Philadelphia Museum of Art
Repository ID: 0031 | Metadata type: TEI
Documents from the Philadelphia Museum of Art
Licensing
Images
Unless otherwise stated, all images and their contents from the Philadelphia Museum of Art hosted here are free of known copyright restrictions and in the public domain. See the Creative Commons Public Domain Mark page for more information on terms of use:
Metadata
Unless otherwise stated, to the extent possible under law, the Philadelphia Museum of Art has waived all copyright and related or neighboring rights to its metadata hosted here. This work is published from: United States. For a summary of CC0 see:
Legal code:
Intended Users
The data presented on OPenn are intended for aggregators, digital humanists, and scholars who have been directed here to procure high-resolution images and their associated metadata. It is presented in a manner most likely to ensure its long-term digital preservation.
Some of the works from the Philadelphia Museum of Art have facsimiles available online, in a user-friendly format, at:
About the Philadelphia Museum of Art
The Philadelphia Museum of Art houses a world-renowned collection in a landmark building. Highlights of the collection include: the largest and most importnat collection of works by Marcel Duchamp; the greatest collection of sculpture by Constantin Brancusi outside Europe. The finest public collection of Auguste Rodin's sculpture in the United States; superb Impressionist and Post-Impressionist paintings by Edouard Manet, Claude Monet, Pierre-Auguste Renoir, Camille Pissarro and Edgar Degas; exceptional American painting, sculpture, furniture, silver, and ceramics that reflect Philadelphia's central role in American history; and extraordinary "period rooms" and architectural ensembles from around the world. The museum's landmark building, opened in 1928 at the western end of Benjamin Franklin Parkway. The other buildings that make up its campus include the Perelman Building, the Rodin Museum, and the two great eighteenth-century houses in Fairmount Park, Mount Pleasant and Cedar Grove.
OPenn includes some of the items from the Philadelphia Museum of Art. For more information on all of the collections available at the Philadelphia Museum of Art see:
Image standards and specifications
Images from the Philadelphia Museum of Art were shot and processed by the Schoenberg Center for Electronic Text & Image. In general, The Schoenberg Center for Electronic Text & Image follows the NISO standards as articulated in A Framework for Building Good Digital Collections, 3rd Edition:
The following represents specific standards adopted by SCETI in their capture of digital images.
Image specifications
- Archival Masters: 600 ppi 24-bit raw TIFF color image
- "Golden Thread" color target is used for every exposure. Target also includes interference pattern and inch/centimeter markings. Target is also used to check focus.
Imaging and processing equipment
- Cameras: IQ280 80 megapixel Phase One digital camera
- Lenses: Schneider Kreuznach lenses
- Software: Phase One Capture One Pro; Photoshop CS3
Master images are captured at a resolution of at least 600 pixels per inch of the image subject. Once all of the images for a manuscript have been captured they are color-corrected, deskewed, and cropped.
The documents on OPenn
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1882‑983:
Prayer book
(Netherlands, Circa 1470)
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1883‑53:
Illuminated Choral Manuscript
(Tuscany?, Italy, Circa 1300)
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1923‑17‑1:
Sentencias y carta executoria de hidalguia a pedimiento de Alonso Ximenez de Canizares vezino de la ciudad de Guadalajara
(Valladolid, Spain, 1574 May 28)
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1924‑19‑1:
Book of Hours, Use of Paris
(France, Second half 15th century)
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1933‑36‑1:
Antiphonarium
(Italy, 15th century)
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1945‑65‑1:
La cité de dieu (The City of God)
(Paris, France, Illuminated by the Orosius Master and his workshop, Paris, circa 1408-1410; circa 1408-1410)
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1945‑65‑10:
Book of Hours, Use of Chartres
(France, Circa 1445-1475)
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1945‑65‑11:
Book of Hours, Use of Rome
(France, Mid 15th century)
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1945‑65‑12:
Book of Hours for Paris Use
(Paris, France, Possibly made for use in Brittany (possibly Quimper, according to label on clamshell box), feast of Saint Ivo in calendar (May 19, fol. 5v) and Saint Corentine in litany (fol. 69r); circa 1420)
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1945‑65‑13:
Book of Hours, Use of Rome
(France, Mid to late 15th century)
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1945‑65‑14:
Book of Hours, Use of Rome (Hours of Étienne Thirion; formerly the Champion‑Minard Hours)
(Dijon?, France, Coats-of-arms of Étienne Thirion (gules, a warrior carnation/or armed with a club and a shield) and his wife (sable a cat sejant argent) on fol. 3r, identified in a seventeenth- or eighteenth-century hand, likely erroneously, as "Minard" with further notes in pencil suggesting the Champion of Auxerre or of Avalon as owners; both arms impaled on fol. 12r; portrait and coat-of-arms of Étienne Thirion on fol. 25v; 1518)
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1945‑65‑15:
Book of Hours, Use of Rome (Victorines‑d'Auxy Hours)
(Bourges, France, Circa 1475-1480)
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1945‑65‑16:
Book of Hours for Rome Use
(Flanders, circa 1460)
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1945‑65‑17:
Book of Hours, Use of Rome (The Atalaya Hours)
(Salamanca, Spain, Colophon stating the work was written in Salamanca on fol. 467r; last quarter of the fifteenth century)
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1945‑65‑19:
Ordre du saint espirit
(France, Circa 1585)
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1945‑65‑2:
Book of Hours for Sarum Use and Gallican Psalter with Canticles (Pembroke Hours)
(Bruges, Belgium, c. 1465‑1470, with additions c. 1550‑1565)
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1945‑65‑20:
Liturgical psalter and perpetual calendar
(Armenia, 16th century)
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1945‑65‑3:
Roman de la Rose
(Paris, France, Between 1450 and 1480)
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1945‑65‑4:
Book of Hours, Use of Rome (Collins Hours)
(Bruges?, Flanders?, Circa 1445-1450)
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1945‑65‑5:
Book of Hours, Use of Paris
(Paris, France, Between 1405 and 1410)
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1945‑65‑6:
Book of Hours for Sarum Use (Mostyn Hours)
(England, Circa 1470)
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1945‑65‑7:
Gradual (Choir book)
(Poissy, France, Made for a Dominican house, likely Poissy (see Naughton 1995 and Naughton 1998); second quarter 14th century)
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1945‑65‑8:
Book of Hours for Rome Use
(Carpentras?, Provence, France, The presence of Saint Siffredus in the calendar (fol. 11v) might suggest Carpentras as this manuscript's place of origin, as the cathedral there was dedicated to this saint; circa 1450)
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1945‑65‑9:
Book of Hours, Use of Paris (The Susanna Hours)
(France, Originally made for the woman depicted on fol. 117r; early 16th century)
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1949‑83‑1:
Book of Hours, Use of Chartres
(Tours?, France, Circa 1500)
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1953‑128‑7:
Liturgical psalter
(Armenia, Early 16th century)
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1967‑30‑120:
Hours of the Virgin, Use of Rome
(France, Late 15th century)
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1967‑30‑121:
Book of Hours, Use of Paris
(France, 1470 through 1480, with 16th century additions)
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1967‑30‑122:
Book of Hours, Use of Paris (Horae Baetae Virginis cum calendario)
(Paris, France, Circa 1470)
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2017-232-1:
al-Qurʼān. / القرآن
([India?], Copied in India or elsewhere in the Mughal Empire between the 14th and 16th centuries. No date and no scribal attribution; 15th-16th century)
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