This HTML5 document contains 25 embedded RDF statements represented using HTML+Microdata notation.

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Namespace Prefixes

Prefix	IRI
dc	http://purl.org/dc/elements/1.1/
rdfs	http://www.w3.org/2000/01/rdf-schema#
n10	https://www.metmuseum.org/art/collection/search/
n6	http://data.silknow.org/object/1d50b12d-d2e6-3ef6-a8b8-ba0f5390b0e2/dimension/
n7	http://data.silknow.org/vocabulary/
silk	http://data.silknow.org/ontology/
ecrm	http://erlangen-crm.org/current/
rdf	http://www.w3.org/1999/02/22-rdf-syntax-ns#
n14	http://data.silknow.org/image/
owl	http://www.w3.org/2002/07/owl#
n4	http://data.silknow.org/object/
prov	http://www.w3.org/ns/prov#
xsdh	http://www.w3.org/2001/XMLSchema#
n2	http://data.silknow.org/statement/
n12	http://data.silknow.org/activity/

Statements

Subject Item

n2:84eb247f-fbd8-588d-a83d-b3abef0c785c

rdf:type

rdf:Statement

rdf:predicate

ecrm:P65_shows_visual_item

rdf:object

n7:745

rdf:subject

n4:1d50b12d-d2e6-3ef6-a8b8-ba0f5390b0e2

prov:wasGeneratedBy

n12:84eb247f-fbd8-588d-a83d-b3abef0c785c

silk:L18

0.36030000448226928711

Subject Item

n2:26b21f1a-aedd-5c0f-b79d-e202f652b8da

rdf:type

rdf:Statement

rdf:predicate

ecrm:P65_shows_visual_item

rdf:object

n7:744

rdf:subject

n4:1d50b12d-d2e6-3ef6-a8b8-ba0f5390b0e2

prov:wasGeneratedBy

n12:26b21f1a-aedd-5c0f-b79d-e202f652b8da

silk:L18

0.4332999885082244873

Subject Item

n4:1d50b12d-d2e6-3ef6-a8b8-ba0f5390b0e2

rdf:type

ecrm:E22_Man-Made_Object

rdfs:label

1667, United Kingdom

rdfs:comment

This pictorial panel is unusual in that it is worked almost entirely in crewel wool thread, with only details and highlights in silk and metallic threads. Wool was commonly used for tent stitch or needlework on canvas from the sixteenth century, but this fiber is unusual in pictorial works such as this. Wool is more commonly found on bed furnishings of the late seventeenth and early eighteenth centuries on a cotton twill foundation fabric.The presence of initials and a date probably indicate that this was an amateur production in both design and execution. The composition, which is extraordinarily crowded and naive, even within the genre of seventeenth-century pictures, is a small compendium of religious imagery, each story rendered in a kind of shorthand with only the key scene in the narrative nestled within the pictorial landscape conventions of this type. Hagar and Ishmael, banished from the home of Abraham, exit the scene in the lower left corner, while the princess of Egypt finds the baby Moses to the right. The river that delivered Moses flows from a rocky grotto, home to a mermaid, several types of fantastic fish, and a duck. Above the mermaid’s head at the right, Rebecca offers a drink to Eliezer from an antique urn on which the date 1667 is embroidered. The identity of the king under the central canopy is not certain, but he most likely represents Solomon sitting in judgment, as a woman appears to be pleading for a child in the arms of a cavalier with a sword. This interpretation is strengthened by the presence of a colorful moth or butterfly below the king. If we accept this as a symbol of the restoration of the Stuart monarchy, then the biblical Solomon, with whom King Charles I (father of the contemporary king) had been identified, would have been an appropriate choice. The rest of the panel is populated with flora and fauna, rendered with a typical disregard for relative scale, and a stately home with two small faces behind the mica windows. This particular conflation of religious and secular imagery is interesting for its visual emphasis on the central figure of the king, with other references scattered in a seemingly random fashion around the composition.[Melinda Watt, adapted from English Embroidery from The Metropolitan Museum of Art, 1580-1700: 'Twixt Art and Nature / Andrew Morrall and Melinda Watt ; New Haven ; London : Published for The Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, New York, The Metropolitan Museum of Art, New York [by] Yale University Press, 2008.]

owl:sameAs

n10:229005

dc:identifier

64.101.1304

ecrm:P3_has_note

This pictorial panel is unusual in that it is worked almost entirely in crewel wool thread, with only details and highlights in silk and metallic threads. Wool was commonly used for tent stitch or needlework on canvas from the sixteenth century, but this fiber is unusual in pictorial works such as this. Wool is more commonly found on bed furnishings of the late seventeenth and early eighteenth centuries on a cotton twill foundation fabric.The presence of initials and a date probably indicate that this was an amateur production in both design and execution. The composition, which is extraordinarily crowded and naive, even within the genre of seventeenth-century pictures, is a small compendium of religious imagery, each story rendered in a kind of shorthand with only the key scene in the narrative nestled within the pictorial landscape conventions of this type. Hagar and Ishmael, banished from the home of Abraham, exit the scene in the lower left corner, while the princess of Egypt finds the baby Moses to the right. The river that delivered Moses flows from a rocky grotto, home to a mermaid, several types of fantastic fish, and a duck. Above the mermaid’s head at the right, Rebecca offers a drink to Eliezer from an antique urn on which the date 1667 is embroidered. The identity of the king under the central canopy is not certain, but he most likely represents Solomon sitting in judgment, as a woman appears to be pleading for a child in the arms of a cavalier with a sword. This interpretation is strengthened by the presence of a colorful moth or butterfly below the king. If we accept this as a symbol of the restoration of the Stuart monarchy, then the biblical Solomon, with whom King Charles I (father of the contemporary king) had been identified, would have been an appropriate choice. The rest of the panel is populated with flora and fauna, rendered with a typical disregard for relative scale, and a stately home with two small faces behind the mica windows. This particular conflation of religious and secular imagery is interesting for its visual emphasis on the central figure of the king, with other references scattered in a seemingly random fashion around the composition.[Melinda Watt, adapted from English Embroidery from The Metropolitan Museum of Art, 1580-1700: 'Twixt Art and Nature / Andrew Morrall and Melinda Watt ; New Haven ; London : Published for The Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, New York, The Metropolitan Museum of Art, New York [by] Yale University Press, 2008.]

ecrm:P43_has_dimension

n6:2 n6:1

ecrm:P65_shows_visual_item

n7:744 n7:745

ecrm:P138i_has_representation

n14:5347e68d-47b2-3eda-acf5-03b493215b4d n14:959997af-d6ba-3e1b-ab9e-f6aa32258aae

ecrm:P102_has_title

1667, United Kingdom