DEFINITION
The subject matter of a work of art (sometimes referred to
as its content) is the narrative, iconographic, or
non-objective meaning conveyed by an abstract or a figurative
composition. It is what is depicted in and by a work of art.
It also covers the function of an object or architecture that
otherwise has no narrative content.
SUBCATEGORIES
GENERAL DISCUSSION
Indexing the subject is core. All works of art and architecture
have subject matter. Subject matter is critical to any researcher
of art, both the scholar and the general public. The SUBJECT
MATTER category may include an identification, description,
and/or interpretation of what is depicted in and by a work
or image.
What are subjects?
Subjects include things, places, activities, abstract shapes,
decorations, stories, and events from literature, mythology,
religion, or history. Philosophical, theoretical, symbolic,
and allegorical themes and concepts may be subjects. Subjects
of representational (figurative) works may be narrative, meaning
that they tell a story or represent an episode in a story;
they may be non-narrative, representing persons, animals,
plants, buildings, or objects depicted in portraits, still
lifes, landscapes, genre scenes, architectural drawings, allegories,
and so on. Non-representational works also have subject matter,
which may include a reference to abstract content, decoration,
function, or implied themes or attributes. Subject should
be recorded for all works and images, even those that have
no narrative or figurative "subject matter" in the
traditional sense. For abstract works, architecture, decorative
arts, furniture, and other works with no narrative or figurative
subject matter, their "content" may be the function
of the works and important aspects of their form or composition.
SUBJECT MATTER records the answers to the question: What
is the work "of" or "about"? Traditionally,
what the work is about (often called about-ness)
is defined as its iconographical, narrative, thematic, or
symbolic meaning; what the work is of (often
called of-ness) is defined as what would be seen in
the work by an objective, non-expert, unknowledgeable viewer.
Consideration of all these aspects of subject matter is important
for retrieval. A methodical approach to subject analysis is
recommended. Subject may be analyzed by posing successive
questions Who?, What?, When?, and Where? Catalogers
should also examine the work at various levels of specificity
based loosely on theories of human perception and recognition
of meaning in images described by the scholar Erwin Panofsky.[1]
Panofsky identified three primary levels of meaning in art:
pre-iconographical description, expressional analysis or
identification, and iconographical interpretation.
Using a simplified and more practical application of this
traditional art-historical approach can be helpful in indexing
subjects for purposes of retrieval. The first level, description,
refers to the generic elements depicted in or by the work
(e.g., man). The second level, identification,
refers to the specific subject, including named mythological,
fictional, religious, or historical subjects (e.g., George
Washington). The third level, interpretation, refers
to the meaning or themes represented by the subjects and includes
a conceptual analysis of what the work is about (e.g., political
power).
Types of subjects
The subject matter may be a story or tale, and thus is a narrative.
For example, the subject of a painting may be a narrative
scene such as Christ Led before Pilate [Figure
7] or the Crucifixion [Figure
20], which are both episodes in the Passion of Christ
series. A single work may include multiple episodes from
the series. For example, the Crucifixion panel by the master
of the Parlement de Paris [Figure
20] contains a central depiction of the Crucifixion,
with an earlier scene of Veronica wiping Christ's face
to the left (in the background) and a later scene of Christ
releasing the souls from Purgatory (after his death) to
the right. This altarpiece originally also included two wings
depicting yet other episodes from the Passion series.
On the other hand, the subject matter of a work often need
not tell a story. The subject matter of a sculpture may be
a young woman bathing [Figure
23]; the subject of a portrait may be a named Dutch official,
Jacob van Reygersberg [Figure
22]; the subject of a sketch may be an elevation for
a façade; the subject matter of a pot can be its
geometric decoration or its function; the subject of a basilica
may be its dedication to the Holy Cross (Santa Croce)
or its function as a place of worship. The subject matter
may be implied themes or attributes that come to light through
interpretation. For example, a brass door knob with an embossed
lion's head can express meaning beyond the depiction of an
animal; it may suggest the strength of the owner and protection
for the house.
Subject matter can be drawn from standard motifs based on
literature, tradition, or other works of art, or it can be
highly individual and the result of the artist's personal
imagination. The content of a work of art is essential to
its conception, form, and power to communicate. By documenting
the particulars of a work's representational aspects, its
significance and uniqueness are defined.
Specificity and exhaustivity
Include a general subject designation (e.g., portrait,
landscape). Specific terms should also be recorded; however,
the level of specificity and inclusiveness applied to cataloging
the subject content of a work of art or architecture will
depend upon various factors, including the depth of the cataloger's
expertise and the quality and extent of information available.
Uncertainty
Do not include information, such as interpretation,
if you do not have scholarly opinion to support it; furthermore,
if expert knowledge is unavailable, it is better to be broad
and accurate rather than specific and incorrect (e.g., index
a creature broadly as bird rather than specifically
as goldfinch if you are uncertain of the species).
If there is scholarly debate about the subject, explain the
uncertainty in the SUBJECT MATTER - DISPLAY or DESCRIPTIVE
NOTE and index all probable subjects in SUBJECT MATTER.
Cataloging rules
For the subcategories in this section, basic recommendations
and discussion are provided below. For a fuller, more prescriptive
set of cataloging rules for some of the subcategories, see
Chapter 6: Subject in
Cataloging Cultural Objects (CCO), which deals with a
critical subset of the CDWA.
RELATED CATEGORIES and ACCESS
SUBJECT MATTER is a primary access point. Queries on subject
matter may be further delimited by other parameters, so that,
for example, it is possible to identify depictions of the
Crucifixion in Germany and to compare them with those
made in Italy, or to study the changes in a particular artist's
approach to a given subject matter, such as Raphael's depictions
of the Madonna and Child.
If the subject refers to function, you may record the same
term in OBJECT/WORK - TYPE. If the TITLE refers to subject,
the subject must also be recorded in SUBJECT MATTER.
Subject Matter - Display
DEFINITION
A description of the subjects depicted in, on, or by the
work.
EXAMPLES
Adoration of the Magi; Madonna and Child in the foreground,
with Joseph behind her and the three Magi holding objects
before her. [Figure
24]
Patron of Pax and the Jaguar God of the underworld spear
the Bearded Dragon.
Hercules with a club and a lion skin. The young, larger-than-life
god, holding the club with which he slew the Nemean lion,
was intended as an exemplar of human achievement and symbol
of Hadrian. [Figure
5]
Fruit, culinary utensils and drapery arranged on a tabletop.
[Figure
21]
Ruined buildings and figures in a landscape. [Figure
19]
Korean Man in a fancy costume. [Figure
33]
DISCUSSION and GUIDELINES
Optional: Record a description of the subject
of the work. Most institutions will discuss the subject in
the DESCRIPTIVE NOTE and do not need to repeat the prose description
here.
Form and Syntax
Use sentence case. You may use complete sentences and/or phrases.
Begin the first word of the note with an uppercase letter,
and end the note with a period. Follow rules for standard
English grammar (if the record is in another language, use
grammar rules appropriate to that language). If you rely upon
information from a published source, cite the source in SUBJECT
MATTER - CITATIONS.
TERMINOLOGY/FORMAT
Free text: This is not a controlled field.
Index the subject in SUBJECT MATTER - INDEXING TERMS.
RELATED CATEGORIES and ACCESS
If the subject is discussed in the DESCRIPTIVE NOTE, it need
not be repeated here.
Subject Matter - Indexing Terms
DEFINITION
Indexing terms that characterize what the work depicts or
what is depicted in it, including generic terms and proper
names.
EXAMPLES
seascape
woman
baby
lion skin
Adoration of the Magi [Figure
24]
Annunciation [Figure
28]
Herakles
[Figure 5]
Socrates
Henry IV
Thomas Jefferson
Chicomecoatl
Kalala Hunga
Piazza San Marco (Venice, Italy)
Himeji Castle (Hyogo prefecture, Japan)
grand staircase, Opéra (Paris, France)
Tokyo (Japan)
strength
power
death
virgin birth
DISCUSSION and GUIDELINES
Required: Record one or more terms that characterize
the persons, groups of persons, things, places, activities,
abstract shapes, decorations, stories, events from literature,
mythology, religion, or history, and philosophical, theoretical,
symbolic, or allegorical themes depicted in the work. Even
though the subject matter may be referred to in the TITLES
OR NAMES category, a thorough indexing of the content is required
in SUBJECT MATTER.
In order to ensure consistent indexing, the cataloging institution
should establish guidelines regarding the number of subject
terms to be assigned to each work based on available time
and resources. The following methods may be used: Catalogers
may assign terms for each of the three levels: description,
identification, and interpretation (see EXTENT
below). They may use a checklist of objects, persons, events,
activities, places, and periods, corresponding to the questions
Who?, What?, When?, and Where? They may read the work from
left to right, from top to bottom, from foreground to background,
or from the most prominent to least prominent subjects in
the work. Works that have a primarily functional purpose,
such as architecture and utilitarian objects, should also
be analyzed for subject, including the work's function and/or
form.
Note that identification of the subject may change over time,
as when Giambologna's Young Woman Bathing [Figure
23] was previously identified as Bathsheba, and
before that as Bathing Venus. If the identification
of the subject has changed or is disputed or uncertain, describe
it in SUBJECT MATTER - DISPLAY or DESCRIPTIVE NOTE, and index
all possible subjects; for example, a drawing by Leonardo
da Vinci may depict the Christ Child with a Lamb, or
the child may be John the Baptist [Figure
30].
For all works
It is required to index the work using general terms that
would allow researchers to find all similar subjects (e.g.,
portrait, landscape, nonrepresentational).
For figurative works
Record all named subject matter in the work, including the
proper names of people, fictional characters, places, events,
and iconographical themes (e.g., Adoration of the Magi).
In addition, add terms that generically identify things depicted
in the work (e.g., human female, goldfinch, temple).
For nonrepresentational works
For works with no figurative or narrative content, such as
nonrepresentational or abstract art, describe the visual elements
of the composition (e.g., geometric patterns, friezes,
spheres). Alternatively, for decorative arts and material
culture objects that are primarily functional, describe the
object's function (e.g., watering can, prayer rug, divination
object). For such objects, record themes or allegorical
or symbolic meanings, if any.
For architectural works, use terms that describe the work's
purpose or primary function. This can include its function
based on ownership, activities associated with its use, or
its purpose based on developmental design (e.g., corporate
headquarters, church, religious building, tract houses).
The subject term may repeat the OBJECT/WORK - TYPE. For churches
and other buildings with dedications, record the dedication
as a subject.
Multiple subjects
For a group of works, include all of the subjects represented
in the group, if possible. If there are too many subjects
to include them all, include the most important or most prominent
subjects.
When a single work contains multiple subjects, include a
clarification in the SUBJECT MATTER - DISPLAY or DESCRIPTIVE
NOTE field and index all subjects in the controlled fields.
Use SUBJECT MATTER - EXTENT to indicate where each subject
is depicted on the work.
Form and syntax
Express the subject in natural word order. Use the name or
term used most often in scholarly literature to refer to the
subject. Capitalize the proper names of events (real or fictional)
(e.g., Coronation of Queen Elizabeth II), historical
people, fictional characters, and titles of literature, songs,
etc. Express generic terms in lower case. Avoid abbreviations.
Use a name or term in the language of the catalog record,
if applicable (e.g., Adoration of the Magi in an English
record, rather than the Italian Adorazione dei Magi).
For proper names, when there is no English equivalent for
a subject, or if a non-English name is more commonly used,
use a name in the appropriate language (e.g., Quetzalcóatl).
Use diacritics as appropriate.
TERMINOLOGY/FORMAT
Authority and controlled list: For the general
terms, use a controlled list, including the terms listed below
and others as necessary. Alternatively, the general terms
may be controlled by the GENERIC CONCEPT AUTHORITY.
advertising and commercial
allegory
animal
apparel
architecture
botanical
cartographic
ceremonial object
cityscape
didactic and propaganda
funerary art
genre
history and legend
human figure
interior architecture
landscape
literary theme
machine
military
mixed motif
nonrepresentational art
object (utilitarian)
performance
portrait
religion and mythology
seascape
still life
Control terminology with the SUBJECT AUTHORITY for the proper
names of the following: historical events; fictional characters,
places, and events; religious or mythological characters or
events; literary themes; iconographical themes. An authority
with hierarchical structure, cross referencing, and synonymous
names is recommended.
Control terminology with the other authorities when indicated:
Control the names of historical people and corporate bodies
with the PERSON/CORPORATE BODY AUTHORITY; control the name
of geographical places with the PLACE/LOCATION AUTHORITY;
control generic subject terms with the GENERIC CONCEPT AUTHORITY.
Populate the authorities named above with published vocabularies
when possible, including the AAT, ICONCLASS, Garnier's Thesaurus
iconographique, TGN, Lexicon Iconographicum Mythologiae Classicae,
Louis Réau's Iconographiede l'art chrétien,
Gertrude Schiller's Iconography of Christian Art,Bibliotheca
Sanctorum, George Kaftal's Iconography of the Saints in Italian
Painting, Lexikon byzantinisch-christlicher Symbole, and Andor
Pigler's Barockthemen, Richard Brilliant's Gesture and Rank
in Roman Art, and Gods and Symbols of Ancient Mexico and the
Maya, NGA (NIMA), the Index of Jewish Art, LCSH, LC Name Authorities,
Canadiana_Authorities, ULAN, and dozens of others for Western
and non-Western art, as listed in the pertinent CDWA Authorities
sections.
Where necessary to clarify the subject to the end user, it
is recommended to display broader contexts, biographical information
for persons, or other clarifying information in parentheses
or with other punctuation to avoid confusion (e.g., Marilyn
Monroe (American actress, 1926-1962); Saint Bravo Cathedral
(Haarlem, the Netherlands); Storm King Mountain (Orange county,
New York, USA); Krishna (incarnation of Vishnu, Hindu diety);
Immaculate Conception (Life of the Virgin cycle)). This
parenthetical information may be generated for display from
the authorities.
Using authorities for subjects also assures that synonyms
are accessible. For example, in the SUBJECT AUTHORITY,
Hercules is the Roman name and Herakles is the
Greek name for the same mythical hero [Figure
5]; the Three Kings and the Three Wise Men
are the same characters as the Magi [Figure
24]. In the GENERIC CONCEPT AUTHORITY, stag beetle
and pinching bug are synonyms for insects of the family
Lucanidae
[Figure 15].
RELATED CATEGORIES and ACCESS
This is a PRIMARY ACCESS POINT. It is required to record
subject here, even if the subject is referred to in OBJECT/WORK
TYPE or TITLE OR NAME. Express nuance or uncertainty regarding
subject in the SUBJECT MATTER - DISPLAY or DESCRIPTIVE NOTE
subcategories.
Subject Matter - Indexing
Terms - Type
DEFINITION
A classification of the level of subject description indicated
by the indexing terms, for use if necessary to distinguish
between what a work is "of" and what it is "about."
EXAMPLES
description
identification
interpretation
DISCUSSION and GUIDELINES
Optional: Record a term to designate the type
of subject being recorded. Use lower case. This designation
will allow the distinction between a subject reflecting what
the work is "of" (description and identification)
or from what the work is "about" (interpretation).
The first level of subject analysis has to do with an objective
description of what is depicted. For example, with
Houdon's statue in the Hermitage, the description terms may
be human male and uniform, because it depicts
a man in uniform. The second level of subject analysis is
an identification of the subject (portrait of George
Washington). Both description and identification
describe what the work is "of." The third level
of subject analysis would identify deeper meaning as interpretation
(e.g., political power, given that Washington stands
in a Classical pose and leans upon a bundle of rods that signified
the authority of Roman magistrates – thus Houdon associates
Washington with great and powerful Roman magistrates of antiquity).
Interpretation describes what the work is "about."
Description
Terms for description refer to generic elements depicted
in or by the work. These are terms reflecting only what you
would see in the subject if you did not know the specific
people, event, story, or place depicted (e.g., human female,
nude, column, train, picnic, red circle, anamorphosis, bird's-eye
perspective, boats, battle, boys playing, man and woman kissing).
For example, if you were analyzing a statue of Shiva, a generic
description term would be human male, because you would
not know his name or that he was a Hindu deity.
Identification
Terms for identification refer to the specific subject,
including named historical, mythological, religious, fictional,
or literary subjects (e.g., Leiden (Holland), Bodhisattva,
Endymion, Three Graces, Madonna and Child, Rape of Lucretia,
Adoration of the Magi, Buddha Taming the Mad Elephant, Hercules
and Antaeus, Washington Crossing the Delaware, Battle of Waterloo,
Vanitas, Orans ). These will often, but not always, be
proper names. Identifiable iconography can include narrative
or non-narrative content. For the statue of Shiva, identification
terms would include Shiva (Hindu deity).
Narrative iconography includes images of fictional or historical
events. These events can be characterized visually as individual
events, such as Burning of the Houses of Parliament;
as episodes, such as the Birth of the Virgin (which
is an episode in the Life of the Virgin Mary cycle);
or as full cycles, such as the Labors of Hercules.
The Mad Hatter's Tea Party is an example of a fictional
subject; Buddha Disputing with the Sages or the Crucifixion
is a religious subject; Maximilian Led to the Firing Squad
and Ashurbanipal Killing a Lion are historical narratives.
If the subject is taken from a literary work, the work of
literature should be cited in SUBJECT MATTER -CITATIONS. For
example, David's Farewell of Telemachus and Eucharis
[Figure
6] was based upon the didactic novel Télémaque
written by Fénelon in 1699.
Non-narrative iconography consists of static, self-contained
representations of individual people, topographical locations,
or objects. Non-narrative iconography is exemplified by Portrait
of Louis XIV, View of Lake Como, or Still Life
with Japanese Beetles. It may be difficult to separate
narrative from non-narrative scenes, for example, a depiction
of Christ Crucified with Saints Francis and Anthony Attending
is a devotional image that takes a narrative episode from
the Life of Christ and places it in the midst of medieval
saints who ponder its significance. To an untrained observer
who does not realize that the three protagonists are not part
of the same story, this nuance would be indecipherable. Iconographical
information depends upon literary source material, historical
documentation, and the traditions of visual and material culture.
Interpretation
Terms for interpretation refer to the meaning or themes
represented by the subjects and includes a conceptual analysis
of what the work is about (e.g., salvation, original sin,
sacrifice, truth, power, innocence, idolatry). Works of
art often have meaning beyond the identified subject. For
example, a portrait may convey an association between the
sitter and a historical or mythological figure; conversely,
a mythological figure maybe a portrait of a living person,
as in Canova's Maria Paolina Borghese as Venus Victrix.
Likewise, subjects may refer to qualities or themes.For the
statue of Shiva, the interpretation could be destroyer,
if scholarly or other authoritative sources state that the
sculpture portrays him in that role.
TERMINOLOGY/FORMAT
Controlled list: Control this subcategory with
a controlled list, using the following terms: description,
identification, interpretation.
Subject Matter - Indexing Terms
- Extent
DEFINITION
When there are multiple subjects, a term indicating the part
of the work to which these subject terms apply.
EXAMPLES
recto
verso
side A
side B
main panel
predella
general
overall
DISCUSSION and GUIDELINES
Optional: Record a term designating the part
of the work for which the subject terms are pertinent. Use
lower case.
Examples of Extent could include side A, side B, recto,
verso, main panel, predella, etc. Use the terms general
or overall when necessary to distinguish the overall
subject from the subject of the parts.
This subcategory may be used when a single work may has multiple
subjects. For example, a Greek vase may have the Judgment
of Paris on Side A and Two Amazons Battling a Greek
Warrior on Side B
[Figure 9]; a polyptych may have 10 subjects (such as
Saint Catherine, Saint Ursula, Madonna and Child, Saint
Apollonia, Saint Mary Magdalen, John the Baptist, Saint John
the Evangelist, Saint James Major, Saint Bartholomew and
Saint Peter
[Figure 2].
TERMINOLOGY/FORMAT
Controlled list: Control this subcategory with
a controlled list, using the terms in the Examples above,
and others as necessary.
Subject Matter -
Interpretive History
DEFINITION
The interpretive history or iconology of a work is its place
in the history of the meaning of its subject matter. Studies
in iconology trace the developments and changes of meaning
of an iconographical subject over long periods of time and
often in more than one society.
EXAMPLES
[for Endymion Sleeping]
In Western society, the motif of a reclining male figure,
sleeping with one arm over his head as in this work, begins
in the third century BCE to represent a demi-god's disturbed
sleep (e.g.,Barberini Faun); in the second century CE, when
this work was made, the Romans used it as a symbol of the
drugged sleep of a human male who is about to be deified
(e.g., Endymion).
[for St. John the Baptist]
In early Christian times, St. John the Baptist was represented
as a shepherd, the precursor of Christ, the Good Shepherd.
By the tenth century, when this work was made, John was
represented as a haggard, emaciated hermit, a prophet who
lived in the desert, who warned of coming damnation if the
people did not repent and follow the Messiah whom he had
recognized, and for whom he would die a martyr. He was designated
as the last of the Old Testament prophets and the first
of the New; he was the first soul to be freed from limbo.
DISCUSSION and GUIDELINES
Optional: Record a discussion of how the subject
in this work relates to other depictions of the same the subject.
Most institutions will discuss this topic in the DESCRIPTIVE
NOTE and do not need to repeat it here.
Form and Syntax
Use sentence case. You may use complete sentences and/or phrases.
Begin the first word of the note with an uppercase letter,
and end the note with a period. Follow rules for standard
English grammar (if the record is in another language, use
grammar rules appropriate to that language). If you rely upon
information from a published source, cite the source in SUBJECT
MATTER - CITATIONS.
TERMINOLOGY/FORMAT
Free text: This is not a controlled field.
Index the subject in SUBJECT MATTER - INDEXING TERMS.
RELATED CATEGORIES and ACCESS
If the subject is discussed in the DESCRIPTIVE NOTE, it need
not be repeated here. The general history of the subject should
be discussed in the SUBJECT AUTHORITY, and need not be repeated
here.
Subject Matter - Remarks
DEFINITION
Additional notes or comments pertinent to information in
this category.
DISCUSSION and GUIDELINES
Optional: Record a note containing additional
information or comments on this category. Use consistent syntax
and format. For rules regarding writing notes, see DESCRIPTIVE
NOTE.
FORMAT/TERMINOLOGY
Free-text: This is not a controlled field.
Use consistent syntax and format.
Subject Matter - Citations
DEFINITION
A reference to a bibliographic source, unpublished document,
or individual opinion that provides the basis for the information
recorded in this category.
DISCUSSION and GUIDELINES
Optional: Record the source used for information
in this category. For a full set of rules for CITATIONS, see
RELATED TEXTUAL REFERENCES - CITATIONS.
TERMINOLOGY/FORMAT
Authority: Ideally, this information is controlled
by citations in the citations authority; see RELATED TEXTUAL
REFERENCES.
Subject Matter - Citations
- Page
DEFINITION
Page number, volume, date accessed for Web sites, and any
other information indicating where in the source the information
was found.
DISCUSSION and GUIDELINES
Optional: For a full set of rules for PAGE,
see RELATED TEXTUAL REFERENCES - CITATIONS - PAGE.
FORMAT/TERMINOLOGY
Free-text: This is not a controlled field.
Use consistent syntax and format.
EXAMPLES
For various kinds of subjects
[historical event is depicted]
Subject indexing terms:
history/legend | Lakota Battle of Little Big Horn (Indian
Wars) | Cheyenne | war| horses | death | United States Army
7th Cavalry
[allegorical scene, a Chinese painting of an ancient
plum tree with two new shoots]
Subject indexing terms:
allegory | botanical | Spring | birth | plum tree | shoots
| renewal
[narrative subject, Saint Bruno sees a heavenly vision
while meditating in the wilderness]
Subject indexing terms:
religion/mythology | Saint Bruno (French cleric, 11th century)
| vision | heaven | angels | wilderness | Carthusian order
(Christian monastic order) | meditation
[landscape depicting a forest with a winding road and
bridge, with a castle in the distance]
Subject indexing terms:
landscape | castle | road | forest | bridge
[portrait photograph of Abraham Lincoln and two other
men on the Antietam battlefield]
Subject indexing terms:
portraits | history/legend | Allan Pinkerton (American Secret
Service agent, detective, 1819-1884) | Abraham Lincoln (American
president, 1809-1865) | John McClernand (American Union
General, 1812-1900) | Antietam Battlefield (Sharpsburg,
Maryland) | Battle of Antietam (American Civil War) | army
camp | United States Army | tent | president | campstool
| war | stovepipe hat | soldier | officer
[abstract work]
Subject indexing terms:
nonrepresentational | texture | light | spots | light and
dark | positive and negative space
[decorative arts, carpet with a prominent central sunflower,
the symbol of the Sun King Louis XIV]
Subject indexing terms:
object (utilitarian) | carpet | sunflower | acanthus leaf
scrolls | fruit | Chinese porcelain | flowers | Sun King
| bowls | Louis XIV (French king, 1638-1715, reigned 1643-1715)
[architecture, the Pantheon, Roman temple that was later
a church dedicated to Santa Maria ad Martyres]
Subject indexing terms:
architecture | worship | church | museum | temple | planetary
gods | Queen of Martyrs (Veneration of the Virgin Mary)
[drawing, part of an architectural work is depicted,
section and elevation of the drum and dome of Saint Peter's]
Subject indexing terms:
architecture | Saint Peter's (Rome, Italy) | dome | section
| drum | elevation | lantern | cathedral | buttresses |
basilica | pilasters | papal authority
Multiple subjects
[continuous narrative on a wedding chest, several scenes
from the story of the Judgment of Paris]
Subject indexing terms:
religion/mythology | landscape | Greek mythology | human
male | human female | Judgment of Paris | Trojan War (Greek
legends) |Aphrodite (Greek goddess) | Athena (Greek goddess)
| Hera (Greek goddess) | Paris (Greek legendary character)
| Helen (Greek legendary character) | castle | fortified
city | horse | beauty | love | contest | marriage | victory
of love over war
[multiple subjects, for a portrait, where the identification
of the sitter has been changed; the former identification
is included]
Subject indexing terms:
portrait | human male | halberd | nobleman | halberdier
| sword | soldier | ax | spear | battle-ax | weapon | Mannerist
costume | civic guard | Francesco Guardi (Italian nobleman,
born 1514) | Cosimo I de' Medici (Italian nobleman, 1519-1574,
Grand Duke of Tuscany 1569-1574)
[for a group of drawings including views of several
cities in Italy]
Subject indexing terms:
views | bird's-eye views | cadastral maps | topographical
views | cityscapes | Venice (Italy) | Rome (Italy) | Florence
(Italy) | Naples (Italy) | San Gimignano (Italy) | Turin
(Italy) | Siena (Italy) | Lake Garda (Italy) | landscapes
| wind | architecture
Comparisons of thorough and less thorough indexing
[a thorough indexing of a still life with flowers]
Subject indexing terms:
still life | botanical | flowers | roses | crown of thorns
plant | lilies |violet | hyacinth | tulips | sweetpeas |
peonies | primrose | narcissus | cyclamen | transience |
caterpillar| flies | bird's nest | eggs | ledge | urn |
Pronkstilleven | smell | beauty | transience | life | death
| senses | Vanitas | Passion of Christ
[a briefer indexing of the same still life with flowers,
listing only the most prominent items in the painting and
the interpretation]
Subject indexing terms:
still life | flowers | urn | ledge | crown of thorns plant
| tulips | roses | bird’s nest | insects | beauty |
transience | life | death | senses | Vanitas | Passion of
Christ
[for an amphora with two scenes depicted]
Subject indexing terms:
religion/mythology | ceremonial object |object (utilitarian)
| human males | human females | victor | competition | prize
| Nike (Greek goddess) | Athena Promachos (Greek iconography)
[for the same amphora, using the EXTENT field]
Extent: overall Subject indexing terms:
religion/mythology | ceremonial object
Extent: side A Subject
indexing terms:
Athena Promachos (Greek iconography) | human female
Extent: side B Subject
indexing terms:
Nike (Greek goddess) | victor | human female | prize | competition
[including the DISPLAY and TYPE fields, for a manuscript
illumination]
Subject Matter Display: Shah Jahan on horseback,
dressed for the hunt.
Subject indexing term:
portrait Type: description
Subject indexing term:
horse Type: description
Subject indexing term:
hunt Type: description
Subject indexing term:
Shah Jahan (Mughal emperor of India, 1592-1666, ruled 1628-1658
Type: identification
Subject indexing term:
virility Type: interpretation
Subject indexing term:
powerType: interpretation
Revised 6 August 2008
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