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Namespace Prefixes

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dchttp://purl.org/dc/elements/1.1/
rdfshttp://www.w3.org/2000/01/rdf-schema#
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ecrmhttp://erlangen-crm.org/current/
rdfhttp://www.w3.org/1999/02/22-rdf-syntax-ns#
n7http://data.silknow.org/image/
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xsdhhttp://www.w3.org/2001/XMLSchema#
n9http://data.silknow.org/statement/
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Statements

Subject Item
n9:4c16f710-83bf-5e6f-b553-2ecc7c6d75c1
rdf:type
rdf:Statement
rdf:predicate
ecrm:P65_shows_visual_item
rdf:object
n4:745
rdf:subject
n2:572796ca-325a-3e4a-953c-0be95fd34c90
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n12:4c16f710-83bf-5e6f-b553-2ecc7c6d75c1
silk:L18
0.65859997272491455078
Subject Item
n2:572796ca-325a-3e4a-953c-0be95fd34c90
rdf:type
ecrm:E22_Man-Made_Object
rdfs:label
1635~, Rome
rdfs:comment
This tapestry is one of eight that reproduce, in part, a set of twenty ordered in 1520 by Pope Leo X for the Hall of the Consistory in the Vatican. The design was conceived as an allegorical celebration of the golden age under the Medicis and under Leo X in particular. The theme and format of the set may have been conceived by Raphael (both of the putti in this tapestry derive from lost paintings by him), but the designs were executed by his pupils. Several of the preparatory sketches are in the hand of Giovanni de Udine, while the cartoons were painted in Brussels by Tommaso Vincidor, who traveled there for that purpose in 1520.The ground of the original set was woven in gold thread, which may account for its disappearance during the late eighteenth century, a period in which many historic tapestries were burned in order to extract the precious metals they contained. The seventeenth-century reweavings imitate the golden effect with striations of yellow silk and wool.
owl:sameAs
n6:208527
dc:identifier
1995.410.1
ecrm:P3_has_note
This tapestry is one of eight that reproduce, in part, a set of twenty ordered in 1520 by Pope Leo X for the Hall of the Consistory in the Vatican. The design was conceived as an allegorical celebration of the golden age under the Medicis and under Leo X in particular. The theme and format of the set may have been conceived by Raphael (both of the putti in this tapestry derive from lost paintings by him), but the designs were executed by his pupils. Several of the preparatory sketches are in the hand of Giovanni de Udine, while the cartoons were painted in Brussels by Tommaso Vincidor, who traveled there for that purpose in 1520.The ground of the original set was woven in gold thread, which may account for its disappearance during the late eighteenth century, a period in which many historic tapestries were burned in order to extract the precious metals they contained. The seventeenth-century reweavings imitate the golden effect with striations of yellow silk and wool.
ecrm:P65_shows_visual_item
n4:745
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n7:69f6ae5d-ee66-3d90-9655-3ca6c2f4ce8e
ecrm:P102_has_title
1635~, Rome