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Namespace Prefixes

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n11	https://www.metmuseum.org/art/collection/search/
n9	http://data.silknow.org/vocabulary/
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ecrm	http://erlangen-crm.org/current/
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xsdh	http://www.w3.org/2001/XMLSchema#
n4	http://data.silknow.org/statement/
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Statements

Subject Item

n4:2a48bc3e-31be-51b7-9b1d-22add5634d0c

rdf:type

rdf:Statement

rdf:predicate

ecrm:P65_shows_visual_item

rdf:object

n9:745

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n2:86a41326-7b31-3e6a-ae2e-7c5cfc34280a

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n7:2a48bc3e-31be-51b7-9b1d-22add5634d0c

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0.49169999361038208008

Subject Item

n2:86a41326-7b31-3e6a-ae2e-7c5cfc34280a

rdf:type

ecrm:E22_Man-Made_Object

rdfs:label

1635~, Rome

rdfs:comment

This tapestry was once part of an eight-piece set representing Giochi di Putti, or Cherubs’ Games. Pope Leo X commissioned the series as an allegorical celebration of the golden age under the Medici, and it was to be displayed in the Vatican’s Hall of the Consistory. Probably conceived by Raphael, the tapestries’ designs were executed by his pupils, including Giovanni da Udine. Tommaso Vincidor painted their cartoons (the full-size models copied by the weavers) in Brussels.Unfortunately, Leo’s Brussels-woven, sixteenth-century tapestry set does not survive, but multiple copies were made, including these seventeenth-century tapestries attributed to Flemish weavers working in Rome in the newly established tapestry workshop funded by the Barberini family. Here, the weavers used hatching to skillfully depict the volume and rosy hues of the putti’s flesh. A glorious range of dyes captures the abundance of fruit, vegetables, and flowers in the swags suspended behind them. The mustard yellow ground imitates the gilt-silver used in Leo’s lost original.

owl:sameAs

n11:208528

dc:identifier

1995.410.2

ecrm:P3_has_note

This tapestry was once part of an eight-piece set representing Giochi di Putti, or Cherubs’ Games. Pope Leo X commissioned the series as an allegorical celebration of the golden age under the Medici, and it was to be displayed in the Vatican’s Hall of the Consistory. Probably conceived by Raphael, the tapestries’ designs were executed by his pupils, including Giovanni da Udine. Tommaso Vincidor painted their cartoons (the full-size models copied by the weavers) in Brussels.Unfortunately, Leo’s Brussels-woven, sixteenth-century tapestry set does not survive, but multiple copies were made, including these seventeenth-century tapestries attributed to Flemish weavers working in Rome in the newly established tapestry workshop funded by the Barberini family. Here, the weavers used hatching to skillfully depict the volume and rosy hues of the putti’s flesh. A glorious range of dyes captures the abundance of fruit, vegetables, and flowers in the swags suspended behind them. The mustard yellow ground imitates the gilt-silver used in Leo’s lost original.

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n9:745

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n13:a3353bed-c6b3-39df-876d-4c4340f47064

ecrm:P102_has_title

1635~, Rome