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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#
n12	https://www.metmuseum.org/art/collection/search/
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#
n10	http://data.silknow.org/image/
owl	http://www.w3.org/2002/07/owl#
n2	http://data.silknow.org/object/
prov	http://www.w3.org/ns/prov#
xsdh	http://www.w3.org/2001/XMLSchema#
n5	http://data.silknow.org/statement/
n9	http://data.silknow.org/activity/

Statements

Subject Item: n5:94056d31-ff8a-576f-8d04-b691e9d29c27
rdf:type: rdf:Statement
rdf:predicate: ecrm:P65_shows_visual_item
rdf:object: n7:744
rdf:subject: n2:2791cf10-1fa2-3a61-8039-f84ff0d2b38c
prov:wasGeneratedBy: n9:94056d31-ff8a-576f-8d04-b691e9d29c27
silk:L18: 0.4635

Subject Item: n5:2ec4c34e-8f22-59f1-880a-4a4c2f22b5b8
rdf:type: rdf:Statement
rdf:predicate: ecrm:P65_shows_visual_item
rdf:object: n7:743
rdf:subject: n2:2791cf10-1fa2-3a61-8039-f84ff0d2b38c
prov:wasGeneratedBy: n9:2ec4c34e-8f22-59f1-880a-4a4c2f22b5b8
silk:L18: 0.7568

Subject Item: n5:fc46674c-93cd-5f9a-bfe6-dec20cf480a6
rdf:type: rdf:Statement
rdf:predicate: ecrm:P65_shows_visual_item
rdf:object: n7:743
rdf:subject: n2:2791cf10-1fa2-3a61-8039-f84ff0d2b38c
prov:wasGeneratedBy: n9:fc46674c-93cd-5f9a-bfe6-dec20cf480a6
silk:L18: 0.4033

Subject Item: n5:0b843739-855c-52b2-8d73-1809c36a6fed
rdf:type: rdf:Statement
rdf:predicate: ecrm:P65_shows_visual_item
rdf:object: n7:743
rdf:subject: n2:2791cf10-1fa2-3a61-8039-f84ff0d2b38c
prov:wasGeneratedBy: n9:0b843739-855c-52b2-8d73-1809c36a6fed
silk:L18: 0.4775

Subject Item: n2:2791cf10-1fa2-3a61-8039-f84ff0d2b38c
rdf:type: ecrm:E22_Man-Made_Object
rdfs:label: 1550~, Bruges
rdfs:comment: With the distinctive long, low format of a wainscot tapestry, this hanging can be attributed with confidence to weavers working in the great Flemish city of Bruges, who since the mid-fifteenth century had sought to distinguish themselves from the massive, monumental narrative and allegorical wall hangings perfected by Brussels weavers, by specializing in armorial tapestries against mille-fleurs grounds, as well as in similarly formatted choir tapestries. As experienced in this tapestry, by the mid-sixteenth century Bruges’ cartoon designers and weavers updated conventional flower-strewn mille-fleurs by developing a warmer palette and by massing the flowers so closely together that the dark blank ground is almost obscured. The floral pattern becomes a glorious, abstract mass of dappling color; in technique, daring weaving styles like eccentric wefts (which deviate in thin sinuous lines from the regular grid of the warp and weft) are manipulated to represent the stems and lower leaves of the plants. Wainscot tapestries were particularly popular amongst English clientele (Antwerp weavers called them “op Engelse wijze”- ‘English style’) and on the Italian peninsula, where they were in high demand as “spaliere” to hang over cassone chests. Although the armorials suspended within the three garlanded landscape cartouches have not yet been identified, it is likely they are associated with one of the Florentine, Genovese, Venetian or Lucchese families connected with the Bruges’ markets through trade and banking.
owl:sameAs: n12:239573
dc:identifier: 2013.506
ecrm:P3_has_note: With the distinctive long, low format of a wainscot tapestry, this hanging can be attributed with confidence to weavers working in the great Flemish city of Bruges, who since the mid-fifteenth century had sought to distinguish themselves from the massive, monumental narrative and allegorical wall hangings perfected by Brussels weavers, by specializing in armorial tapestries against mille-fleurs grounds, as well as in similarly formatted choir tapestries. As experienced in this tapestry, by the mid-sixteenth century Bruges’ cartoon designers and weavers updated conventional flower-strewn mille-fleurs by developing a warmer palette and by massing the flowers so closely together that the dark blank ground is almost obscured. The floral pattern becomes a glorious, abstract mass of dappling color; in technique, daring weaving styles like eccentric wefts (which deviate in thin sinuous lines from the regular grid of the warp and weft) are manipulated to represent the stems and lower leaves of the plants. Wainscot tapestries were particularly popular amongst English clientele (Antwerp weavers called them “op Engelse wijze”- ‘English style’) and on the Italian peninsula, where they were in high demand as “spaliere” to hang over cassone chests. Although the armorials suspended within the three garlanded landscape cartouches have not yet been identified, it is likely they are associated with one of the Florentine, Genovese, Venetian or Lucchese families connected with the Bruges’ markets through trade and banking.
ecrm:P65_shows_visual_item: n7:743 n7:744
ecrm:P138i_has_representation: n10:75202266-350d-3b99-8573-556fa0593b1b n10:b226a558-4fc6-3753-a013-2f9f1fa80120 n10:f363fdf2-dd9f-302f-870e-77806f6f570f n10:fd0b2529-1dec-3b11-8358-0728bf704806
ecrm:P102_has_title: 1550~, Bruges