DigiVatLib
DigiVatLib is a digital library service. It provides free access to the Vatican Library’s digitized collections: manuscripts, incunabula, archival materials and inventories as well as graphic materials, coins and medals, printed materials (special projects). DigiVatLib is based on the International Image Interoperability Framework (IIIF) technology, making digital materials easily accessible and u
DigiVatLib
All rights reserved. The contents of this site are protected by copyright. Neither the text nor the images may be reproduced, in any form, without the authorisation of the Vatican Library, 00120, Vatican City. This site uses cookies. Some of these are essential for the proper operation of the site. For more details see the Cookie Policy. Closing this banner, scrolling this page, clicking on a link
DigiVatLib
Free use of this image is only for personal use or study purposes. Rights must be requested for any use in printed or online publications.The execution, the publication or the reproduction, in any form, of musical works contained in BAV materials is allowed only with the prior written agreement of the BAV (for further details please see here ).
DigiVatLib
All rights reserved. The contents of this site are protected by copyright. Neither the text nor the images may be reproduced, in any form, without the authorisation of the Vatican Library, 00120, Vatican City. This site uses cookies. Some of these are essential for the proper operation of the site. For more details see the Cookie Policy. Closing this banner, scrolling this page, clicking on a link
Vatican Library - Manuscripts Catalogue
You can display a brief or a full description of the selected records found
Biblioteca Apostolica Vaticana
Selezionare il fondo di appartenenza per accedere alla visualizzazione dei manoscritti digitalizzati oppure inserire direttamente la segnatura del manoscritto da ricercare Arch.Cap.S.Pietro. (470) Autogr.Paolo.VI. (2) Barb.gr. (517) Barb.lat. (1724) Barb.or. (72) Bonc. (24) Borg.ar. (70) Borg.arm. (83) Borg.Carte.naut. (10) Borg.cin. (38) Borg.copt. (167) Borg.ebr. (18) Borg.eg. (1) Borg.et. (6) B
Contrat de mariage... | Versailles Exhibition
On March 3, 1710, Louis-Antoine-Armand de Gramont (1688–1741) married Louise-Françoise d’Aumont (1691–1742). The day before the wedding, the two families signed a marriage contract fixing the financial terms of the union. Dozens of high-ranking witnesses also signed the contract, starting with Louis XIV. The king's signature is followed by those of his son Louis (the Grand Dauphin), his first gran
Rembrandt (Rembrandt van Rijn) | Self-Portrait | The Metropolitan Museum of Art
Rembrandt was a dedicated self-portraitist all his life, and roughly forty self-portraits by him survive today. In this example, painted when Rembrandt was fifty-four, the artist was unsparing in depicting the signs of aging in his own face, building up the paint in high relief to convey his furrowed brow, the heavy pouches beneath his eyes, and his double chin. The recent removal of a synthetic v
Vereinigte Lausitzer Glaswerke | "Kubus" Stacking Containers | The Metropolitan Museum of Art
"Kubus" Stacking Containers Manufacturer Vereinigte Lausitzer Glaswerke German Designer Wilhelm Wagenfeld German ca. 1938 On view at The Met Fifth Avenue in Gallery 902 Wilhelm Wagenfeld studied metalwork at the Bauhaus between 1923 and 1925, where he designed a table lamp that became one of the school's most popular products. After leaving the Bauhaus, he went on to design a number of popular con
The Jabach Portrait, Right Side Up - The Metropolitan Museum of Art
Michael Gallagher attaching a new strip-lining to the reverse of the painting. Photograph by Sophie Scully«After the severe distortions at the top of the Jabach portrait were successfully reduced, the next step was to prepare the painting for re-stretching. This involved the attachment of a new strip-lining; new pieces of canvas were adhered along all four edges of the reverse of the painting usin
Copyist Program
Set up your studio at The Met. The Copyist Program offers time and space for artists to develop an artwork through intimate study in the Museum's galleries. Copyists have created reinterpretations of original artworks in The Met collection since 1872. The program celebrates intensive technical study, deep observation, and encourages sustained engagement with a diverse range of media, including, bu
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Nash.pdf
http://www3.metmuseum.org/art/collection/search/284853?rndkey=20140523&pos=1&pg=1&rpp=30&ft=*&deptids=19
Utagawa Yoshitora | English Ship | Japan | Edo period (1615–1868) | The Metropolitan Museum of Art
http://www3.metmuseum.org/blogs/digital-underground/2014/image-use-policy
Kawanabe Kyōsai 河鍋暁斎 | Kyōsai’s Pictures of One Hundred Demons (Kyōsai hyakki gadan) 暁斎百鬼画談 | Japan | Meiji period (1868–1912) | The Metropolitan Museum of Art
Unidentified artist | The Poet Fujiwara Kiyotada, from the “Narikane Version” of Thirty-six Poetic Immortals | Japan | Kamakura period (1185–1333) | The Metropolitan Museum of Art
Unidentified artist | The Poet Kiyohara Motosuke, from the “Tameshige Version” of Thirty-six Poetic Immortals (Tameshige-bon Jidai fudō utawase emaki) | Japan | Muromachi period (1392–1573) | The Metropolitan Museum of Art
Calligraphy attributed to Fujiwara no Nobuzane | Competition Between Poets of Different Eras (Jidai fudō uta awase), depicting the poet Minamoto no Hitoshi | Japan | Kamakura period (1185–1333) | The Metropolitan Museum of Art
Calligrapher: Sugawara Mitsushige | “Universal Gateway,” Chapter 25 of the Lotus Sutra | Japan | Kamakura period (1185–1333) | The Metropolitan Museum of Art