83 10 972 https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/8103f6448c0e64aa16c121f4b52bda6a.jpg 391c4c52e8d841de01f2cbc921477586 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Money Matters 4/20 - Money and justice IIIF Collection Metadata UUID de838366-b88e-42f7-a586-ae716c67b649 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Stock exchange and the National Debt Subject The topic of the resource Print made by Francis Jukes, after Elizabeth Henrietta and William Phelps, published by William Phelps, 1785 Etching and aquatint and engraved writing 539x410 mm British Museum Description An account of the resource The title is engraved on the façade of a one-storied, flat-roofed building, decorated with pilasters. Beneath the design is engraved; 'An Historical, Emblematical, Patriotical, and Political Print, representing the English Balloon, or National Debt in the year 1782, with a full View of the Stock Exchange, and its supporters the Financiers Bulls, Bears, Brokers, Lame Ducks, and others, and a proportionate Ball of Gold, the specific size of all the Money we have to pay it with supposing that to be Twenty Millions of Pounds sterling, the Gold, and Silver Trees entwined with Serpents, & upheld by Dragons, for the pleasure of Pluto & all his Bosom Friends.' On the roof of the building a large globe (the debt) is supported on the shoulders of two bears and two bulls, all with human heads, representing the bulls and bears of the Stock Exchange. A much smaller globe within it represents the £20,000,000. The globes are framed in a twisted pillar, rising from each corner of the roof and turning to form an arch over the globe. The pillar is covered with conventional foliage and flowers and entwined with two serpents with women's heads; above these are two winged dragons with men's heads wearing crowns; these dart out barbed tongues and look up at a winged man wearing Roman armour and holding a key who stands on the globe. In the clouds in the upper left corner of the print is forked lightning. Beneath it is a small winged figure of Fame blowing a trumpet and holding an olive-branch. In the distance, behind the Stock Exchange building, and seen above its roof, is a landscape with a poverty-stricken woman with two children (right), and a ruinous building (left). This emblematical design is inset in a realistic street-scene with houses. On the pavement, in front of the Stock Exchange and of an adjacent stationer's shop (right), well-dressed citizens are walking or standing in conversation. Three have webbed feet, showing that they are 'lame ducks', see BMSat 5835, 6273; they walk off to the left. 1 July 1785 IIIF Item Metadata UUID a44121e6-9c75-47f5-a364-7d5fafac6ab8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. 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Now part of the Collections of the British Museum, 1885,1113.9065-9070","width":2500,"height":1598},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3437.10","@type":"sc:Canvas","label":"The Crusaders Reach Jerusalem (from a set of Scenes from Gerusalemme Liberata) designed ca. 1689\u201393, woven 1732\u201339, MET","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3437.10","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2286%2F5c1d5c7eadc7772846e9b41cd0461c09.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2286%2F5c1d5c7eadc7772846e9b41cd0461c09.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":4000,"height":2513},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3437.10"}],"description":"Commissioned by Cardinal Pietro Ottoboni, a great-nephew of Pope Alexander VIII, this was part of a massive series, heroic in scale as well as narrative, of fifteen tapestries depicting the romanticized version of the Christians\u2019 First Crusade into Jerusalem recounted in Tasso\u2019s sixteenth-century epic poem, Gerusalemme Liberata (Jerusalem Delivered).\n\nAs the crusaders reach the city of Jerusalem, two of the Christian leaders kneel in the foreground, both in Classical armor with garments of red, blue and yellow. The younger man is presumably Godfrey of Bouillon. Other mounted men in gray armor are seen behind. Rising in the background on the right are the walls of Jerusalem.\nThis exquisite tapestry, made of silk and wool, was designed by Domenico Paradisi (Italian, active 1689\u20131721) and manufactured at the San Michele workshop in Italy. MET, 92.1.15","width":4000,"height":2513},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3433.11","@type":"sc:Canvas","label":"The Shroud of Saint-Josse, Mus\u00e9e du Louvre","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3433.11","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2282%2F7dfa6b8b53ffed990c134e5f08645e7e.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2282%2F7dfa6b8b53ffed990c134e5f08645e7e.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1185,"height":723},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3433.11"}],"description":"The Shroud of Saint-Josse, now in the collections of the Mus\u00e9e du Louvre, is a silk samite saddle cloth that was woven in northeastern Iran for Abu Mansur Bakhtegin, some time before 961. \nWhen the precious textile was brought back from the First Crusade by \u00c9tienne de Blois it was dedicated as a votive gift at the Abbey of Saint-Josse, near Boulogne. In its new surroundings the 10th-century Islamic textile was was used to wrap the remains of Saint Josse, a 7th-century saint from Brittany, France.","width":1185,"height":723},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3434.12","@type":"sc:Canvas","label":"Melisende Psalter, c. 1131\u201343, Eastern Mediterranean, now part of the Collections of the British Library","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3434.12","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2283%2Fb9a8b84c03aa2dcdc35a07eb8999413d.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2283%2Fb9a8b84c03aa2dcdc35a07eb8999413d.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":2000,"height":1635},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3434.12"}],"description":"The most important patron of the arts in the Latin Kingdom of Jerusalem was the half-Armenian Queen Melisende. Melisende (1105\u2013c. 1160) and her husband, Fulk V of Anjou, became joint rulers of the Crusader Kingdom of Jerusalem in 1131. However within a year she and her husband were at war \u2013 which Melisende and her supporters won. Thereafter she became a great patron of the arts, founding an abbey at Bethany and commissioning this magnificent psalter. From details within the psalter we know its place of origin to be the Church of the Holy Sepulchre in Jerusalem, and we can also date it fairly accurately between 1131 and 1143.\nWhat is the importance of the Melisende Psalter in the history of the Crusader Kingdom of Jerusalem? Do the iconography and style of the Psalter look western?","width":2000,"height":1635},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3438.13","@type":"sc:Canvas","label":"Saladin, TV series, Malaysia","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3438.13","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2287%2F1e100f35a7a93ad6aa52c0c5815f8ae3.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2287%2F1e100f35a7a93ad6aa52c0c5815f8ae3.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1600,"height":1200},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3438.13"}],"description":"Saladin (Arabic: \u0635\u0644\u0627\u062d \u0627\u0644\u062f\u064a\u0646 \u1e62al\u0101\u1e25 ad-D\u012bn) is an animated television series inspired by the life of Salah Al-Din Yusuf Ibni Ayub, the Islamic hero who united Muslims in their fight against the Crusaders in the 12th century. The series depicts adventures during a fictional time in Saladin's life as a young man.\nThe series was conceived and produced by the Multimedia Development Corporation in Malaysia.","width":1600,"height":1200},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3439.14","@type":"sc:Canvas","label":"alexander-nevsky-movie-poster","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3439.14","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2288%2F6c4e3eb91d1c0cb0f459b5012519f568.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2288%2F6c4e3eb91d1c0cb0f459b5012519f568.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":580,"height":715},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3439.14"}],"description":"The film, released in 1938, retells the story of the fight between the Teutonic Order and the people of Novgorod led by 20-year old Prince Alexander Nevsky in 1242. The event was directed by Sergei Eisenstein. The music score was written by Sergei Prokoviev. \nThe film became an instant box office success.","width":580,"height":715},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3431.15","@type":"sc:Canvas","label":"The Crown of Thorns carried by Archbishop Michel Aupetit of Paris, April 2020","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3431.15","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2280%2F122a1614fc408a59c7f264f0e9bac776.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2280%2F122a1614fc408a59c7f264f0e9bac776.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":862,"height":485},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3431.15"}],"description":"Nearly one year after a fire ravaged the famed Notre Dame Cathedral in Paris, the city\u2019s archbishop briefly returned to the cathedral its most prized relic, the Crown of Thorns, on Good Friday, the day in which Catholics commemorate Jesus\u2019s suffering and death.\n\nWhat is the connection between the Crown of Thorns, the relics of the Passion, Notre Dame, Sainte Chapelle, and King Louis IX of France?","width":862,"height":485},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3418.16","@type":"sc:Canvas","label":"The fortified city of Mystras, Peloponnese, Greece, 13th century","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3418.16","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2270%2F9e1eb1acff81b2351ca8bbc1ba2ffc5e.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2270%2F9e1eb1acff81b2351ca8bbc1ba2ffc5e.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":644,"height":1024},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3418.16"}],"description":"Mystras was a major late medieval fortified city in the Peloponnese, Greece, founded in the 13th century. The site became the seat of the Latin Principality of Achaea following the fall of Constantinople to the Crusaders in 1204. In 1259, the city's Latin Lord, William II Villehardhouin, was captured on the battlefield of Pelagonia by the Byzantine Emperor Michael VIII Palaiologos, who set him free in exchange for the castles of Monemvasia and Mystras. Palaces, churches with magnificent frescoes, and private houses, reflect power, wealth, and artistic exchange between Byzantine East and Latin West.","metadata":[{"label":"1252","value":""},{"label":"Mint of Acre","value":""},{"label":"SIlver dirham","value":""},{"label":"BN","value":""},{"label":"BN","value":""},{"label":"BN","value":""},{"label":"Dimensions","value":""}],"width":644,"height":1024},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3440.17","@type":"sc:Canvas","label":"The Freer Canteen, 13th century","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3440.17","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2289%2Fcb3314b6b64cd0440f2bcd1366a62c52.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2289%2Fcb3314b6b64cd0440f2bcd1366a62c52.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":5250,"height":4896},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3440.17"}],"description":"This large, impressive canteen, the only known example of its kind from the Islamic world, was created in Mosul (now in Iraq) in the mid-13th century during the Ayyubid period. The canteen recalls the shape of ceramic pilgrim flasks. Its inlaid silver decoration combines calligraphy and decorative motifs, such as intricate geometric designs, and lively animal scrolls, with Christian imagery. These include a representation of the Virgin and Child in the center, surrounded by narrative scenes from the life of Christ as well as saints and knights.\n\nWhat kind of encounters does this canteen evoke?","width":5250,"height":4896},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3432.18","@type":"sc:Canvas","label":"13th-century amphora\u00a0with confronted hybrid figures from Al-Mina, Dumbarton Oaks Research Library and Collection","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3432.18","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2281%2F0dda7793e73052f42a2c4d2311f843a7.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2281%2F0dda7793e73052f42a2c4d2311f843a7.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":236,"height":352},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3432.18"}],"description":"The amphora was made in Port Saint Symeon, in the Frankish principality of Antioch, shortly before the sack of the city by the Mamluks in 1268.\u00a0It features incised decoration, highlighted with malachite green and manganese brown. On the body of this piece, the artist has depicted hybrid creatures with leopards\u2019 bodies, human heads and crescent-shaped wings. This is an example of the sphinx iconography that may be found on numerous Islamic ceramic pieces. Bur\u0101q, the mythical animal that served as the Prophet Muhammad\u2019s mount during his night journey (the Mi\u02bfr\u0101j), heraldic, royal and astrological representations are also part of the iconographical repertoire of amphorae from Al-Mina.","metadata":[{"label":"13th century","value":""},{"label":"Pottery","value":""},{"label":"Format","value":""},{"label":"Source","value":""},{"label":"Dumbarton Oaks Research Library and Collection","value":""},{"label":"Creator","value":""},{"label":"Dimensions","value":""}],"width":236,"height":352},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3443.19","@type":"sc:Canvas","label":"Model of the Holy Sepulcher, 17th or 18th century, Probably Jerusalem, possibly Bethlehem","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3443.19","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2292%2F5fba2d81ca1458bde18bcb5e4b067cbd.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2292%2F5fba2d81ca1458bde18bcb5e4b067cbd.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1600,"height":1200},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3443.19"}],"description":"A scale model of the Church of the Holy Sepulcher in Jerusalem. The model consists of 16 separate pieces that can be disassembled.\nOlive wood inlaid with mother-of-pearl and bone.\n\nStill standing in Jerusalem, the Church of the Holy Sepulcher enshrines the reputed sites of Jesus\u2019s crucifixion, entombment, and resurrection. In the 17th century, Middle Eastern craftsmen\u2014working in Franciscan monasteries in the Holy Land\u2014produced wooden models of the church, as gifts for European rulers and as prized souvenirs for wealthy pilgrims to this holiest site in Christendom.\nMuseum of Fine Arts, Boston, 2016.91","width":1600,"height":1200}]}]} IIIF Type Manifest UUID e3d3cbd0-41a5-414b-8284-cdc325be5751 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sugar Refinery, Medieval Cyprus.jpg Source A related resource from which the described resource is derived https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370 Description An account of the resource Remains of an expansive sugar factory, part of the Crusader castle of Colossi, Cyprus, 13th century. What's the connection between "sweet salt" (=sugar), the Crusaders, and Cyprus? 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Yes UUID d1144f22-3e18-41e2-8c7b-a5d402fd4e03 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. 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The younger man is presumably Godfrey of Bouillon. Other mounted men in gray armor are seen behind. Rising in the background on the right are the walls of Jerusalem.\nThis exquisite tapestry, made of silk and wool, was designed by Domenico Paradisi (Italian, active 1689\u20131721) and manufactured at the San Michele workshop in Italy. MET, 92.1.15","width":4000,"height":2513},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3433.11","@type":"sc:Canvas","label":"The Shroud of Saint-Josse, Mus\u00e9e du Louvre","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3433.11","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2282%2F7dfa6b8b53ffed990c134e5f08645e7e.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2282%2F7dfa6b8b53ffed990c134e5f08645e7e.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1185,"height":723},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3433.11"}],"description":"The Shroud of Saint-Josse, now in the collections of the Mus\u00e9e du Louvre, is a silk samite saddle cloth that was woven in northeastern Iran for Abu Mansur Bakhtegin, some time before 961. \nWhen the precious textile was brought back from the First Crusade by \u00c9tienne de Blois it was dedicated as a votive gift at the Abbey of Saint-Josse, near Boulogne. In its new surroundings the 10th-century Islamic textile was was used to wrap the remains of Saint Josse, a 7th-century saint from Brittany, France.","width":1185,"height":723},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3434.12","@type":"sc:Canvas","label":"Melisende Psalter, c. 1131\u201343, Eastern Mediterranean, now part of the Collections of the British Library","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3434.12","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2283%2Fb9a8b84c03aa2dcdc35a07eb8999413d.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2283%2Fb9a8b84c03aa2dcdc35a07eb8999413d.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":2000,"height":1635},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3434.12"}],"description":"The most important patron of the arts in the Latin Kingdom of Jerusalem was the half-Armenian Queen Melisende. Melisende (1105\u2013c. 1160) and her husband, Fulk V of Anjou, became joint rulers of the Crusader Kingdom of Jerusalem in 1131. However within a year she and her husband were at war \u2013 which Melisende and her supporters won. Thereafter she became a great patron of the arts, founding an abbey at Bethany and commissioning this magnificent psalter. From details within the psalter we know its place of origin to be the Church of the Holy Sepulchre in Jerusalem, and we can also date it fairly accurately between 1131 and 1143.\nWhat is the importance of the Melisende Psalter in the history of the Crusader Kingdom of Jerusalem? Do the iconography and style of the Psalter look western?","width":2000,"height":1635},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3438.13","@type":"sc:Canvas","label":"Saladin, TV series, Malaysia","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3438.13","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2287%2F1e100f35a7a93ad6aa52c0c5815f8ae3.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2287%2F1e100f35a7a93ad6aa52c0c5815f8ae3.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1600,"height":1200},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3438.13"}],"description":"Saladin (Arabic: \u0635\u0644\u0627\u062d \u0627\u0644\u062f\u064a\u0646 \u1e62al\u0101\u1e25 ad-D\u012bn) is an animated television series inspired by the life of Salah Al-Din Yusuf Ibni Ayub, the Islamic hero who united Muslims in their fight against the Crusaders in the 12th century. The series depicts adventures during a fictional time in Saladin's life as a young man.\nThe series was conceived and produced by the Multimedia Development Corporation in Malaysia.","width":1600,"height":1200},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3439.14","@type":"sc:Canvas","label":"alexander-nevsky-movie-poster","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3439.14","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2288%2F6c4e3eb91d1c0cb0f459b5012519f568.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2288%2F6c4e3eb91d1c0cb0f459b5012519f568.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":580,"height":715},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3439.14"}],"description":"The film, released in 1938, retells the story of the fight between the Teutonic Order and the people of Novgorod led by 20-year old Prince Alexander Nevsky in 1242. The event was directed by Sergei Eisenstein. The music score was written by Sergei Prokoviev. \nThe film became an instant box office success.","width":580,"height":715},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3431.15","@type":"sc:Canvas","label":"The Crown of Thorns carried by Archbishop Michel Aupetit of Paris, April 2020","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3431.15","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2280%2F122a1614fc408a59c7f264f0e9bac776.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2280%2F122a1614fc408a59c7f264f0e9bac776.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":862,"height":485},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3431.15"}],"description":"Nearly one year after a fire ravaged the famed Notre Dame Cathedral in Paris, the city\u2019s archbishop briefly returned to the cathedral its most prized relic, the Crown of Thorns, on Good Friday, the day in which Catholics commemorate Jesus\u2019s suffering and death.\n\nWhat is the connection between the Crown of Thorns, the relics of the Passion, Notre Dame, Sainte Chapelle, and King Louis IX of France?","width":862,"height":485},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3418.16","@type":"sc:Canvas","label":"The fortified city of Mystras, Peloponnese, Greece, 13th century","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3418.16","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2270%2F9e1eb1acff81b2351ca8bbc1ba2ffc5e.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2270%2F9e1eb1acff81b2351ca8bbc1ba2ffc5e.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":644,"height":1024},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3418.16"}],"description":"Mystras was a major late medieval fortified city in the Peloponnese, Greece, founded in the 13th century. The site became the seat of the Latin Principality of Achaea following the fall of Constantinople to the Crusaders in 1204. In 1259, the city's Latin Lord, William II Villehardhouin, was captured on the battlefield of Pelagonia by the Byzantine Emperor Michael VIII Palaiologos, who set him free in exchange for the castles of Monemvasia and Mystras. Palaces, churches with magnificent frescoes, and private houses, reflect power, wealth, and artistic exchange between Byzantine East and Latin West.","metadata":[{"label":"1252","value":""},{"label":"Mint of Acre","value":""},{"label":"SIlver dirham","value":""},{"label":"BN","value":""},{"label":"BN","value":""},{"label":"BN","value":""},{"label":"Dimensions","value":""}],"width":644,"height":1024},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3440.17","@type":"sc:Canvas","label":"The Freer Canteen, 13th century","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3440.17","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2289%2Fcb3314b6b64cd0440f2bcd1366a62c52.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2289%2Fcb3314b6b64cd0440f2bcd1366a62c52.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":5250,"height":4896},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3440.17"}],"description":"This large, impressive canteen, the only known example of its kind from the Islamic world, was created in Mosul (now in Iraq) in the mid-13th century during the Ayyubid period. The canteen recalls the shape of ceramic pilgrim flasks. Its inlaid silver decoration combines calligraphy and decorative motifs, such as intricate geometric designs, and lively animal scrolls, with Christian imagery. These include a representation of the Virgin and Child in the center, surrounded by narrative scenes from the life of Christ as well as saints and knights.\n\nWhat kind of encounters does this canteen evoke?","width":5250,"height":4896},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3432.18","@type":"sc:Canvas","label":"13th-century amphora\u00a0with confronted hybrid figures from Al-Mina, Dumbarton Oaks Research Library and Collection","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3432.18","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2281%2F0dda7793e73052f42a2c4d2311f843a7.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2281%2F0dda7793e73052f42a2c4d2311f843a7.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":236,"height":352},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3432.18"}],"description":"The amphora was made in Port Saint Symeon, in the Frankish principality of Antioch, shortly before the sack of the city by the Mamluks in 1268.\u00a0It features incised decoration, highlighted with malachite green and manganese brown. On the body of this piece, the artist has depicted hybrid creatures with leopards\u2019 bodies, human heads and crescent-shaped wings. This is an example of the sphinx iconography that may be found on numerous Islamic ceramic pieces. Bur\u0101q, the mythical animal that served as the Prophet Muhammad\u2019s mount during his night journey (the Mi\u02bfr\u0101j), heraldic, royal and astrological representations are also part of the iconographical repertoire of amphorae from Al-Mina.","metadata":[{"label":"13th century","value":""},{"label":"Pottery","value":""},{"label":"Format","value":""},{"label":"Source","value":""},{"label":"Dumbarton Oaks Research Library and Collection","value":""},{"label":"Creator","value":""},{"label":"Dimensions","value":""}],"width":236,"height":352},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3443.19","@type":"sc:Canvas","label":"Model of the Holy Sepulcher, 17th or 18th century, Probably Jerusalem, possibly Bethlehem","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3443.19","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2292%2F5fba2d81ca1458bde18bcb5e4b067cbd.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2292%2F5fba2d81ca1458bde18bcb5e4b067cbd.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1600,"height":1200},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3443.19"}],"description":"A scale model of the Church of the Holy Sepulcher in Jerusalem. The model consists of 16 separate pieces that can be disassembled.\nOlive wood inlaid with mother-of-pearl and bone.\n\nStill standing in Jerusalem, the Church of the Holy Sepulcher enshrines the reputed sites of Jesus\u2019s crucifixion, entombment, and resurrection. In the 17th century, Middle Eastern craftsmen\u2014working in Franciscan monasteries in the Holy Land\u2014produced wooden models of the church, as gifts for European rulers and as prized souvenirs for wealthy pilgrims to this holiest site in Christendom.\nMuseum of Fine Arts, Boston, 2016.91","width":1600,"height":1200}]}]} IIIF Type Manifest UUID e3d3cbd0-41a5-414b-8284-cdc325be5751 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sugar Shaker, American, c. 1770 Source A related resource from which the described resource is derived https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370 Description An account of the resource Silver sugar shaker designed by Robert Douglas, American (1740 - 1776), c. 1770 IIIF Item Metadata Original @id https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3427.0 JSON Data {"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3427.0","@type":"sc:Canvas","label":"Sugar Shaker, American, c. 1770","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3427.0","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2276%2Fb66edf32a2f7a1a65622e5e743456250.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2276%2Fb66edf32a2f7a1a65622e5e743456250.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":461,"height":1024},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3427.0"}],"description":"Silver sugar shaker designed by Robert Douglas, American (1740 - 1776), c. 1770","metadata":[{"label":"18th century","value":""},{"label":"Sugar shaker, silver","value":""},{"label":"Format","value":""},{"label":"Source","value":""},{"label":"https://www.harvardartmuseums.org/collections/object/232517","value":""},{"label":"Creator","value":""},{"label":"Dimensions","value":""}],"width":461,"height":1024} Display as IIIF? Yes UUID eab8068f-aae3-43db-b6cf-5fff322ce982 https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/4311607e63097aaaba32b45e537d408b.jpg 1e40bb4723a24c3380edd2ce548da840 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Late Antiquity, Seminar 2 IIIF Collection Metadata UUID 1f299e05-ea4a-4591-bd6a-7c09fd3e61c8 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Synagogue at Capernaum Subject The topic of the resource Synagogue at Capernaum, 4th-5th century, Roman, white calcareous stone, Israel. Description An account of the resource Although there is a synagogue at Capernaum mentioned in the Gospel of Luke, the ruins of a synagogue visible today date to the 4th or 5th century CE. There is, however, some evidence of an earlier structure beneath its foundations, and some scholars have suggested that these are the remains of the 1st-century building. The 4th-century synagogue is comprised of four sections: a columnated prayer hall that measured 20.5 x 18.5 m, an eastern courtyard (20.5 x 11m), a southern balustrade (4m wide), and a small room at the northwest end of the building. Scholarly opinion is dividing regarding the possibility of there having once been a second floor with a prayer space reserved for women. The synagogue was decorated with carved figurative motifs, Jewish motifs (such as a menorah with a ram’s horn on one capital), as well as floral motifs. An inscription in Greek reads (in translation): Herod son of Mo[ni]mos and Justus his son, together with (his) children, erected this column. An inscription in Aramaic reads (in translation): Halfu son of Zebida, the son of Yohanan, made this column. May he be blessed. Source A related resource from which the described resource is derived https://mfa.gov.il/mfa/israelexperience/history/pages/capernaum%20-%20city%20of%20jesus%20and%20its%20jewish%20synagogue.aspx IIIF Item Metadata UUID 02afc846-6f80-4b72-b5d7-387e3e138b41 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Commemoration, Remembrance, and Metaphor in Twenty Images Source A related resource from which the described resource is derived https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414 IIIF Collection Metadata Original @id https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414 JSON Data {"@context":"http://iiif.io/api/presentation/2/context.json","@type":"sc:Manifest","@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414","label":"Commemoration, Remembrance, and Metaphor in Twenty Images","description":"","sequences":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/sequence/1","@type":"sc:Sequence","label":"Default order","canvases":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/canvas/3644.0","@type":"sc:Canvas","label":"Home-Coming Crusader","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/annotation/3644.0","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2485%2Fe67d1be8460006294867c44dac1ddb21.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2485%2Fe67d1be8460006294867c44dac1ddb21.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1750,"height":1724},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/canvas/3644.0"}],"description":"A knight of the German Order returning from thr crusade, after Karl Immermann\u2019s poem \u201cThe arrival of the crusader\u201d,1826","metadata":[{"label":"Date","value":"1835"},{"label":"Artist","value":"Karl Friedrich Lessing"},{"label":"Location","value":"Rheinisches Landesmuseum Bonn"}],"width":1750,"height":1724},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/canvas/3645.1","@type":"sc:Canvas","label":"Taking of Jerusalem by the Crusaders, 15th July 1099","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/annotation/3645.1","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2486%2F584e6d0fa9ee32c74fcdd20ab9562204.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2486%2F584e6d0fa9ee32c74fcdd20ab9562204.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1600,"height":918},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/canvas/3645.1"}],"metadata":[{"label":"Date","value":"1847"},{"label":"Artist","value":"\u00c9mile Signol"},{"label":"Location","value":"Ch\u00e2teau de Versailles"}],"width":1600,"height":918},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/canvas/3646.2","@type":"sc:Canvas","label":"Statue of Saladin","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/annotation/3646.2","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2487%2F855edfe44b8d55029625b602637f0a57.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2487%2F855edfe44b8d55029625b602637f0a57.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":800,"height":600},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/canvas/3646.2"}],"description":"This equestrian bronze statue of Saladin was unveiled in 1993 by the then Syrian president Hafex Assad marking the 800th anniversary of Saladin\u2019s death. It depicts his victory at the Battle of Hittin. Saladin is shown on horseback with two swordsmen, with the captured Renaud de Chatillon and Guy de Lusignan walking behind.","metadata":[{"label":"Date","value":"1993"},{"label":"Artist","value":"Abdallah al-Sayed"},{"label":"Location","value":"Damascus, Syria"}],"width":800,"height":600},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/canvas/3647.3","@type":"sc:Canvas","label":"Egyptian Postage Stamp showing Saladin","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/annotation/3647.3","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2488%2Ffc30b7065b08c0bdb3d9bd3a9acf0812.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2488%2Ffc30b7065b08c0bdb3d9bd3a9acf0812.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1028,"height":1018},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/canvas/3647.3"}],"description":"This stamp from 1993 depicts Saladin and marks the 800th anniversary of his death.","metadata":[{"label":"Date","value":"1993"},{"label":"Place","value":"Egypt"}],"width":1028,"height":1018},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/canvas/3648.4","@type":"sc:Canvas","label":"Entry of the Crusaders in Constantinople","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/annotation/3648.4","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2378%2F03b22f22c93d89be70e6de71a7ebf836.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2378%2F03b22f22c93d89be70e6de71a7ebf836.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":2223,"height":1820},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/canvas/3648.4"}],"description":"This painting by Delacrois was commissioned by Louis-Philippe, the last king of France. It shows a scene from the Fourth Crusade, wherein the Crusaders decide to sack the city of Constantinople instead of continuing on to invade the Muslin East and Jerusalem. Baldwin I is shown leading the procession through the streets of Constantinople, while desperate locals crowd around. The painting was poorly received at the 1841 Salon.","metadata":[{"label":"Date","value":"1840"},{"label":"Artist","value":"Eug\u00e8ne Delacroix"},{"label":"Location","value":"Mus\u00e9e du Louvre, Paris"}],"width":2223,"height":1820},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/canvas/3649.5","@type":"sc:Canvas","label":"The Departure of the Crusaders","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/annotation/3649.5","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2489%2Fabd5bd231fe8776cf72ff39fdc537233.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2489%2Fabd5bd231fe8776cf72ff39fdc537233.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":3000,"height":1904},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/canvas/3649.5"}],"metadata":[{"label":"Date","value":"1863"},{"label":"Artist","value":"Victor Nehlig"},{"label":"Location","value":"Smithsonian American Art Museum"}],"width":3000,"height":1904},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/414/canvas/3650.6","@type":"sc:Canvas","label":"The Departure of the 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Biblioth\u00e8que de l'Arsenal"},{"label":"Shelfmark","value":"BnF Fr. 9084"},{"label":"Location","value":"Paris"},{"label":"Place of Creation","value":"Acre"}],"width":2352,"height":1736},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3625.1","@type":"sc:Canvas","label":"Amouda Castle","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3625.1","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2466%2F96124b6a5539d6ae281d722eb1f5811a.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2466%2F96124b6a5539d6ae281d722eb1f5811a.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":5184,"height":3456},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3625.1"}],"description":"Formerly in the Armenian Kingdom of Cilicia, now in the Turkish Province of Osmaniye. This Castle was deeded by the Armenian King Leo I (confusingly, also called Leo II, and sometimes Levon I/II) to the Teutonic Knights in 1212, and was subsequently rebuilt in the 13th century.","metadata":[{"label":"Date","value":"13th century"}],"width":5184,"height":3456},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3626.2","@type":"sc:Canvas","label":"Lampron Castle","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3626.2","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2467%2F8e677c835b9511cf4b3ea79040bcc9ec.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2467%2F8e677c835b9511cf4b3ea79040bcc9ec.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":640,"height":464},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3626.2"}],"description":"Image from Victor Langlois, \"Voyage dans la Cilicie et dans les montagnes du Taurus.\" Langlois was a French historian, archaeologist, and numismatist, who is particularly known for his work on Armenia. He held a great interest in the relationship between France and Cilicia during the Crusades","metadata":[{"label":"Date","value":"1861"}],"width":640,"height":464},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3627.3","@type":"sc:Canvas","label":"Coin of King Hetum I","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3627.3","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2468%2F8833d613f240a12880605ca9aa74ca7f.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2468%2F8833d613f240a12880605ca9aa74ca7f.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1152,"height":583},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3627.3"}],"description":"obv: King seated cross-legged on a throne adorned with lions. He holds a globus cruciger and fleur-de-lis. Armenian inscription: Hetoum King of the Armenians\n\nrev: Potent cross with four stars (or lines, depending on the type). Armenian inscription: Struck in the City of Sis","metadata":[{"label":"Date","value":"1226-70"},{"label":"Type","value":"Copper Tank"}],"width":1152,"height":583},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3628.4","@type":"sc:Canvas","label":"Langlois' drawing of a coin of Hetum I","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3628.4","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2469%2Fbf2d89118cd66f8db255abe70ed923d8.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2469%2Fbf2d89118cd66f8db255abe70ed923d8.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":783,"height":385},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3628.4"}],"metadata":[{"label":"Date","value":"1861"}],"width":783,"height":385},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3629.5","@type":"sc:Canvas","label":"Coin of Hetum I with Queen Zabel","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3629.5","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2470%2F1f2911ae9c2326f36a7cda10519ff989.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2470%2F1f2911ae9c2326f36a7cda10519ff989.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":963,"height":485},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3629.5"}],"description":"Obverse: Hetum and Queen Zabel standing near cross staff, with the Armenain text \"By God's will\" around it.\n\nReverse: Lion walking to the right, around it the Armenian text \"Hetum, King of the Armenians\".","metadata":[{"label":"Date","value":"c. 1226-70"},{"label":"Type","value":"Silver Tram"}],"width":963,"height":485},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3630.6","@type":"sc:Canvas","label":"Coin of Leo I (Levon I)","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3630.6","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2471%2F2d16af9f6fff3d85fb0afbe676b67acc.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2471%2F2d16af9f6fff3d85fb0afbe676b67acc.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1296,"height":648},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3630.6"}],"description":"King seated on throne ornamented with lions, holding cross and fleur-de-lis. Armenian inscription: \"+ Levon King of the Armenians\" / Two lions rampant back-to-back, each with heads reverted; patriarchal cross with two bars between them. \"+ By the will of God\"","metadata":[{"label":"Date","value":"c. 1198-1219"},{"label":"Type","value":"Silver Tram"}],"width":1296,"height":648},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3631.7","@type":"sc:Canvas","label":"The Burial Church of the Armenian Kings, Anavarza/Anazarbus/Ain Zarba","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3631.7","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2472%2F60d154aec4ada0b07d235a079aaf1ce6.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2472%2F60d154aec4ada0b07d235a079aaf1ce6.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1600,"height":1063},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3631.7"}],"description":"The city of Anazarbus is an ancient city that was first founded by the Assyrians. It was rebuilt and renamed by rulers throughout its history, including Roman Emperor Justin I, who rebuilt it after an earthquake in the 6th century and named it \u201cJustinianopolis.\u201d Likewise, the central castle has been built and rebuilt numerous times as it passed hands through different dynasties and empires including: the Roman Empire, the Byzantine Empire, the Abbasid Caliphate, the Crusaders, the Armenian Kingdom of Cilicia, the Mamluks, etc. The majority of the present fortress is of Armenian construction. The innermost keep (donjon) was built by the Crusaders after it was captured during the 1st crusade. In the 12th century, Thoros I, king of Lesser Armenia, made it his capital, and it reverted to its previous name, Anazarva. It is in modern day Kozan, in Turkey. Finally destroyed by the Mamluks in 1374.","metadata":[{"label":"Date","value":"12th century"}],"width":1600,"height":1063},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3632.8","@type":"sc:Canvas","label":"Queen Keran, Leo II, and five of their children being blessed by Christ","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3632.8","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2473%2Fb4f581056ddec3c83b51c4c2b37024e8.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2473%2Fb4f581056ddec3c83b51c4c2b37024e8.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":760,"height":1047},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3632.8"}],"description":"From the Queen Keran Gospels, this signed manuscript is one of seven examples that were signed by the illuminator, Toros Roslin, although there are additional, unsigned, manuscripts that have also been attributed to him.\n\nAdditional images here (in black and white and somewhat erratically organized: c.\thttps://www.loc.gov/resource/amedmonastery.00271074190-jo/?sp=1 )","metadata":[{"label":"Date","value":"1272"},{"label":"Patron","value":"Queen Keran"},{"label":"Artist","value":"Toros Roslin"},{"label":"Location","value":"Armenian Patriarchate Gulbenkian Library Calouste Gulbenkian Library, Armenian Cathedral of St. James"},{"label":"Shelfmark","value":"Ms. 2563"}],"width":760,"height":1047},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3633.9","@type":"sc:Canvas","label":"The Last Judgment from the Toros Roslin Gospels fol. 109v","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3633.9","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2474%2Fcda50b48d3f19e1cb44ae81a57b02ccc.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2474%2Fcda50b48d3f19e1cb44ae81a57b02ccc.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1291,"height":1799},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3633.9"}],"description":"A second manuscript signed by Toros Roslin, with a total of 15 miniatures and 67 smaller illustrations. In the colophon, the manuscript is noted as being made for the nephew of Catholicos Constantine (1221-67), also named Toros, in 1262 at the scriptorium of Hromkla.\n\nSee: https://art.thewalters.org/detail/8115/toros-roslin-gospels-2/","metadata":[{"label":"Date","value":"1262"},{"label":"Patron","value":"Toros (not Roslin)"},{"label":"Artist","value":"Toros Roslin"},{"label":"Location","value":"Walters Art Museum"},{"label":"Shelfmark","value":"Walters MS W539"}],"width":1291,"height":1799},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3634.10","@type":"sc:Canvas","label":"Chrysobull of Alexios III of Trebizond","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3634.10","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2475%2F0d12a1f3bffab5690c7ba37f40e8c9fa.png/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2475%2F0d12a1f3bffab5690c7ba37f40e8c9fa.png","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/png","width":773,"height":1083},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3634.10"}],"description":"Detail depicting Alexios (r. 1349-90) and his wife, Theodora. The Chrysobull was to the Dionysiou monastery on Mount Athos. The Chrysobull gave the founder of the monastery a sum of 100 somia of silver (about 1000 gold hyperpyra) in order to build the monastery, and promised an additional annual grant of 1000 silver aspers. In exchange, Dionysios would ensure that the names of the emperor and his family were included in the church services in perpetuity and would receive special welcome should they come to the monastery (as monks or regular visitors). The Chrysobull measures 301 x 40.3 cm and retains its gold seal.","metadata":[{"label":"Date","value":"September, 1374"},{"label":"Dimensions","value":"301 x 40.3 cm"}],"width":773,"height":1083},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3635.11","@type":"sc:Canvas","label":"Seal of David Komnenos","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3635.11","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2476%2Fd7c5d45a2a72a7d010120f42efd43f57.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2476%2Fd7c5d45a2a72a7d010120f42efd43f57.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":978,"height":504},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3635.11"}],"description":"Grandson of Andronikos I, and the brother of the first emperor of Trebizond, Alexios I Komnenos (1204-22), whom David helped take the throne. David was killed while defending Sinope from an attack by the Seljuqs in 1214. \n\nObverse: King David \u2018the prophet\u2019 holding a trefoil scepter in his right hand, an akakia in his left, inscription: \u0394\u03b1(\u03b2\u1f76)\u03b4 \u03b2\u03b1\u03c3[\u03b9\u03bb]\u03b5[\u1f7a\u03c2] \u1f41 \u03c0\u03c1\u03bf\u03c6\u03ae\u03c4\u03b7\u03c2. (King David, the Prophet)\n\nReverse: A six-line inscription, made up of two twelve-syllable verses separated by decoration; cross above inscription, decoration below, line border. Inscription: \u0394\u03b1(\u03b2\u1f76)\u03b4 \u03b2\u03b1\u03c3\u03b9\u03bb\u03b5\u1fe6 \u1f00\u03c3\u03c6\u03b1\u03bb\u1f72\u03c2 \u03b3\u03c1\u03b1\u03c6\u1ff6\u03bd \u03ba\u03cd\u03c1\u03bf\u03c2 \u0394\u03b1(\u03b2\u1f76)\u03b4 \u039a\u03bf\u03bc\u03bd\u03b7\u03bd\u03bf\u1fe6 \u03b2\u03b1\u03c3\u03b9\u03bb\u03b5\u03ba\u03b3\u03cc\u03bd\u03bf\u03c5 \u03b3\u03af\u03bd\u03bf\u03c5 (King David, be a secure guarantor of the documents of David Komnenos, descendant of kings.)","metadata":[{"label":"Date","value":"before c. 1214"},{"label":"Type","value":"Seal"},{"label":"Location","value":"Dumbarton Oaks"}],"width":978,"height":504},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3636.12","@type":"sc:Canvas","label":"Coin of Emperor John II Komnenos","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3636.12","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2477%2F4b5832a383de9b09c05a4ab252a3cf41.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2477%2F4b5832a383de9b09c05a4ab252a3cf41.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1920,"height":1242},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3636.12"}],"description":"Obverse: St. Eugenius standing, holding cross. Inscription: O AGi EVGENI (St. Eugenius)\n\nReverse: John Standing, holding labarum-headed scepter, Manus Dei at upper right. Inscription: I\u03c9 \u039f \u039a\u039f\u039c\u039d\u039fC (John Komnenos)","metadata":[{"label":"Date","value":"c. 1280-97"},{"label":"Type","value":"Silver asper"},{"label":"Location","value":"Hermitage Museum"}],"width":1920,"height":1242},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3637.13","@type":"sc:Canvas","label":"Coin of Basil Megas Komnenos","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3637.13","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2478%2Ff0c8337b661ea89ed3a0038d4d3d331a.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2478%2Ff0c8337b661ea89ed3a0038d4d3d331a.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":927,"height":450},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3637.13"}],"description":"Obverse: St. Eugenius on horseback, holding cross, inscription: A / EV-N (St. Eugenius, heavily abbreviated)\n\nReverse: Basil on horseback, holding three-pronged scepter. Inscriptiion: BA / M (Basil Megas)","metadata":[{"label":"Date","value":"c. 1332-40"},{"label":"Type","value":"Silver Asper"}],"width":927,"height":450},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3638.14","@type":"sc:Canvas","label":"Hagia Sophia, Trabzon","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3638.14","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2479%2F8608a601d2ea23f0bc7dbc10a4c622f6.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2479%2F8608a601d2ea23f0bc7dbc10a4c622f6.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1600,"height":1063},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3638.14"}],"description":"Built in Trebizond during the reign of Manuel I between 1238 and 1263, there is carved graffiti in the apses dating to 1291 and 1293. The church was converted into a mosque after the conquest Mehmed II in 1461, however some scholars suggest that the conversation did not take place until over a century later in 1584, due to the church\u2019s location outside of the city walls. The monastery attached to the church was still in use by Greek Orthodox monks in 1701. Apparently used as a cholera hospital in the 19th century, the first archeological examination was during the Russian occupation in World War I, by Fyodor Uspensky and others. By the 1950s, it was once again a mosque, however in 1964, it was turned into a museum, and the surviving (previously whitewashed) frescoes were uncovered). These frescoes are thought to account for only 1/6th of the original decoration, but all are considered to be original, completed just after construction. In 2013, the Hagia Sophia was converted back into a mosque, despite a local judge ruling this to be illegal. The frescoes and opus sectile floor were covered by immovable curtains and carpets until 2018, when the building was closed for renovation. In 2020, the ministry of religious affairs fulfilled the promise to make the frescoes visible outside of prayer time, and a glass covering was placed over the opus sectile floor.","width":1600,"height":1063},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3639.15","@type":"sc:Canvas","label":"Four Evangelists' Fresco, Hagia Sophia, Trabzon","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3639.15","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2480%2F4278502f4e99a97ac3d8a40a049616d3.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2480%2F4278502f4e99a97ac3d8a40a049616d3.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1600,"height":1063},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3639.15"}],"metadata":[{"label":"Date","value":"13th century"}],"width":1600,"height":1063},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3640.16","@type":"sc:Canvas","label":"Imagined reconstruction of the Opus Sectile floor at Hagia Sophia, Trabzon by Charles Texier","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3640.16","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2481%2Fdb79a3ef6b1d7ae06ebd74d1b3fbde2a.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2481%2Fdb79a3ef6b1d7ae06ebd74d1b3fbde2a.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1104,"height":1500},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3640.16"}],"description":"Texier was a French historian, architect, and archaeologist. He published numerous works following his travels throughout Asia Minor and the Middle East covering topics ranging from geography and geology, to art and architecture.","metadata":[{"label":"Date","value":"1864"},{"label":"Artist","value":"Charles Texier"}],"width":1104,"height":1500},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3641.17","@type":"sc:Canvas","label":"Photograph of murals, Panagia Theoskepastos Monastery","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3641.17","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2482%2Fd11bab7e5a26ada762157a638db50c71.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2482%2Fd11bab7e5a26ada762157a638db50c71.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":3508,"height":2396},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3641.17"}],"description":"The original murals on the front of the Panagia Theoskepastos Monastery (\u201cPanagia the God-guarded\u201d) or the K\u0131zlar Monastery, a former female monastery founded during the reign of Alexios III (r. 1349-90). It is at the foot of the Boztepe mountain and overlooks the city of Trabzon. The church and complex have been rebuilt, and the current fa\u00e7ade no longer bears these frescoes.","metadata":[{"label":"Date","value":"19th century"}],"width":3508,"height":2396},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3642.18","@type":"sc:Canvas","label":"Citadel of Trebizond","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3642.18","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2483%2F69fb7a0a88f10ad8b677718cb0e23696.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2483%2F69fb7a0a88f10ad8b677718cb0e23696.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1680,"height":1125},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3642.18"}],"description":"Part of the series of defensive walls surrounded the city, various stages of the walls\u2019 construction date back to the Roman Empire, with some evidence of the existence of the citadel (in its earliest construction) dating back as far as 2000 BCE. Most of the surviving citadel, however, dates to the 13th and 14th century.","width":1680,"height":1125},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3643.19","@type":"sc:Canvas","label":"Cassone with painted front panel depicting the Conquest of Trebizond","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3643.19","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2484%2F91090a5945dabe0da92b04d916567561.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2484%2F91090a5945dabe0da92b04d916567561.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":3859,"height":2628},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3643.19"}],"description":"Attributed to the workshop of Apolloni di Giovanni di Tomaso, Italian, said to come from the Palazzo Strozzi. The front panel depicts a battle at the city of Trebizond, Constantinople is at the upper left. The battle shows the fall of Trebizond to the Ottomans in 1471, but, strangely, the ruler beneath the canopy is identified as Tamerlane (Timur) in a small, faint inscription to the right of his head, who defeated the Ottoman sultan in 1402, and died three years later in 1405. This bizarre anachronism has not been explained.","metadata":[{"label":"Date","value":"After c. 1461"},{"label":"Type","value":"Cassone"},{"label":"Creator","value":"Attributed to the workshop of Apolloni di Giovanni di Tomaso"},{"label":"Dimensions","value":"100.3 x 195.6 x 83.5 cm; painted surface: 38.7 x 125.7 cm"},{"label":"Material","value":"Poplar wood, linen, polychromed and gilded gesso with panel painted in tempera and gold"},{"label":"Location","value":"Metropolitan Museum of Art"}],"width":3859,"height":2628}]}]} IIIF Type Manifest UUID 7a8fa0b8-66e0-4b5d-b2f8-b88aac59844c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tancred and the Cilician Envoys Source A related resource from which the described resource is derived https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413 Description An account of the resource From the French translation of William of Tyre's History of Deeds Done Beyond the Sea. Fol. 42 IIIF Item Metadata Original @id https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3624.0 JSON Data {"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3624.0","@type":"sc:Canvas","label":"Tancred and the Cilician Envoys","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/annotation/3624.0","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2465%2F2d6bb0e4a72740899f7b3b0bf8b5063f.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2465%2F2d6bb0e4a72740899f7b3b0bf8b5063f.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":2352,"height":1736},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/413/canvas/3624.0"}],"description":"From the French translation of William of Tyre's History of Deeds Done Beyond the Sea. Fol. 42","metadata":[{"label":"Date","value":"13th-14th century"},{"label":"Repository","value":"Biblioth\u00e8que nationale de France. Biblioth\u00e8que de l'Arsenal"},{"label":"Shelfmark","value":"BnF Fr. 9084"},{"label":"Location","value":"Paris"},{"label":"Place of Creation","value":"Acre"}],"width":2352,"height":1736} Display as IIIF? Yes UUID 7ba8d047-1191-49c6-8e27-ce71e4164599 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Crusades and Relics in Twenty Objects Source A related resource from which the described resource is derived https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406 IIIF Collection Metadata Original @id https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406 JSON Data {"@context":"http://iiif.io/api/presentation/2/context.json","@type":"sc:Manifest","@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406","label":"The Crusades and Relics in Twenty Objects","description":"","sequences":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/sequence/1","@type":"sc:Sequence","label":"Default order","canvases":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3577.0","@type":"sc:Canvas","label":"Illustration from the Paris Gregory, fol. 440r","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3577.0","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2419%2F3abcc2e7d184b94c8d58acea82f6d418.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2419%2F3abcc2e7d184b94c8d58acea82f6d418.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":3931,"height":5624},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3577.0"}],"description":"The \u201cParis Gregory\u201d was made for Emperor Basil I between 879 and 883, commissioned by the Patriarch Photios I in Constantinople. It contains the Homilies of Gregory of Nazianzus. This illustration shows, at top \u201cthe dream of Constantine\u201d, \u201cthe battle of the Milvian bridge\u201d in the center panel, and \u201cHelena discovering the True Cross\u201d at the bottom.\n\nFull manuscript: https://gallica.bnf.fr/ark:/12148/btv1b84522082/f94.planchecontact","metadata":[{"label":"Date","value":"c. 879-883"},{"label":"For","value":"Basil I"},{"label":"Commissioned By","value":"Photios I"},{"label":"Made In","value":"Constantinople"},{"label":"Location","value":"Biblioth\u00e8que nationale de France. Biblioth\u00e8que de l'Arsenal"},{"label":"Shelfmark","value":"Bnf grec 510"}],"width":3931,"height":5624},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3578.1","@type":"sc:Canvas","label":"The skull relic of Saint Helena of Constantinople","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3578.1","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2420%2Ff97c0962b6394fad02a0cdfc1f293bec.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2420%2Ff97c0962b6394fad02a0cdfc1f293bec.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":790,"height":1073},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3578.1"}],"description":"Saint Helena, mother of the Emperor Constantine is famous for her supposed discovery of many of the relics of the passion. Herself sainted after death, this relic of her skull is held at Trier Cathedral. The portrait bust shows her holding some of the relics of the passion. Usually kept closed, the reliquary is opened once a year on the date usually associated with her death, August 18.","metadata":[{"label":"Date","value":"skull c. 293 (?)"},{"label":"Type","value":"Skull bone"},{"label":"Source","value":"Helena (?)"},{"label":"Repository","value":"Trier Cathedral, Trier, Germany"}],"width":790,"height":1073},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3579.2","@type":"sc:Canvas","label":"Interior, Limburg Staurotheke","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3579.2","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2421%2Fdbad23c9db29f5804d10082851fade32.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2421%2Fdbad23c9db29f5804d10082851fade32.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":715,"height":1030},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3579.2"}],"description":"Interior of the Limburg Staurotheke. Staurotheke comes from the Greek meaning \u201ccontainer of the cross.\u201d This reliquary was made in Constantinople in the 10th century. It currently resides in Limburg in Germany. The large cross at the center of the reliquary is not, in fact, the relic of the True Cross, but is, itself, a reliquary. Made out of sycamore, it was constructed before the outer container, and holds seven pieces of purported to be from the True Cross. The reliquary itself is sumptuously decorated in enamels, gemstones, pearls, and gold. Two Byzantine emperors, Constantine VII Porphyrogennetos and his son Romanos II are mentioned in an inscription, which allows the cross portion of the reliquary to be dated to sometime between 945 and 959. Additional compartments contain other fragmentary relics: the swaddling clothes of the infant Jesus, the holy sponge, the Crown of Thorns, the sweet within which Jesus\u2019 body was wrapped, the towel used to wash the feet of the Apostles at the Last Supper, the purple garment worn by Christ at his crucifixion, two different belts of the Virgin Mary, the Virgin\u2019s maphorion, and hair from the head of John the Baptist. The outer section of the reliquary includes an inscription that names Basil Lekapenos, a eunuch and powerful figure in the imperial court, as the commissioner for the larger container, and was most likely made between 963 and 985.","metadata":[{"label":"Date","value":"10th century"},{"label":"Type","value":"Reliquary and relic of the True Cross"},{"label":"Material","value":"Sycamore wood, enamel,gemstones, pearls, gold, additional relics of various materials"},{"label":"Made for","value":"Constantinve VII Porphyrogennetos/Romanos II AND Basil lekapenos"},{"label":"Place of Creation","value":"Constantinople"},{"label":"Location","value":"Limburg, Germany"}],"width":715,"height":1030},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3580.3","@type":"sc:Canvas","label":"True Cross Relic, Santo Toribio de Li\u00e9bana","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3580.3","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2422%2Fc2f30fdc05d4352db446eb425c2631fe.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2422%2Fc2f30fdc05d4352db446eb425c2631fe.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1200,"height":1600},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3580.3"}],"description":"The Roman Catholic Church holds that this section of the cross (vertical bar measuring 63.5 cm long; cross bar measuring 39.3 cm, with a thickness of 38 mm) is the largest relic of the True Cross. As with all other accepted relics of the True Cross, this section is said to come from the Cross found by Helena in the 4th century. According to tradition, it was brought to Spain my Saint Turibius of Astorga in the 5th century. The silver gilt cross into which the relic has been embedded was made in 1679. According to a study done in 1958, the relic is a Mediterranean Cyprus wood (Cupressus sempervirens), which is common in Israel, and could be more than 2,000 years old.","metadata":[{"label":"Date","value":"c. 33 CE ? and 1679"},{"label":"Type","value":"Relic of the True Cross"},{"label":"Location","value":"Santo Toribio de Li\u00e9bana, Cantabria, Spain"},{"label":"Dimensions","value":"63.5 cm x 39.3 cm x 38 mm"},{"label":"Material","value":"Wood, silver gilt"}],"width":1200,"height":1600},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3539.4","@type":"sc:Canvas","label":"Relic of the Crown of Thorns","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3539.4","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2383%2Fee630a676d0aaf9ad0687b757f314b16.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2383%2Fee630a676d0aaf9ad0687b757f314b16.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1200,"height":799},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3539.4"}],"description":"Given by Latin Emperor Baldwin II to King Louis IX of France, among others including the Image of Edessa, arrived in Paris in August 1239 for the sum of 135,000 livres. The Saint-Chapelle was built to house these (pawned) relics from Constantinople, and the Crown of Thorns was housed there until the French Revolution, when it was then moved to the Biblioth\u00e8que Nationale, and then in 1801 to Notre Dame. The relic itself is made up of a twisted circlet of Juncus balticus, a plant native to the north of Britain, the Baltics, and Scandinavia. Other relics purported to derive from the Crown of Thorns come from a different plant, Ziziphus spina-christi, which is native to Africa, and Southern and Western Asia. The current rock crystal reliquary is not original.","metadata":[{"label":"Location","value":"Notre Dame, Paris"}],"width":1200,"height":799},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3581.5","@type":"sc:Canvas","label":"Reliquary of the Crown of Thorns","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3581.5","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2423%2Fd0a91a5bf205d28749bf100e904d6112.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2423%2Fd0a91a5bf205d28749bf100e904d6112.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1452,"height":2380},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3581.5"}],"description":"Reliquary of the Crown of Thorns, 1862, designed by Eug\u00e8ne Viollet-le-Duc, Notre Dame Cathedral, Paris.","width":1452,"height":2380},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3582.6","@type":"sc:Canvas","label":"Holy Thorn Reliquary","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3582.6","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2424%2F4c7d5af6754c7fcbc57db44ce6080d49.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2424%2F4c7d5af6754c7fcbc57db44ce6080d49.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":2138,"height":4218},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3582.6"}],"description":"Made in Paris circa 1390 for John, Duke of Berry, the reliquary is currently held in the collection of the British Museum. Made of gold, rock crystal, enamel, pearls, sapphires, and rubies, and decorated with intricately carved figures, is represents a type of luxury object popular in the French royal court in the early 15th century. The scenes on the reliquary show the Last Judgement and the seated Trinity and contains a single thorn from the Crown of Thorns. The reliquary passed through numerous hands, including the Holy Roman Emperor Charles V, and is also known due to its involvement in a forgery scandal in the 1860s.","metadata":[{"label":"Date","value":"c. 33 CE? and c. 1390"},{"label":"Made for","value":"John, Duke of Berry"},{"label":"Material","value":"Gold, rock crystal, enamel, pearls, sapphires, rubies, one thorn"},{"label":"Location","value":"The British Museum"}],"width":2138,"height":4218},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3583.7","@type":"sc:Canvas","label":"Icon Showing the Image of Edessa (Mandylion)","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3583.7","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2425%2Faf89be8bcc6433df721f1ad524e67990.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2425%2Faf89be8bcc6433df721f1ad524e67990.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1207,"height":1651},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3583.7"}],"description":"The Image of Edessa or the Mandylion (see image top right), is a relic of a cloth onto which the face of Christ had been imprinted. Not to be confused with other, similar, relics (such as the Veronica veil or the Shroud of Turin), the story of the Mandylion was first recorded in the 4th century. The traditional story relates that ailing King Abgar of Edessa wrote to ask Jesus to come to Edessa to heal him. Jesus declined to visit, but instead sent a disciple and the Mandylion. The image eventually came to reside in the Imperial Treasury in Constantinople in the 10th century, and was lost in 1204 during the Fourth Crusade. According to some reports, it perhaps reappeared among the relics at Sainte-Chapelle in Paris, however, this relic was also lost during the French Revolution.","metadata":[{"label":"Date","value":"c. 10th century"},{"label":"Type","value":"Icon"},{"label":"Material","value":"Encaustic on wood"},{"label":"Location","value":"Saint Catherine's Monastery, Mount Sinai"}],"width":1207,"height":1651},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3584.8","@type":"sc:Canvas","label":"Shroud of Turin","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3584.8","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2426%2F5147405e5fd374b5f3b8ce079f44bcbd.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2426%2F5147405e5fd374b5f3b8ce079f44bcbd.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":613,"height":2325},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3584.8"}],"description":"A linen cloth said to bear the image of Christ in the negative. It is claimed to be the cloth in which Christ was wrapped after his death. Measuring at 4.4 x 1.1 meters, the shroud features the front and back impression of a man\u2019s body in a darker brown tone. The earliest mention of the shroud is in 1354.","metadata":[{"label":"Date","value":"c. 33 CE (?)"},{"label":"Type","value":"Burial shroud (?)"},{"label":"Material","value":"Linen and bodily fluids (?)"},{"label":"Location","value":"Cathedral of Saint John the Baptist, Turin, Italy"},{"label":"Dimensions","value":"4.4 x 1.1 m"}],"width":613,"height":2325},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3585.9","@type":"sc:Canvas","label":"Holy Face of Genoa","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3585.9","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2427%2F4f1a834a71d82ca1e2fcaec1659c7590.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2427%2F4f1a834a71d82ca1e2fcaec1659c7590.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":600,"height":818},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3585.9"}],"description":"This icon/image/likeness of Christ is held at the Church of St Bartholomew of the Armenians in Genoa, Italy. It was given to the doge of Genoa in the 14th century by Byzantine Emperor John V Palaiologos. The outer frame has been dated to the 14th century, and the image itself is apparently made on a cloth that had subsequently been affixed to a piece of wood. In Genoa, it is sometimes called the \u201cSanto Mandillo,\u201d an obvious reference to the Greek mandylion. It is believed by some to be the actual image of Edessa, thereby contradicting the reports that the relic disappeared from Constantinople in the Fourth Crusade, or that it reappeared in Paris.","metadata":[{"label":"Date","value":"> 14th century"},{"label":"Type","value":"Icon, \"true likeness\""},{"label":"Material","value":"Cloth on wood, gold frame"},{"label":"Creator","value":"Jesus (?)"},{"label":"Location","value":"Church of St. Bartholomew of the Armenians, Genoa, Italy"}],"width":600,"height":818},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3586.10","@type":"sc:Canvas","label":"Holy Blood Relic, Bruges","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3586.10","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2428%2F78588f56e702647b61c26a1874c689c9.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2428%2F78588f56e702647b61c26a1874c689c9.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":800,"height":531},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3586.10"}],"description":"According to legend, the relic was brought to Bruges by Thierry of Alsace following the Second Crusade in the 12th century, this reliquary is said to contain a piece of cloth soaked with the blood of Jesus. Thierry may have been presented the relic by his brother in law, Baldwin III of Jerusalem, as a reward for service. It is more likely, however, that the relic came to Bruges after the sack of Constantinople in 1204. The rock crystal phial dates to either the 11th or 12th century and was probably first used as a perfume bottle in Constantinople before being used as a reliquary.","metadata":[{"label":"Date","value":"c. 33 CE ? and 11th-12th century"},{"label":"Type","value":"Blood relic, phial, glass reliquary"},{"label":"Material","value":"Cloth, blood (?), glass, rock crystal"},{"label":"Location","value":"The Basilica of the Holy Blood"},{"label":"Place of Creation","value":"Constantinople"}],"width":800,"height":531},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3587.11","@type":"sc:Canvas","label":"Illustration of the process of the Holy Blood to Westminster","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3587.11","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2429%2F3e65e4b831cf763b0c5d074ccc31bb60.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2429%2F3e65e4b831cf763b0c5d074ccc31bb60.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":3937,"height":1772},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3587.11"}],"description":"Fol. 216r, from Matthew Paris' Chronica maiora II. \n\nThis miniature shows Henry III of England carrying the Relic of the Holy Blood at Westminster Abbey in 1247. This relic of the blood of Christ was sent from the Latin Patriarch of Jerusalem, Robert of Nantes, to King Henry, and was paraded through the streets of London before its eventual placement in Westminster. Despite Henry\u2019s attempts to stir up pilgrimage interest in the relic, it did not gain any particular popularity.\n\nFull manuscript: https://iiif.biblissima.fr/collections/manifest/56762ec3f3592aa3e75be9d97cccd68baab69184","metadata":[{"label":"Date","value":"c. 13th century"},{"label":"Type","value":"Manuscript"},{"label":"Repository","value":"Corpus Christi College, Cambridge"},{"label":"Shelfmark","value":"MS 016 II"}],"width":3937,"height":1772},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3588.12","@type":"sc:Canvas","label":"Stained glass windows, Sainte-Chapelle","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3588.12","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2430%2F22eb1517de127e6873029ec882faa9d9.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2430%2F22eb1517de127e6873029ec882faa9d9.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":5904,"height":3936},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3588.12"}],"description":"The Sainte-Chapelle in Paris is perhaps best known for its stained glass windows, which illustrate scenes from both the Old and New Testaments. The Gothic chapel was commissioned by Saint Louis IX, King of France in order to house the collection of relics that he obtained from the Latin Emperor Baldwin II. The relics arrived in Paris in August of 1239, and the chapel itself was consecrated on April 26, 1248.","width":5904,"height":3936},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3589.13","@type":"sc:Canvas","label":"Engraving of Saint Louis, King of France","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3589.13","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2431%2F7caf3454624c8a520133ea9c12add9ac.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2431%2F7caf3454624c8a520133ea9c12add9ac.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":2183,"height":2827},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3589.13"}],"description":"Louis IX taken prisoner at the Battle of Fariskur (April 6, 1250) during the Seventh Crusade. He was ransomed for 400,000 dinars and pledged to never return to Egypt and to surrender Damietta to the Egyptians. On May 8, 1250, he left to Acre with his brothers and some 12,000 prisoners of war.","metadata":[{"label":"Date","value":"19th century"},{"label":"Type","value":"Engraving"},{"label":"Artist","value":"Gustave Dor\u00e9"}],"width":2183,"height":2827},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3590.14","@type":"sc:Canvas","label":"Reliquary of Saint Louis","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3590.14","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2432%2F4d478dc35d8f993f9863fe2afb27830a.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2432%2F4d478dc35d8f993f9863fe2afb27830a.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":898,"height":920},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3590.14"}],"description":"This reliquary at the Basilica of Saint Dominic in Bologna, Italy contains the relics of Saint Louis. A man of extreme piety, he was canonized by Pope Boniface VIII in 1297, less than thirty years after his death (in August 1270, of dysentery while crusading in Tunis). Almost immediately following his death, his bones and organs were preserved and processed on a long journey across Sicily, Italy, and France, and relics were dispersed by members of his own family, including his younger brother.","metadata":[{"label":"Location","value":"Basilica of Saint Dominic, Bologna, Italy"}],"width":898,"height":920},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3591.15","@type":"sc:Canvas","label":"Iron Crown of Lombardy","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3591.15","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2433%2Fa49fa6c3250546b01fae029066e69f52.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2433%2Fa49fa6c3250546b01fae029066e69f52.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1890,"height":1154},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3591.15"}],"description":"Both reliquary and regalia for the coronation of the Holy Roman Emperors as kings of Italy, the crown is now kept at the Cathedral of Monza near Milan. Dating to the 4th or 5th century, the crown is made of gold and gemstones around a band that, according to tradition, is made out of iron from on of the nails used to affix Christ to the True Cross. The inner band measures at only 1 cm wide. Given the small size of the crown, it was perhaps used only as a votive crown or as an armlet. Some scholars suggest, however, that its current size is smaller due to the loss of two segments. The crown is said to have been forged by Helena for her son Constantine, and was eventually passed to Theodelinda, a Lombard princess, who donated it to the church at Monza in 628. The crown can be dated to two separate working periods: the earlier to the 4th-5th century and the later to the 8th or 9th. Apparently 34 coronations from the 9th to the 17th centuries made use of the crown, beginning with Charlemagne. In 1805, Napoleon Bonaparte, placed the iron crown on his head when he had himself crowed as King of Italy in Milan. The last time it was used was in 1838 by Emperor Ferdinand I. According to analysis, the \u201ciron band\u201d is actually 99% silver.","metadata":[{"label":"Date","value":"c. 4th-5th century; c. 8th-9th century"},{"label":"Type","value":"Crown and reliquary"},{"label":"Repository","value":"Cathedral of Monza, Italy"}],"width":1890,"height":1154},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3592.16","@type":"sc:Canvas","label":"Tapestry of the Arma Christi","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3592.16","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2434%2Fd11090f019ba8d78e88c9065fc7abe32.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2434%2Fd11090f019ba8d78e88c9065fc7abe32.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":4000,"height":2242},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3592.16"}],"description":"The Arma Christi are the instruments of the Passion: the objects associated with Christ\u2019s passion. The exact number of objects is flexible, and appears frequently as a theme in Christian Art. Some of these arms include the best known relics of the passion, the True Cross, the Crown of Thorns, the column where Jesus was whipped and the whip itself, the Holy Sponge, the Holy Lance, the nails with which he was attached to the Cross, the Veronica Veil, among numerous others such as the Holy Grail, the dice the soldiers used to cast lots, the rooster that crowed after Peter denied Christ three times, the ladder used to remove Christ\u2019s body from the Cross, and so on.","metadata":[{"label":"Date","value":"c. 1475-1550"},{"label":"Type","value":"Tapestry"},{"label":"Material","value":"warp: wool; weft: wool, silk, silver, gilt"},{"label":"Place of Creation","value":"Southern Netherlands"},{"label":"Dimensions","value":"112.4 x 210.8 cm"},{"label":"Location","value":"The Cloisters, Metropolitan Museum of Art, New York City"}],"width":4000,"height":2242},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3593.17","@type":"sc:Canvas","label":"Illustration of the Discovery of the Holy Lance","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3593.17","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2435%2F1e536c15b3c527058648c094a718a541.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2435%2F1e536c15b3c527058648c094a718a541.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1024,"height":1369},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3593.17"}],"description":"Fol. 67v from Passages d'outremer de S\u00e9bastien Mamerot.\n\nJune 10, 1098, Peter Bartholomew, a priest from Southern France, claimed that Saint Andrew had come to him in visions and told him where to find the Holy Lance within the city. Despite a relic of the Holy Lance having been seen by Bishop Adhemar Le Puy in Constantinople, several others believed Peter (including William, Bishop of Orange and Raymond of Aguilers), and they began to dig in the cathedral of St. Peter. Eventually, Peter reached into the pit and drew out the point of a spear. Despite skepticism, the discovery of the Lance is credited with boosting the morale of the crusaders.","metadata":[{"label":"Date","value":"c. 1474"},{"label":"Type","value":"Manuscript"},{"label":"Commissioned For","value":"Louis de Laval"},{"label":"Made by","value":"Jean Colombe"},{"label":"Repository","value":"Biblioth\u00e8que nationale de France. Biblioth\u00e8que de l'Arsenal"},{"label":"Shelfmark","value":"BnF Fr 5594"}],"width":1024,"height":1369},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3594.18","@type":"sc:Canvas","label":"The head of John the Baptist, Amiens","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3594.18","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2436%2Fbce8c745f6cac565c5aeef5585e8e212.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2436%2Fbce8c745f6cac565c5aeef5585e8e212.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1200,"height":778},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3594.18"}],"description":"The cathedral in Amiens, France was built between 1220 and 1270 in the High Gothic style. It was originally built in order to house the relic of the head of John the Baptist, which arrived on December 17, 1206 after having been looted during the sack of Constantinople. The original reliquary made in the early 13th century has been lost and was replaced in the 19th century by a replica.","metadata":[{"label":"Date","value":"c. 36 CE; 19th century"},{"label":"Material","value":"Skull bone"},{"label":"Location","value":"Amiens Cathedral, France"}],"width":1200,"height":778},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3595.19","@type":"sc:Canvas","label":"Head of John the Baptist, San Silvestro in Capite","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3595.19","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2437%2Fc838573e97317333c11f9239322cd301.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2437%2Fc838573e97317333c11f9239322cd301.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1728,"height":2304},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3595.19"}],"description":"Another head of John the Baptist is held at San Silvestro in Rome. Additional head relics can be found at a shrine at the Umayyad Mosque in Damascus (Great Mosque of Damascus) and the Residenz Museum in Munich. This head of John the Baptist first arrived at the church in the 13th century, after previously being held at the Roman church of Santa Maria in San Giovannino (now demolished). The earliest record of the relic at the latter church is from 1140, however tradition dictates that the head was brought to Rome by Greek monks in the 8th century. Some scholars suggest that this relic actually belongs to another figure named John, but has since been re-associated with John the Baptist.","metadata":[{"label":"Date","value":"c. 36 CE"},{"label":"Material","value":"Skull bone"},{"label":"Location","value":"San Silvestro in Capite, Rome"}],"width":1728,"height":2304}]}]} IIIF Type Manifest UUID c83798f7-ad29-4eee-b6c5-f0c58bd1fc08 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tapestry of the Arma Christi Source A related resource from which the described resource is derived https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406 Description An account of the resource The Arma Christi are the instruments of the Passion: the objects associated with Christ’s passion. The exact number of objects is flexible, and appears frequently as a theme in Christian Art. Some of these arms include the best known relics of the passion, the True Cross, the Crown of Thorns, the column where Jesus was whipped and the whip itself, the Holy Sponge, the Holy Lance, the nails with which he was attached to the Cross, the Veronica Veil, among numerous others such as the Holy Grail, the dice the soldiers used to cast lots, the rooster that crowed after Peter denied Christ three times, the ladder used to remove Christ’s body from the Cross, and so on. IIIF Item Metadata Original @id https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3592.16 JSON Data {"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3592.16","@type":"sc:Canvas","label":"Tapestry of the Arma Christi","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/annotation/3592.16","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2434%2Fd11090f019ba8d78e88c9065fc7abe32.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2434%2Fd11090f019ba8d78e88c9065fc7abe32.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":4000,"height":2242},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/406/canvas/3592.16"}],"description":"The Arma Christi are the instruments of the Passion: the objects associated with Christ\u2019s passion. The exact number of objects is flexible, and appears frequently as a theme in Christian Art. Some of these arms include the best known relics of the passion, the True Cross, the Crown of Thorns, the column where Jesus was whipped and the whip itself, the Holy Sponge, the Holy Lance, the nails with which he was attached to the Cross, the Veronica Veil, among numerous others such as the Holy Grail, the dice the soldiers used to cast lots, the rooster that crowed after Peter denied Christ three times, the ladder used to remove Christ\u2019s body from the Cross, and so on.","metadata":[{"label":"Date","value":"c. 1475-1550"},{"label":"Type","value":"Tapestry"},{"label":"Material","value":"warp: wool; weft: wool, silk, silver, gilt"},{"label":"Place of Creation","value":"Southern Netherlands"},{"label":"Dimensions","value":"112.4 x 210.8 cm"},{"label":"Location","value":"The Cloisters, Metropolitan Museum of Art, New York City"}],"width":4000,"height":2242} Display as IIIF? Yes UUID 6ed366ad-85ed-4278-b224-a2bc2ee99c75 https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/6e9d4e5fb33753fdbcb55f14dae11281.JPG ac56bd5c4e73d1a70ac7aad533736741 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Money Matters, Tuesday 4/6 IIIF Collection Metadata UUID d60b8706-a594-4e63-9f2f-05ed01406d75 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tea-brick used as currency (2) IIIF Item Metadata UUID 4493e8a7-bc03-4d58-ae62-bd257c7d29a2