{"@context":"http://iiif.io/api/presentation/2/context.json","@type":"sc:Manifest","@id":"https://iiif.quartexcollections.com/washu/iiif/02431d11-65a3-4c80-b31f-c69ec8df6550/manifest","label":"rsv13p36","metadata":[{"label":"License","value":"Permission to use, copy and distribute is hereby granted for non-commercial and education purposes only, following fair use guidelines."},{"label":"Visibility","value":"Full access (Allow downloads)"},{"label":"Title","value":"Camposanto, The Saved"},{"label":"Alternative Title","value":"I Salvati"},{"label":"Cultural Context","value":"Italian"},{"label":"Image View Description","value":"The Master of the Triumph of Death was named by Thode after the Triumph of Death, part of the largest cycle of 14th-century frescoes in the Camposanto of Pisa. Other frescoes in the cycle attributable to him are the Last Judgement, Hell, the Thebaid, the Resurrection, Christ Appearing to the Apostles and the Ascension. They were severely damaged during World War II. The cycle is distinctive for its large scale, unique iconography and imaginative interpretation. The Triumph of Death constitutes the most complex representation of this iconographic theme, combining the traditional motif of the Three Living and Three Dead (here enriched by the presence of hermits following the monk Macarius and by the lively and elegant procession behind the Three Living) with an image of Death flying over a pile of corpses towards a group of reveling youths and maidens; depicted in the sky is a battle between angels and devils over the possession of souls. The stylistic unity of the frescoes is now recognized, although Vasari attributed them to various artists, including Orcagna, Pietro Lorenzetti and Buffalmacco. They were once commonly attributed to Francesco Traini, and more recently the Master of the Triumph of Death has been identified as Buffalmacco (Bellosi), who is recorded in the early literature as one of the greatest of 14th-century painters, although no authenticated work by him survives. Once dated after the middle of the 14th century and associated with the changed moral climate after the Black Death of 1348 (Meiss, 1951), the fresco cycle has more recently been dated earlier (Polzer; Meiss, 1971). Furthermore, the costumes and the appearance of the figures suggest that it was executed in the mid-1330s. Grove Dictionary of Art. There is a horizontal tear coming from the upper right edge of the print and a bright yellow discoloration on the left side."},{"label":"Subject (Time Period)","value":["Nineteenth century [LCSH]"]},{"label":"Physical Dimensions of Original","value":"20.1 x 25.5 cm"},{"label":"Image View Type","value":"Painting; photograph"},{"label":"Collecting Area","value":["Kranzberg Art & Architecture Library"]},{"label":"Collection Name","value":["19th Century Architectural Photography Collection","Kranzberg Art & Architecture Library Special Collections"]},{"label":"Subject (Geographic)","value":["Pisa (Italy) [LCNAF]"]},{"label":"Description","value":"There is a horizontal tear coming from the upper right edge of the print and a bright yellow discoloration on the left side."},{"label":"Subject (Topical)","value":["Religious art [LCSH]"]},{"label":"Genre Form","value":["Photographs [LCGFT]"]},{"label":"Type","value":["Still Image"]},{"label":"Medium","value":["albumen paper","black and white photography"]},{"label":"Link to Catalog Record","value":"https://catalog.wustl.edu:443/record=b1391820~S2"},{"label":"Copyright Statement","value":" The organization that has made the Item available reasonably believes that the Item is not restricted by copyright or related rights, but a conclusive determination could not be made. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use."},{"label":"Public Note","value":"Volume 13: Northern Italy Page 36"},{"label":"Metadata Status","value":["Metadata reviewed by Metadata Services staff."]},{"label":"Physical Location of Original","value":"Kranzberg Art&Arch Library Spec Oversize NA202 St8 4o v.1-19"},{"label":"Copyright Status","value":["No Known Copyright"]},{"label":"Creator","value":["Van Lint, Enrico, 1808-1888 [LCNAF]"]},{"label":"Identifier","value":"rsv13p36"},{"label":"Visibility_Controlled","value":["Full access (Allow downloads)"]},{"label":"Link to External Resource","value":"https://library.washu.edu/spec/19th-century-architectural-photography-collection/"}],"description":"Camposanto, The Saved","sequences":[{"@type":"sc:Sequence","canvases":[{"@id":"https://iiif.quartexcollections.com/washu/iiif/02431d11-65a3-4c80-b31f-c69ec8df6550/canvas/_1","@type":"sc:Canvas","label":"Camposanto, The Saved","height":4496,"width":5968,"images":[{"@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://iiif.quartexcollections.com/washu/iiif/02431d11-65a3-4c80-b31f-c69ec8df6550/full/full/0/default.jpg","@type":"dctypes:Image","format":null,"service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://iiif.quartexcollections.com/washu/iiif/02431d11-65a3-4c80-b31f-c69ec8df6550","profile":"http://iiif.io/api/image/2/level2.json","tiles":[{"width":2048,"scaleFactors":[1,2,4]}]},"height":4496,"width":5968},"on":"https://iiif.quartexcollections.com/washu/iiif/02431d11-65a3-4c80-b31f-c69ec8df6550/canvas/_1","metadata":[]}],"thumbnail":{"@id":"https://iiif.quartexcollections.com/washu/iiif/02431d11-65a3-4c80-b31f-c69ec8df6550/full/500,500/0/default.jpg","@type":"dctypes:Image","height":500,"width":500}}]}],"thumbnail":"https://iiif.quartexcollections.com/washu/iiif/02431d11-65a3-4c80-b31f-c69ec8df6550/full/500,500/0/default.jpg","logo":"https://iiif.quartexcollections.com/washu/iiif/logo"}