Open Data in Heritage Science

[{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P10_falls_within"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-GJUU-3Z0S-GZ2A-BOOS"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P14_carried_out_by"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-BE2J-HP76-8YT4-AVNV"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P2_has_type"},"e2o":{"type":"uri","value":"http://www.cidoc-crm.org/crmsci/S2_Sample_Taking"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P32_used_general_technique"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-J5MR-LU5G-UCLQ-J35D"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P4_has_time_span"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-J5MR-LU5G-UCLQ-J35D"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P7_took_place_at"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-ZOVC-LTSG-QPOE-01GW"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P70_is_documented_in"},"e2o":{"type":"bnode","value":"t50020"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P70_is_documented_in"},"e2o":{"type":"bnode","value":"t99971"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P70_is_documented_in"},"e2o":{"type":"bnode","value":"t100563"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/crmsci/O3_sampled_from"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/crmsci/O4_sampled_at"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-Y7GF-N5YH-2FJO-7THC"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/crmsci/O5_removed"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.w3.org/1999/02/22-rdf-syntax-ns#type"},"e2o":{"type":"uri","value":"http://vocab.getty.edu/page/aat/http://vocab.getty.edu/page/aat/300379429"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.w3.org/1999/02/22-rdf-syntax-ns#type"},"e2o":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/E12_Production"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.w3.org/1999/02/22-rdf-syntax-ns#type"},"e2o":{"type":"uri","value":"http://www.cidoc-crm.org/crmsci/S2_Sample_Taking"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.w3.org/2000/01/rdf-schema#comment"},"e2o":{"xml:lang":"en","type":"literal","value":"Actual textual content describing the sampling process"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300028875"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"samples"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.w3.org/2000/01/rdf-schema#label"},"e2o":{"xml:lang":"en","type":"literal","value":"sampling IS6 on painting NG4255"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P10_falls_within"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-GJUU-3Z0S-GZ2A-BOOS"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P14_carried_out_by"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-BE2J-HP76-8YT4-AVNV"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P2_has_type"},"e2o":{"type":"uri","value":"http://www.cidoc-crm.org/crmsci/S2_Sample_Taking"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P32_used_general_technique"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-J5MR-LU5G-UCLQ-J35D"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P4_has_time_span"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-J5MR-LU5G-UCLQ-J35D"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P7_took_place_at"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-ZOVC-LTSG-QPOE-01GW"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P70_is_documented_in"},"e2o":{"type":"bnode","value":"t50020"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P70_is_documented_in"},"e2o":{"type":"bnode","value":"t99971"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P70_is_documented_in"},"e2o":{"type":"bnode","value":"t100563"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/crmsci/O3_sampled_from"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/crmsci/O4_sampled_at"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-Y7GF-N5YH-2FJO-7THC"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/crmsci/O5_removed"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.w3.org/1999/02/22-rdf-syntax-ns#type"},"e2o":{"type":"uri","value":"http://vocab.getty.edu/page/aat/http://vocab.getty.edu/page/aat/300379429"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.w3.org/1999/02/22-rdf-syntax-ns#type"},"e2o":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/E12_Production"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.w3.org/1999/02/22-rdf-syntax-ns#type"},"e2o":{"type":"uri","value":"http://www.cidoc-crm.org/crmsci/S2_Sample_Taking"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.w3.org/2000/01/rdf-schema#comment"},"e2o":{"xml:lang":"en","type":"literal","value":"Actual textual content describing the sampling process"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.w3.org/2000/01/rdf-schema#label"},"e2o":{"xml:lang":"en","type":"literal","value":"sampling IS6 on painting NG4255"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P10_falls_within"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-GJUU-3Z0S-GZ2A-BOOS"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P14_carried_out_by"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-BE2J-HP76-8YT4-AVNV"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P2_has_type"},"e2o":{"type":"uri","value":"http://www.cidoc-crm.org/crmsci/S2_Sample_Taking"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P32_used_general_technique"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-J5MR-LU5G-UCLQ-J35D"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P4_has_time_span"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-J5MR-LU5G-UCLQ-J35D"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P7_took_place_at"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-ZOVC-LTSG-QPOE-01GW"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P70_is_documented_in"},"e2o":{"type":"bnode","value":"t50020"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P70_is_documented_in"},"e2o":{"type":"bnode","value":"t99971"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/P70_is_documented_in"},"e2o":{"type":"bnode","value":"t100563"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/crmsci/O3_sampled_from"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/crmsci/O4_sampled_at"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-Y7GF-N5YH-2FJO-7THC"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.cidoc-crm.org/crmsci/O5_removed"},"e2o":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.w3.org/1999/02/22-rdf-syntax-ns#type"},"e2o":{"type":"uri","value":"http://vocab.getty.edu/page/aat/http://vocab.getty.edu/page/aat/300379429"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.w3.org/1999/02/22-rdf-syntax-ns#type"},"e2o":{"type":"uri","value":"http://www.cidoc-crm.org/cidoc-crm/E12_Production"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.w3.org/1999/02/22-rdf-syntax-ns#type"},"e2o":{"type":"uri","value":"http://www.cidoc-crm.org/crmsci/S2_Sample_Taking"}},{"sample":{"type":"uri","value":"https://data.ng-london.org.uk/SC-CWTX-QXLH-Y7OW-04DP"},"painting":{"type":"uri","value":"https://data.ng-london.org.uk/0EUI-0001-0000-0000"},"sampleLabel":{"xml:lang":"en","type":"literal","value":"Sample from NG4255"},"sampleType":{"type":"uri","value":"http://vocab.getty.edu/page/aat/300034254"},"embed":{"type":"uri","value":"https://data.ng-london.org.uk/SC-5DWA-VSLZ-UKXJ-2P36"},"stype":{"xml:lang":"en","type":"literal","value":"cross sections (orthographic projections)"},"invno":{"type":"literal","value":"NG4255"},"note":{"type":"literal","value":"
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son is leaving to go to his certain death. She falls into the arms of her companion, who is probably one of the Three Marys, who supported the Virgin during the Passion (Christ’s torture and crucifixion). Saint John the Evangelist stands behind Christ, wringing his hands in grief.
This is one of Correggio’s most impressive early paintings. The subject does not figure in any of the Gospels and is rare in Italian Renaissance art. However, it was common in German paintings and engravings, which Correggio admired. X-ray images reveal that Correggio began a different version of this picture but then abandoned it, turned the canvas upside down and started again.
"},"eml":{"xml:lang":"en","type":"literal","value":"preparation of sample IS6 for painting NG4255"},"e2":{"type":"uri","value":"https://data.ng-london.org.uk/SC-OK9T-N7QZ-QE7K-72KJ"},"e2p":{"type":"uri","value":"http://www.w3.org/2000/01/rdf-schema#comment"},"e2o":{"xml:lang":"en","type":"literal","value":"Actual textual content describing the sampling process"}}]