Description: With the exception of 2 double folded leaves of plates, all etchings are on pages backed with text. There are 8 half page, 1 single and 22 double page etchings, all colored. Description Source [link]: Getty Research Library, Special Collections database.

Class: prints and drawings Work Type: screen print Title:Creator Vote McGovern Display: Andy Warhol (American, 1928-1987) Creator Display: Andy Warhol (American, 1928-1987) Role:Role:printmakerprintmaker [link]: Warhol, Andy [link]: Warhol, Andy Roles: •artist collaboration • supervision •proofing Roles:[link]: Tyler, Kenneth•artist collaboration • supervision •proofing Role: •edition printing [link]: Wasserman, Jeffrey Role: assistant:[link]: [link]:Tyler,Dressen RobertKenneth Role: assistant: [link]: Knisel, Robert Measurements:Role: 106.7edition x 106.7 cm (42 printing x 42 in.) [link]: Wasserman, Jeffrey Copyright: © 2001 Andy Warhol Foundation for the Visual Arts / Artists RightsRole: Societyassistant: (ARS), New York, New[link]: York; ©Dressen Gemini G.E.L. Robert and the Artist Current Location:Role: Nationalassistant: Gallery of Art (Washington,[link]: Knisel, DC), Gemini Robert G.E.L. collection. Catalogue Number: 54.1 Gemini Work Number AW72-5046; Old Gemini Catalogue Number 396; NGA AccessionYou Numbermay 1984.104.23,index names 1985.47.229 Creation Date: 1972 Signaturenot Date: in1972 the Creator PublicationDisplay; Date: 1972 may discuss Materials: 16-color screenprint Support Arches 88 Edition: 250their plus RTP, contributions PPII, 3 GEL, 16 CTP, Cin Facture: Colors or Sequence 1. blue (handmade lacquer stencil), 2. transparentDescriptive yellow (handmade lacquerNote stencil), or 3. orange (permanent emulsion photo screen), 4. magenta (permanent emulsion photo screen), Facture5. light orange (permanent(from emulsionCDWA) photo screen), 6. gray (permanent emulsion photo screen), 7. yellow-orange (hand-cut lacquer stencil), 8. magenta (hand-cut lacquer stencil), 9. red (hand- cut lacquer stencil), 10. purple (hand-cut lacquer stencil), 11. yellow (hand-cut lacquer stencil), 12. transparent magenta (hand-cut lacquer stencil), 13. red/black/yellow (hand-cut lacquer stencil), 14. black (permanent emulsion photo screen). Collaboration and Supervision Kenneth Tyler. Processing and Proofing Kenneth Tyler .

Edition Printing Jeffrey Wasserman assisted by© J.Robert Paul Getty Dressen, Trust, author: Patricia Harpring. Do not distribute. Robert Knisel

Record Type: volume Class: manuscripts Work Type: book of hours Title: Creator Hours of Jeanne d'Évreux Display: Jean Pucelle (French, active in Creator Display: Jean Pucelle (French, active in Paris, ca. 1320–1334) Role:Paris,illuminator [link]: ca.Jean Pucelle1320–1334) Role: patron [link]: Jeanne d'Évreux Creation Date: ca. 1324-1328 CreationRole: Location: illuminatorParis [link]: Jean Pucelle Materials: grisaille and tempera on vellum Measurements:Role: 209patron folios; 3 1/2 x 2 5/8 [link]: inches (8.9 xJeanne 6.2 cm) d'Évreux Current Location: Metropolitan Museum of Art (New York, New York); The Cloisters Collection, 1954 (54.1.2) Description: The 209 folios of "The Hours of Jeanne d'Évreux" include twenty-five full-page paintings with paired images from the Infancy and Passion May of Christ include and scenes of theclients life of Saint Louis. The figures are rendered in delicate grisaille (shades of gray) that imparts an amazingly sculpturalor quality,patrons and the images who are accented were with rich reds and blues and with touches of orange and yellow, pink, lilac, and turquoise. In the margins, closenot to seven “creators” hundred illustrations depict per the bishops, se beggars, street dancers, maidens, and musicians that peopled the streets of medieval Paris, as well as apes, rabbits, dogs, and creatures of sheer fantasy. All are brought to life by the keen observation, accomplished draftsmanship, and consummate imagination of the artist. This lavishly illustrated prayer book (Book of Hours) was created between 1324 and 1328 for Jeanne d'Évreux, queen of France, by the celebrated Parisian illuminator Jean Pucelle (active ca. 1320–34) and was intended for use by the queen during private prayer throughout the course of the day. Upon her death in 1371, Jeanne d'Évreux left the prayer book to King Charles V. At his death, the book entered the collection of another much lauded bibliophile, his brother Jean, duc de Berry. Conservation: nested mount.

Record Type: group Class: Architecture * Work Type: • architectural documents * Title: • Architectural drawings relating primarily to residences and commercial and public buildings in Ottawa from the Office of Werner E. Noffke, Ottawa

*Creator Display: Office of Werner E. Noffke (Ottawa, Canada) *Role: administrative origin *Creator[link]: Noffke, Display:Werner E., Office ofOffice of Werner * Creation Date*: 1906-1962 (inclusive dates) * SubjectE. : Noffke• office buildings (Ottawa, • churches • exhibition Canada) halls • residences * CurrentRole: Locationadministrative: Cartographic and Audio-Visual origin Archives Division; National Archives of Canada (Ottawa, Canada) ID: Noffke,[link]: W.E. 77803/7Noffke, Werner E., Office of * Measurements: various dimensions * Materials and Techniques: various materials Description: This collection contains 2241 drawings representing some 200 projects by Ottawa architect Werner E. Noffke over a period of 60 years. Residences, offices, and commercial buildings, exhibition halls, and churches appear in the collection,Origin along withof projects for buildings for foreign legations. A great deal of Noffke’s work was done for the Governmentarchival of Canada. group Sources: • National Archives of Canada

[for a box of photographs] Creator Display: photographers: Josiah Johnson Hawes (American, 1808-1901), Albert Sands Southworth (American, 1811-1894), and Joseph Pennell (American, 1866-1922) Role: photographer [link]: Hawes, Josiah Johnson Role: photographer [link]: Southworth, Albert Sands Role: photographer [link]: Pennell, Joseph

For groups of works, include all of the creators, if possible For a large number of creators, in Creator Display list the most important or most prominent creators represented in the group

In the controlled indexing fields, index all creators (not only the most important) to enhance end-user access

RecordAnonymous Type: component Creator For constructed names (i.e., Class: manuscripts Title: Christ Carrying the Cross for anonymous creators), use Creator Display: Spitz Master (French illuminator, the language of the catalog activeCreator ca. 1415-ca. Display: 1425) Spitz Master Role: illuminator record (e.g., “Master”) [link]:(FrenchSpitz Master illuminator, active ca. Creation Date: ca. 1420 Creation1415-ca. Location: 1425) Paris (France) Materials: tempera colors, gold, and ink on parchment boundRole: betweenilluminator pasteboard covered with red silk velvet Measurements: 7 15/16 x 5 7/8 inches Related Work: Book[link]: of Hours Spitz Master Current Location: J. Paul Getty Museum (Los Angeles, California); MS. 57

“Anonymous” artist, appellations are devised by scholars or museums when the hand (style), and oeuvre (works) are identified, approximate dates known, but the name of the artist is unknown © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Unknown Creator Unknown

Class*: Textiles creators Work Type*: mola Title or Names*: Kuni Mola Work not Creator Display: unknown Kuni attributed to an Role: artist

[link]:Creatorunknown Display:Kuni unknown Kuni artistic i

Creation Date*: ca. 1922 e

Role: artist personality o

Subject Matter*: squirrels in trees & cages m

Style: Cubism p

[link]: unknown Kuni /

Current Location*: National Museum of the American w

. Indian (New York); 19/8402 c o

Measurements*: 52 x 69 cm u

. Materials and Techniques*: cotton appliqué e

i Descriptive Note: One side depicts squirrels perched n

in trees, the other side shows squirrels in cages. 4

m May be controlled by the personal name authority Or may be constructed for display based on Culture field

Creator Attributions Use Qualifer to Class: European Painting before 1900 Work Type: miniature note attribution Title: CreatorPortrait of Napoleon Display: Bonaparte attributed to Creator Display: attributed to André-Léon Larue (French, qualifications 1785 André-Léon- ca. 1834) Larue (French, Role: painter Qualifier:1785attributed - ca.to 1834) [link]: Larue, André-Léon CreationRole: Date: ca.painter 1810 Materials: watercolor on ivory; miniature is mounted in a leatherQualifier: portfolio attributed to Measurements: 4 1/16 x 3 inches (10.3 x 7.6 cm) Current[link]: Location:Larue, Philadelphia MuseumAndré-Léon of Art (Philadelphia, Pennsylvania); 1952-3-1; Gift of Mrs. Jacob Riegel and Mrs. Daniel Whitney, 1952; Johnson Collection

Creator Attributions

Use one of the following qualifiers to express uncertainty when the attribution of a work to a known creator or architect is in question or to note a former attribution

attributed to formerly attributed to probably by For definitions possibly by of the qualifiers, see CDWA

Class:Creator manuscripts Attributions Work Type: illumination Title: The Annunciation Creator Display: follower of the Boucicaut Master Role: illuminator Qualifier:Creatorfollower of Display: follower of the [link]: BoucicautBoucicaut Master Master Creation Location: Paris (France) Creation Date: ca. 1410 Materials: temperaRole: colors,illuminator gold leaf, and gold paint on parchment, bound between pasteboard covered with red morocco Measurements:Qualifier: 7 1/2 x 5 1/2 inchesfollower of Current Location: J. Paul Getty Museum (Los Angeles, California); MS. LUDWIG IX 5, FOL. 27 [link]: Boucicaut Master Descriptive Note: This sumptuous page, whose border features a shimmering background of gold, music-making angels, and colorful flowers, is the most richly decorated in the entire manuscript. The reason for such a lavish display of color and gold is that this folio marks the beginning of the most important text in a book of hours, the Office of the Virgin. Appropriately, the subject matter of the miniature is the moment, as recounted in the Bible, when Mary receives the news from the archangel Gabriel that she will bear the son of God. The scene is set within a church. Mary, kneeling before an altar on which a book and two candles stand, turns toward the angel to hear his words. A lily grows from a small pot to the left, a symbol of Mary's purity.Artist Books of hours, is madeunknown, especially for the private but devotional practice of lay people, were one of the most important types of manuscript to be made in the later Middle Ages. Although this book is elaborately decorated with an innovative scheme of illuminationaffiliation and numerous marginalwith figures, a namedit was illuminated not by major masters but by their followers. With the increased demand for books of hours in the early artist1400s, collaborative or ventures master by different artistsis were common in the Parisian art market. This book was certainly made for a woman; in fact, she is depicted kneeling in prayer in the miniatures accompanying two prayers to the Virgin. The establishedmanuscript epitomizes the sumptuous aesthetic of the International style of painting. Characteristic features include the elongated proportions of the figures, their swaying Link postures, to and their the extravagant named clothing. The artist borders are also classic examples of the International style in manuscripts, with richly colored acanthus leaves, brilliantor touches master of gold leaf, and small playful figures appearing throughout. Other illuminator in this MS is the follower of the Egerton Master, illuminator French, Paris, about 1410 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Creator Attributions Working with a known creator studio of workshop of office of atelier of assistant to pupil of associate of manufactory of Not working directly with a known creator follower of circle of For definitions school of Influenced by a known creator of the qualifiers, style of see CDWA after copyist of manner of

* Recording and Creating Titles * Works That Have No Title * Titles vs. Inscriptions

Titles are not controlled TitleTitle Not optimized for retrieval Record Type: item Class: miniatures WorkTitle: Type: miniature Title: John Clarke Howard and Mrs. John ClarkeJohn Howard Clarke (Hepzibah Howard Swan) and His Wife (Hepzibah Swan) Title Type: repository Creator:Title unknown Type: American,repository 19th century Materials: paint on ivory Description: two-sided miniature Current Location: Museum of Fine Arts, Important Boston (Boston, Massachusetts); Gift of Elizabeth Howard Bartol, 1921; Accession information in the number: 21.2553a-b Ownership History: Swan Collection Title (e.g., names of the sitters) should be indexed with controlled values in other elements

Side A Side B © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

TitleTitle

Record Type: item Class: miniatures WorkTitle: Type: miniature Title: John Clarke Howard and Mrs. John ClarkeJohn Howard Clarke (Hepzibah Howard Swan) and His Wife (Hepzibah Swan) Title Type: repository Creator:Title unknown Type: American,repository 19th century Materials: paint on ivory Description: two-sided miniature Current Location: Museum of Fine Arts, Boston (Boston, Massachusetts); Gift of Title includes Elizabeth Howard Bartol, 1921; Accession number: 21.2553a-b standard titles Ownership History: Swan Collection Assigned by repositories or scholars and used consistently to refer to a work Side A Side B © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Always include *Title: Chez Mondrian artist titles RecordTitle Type: Type: item artist Class: prints and photographs *Work Type: gelatin silverrepository print *Title: Chez Mondrian Title:Title: Interior ViewInterior of a Room and anView Open Door of Title a Type: descriptive *CreatorRoom Display: André and Kertész an (American, Open 1894-1985) *Role: photographer *CreationDoor Date*: 1926 *Subject: interior view, staircase, door, light, flower, vase *Current Location: J. Paul Getty Museum, Los Angeles ID: Title86.XM.706.10 Type: descriptive *Measurements: image: 10.9 x 7.9 cm (4 5/16 x 3 1/8 inches) *Materials and Techniques: gelatin silver print Description: Characteristic of his work as “Naturalist- Surrealist,” it combines prosaic observations of life combined with surrealistic perspective.

Record Type: volume Class:Recordprints Type:and drawingsvolume workClass: type:printsartist book and drawingslithographs Title includes Title: Poèmes de Charles d'Orléans workTitle Type: type:inscribedartist book lithographs standard titles Title:Title:PoemsPoèmes of Charles of Orléans de Charles d'Orléans Title Type: translated May be derived from Creator:Title printmaker: Type: Henriinscribed Matisse (French, 1869 - 1954); author: Charles, duc d' Orléans (French, 1391 - 1465); inscriptions publisher:Title Mourlot Type: Freres (Paris,artist France) Creation Date: created 1941-1943; published 1950 Materials:Title: unboundPoems volume ofwith 54Charles color lithographs of andOrléans 40 Title Type poems on wove paper Measurements:Title Type: folio: 41.3 translatedx 27.3 cm (16 1/4 x 10 3/4 in.) Current Location: National Gallery of Art (Washington DC) Repository ID: 1993.47.1 Credit: Gift of Leonard B. Schlosser Descriptive Note: Volume comprises original color lithographs, with lithographed text by the artist printed in black within colored lithographic borders. One of 1200 copies from the limited edition of 1230, signed in pencil by the artist in the justification. Printed by Mourlot Frères. From 1941 to 1944, Matisse dedicated conspicuous time and energy to book illustration. In late 1942 he selected the Poèmes de Charles d'Orléans for illustration and most of the work was completed during 1943 including the text of the poems in Matisse's own hand. …

Class: architecture *Work Type: memorial Title is also used to *Title:*Work Lincoln MemorialType: memorial *Creator Display: architect Henry Bacon record names and *Title:(American,Lincoln 1866-1924) and Memorial sculptor Daniel Chester French (American, 1850-1931) other appellations for *Creation Date: designed 1911-1912; constructed 1914-1922 works that have no *Subject: commemoration honor Abraham “title” per se Lincoln *Location: Washington (DC, USA) *Materials and Techniques: Exterior: Colorado E.g., the names of Yule marble; Tripods: Pink Tennessee architectural works marble; Interior walls and columns: Indiana limestone; Ceiling: Alabama marble saturated with paraffin for translucency; Floor and wall base: Pink Tennessee marble; Pedestal and platform for statue: Tennessee marble; Statue: White Georgia marble *Description: Design was influenced by the Greek Parthenon. Built into the design are symbols of Union like the 36 exterior Doric columns representing the 36 states in the Union at the time of Lincoln's death…

Image: ©Encyclopedia Britannica Online, accessed 1 March 2009. Image from Authenticated News. © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Record Type: item Class: prints and drawings American art Title is also used to *Work Type: design drawing competition *drawingTitle: Temple Design record names and *Title: Temple Design for thefor Lincoln the Memorial Lincoln Memorial other appellations for Title Types: descriptive Title constructedTypes: descriptive works that have no *Creator Display: architect: Henry Bacon (American, 1866-1924); draftsman:constructed Jules “title” per se Guéren (French, 19th-20th century) *Role [link]: architect [link]: Bacon, Henry E.g., cataloger-constructed *Role [link]: draftsman [link]: Guéren, Jules titles for drawings *Creation Date: 1912 [controlled]: Earliest: 1912 Latest: 1912 *Subject [links]: architecture Lincoln Memorial (Washington, DC, USA) elevation Culture [link]: American *Current Location [link]: National Archives and Record Administration (Washington, DC, USA) ID:unavailable *Measurements: unavailable *Materials and Techniques: ink and watercolor on paper Material [links]: ink watercolor paper Related Work: Relationship Type [controlled]: depicts [link to Work Record]: Lincoln Memorial (Washington, DC, USA); Henry Bacon (American architect, 1866-1924) and Daniel Chester French (American sculptor, 1850-1931), 1915-1922

Record Type: item Class*: tools and implements Pre-Columbian art Title is also used to *Work Type: bannerstone *Title: Bannerstone record names and Creator*Work Display Type*: unknown: Woodlandbannerstone Indian other appellations for Creation Date*: Late Archaic Period Subject*Title*: object: Bannerstone (utilitarian) prestige hunting war works that have no Current Location*: Gordon Hart Collection (Bluffton, Indiana) Measurements*: 9.7 x 5 cm (3 7/8 x 2 inches) “title” per se Materials and Techniques*: banded slate E.g., when work type is Description: Bannerstones formed part of an atlatl (spear- thrower). This one is carefully made and of decorative repeated for a title/name material and thus was probably a status symbol.

Image from Brose, D., et al. Ancient Art of the American Woodland Indians. New York: Harry N. Abrams, Inc., 1985

Record Type [controlled]: item Class [controlled]: painting European art *Work Type [link]: *paintingTitle: Portrait of a Halberdier (Francesco Guardi?) *Title:TitlePortrait of Typea Halberdier: (Francescorepository Guardi?) Title Type: repository TitleTitle: Portrait: ofPortrait Cosimo I de’Medici of Cosimo I de’Medici Title Type: former *CreatorTitle Display: PontormoType (Italian: former painter, 1494-1557) *Role [link]: painter [link]: Pontormo *Creation Date: ca. 1528/1530 [controlled]: Earliest: 1523 Latest: 1535 *Subject [links]: portrait halberdier nobleman Francesco Guardi Style [link]: Mannerist When titles have Culture [link]: Italian *Current Location [link]: J. Paul Getty Museum, California, changed over time, USA) ID:89.PA.49 Creation Location[link]:: Montmartre (Paris, France) include former *Measurements: 123 x 161 cm (36 1/4 x 28 3/8 inches) [controlled]: Value:123 Unit:cm Type:height | Value: 161 titles Unit:cm Type:width *Materials and Techniques: Oil (or oil and tempera) on panel transferred to canvas Material [links]: oil paint tempera wood panel canvas Technique [links]: painting transferring Description: Pontormo’s elongated, oval forms and refined play of color is prototypical of Mannerist portraiture. The sitter's identity has been much discussed. The Florentine painter Giorgio Vasari noted that during the siege of Florence in about 1528 Pontormo painted a "most beautiful work," a portrait of young nobleman Francesco Guardi as a soldier. Francesco's birthdate of 1514 would make him about the age of Pontormo's teenage sitter. Based on a Florentine inventory, Cosimo de' Medici himself has also been suggested as the painting's subject.

Record Type: volume Class:Title: manuscriptsSacramentary of Charles le Chauve Object Type: illuminated manuscript sacramentary Title:Title Type: translated Sacramentary of Charles le Chauve SacramentaryTitle: Le of SacramentaireMetz de Charles le Chauve Ms. TitleLatinus 1141Type: repository Creator: School of the Palais de Charles le Chauve CreationTitle: Date:Sacramentary second half 9th century of Metz Style: Carolingian GivenTitle in honor Type: of his coronationalternate as king of Lotharingie in Metz 9 September 869. CurrentTitle: Location:Ms. Biblioteque Latinus Nationale 1141 de France (Paris, France) Description:Title Sakramentar Type: vonmanuscript Metz. Fragment. Ms. designation Lat. 1141. This fragment is a jewel due to its rich ornamental and miniature decoration, a testimony to Late Carolingian illustration of the 9 th century. While the codex is a complete sacramentary which integrates the whole Shelf numbers ecclesiastical year, it may be just the beginning of a manuscript that was never finished. It was made in the and other codes second half of the 9th century for a king, probably for Charles the Bald, king of an area then called Francia may be recorded Occidentalis. The script is mainly executed in golden letters, and at the beginning the miniatures depict a as a title, if used portrait of Charles the Bald's coronation. The ornamental like a title/name to art around the text is particularly striking. The Sacramentary of Metz resides in the Bibliotheque refer to the work Nationale de France. Related Work: part of Also record as a Relationship number: 6v-7 Crucifixion repository number

*RecordTitle :TypeChat [controlled] Noir: item Title Type: repository Title Class: [controlled]Poster: ofprints a Blackand drawings Cat, European for the art *Work Type [link]: poster lithograph Reopening*Title:Chat Noir of the Chat Noir Cabaret TitleTitle: Type Poster: ofdescriptive a Black Cat, for the Reopening of the Chat Noir Cabaret Title Type: descriptive *Creator Display: Théophile-Alexandre Steinlen (Swiss, Inscriptions:1859-1923) along right side and bottom:*Role [link] Prochainement: printmaker [link] / la :trèsSteinlen, illustre Théophile-Alexandre Compagnie*Creation Date: du1896 / Chat / Noir / [controlled] avec / ses: Pièces d'OmbresEarliest: 1896 / Célèbres, Latest: 1896 ses Poëtes / ses *Subject [links]: advertising/commercial animal Chat CompositeursNoir (cabaret) Rodolphe / Avec Salis/ Rodolphe (French performer, Salis / Steinlen1851-1897) shadow theater guignols domestic cat Style [link]: fin-de-siecle DoCulture not [link] put: French a long inscription in the Title field *Current Location [link]: Santa Barbara Museum of Art (Santa Barbara, California, USA) ID:1991.17 ForCreation the preferredLocation[link] ::title,Montmartre use a (Paris, concise France) descriptive*Measurements: title61.6 in xthe 39.62 language cm (24 1/4 of x 15the 5/8 inches) catalog[controlled] record: Value :(English 61.6 Unit:cm in Typethe :heightUnited | States) ShouldValue: be39.62 a recent Unit:cm title Type provided:width by the *Materials and Techniques: lithograph owningMaterial [links] institution,: paper aTechnique concise [links] inscribed: lithograph title, orInscriptions: a title providedalong right by side the and artistbottom: Prochainement / la très illustre Compagnie du / Chat / Noir / avec / ses if itPi èiscesd'Ombres/ sufficiently Cé ldescriptiveèbres, ses Poëtes / ses Compositeurs / Avec / Rodolphe Salis / Steinlen Description: Steinlen’s poster© advertisesJ. Paul Getty Trust, the author: reopening Patricia Harpring. ofDo not a distribute.

Record Type [controlled]: item Class*Title [controlled]: Chat: prints Noir and drawings Title Type: Europeanrepository art *WorkTitle Type: Poster[link]: poster of a Blacklithograph Cat, for the *Title:Chat Noir TitleReopening: Poster of a Black of the Cat, Chatfor the ReopeningNoir Cabaret of the ChatTitle Noir Type Cabaret: descriptive Title Type: descriptive *Creator Display: Théophile-Alexandre Steinlen (Swiss, 1859-1923) *Inscriptions:Role [link]: printmakeralong right [link] side: Steinlen, and Thbottom:éophile-Alexandre Prochainement / la très illustre *Creation Date: 1896 [controlled]: Earliest:Compagnie1896 Latest: du / Chat1896 / Noir / avec / ses Pièces *Subjectd'Ombres[links]: /advertising/commercial Célèbres, ses Poëtes animal / sesChat Noir (cabaret) Rodolphe Salis (French performer, 1851-1897)Compositeurs shadow / theaterAvec / Rodolpheguignols domestic Salis cat / StyleSteinlen [link]: fin-de-siecle Culture [link]: French *CurrentDo not Location put [link]a long: Santa inscription Barbara Museum in of theArt Title field (Santa Barbara, California, USA) ID:1991.17 Creation Location[link]:: Montmartre (Paris, France) *Measurements:Inscribed title61.6 is x 39.62an inscription cm (24 1/4 xthat 15 5/8 was applied inches)by the creator with the apparent purpose of [controlled]: Value: 61.6 Unit:cm Type:height | givingValue: 39.62 it a title Unit:cm Type:width *MaterialsFor prints and Techniques: and books,lithograph record any obvious title Material [links]: paper Technique [links]: lithograph Inscriptions:inscribedalong in theright printingside and bottom: plate Prochainement or on the title / page la très illustre Compagnie du / Chat / Noir / avec / ses PiInscriptionsècesd'Ombres/ that Célèbres, are ses not Po titlesëtes / ses should be Compositeursrecorded in / Avec the / InscriptionRodolphe Salis element / Steinlen Description: Steinlen’s poster advertises the reopening of a cabaret, the Chat Noir in Montm©aJ.r tPaulre Getty. H eTrust,re author:the aPatriciartist Harpring. Do not distribute.

Record Type [controlled]:item Class [controlled]: prints and drawings American art *Work Type [link]: etching * Title: Le Menuet de la Mariée Title Type:inscribed Title: Minuet of the Bride Title Type:translated **Creator Title Display:: LePhilibert-Louis Menuet Debucourt de la Mariée (French, 1755-1832) *CurrentTitle Location Type [link]: National: inscribed Gallery of Art (Washington, DC, USA) ID: 1942.9.2261 Title*Measurements:: Minuetplate mark: of 30.1the x 22.7 Bride cm (11 7/8 x 8 15/16 inches) sheet: 38.2 x 27.cm (15 1/16 x 10 5/8 inches)Title Type: translated [controlled]: Extent: plate mark Value: 30.1 Unit: cm Type: height | Value: 22.7 Unit: cm Type: width || Extent: image Value: 38.2 Unit: cm Type: heightPart | ofValue: the 27 Unit:inscription cm Type:width may be a title *Materials Record and Techniques: the fulletching citation and engraving – e.g., printed in yellow, red, blue, pink, and black inks from five platesdedication - in Inscriptions Material [links]: paper Technique [links]: etching engraving color printing Inscriptions: lower center: Menuet de la Mariée Philibert-Louis Debucourt French, 1755 - 1832 Le Menuet de la mariée (The Bride's Minuet), 1786 etching and wash manner printed in yellow, red, blue, pink, and black inks Overall (outer framing line): 30.7 x 23.4 cm (12 1/16 x 9 3/16 in.) sheet (trimmed within the platemark): 38.3 x 27 cm (15 1/16 x 10 5/8 in.) Rosenwald Collection 1958.8.87 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Record Type: item Classification: prints and drawings In this case, inscription was Work Type: etching Creator: Jacques Callot considered a dedication, but not Title: The Fair at Impruneta a title Title:Title Type:Therepository Fair at Impruneta Creation Date: 1620 Repository used a constructed TitleCurrent Location: Type: Nationalrepository Gallery of Art (Washington, DC); R.L. Baumfeld Collection; 1969.15.60 title, well-known for this print Measurements: plate 39.3 x 65.7, sheet 16 3/4 x 16 3/8 inches (42.5 x 67 cm) Edition: first version, L.478, Lieure Description: The fair of Saint Luke is the subject of one of the most famous engravings by the French engraver Jacques Callot. This work, carried out in 1620, is one of the largest engravings (424X670 mm) made by Callot and is not only important by its spatial structure, the richness of its details, the abundance of characters (over 1100 figures) and scenes but also because it is a sociological testimony of Tuscany at that time. The church depicted is the what became a baroque structure that was destroyed by bombing during the war and replaced by a reconstruction of the pre-renaissance building.

Constructing a Descriptive Title

Each work should have a title that conveys to the user what the work is or what its subject is about in the language of the catalog record If the repository title, inscribed title, or another title in the language of the catalog record is sufficiently descriptive, the cataloger need not construct one If an inscribed or repository title is overly long, in a foreign language, or does not describe the work, construct a concise descriptive title in the language of the catalog record

Constructing a Descriptive Title Constructed titles may refer to the subject, the materials, the form, or the function of the work If a title must be constructed, guidelines are found in CDWA

* Physical Characteristics * Display vs. Indexing

Record Type: item Class: prints andInscriptions drawings Work Type: print Creator: Rembrandt van Rijn (Dutch, 1606 – 1669) Title: Adam and Eve Inscriptions: signed and dated, lower center in plate: Rembrandt. f. 1638 Creation Date: 1638 Materials: etching on laid paper Measurements: sheet (trimmed within plateTranscribe mark): 16 x 11.7 or cm describe, (6 5/16 x 4 5/8 within.) indication of type of Current Location: National Gallery of Art inscription(Washington, DC); and Rosenwald location on Collection;the work 1943.3.7102 Record signatures, dates, text inscribed on the work

Record Type: item Class: prints and drawings Work Type: engraving Creator: Albrecht Dürer (German, 1471-1528) Creation Date” 1504 Materials: engraving on laid paper Measurements: sheet (trimmed to plate mark): 24.9 x 19.3 cm (9 13/16 x 7 5/8 in.) Title: Adam and Eve Inscription: signed and dated in plate, above Adam’s shoulder: ALBERTUS / DVRER / NORICVS / FACIEBAT / AD 1504; translation: [Albrecht Durer of Nuremberg made this in 1504]. Current Location: National Gallery of Art (Washington, DC); Gift of R. Horace Gallatin; 1949.1.18 Description: Accurately Among the indicate first results case, of Dürer's studies,line which breaks, were to punctuation,engage him throughout his life, wasmissing the engraving texts, of Adamabbreviations, and Eve, in which he embodied all his new ideas of beauty and harmony,etc. and in whichtranscriptions he proudly signed with his full name in Latin. © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Record Type: item Classification: paintings Work Type: icon Title: Icon with the Presentation of Christ in the TempleInscription: inscribed in Greek on Creation Date: 15th century Creator:the unknownscroll Byzantine held by Anna: [This Child Materials: wood, painted, with gold ground Measurements:created 17 Heaven 1/2 x 16 5/8 in. and (44.5 x Earth];42.2 cm) above Inscription: inscribed in Greek on the scroll held by Anna:the [This Virgin: Child created [Mary, Heaven and Mother Earth]; above of God]; the Virgin: [Mary, Mother of God]; upper left: [Purification];upper upperleft: right, [Purification]; part of a partially legible upper right, older inscription: [Purification]. Currentpart Location: of a Metropolitan partially Museum legible of Art (New older York, New York). Bequest of Lillie P. Bliss, 1931 (31.67.8)inscription: [Purification]. Description: Icons painted on wood were the principal objects of religious devotion in the last centuries of Byzantium. Identified by a Greek inscription as "the Purification," this icon shows the Virgin presenting the Christ Child to Simeon for the customary rite of purification at the temple. Like Simeon, the prophet Anna (between Joseph and Mary) recognized the May include a child's divinity, as indicated by the Greek text on the scroll in her hand: "This child created Heaven and translation or Earth." description instead of a transcription Indicated through brackets, etc.

Record Type: item Class: photographs American art Work Type: photograph Display Creator: Walker Evans (American, 1903–1975)Inscription: signed and Title: Floyd and Lucille Burroughs on Porch, CDWA includes Haleinscribed County, Alabama in pencil on mount, Inscription: signed and inscribed in pencil on fields to index the mount,recto, recto, bottombottom right: Walker right: Evans; Walker bottom left: Alabama, 1936 inscription Evans;Type: signed bottom left: Alabama, Author: Walker Evens 1936Location: mount Type: dated Type:Author: unknownsigned later hand Creation Date: 1936 Material andAuthor: Technique: gelatinWalker silver print; Evens Measurements: 18.9 x 23.7 cm (7 7/16 x 9 5/16 inches)Location: mount Subject: portraits male female home Current Type:Location: Metropolitandated Museum of Art (New York, New York) 1999.237.4 Credit Line:Author: Purchase, Marleneunknown Nathan later hand Meyerson Family Foundation Gift, in memory of David Nathan Meyerson; and Pat and John Rosenwald and Lila Acheson Wallace Gifts, 1999. © Walker Evans Archive, The Metropolitan Museum of Art

Image from metmuseum online © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Fields in the Inscription Category

Transcription or Description Type Author Location Language Typeface/Letterform Mark Identification Date Earliest Date Latest Date Remarks Citations Page

Record Type: component Class: manuscripts Work Type: illuminated manuscript Title: De consolatione philosophiae Creator: unknown German scribe; author: Boethius Creation Location: Germany Creation: Date 11th century Language: Latin Typeface/Letterform: Caroline miniscule Materials: ink on parchment, decorated with small brown initialsMay use fields such as Measurements: 200 x 130 mm (165 x 100) Current Location:Language British Library and (London, Letterform, England) even if you are not Relationship Type: part of Related Work:transcribing Arundel 514 an inscription Relationship Number: Part 2 ff. 145-160v

Inscription may be a mark or stamp Record Type: item Class:(Watermarks decorative arts European are art recorded Title: Ewer and Basin, Sèvres Porcelain Manufactory Displaywith Creator: materials) models attributed to Jean-Claude Duplessis, designer unknown French, Sèvres Porcelain Manufactory Creation Date: 1757 Material andInscription: Technique: soft-pasteThe porcelain, basin pink ground is paintedcolor, polychrome in enamel blue underneath decoration, gilding Inscription:withThe basin the is painted factory in blue underneath mark withof thecrossed factory mark ofL's crossed for L's the Sèvres for the Sèvres Manufactory enclosing the date letter "E" for 1757 and an unidentified painter's markManufactory of a branch with leaves enclosing the date letter "E" for 1757 and Mark Identification: Sèvres E Subject: utilitarianan unidentified object washing flowers painter's mark of a branch with leaves Current Location:Mark J. PaulIdentification: Getty Museum (Los Angeles,Sèvres California) E ID 84.DE.88

Measurements Measurements require controlled format and Class: paintings *Work Type: painting controlled lists to *Title: Irises allow retrieval **CreatorMeasurements: Display: Vincent van Gogh71 (Dutch x painter, 93 1853-cm 1890) (28 Role:x 36 painter 5/8 inches) Display field allows ValueName: [link71 to authority]: Unit :Gogh,cm Vincent Type van: height expression of nuance *Creation Date:1889 *SubjectValue: irises: 93 regeneration Unit: cm soil Type nature: width *Current Location: J. Paul Getty Museum (Los Angeles, California, USA) ID: 90.PA.20 Creation Location : Saint-Rémy (Provence-Alpes-Côte d'Azur, France) *Measurements: 71 x 93 cm (28 x 36 5/8 inches) Value: 71 Unit: cm Type: height Value: 93 Unit: cm Type: width *Materials and Techniques: oil on canvas, applied with brush and palette knife Material: oil paint Format canvasis controlled Technique: palette knife brush Inscription: signed, lower right: Vincent Description: This work was painted when the artist was recuperating from a severe attack of mental illness, and it depicts the garden at the asylum at Saint- Rémy. It is influenced by the work of Gauguin and Hokusai, and is remarkable for the contrasts© J. Paulof Getty Trust, author: Patricia Harpring. Do not distribute.

Covered by CCO, expanded in big CDWA: How to record measurements and how to measure works left and bottom for rectangles, largest dimensions for irregular shapes, diameter for circular objects, circumference of vessels, how to take “sight measurements,” measure plate and sheet, how to round numerical values, etc.

After Sir Anthony Van Dyck (Flemish 1599- 1641), By Thomas Sabaudus. Christie's Sales online. Works of Art from the Collection of S.A.R. La Principessa Reale Maria Gabriella Di Savoia. Sale 7526. 27 Jun 2009. London, King Street

Record Type: item Class: Indian and Himalayan Art Work Type: manuscript Record height by width Title: Manuscript Invoking the Protective Goddess Paldanby Lhamo depth (if applicable) Creation Place: MongoliaMetric and inches Creation Date: ca. 18th century Creator Display: Textdisplay composed by Shakya Gelong Changra Tulku Choje Gewang of the Lhadan Choskhor May Thubstan record Ling Monastery counts, e.g., Materials: black, red, and yellow inks on paper; silk cover leaves or pages Measurements: book (closed, without blue wrapping textile): Using 7.9 x 20 x 1.6Extent cm (3 1/8 x 7 7/8 x 5/8 inches) Extent: leaves Value: 2 Unit: N/A Type: count Extent: item ValueMeasurements:: 7.9 Unit: cm Type: heightbook (closed, Value: 2.0 Unit: cm Type: width Valuewithout: 1.6 Unit :blue cm Type wrapping: depth textile): Current Location: Philadelphia Museum of Art (Philadelphia,7.9 x 20Pennsylvania); x 1.6 2003-144-3a,b; cm (3 1/8 x 7 7/8 Gift of Janet M. Roberts, 2003 Description:x 5/8 Mongolian-Buddhistinches) books, like this hand-written example, frequently use a combinationExtent: of theleaves Tibetan and Sanskrit languages written in Tibetan dbU chen script. HereValue the size of: the2 writingUnit and: N/A the ink colorsType : count areExtent: intentionally item varied to emphasize portions of the text that should be spoken louder or in unison,Value or to indicate: 7.9 when Unit particular: cm ritual Type: height actions accompany the recitation. The text of this manuscriptValue: invokes2.0 the Unit goddess: cm Paldan Type: width Lhamo.Value: 1.6 Unit: cm Type: depth © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Record Type: item Class: prints and drawings WorkMeasurements: Type: screen print Creator: Roy Lichtenstein (American, 1923 – 1997) Title:sheet: Brushstroke 58.4 x 73.6 cm (23 x 29 inches) Creation Date: 1965 Measurements:image: 56.4 x 72.4 cm (22 3/16 x 28 1/2 inches) sheet: 58.4 x 73.6 cm (23 x 29 inches) image:framed: 56.4 x 72.4 cm 76.7 (22 3/16 x x 2892.2 1/2 inches) x 4.4 cm (30 3/16 x 36 5/16 x framed: 76.7 x 92.2 x 4.4 cm (30 3/16 x 36 5/16 x 1 3/4 inches)1 3/4 inches) Extent: sheet Value: 58.4 Unit: cm Type: height Value: 73.6 Unit: cm Type: width Extent: image Value: 56.4 Unit: cm Type: height Value: 72.4 Unit: cm Type: width Extent: framed Value: 76.7 Unit: cm Type: height Value: 92.2 Unit: cm Type: width Value: 4.4 Unit: cm Type: depth Materials: color screen print on heavy, white wove paper Inscriptions: lower right in graphite: rf Lichtenstein H.C. G Current Location: National Gallery of Art (Washington, DC); Gift of Roy and Dorothy Lichtenstein; 1996.56.139 Leo CastelliExplain Gallery what is being Chiron Press measured, as necessary in the display field

Record Type: item Class: prints and drawings WorkMeasurements: Type: screen print Creator: Roy Lichtenstein (American, 1923 – 1997) Title:sheet: Brushstroke 58.4 x 73.6 cm (23 x 29 inches) Creation Date: 1965 Measurements:image: 56.4 x 72.4 cm (22 3/16 x 28 1/2 inches) sheet: 58.4 x 73.6 cm (23 x 29 inches) image:framed: 56.4 x 72.4 cm 76.7 (22 3/16 x x 2892.2 1/2 inches) x 4.4 cm (30 3/16 x 36 5/16 x framed: 76.7 x 92.2 x 4.4 cm (30 3/16 x 36 5/16 x 1 3/4 inches)1 3/4 inches) Extent: sheet Value: 58.4 Unit: cm Type: height ValueExtent:: 73.6 Unit sheet: cm Type : width Extent: image ValueValue: 56.4 Unit: 58.4: cm Type Unit: height: cm Type: height Value: 72.4 Unit: cm Type: width Extent:Value framed : 73.6 Unit: cm Type: width ValueExtent:: 76.7 Unit image: cm Type : height Value: 92.2 Unit: cm Type: width ValueValue: 4.4 Unit: 56.4: cm Type Unit: depth: cm Materials: Type color :screenheight print on heavy, white wove paper Inscriptions:Value lower: 72.4 right in graphite:Unit: rfcm Lichtenstein Type H.C.: width G CurrentExtent: Location: framed National Gallery of Art (Washington, DC); Gift of Roy and Dorothy Lichtenstein; 1996.56.139 Leo CastelliValue Gallery: 76.7 Unit: cm Type: height ChironValue Press : 92.2 Unit: cm Type: width Value: 4.4 Unit: cm Type: depth Use controlled fields to allow retrieval

Record Type [controlled]:item Class [controlled]: film and animation American art Example of a record for a *Work Type [link]: black-and-white film *Title: Inauguration Ceremony reel of film *Creator Display: unknown American production company Running time, format *Role [link]: creator [link]: unknown American (production company) *Creation Date: 1905 [controlled]: Earliest: 1905 Latest: 1905 *Subject [links]: history/legend presidential inauguration Washington (DC, USA) Theodore Roosevelt (American president, 1858-1919) Culture [link]: American *Current Location [link]: Library of Congress (Washington, DC, USA) ID:FEA 6695 (ref-print) *Measurements: 35 mm, 176.78 m (580 feet); 28 minutes at 16 frames per second Format: 35 mm Value: 176.78 Unit:m Type:length Value: 28 Unit: minutes Type: running time Value: *Measurements:16 Unit: frames per second Type:35 runningmm, 176.78 m (580 feet); 28 time *Materialsminutes and Techniques: at 16 blackframes-and-white perfilm second Material [links]: black-and-white film Description:Format:1 reel 35(580 mmft.) : black-and-whte; 35 mm. ref print.; duration: 0:28 at 16 fps. Theodore Roosevelt'sValue inauguration.: 176.78 Unit: m Type: length Value: 28 Unit: minutes Type: running time Value: 16 Unit: frames per second Type: running time

Record Type [controlled]: item Class [controlled]: prints and drawings European art *Work Type [link]: measured drawing record drawing *Title: Sections and Details of the Barn at Darington Court, Faversham, Kent *Creator Display: W. G. Prosser (British, contemporary) *Role [link]: draftsman [link]: Prosser, W. G. Record the *Creation Date: mid-20th century [controlled]: Earliest: 1930 Latest: 1970 scale, *Subject [links]: architecture section barn Darington Court (Faversham, Kent, England) Culture [link]: British shape, etc. *Materials and Techniques: pen and black ink on paper Material [links]: ink paper Inscriptions:*Measurements:scale: 2 1/2 in. = 10240 feet; various x 260 other cm text (94 1/2 x 102 3/8 inches); *Measurements: 240 x 260 cm (94 1/2 x 102 3/8 inches); scale:scale: 2 1/2 inches 2 = 1/210 feet inches = 10 feet Value:240 Unit:cm Type:height Value:Value260 Unit::cm240 Type Unit:width: cm Type: height

Scale:Value:numeric 260 Unit: cm Type: width Value: 2.5 Unit:inches Type: base Value: 10 Unit: feet Type: target *Current Scale: Locationnumeric [link]: Royal Commission of Historic Monuments (London, England) ID:unavailableValue: 2.5 Unit: inches Type: base Description: Commissioned by the Royal Commission on HistoricalValue: Monuments10 (RCHM) Unit to record: feet this threatenedType: target building. © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Record Type: item Class:Measurements: prints and drawings11.8 x 17.7 cm (4 5/8 x 7 Work Type: engraving Title:inches) The Second chain Wise lines: Virgin 25 mm apart (15/16 Artist:inch); Martin laid Schongauer lines:(Alsatian, 14 per ca. 20 1430-1491) mm (7/8 inch) Creation Location: Germany DateExtent: of Creation:sheet before 1483 AD Materials:Value: copper13.3 engraving Unit: cm Type: height Measurements: 11.8 x 17.7 cm (4 5/8 x 7 inches) chainValue: lines: 25 mm20.6 apart Unit: (15/16 inch)cm (chainType: lines);width laid lines: 14 per 20 mm (7/8 inch) Extent: sheet Value:Extent: 13.3 Unit:chain cm Type: linesheight Value: 20.6 Unit: cm Type: width Extent:Value: chain lines25 Unit: mm Type: distance Value: 25 Unit: mm Type: distance between between Extent: laid lines per 20 mm Value:Extent:14 Unit: laidN/A Type: lines count per 20 mm CurrentValue: Location:14 Museum Unit: ofN/A Fine ArtsType: (Budapest,count Hungary) Record chain and laid lines

Class: paintings *Work Type: altarpiece Materials and Technique *Title: Adoration of the Magi *Creator Display: Bartolo di Fredi (Sienese painter, active by 1353, died 1410) Role: painter Name [link to authority]: Bartolo di Fredi *Creation Date: ca. 1395/1409 *Subject: Adoration of the Magi Journey of the Magi *Current Location: Pinacoteca Nazionale (Siena (Italy)) Original Location: possibly Duomo (Siena (Italy)) *Materials Display: tempera and gilding on panel Materials: tempera gold panel *Measurements:*Materials 195 x 158Display: cm (76 x 61 5/8tempera inches) Value: 195 Unit: cm Type: height andValue: 158 gilding Unit: cm onType : panelwidth Description: This work was painted late in the artist’s career. MaterialsJudging from works: thattempera are copied from orgold influenced by it, this altarpiece may have been originally positioned in the Duomo of Siena, which had an Adoration altar as latepanel as 1429 ...

Free-text and terminology controlled by an authority

Class*: graphic arts You may index support Work Type*: drawing, preparatory study Title*: Korean Man separately from media Creator*: artist: Peter Paul Rubens (1577-1640, active in Flanders and Italy) Creation Date*: ca. 1617-1618 using a Role Measurements*: 38.4 x 23.5 cm *Materials Display: black chalk with touches of red chalk in the face on ivory laid paper Role: medium Materials: black chalk laid paper Role: support Material:*Materials wood panel Display: black chalk Technique: painting | gold tooling Subjectwith Matter touches*: Korean man, of costume red chalk in the Current Location*: J. Paul Getty Museum (Los Angeles, CA), 83.B.384 Descriptiveface Note: on This ivory is one oflaid several paper studies of persons in exotic costumes that Rubens did during Role:... medium Context-Historical/Cultural: Man is portrayed in formal costume;Materials: is one of the chalkfirst portrayals of a Korean on European soil ... Role: support Material: laid paper

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Record Type: volumetechnique separately Class: manuscripts and rare books Work Type: codex from materials Title: Anaphora of the Virgin Mary Creator: unknown Egyptian; author: attributed to Abba Heryagos (Cyriacus) of Behensa (Egyptian bishop, 5th-6th century) Creation Date: 17th century Materials Display: ink on parchment Extent: leaves Role: medium Materials: ink Role: support MaterialsMaterial: parchment Display: ink on parchment Extent: binding Extent:Technique: Copticleaves binding Measurements: 17.5 x 11.5 cm Description:Role: Manuscriptmedium copy of the "Qeddase Maryam" Current Location: Princeton University Library (Princeton, New Jersey)Materials: Manuscripts Division:ink Robert Garrett Collection CallRole: number: Garrettsupport Ethiopic 32 Material: parchment Extent: binding Technique: Coptic binding

Record Type: item MaterialsClass: prints and drawings Display: etching and Work Type: etching drypoint;Creator: James McNeill watermark: Whistler Strasburg lily Title: The "Adam and Eve," Old Chelsea CreationMaterials: Date: 1879 ink laid paper Materials Display: etching and drypoint; watermark: StrasburgTechniques: lily etching drypoint Record watermarks Materials: ink laid paper Techniques:Watermark:etching drypointStrasburg lily with materials Watermark: Strasburg lily Measurements: 6.9 x 11.9 inches (17.5 x 30.2 cm) Description: A fine example of the 'Strasburg lily' watermark can be seen in the paper used for Whistler’s 1879-1880 etchings. There are many variations of the 'Strasburg lily' watermark. It has also been known, more prosaically, as the Fleur-de-Lis on a Crowned Shield, or simply as the Fleur-de-Lis, (a term derived from the central element of the design). The watermark in Whistler’s print bears the date ‘1814’ below the design. This date can only be used to verify the initial year of the watermark’s use. Under transmitted light the image shows flocking of pulp along the chain lines, which occurred when the sheet was still in the wet state on the mold. Current Location: National Gallery of Art (Washington, DC). Rosenwald Collection; 1943.3.8510

Record Type: item StateClass: prints and drawings and Edition Work Type: drypoint Title: Christ Presented to the People Creator: Rembrandt van Rijn) (Dutch, 1606–1669) Materials: drypoint State: second state of eight Current Location: Metropolitan Museum of Art (New York, New York); Gift of Felix M. Warburg and his family, 1941 (41.1.34). Description: The Roman governor Pontius Pilate on the dais points to Christ at his side as he asks the people whether he should release Barrabas or Christ (Matthew 27:21– 23). Just as fascinating as the riveting central subject of this powerful print are the varied characters, attitudes, and poses to be found within the crowd of spectators witnessing the event from the street below and the surrounding windows. Rembrandt composed this printState entirely in drypoint, Description: which accounts for the velvety quality of many of the lines. With drypoint, Rembrandt could combine the immediacy of drawing with the ability to print many impressions2nd of a singleof image. 8 Thisstates impression was printed on Japan paper, whose yellow tone bathes the scene in a warm light. The standard-size Japan sheet was smaller than Rembrandt's printing plate, but the printmaker solved this dilemma by addingState an extra strip of paperIdentification: to the top of the sheet. 2 Known States: 8

Record Type: item Class: prints andState drawings Description: Work Type: drypoint Christ Presented to the People Creator: Rembrandt van Rijn (Dutch, 1606–1669) Materials: drypoint; 8th of 8 states State: eighth (final) state Measurements: 13State 3/4 x 17 15/16 Identification: in. (34.9 x 45.6 cm) 8 Current Location: Metropolitan Museum of Art (New York, New York); Gift of Felix M. Warburg and his family, 1941 (41.1.36) Description: RembrandtKnown treated this large States: drypoint almost as8 a painting, making marked changes to the composition as he reconceived the scene over and over. In the sixth state of the print, he removed much of the original crowd that stood directly below the main event and replaced it with two brick arches over an unidentified chasm. Between the arches he also added a sculpted male figure, lightly covered over in this, the final, state. The iconographic significance of these changes remains a mystery, but compositionally they serve to thrust Statethe viewer intoof direct prints confrontation with and Christ's fat other multiples, display and index

Record Type: item Class: prints and drawings Work Type: lithograph Edition Description:Creator: Claes Oldenburg Title: Typewriter Eraser 100/100 Creation Date: 1970 Measurements: 31.1 x 24.1 cm (12 1/4 x 9 1/2 inches) Impression Number:Materials: 3-color100 lithograph on Rives BFK paper Edition Description: 3/20 Edition Size: 100Impression Number: 3 Edition Size: 20 Facture: Colors or Sequence 1. pink (aluminum), 2. transparent red-brown (stone), 3. green-black (stone) Current Location: National Gallery of Art (Washington, DC); NGA Accession Number 1991.74.182; 38.18; © Gemini G.E.L. and the Artist; Catalogue Number 38.18; Gemini Work Number CO70-310; Old Gemini Catalogue Number 182 Description: Edition 100 plus 20 AP, RTP, PP II, 3 Record Type: item GEL, C. Collaboration and Supervision Kenneth Class: special collections Tyler; Processing and Proofing Kenneth Tyler; work Type: rare book Edition Printing Charles Ritt assisted by Andrew Creator: Giorgio Vasari (Italian, 1511-1574) Publisher: I Giunti Vlady, Richard Wilke Title: Vite de’ piu eccellenti pittori, scultori et architettori Title: Le vite de’ piv eccellenti pittori, scvltori, et architettori / scritte, & di nuouo ampliate da M. Giorgio Vasari, pit. et archit. aretino ; co’ ritratti loro, et con le nuoue vite dal 1550. insino al 1567 ; con tauole copiosissime de’nomi, dell’opere, e de’luoghi ou’ elle sono.Edition Description: Publication Place: Florence Publication Date: 1568. Description: 3 pts. in 3 v. : ports.2nd ; 25 cm.edition (4to) evised, expanded and illustrated version of the 1st ed. (Florence : Lorenzo Torrentino, 1550). Edition of prints Sources: Mortimer, R. ItalianEdition 16th cent., 515 Number: 2 Notes: R or books Current Location: Getty Research Library (Los Angeles, California) 85-B23279

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Record Type: volume Class: manuscripts Work Type: manuscript Title:Condition/Examination Archimedes Palimpsest History: Title: CODEX ARMENICUS RESCRIPTUS Condition description Title:Conserved MS 575 by the Walters Art Gallery, Relationship Number: 81r and indexing fields Condition/Examination History: Conserved by the Walters Art Gallery, Baltimore; multispectral imaging,multispectral x-ray florescence, and imaging, synchrotron x- x-ray ray examinations were undertaken to reveal the Archimedes undertext onflorescence, 81v and synchrotron x-ray Type: synchrotron x-ray beam examinationsAgent: Stanford Linear Accelerator were Center undertaken (Stanford, California) to Date: 2004 Type:revealmultispectral the imaging Archimedes undertext Agent: Rochester Institute of Technology and Johns Hopkins University Date: 2005 Type: x-ray florescence imaging Agent:Type:EDAX Companysynchrotron (New Jersey) x-ray beam Date: April 2005 Description: Agent:Archimedes livedStanford in the third century Linear BC. In the tenth century AD, his works were copied by a scribe. This book of 90 pages was then reusedAccelerator in the twelfth century toCenter produce a volume (Stanford, of 174 pages on which Christian prayers were inscribed. Forgers added religious images sometime after 1930. Today, much of the text has already beenCalifornia) read, but ca. 15% of it remains undeciphered. From Walters, Baltimore: The Archimedes Palimpsest is considered by many to beDate: the most important2004 scientific manuscript ever sold at auction. It was purchased at a Christie's sale on Oct. 28, 1998, by an anonymousType: collectormultispectral for $2,000,000. The collector imaging deposited the Palimpsest at the Walters Art Museum, Baltimore, for exhibition, conservation,Agent: imaging andRochester scholarly study in 1999. Institute Work has been of ongoing ever since. The Archimedes Palimpsest contains seven of the Greek mathematician'sTechnology treatises. Most and importantly, Johns it is the only Hopkins surviving copy of On Floating Bodies in the original Greek, and the unique source for the Method of Mechanical Theorems and Stomachion.University The manuscript was written in Constantinople (present day Istanbul) in the 10th century. In the 13th century, the manuscript was takenDate: apart, and the2005 Archimedes text was scraped off. The parchment was reused by a monk who created a prayer book. This processType: is called palimpsesting.x-ray florescence The Archimedes manuscript imaging then effectively disappeared. In 1906, the undertext was recognized by J. L. Heiberg,Agent: professor of classicsEDAX at the University Company of Copenhagen, (New Denmark, as containing previously unknown works by Archimedes. Since 1999, intense efforts have been made to retrieve the ArchimedesJersey) text. Many techniques have been employed. Multispectral imaging, undertaken by researchers at the Rochester Institute of TechnologyDate: and JohnsApril Hopkins University,2005 has been successful in retrieving about 80% of the text. More recently the project has© J. focused Paul Getty Trust, author: Patricia Harpring. Do not distribute.

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Record Type: item Class: prints and drawings Work Type: collage Creator:Facture Robert Rauschenberg Title: 7 Characters, Red Heart Creation Date: 1982 Measurements:Description 77.5 x 67.3 cm (30 1/2 x 26 1/2 in.); framed size including medallion and mirror: 43 x 31 x 2 3/8 in Materials: Remarks print and multimedia on Chinese Xuan 30-ply Fabrication Description: Each piece started with a special handmade sheet of 30-ply Citations Xuan paper measuring approximately 30 1/2 x 26 1/2". A piece of thin white silk fabric measuring 26 x 21 1/2" was laminated to the surface. Various collage elements consisting of cut posters, fabric swatches, and silk ribbons were arrangedPage in unique configurations and glued to the surface. Seven different Chinese characters selected by the artist were carved into cherry wood, cast in paper and adhered to each piece. A thin, transparent piece of Xuan paper was laid over the entire collage, sealing in all of the elements.Facture A randomly Description: selected, two-sided medallionEach was suspendedpiece from each collage with a brightly colored ribbon. Each 5 1/2" diameter medallion wasstarted cut from authentic with silk weddinga special bed covers handmade and edge-stitched. The deckled paper edge of each collage was gold-leafed. A 12 x 7 1/4" mirror wassheet mounted toof the 30-plysilk-lined backing Xuan board and paper reflects the design on the reverse side of the embroidered hanging medallion. Each piece was framed in ameasuring clear acrylic sheet box approximately . 30 1/2 x Current Location: National Gallery of Art (Washington, DC). 41.145; © Robert26 Rauschenberg 1/2". A andpiece Gemini G.E.L./of thin VAGA, whiteNew York, NY;silk Catalogue Number 41.145; Gemini Work Number RR82-13 Oldfabric Gemini Catalogue measuring Number 1038; 26NGA Accessionx 21 1/2" Number was1988.74.125 Description: Series of 70 unique paper and fabric collages. In June of 1982 Robertlaminated Rauschenberg andto Gemini the G.E.L. surface. traveled to theVarious city of Jingxian, in the Anhui Province of the People's Republic of China, where the China Collagecollage series was elements conceived and fabricated. consisting The following ofcharacters cut were chosen for their meaning, as well as their aesthetic form: Individual, Change, Howl,posters, Light, Trunk, Redfabric Heart, and swatches, Truth. The NGA print and is one silk of 70 unique works. The Chinese symbols stamped in red represent the paper mill, Robertribbons Rauschenberg, were and Gemini arranged G.E.L. The mill in stamp unique stating "Xuan Paper, Jing County, Anhui Province" was applied in China. The artist's and publisher'sconfigurations stamps were applied andin Los Angeles. glued Each to collage the also bears the artist's signature and year date. The working series title for this group wassurface. the "China Collage" Seven series. different Chinese Edition Production Mari Andrews, Terry Van Brunt, Chun-Wuei Su Chien, Elysecharacters Grinstein, Stanley Grinstein,selected Edward Koterba,by Shi Song Lin, Elizabeth Mahoney, Bill Padien, Brad Read, Donald Saff, Ruth Saff, Sarah Todd © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. RemarksRauschenberg were carved into

Record Type: item Class: prints and drawings Work Type: lithograph CurrentCreator: Jasper Location: Johns National Gallery Title: Face Creationof Art Date: (Washington, 1973 DC, USA) Publication Date: 1974 RepositoryInscription Type: signed Identification: Date: 1974 Measurements: 78.1 x 57.8 cm (30 3/4 x 22 3/4 in.) Current1981.5.191 Location: National 26.64 Gallery of Art (Washington, DC, USA) CreationRepository Identification: Number: 1981.5.191JJ73-627 26.64 Creation Number: JJ73-627 NumberNumber Type: Gemini Type: Work NumberGemini Work Creation Number: 500 CreationNumber Type: Old Number: Gemini Catalogue500 Number © Jasper Johns and Gemini G.E.L./VAGA, New York, NumberNYCatalogue Number Type: 26.64; ArtistOld Jasper Gemini Johns; Gemini Work Number JJ73-627; Old Gemini Catalogue Number 500 NGA Accession Number 1981.5.191 Related Work: Series Casts from Untitled Materials: 3-color lithograph on Richard de Bas Narcisse Facture:• 1. redCreation (stone), 2. transparent Numbers, red (aluminum), etc. 3. white (aluminum) Dimensions 78.1 x 57.8 cm (30 3/4 x 22 3/4 in.) Description: Edition 49 plus 10 AP, 4 TP, RTP, PPII, 3 GEL, 8 OP, C; Collaboration and Supervision Ronald McPherson, Kenneth Tyler; Processing and Proofing Charles Ritt, Kenneth Tyler; Edition Printing Charles Ritt assisted by Barbara Thomason. The same stone and plates were used for printing edition JJ73-627A, a state edition of 15 with 3 trial proofs, which was printed before the cancellation proof was pulled. 2 trial proofs representing the discarded first drawing for Face were pulled on Laurence

Barker handmade paper. 2 other trial proofs were pulled, © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. L Ni dh Ail

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Class: Date prints andmay drawings be simple – Work Type: architectural drawing a particulardesign drawing year Descriptive Title: Design for the addition of porticoes on the north and south fronts of the President’s House Creator: Benjamin H. Latrobe Document Type: design drawing Creation Date: 1807 Earliest: 1807 Latest:Creation1807 Date: 1807 Materials: ink and watercolor on paperEarliest: 1807 Measurements: 15 3/8 x 20 inches Type,Latest: Purpose, Method 1807 of Representaton: conceptual drawing; elevation Current Location: Library of Congress (Washington, DC) Descriptive Note: Latrobe worked with President Jefferson to transform the modest President’s House … Subject: White House

Image of drawing from : Lowry, Bates. Building a National Image: Architectural Drawings for the American Democracy, 1789-1912. Washington: National Building Museum, 1985.

Record Type: item Class: prints and drawings Work Type: drawing Title: Pennsylvania Range German ofDish dates Creator: rendered by Albert Levone Creation Date: Uncertainty,ca. 1935 Materials: watercolor, graphite, and gouache on paperboard nuance, “ca.” Measurements: overall: 34 x 28 cm (13 3/8 x 11 in.) Original IAD Object:Index om(?) 237for retrieval Current Location: National Gallery of Art (Washington, DC). Index of American Design; 1943.8.8102 Description: Pennsylvania German Folk Art from theCreation Index of American Design.Date: Dishes ca.made by 1935 Pennsylvania German potters came in a variety of sizesEarliest: and shapes. This 1930oval one with scalloped edges was elaborately decorated by the sgraffito technique. Notice the bold floral design that contrastsLatest: with the light1940 strokes of lettering that form a delicate border. Splashes of green worked into the glaze heighten the color of the red clay that is exposed. The dish was made by Samuel Troxel. The inscription reads: "From clay and many skills, the potter fashions what he will, July the 19th 1823.“ Related Work: Pennsylvania German Dish

Rules for estimating Earliest and Latest Dates are in CCO and expanded in CDWA

Range of dates *Creation Date: Uncertainty, probably 1711/1716 nuance, “ca.” Earliest: 1709 Latest: 1718 Index for retrieval *Work Type [link]:screen: *Title: Eight-Planked Bridge (Yatsuhashi) *Creator Display: Ogata Korin (Japanese, 1658-1716) *Role [link]: painter [link]: Ogata Korin *Creation Date: : probably done sometime between 1711 and 1716 Earliest: 1711 Latest: 1716 Style [link]: Edo (Japanese) *Subject [links]: landscape bridge irises love longing journeying Ise Monogatari (Japanese literature, poems) *Current Location [link]: Metropolitan Museum of Art (New York; New York, USA ) ID :53.7.1-2 *Measurements: pair of six-panel folding screens; each 179.1 x 371.5 cm (5 feet 1 1/2 inches x 12 feet 2 1/4 inches) [controlled] Extent: parts Value: 2 Type:count | Extent: each part Value: 179.1 Unit:cm Type:height | Value: 371.5 Unit:cm Type:width | Extent: components Value:2 Type:count *Materials and Techniques: ink, color, and gold-leaf on paper, using tarashikomi (color blending technique) Material [links]: ink paint gold leaf paper Technique [links]: tarashikomi Inscriptions: right hand screen: Korin's signature with honorary title "hokkyo“; round seals read "Masatoki" Culture [link]: Japanese Description: Represents a popular episode in the 10th-century "Ise Monogatari" (The Tales of Ise) series of poems on love and journeying; in this episode, a young aristocrat comes to a place called Eight Bridges (Yatsuhashi) where a river branched into eight channels, each spanned by a bridge. He writes a poem of five lines about irises growing there. The poem expresses his longing for his wife left behind in the capital city. Description Source [link] : Metropolitan Museum of Art online. www.metmuseum.org (accessed 1 February 2004)

Record Type: volume Class: Indian and Himalayan Art Work Type: book Dates expressed Title: A Volume of the Manjushri Namasamgiti (Hymn to Manjushri, Bodhisattva of Wisdom) by century Creation Place: China or Mongolia CreationCreation Date:Date:18th century18th century Earliest: 1700 Latest: 1799 Earliest:Style: Qing1700 Dynasty (1644-1911), Latest: 1799 Creator: unknown, Tibetan, Chinese, Mongolian, and Manchurian Materials: colors on paper with silk Measurements: 4 1/2 x 28 x 7 3/4 inches (11.4 x 71.1 x 19.7 cm) Cover: 1/2 x 28 x 7 3/4 inches (1.3 x 71.1 x 19.7 cm) Current Location: Philadelphia Museum of Art (Philadelphia, Pennsylvania); 1923-21-464; Gift of Charles H. Ludington from the George Crofts Collection, 1923 Description: Printing Buddhist books is an expensive but popular method of earning religious merit-the spiritual currency believed to increase one's chances for a better rebirth in the next lifetime. A wealthy, multi-lingual patron commissioned this large looseleaf book, annotated in Tibetan, Chinese, Manchurian, and Mongolian scripts. The red ink, possibly made from cinnabar, costs more than black. Golden yellow silk brocade, a color reserved in China for members of the imperial family, covers the bookends. Printing or donating lavish Buddhist texts like this one is one method for paying for monastic rituals.

Record Type: item Class: sculpture When range is Work Type: model Title: Wooden model for the façade of uncertain, express Creation Date:San Lorenzo, Florence Creator: Michelangelo what you know, e.g., completed byCreation 1555 Date: completed by 1555 “completed by” Earliest: 1550Earliest: Latest:1550 Latest:15551555 Medium: poplar, cypress, pine and other wood; traces of white lead paint and gesso Measurements: 216 x 283 x 50 cm Scale: 1:12 Subject: façade; model Current Location: Casa Buonarroti (Florence, Italy) Descriptive Note: This is probably one of the two models described by Michelangelo in a letter to his brother, Lionardo, in September 1555. It was ...

image frrom Millon, Henry & Craig Hugh Smyth, Michelangelo Architetto, Milan: Olivetti, 1988 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Classification*: manuscript Object/Work Type*: decorated text, Koran Title or Names*: Leaf from a Qur'an Manuscript Creation-Creator/Role*: callligrapher: Ahmad ibn al-Suhrawardi al-Bakri; illuminator: Muhammad ibn Aybak Creation-Date*: text was finished in the year A.H. Creation707 / A.D. Date:1307-1308 text was finished in Subject Matter*: Koran, InscriptionA.H. :707 Inscriptions: (1307/1308 (In Arabic; text in CE) muhaqqaq script): "Ahmad ibn al-Suhrawardi Earliest:al-Bakri, praising1307 Allah and blessing Latest: His 1308 prophet Muhammad and his family and his companion and saluting"; (in kufic script, on upper and lower bands): "Baghdad may Allah the Exalted honor it, in the months of the year 707" (H. McAllister, trans.) Current Location *: DatesNational Museum may of the be American Indianrecorded (New York); 19/8402 according to Measurements*: 52 x 69 cm Materials and Techniquesvarious*: cotton appliquédating systems Descriptive Note: This folio, the left half of the double end-page Indexed of a Qur'an, was per signed the by Ibn al-Suhrawardi in a splendid muhaqqaq calligraphy (theGregorian three lines of text). Incalendar addition, the kufic script inside the cartouches, which were illuminated by the famous artist Muhammad ibn Aybak

Record Type [controlled]: volume Class [controlled]: manuscripts European art *Work Type [link]: sacramentary illuminated manuscript *Title:*Creation Sacramentary Date: illuminated in 2nd Work created in *Creator Display: illuminated by unknown German active in Mainz or Fulda, binding by unknownquarter Mosan artist of 11th century, binding stages over a period * Role [link]: illuminator Extent [cont.]: illuminations [link]: unknown German * Role [link]: artist Extent [cont.]: binding [link]: unknown Mosan of time *Creationfrom Date: illuminated 12th in 2ndcentury, quarter of 11th century, with binding later from 12th century, with later additions Or different parts [controlled]:additions Qualifier: illuminations Earliest: 1025 Latest: 1060 | Qualifier: binding Earliest: 1100 Latest: 1199 created at *SubjectQualifier: [links]: Extent: overallilluminations Terms: service book sacramentary prayers Mass | Extent: cover Terms: Christ in Majesty Ascension different dates Culture [link]: Ottonian *CurrentEarliest: Location [link]: J. Paul1025 Getty Museum (LosLatest: Angeles, California,1060 USA) IDs: MS. LUDWIG V 2 Creation Locations [links]: Fulda (Hessen, Germany) | Mainz Multiple dates, (RheinlandQualifier: Pfalz, Germany) binding | Mosan (Europe) Liège province (Belgium) *Measurements: 179 leaves; text block: 26.6 x 19.1 cm (10 1/2 x 7 1/2 inches); text area: repeating fields 17 x 13 cm (6 3/4 x 5 1/8 inches); oak covers: 27.3 x 19.8 cm (10 3/4 x 7 7/8 inches) [controlled]Earliest: Extent: leaves V1100alue: 179 Unit: N/ALatest: Type: count | 1199 Extent: text block Value: 26.6 Unit: cm Type: height | Value: 19.1 Unit: cm Type: width Extent: text area Value: 17 Unit: cm Type: height | Value: 13 Unit: cm Type: width Extent: cover Value: 27.3 Unit: cm Type: height | Value: 19.8 Unit: cm Type: width *Materials and Techniques: tempera colors, gold, silver, and ink on parchment, with hammered and engraved binding of gilt silver, brass, and niello Extent: illuminations Material [links]: tempera ink parchment | Extent: binding Material [links]: gilt silver brass oak Technique [links]: niello Description: Although the Ottonian book was written and illuminated in Germany binding (Mainz or Fulda, in modern Germany), the binding was produced in Mosan, a region in present day Belgium noted for medieval metalwork and enamel traditions. The subject of the binding includes a gilt silver Christ in Majesty. Christ sits on a throne, blessing with his right hand while holding a book in his left. The letters alpha and omega appear to either side of him. The first and last letters of the Greek alphabet, they refer to a figure from the text of the Apocalypse, traditionally interpreted as Christ, who says, "I am the Alpha and Omega; the beginning and the end. Description Source [link]: J. Paul Getty Museum online. www.getty.edu (accessed 10 February 2004)

Record Type: item Class:Creation photographs Date: Americannegative Art 1907, Work created in work type: photograph stages over a period Creator:print Alfred 1930 Stieglitz of time Title:Qualifier: Self Portrait negative Current Location: J. Paul Getty Museum (Los Or different parts Angeles,Earliest: California)1907 93.XM.25.38 Latest: 1907 created at Copyright:Qualifier: Estate ofprint Georgia O'Keeffe different dates Creation Date: negative 1907, print 1930 Qualifier:Earliest:negative 1930 Latest: 1930 Multiple dates, Earliest: 1907 Latest: 1907 repeating fields Qualifier: print Earliest: 1930 Latest: 1930 Material and Technique: gelatin silver print Measurements: 24.7 x 18.4 cm (9 3/4 x 7 1/4 inches) Subject: Alfred Stieglitz, self-portrait, bust

Record Type [controlled]: collection Class [controlled]: photographs European art *Work Type [link]: albumen prints *Title:*CreationViews of Paris and Environs Date: and the Exposition1888-1894 (inclusive dates) Universelle *Creator Display: Neurdein Frères (French, active late 19th-earlyQualifier: 20th centuries) inclusive *Role [link]: photographers [link]: Neurdein Frères *Creation Earliest: Date: 1888-1894 (inclusive1888 dates) Latest: 1894 Qualifier: inclusive For a collection or group Earliest: 1888 Latest: 1894 *Subject [links]: architecture views Paris (France) International Exposition of 1889 (Paris, France) Versailles Bulk or inclusive dates Palace (Versailles, France) Parc de Saint-Cloud (Paris, France) Parc du Champ de Mars (Paris, France) travel *Current Location [link]: Getty Research Institute, Research Library, Special Collections (Los Angeles, California, USA) ID: 93-F101 *Materials and Techniques: albumen prints Technique [links]: albumen prints *Measurements: 37 photographic prints; images 13 x 19 cm (5 1/8 x 7 1/2 inches), on sheets 19 x 25 cm (7 1/2 x 9 7/8 inches) [controlled] Extent items Value: 37 Type: count || Extent: image Value:13 Unit:cm Type:height | Value: 19 Unit:cm Type: width || Extent: sheet Value:19 Unit:cm Type:height | Value: 25 Unit:cm Type:width Inscriptions: captions in French, printed on mount above and below image. Description Note: Mounted souvenir views of Paris and environs issued by Neurdein Frères for visitors to the 1889 Exposition universelle. Collection includes panoramas of Paris and views of its main avenues and monuments as well as views of Versailles and the Parc de Saint-Cloud. These images were probably printed from existing ones in the Neurdein Frères inventory. Six views of the Exposition universelle include a panoramic view taken from the Trocadero, a view of the Parc du Champ de Mars, and an exterior view of the Algerian pavilion.

Record Type: item Class: prints and drawings Work Type: printCancellation of a plate Creator: David Hockneywould be indexed in the Title: Snow Creation Date: 1973Date area for the plate Measurements: 101.6 x 85.1 cm (40 x 33 1/2 in.) Current Location:or National a “multiples” Gallery of Art (Washington, group DC); 23.14; NGA Accession Number 1976.56.53; © David Hockney andrecord Gemini G.E.L.; Catalogue Number 23.14; Gemini Work Number DH73-506; Old Gemini Catalogue Number Date 445 of destruction of a Materials: 9-color lithograph and screen print on Arjomari paper work could be included Facture: 1. light blue-gray (stone), 2. light mauve (stone), 3. medium gray (stone), 4. dark mauve (stone), 5. medium brown (stone), 6. green (aluminum), 7. dark gray (stone), 8. blue-white (screen), 9. white (screen) Dimensions 101.6 x 85.1 cm (40 x 33 1/2 in.) Description:Description Cancellation (Descriptive was documented with Note): printing of this edition in 1973... Edition 98 plus 12 AP, RTP, PPII,Cancellation 3 GEL, 3 CTP, SP; Collaboration was and Supervision Kenneth Tyler ; Processing and Proofing Kenneth Tyler; Editiondocumented Printing James Webb assistedwith by printing Robert Knisel, of Donna Rae Hirt; Remarks The stones, plate, and screensthis were edition used for edition in printing 1973... of DH73-506A .

May refer to cancellation of the plate in the Description for this print

Style, period, group, Style/Culture movement, e.g., Ancient Class: Asian art calligraphy painting Ming Work Type: handscroll Op-art *Title:Style/Period/Group/Movement:Viewing the Waterfall at Longiu Renaissance *Creator Display:* primary painter and calligrapher was Dai Fauve Xi, withWen additional ren inscriptions and colophons added by Surrealist other officials Medieval *Creation Date: probably between 1847 and 1849 Louis XVI Earliest: 1847 Latest: 1849 Style: Wen ren Neo-Romanticist Mannerist *Subject: waterfalls landscape pine trees clouds pavilions, poetry Longqiu/Lung-ch'iu (Dragon Pre-Raphaelite Pool) Yentang shan (Mount Yentang) mountains Wen ren Mountain of Myriad Geese Hellenistic *Current Location: Department of Asian Arts, The Saint Postmodern Louis Art Museum ( Saint Louis, Missouri, USA) ID: Feminist 7:1985 Nayarit Creation Location: Beijing (China) *Measurements: 31.9 cm x 133.9 cm Classicist Huari *Materials and Techniques: ink on paper, in a brocade cover with calligraphies written on separate sheets Old Kingdom Insular Inscriptions: inscribed with the colophons and encomia of the artist and several other collaborators: Dai Xi, Luchuang Juren , Lun An, Meng Xin, Shun Qi, Shun Shi, Shun Si, Song Ping, Yu An, Jing Dong Juren, and Wen Jie Description: This is an example of the Wen re style, where May record all terms in the work, comprising painting, poetry, and calligraphy, was created by scholars and gentlemen, rather than one repeating field professional painters or craftsmen. Dai Xi and the others involved with the creation were scholar-officials at the imperial court or its offices in the provinces...

Image © The Saint Louis Art Museum 2009 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Style/Period/Group/Movement:Record Type: component Class: manuscripts WorkInsular Type: illuminated manuscript Title: Lindisfarne Gospels: Initial page to St Qualifier:John's Gospel style Creator: probably Eadfrith (British, late 7th- early 8th century) Typeface/Letterform:Creation Date: late 7th or early 8th century Style: Insular Typeface/Letterform:Insular script Insular script Current Location: British Library (London, England). Cotton MS Nero D.IV; Copyright © The British Library BoardUse Qualifier to Related Work: Lindisfarnedistinguish Gospels the Relationship Type: part of Description: Lindisfarne Gospels: Initial page to St John's Gospel. This is the opening page of the text of St John'stype gospel, from of the Lindisfarneterm: Gospels which was made around 698AD at the Abbey of Lindisfarne. The small lines of text you can see under the decorated words are a translation into Anglo-Saxon that was added in the tenth century. Further informationstyle about The Lindisfarne Gospels is available on the British Library web site. ©The British Library, used with permission. The term insular is used to refer to manuscripts produced in monastic centres in the British Isles in the seventhperiod and eighth centuries. Insular manuscripts were written in uncial or half uncial scripts and were the first manuscripts to introduce spaces between words to make it easier to read.They were decorated in abstract linear patternsgroup adapted from Anglo-Saxon and Celtic metalwork and where zoomorphic forms were included these were stylised and either copied from earlier art or drawn from the imagination. Three forms of decoration are commonly found in insularmovement manuscripts: ornamented borders enclosing full page illustrations; ornate initials used for beginning of gospels and important passages; and carpet pages, which are full pages of decorative designs. Well known examples of Insulardynasty manuscripts are the Lindisfarne Gospels (c.698AD), the Book of Durrow (c.680AD) and the Book of Kells (c.800AD). According to a note added at the end of the manuscript less than a century after its making, that artist was a monk called Eadfrith, Bishop of Lindisfarne between 698 and 721. This legacyMay of an artist also monk living record in Northumbria in scriptthe early eighth century is a precious testament to the tenacity of Christian belief during one of the most turbulent periods of British history. Costly in time and materials, superb in design, the manuscriptstyle is among in ourInscriptions greatest artistic and religious – treasures. It was made and used at Lindisfarne Priory on Holy Island, a major religious community thatTypeface/Letterform housed the shrine of St Cuthbert, who died in 687. Because the Christian faith was spread by the Roman Empire, its sacred© J. Paul texts Getty Trust, author: Patricia Harpring. Do not distribute. and rituals were written and performed in Latin a language understood by

Record Type: component Class: manuscripts WorkStyles/Periods/Groups/Movements: Type: illumination Title: A Crowd Watches a Flying Pelican Luring SmallerSafavid Birds into Its Large Beak May also use Creator: Shaykh Azari CreationQualifier: Date: 1613 dynasty Creation – Culture Materials: tempera and gold on paper Measurements: 11 13/16 x 6 3/4 in. (30 x 17.2 cm) Relationship Number: folio 162A Inscriptions:Culture: [Date] 22Islamic Rajab 1022 [8 September 1613] Culture: Islamic Dynasty: Safavid Reign: Shah Abbas (1585-1628) Creation Location: Afghanistan Current Location: Walters Art Museum (Baltimore, Maryland) Accession No. W.652.162A Credit Line: Acquired by Henry Walters Ownership/Collection History: Henry Walters, Baltimore [date and mode of acquisition unknown]; Walters Art Museum, 1931, by bequest.

* Locations re. the Work Record

LOCATION Class: Sculpture * Current Location*Work: Type: hacha *Title: Hacha (Ceremonial Ax) Dumbarton Oaks* Creator (Washington Display: unknown Veracruz DC, USA) * Creation Date: Late Classic Veracruz (600-900 CE) ID: B38 VCS * Current Location: Dumbarton Oaks (Washington DC, Discovery Location:USA)Veracruz ID: B38 VCS (Mexico) Discovery Location: Veracruz (Mexico) Subject: religion/mythology human figure face game sacrifice ceremonial object Inca ballgame Location may be * Measurements: 35 x 22.2 cm (height) (13 3/4 x 8 3/4 inches) a repository, * Materials and Techniques: marble Descriptive Note: The hacha had ritualistic significance building, city, or and likely served as an actual ballcourt marker. nation

Authority-controlled Geographic Place Authority Repositories as corporate bodies in Personal & Corp Body Names

Record Type [controlled]:item Class [controlled]: photographs American art *Work Type [link]: albumen print *Title*: Naiche,Current Youngest Location Son of Cochise : private *Creator Display: A. F. Randall (American, 19th century) collection *Role [link]: photographer [link]: Randall, A. F. *CreationCreation Date: 1884 Location:[controlled]: San Carlos Earliest: 1884 Latest: 1884 *SubjectIndian[links]: portrait Reservation Naiche (Chiricahua (Graham Apache, 1856/1858-1919) Indian Wars (US history) Culture [link]county,: American Arizona, USA) *Current Location [link]: private collection ID: N/A Creation Location: San Carlos Indian Reservation (Graham county, Arizona, USA) *Measurements: 14 x 22 cm ( 5 1/2 x 8 5/8 inches) [controlled]: Value:14 Unit:cm Type:height | Value: 22 UnitCurrent:cm Type:width location *Materials and Techniques: albumen print Technique [links]may: albumen be print unknown or private collection Creation location

Record Type [controlled]: item Class [controlled]: paintings European art *Work*Current Type [link]: painting Location: Metropolitan *Title: Maude Adams as Joan of Arc *CreatorMuseum Display: Alphonse of Mucha Art (Czech, (New York, 1860-1939) *Role New[link]: painter York, [link] USA): Mucha, ID:20.33 Alphonse *CreationCreation Date: 1909 Location : Chicago [controlled]: Earliest: 1909 Latest: 1909 *Subject(Illinois,[links]: portrait USA) Maude Adams (American actress, 1872-1953) Friedrich vonFormer Schiller, German Location 1759-1805), Die: Empire Jungfrau von Orleans Joan of Arc (French saint, 1412-1421)Theater actress (New human York, figure New female woods flowers design advertising/commercialYork, USA) Style [link]: Art Nouveau CultureFormer [link]: French Location: Harvard *Current Location [link]: Metropolitan MuseumUniversity of Art (New York, New(Cambridge, York, USA) ID:20.33 CreationMassachusetts, Location: Chicago (Illinois, USA) USA) Former Location [link]: Empire Theater (New York, New York, USA) Former May Location have [link]: many Harvard Universitykinds of (Cambridge, Massachusetts, USA) *Measurements:locations208.9 associated x 76.2 cm (82 1/4 with x 30 inches) [controlled]a work: Value: 208.9 Unit:cm Type :E.g., height |places Value: 76.2 where Unit:cm the Type:width *Materialswork and wasTechniques: displayedoil on canvas Material [links]: oil paint canvas Description: The painting was created as a poster design for the performance of © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. American actress Maude Adams in Schiller's

Record Type: item CreationClass: Indian and HimalayanPlace: Art Anatolia Work Type: manuscript Title:Place Double FolioQualifier: from a Qur'an book Description (Descriptive Note): Creator Display: unknown Central Asia or Turkey, possibly AnatoliaPossibly made in Anatolia CreationCreation Date: ca. Place: 1330-1350 India Creation Place: Anatolia (modern Turkey); decorated in PlacePlace Qualifier: Qualifier: book decoration Creation Place: India India .... Place Qualifier: decoration Materials: opaque watercolor, ink, and gold on paper Measurements: 11 3/8 x 14 11/16 inches (28.9 x 37.3 cm) Subject: Double Folio from a Qur'an; Chapter 5, "The Table" (al- Ma'ida),Use Verses qualifiers 72-74 Current Location: Philadelphia Museum of Art (Philadelphia, Pennsylvania);to index 2004-149-4; places Alvin O. Bellak Collection, 2004 Description:associated possibly made with in Anatolia (modern Turkey); decorated in India.different As in the western tradition, Islamic books have a vertical format with paper pages sewn together into a binding. Early Muslim settlers fromcreative central and western Asia carried Islamic book traditions into India, especially in the form of Qur'ans, such as the one from which theseactivities pages come. Since the Qur'an, the holy scripture of Islam, was communicated in Arabic to the Prophet Muhammad by God in the seventhExplain century, its words are venerated, as is the writing that communicates them. Three distinct calligraphic scripts appear on this page.distinctions Large, bold lines give and the Qur'an verses in the original Arabic; zigzag bands of smaller letters translate the verses into Persian; and red,nuance blockish characters or with verses from the Hadith (Traditions of the Prophetuncertainty Muhammad) serve in as a decorative frame. Description

Record Type: item Class: Asian WorkCurrent Type: tablet Location: British Museum Title: The Flood Tablet, relating part of the Epic of Gilgamesh(London, England) Title: ME K3375 Creator:Creation unknown Neo-AssyrianLocation: Nineveh (Iraq) Creation Date: 7th century BCE Measurements: 15.240 x 13.330 x 3.170 cm Materials: stone CreationDiscovery Location: Nineveh, Location: northern Iraq Discovery location: Kuyunjik (Ninevah, Iraq) ExcavatedKuyunjik by A. H. Layard (Nineveh, Iraq) Excavation Date: 1847/1851 CurrentExcavator: Location: British MuseumA. H. (London, Layard England). Script: cuneiform Description:Excavation The most famous Date: cuneiform tablet1847/1851 from Mesopotamia : The Assyrian King Ashurbanipal (reignedEarliest: 669-631 BC)1847 collected a library Latest: of thousands1851 of cuneiform tablets in his palace at Nineveh. They recorded myths, legends and scientific information. Among them was the story of the adventures of Gilgamesh, a legendary ruler of Uruk, and his search for immortality. The Epic of Gilgamesh is a huge work, the longest literary Supplementwork in Akkadian (the language of Babylonia and Assyria). It was widely known, with versions also foundDiscovery at Hattusas, capital ofLocation the Hittites, and Megiddo in the Levant. This, the eleventh tablet of the epic, describes withthe meeting information of Gilgamesh with as Utnapishtim. Like Noah in the Hebrew Bible, Utnapishtim had beenneeded forewarned offrom a plan by thefields gods in to send a great flood. He built a boat and loaded it with everything he couldContext- find. Utnapishtim survived the flood for six days while mankind was destroyed, before landing on a mountainArchaeological called Nimush. He released ina dove and a swallow but they did not find dry land to rest on, and returned. FinallyCDWA a raven that he released did not return, showing that the waters must have receded. © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. The materials were found in the archaeological site of

* Description (Descriptive Note)

DESCRIPTIVE NOTE

Record Description Type: item is a brief Class: Indian and Himalayan Art Work descriptiveType: copper grant note about Title: Tamrashasana (Copper Grant) Creator:the unknown, work India, probably Karnataka or Andhra Pradesh Creation Date: ca. late 6th to 7th century Creation Sources Location: India should be listed Materials: copper alloy Measurements: 10 x 4 x 4 inches (25.4 x 10.2 x 10.2 cm) Current Location: Philadelphia Museum of Art (Philadelphia, Pennsylvania);Description 2003-186-1; (Descriptive Note): Purchased with the Stella Kramrisch Fund, 2003 DescriptionMade (Descriptivein Karnataka Note): or Andhra Pradesh, India. A tamrashasana Made(literally in Karnataka copper or Andhra Pradesh,grant India.or edict) In ancient India,is a texts document inscribed on flat sheets were written on cloth, bark, or palm leaves. When a more permanent recordof copper was required, (instead writing was carved of oninto stonepaper) or metal. with From at the intention of creating a least the fourth century, permanent records of royal gifts and property transactionspermanent were inscribed record on flat sheetsof a ofcertain copper called royal a gift and property transaction. tamrashasana Description (literally copper isgrant free or edict). text, A tamrashasana can be a singleMultiple sheet or multiplesheets sheets are held togetherheld withtogether a ring to which with a cast a ring to which a cast royal seal royal sealnot is often optimized affixed. Especially for in southern retrieval India, the pages of theseis affixed. copper "books" Such were long permanent and narrow, imitating copper the horizontal, records were usually given to the palm leafIndex pages of aimportant pothi. Like the covers of a pothi, the front and back pagesgrantee of the tamrashasana and buried were free on of text. the These boundary permanent copper of the granted land. The original recordsimpermanentinformation were usually given record, to thein grantee other from and buried which at a relevant the spot, copper sheets were copied, such as on the boundary of the granted land. The original impermanent record,wouldrelevant from whichhave the copperbeenfields sheets kept were in copied, the was royal kept in thearchive. royal archive. Source:Source: PhiladelphiaPhiladelphia Museum of Art online Museum of Art online © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Record Discuss Type: item some or all of the salient Class:characteristics Indian and Himalayan Art and historical Work Type: copper grant Title:significance Tamrashasana (Copper of Grant)the work Creator: unknown, India, probably Karnataka or Andhra Pradesh Creation Including Date: ca. late uncertai 6th to 7th centuryn info, function, Creation Location: India Materials:historical copper alloy context, physical form Measurements: 10 x 4 x 4 inches (25.4 x 10.2 x 10.2 cm) Current Location: Philadelphia Museum of Art (Philadelphia, Pennsylvania);Description 2003-186-1; (Descriptive Note): Purchased with the Stella Kramrisch Fund, 2003 DescriptionMade (Descriptivein Karnataka Note): or Andhra Pradesh, India. A tamrashasana Made(literally in Karnataka copper or Andhra Pradesh,grant India.or edict) In ancient India,is a texts document inscribed on flat sheets were written on cloth, bark, or palm leaves. When a more permanent recordof copper was required, (instead writing was carved of oninto stonepaper) or metal. with From at the intention of creating a least the fourth century, permanent records of royal gifts and property transactionspermanent were inscribed record on flat sheetsof a ofcertain copper called royal a gift and property transaction. tamrashasana (literally copper grant or edict). A tamrashasana can be a singleMultiple sheet or multiplesheets sheets are held togetherheld withtogether a ring to which with a cast a ring to which a cast royal seal royal seal is often affixed. Especially in southern India, the pages of theseis affixed. copper "books" Such were long permanent and narrow, imitating copper the horizontal, records were usually given to the palm leaf pages of a pothi. Like the covers of a pothi, the front and back pagesgrantee of the tamrashasana and buried were free on of text. the These boundary permanent copper of the granted land. The original recordsimpermanent were usually given record, to the grantee from and buried which at a relevant the spot, copper sheets were copied, such as on the boundary of the granted land. The original impermanent record,would from whichhave the copperbeen sheets kept were in copied, the was royal kept in thearchive. royal archive. Source:Source: PhiladelphiaPhiladelphia Museum of Art online Museum of Art online © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

DescriptionRecord Type: item (Descriptive Note): Class: prints and drawings ThisWork Type: fractur drawing is a hymnbook illustration Title; Manuscript and Miniature of Fractur thatCreator: refers rendered byto Albert the Levone 100th Psalm. Bold Materials: watercolor, colored pencil, pen and ink, and graphite on paperboard letteringMeasurements: contrasts overall: 30.6 x 24.2 with cm (12 lighter, 1/16 x 9 1/2 morein.) Original IAD Object: L. OM 412; W OM 198 (?) gracefulCurrent Location: forms. National GalleryThe of decorative Art (Washington, DC); motifs Index of Americanof Design; angels,1943.8.3364 tulips, and stars were hand- Description (Descriptive Note): drawnThis fractur and is a hymnbook colored. illustration Fractur that refers towas the 100th brought Psalm. Bold lettering contrasts with lighter, more graceful forms. The decorative motifs of angels, tulips, and tostars Pennsylvania were hand-drawn and colored. by German Fractur refers toscribes, the style of writing an as well at to the illuminated documents itself. It was brought to Pennsylvania by German scribes and is an artart form form peculiar peculiar to the Pennsylvania to the Germans. Pennsylvania It is based on upon the sixteenth-century fractur typeface, a loose imitation of bold, rigid Gothic lettering. The fractur writer held Germans.several positions withinIt is the based Pennsylvania on German upon community. the As the representative of learning, he was often the schoolmaster as well as clergyman. With his skill in drawing and sixteenth-centurywriting, he performed such services fractur as illustrating typeface. books and hymnals The and drawing up fracturimportant documents. writer was often a schoolmaster Source: National Gallery of Art, Pennsylvania German Folk Art from the Index of American asDesign, well 2000 as clergyman, with skill in drawing and writing to perform such services as illustrating books and Standard discussion as found hymnals and drawing up important in a museum or other scholarly documents. catalog, stylistic significance, or subject Source: National Gallery of Art, Pennsylvania German Folk Art from the Index of American How work relates to other Design, 2003. art, culture, artist’s career

Description (Descriptive Note): Record Type: volume Class:Codicology: manuscripts 228 fols. + 1 flyleaf; 27.8 x Work Type: illuminated manuscript Title:21.7 Mondsee cm Gospels (textblock: and Treasure Binding14.4 with x the 10.1 Four cm); 1 Evangelists and the Crucifixion Creator:column illuminator: of unknown17 lines, German; ruledscribe : Othlon in ofbrown ink; Regensburg (German, active ca. 1030-1050) Creation5 large Date: thirdinterlaced quarter 11th century initials in gold and Materials: parchment bound between oak boards covered with leather,silver silk damask, silver filigree, gilded panels, four ivory panels (one modern) depicting the Evangelists, and incised gold leafContents: depicting the Crucifixion fols. under 1r-208r: convex rock Gospelcrystal Current Location: Walters Art Museum (Baltimore, Maryland); Accessionreadings No. W.8 for the liturgical year, Credit Line: Acquired by Henry Walters Measurements:beginning 11 1/16 with x 9 3/16 Christmas x 4 1/8 in. (28.1 x 23.3vigils x 10.4 cm) Description:fols. 63r-76v: Matthew; Passion Contents: fols. 1r-208r: Gospel readings for the liturgical year, beginningnarrative with Christmas vigils fols. 63r-76v: Matthew; Passion narrative fols. 76v-85v: 76v-85v: Mark; Passion Mark; narrative Passion narrative fols. 85v-94v: Luke; Passion narrative fols. 94v-102v: 85v-94v: John; Passion Luke; narrative Passion narrative fols. 208-220v: Common of Saints fols. 222r-223v: 94v-102v: Gospel readings John; for non-proper Passion feriae narrative fols. 223v-225v: 208-220v: Gospel readings Common for votive masses of Saints fols. 227v-228v: Gospel readings for Office of the Dead Codicology:fols. 222r-223v: 228 fols. + 1 flyleaf; Gospel 27.8 x 21.7 readingscm (textblock: 14.4 for non- May include x 10.1 cm); 1 column of 17 lines, ruled in brown ink; 5 large interlacedproper initials feriae in gold and silver codicology, Typeface/Letterform:fols. 223v-225v: Caroline Gospel minuscule readings for votive Creation Location: Germany collation, Style:masses Ottonian Ownership Collection History: Regensburg, late 11th century; contents, etc. Jacquesfols. 227v-228v: Rosenthal [dealer], Gospel Munich, early readings 20th century; for Henry Office of Walters,the Dead Baltimore [date and mode of acquisition unknown]; Walters Art Museum, 1931, by bequest. © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Record Type: group Class: Architecture * Work Type: • architectural documents May be used for *DescriptionTitle: • Architectural drawings (Descriptive relating primarily to Note): residences and commercial and public buildings archival Thisin Ottawa collection from the Office ofcontains Werner E. Noffke, 2241 Ottawa description * Creatordrawings Display: Office representing of Werner E. Noffke, Ottawa some * Creation Date*: 1906-1962 (inclusive dates) * Subject: • office buildings • churches • exhibition halls • 200residences projects by Ottawa * Current Location: Cartographic and Audio-Visual architectArchives Division; Werner National Archives E. Noffkeof Canada (Ottawa, Canada) ID: Noffke, W.E. 77803/7 * Measurementsover a :period various dimensions of 60 years. * Materials and Techniques: various materials Description:Residences,This collection contains offices, 2241 drawings and representing some 200 projects by Ottawa commercialarchitect Werner E. Noffkebuildings, over a period of 60 years. Residences, offices, and commercial buildings, exhibition halls, and churches appear in exhibitionthe collection, along halls, with projects and for buildingschurches for foreign legations. A great deal of Noffke’s work appearwas done for in the the Government collection, of Canada. Sourcealong: National with Archives projects of Canada for buildings for foreign legations. A great deal of Noffke’s work was done for the Government of Canada.

Image: FDA Guide, provided by National Archives of Canada. © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

* Information about View

VIEW INFORMATION View Description / View Type / View Subject / View Date Work Record: Class: sculpture * Work Type: colossus * Title: • Great Sphinx • Abu al-Hawl * Creator Display: unknown Ancient Egyptian * Creation Date: Fourth Dynasty, reign of King Khafre (ca. 2575-ca. 2465 BCE). * Work Subject: • sphinx • portrait • King Khafre • Pharaonic power Image Record: * Current Location: Giza (Egypt) * Measurements: height: 20 m. (66 feet), length: 73 m. Image Type: slide (240 feet) rd Image Source: Janson, H.W., History of Art. 3* Materialsedition. New and York: Techniques Harry N. : limestone, carved from live Abrams, Inc., 1986, plate 64 rock Image Format: Cibachrome (TM) Description: The Sphinx is a impressive embodiment of Image Measurements: 35 mm, 2 x 2 inches kingship, placed to the south of the Great Pyramid at View Description: exterior view,Giza. facing It is probably North intended to represent King Khafre, although later generations believed that it was the Sun View Type: oblique view, partialGod view ... View Subject: the Great SphinxNote with Source: the Janson,GreatView H.W.,records History information of Art. 3rd edition. New York: Harry N. Abrams, Inc., 1986 Page: 60 ff. Pyramid in the background related to the viewPage: of the View Date: 1950 work in the image © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

* What Is the Subject? * Description, Identification, Interpretation * Is There Always a Subject?

Subject is controlled SUBJECT May describe Subject in Description Description: Depicts Shah Jahan on horseback, dressed for the hunt...

Subject indexing: portrait ruler horse hunt Shah Jahan (Mughal emperor of India, 1592-1666, ruled 1628–1658)

Shah Jahan on Horseback: Leaf from the Shah Jahan Album, period of Shah Jahan (1628–1658); Attributed to Bhag; Ink, colors, and gold on paper; 15 1/3 x 10 1/10 in. (38.9 x 25.7 cm); Rogers Fund and The Kevorkian Foundation Gift, 1955. Metropolitan Museum of Art, New York (55.121.10.21) © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

What is Subject?

The subject matter of a work of art The narrative, iconographic, Broadly defined or non-objective meaning “Core” information conveyed by a figurative or an abstract composition For all objects, even What is depicted in and by a those that have no work of art “subject” in the Also covers the function of an traditional sense object or architecture that otherwise has no narrative content

What is Subject?

Should be included, The subject matter of a even when the title work of art refers to subject The narrative, iconographic, or non-objective meaning Using fields specifically conveyed by a figurative or an dedicated to subject abstract composition assures that subject What is depicted in and by a matter is consistently work of art recorded and indexed in Also covers the function of an the same place using the object or architecture that same conventions for otherwise has no narrative every object represented content in the database

What is Subject?

What is the work “of” or “about”? “Of-ness” is what would be seen by an objective, non-expert viewer unfamiliar with the “meaning” of the image “About-ness” is the iconographical, narrative, thematic, or symbolic meaning of the image

What is Subject?

Representational, narrative Tells a story Representational, not a story Portraits, landscapes, still lifes, genre scenes, architectural drawings, allegories Non-Representational Abstract Decoration Function Implied themes or attributes

General Subject and Specific Subject

advertising & commercial allegory animal apparel architecture botanical cartographic ceremonial object cityscape didactic & propaganda funerary art genre history & legend human figure interior architecture landscape literary theme machine military mixed motif nonrepresentational art object (utilitarian) performance portrait religion and mythology seascape still life

• Choose appropriate general subjects • In addition, add terms to describe subject as specifically as possible

Class: sculpture *Work Type: statue *Title: Guanyin Description, identification, *Creator Display: unknown Chinese *Role: sculptor interpretation *Name [link to authority]: unknown Chinese *Creation Date: 12th century *Subject: religion and mythology What the work is “of” and Guanyin royal ease compassion Style: Song Dynasty “about” *Current Location*: Museum of Fine Arts (Boston, Massachusetts, USA) 20.590 Common iconographical *Measurements: 141 x 88 x 88 cm (55 1/2 x 34 5/8 x 34 5/8 inches) themes, stories and *Materials and Techniques: lacquered wood with painting and gilding Description: Guanyin is the Bodhisattva of Compassion, characters represented in the pose of “royal ease” and richly ornamented. A Bodhisattva is one who has attained enlightenment, but chooses to remain among humankind to help others achieve it ... *Subject: •religion and mythology •human male •Guanyin •royal ease •compassion

Image ©MFA Boston, 2009; from © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. http://www.mfa.org/artemis/fullrecord.asp?oid=28589&did=300#Location

Class: paintings *Work Type: altarpiece *Title: Adoration of the Magi Description, identification, *Creator Display: Bartolo di Fredi (Sienese painter, active by 1353, died 1410) interpretation Role: painter Name [link to authority]: Bartolo di Fredi What the work is “of” and *Creation Date: ca. 1395/1409 *Subject: religion and mythology Adoration of the Magi “about” Journey of the Magi Three Kings astrologers Phrygian caps Jesus Mary Joseph Balthazar Melchior Caspar gold frankincense myrrh Common iconographical King Herod horses dogs birds Jerusalem (Israel) Siena (Italy) city walls three ages of man *Current Location: Pinacoteca Nazionale (Siena (Italy)) themes, stories and Original Location: possibly Duomo (Siena (Italy)) *Measurements: 195 x 158 cm (76 x 61 5/8 inches) characters Value: 195 Unit: cm Type: height Value: 158 Unit: cm Type: width *Materials and Techniques: tempera and gilding on panel * Material: tempera gold panel Subject: Description: This work was painted late in the artist’s career. Judging from works that are copied from or influenced by it, •religion and mythology this altarpiece may have been originally positioned in the Duomo of Siena, which had an Adoration altar as late as •human figures •horses •city 1429 ... •Adoration of the Magi •Journey of the Magi •Three Kings •astrologers •Phrygian caps •Jesus • Mary •Joseph •Balthazar • Melchior • Caspar • gold •frankincense • myrrh •King Herod •horses •dogs

Image Pinacoteca Nazionale, Siena Italy •birds •Jerusalem (Israel)

Record Type: item Class: prints Work Type: engraving Description, identification, Title: Capital and base of a column (Vitruvius II) Creator: Hans Beham Creation Date: 1543 Qualifier: publication interpretation Materials: engraving Inscriptions: Signature/Marks (within image) 1543 9u.l.) VITRVVIVS II (u.c.) HSB (monogram - u.r.); (verso - pencil) What the work is “of” and C39014 H2 (l.c.); QVODLIBET HORVM CAPITVM PONI POTEST / AD CORPVS COLVMNAE DORICAE; (left hand “about” edge) DISSE HAVBTER MAG EIN IETLICHES GESECZ WERDEN/AVF DEN / LEIB DER SEVLN DORICA (right hand edge) architecture Measurements: 77 x 50mm Subjects: columns (architectural elements) capitals bases (object components) acanthus Period / Style: Renaissance/European Current Location: Auckland Art Museum (Auckland, New *Subject: Zealand); Department International Art. Credit Line Auckland Art Gallery Toi o Tamaki, purchased 1981 architecture column Acquisition Method Purchase/Private Accession Date 1981 capital base acanthus Accession No 1981/50/20

Class*: paintings Work Type*: painting Description, identification, Title*: A Couple of Foxhounds Creator/Role*: painter: George Stubbs (British painter, 1724-1806) interpretation [link] Stubbs, George Role: painter Creation-Date*: 1792 What the work is “of” and Subject*: animal “about” foxhounds dogs hunting animals, plants, nature landscape Current Location*: Tate Gallery (London, UK) Purchased with assistance from the Friends of the Tate Gallery 1973; T01705 Measurements*: support: 1016 x 1270 mm Materials and Techniques*: oil on canvas *Subject: Descriptive Note: A Couple of Foxhounds was probably commissioned by the Reverend Thomas Vyner of north Lincolnshire. Stubbs was known to have worked for the Vyner family on his return to Lincolnshire in 1776 and again in 1792. Vyner was an avid animals sportsman and equestrian, and an expert on breeding hounds. He was a close friend of Charles Anderson-Pelham, later 1st Baron dogs Yarborough, and the two often hunted together at Brocklesby, the Pelham estate... foxhounds hunting landscape

Class*: paintings /Work Type*: painting Title*: Still life with flowers and fruit Description, identification, Creator/Role*: Claude Monet [link] unknown Monet, Claude Role: painter interpretation Creation Date*: 1869 Subject*: What the work is “of” and still life flowers “about” chrysanthemums apples grapes still lifes = fruit, flowers, vase basket objects table cloth table Current Location*: J. Paul Getty Museum (Los Angeles, CA), 83.PA.215 *Subject: vase Measurements*: 39 3/8 x 31 3/4 in. Materials and Techniques*: Oil on canvas still life basket Descriptive Note: Although painted in his studio, this still life shows the influence of the outdoor experiments that Claude Monet undertook in the summer and fall of 1869, while he was living at Bougival on the flowers table Seine River. His exercises in different painting techniques are seen in the way he softened the outlines of forms and the manner in which he cloth explored the descriptive possibilities of brushstrokes: broad and flat in apples the tablecloth, sketchy in the apples, and short and dense in the flower petals. grapes table chrysanthemums

Class*: paintings Work Type*: painting Description, identification, Title*: A Farm in Brittany Creator/Role*: Paul Gauguin (French painter, 1848–1903) interpretation [link] Gauguin, Paul Role: painter Creation Date*: probably 1894 Subject*: What the work is “of” and landscape Brittany “about” trees cedar of Lebanon landscapes, seascapes, village houses cityscapes Measurements*: 72.39 x 90.57 cm (28 1/2 x 35 5/8 inches) Materials and Techniques*: oil on canvas Current Location*: Metropolitan Museum of Art (New York, NY) Bequest of Margaret Seligman Lewisohn, in memory of her husband, Sam A. Lewisohn, 1954 (54.143.2) Subject*: Descriptive Note: This picture was probably painted in 1894, the date inscribed on another landscape (Private collection) showing the same site. In the summer of 1894, between his two Tahitian periods, Gauguin worked in Brittany at Le Pouldu and landscape Pont-Aven. The exact location of the landscape in the present painting is not known... trees village houses Brittany cedar of Lebanon

Record Type: volume Class: rare books Work Type: Nile Delta Description, identification, Creator: Scribe: Haji Khalifa (Turkish, died 1657); Author: Piri Reis (Turkish, 1465-1554) interpretation Created: 17th century Medium: ink, paint, and gold on paper What the work is “of” and Dimensions: 14 1/8 x 25 13/16 x 5 13/16 in. (35.8 x 65.5 x 14.7 cm) “about” Relationship Number: Folio Number: 304v Measurements: full-page miniature; h.: 30.2 cm, w.: 19.9 cm cartographic Typeface/Letterform: script: naskhi Culture: Ottoman Creation Place: Turkey Language: Turkish Subject: *Subject: cartographic river cities cartographic Nile Delta Alexandria (Egypt) river Ownership History: Henry Walters, Baltimore [date and mode of acquisition unknown]; Walters Art Museum, 1931, by bequest. cities Current Location: Walters Art Museum. Accession No. W.658.304V Nile Delta Credit Line: Acquired by Henry Walters Alexandria (Egypt)

Class*: photograph Work Type*: albumen print Title*: Lincoln on the Battlefield of Antietam, Maryland, October 2, Description, identification, 1862 Creator/Role*: Alexander Gardner (American photographer, 1821- interpretation 1882) [link] Gardner, Alexander Role: photographer Creation-Date*: 1862 What the work is “of” and Subject*: Description: “about” President Abraham Lincoln on the Antietam battlefield, with Major Allan Pinkerton, chief of the Secret Service, and Major John portraits, history & legend, McClernand. Current Location*: J. Paul Getty Museum (Los Angeles, CA), events, geographic places 84.xm.482.1 Measurements*: 8 5/8 x 7 3/4 in. Materials and Techniques*: albumen print Descriptive Note: Twenty-six thousand soldiers were killed or wounded in the Battle of Antietam on September 17, 1862, after which Confederate General Robert E. Lee was forced to retreat to Virginia. Lincoln stands tall, front and center in his stovepipe hat, his erect and commanding posture emphasized by the tent pole that seems to be an extension of his spine...

Description, identification, interpretation What the work is “of” and “about” Allegory, symbolism (e.g.,

*Work Type [link]: screen life’s journey) *Title: Eight-Planked Bridge (Yatsuhashi) *Creator Display: Ogata Korin (Japanese, 1658-1716) *Role [link]: painter [link]: Ogata Korin *Creation Date: : probably done sometime between 1711 and 1716 bridge longing Earliest: 1711 Latest: 1716 *Subject: *Subject: landscape irises journeying bridge landscape irises love love Ise Monogatari longing journeying allegory (Japanese literature) Ise Monogatari (Japanese literature, poems) *Current Location [link]: Metropolitan Museum of Art (New York; New York, USA ) ID :53.7.1-2 *Measurements: pair of six-panel folding screens; each 179.1 x 371.5 cm (5 feet 1 1/2 inches x 12 feet 2 1/4 inches) [controlled] Extent: each part Value:179.1 Unit:cm Type: height | Value: 371.5 Unit:cm Type: width | Extent: components Value:2 Type: count *Materials and Techniques: ink, color, and gold-leaf on paper, using tarashikomi (color blending technique) Material [links]: ink paint gold leaf paper Technique [links]: tarashikomi Inscriptions: right hand screen: Korin's signature with honorary title "hokkyo“; round seals read "Masatoki" Style [link]: Edo (Japanese) Culture [link]: Japanese Description: Represents a popular episode in the 10th-century "Ise Monogatari" (The Tales of Ise) series of poems on love and journeying; in this episode, a young aristocrat comes to a place called Eight Bridges (Yatsuhashi) where a river branched into eight channels, each spanned by a bridge. He writes a poem of five lines about irises growing there. The poem expresses his longing for his wife left behind in the capital city. Description Source [link] : Metropolitan Museum of Art online. www.metmuseum.org (accessed 1 February 2004)

Record Type [controlled]: group Class [controlled]: decorative arts Islamic art *Work Type [link]: desk set candlesticks inkwell Description, identification, pen tray letter knife interpretation *Title: Islamic Revival Desk Set *Creator Display: unknown Moroccan *Role [link]: creator [link]: unknown What the work is “of” and Moroccan “about” *Creation Date: 19th century [controlled]: Earliest: 1800 Latest: 1899 function or purpose a non- *Subject [links]: object (utilitarian) writing study Culture [link]: Moroccan representational work *Current Location [link]: private collection ID: N/A *Measurements: 5 components; candlesticks measure 29.97 x 9.53 cm (11 7/8 x 3 3/4 inches) [controlled]:Extent: candlesticks Value: 29.97 Unit:cm Type:height | Value: 9.53 Unit:cm Type:width | Extent: components Value:5 *Subject: Type: count *Materials and Techniques: brass and enamel, object (utilitarian) engraved Material [links]: brass enamel Technique [links]: engraving writing study Inscriptions: inscribed on the underside of the drip-trays to each candlestick: 27 Description: Comprises a pair of candlesticks, an inkwell (with a purple glass liner), pen tray and a letter knife. Each piece is engraved and decorated in light blue enamel with an angular pattern.

Record Type: item Class: prints and drawings Work Type: lithograph Description, identification, Title: White Line Square XII Creator: Josef Albers interpretation Creation Date: 1966 Relationship Type: Series Related Work: White Line Squares What the work is “of” and Subject: nonrepresentational art “about” square Current Location: National Gallery of Art (Washington, DC). function or purpose a non- Catalogue Number 2.12; NGA Accession Number 1981.5.125; Gemini Work Number JA66-1162 ; Old Gemini Catalogue Number 13 representational work Materials: 3-color lithograph on Arches Cover Facture: Colors or Sequence (aluminum) 1. yellow-gold, 2. red- orange, 3. vermilion Measurements: 53.3 x 53.3 cm (21 x 21 in.) Description: Edition 125 plus 10 AP, 5 TP, RTP, PPII, 2 GEL, 5 PP; Collaboration and Supervision Kenneth Tyler; Processing and Proofing Kenneth Tyler; Edition Printing James Webb, Fred Ganis, Octavio Pereira

Subject: nonrepresentational art square

Class*: Manuscript, lectionary Work Type*: decorated folio, calligraphy Title Subjector Names*: Initial: Letter P Creation-Creator/Role*: artist: unknown Ottonian Creation-Place•religion: Reichenau, Germany and or mythologySt. Gall, Switzerland Creation-Date*: late 900s Subject: •literary theme •religion and mythology •literary•Purification theme of the Virgin •Purification of the Virgin •rubric •Luke 2:22•rubric (Bible) •Luke 2:22 (Bible) •versal (decorated initials) Inscriptions:•versal Text begins (decoratedwith the rubric for the Gospel initials) reading for the Purification of the Virgin, explaining that the reading comes from the Gospel of Luke, written entirely in rustic Inscription:capitals ... Text begins with the Typeface/Letterform: rustic capitals, unical, Caroline rubricminuscule for the Gospel reading for Remarks: Language: Latin Measurementsthe Purification*: 10 15/16 x 7 9/16 inchesof the Virgin, Materials and Techniques*: Tempera colors, gold paint, and silver explainingpaint on parchment that the reading comes Descriptive Note: This page from an Ottonian lectionary shows fromhow medieval the scribes Gospel used the size, of color, Luke, and style written of script to help readers understand a book's contents... Currententirely Location*: J.in Paul rustic Getty Museum capitals (Los Angeles); ... MS. 16, FOL. 13

In addition to the visual subject content, Subject may include the content of the text Transcribe or describe the text in the Inscriptions field

Record Type: item Class:Subject: paintings Work Type: painting Description, identification, Currenthuman Location: Walker figures Art Gallery (Liverpool, England) interpretation Title: Dante and Beatrice Creationliterary Date: 1883 theme What the work is “of” and Creator:male Henry Holiday (British, 1839 - 1927) Subject: human figures “about” literaryfemales theme male literary theme may be a femalesbridge bridge subject flirtingflirting riverriver pigeons Dantepigeons Beatrice Monna Vanna Ponte Vecchio (Florence, Italy) Ponte Santa Trinità (Florence, Italy) Arno River (Tuscany, Italy) Eleanor Butcher Dante Alighieri, La Vita Nuova, 1295 Milly Hughes Kitty Lushington Description: Dante sees Beatrice at the Ponte Santa Trinità, Florence.The Ponte Vecchio traverses the Arno in the distance. 'Dante and Beatrice' was the most important painting by Henry Holiday. The theme of the painting is inspired by the autobiography Vita Nuova of the medieval poet Dante (1265-1321). Dante concealed his love for Beatrice by pretending to be attracted by other women. The scene depicted in the painting is that of Beatrice refusing to greet Dante because of the gossip that had reached her. Beatrice is the woman dressed in white and she was modelled by Eleanor Butcher. The woman next to Beatrice is Monna Vanna (or Giovanna) a companion of Beatrice and the mistress of Dante's friend Guido Cavalcanti. Monna Vanna was modelled by Milly © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Record Type: item Class:Subject: paintings Ponte Vecchio (Florence, Italy) Work Type: painting Ponte Santa Trinità (Florence, Italy) Currenthuman Location: Walker figures Art Gallery (Liverpool, England) Title: Dante and Beatrice Arno River (Tuscany, Italy) Creationliterary Date: 1883 theme Dante Alighieri, La Vita Nuova, 1295 Creator:male Henry Holiday (British, 1839 - 1927) Subject: human figures Dante Alighieri (Italian poet, 1265-1321) literaryfemales theme male Beatrice Portinari (Florentine, 1266–1290) femalesbridge Monna Vanna (Florentine, 13th century) bridgeflirting flirting Eleanor Butcher (British, 1844-1894) riverriver pigeons Milly Hughes (British, 19th century) Dantepigeons Beatrice Kitty Lushington (British, 1867-1922) Monna Vanna Ponte Vecchio (Florence, Italy) Ponte Santa Trinità (Florence, Italy) Arno River (Tuscany, Italy) Eleanor Butcher Subject of the painting Dante Alighieri, La Vita Nuova, 1295 Milly Hughes is a reference to a Kitty Lushington Description: Dante sees Beatrice at the Ponte Santa Trinità, literary work Florence.The Ponte Vecchio traverses the Arno in the distance. 'Dante and Beatrice' was the most important painting by Henry Although the visual Holiday. The theme of the painting is inspired by the autobiography Vita Nuova of the medieval poet Dante (1265-1321). Dante work itself is not part concealed his love for Beatrice by pretending to be attracted by of a textual work other women. The scene depicted in the painting is that of Beatrice refusing to greet Dante because of the gossip that had reached her. Beatrice is the woman dressed in white and she was modelled La Vita Nuova by Eleanor Butcher. The woman next to Beatrice is Monna Vanna (or Giovanna) a companion of Beatrice and the mistress of Dante's friend Guido Cavalcanti. Monna Vanna was modelled by Milly © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Record Type: volume Subject: Class: May prints index and drawings the subjects of literary theme Workthe Type: illustration rare book separately Oscar Wilde, Salome Creator: author: Oscar Wilde (Irish St. John tragedy playwright,from 1854-1900)the subject of the Herod seduction printmaker: Aubrey Beardsley (British text, using Extent Herodias execution artist, 1872)-1898; printmaker: Carl jealousy Hentschel (British printmaker, 19th drama century) Extent: text Title: Salome, a Tragedy in One Act Creation Date: 1894 Subject: Language: English Description: Translated from the literary theme kiss French. human figures severed head Materials: bound volume with thirteen lineblock illustrations; Binding: blue Salome (New Test.) blood cloth, gilt spine, ornamental designs by St. John the Baptist floating Aubrey Beardsley stamped in gold on both covers Extent: illustration Measurements: book: 21.7 x 15.7 x 1.6 cm (8 9/16 x 6 3/16 x 5/8 in.) plate: 20.9 x 15.1 cm (8 1/4 x 5 15/16 in.) Current Location: National Gallery of Art (Washington, DC); William B. O'Neal Fund; 2009.99.1

© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. Record Type: volume When the text is a published Class: prints and drawings work, per CDWA use Subject to Work Type: rare book Creator: author: Oscar Wilde (Irish link to a bibliographic record playwright, 1854-1900) printmaker: Aubrey Beardsley (British artist, 1872)-1898; printmaker: Carl Hentschel (Libraries may differ) (British printmaker, 19th century) Title: Salome, a Tragedy in One Act Creation Date: 1894 Language: English Source Authority: Description: Translated from the French. Materials: bound volume with thirteen Type: play lineblock illustrations; Binding: blue cloth, gilt Brief Citation: Wilde, Salome (1894) spine, ornamental designs by Aubrey Full Citation: Wilde, Oscar. Salome: Subject:Beardsley stamped in gold on both covers literaryMeasurements: theme book: 21.7 x 15.7 x 1.6 cm (8 A Tragedy in One Act. 9/16 x 6 3/16 x 5/8 in.) plate: 20.9 x 15.1 cm Oscar(8 1/4 Wilde,x 5 15/16 in.) Salome, 1894 Illustrations by Aubrey Beardsley. Current Location: National Gallery of Art Salome(Washington, (New DC); Test.) William B. O'Neal Fund; Translated from the French. St. John2009.99.1 the Baptist London: Elkin Mathews & John Herod seduction Lane, 1894. Herodias execution Title: Salome: A Tragedy in One Act drama jealousy Author: Oscar Wilde, Oscar (Irish, tragedy 1854-1900) Extent: text Publication Place: London Publisher: Elkin Mathews & John Lane Publication Year: 1894

Another use of Extent Different parts of the work have different subjects

Extent: general *Subject religion & mythology object (utilitarian) ceremonial object

Extent: side A *Subject Athena Promachos (Greek iconography) human female

Extent: side B *Subject Nike Victor competition human females prize

Panathenaic Prize Amphora and Lid (terracotta), 363/362 BCE. Attributed to the Painter of the Wedding Procession (as painter); signed by Nikodemos (as potter) ; artist: unknown Athenian; terracotta; J. Paul Getty Museum (Los Angeles, California), 93.AE.55.

Record Type: item Class: prints and drawings Work Type: drawing Title: Bulto Description, identification, Creator: rendered by Eldora P. Lorenzini Eldora P. Lorenzini (American, 1910 – 1993) interpretation Materials: watercolor, pen and ink, and graphite on paper Measurements: overall: 55.9 x 40.2 cm (22 x 15 13/16 in.) Original IAD Object: 11" high; 10 3/4 wide What the work is “of” and Current Location: National Gallery of Art (Washington, DC). Index of American Design; 1943.8.16638 Subject: “about” still life religion & mythology Subject of a work is bulto St. Isadore Source:: Folk Arts of the Spanish Southwest from the Index of American another art work Design Object 16 of 25 Description: Isidore, the patron saint of farmers and protector of crops, was a farm laborer employed by a wealthy landowner near Madrid in the early twelfth century. According to legend, Isidore spent so many hours in prayer that he Subject: was in danger of falling behind with his farming chores. As a reward for his exceptional piety, divine intervention dispatched an angel to help Isidore finish his plowing on schedule. This miraculous event is the subject of an eighteenth- religion & mythology century New Mexican devotional sculpture, or bulto. The most important figure in a bulto's composition was typically represented as the largest, sacred oxen human figures hierarchy triumphing over naturalism. This is why Isidore towers above the angel, who in turn outranks the oxen, surpassing them in scale. Bultos such as this one were placed in both homes and churches to help enlist a saint's bulto St. Isadore intercession on behalf of a prayerful supplicant. This sculpture of Saint Isidore is attributed to a Franciscan friar, Fray Andres Garcia. Unfortunately, the face of Saint Isidore has been repainted at least once or twice, and a conclusive farming plow attribution is not possible. The Franciscans established missions in New Mexico, the northern frontier of Spanish America, which was first settled at the end of the sixteenth century. Fray Andrés Garcia was a Franciscan friar born Andrés Garcia, Bulto in la Puebla de los Angeles, Mexico. Related Work: Bulto. Fray Andrés Garcia. 18th century. Relationship Type: depicts Related Work: You may link to separate Bulto. Fray Andrés Garcia. 18th century. Location Unknown. record for a related work © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Record Type [controlled]: item Class [controlled]: prints and drawings American art *Work Type [link]: design drawing Description, identification, *Title: Design for the Addition of Porticoes on the North and South Fronts of the President’s House interpretation *Creator Display: Benjamin H. Latrobe (British, 1764-1820) *Role [link]: draftsman [link]: Latrobe, Benjamin What the work is “of” and H. *Creation Date: 1807 [controlled]: Earliest: 1807 Latest: 1807 “about” *Subject [links]: architecture elevation White House (Washington, DC, USA) Culture [link]: American Subject of drawing is *Current Location [link]: Library of Congress (Washington, DC, USA) ID: unavailable another art work *Measurements: 39.12 x 50.8 cm (15 3/8 x 20 inches) [controlled]: Value: 39.12 Unit:cm Type:height | Value: 50.8 Unit:cm Type:width *Materials and Techniques: ink and watercolor on *Subject: paper Material [links]: ink watercolor paper Description: Latrobe worked with President Jefferson architecture to transform the modest President’s House. Related Work: elevation Relationship Type [controlled]: depicts [link to Work Record]: White House (Washington, DC, USA); 1792-1817 White House (Washington, DC, USA)

Analyzing the subject

Three levels of analysis Objective description

Identification of named subject

Interpretation of the meaning or theme

Analyzing the subject

Three levels of analysis Objective description Of-ness

Identification of named subject About-ness

Interpretation of the meaning or theme

Loosely based on method prescribed by Erwin Panofsky

Three levels of analysis • Objective description

woman baby mother and child A description of the work men in terms of the genericcostumes elements of the image orturbans images depicted brocade in, on, or by it. A description of the workfur in terms ofhaloes the generic elements of the image vessels or images depicted porcelain in, on, or by it. coins

Mantegna; Italian; Adoration of the Magi; 1495-1505; Distemper on linen; Sight size: 19 1/8 x 25 7/8 in.; J. Paul Getty Museum, Los Angeles. 85.PA.417 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Three levels of analysis • Objective description • Identification of named subject Adoration of the Magi The name of the Mary subject depicted in or on a workJesus of art: its iconography. Christ child Iconography Joseph is the named Magi mythological, fictional, Three religious, kings or historical Melchior narrative Caspar subject matter ofBalthasar a work of art, or its non- gold narrative content in the form frankincense of persons, myrrh places, or things. Mantegna; Italian; Adoration of the Magi; 1495-1505; Distemper on linen; Sight size: 19 1/8 x 25 7/8 in.; J. Paul Getty Museum, Los Angeles. 85.PA.417 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Three levels of analysis • Objective description • Identification of named subject • Interpretation of Three races meaning of Man The meaningThree parts or theme representedof the World by the subject matter Threeor ages iconographyof Man of a work ofKingship art. (gold) Divinity (frankincense) Death (myrrh) Roman relief

Class [controlled]: paintings American art *Work Type [link]: painting *Title* Subject: Autumn: On the Type: Hudson Riverdescription *Creator Display: Jasper Francis Cropsey (American painter,Subject 1823-1900) landscape hunters dogs autumn dawn *Role [link]: painter [link]: Cropsey, Jasper Francis *CreationSubject Date Display: Type:1860 identification [controlled]: Earliest: 1860 Latest: 1860 CultureSubject [link]: American Hudson River (United States) Storm King *Current Location [link]: National Gallery of Art (Washington,Mountain District of(Orange Columbia, United Count States) y, New York, United States) ID: 1963.9.1 CreationSubject Location [link]:Type: London (England)interpretation *Measurements: 151.8 x 274.9 cm (59 3/4 x 108 1/4 inches)Subject peace man in harmony with nature [controlled]: Value:151.8 Unit:cm Type: height | Value: 274.9 2 Unit:cm Type:width *Materials and Techniques: oil on canvas Material [links]: oil paint canvas Technique [links] : Description painting Description: This monumental view of the Hudson River ValleyIdentification was painted from memory in the artist's London studio. Cropsey adopted a high vantage point, looking Interpretationsoutheast toward the distant Hudson River and the flank of Storm King Mountain. A small stream leads from the foreground, where three hunters and their dogs gaze into the sunlight. All along the meandering tributary there are signs of man's peaceful coexistence with nature. Description Source [link]: National Gallery of Art online. (accessed 29 July 2009)

Class Paintings * Work Type painting * Title* Les Demoiselles d’Avignon Description * Creator Display Pablo Picasso (Spanish, 1881-1973) Identification * Creation Date 1907 Interpretation * Subject May be used as a method for analysis human figures But not necessarily separately fielded females nudes fruit African mask Iberian art Avignon (Provence, France) tribal art brothel prostitution

Style: Cubist * Measurements 243.84 x 236.22 cm (8 feet x 7 feet 8 inches) * Materials and Techniques oil on Imagecanvas © Museum of Modern Art, 2009 © CCO 2009 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Class Paintings * Work Type painting * Title* Les Demoiselles d’Avignon Issue: But if you do not label them * Creator Display Pablo Picasso (Spanish,separately, in retrieval you cannot 1881-1973) easily distinguish works that are “of” * Creation Date 1907 from works “about” * Subject This work may be about Avignon, but human figures it does not portray the city females nudes fruit African mask Iberian art Avignon (Provence, France) tribal art brothel prostitution

Analyzing the subject

Establish rules regarding the number of terms to assign and method of analyzing an object for its subject description – identification – interpretation foreground to background, top to bottom major elements to minor ones

* Authorities

Populated by Getty Vocabularies

Personal and Corporate Name Image Authority Records

Geographic

s s Place Authority

i i Work Records

r r Source Records

o o Concept

t t Authority

Subject Authority

Entity-Relationship model from CDWA and CCO

CCO on authorities

A combination of authorities and vocabularies will be necessary Required terms may be outside the scope of a given vocabulary No single vocabulary is comprehensive for its scope Local authorities should be populated with terms/names from published vocabularies as well as local terminology

CCO on authorities

Why do we need local authorities? Can enforce policies regarding local usage of terms

Can provide non-expert, “non-scientific,” or simply collection-specific terms and broader contexts to assist end-users

Personal and Corporate Name Authority

Contains names and other information about artists, architects, studios, architectural firms, patrons, repositories, and single individuals (persons) or two or more people working together (corporate bodies)

Populated by ULAN

• Personal & Corporate Name Authority • Record Type [controlled]: person *Names: *NamesRiza (preferred): Reza Riza-yiRiza 'Abbasi(preferred) Aqa Riza Kashani *Display RezaBiography : Persian court artist, ca. 1565-1635 *Nationalities [controlled]: Persian *[cont.]BirthRiza-yi Date : 1560 'Abbasi Death Date : 1635 *Life Roles [cont.]: painter court artist Place of AqaBirth [link]: Riza Kashan Kashani(Esfahan province, Iran) Place of Death [link]: Esfahan (Esfahan province, Iran) *DisplayPlace of Activity Biography [link]: Mashhad (Khorasan,: Persian Iran) Related People: courtRelationship artist, Type [controlled]: ca. 1565-1635 parent of [link to Related Person]: Muhammad Shafi' (Persian painter, active ca. 1628-1674) Note: Riza, son of 'Ali Asghar, was a leading artist under the Safavid shah Abbas I (reigned 1588-1629). He is noted primarily for portraits and genre scenes. The various names for this artist and the attributions of paintings in his oeuvre are somewhat uncertain, since his signatures and contemporary documentary references toAuthority him are ambiguous. linked to *Source [link]: Union Listappropriate of Artist Names (1988- fields ). in a work record

Work Record Personal & Corporate Record Type [cont.]: item Class [cont.]: manuscripts *Work Type [link to Concept Authority]: illumination Name Authority *Title*Creator: Barefoot Youth Display: Riza • Record Type [controlled]: person *Creator Display: Riza (Persian, ca. 1565-1635) *Names*Names: : *Role(Persian, [cont.]: illuminator ca. 1565-1635) Riza (preferred) [link to Person/Corp. Authority]: Riza RezaRiza (preferred) *Creation*Role: Date ca.illuminator 1600 [cont.]: Earliest: 1590 Riza-yi 'Abbasi Latest: 1610 AqaReza Riza Kashani *Subject[link]: [link to authorities]:Riza youth male *Display Biography: Persian court artist, ca. 1565-1635 *Current Location [link]: Freer Gallery of Art and Arthur *NationalitiesRiza-yi [controlled] 'Abbasi: Persian M. Sackler Gallery: National Museum of Asian Art, *[cont.]Birth Date : 1560 Death Date : 1635 Smithsonian (Washington, DC, USA) *Life RolesAqa [cont.] Riza: painter Kashani court artist ID:LTS1995.2.78 Place of Birth [link]: Kashan (Esfahan province, Iran) Creation Location [link]: Esfahan (Esfahan province, *DisplayPlace of Death [link]:Biography Esfahan (Esfahan: Persian province, Iran) Iran) Place of Activity [link]: Mashhad (Khorasan, Iran) *Measurements: 30 x 18 cm (11 13/16 x 7 1/16 inches) courtRelated Peopleartist,: ca. 1565-1635 [controlled]: Value: 30 Unit: cm Type: height Relationship Type [controlled]: parent of Value: 18 Unit: cm Type: width [link to Related Person]: Muhammad Shafi' (Persian *Material /Technique: opaque watercolor, ink, and gold painter, active ca. 1628-1674) on paper [link to authority] watercolor paper Note: Riza, son of 'Ali Asghar, was a leading artist under gold the Safavid shah Abbas I (reigned 1588-1629). He is Inscriptions: Signed by Riza Abbasi noted primarily for portraits and genre scenes. The Description: Probably created in Esfahan. various names for this artist and the attributions of paintings in his oeuvre are somewhat uncertain, since his signatures and contemporary documentary references toAuthority him are ambiguous. linked to *Source [link]: Union Listappropriate of Artist Names (1988- fields ). in a work record

Personal & Corporate Name Authority Record Type [controlled]: Work Record corporate body Class: paintings *Work Type: painting •*Names: *Title: Autumn - On the Hudson River • National Gallery of Art *Creator Display: Jasper Francis Cropsey (American painter, 1823 – 1900) • NGA *Role: painter *Name*Current [link to authority]: Location unknown Indian: National •*Display Biography: American art *CreationGallery Date: 1860 of Art (Washington, museum, established in 1937 *Subject: landscape, Hudson River, autumn, sunrise, • Place/Location [ link]: Washington dawn,DC, trees, USA) clouds *Current Location*: National Gallery of Art (Washington, DC, (DC, USA) USA), Gift of the Avalon Foundation, 1963.9.1 Creation Location: Uttar Pradesh (India) *Measurements: 151.8 x 274.9 cm Includes records for *Materials and Techniques: oil on canvas Description: This monumental view of the Hudson River Valley corporate bodies: was painted from memory in the artist's London studio. Cropsey adopted a high vantage point, looking southeast toward the firms, manufactories, distant Hudson River and the flank of Storm King Mountain. A small stream leads from the foreground, where three hunters and workshops, their dogs gaze into the sunlight. All along the meandering tributary there are signs of man's peaceful coexistence with repositories nature.

Personal & Corporate Name Authority Work Record Record Type [controlled]: unknown artist Class: sculpture *Work Type: mask *Names: *Title: Yup’ik mask (Nepcetaq) unknown Yup’ik **CreatorCreator Display: unknown Display Yup’ik : *Names:unknown Yupik *Role:unknown sculptor Yup’ik anonymous Yupik Eskimo *Name [link to authority]: unknown Yup’ik unknown*Display Biography : Yup’ik artist **CreationRole: Date:sculptor 20th century Nationality/Culture: Yup'ik *Subject: face shield ceremony unknownNative American Yupik [link]:shaman unknown Yup’ik ... *Current Location*: National Museum of anonymous..... Eskimo Natural History (Washington, DC); SI, ...... Yup'ik 153624 *Display Biography: Yup’ik artist Creation Location: Alaska (USA, North America) *Measurements: 35.6 cm (width) (14 1/16 inches) *Materials and Techniques : wood, paint, feathers Description: This Nepcetaq (shaman mask) represents a face peering May include through a triangular shield, painted red, white, and black. The mask was used in records for dances and ceremonies, especially during the long winter darkness when dances and storytelling took place in the qasgiq unknown (traditional men’s house) using these masks. artists

Patricia Harpring, Getty Vocabulary Program

Geographic Place Authority Geographic places in this authority include administrative entities and physical features Populated by TGN

Geographic Place Authority Record Work Record Record Type [controlled]: administrative entity Record Type [cont.]: item Class [cont.]: sculpture *Names: *Work Type [link to Concept Authority]: statue Karnak (preferred) *Title: Colossal Head of Akhenaten *Creator Display: unknown Egyptian, New Kingdom Al-Karnak *Role [cont.]: sculptor [link]: unknown Egyptian El Kharnâk *CreationDiscovery Date: ca. 1350 BCE Location: [cont.]: Earliest: 1353 Latest: Display Broader Context: Qina governorate, Egypt 1336 *Hierarchical Position [link]: *Subject [link to authorities]: Akhenaten (king of Egypt, ruled Africa (continent) 1353–1336Karnak BCE) (Qina governorate, Egypt) *Current Location [link]: Egyptian Museum (Cairo, Egypt) ...... Egypt (nation) Discovery Location [link]: Karnak (Qina governorate, Egypt) ...... Upper Egypt (region) Style: Eighteenth Dynasty (New Kingdom) ...... Qina (governorate) *Measurements: height: 153 cm (61 inches) *Names: ...... Karnak (inhabited place) [controlled]: Value: 153 Unit: cm Type: height *Place Type [controlled]: *Material /Technique: limestone [link] limestone Description: From the Aton Temple . Karnakinhabited(preferred) place Coordinates [controlled]: Al-KarnakLat: 25 43 00 N degrees minutes Long: 032 39 00 E degrees minutes El Kharnâk(Lat: 25.7167 decimal degrees) (Long: 32.6500 decimal degrees) Display NoteBroader: Village on E Context bank of the Nile: in Upper Egypt; with Luxor, Karnak is on the site of ancient Thebes; Qina governorate,location of temple of Amen, Egypt considered one of the finest examples of early New Kingdom religious architecture; also has many Middle Kingdom remains. Linked to *Sources [link to Source Records]: Getty Thesaurus of Geographic Names (1988-) NIMA, GEOnet Names Server (2000-) (accessed place/location 04/18/2003) fields in the Work Record

Concept Authority

Terms and information about generic concepts (as opposed to proper nouns or names) Populated by AAT

Work Record Concept Authority: *Terms Record Type [controlled]:item Class [controlled]: film courvoisier (preferred, singular) and animation American art Terms:courvoisiers (preferred, plural) *Work*Materials Type [link]: production display: cel cel set-up *Hierarchical position [links] *Title: Turtle and Chipmunk courvoisierObjects Facet (preferred, singular) Title:cels:Turtle Washing nitrate; Title Typebackground::former ...... Visual Works *Creator Display: creator: Walt Disney Company courvoisiers...... drawings(preferred, plural) (American,wood founded veneer 1923); animator: courvoisier Milton Kahl ......

Subject Authority

Contains iconographical terminology, including proper names of literary, mythological, or religious Must be compiled from characters or themes, a variety of sources historical events and themes

Work Record Subject Authority Record Type [controlled]: item Class [controlled]: *Subject Names: Precolombian art Xibalbá (preferred) *WorkSubject: Type [link]: vessel Names:Place of Fear *Title: Vessel with Mythological Scene Underworld *Creatorreligion Display: unknown & mythologyMaya * Role [cont.] : artist Xibalbá*Hierarchical Position(preferred) [link]: [link]: unknown Maya Maya iconography *CreationXibalbá Date: 8th century(Maya [cont.]: iconography) Earliest: 0700 Place...... legends of Fear from the Popol Vuh Latest: 0799 ...... Xibalbá *Subjectunderworld display: Scene in the realmskeleton of the Lords of Underworld*Related Keywords [cont.]: underworld Death, with Baby Jaguar and a skeleton Hierarchicaldemons Position Hero Twins: Vucub-Camé [link todeath authorities] : Xibalbáax (Mayaaltar iconography) (demon) Hun-Camé (demon) underworld skeleton death ax altar celebration MayaNote iconography: In the creation myth of the highland Quiché Baby Jaguarcelebration Baby Jaguar Maya, the underground realm called Xibalbá *Current Location [link]: Metropolitan Museum of Art ...... legendswas ruled from by the demonthe Popol kings Hun-Camé Vuh and (New York, New York, USA) ID: 1978.412.206 ...... XibalbáVukub-Camé. It was a dangerous place Creation Location [link]: Petén Department (Guatemala) accessed by a steep and difficult path. The *Measurements: height: 14 cm (5 ½ inches) Hero Twins, Hun-Hunapú and Vukub-Hunapú, [contr. Value: 14 Unit: cm Type: height were lured to Xibalbá by a ball game *Materials and Techniques: terracotta [link]: challenge, but were then tricked and terracotta vase painting slaughtered. However, the twins were avenged Description: Straight-sided ceramic vessels with by Hun-Hunapú's sons, Hunapú and painted decoration comprising complex scenes were Xbalanqué. common in eighth-century Maya art. The "codex-style" *Sources [links]: painting depicts a scene in the realm of the Lords of Larousse World Mythology (1981) Page: 473 ff. Death, where a dancing figure holds a long-handled axe and a handstone. On a monster-head altar lies Baby Jaguar, a deity figure, and beside the altar is a dancing, a skeletal death figure. The meaning has been variously interpreted as depicting either sacrifice or celebration. Includes terms for Note Source [link]: Metropolitan Museum of Art on line (accessed 1 February 2009) iconographic subjects

Work Record Subject Authority Record Type [controlled]: item Class [controlled]: Record Type [controlled]: person (fictional) *Names: Asian art Subject: *NamesShiva (preferred): *Work Type [link]: statue Siva *Title: Shiva as Lord of Dance (Nataraja) Siwa *Creatorreligion Display: unknown & Indianmythology * Role [cont.] : artist ShivaSambhu (preferred) [link]: unknown Indian Sankara human male SivaPasupati *Creation Date: Chola period (880–1279), ca. 11th Mahesa century [cont.]: Earliest: 975 Latest: 1125 Mahadeva *SubjectShiva display: Shiva (Hindu as Lord of the god) Dance with a SiwaAuspicious One Flaming Body Halo Display Broader Context: Hindu god [link toNataraja authorities]: Shiva (Shiva) Nataraja Sambhu*Hierarchical Position [link] Hindu Iconography *Current Location [link]: Metropolitan Museum of Art Sankara...... Hindu gods (New York, New York, USA) ID: 1987.80.1 ...... Shiva Creation Location [link]: Southern India *Related Keywords [link]: *Measurements: height: height: 68.3 cm (26 7/8 inches Pasupatiandrogynous destroyer ); diameter: 56.5 cm (22 1/4 inches) dancer restorer Mahesamendicant ascetic [contr. Value: 63.3 Unit: cm Type: height yogin sensuality *Materials and Techniques: copper alloy [link]: herdsman avenger copper alloy MahadevaNote: One of the primary deities of Hinduism. He is the Description: In his dance of ecstasy Shiva raised his paramount lord of the Shaivite sects of India. Shiva means left leg, and, in a gesture known as the "gaja hasta," Auspicious“Auspicious One” in Sanskrit. One He is one of the most complex gods of India, embodying contradictory qualities: pointed to his lifted leg to provide refuge for the both the destroyer and the restorer, the great ascetic and Display Broader ©Context 2009 J. Paul Getty: Trust troubled soul. He thus imparted the lesson that through the symbol of sensuality, the benevolent herdsman of souls belief in him, the soul of mankind can be transported Hinduand the wrathful god avenger. He is usually depicted as a from the bondage of illusion and ignorance to salvation graceful male. In painting, he is typically white or ash- and eternal serenity. Encircling Shiva is a flaming body colored with a blue neck, hair represented as coil of matted locks, adorned with the crescent moon and the Ganges. He halo ("prabhamandala," or surrounding effulgence) that Includesmay have three eyes mythical, and a garland of skulls. He may have not only establishes the visual limits of this complex and two or four arms and carry skulls, a serpent, a deerskin, dynamic composition but also symbolizes the religious,trident, a small drum, or a club with a skull on it. He is boundaries of the cosmos. depicted in art in various manifestations, often with his Note Source [link]: Metropolitan Museum of Art on line consort. legendaryRelated Subjects: figures (accessed 1 February 2009) Relationship Type [controlled]: focus of image from www.metmuseum.org/collections/ [link to Related Subject]: Saivism Relationship Type[controlled]: manifestation is © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. [link to Related Subject]: Ardhanarisvara

Work Record Subject Authority Record Type [controlled]: item Class [controlled]: prints Record Type [controlled]: event (real or fictional) *Work Type [link]: lithograph *Names *TitleSubject:: Battle of Bull's Run *Names First Battle of Bull Run (preferred) th *Creator Display: A. Pfott (American printmaker, 19 century) * Role First Battle of Bull’s Run [cont.] : historyprintmaker [link]: and Pfott, A.legend First Battle of Manassas (pref.) *Creation Date: 1861 [cont.]: Earliest: 1861 Latest: 1861 First Battle*Hierarchical of Bull Position [ link]Run *Subject display: First Battle of Bull run Historical Events [link to Firstauthorities]: FirstBattle Battle of Bull ofRun troopsBull landscape Run First Battle...... of American Bull’s Civil War Run *Current Location [link]: Library of Congress (Washington, DC, USA) ...... Battles (Civil War) ID: PC/UStroops - 1861.K468, no.landscape 1 war First Battle...... First of Manassas Battle of Bull Run *Measurements: 27.94 x 40.64 cm (11 x 16 inches) * Related Keywords [controlled]: copperheads[contr. Value: 27.94 Unit: cm (politicalType: height battle [contr. Value: 40.64 Unit: cm Type: width *Hierarchical invasionPosition: *Materialsgroup) and Techniques: lithographsatire [link]: lithograph paper casualties Description: Cartoon print shows Union troops after the Battle of Bull Historical EventsNote: One of two battles fought a few miles north of Run during the Civil War from the point of view of a copperhead, that the crucial railroad junction of Manassas, Virginia. is, a northern Democrat supporting Confederate troops...... AmericanThe First Civil Battle of War Bull Run (called First Manassas Note Source [link]: Library of Congress on line (accessed 1 November by the South) was fought on July 21, 1861, at a very 2009) ...... Battlesearly stage (Civil of the war. War) Both armies were ill- prepared, but political pressures forced the Northern ...... FirstGeneral Irvin Battle McDowell toof advance Bull to aRun small stream named Bull Run near Manassas in northern Virginia, southwest of Washington; this was a move against the Southern city, Richmond, Virginia. Related Subject: Relationship MayType[controlled]: include predecessor was [link to Related Subject]: First Shenandoah Valley Campaign Related Personshistorical or Corporate Bodies: Relationship Type [controlled]: participant [link to Relatedevents Person]: General Irvin McDowell (American Union general, 1818-1885) Relationship Type [controlled]: participant [link to Related Person]: General P.G.T. Beauregard (American Confederate general, 1818-1893) Related Geographic Place: Relationship Type [controlled]: location Related Geographic Place [controlled, link]: Manassas (Virginia, United States) Date: July 21, 1861 [controlled] Earliest: 1861 Latest: 1861 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. *Sources [link to Source Records]:

Work Record: Subject Authority Record Type [cont.]: item Class Record Type [controlled]: built work [cont.:photograph *Names *Work*Subject Type [link]: Albumen: Eiffel print Tower *NamesEiffel Tower (preferred) *Title/Name: The Eiffel Tower: State of the EiffelTour Eiffel Tower (preferred) Construction Three-Hundred-Metre Tower *Creator Display: photographer: Louis-Emile Tour*Hierarchical Eiffel Position [ link] DurandelleRelationship (French, 1832-1923) Type: depicts Built Works *Role [cont.] : photographer [link]: Three-Hundred-Metre...... Eiffel Tower Tower Durandelle,Related Louis-Emile Work: Eiffel Tower * Related Keywords [controlled]: *Creation Date *: photographed 23 *Hierarchicalindustrial exposition Position: November 1888 tower *Subject [link to authorities]: Eiffel Built Works Tower Related Works [link to work record]: ...... Eiffel Tower Relationship Type: depicts [link to work record]: Eiffel Tower *Current Location [link]: J. Paul Getty Museum (Los Angeles, California, USA); Work Record: 87.XM.121.16 Record Type [cont.]: item Class [cont.:architecture *Measurements: 17 x 13 3/4 inches *Work Type [link]: observation tower [controlled] Value: 17 Unit: in Type: height *Title/Name: Eiffel Tower Value: 13.75 Unit: in Type: width *Work TypeAlternate :Title/Name:observationTour Eiffel tower Former Title/Name: Three-Hundred-Metre Tower *Materials and Techniques [link to Concept *Creator Display: architect: Gustave Eiffel (French, 1832-1923) Authority]: albumin print *Title/Name*Role [cont.] : architect: [link]: Eiffel, Gustave Style [link]: Belle Époque *Creation Date *: 1887 to 1889 Description: This view was made about four Eiffel[controlled]: Tower Earliest: 1887 Latest: 1889 months short of the tower's completion. *Subject [link to authorities]: industrial exposition International TourExposition Eiffel of 1889 Louis-Émile Built Durandelleworks photographedor any work the *Current Location [link]: Paris (France) tower from a low vantage point to *Measurements: height: 300 m (984 feet) emphasizedepicted its monumentality. in another The massive work may Three-Hundred-Metre[controlled] Value: 300 Unit: m Type: height Tower building barely visible in the far distance is *Creator*Materials Display and Techniques:: architect: wrought iron, exposed Gustave iron construction dwarfedbe underlinked the tower's as Subjects arches... and/or [link to Concept Authority]: wrought iron structural iron exposed construction Source:as RelatedGetty Museum, Works Collections EiffelStyle (French, [link]: Belle Époque 1832-1923) [online] (2000-) Description: Commission was awarded by competition; the © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. competition sought a plan for a monument for the International

Work Record Record Type [cont.]: item Class [cont.]: paintings*Subjects: *Work Type [link]: painting *Title[link: Magdaleine to Personal/Corp. Pinceloup de la Grange Name Authority] *Creator Display: Jean-Baptiste Perroneau Work Subject may (French Pinceloup painter, ca. 1715-1783) de la Grange, * Role [cont.]: painter [link]: Perroneau, be linked to multiple Jean-BaptisteMagdaleine (French aristocrat, *Creation Date: 1747 [cont.]: Earliest: 1747 authorities, NOT Latest:18th1747 century) *Subjects: [link to Personal/Corp. Name only Subject Authority][link to Concept Authority]: portrait Pinceloup de la Grange, Magdaleine (French Authority aristocrat,domestic 18th century) cat (animal) [link to Concept Authority]: portrait e.g., Person/Corp domestic cat (animal) *Current Location [link]: J. Paul Getty Museum body, Concept, (Los Angeles, California, USA) ID: 84.PA.664 *Measurements: 65 x 54 cm (25 5/8 x 21 3/8 Geographic, inches) [controlled] Value: 65 Unit: cm Type: height Sources, and Value: 54 Unit: cm Type: width *Materials and Techniques: oil on canvas Subject Authorities [link]: oil paint canvas Description: The sitter was from the provincial French region of Orléans, but the artist imbued her with Parisian sophistication. The cat she holds is known as a "Chartreux cat," descriptions of which first appeared in 18th-century France. While some at this time valued this breed as a companion animal, it was primarily bred for its fur. Note Source [link]: J. Paul Getty Museum online. (accessed 10 February 2009) Related Work: Relationship type [cont ]: © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Work Record Personal & Corporate Record Type [cont.]: item Class [cont.]: Name Authority paintings*Subjects: Record Type[cont.]: person *Work Type [link]: painting *Names*Names *Title[link: Magdaleine to Personal/Corp. Pinceloup de la Grange Name Authority] Pinceloup de la Grange, Magdaleine *Creator Display: Jean-Baptiste Perroneau Pinceloup(preferred, inverted) de la (French Pinceloup painter, ca. 1715-1783) de la Grange, Magdaleine Pinceloup de la Grange * Role [cont.]: painter [link]: Perroneau, Grange,(preferred, natural order) Jean-BaptisteMagdaleine (French aristocrat, Parseval, Magdaleine *Creation Date: 1747 [cont.]: Earliest: 1747 MagdaleinePinceloup de la Grange, Madaleine Latest:18th1747 century) *Display Biography: French aristocrat, 18th *Subjects: [link to Personal/Corp. Name (preferred,century inverted) Authority][link to Concept Authority]: portrait *Nationalty [cont.]: French Pinceloup de la Grange, Magdaleine (French Magdaleine*[cont.] Birth Date *: 1700 Death Date aristocrat,domestic 18th century) cat (animal) *: 1799 [link to Concept Authority]: portrait Pinceloup*Life Roles [cont.]: dearistocrat la domestic cat (animal) Place of Activity [link]: Orléans (France) *Current Location [link]: J. Paul Getty Museum GrangeRelated Person (Los Angeles, California, USA) ID: 84.PA.664 Relationship Type [cont.]: spouse of *Measurements: 65 x 54 cm (25 5/8 x 21 3/8 (preferred,[link to Person/Corp.] natural: Charles-François order) inches) Pinceloup de la Grange [controlled] Value: 65 Unit: cm Type: height Parseval,*Sources [link]: MagdaleineJ. Paul Getty Museum Value: 54 Unit: cm Type: width (online) *Materials and Techniques: oil on canvas [link]: oil paint canvas Description: The sitter was from the provincial French region of Orléans, but the artist imbued her with Parisian sophistication. The cat she holds is known as a "Chartreux cat," descriptions of which first appeared in 18th-century France. While some at this time valued this breed as a companion animal, it was primarily bred for its fur. Note Source [link]: J. Paul Getty Museum online. (accessed 10 February 2009) Related Work: Relationship type [cont ]: © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Work Record Personal & Corporate Record Type [cont.]: item Class [cont.]: Name Authority paintings*Subjects: Record Type[cont.]: person *Work Type [link]: painting *Names*Names *Title[link: Magdaleine to Personal/Corp. Pinceloup de la Grange Name Authority] Pinceloup de la Grange, Magdaleine *Creator Display: Jean-Baptiste Perroneau Pinceloup(preferred, inverted) de la (French Pinceloup painter, ca. 1715-1783) de la Grange, Magdaleine Pinceloup de la Grange * Role [cont.]: painter [link]: Perroneau, Grange,(preferred, natural order) Jean-BaptisteMagdaleine (French aristocrat, ConceptParseval, Magdaleine Authority *Creation Date: 1747 [cont.]: Earliest: 1747 MagdaleinePinceloup de la Grange, Madaleine Latest:18th1747 century) Record*Display Biography: French aristocrat, 18th *Subjects: [link to Personal/Corp. Name (preferred,Recordcentury Type [cont.]: inverted)concept Authority][link to Concept Authority]: portrait*Terms *Terms*Nationalty [cont.]: French Pinceloup de la Grange, Magdaleine (French Magdaleinedomestic*[cont.] Birthcat (preferred, Date *: 1700 common Death name) Date aristocrat,domestic 18th century) cat (animal) domestic catFelis*: 1799 domesticus (preferred, species name) [link to Concept Authority]: portrait Pinceloupdomestic*Life Roles cats [cont.]: dearistocrat la domestic cat (animal) (preferred, commonFelisPlace catus of Activity name) [link]: Orléans (France) *Current Location [link]: J. Paul Getty Museum GrangehouseRelated cat Person (Los Angeles, California, USA) ID: 84.PA.664 Felis domesticus*HierarchicalRelationship Type Position [cont.]: [link]spouse of *Measurements: 65 x 54 cm (25 5/8 x 21 3/8 (preferred,[linkAnimal to Person/Corp.]Kingdom natural : Charles-François order) inches) (preferred, species...... VertebratesPinceloup de name) la (phylum)Grange [controlled] Value: 65 Unit: cm Type: height Parseval,...... Mammalia*Sources [link]: MagdaleineJ. (class) Paul Getty Museum Value: 54 Unit: cm Type: width ...……...... (online) Carnivora (order) *Materials and Techniques: oil on canvas *Hierarchical Position...... …...... Felidae (family) [link]: oil paint canvas ...... Felis domesticus Description: The sitter was from the provincial Animal Kingdom*Note : Domesticated member of the genus French region of Orléans, but the artist imbued ....VertebratesFelis, (phylum) first domesticated in Egypt ca. 2000 her with Parisian sophistication. The cat she BCE. Probably descended from Felis holds is known as a "Chartreux cat," descriptions ...... Mammaliasylvestris; (class) in some taxonomies, Felis of which first appeared in 18th-century France. domesticus and Felis sylvestris are the While some at this time valued this breed as a ..……...... Carnivorasame species. (order) companion animal, it was primarily bred for its ...... FelidaeRelated Concept (family) fur. Relationship Type[cont.]: descended from Note Source [link]: J. Paul Getty Museum ...... Felis[link to Concept] domesticus: Felis silvestris online. (accessed 10 February 2009) Related Subjects Related Work: Relationship type [cont ]: © J. PaulRelationshi Getty Trust, author:p Typ Patriciae[cont.]: Harpring.messen Do not distribute.ger of

Material: red silk precoordination Compound terms are When you multiple-word terms need A published vocabulary compound typically limits inclusion terms that of compound terms, only are not “unique concepts” bound in You may construct the additional compound published terms in the work record, “precoordination” authority, construct E.g., if you have a red them silk and black wool locally vestment, indexing should bind “red” and “silk” together

Metropolitan Museum of Art, New York. Opus Anglicanum, Chasuble, 1330–1350; ;English; © J. Paul Getty Trust; Patricia Harpring 2009 England; Fletcher Fund, 1927 (27.162.1); from http://www.metmuseum.org/

precoordination

Using separate fields that are bound, e.g., Material and Color Using subfields within a field

precoordination

Using local compound terms that bind the two words together

* Indexing * Specificity and Exhaustivity

Record Type: item Class: decorative art European art books *Work Type: decorated cover almanac * Title: Decorated Cover on an Almanac * Creator Display: cover: unknown English * Role: metalsmith [link]: unknown English * Creation Date: ca. 1759 Earliest: 1754 Latest: 1764 Creation Place: London (England) * Subject [links]: literary theme Venice (Italy) A minimum * Current Location [link]: Philadelphia Museum of Art, (Philadelphia, record should Pennsylvania, USA) ID: 1975-140-65a,bcontain values The Richard P. Rosenau Collection, 1975;in all core * Measurements: 6 x 4.3 x 1 cm (2 3/8 x 1 11/16 x 3/8 inches) elements Value: 6 Unit: cm Type: height Index and Value: 4.3 Unit: cm Type: width Value: 1 Unit: cm Type: depth display fields *Materials and Techniques: enamel on copper with hand-painted and gilt decoration; gilded brass mounts; fabric; printed paper almanac Material [links]: enamel copper gilding brass fabric paper

Specificity and Exhaustivity Refers to tothe theprecision precision and qua andntity ofquantity terms applied of terms to a particular element Specificityapplied torefers a particular to the degree element of precision or granularity used in description (e.g., campanile rather tower) SpecificityExhaustivity refersrefers to tothe thedegree degree of depth of andprecision breadth thator granularitythe cataloger usesused in (e.g.,description, laid oftenpaper expressed rather bythan using a paper)larger number of index terms or a more detailed description The greater the level of specificity and exhaustivity in Exhaustivitycatalog records,refers the more to thevalu abledegree the recordsof depth will andbe for researchers; however, practical considerations often limit breadththe ability that of cataloging the cataloger institutions uses, to meetoften this goal expressedCataloging institutions by using shoul a largerd establish number local rules of indexand termsguidelines or regardinga more thedetailed level of descriptionspecificity applied by catalogers for each element

Specificity and Exhaustivity

Refers to the precision and quantity of terms applied to a Theparticular greater element the level of specificity and exhaustivitySpecificity refers to in the catalog degree of records, precision or thegranularity more used in description (e.g., campanile rather tower) valuableExhaustivity therefers records to the degree will of bedepth and breadth that thehowever, cataloger practical uses in description, considerations often expressed often bylimit using a yourlarger abilitynumber toof indexachieve terms this or a more detailed description The greater the level of specificity and exhaustivity in catalogCataloging records, institutions the more shouldvaluable establish the records local will rules be for researchers;and guidelines however, regarding practica thel levelsconsiderations of specificity often limit theand ability exhaustivity of cataloging institutions to meet this goal Cataloging institutions should establish local rules and guidelines regarding the level of specificity applied by catalogers for each element

Specificity You may link to the Hierarchy general “tempera” water-base paint Perhaps “egg tempera” tempera more accurately casein paint describes the medium egg-oil tempera egg tempera gum tempera oil tempera

Scope Note for egg tempera: Tempera paint using egg as its vehicle, traditionally the yolk only, in other cases, the whole egg.

Record Type: item Class: prints and drawings Specificity and Work Type: print Title: Pomegranate with Blue Morpho Butterflies Creator: Maria Sibylla Merian Exhaustivity Creation Date: ca. 1705 Materials: watercolor and gum arabic over partial transfer print on vellum Cater your approach to the Dimensions: 14 5.8 x 11 7/8 inches (37.2 x 30.2 cm) Subject: knowledge of the cataloger animal botanical or available authoritative pomegranate (Punica granatum) Blue Morpho (Morpho menelaus) Banded Sphinx Moth (Eumorph fasciatus) information Description: Pomegranate with Blue Morpho Butterflies and Banded Sphinx Moth Caterpillar (Punica granatum Do not include information, with Morpho menelaus and Eumorph fasciatus). Relationship Type: part of such as “interpretation” of Related Work: The Insects of Suriname (plate 0) Current Location: The Royal Collection (London, England), the subject if you are copyright 2009 Her Majesty Queen Elizabeth II uncertain

Subject: animal botanical pomegranate (Punica granatum) Blue Morpho (Morpho menelaus) Banded Sphinx Moth (Eumorph fasciatus) © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Record Type: item Class: prints and drawings Specificity and Work Type: print Title: Pomegranate with Blue Morpho Butterflies Creator: Maria Sibylla Merian Exhaustivity Creation Date: ca. 1705 Materials: watercolor and gum arabic over partial transfer print on vellum Do not guess Dimensions: 14 5.8 x 11 7/8 inches (37.2 x 30.2 cm) Subject: animal Broad and accurate is botanical pomegranate (Punica granatum) better than specific but Blue Morpho (Morpho menelaus) Banded Sphinx Moth (Eumorph fasciatus) incorrect Description: Pomegranate with Blue Morpho Butterflies and Banded Sphinx Moth Caterpillar (Punica granatum with Morpho menelaus and Eumorph fasciatus). e.g., “butterfly” is better Relationship Type: part of Related Work: The Insects of Suriname (plate 0) than incorrectly labeling it Current Location: The Royal Collection (London, England), “Blue Morpho” copyright 2009 Her Majesty Queen Elizabeth II

Subject: animal botanical pomegranate (Punica granatum) Blue Morpho (Morpho menelaus) Banded Sphinx Moth (Eumorph fasciatus) © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Record Type: volume Class: manuscript Work ContextType: codex of Title: Códice Tudela Title: Codexindexing Tudela terms Culture: Aztec Creation Date: ca. 1553 Relationship Type: part of Related Work: Códice Tudela Relationship Numbers: 98 verso and 99 recto Measurements: 21 x 15,5 cm; 125 leaves Creator: illuminations: unknown Tenochtitlán; text in Catalan by a Franciscan friar Culture: Tenochtitlán CurrentCulture: Location: Museo de AméricaAztec in Madrid III (Madrid, Spain); N Inv.: 70.400; España Siglo XVI Subject: religion & mythology Aztec calendar lords of the night day signs birds of the day genre Hierarchical scenes context is Descriptive: consta de 125 páginas con pinturas realizadascritical por un tlacuilo to indígena the y textosmeaning of escritos en castellano por un misionero.. Folios 98 versothe and 99term, recto, showing variant aspects of thenames Aztec calendar: the birds of the day, the lords of the night,Either and the daymust signs. The be Codex linked Tudela, named after José Tudela de la Orden, is a 16th centuryhierarchical pictorial Aztec codex. Itaut is basedhority, on the or the same prototype as the Codex Magliabechiano, the Codexbroader Ixtlilxochitl, andcontexts other documents must of be the Magliabechiano Group. Little is known about the codex'sincluded history. The inSpanish the government record bought the manuscript when it was rediscovered in 1940 and it is now held by the Museo de

Record Type: volume Class: manuscript Work ContextType: codex of Title: Códice Tudela Title: Codexindexing Tudela terms Culture: Aztec Creation Date: ca. 1553 Relationship Type: part of Related Work: Códice Tudela Relationship Numbers: 98 verso and 99 recto Measurements: 21 x 15,5 cm; 125 leaves Creator: illuminations: unknown Tenochtitlán; text in Catalan by a Franciscan friar Culture: Tenochtitlán CurrentCulture: Location: Museo de AméricaAztec in Madrid III (Madrid, Spain); N Inv.: 70.400; España Siglo XVI Subject: religion & mythology Aztec calendar lords of the night day signs birds of theConcept day Authority genre scenes Descriptive: consta de 125 páginas con pinturas realizadasPre-Columbian por un tlacuilo indígena y textos escritos en castellano por un misionero.. Folios 98 verso and 99 recto,Mesoamerican showing aspects of the Aztec calendar: the birds of the day, the lords of the night, and the day signs.Aztec The Codex Tudela, III named after José Tudela de la Orden, is a 16th Tenochtitlán century pictorial Aztec codex. It is based on the same prototype as the Codex Magliabechiano, the Codex Ixtlilxochitl, and other documents of the Magliabechiano Group. Little is known about the codex's history. The Spanish government bought the manuscript when it was rediscovered in 1940 and it is now held by the Museo de

Record Type: volume Class: manuscript Work Type: codex Title: Códice Tudela Title: Codex Tudela Culture: Aztec Creation Date: ca. 1553 Relationship Type: part of RelatedCulture: Work: Códice Tudela Relationship Numbers: 98 verso and 99 recto Measurements: 21 x 15,5 cm; 125 leaves Creator:•Aztec illuminations: III unknown Tenochtitlán; text in Catalan by a Franciscan friar Culture:Mesoamerican Tenochtitlán Current• Location: Museo de América in Madrid (Madrid, Spain); N Inv.: 70.400; España Siglo XVI•Pre-Columbian Subject: religion & mythology Aztec calendar lords of the night day signs birds ofIf the day your system will not genre scenes Descriptive:link consta a despecific 125 páginas con term pinturas to realizadas por un tlacuilo indígena y textos escritos itsen castellano broader por un misionero.. context Folios in 98 verso and 99 recto, showing aspects of the Aztec calendar:an authority the birds of the day, the lords of the night, and the day signs. The Codex Tudela, named afteryou José should Tudela de la Orden,include is a 16th the century pictorial Aztec codex. It is based on the same prototypebroader as the Codex context Magliabechiano, in the the Codex Ixtlilxochitl, and other documents of the Magliabechianowork record Group. Little is known about the codex's history. The Spanish government bought the manuscript when it was rediscovered in 1940 and it is now held by the Museo de

Exhaustivity Record Type: volume Class: books and manuscripts Work Type: gradual Title: Gradual for Monastic Use Creator: illumination: workshop of: Pacino di Bonaguida; patron: probably Augustinian Creation Location: Florence (Italy) Creation Date: 1303/1340 Style: Gothic Measurements: 174 folios; overall (page dimensions): 35.7 x 26.2 cm (14 1/16 x 10 5/16 inches) Materials: Howtempera many and aspects ink on parchment; of a bindings of calfskin over boards with metal clasps Currentwork Location: do Museum you catalog of Fine Art (Boston, Massachusetts) Only core fields, or do Description: A gradual (a liturgical book, containingyou chants need for others?the Mass) for monastic use, possibly How the Augstinian many terms order, with do 174 you folios (ff.) and 2 leaves: ff. 1 - 109:assign Gradual: to Temporaleeach field and Sanctorale of a (partial)work record? ff. 109v - 113: Litany ff. 114 - 160: Gradual: Temporale (continued) ff. 161 - 168: Temporale sequences

Specificity and Exhaustivity

Record Type: group Class: architectural drawings Work Types: preliminary drawings presentation drawings working drawings sections elevations plans Title: Group: Drawings for Falling Water Should (Kaufman terms House), reflect Bear all itemsRun, Pennsylvaniain the group? Creator: Or use Frank broad Lloyd terms, Wright because [link]:you Wright, plan to Frank use specificLloyd Role: terms rchitectin records for each item? Creation Date: 1936-1937

Please complete the exercises

Patricia Harpring Managing Editor Getty Vocabulary Program

1200 Getty Center Drive Los Angeles, CA 90049

[email protected]