d5.2.1 "report on compilation of metadata for 2d/3d artworks in

INSIDDE Collaborative Project

FP7 – 600849

D5.2.1 Report on compilation of

metadata for 2D/3D artworks in

Europeana

Lead Author: Jose Antonio Sánchez

With contributions from: Marcos Fernández (Treelogic), Javier

Gutiérrez Meana (Treelogic), Marta Flórez Igual (MBBAA), Irina

Yordanova (RIM Stara Zagora)

Reviewer: Irina Yordanova

Deliverable nature: Report (R)

Dissemination level: (Confidentiality)

Public (PU)

Contractual delivery date:

December 2015

Actual delivery date: December 2015

Version: 1.0

Total number of pages: 71

Keywords: Metadata, Europeana, ESE, Dublin Core, Crosswalk, INSIDDE

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Abstract

The present deliverable is focused on collecting and adapting metadata resulting from previous Work Packages on the INSIDDE project. First, a general overview of metadata is given. It shows the different types, functions, attributes and characteristics of metadata with examples from the "real world". After that, different metadata schemas applicable to museum objects are detailed together with some pros and cons identified. The selected metadata schema has to be adapted to one of the standard formats used in Europeana: ESE and EDM.

Due to several reasons presented in the document, the schema selected for describing digital objects in the repository is the Dublin Core, the default metadata schema used in DSpace. Since the Regional Library of Varna, the Bulgarian Aggregator for Europeana requires the data in ESE format and the adaptation of DSpace to the EDM schema is too expensive, the consortium decided to select the ESE schema as the one for delivering content to Europeana.

Finally this document specifies the transformation, by means of a metadata crosswalk mapping, of the metadata associated with the digital objects in Dublin Core to the ESE schema in order to be uploaded to Europeana.

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Executive summary

The deliverable D5.2.1 "Report on compilation of metadata for 2D/3D artworks in Europeana" is focused on collecting and adapting the metadata resulting from previous Work Packages on the INSIDDE project. This is only the first step to achieve the main target of this task, which is to integrate the digital objects (2D and 3D models) into the professional knowledge-sharing platform Europeana.

The first section gives a general overview of metadata. It shows the different types, functions, attributes and characteristics of metadata with examples from the "real world". It also tries to dispel commonly accepted myths and demonstrate the importance and the role of metadata in the universe of information.

The second section performs an analysis of the main metadata schemas applicable to museum objects together with some pros and cons identified. It is worth remarking that the CIDOC CRM schema provides a framework for the description of cultural heritage objects in an effective way, but it does not support the description of 3D models. Furthermore, CRMdig – an extension of CIDOC CRM – is also interesting since it allows encoding metadata about the steps and methods of production ("provenance") of digitisation products and synthetic digital representations of 2D and 3D objects. Practical examples of both schemas mapping objects handled in this project are documented in this section.

The third section covers the metadata schemas that have to be conformed in order to contribute content to Europeana: ESE and EDM. In this section the strengths and weaknesses of each schema are also detailed.

The forth section explains the reasons that have made the consortium to select the Dublin Core as the base metadata schema and ESE as the schema used to provide content to Europeana.

The fifth section documents the crosswalk used to transform the metadata from Dublin Core to ESE and this is followed by the conclusions coming out from the analysis of the content of this deliverable.

Finally, at the end of the document, a list with all the object templates filled with the metadata collected is presented in an annex.

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Document Information

IST Project

Number

FP7 - 600849 Acronym INSIDDE

Full Title Integration of technological solutions for imaging, detection, and digitisation of hidden elements in artworks

Project URL http://www.insidde-fp7.eu/

Document URL

EU Project Officer José María del Águila Gómez

Deliverable Number D5.2.1 Title Report on compilation of metadata for 2D/3D artworks in Europeana

Work Package Number WP5 Title Integration of enriched surrogates into Europeana and development of an end-user application

Date of Delivery Contractual M36 Actual M36

Status version 1.0 final

Nature prototype report demonstrator other

Dissemination level public restricted

Authors (Partner)

Responsible Author

Name Jose Antonio Sánchez

E-mail [email protected]

Partner Treelogic Phone 00 34 985 966 136

Abstract

(for dissemination)

The present deliverable is focused on collecting and adapting metadata resulting from previous Work Packages on the INSIDDE project. First, a general overview of metadata is given. It shows the different types, functions, attributes and characteristics of metadata with examples from the "real world". After that, different metadata schemas applicable to museum objects are detailed together with some pros and cons identified. The selected metadata schema has to be adapted to one of the standard formats used in Europeana: ESE and EDM.

Due to several reasons presented in the document, the schema selected for describing digital objects in the repository is the Dublin Core, the default metadata schema used in DSpace. Since the Regional Library of Varna, the Bulgarian Aggregator for Europeana requires the data in ESE format and the adaptation of DSpace to the EDM schema is too expensive, the consortium decided to select the ESE schema as the schema for delivering content to Europeana.

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Finally this document specifies the transformation, by means of a metadata crosswalk mapping, of the metadata associated with the digital objects in Dublin Core to the ESE schema in order to be uploaded to Europeana.

Keywords Metadata, Europeana, ESE, Dublin Core, Crosswalk, INSIDDE

Version Log

Issue Date Rev. No. Author Change

13/04/2015 0.1 Jose Antonio Sánchez Table of Contents

21/04/2015 0.2 Jose Antonio Sánchez Update Table of Contents

22/04/2015 0.3 Jose Antonio Sánchez Introduction to metadata

5/05/2015 0.4 Jose Antonio Sánchez Metadata Standards: DC, CDWA, SPECTRUM

13/05/2015 0.5 Jose Antonio Sánchez Metadata Standards: CIDOC CRM, LIDO

18/05/2015 0.6 Jose Antonio Sánchez CRMdig

21/05/2015 0.7 Jose Antonio Sánchez Europeana metadata schemas

25/06/2015 0.8 Jose Antonio Sánchez Crosswalk added

21/07/2015 0.9 Jose Antonio Sánchez Several content added

15/09/2015 0.10 Irina Yordanova Object Templates added

21/09/2015 0.11 Marta Flórez Object Templates added

23/09/2015 0.12 Marta Flórez Object Templates added




27/11/2015 0.16 Jose Antonio Sánchez New contributions to the annex

27/11/2015 0.17 Javier Gutiérrez Meana Minor changes

30/11/2015 0.18 Marcos Fernández Díaz Minor changes

21/12/2015 0.19 Irina Yordanova Revision

22/12/2015 1.0 Javier Gutiérrez Meana Final version

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Table of Contents

Executive summary............................................................................................................................................ 5

Document Information ...................................................................................................................................... 7

Table of Contents .............................................................................................................................................. 9

List of figures ................................................................................................................................................... 11

List of tables ..................................................................................................................................................... 13

Abbreviations................................................................................................................................................... 15

1 Introduction to metadata ......................................................................................................................... 17

1.1 Clarification of some myths related to metadata ............................................................................. 22

1.2 Why metadata is so important? ....................................................................................................... 22

2 Study of metadata standards ................................................................................................................... 25

2.1 Dublin Core ....................................................................................................................................... 25

2.2 CDWA ................................................................................................................................................ 27

2.3 SPECTRUM ........................................................................................................................................ 28

2.4 CIDOC CRM ....................................................................................................................................... 29

2.5 CRMdig .............................................................................................................................................. 30

2.6 LIDO ................................................................................................................................................... 31

3 ESE and EDM, the Europeana metadata schemas ................................................................................... 33

3.1 ESE schema ....................................................................................................................................... 33

3.2 EDM Schema ..................................................................................................................................... 34

4 Selection of schemas ................................................................................................................................ 37

5 Crosswalk DC to ESE ................................................................................................................................. 39

6 Conclusions .............................................................................................................................................. 41

References ....................................................................................................................................................... 43

Annex A RDF mappings ................................................................................................................................ 45

A.1 Annex A1 ........................................................................................................................................... 45

A.2 Annex A2 ........................................................................................................................................... 49

Annex B Set of object templates (2D & 3D) uploaded to Europeana.......................................................... 51

B.1 Crucifixion ......................................................................................................................................... 51

B.2 Still life with vases ............................................................................................................................. 51

B.3 Still life with vases (Infrared) ............................................................................................................ 52

B.4 Still life ............................................................................................................................................... 53

B.5 Carlos II at ten years .......................................................................................................................... 54

B.6 Coronation ........................................................................................................................................ 55

B.7 Dead Christ on the Cross ................................................................................................................... 56

B.8 The Adoration of the Magi ................................................................................................................ 57

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B.9 Covadonga´s cave.............................................................................................................................. 58

B.10 Luis I ............................................................................................................................................... 59

B.11 Saint Stephen ................................................................................................................................ 60

B.12 Saint Peter ..................................................................................................................................... 61

B.13 Running on the beach ................................................................................................................... 62

B.14 Saint Catalina and Saint Margarita ................................................................................................ 63

B.15 Triptych of the Adoration of the Magi .......................................................................................... 64

B.16 Portrait of Jovellanos ..................................................................................................................... 65

B.17 Ceramic balsamarium (Dark) ......................................................................................................... 66

B.18 Ceramic balsamarium (Light) ........................................................................................................ 67

B.19 Ceramic cup (Handle) .................................................................................................................... 68

B.20 Ceramic cup (No Handle)............................................................................................................... 70

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List of figures

Figure 1: The life cycle of an information object. ............................................................................................ 21

Figure 2: CIDOC CRM Top level classes useful for integration. ....................................................................... 29

Figure 3: CIDOC-CRM mapping of the “Adoration of the Magi” record. ......................................................... 30

Figure 4: CRMdig representation of the acquisition of the 3D model of a bulgarian balsamarium. .............. 31

Figure 5: ESE elements. ................................................................................................................................... 33

Figure 6: Europeana Data Model. .................................................................................................................... 34

Figure 7: EDM basic pattern. ........................................................................................................................... 35

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List of tables

Table 1: Different types of metadata and their functions. .............................................................................. 18

Table 2: Attributes and characteristics of metadata. ...................................................................................... 18

Table 3: Dublin Core basic element set. .......................................................................................................... 25

Table 4: Crosswalk DC to ESE. .......................................................................................................................... 39

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Abbreviations

AACR2: Anglo-American Cataloguing Rules

AAT: Art and Architecture Thesaurus

AITF: Art Information Task Force

CAA: College Art Association

CCO: Cataloguing Cultural Objects

CIDOC CRM: CIDOC object-oriented Conceptual Reference Model

DC: Dublin Core

DCMI: Dublin Core Metadata Initiative

EAD: Encoded Archival Description

EDM: Europeana Data Model

ESE: Europeana Semantic Elements

ICOM-CIDOC: International Committee for Documentation of the International Council of Museums

LCSH: Library of Congress Subject Headings

LIDO: Lightweight Information Describing Objects

LOD: Linked Open Data

MARC: Machine-Readable Cataloguing format

MDA: Museum Documentation Association

NEH: National Endowment for the Humanities

HTML: HyperText Markup Language

RDA: Resource Description and Access

RDF: Resource Description Framework

SPECTRUM: Standard ProcEdures for CollecTions Recording Used in Museums

TEI: Text Encoding Initiative

TGN: Thesaurus of Geographic Name

TGM: Thesaurus for Graphic Materials

ULAN: Union List of Artist Names

WPx: Work Package x

XML: eXtensible Markup Language

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1 Introduction to metadata

The word metadata literally has become an omnipresent term that has different meanings depending on the professionals or experts that use it. According to Howe [1], the term was coined by Jack Myers in the 60s to describe data sets. The first commonly accepted meaning (and currently the most widely used) was “data about data”, since it provides the minimum information needed to identify a resource. This same source states that the metadata can include descriptive information about the context, quality and condition, or characteristics of the data. The term has not evolved significantly, but the concepts associated, the level of applications and the use of metadata have evolved considerably in the last years.

As the Information Age becomes a reality, it is really important to understand the critical role that the different types of metadata play in the development of effective, accredited, flexible and rigorous information systems.

Traditionally, information specialists on cultural heritage, such as museums administrators, librarians and archivists, have used the term “metadata” in order to refer to data created by themselves and used for indexing and cataloguing archives to order and, definitely, make the information more accessible. Since the 60s, libraries, supported by cataloguing rules and standards of structure and content internationally recognised such as MARC and subject headings like LCSH have shared descriptive metadata using computerised systems such as online public access catalogues. However, the methods and the descriptive theory vary widely according to the goals of the different groups and organisations that make use of the metadata.

Nevertheless, metadata is more than descriptive elements. A more inclusive conceptualisation of metadata is needed in order to be able to incorporate new areas within the digital information systems. For example, the bearers of artworks create metadata related to the management, access, conservation and use of collections. Metadata regarding acquisition records or exhibition catalogues or metadata related to the level and type of use of collections and information resources are also available. Nowadays, integrated information systems such as virtual museums, digital repositories or archives, include digital versions and descriptions of the content of the collections. The addition of other types of metadata within such systems reaffirms its importance in the management and maintenance of the collections. Paul Conway in [2] refers to this issue when discussing the effect of digitisation in the conservation of items:

The digital world transforms traditional preservation concepts from protecting the physical integrity of the

object to specifying the creation and maintenance of the object whose intellectual integrity is its primary

characteristic.

Since users can directly access the content through the network, metadata to specify the name and the type of repository is required in order to certify the authenticity of the content and context, and also to provide some of the data that an information specialist would have provided through a physical reference or as part of an investigation. Moreover, the metadata, carefully constructed, can also provide additional access points to content that could benefit digital information systems.

In less traditional information domains, the term metadata has an even wider scope of application. A provider of Internet resources could use metadata referring to information encoded as HTML meta-elements in order to make the website easier to find. Individuals can identify digitised images with metadata information coming into the header of a digital object to record information about the image file, the imaging process and the rights associated with the image. A social science data archivist could use the term referring to the systems and the necessary research documentation to run and interpret a magnetic tape containing raw research data. An electronic records archivist may use the term to refer to all the contextual information, processing and use information needed to identify and document the application, authenticity and integrity of an archival record in an electronic system. In all these interpretations, metadata not only describes a software object but also documents its behaviour, its function and use, its relationship with other computer objects and how it should be managed. All these perspectives on metadata are important in the development of digital information systems, but lead to a broad concept of metadata. To better understand this concept, it is useful to divide it into different categories -administrative metadata, descriptive, preservation, use and,

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finally, technical metadata- that reflect key aspects of the functionality of metadata. Table 1 defines each of these categories and gives examples of common functions on a digital information system.

Table 1: Different types of metadata and their functions.

Type Definition Examples

Administrative Metadata used in managing and administering collections and information resources

• Acquisition information • Rights and reproduction

tracking • Documentation of legal access

requirements • Location information • Selection criteria for

digitisation Descriptive Metadata used to identify and

describe collections and related information resources

• Cataloguing records • Finding aids • Differentiations between

versions • Specialised indexes • Curatorial information • Hyperlinked relationships

between resources • Annotations by creators and

users Preservation Metadata related to the

preservation, management of collections and information resources

• Documentation of physical condition of resources

• Documentation of actions taken to preserve physical and digital versions of resources, e.g., data refreshing and migration

• Documentation of any changes occurring during digitisation or preservation

Technical Metadata related to how a system functions or metadata behaves

• Hardware and software documentation

• Technical digitisation information, e.g., formats, compression ratios, scaling routines

• Tracking of system response times

• Authentication and security data, e.g., encryption keys, passwords

Use Metadata related to the level and type of use of collections and information resources

• Circulation records • Physical and digital exhibition

records • Use and user tracking • Content reuse and multi

versioning information • Search logs • Rights metadata

Apart from the several types of metadata and its diverse functions, there are many features associated with them. Table 2 shows some of the key attributes of metadata with examples.

Table 2: Attributes and characteristics of metadata.

Attribute Characteristics Examples

Source of metadata Internal metadata generated by the creating agent for an information

• File names and header information

• Directory structures

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object at the time when it is first created or digitised

Metadata intrinsic to an item or work

• File format and compression scheme

• A title or other inscription added to an art work by its creator

• A title or subtitle on the title page of a manuscript or printed book

External metadata relating to an original item or information object, that is created later, often by someone other than the original creator

• URLs and other digital statements of provenance

• “Tracked changes” • Registration and cataloguing

records • Rights and other legal

information Method of metadata

creation

Automatic metadata generated by a computer

• Keyword indexes • User transaction logs • Audit trails

Manual metadata created by humans

• Descriptive metadata such as catalogue records, finding aids, and specialised indexes

Nature of metadata Non-expert metadata created by persons who are neither subject specialists nor information professionals, e.g., the original creator of the information object or a folksonomist

• Meta-tags created for a personal Web page

• Personal filing systems • Folksonomies

Expert metadata created by subject specialists and/or information professionals, often not the original creator of the information object

• Specialised subject headings • MARC records • Archival finding aids • Catalogue entries for museum

objects • Ad hoc metadata created by

subject experts, e.g., notations by scholars or researchers

Status Static metadata that does not or should not change once it has been created

• Technical information such as the date(s) of creation and modification of an information object, how it was created, file size

Dynamic metadata that may change with use, manipulation, or preservation of an information object

Long-term metadata necessary to ensure that the information object continues to be accessible and usable

Short-term metadata, mainly of a transactional nature

• Directory structure • User transaction logs

• Technical format and processing information

• Rights information • Preservation management

documentation

• Interim location information

Structure Structured metadata that conforms to a predictable standardised or proprietary structure

Unstructured metadata that does not conform to a predictable structure

• MARC • TEI • EAD • CDWA Lite • Local database formats

• Unstructured note fields and other free-text annotations

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Semantics Controlled metadata that conforms to a standardised vocabulary or authority form, and that follows standard content (i.e., cataloguing) rules

Uncontrolled metadata that does not conform to any standardised vocabulary or authority form

• LCSH, LCNAF, AAT, ULAN, TGM, TGN

• AACR (RDA), DACS, CCO

• Free-text notes • HTML meta tags and other

user-created tags Level Collection-level metadata relating

to collections of original items and/or information objects

Item-level metadata relating to individual items and/or information objects, often contained within collections

• Collection- or group-level record, e.g., a MARC record for a group or collection of items; a finding aid for an intact archival collection

• Specialised index

• Catalogue records for individual bibliographic items or unique cultural objects

• Transcribed image captions and dates

• “Tombstone” information for works of art and material culture

• Format information

The creation and management of metadata has become a complex mix of manual and automated processes created by different individuals through various functions during the lifetime of a digital object.

Figure 1 illustrates the lifecycle of digital objects in a digital environment. As the digital objects go through each phase, new metadata layers are added and can be linked in different ways. On one hand, the metadata may be contained in the same "wrapper" as the digital object, for example, as header information or it also can be associated with the digital object by means of hyperlinks. The relationship between metadata and digital objects as well as between the different aspects of the metadata can be also documented in a metadata register. Once the designers of the system detect the need to incorporate and manage new metadata in the information systems, new mechanisms appear to associate the metadata with the digital objects.

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Figure 1: The life cycle of an information object.

Creation, multi versioning, reuse, and recontextualisation of information objects: Objects enter a digital information system by being digitally created or being converted into a digital format. Multiple versions of the same object could be created for preservation, research, dissemination or even product-development purposes. It may include some administrative and descriptive metadata.

Organization and description: A primary function of metadata is the description and ordering of original objects or items in a repository or collection, as well as of the information objects relating to the originals. Information objects are automatically or manually organised into the structure of the digital information system and may include descriptions generated by the original creator. Additional metadata may be created by information professionals through registration, cataloguing, and indexing processes or by others via folksonomies and other forms of user-contributed metadata.

Validation: Users scrutinise metadata and other aspects of retrieved resources in order to ascertain the authoritativeness and trustworthiness of those resources.

Searching and retrieval: Good descriptive metadata is essential to users’ ability to find and retrieve relevant metadata and information objects. Locally stored as well as virtually distributed information objects are subject to search and retrieval by users, and information systems create and maintain metadata that tracks retrieval algorithms, user transactions, and system effectiveness in storage and retrieval.

Utilisation and preservation: In the digital realm, information objects may be subject to many different kinds of uses throughout their lives, during such processes they may also be reproduced and modified. Metadata related to user annotations, rights tracking, and version control may be created. Digital objects, especially those that are born digital, also need to be subject to a continuous preservation regime and undergo processes such as refreshing, migration, and integrity checking to ensure their continued availability and to document any changes that might have occurred to the information object during preservation processes.

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Disposition: Metadata is a key component in documenting the disposition (e.g., accessioning, deaccessioning) of original objects and items in a repository, as well as of the information objects relating to those originals. Information objects that are inactive or no longer necessary may be discarded.

1.1 Clarification of some myths related to metadata

• Metadata does not have necessarily to be digital. Cultural heritage specialists have been creating metadata since they started to manage collections. The metadata is added to digital information repositories.

• Metadata is not only related to the description of objects. Although many museums, archives, libraries associate this term with description and cataloguing, metadata can also refer to the context, management, processing, conservation and use of the described resources.

• Metadata may come from different sources. It can be produced by an individual (information specialist or user) or automatically by a computer or inferred as a consequence of a relation with another source such as a hyperlink.

• Metadata continue to evolve during the life cycle of a digital object. Metadata is created, modified or even discarded in various moments throughout the duration of a resource.

1.2 Why metadata is so important?

As it was specified in previous subsections, metadata consist of a very complex construct that may be expensive to create and maintain. How can be the cost and effort involved justified? The evolution of the World Wide Web and the online digital repositories has opened a wide range of possibilities to the information specialists. The use of carefully crafted metadata, following international standards, has allowed information specialist to take advantage of new opportunities.

Increased Accessibility: The effectiveness of the search can be improved significantly with detailed and consistent metadata. Metadata can also facilitate to search across multiple collections or create "virtual" collections from material distributed by different repositories — as long as the repositories make use of the same descriptive metadata or metadata that can be applied across different web sites—. Digital information systems as well as metadata standards — incorporating common elements such as the EAD, the TEI and the DC— enable users to move easily through different versions of the digital object at the same time and perform searches by collection or object across different information systems.

Retention of context: Museum, archival and library repositories are not just limited to store objects. These institutions store objects that are interrelated and also associated with people, places, events and movements. In the digital world sometimes an object belonging to a collection, after being digitised, is separated from both the catalogue information and its relationships with other objects in the same collection. In this sense, metadata play a role of paramount importance in documenting and maintaining these relationships as well as in establishing the authenticity, structural integrity and completeness of digital objects.

Expanding use: Digital information systems for museums and archives facilitate the spread of digital versions of objects to users who, for geographical, economic or other reasons, may never have had the chance to see them. However, with each new group of users the question of how to increase the intellectual access to these objects arises. New users may have very different needs from the traditional users which are designed many of the existing information services. For instance, teachers and students might want to find and use information in a different way than researchers do. Metadata can document different uses of the systems and their content. Properly structured metadata can provide a great number of strategies to search for information, presenting the results and even manipulate digital objects without compromising their integrity.

Multi-versioning: The existence of information and cultural artefacts in digital format has increased the interest in the possibility of creating multiple and different versions of those objects. This process may simply be limited to create a high-resolution copy for conservation purposes and research, and a copy of low resolution which can be transmitted quickly across a network to get an instant reference image. It is also

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possible to create a derivative format of the image to be used in publications, exhibitions or schools. In any case, the digital object must have associated metadata connecting the different versions and documenting their similarities and differences. Metadata may also be able to distinguish the differences between different versions of a digitised object and the original copy or the object itself.

Legal issues: Metadata allows repositories to identify the levels of information about the rights and restrictions affecting the use of a digital object and its different versions. Metadata also documents other legal requirements, or those imposed by donors such as privacy issues or ownership interests.

Preservation: If the digital objects have to survive successive generations of hardware and software or withstand the migration to new systems, they must have metadata that allows them to exist independently of the system used to store and find them. In this sense, they are essential technical, descriptive and preservation metadata that serve to document the creation and maintenance of an information object, behaviour and relationships with other objects. Note that in order to maintain the accessibility and intelligibility of digital objects, it is essential to preserve and transfer their metadata.

System improvement and economics: Metadata about the usage of knowledge elements, which can be collected automatically by a computer, can be used to evaluate and improve systems so that they become more effective and efficient from a technical and economic point of view. This data can also be used in planning new systems.

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2 Study of metadata standards

The evolution of the World Wide Web and therefore the digital collections had a great impact on the spread of metadata standards. Each metadata standard addresses the needs of particular user communities to enable the best possible description of a resource type for their needs.

Metadata standards can be divided at least in four categories:

• Data content standards: The rules for how data are entered, for example cataloguing rules and syntax conventions. The Anglo-American Cataloguing Rules (AACR2; replaced by RDA in 2013), and CCO are good examples.

• Data value standards: Date value standards usually take the form of controlled vocabularies, including subject specific-terminologies and authorities for names and places. Well-known examples include the AAT, the ULAN, the TGN, the TGM, and the Library of Congress Authorities (Name and Subject Authorities).

• Data structure standards: Data structure standards are concerned with the definition of a record and the relationship of the fields within it .The MARC format is a good example, although it is really a hybrid of a data structure and an information exchange (transmission) standard. SPECTRUM, a collections management standard developed by MDA, provides what are called “procedures” for documenting museum collections, including a procedure for object creation. VRA Core is a data structure standard.

• Data communication or information interchange (transmission) standards: These are metadata standards expressed in machine-readable form. This type of standard is often a manifestation of a particular data structure standard, encoded or marked up for machine processing.

The subsections below give an overview of some main metadata standards to be used to complete and enrich the 2D and 3D models resulting from the WP3 and WP4 of the INSIDDE project.

2.1 Dublin Core

The Dublin Core [3] metadata standard is a simple yet effective element set for describing a wide range of networked resources. The Dublin Core standard includes two levels: Simple and Qualified. Simple Dublin Core comprises fifteen elements; Qualified Dublin Core includes three additional elements (Audience, Provenance and RightsHolder), as well as a group of element refinements (also called qualifiers) that refine the semantics of the elements in ways that may be useful in resource discovery. The semantics of Dublin Core have been established by an international, cross-disciplinary group of professionals from librarianship, computer science, text encoding, the museum community, and other related fields of scholarship and practice.

Another way to look at Dublin Core is as a "small language for making a particular class of statements about resources". In this language, there are two classes of terms -- elements (nouns) and qualifiers (adjectives) -- which can be arranged into a simple pattern of statements. The resources themselves are the implied subjects in this language.

The Dublin Core basic element set is outlined in Table 3.

Table 3: Dublin Core basic element set.

Content Intellectual Property Instantiation

Coverage Contributor Date

Description Creator Format

Type Publisher Identifier

Relation Rights Language

Source

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Subject

Title

Audience

Besides these (none mandatory and all repeatable) basic elements other mechanisms exist and can be used to adapt the Dublin Core to specific information needs and to make this metadata model applicable to any service or digital information system. These mechanisms are mainly:

• Through application profiles developed for the Dublin Core associated with different disciplines, such as application profile Libraries: DC-Lib

• By means of metadata terms which include refinements, encoding schemes and controlled vocabulary terms intended to facilitate discovery of resources.

In the diverse world of the Internet, Dublin Core can be seen as a "metadata pidgin for digital tourists": easily grasped, but not necessarily up to the task of expressing complex relationships or concepts. Each element is optional and may be repeated. Most elements also have a limited set of qualifiers or refinements, attributes that may be used to further refine (not extend) the meaning of the element. The DCMI has established standard ways to refine elements and encourage the use of encoding and vocabulary schemes.

Three other Dublin Core principles are critical to understanding how to think about the relationship of metadata to the underlying resources they describe:

• The One-to-One Principle: In general Dublin Core metadata describes one manifestation or version of a resource, rather than assuming that manifestations stand in for one another. For instance, a JPEG image of the Mona Lisa has much in common with the original painting, but it is not the same as the painting. As such the digital image should be described as itself, most likely with the creator of the digital image included as a Creator or Contributor, rather than just the painter of the original Mona Lisa. The relationship between the metadata for the original and the reproduction is part of the metadata description, and assists the user in determining whether he or she needs to go to the Louvre for the original, or whether his/her requirements can be met by a reproduction.

• The Dumb-down Principle: The qualification of Dublin Core properties is guided by a rule known colloquially as the Dumb-Down Principle. According to this rule, a client should be able to ignore any qualifier and use the value as if it were unqualified. While this may result in some loss of specificity, the remaining element value (minus the qualifier) must continue to be generally correct and useful for discovery. Qualification is therefore supposed only to refine, not extend the semantic scope of a property.

• Appropriate values: Best practice for a particular element or qualifier may vary by context, but in general an implementor cannot predict that the interpreter of the metadata will always be a machine. This may impose certain constraints on how metadata is constructed, but the requirement of usefulness for discovery should be kept in mind.

The goals of Dublin Core are the following:

• Simplicity of creation and maintenance: The Dublin Core element set has been kept as small and simple as possible to allow a non-specialist to create simple descriptive records for information resources easily and inexpensively, while providing for effective retrieval of those resources in the networked environment.

• Commonly understood semantics: Discovery of information across the vast commons of the Internet is hindered by differences in terminology and descriptive practices from one field of knowledge to the next. The Dublin Core can help the "digital tourist" -- a non-specialist searcher -- find his or her way by supporting a common set of elements, the semantics of which are universally understood and supported. For example, scientists concerned with locating articles

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by a particular author, and art scholars interested in works by a particular artist, can agree on the importance of a "creator" element. Such convergence on a common, if slightly more generic, element set increases the visibility and accessibility of all resources, both within a given discipline and beyond.

• International scope: The Dublin Core Element Set was originally developed in English, but versions are being created in many other languages, including Finnish, Norwegian, Thai, Japanese, French, Portuguese, German, Greek, Indonesian, and Spanish. The DCMI Localization and Internationalization Special Interest Group is coordinating efforts to link these versions in a distributed registry.

Although the technical challenges of internationalisation on the World Wide Web have not been directly addressed by the Dublin Core development community, the involvement of representatives from virtually every continent has ensured that the development of the standard considers the multilingual and multicultural nature of the electronic information universe.

• Extensibility: While balancing the needs for simplicity in describing digital resources with the need for precise retrieval, Dublin Core developers have recognized the importance of providing a mechanism for extending the DC element set for additional resource discovery needs. It is expected that other communities of metadata experts will create and administer additional metadata sets, specialized to the needs of their communities. Metadata elements from these sets could be used in conjunction with Dublin Core metadata to meet the need for interoperability. The DCMI Usage Board is presently working on a model for accomplishing this in the context of "application profiles."

Rachel Heery and Manjula Patel, in [4] define an application profile as:

" ... schemas which consist of data elements drawn from one or more namespaces, combined together by

implementors, and optimised for a particular local application."

This model allows different communities to use the DC elements for core descriptive information, and also domain specific extensions which make sense within a more limited arena.

Advantages:

• Very easy to use and intuitive.

• It allows to create a very minimal record for each digital object with just a date, a description, and a format in case.

Disadvantages:

• There are no cataloguing rules that determine how data will be entered in the fields. So the creator can be written as "creator = Leonardo da Vinci" or can be also written as "creator = da Vinci, Leonardo".

2.2 CDWA

CDWA [5] serves to describe artworks, architecture, other material culture, groups and collections of works, and related images, arranged in a conceptual framework that may be used for designing databases and accessing information. CDWA includes around 540 categories and subcategories of information. A small subset of categories are considered core in that they represent the minimum information necessary to identify and describe a work. CDWA includes discussions, basic guidelines for cataloguing, and examples.

CDWA is a product of the AITF, which encouraged dialog between art historians, art repositories, and information providers so that together they could develop guidelines for describing works of art, architecture, groups of objects, and visual and textual surrogates. The group was formed in the early 1990s and consisted of representatives from the communities that provide and use art information: art historians, museum curators and registrars, visual resource professionals, art librarians, information managers, and technical specialists.

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The purpose of CDWA is to provide a set of guidelines outlining best practice for documenting artworks, architecture, and other cultural works. CDWA also provides a framework to which existing art information systems may be mapped, upon which new systems may be developed, or upon which data may be linked in an open environment. The CDWA framework contributes to the integrity and longevity of data and facilitates the migration of data to new systems as information technology continues to evolve. Above all, it helps the end user in the search for reliable information, regardless of the system in which data is stored.

CDWA recommends a relational data structure, where records for objects/works are linked to each other in hierarchical relationships, where necessary. CDWA also recommends maintaining separate files or authorities for related visual works, related textual materials, persons/corporate bodies, locations/places, generic concepts, and subjects. Authority information on persons, places, concepts, and subjects may be important for retrieval of the work, but this information is more efficiently recorded in separate authority files than in records about the work itself. The advantage of storing ancillary information in an authority file is that this information needs be recorded only once, and it may then be linked to all appropriate work records. Authorities described in CDWA should be hierarchical; given that authority entities often require multiple broader contexts, a polyhierarchical structure is recommended.

Advantages:

• It can be used by smaller institutions.

• It is built specifically for sharing in repositories.

Disadvantages:

• More difficult to use than Dublin Core.

• CDWA can be used to describe the original artworks, but it does not fit properly with digital representations of the artwork.

2.3 SPECTRUM

SPECTRUM [6] represents a common understanding of good practice for collections management in museums. It contains detailed procedures for managing the processes that an object goes through during its lifecycle in a museum such as documentation, managing and identification. Further attention is also paid to, e.g., rights management, lending and risk management.

SPECTRUM draws directly on the expertise and experience of practising museum professionals both within the UK and internationally. Work on the first version of SPECTRUM began in 1991 and since its launch in 1994 it has been reviewed and updated periodically to encompass changes in professional practice.

SPECTRUM is an open, freely-available standard developed through a collaboration of 300 museum professionals. It consists of two main parts:

• A set of 21 procedures which show, using flowcharts, the main management processes in the museum such as acquiring new material, assessing risk, managing copyright or making and receiving loans. These procedures can be used to review and improve the practice in any size of museum.

• A set of information units which museums need to collect during the management process to support public access, accountability and efficiency.

SPECTRUM has also been recognised internationally as the leading standard for collections management and has been licensed for translation and use in over 100 countries around the world.

Advantages:

• SPECTRUM is generic and can be adapted to the museum needs.

Disadvantages:

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• SPECTRUM is huge. Twenty-one procedures are a lot to describe an artwork.

2.4 CIDOC CRM

The CIDOC CRM [7] model is a semantic reference model originated from earlier standards proposals by the Documentation Standards Group affiliated to the ICOM-CIDOC and then by a special interest group, the CRM-SIG. CIDOC CRM represents an 'ontology' for cultural heritage information i.e., it describes, in a formal language, the explicit and implicit concepts and relations underlying the documentation structures used for cultural heritage. The primary role of the CRM is to serve as the semantic 'glue' needed to transform disparate and localised information sources into a coherent and valuable global resource. In more concrete terms, it is a conceptual model that can be used:

• as a global schema in data warehouse-like applications, to provide access to the knowledge of multiple institutions, internally or open to the Internet.

• as a global schema for query mediation to heterogeneous sources.

• as a set of concepts which provide a good practice guide for conceptual modelling and system development in the domain.

• to create common tagging schemes for digital preservation of domain knowledge.

The intended scope of the CIDOC CRM may be defined as all information required for the scientific documentation of cultural heritage collections, with a view to enabling wide area information exchange and integration of heterogeneous sources. The term scientific documentation is intended to convey the requirement that the depth and quality of the descriptive information that can be handled by the CRM should be sufficient for serious academic research into a given field and not merely that required for casual browsing.

The CIDOC CRM is intended to provide the level of detail and precision expected and required by museum professionals and researchers in the field. The term cultural heritage covers all kinds of material collected and displayed by museums and related institutions. This includes collections, sites and monuments relating to natural history, ethnography, archaeology, historic monuments, as well as collections of fine and applied arts. The scope of the CRM is the curatorial knowledge of museums. Information required solely for the administration and management of cultural heritage institutions, such as information relating to personnel, accounting, and visitor statistics, falls outside the intended CIDOC CRM scope.

Figure 2: CIDOC CRM Top level classes useful for integration.

The CIDOC CRM covers contextual information: the historical, geographical and theoretical background in which individual items are placed and which gives them much of their significance and value. It does not

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intend to encode particular social or psychological interpretations, but to deliver to the scholar or scientist the best possible collection of material to do such studies. The goal of enabling such information exchange and integration between heterogeneous sources determines the constructs and level of detail of the CIDOC CRM.

The Figure 3 shows a visual example of this metadata schema mapping the painting called “Adoration of the Magi” painted by Fernando Gallego and provided by the Museum of Fine Arts of Asturias. The Annex A.1 contains the RDF mapping of the painting.

Figure 3: CIDOC-CRM mapping of the “Adoration of the Magi” record.

Advantages:

• CIDOC CRM can describe several kinds of resources such as bibliographic resources, artworks and museum items.

• It has a fast learning curve.

• It has been developed, maintained and used for years.

Disadvantages:

• There are different valid representations for the same attributes.

2.5 CRMdig

CRMdig [8] is an extension of the CIDOC CRM ontology and was developed for the documentation purposes of the 3D-COFORM project [9]. CRMdig is particularly rich in describing the physical circumstances of scientific observation resulting in digital data. It is based on events that relate physical objects, digital objects, actors, times and places.

CRMdig describes and integrates the digital provenance with the physical object that has been measured or digitised. It also describes the devices that participate in the measurement or digitisation and makes it possible to follow the history of individual devices, track factors of possible distortion of results and answer complex queries regarding their status. Such queries are useful in error identification and correction.

At a high level, events in provenance metadata can be structured by answering the following four main questions about:

• WHO: The persons or organisations playing role in the event.

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• WHERE: The place the event occurred.

• WHEN: The time the event occurred.

• WHAT: The things involved in the event.

• HOW: The kind of process and techniques applied.

CRMdig provides a superclass “Data Acquisition Event” and many subclasses to describe the various related subevents and the entities involved in the process, e.g. the information concerning the acquisition tools (calibration, data formats), the actors participating in the acquisition event and the places where the acquisition event was performed. The model is intended to provide a flexible infrastructure to build provenance information in a very precise way.

The Figure 4 shows a visual example of CRMdig representing the scanning acquisition of the 3D model of a Bulgarian balsamarium provided by RIM Stara Zagora. The Annex A.2 contains the RDF mapping documenting the acquisition.

Figure 4: CRMdig representation of the acquisition of the 3D model of a bulgarian balsamarium.

Advantages:

• CRMdig allows a simple and clear description of the processes carried out to digitise and render a 3D mode.

• It has a fast learning curve.

• Tested in several projects.

2.6 LIDO

LIDO [10] is an XML harvesting schema. It is aimed to deliver museum object metadata in harvesters, online collection databases, repositories, etc. It is not intended to be used as a basis for a collection management system or to support loan and acquisition activities.

The strength of LIDO lies in its ability to support the full range of descriptive information about museum objects. It can be used for all kinds of object, e.g. art, architecture, cultural history, history of technology, and natural history. LIDO is based on CDWA Lite, SPECTRUM, CIDOC CRM and museumdat schemas.

LIDO is made up of a nested set of ‘wrapper’ and ‘set’ elements which structure records in culturally significant ways. An important part its design is concept of events, taken from the CIDOC CRM. So, for example, the creation, collection, and use of an object are defined as events which have associated entities such as date, places and actors.

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A LIDO record consists of seven wrappers to describe a museum object:

• Object Identification: Basic information about the object such as title, description, measurements.

• Object Classification: Information about the type of object such as object name and other classification terms for the object.

• Relation: Relations of the object to its subject (content or visual) like concepts, actors, events, dates, places, events, and other objects.

• Event: Events that the object has taken part in, such as creation, acquisition, exhibition, use, etc.

• Rights Work: Information about the rights associated with the object, metadata and the digital surrogate being harvested into the service environment

• Record: Basic information about the record like id, type, source, etc.

• Resource: Information about digital resource being supplied to the service environment. The information stored in this wrapper are the URL of the resource, the resource ID, its relationship type, its resource type, the resource rights (because they can be different from the object rights), view descriptions, view type, view date, resource source (if not from the holding organisation), related resources and resource metadata location (pointer to other information about the resource).

Advantages:

• It is built specifically for sharing cultural heritage information.

• It is aimed for importing into Europeana.

• It can be used to describe the original artworks and also digital representations and its relating documents.

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3 ESE and EDM, the Europeana metadata schemas

One of the main objectives of T5.2 is to share through Europeana the metadata enriched 2D and 3D models resulting from previous task of the INSIDDE project. For this reason, the metadata provided to Europeana has to be adapted to the ESE or the EDM format. The following sections give an overview of both schemas.

3.1 ESE schema

The ESE schema [11] is considered the first reference metadata schema used to describe cultural heritage objects in Europeana and was set within the so-called "Rhine release" of the platform. The current version of the schema is the version 3.4.

The ESE schema is a Dublin Core-based application profile composed by the 15 Dublin Core Simple elements, a subgroup of qualified DC terms and 12 elements created by Europeana to complete the schema. Definitively, it provides a generic set of terms that can be applied to heterogeneous materials - libraries, archives, artworks, etc. - thereby providing a baseline to allow contributors to take advantage of their existing rich descriptions and making data more interoperable. The Figure 5 details the full set of elements divided into those that are mandatory, recommended and additional elements.

Figure 5: ESE elements.

The ESE Specification and Guidelines [9] provides a set of general rules for mapping source data to ESE:

• Map as many as possible of the original source elements to the available ESE elements.

• Always use the more specific dcterms refinements if the semantic of the source term clearly corresponds to the narrower term e.g. dcterms:spatial or dcterms:temporal instead of dc:coverage.

• Providers are encouraged to include xml:lang attributes in all appropriate metadata elements.

• The persistent link to the provided object should be given as a URL. This may need to be constructed from metadata values and information external to the metadata.

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• If it is difficult to decide which ESE element to map a source term to, consider how best to meet expectations of the user and the functionality of the system.

• Where there are multiple values for the same element repeat the element for each instance of the value.

• Consider how the data would perform in response to “who, what, where and when” queries. This therefore encompasses names, types, places and dates.

• To ensure that your data will be meaningful when displayed in the new context considers adding a prefix or suffix. As a simple example, “100 x 200” could become “100 x 200 cm”. Such additions are especially important where data from several source elements have been aggregated into one ESE element.

Regarding the specific Europeana elements that must be provided by the data provider are europeana:object, europeana:isShownAt, europeana:isShownBy, europeana:type, europeana:provider and europeana:unsorted must be delivered by the data provider. All the other Europeana terms will be supplied by the Europeana platform itself.

The main disadvantage of using ESE metadata format is that ESE produces a flat record where it is not always possible to tell if a value applies to the original object or to its digital representation.

3.2 EDM Schema

The ESE schema that was already visible with the Europeana prototype in November 2008, but in the meantime its limitations have become visible and prevent from moving into a semantically rich functional model [12]. The biggest problem observed was the diversity of standards and metadata models that supply its information to Europeana and ESE, that is a "flat" model, did not allow the data to be collected or linkable to other open environments, such as external resources on the Web, which enable the information to be extended and reused. Thus, in May 2011, Europeana releases a new data model called EDM [13].

EDM facilitates the preservation of the original data coming from different metadata schemas and transcends domain-specific metadata standards, yet accommodates the range and richness of community standards such as LIDO for museums, EAD for archives or METS for digital libraries. It makes easier the navigation between resources, as posed by the LOD concept. This way data from partners or external information resources with references to persons, places, subjects, etc., can be connected to other initiatives and institutions. This way, the metadata is enriched and allows the reuse by third parties.

The EDM requirements provide a better description of the resources, distinguishing between the real object (a painting, book, document file) and its digital representation. And also between the object itself and the metadata record that describes the object. Moreover, it allows multiple records describing the same object and supports complex object descriptions composed of other objects.

Figure 6: Europeana Data Model.

EDM is a resource-based model which is formed by different components that are linked between them. The relevant classes in the EDM model are the Europeana aggregations, web resources, events, agents, places,

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physical objects, concepts and time spans. Using the EDM model, users can relate different resources describing the same object to from an accurate description of the object itself or its digital representation. A basic pattern using EDM (see Figure 7) is when a data provider submits to Europeana a “bundle” of an object and its digital representation(s)

Figure 7: EDM basic pattern.

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4 Selection of schemas

Among the metadata schemes commented in section 2, there are several that can be perfectly suitable to describe the digital objects that are handled in the INSIDDE project.

On the one hand, Dublin Core allows making an acceptable description of the digital objects, is simple to use and can be mapped to the ESE schema in an easy way. CIDOC CRM, in turn, provides a framework for the description of cultural heritage object in an effective way, but it is not especially designed for virtual objects. However, an extension of such schema (CRMdig) allows encoding metadata about the steps and methods of production ("provenance") of digitisation products and synthetic digital representations of 2D and 3D objects. Thus, in theory, CRMdig seems to be the appropriate schema for this project.

Besides, as can be seen in [14], Dspace has been selected as the digital repository for the project due to the support offered by both the Spanish National Aggregator – Hispana – and the GUDE (Group of DSpace Users in Spain) in case of need. The adaptation of the base metadata schema of DSpace to other schema, such as CRMdig, would be extremely expensive and would be beyond the scope of this task. Moreover, Europeana staff members have been consulted about the schema and they have expressed that their interests are not focused on the provenance data of the digital object but on the provenance of the original object. Because the aim of this task is to contribute to a better knowledge sharing by means of uploading the digital objects resulting from this project, the previous reasons led the consortium to take the decision of not adapting the repository to other metadata schema and keep working with the default DSpace schema: Dublin Core.

Regarding the metadata schema employed to serve the data to Europeana, it was already commented that ESE does not always allow the user to know whether metadata applies to the original object or to its digital representation. Nevertheless, since one of the requirements of the Bulgarian National Aggregator (Public Library of Varna) was to harvest the metadata in ESE format – and the Spanish National Aggregator works with ESE and EDM formats – the former has been selected.

The adaptation of the DSpace repository to the EDM format is an arduous, costly and unwise task in the opinion of several Spanish experts on DSpace and Europeana. The Spanish Ministry of Culture released a plugin in 2012 called Dspace2Europeana [15] with the aim of adapting DSpace to the EDM format and whose approach and coding concepts were defined by experts as "substantially obsolete, highly upgradeable and finally, avoidable". In the case of this consortium, this plugin have been tested and no favourable results have been achieved. Finally, a crosswalk between Dublin Core and ESE has been chosen for transforming the metadata in order to send the resources to both Europeana aggregators.

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5 Crosswalk DC to ESE

This section documents the crosswalk between DC elements and elements in ESE. Since the ESE schema is based on Dublin Core, DC terms and a set of elements created to meet the Europeana needs, many of the mappings are immediate. Not all possible Dublin Core fields are included in this mapping, but only those considered important in the description of objects managed in the INSIDDE project. Nonetheless, two custom elements have been added in order to complete mandatory fields required by the ESE schema. The element dc:europeanarights has been added in order to let the partners from museums to select the rights statements of the digital objects to be uploaded into Europeana. Likewise, the element dc:dataprovider has been added to distinguish between the two data providers that are providing content to Europeana in the framework of the project: RIM Stara Zagora and Museum of Fine Arts of Asturias. Annex B contains the set of object templates mapped in Dublin Core that have been uploaded to the INSIDDE repository.

Some fields of the ESE schema such as europeana:object, europeana:provider, europeana:type and europeana:isShownAt are filled by the crosswalk plugin based on the repository configuration files and data depending on the internal repository structure. Table 4 documents the crosswalk mapping. The code of the crosswalk plugin and its configuration can be found in [14].

Table 4: Crosswalk DC to ESE.

Information Dublin Core Qualified

Element

ESE Element Comments

Title dc:title dc:title

Alternative

Title

dc:title.alternative dcterms:alternative

Creator dc:creator dc:creator

Location

creation

dc:coverage:spatial dcterms:spatial

Date

creation

dc:date:created dcterms:created

Temporal

Info

dc:coverage:temporal dcterms:temporal

Language dc:language dc:language

Publisher dc:publisher dc:publisher

Description dc:description dc:description

Style dc:description dc:description

Material dc:description dc:description

Size dc:format:extent dcterms:extent

Provenance dc:description:provenance dcterms:provenance

Rights dc:rights dc:rights

Subject dc:subject dc:subject

Type dc:type dc:type

Thumbnail europeana:object Provided by the crosswalk plugin automatically.

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Mandatory element

Provider europeana:provider Acquired from the DSpace configuration file.

Mandatory element

Europeana

Type

europeana:type Generated automatically based on dc:type.

Mandatory element

Europeana

rights

dc:europeanarights europeana:rights Custom element. Mandatory element

Europeana

Data

Provider

dc:dataprovider europeana:dataProvider Custom element. Mandatory element

URL

repository

europeana:isShownAt Provided by the crosswalk plugin automatically. Mandatory element

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6 Conclusions

This report is focused on collecting and adapting metadata resulting from previous Work Packages with the aim of uploading the outcomes produced by the INSIDDE project to Europeana. First, a general overview of metadata is given. It shows the different types, functions, attributes and characteristics of metadata with examples from the "real world". It also tries to dispel commonly accepted myths and demonstrate the importance and the role of metadata in the universe of information.

In this document, different metadata schemas are also detailed together with some pros and cons identified. There are several schemas that can perfectly fit the needs to describe the digital objects that are handled in the INSIDDE project. CIDOC CRM provides a framework for the description of cultural heritage object in an effective way, but it is not especially designed for virtual objects. CRMdig, an extension of CIDOC CRM, allows encoding metadata about the steps and methods of production ("provenance") of digitisation products and synthetic digital representations of 2D and 3D objects. Therefore, this schema seemed to perfectly address the goals of the project.

Furthermore, DSpace has been selected as the digital repository for the project. The adaptation of the base metadata schema of DSpace to other schema such as CRMdig would be extremely expensive and would be beyond the scope of this task. This reason, together with the fact that Europeana is not interested in provenance data of the digital object, has made the consortium to take the decision of selecting the Dublin Core as metadata schema.

Regarding the metadata schema used to serve the data to Europeana, although the EDM schema may be more appropriate than ESE, the Public Library of Varna – the Bulgarian National Aggregator for Europeana – requires the data to be delivered in ESE format. On the other hand, adapting the DSpace repository to EDM is an onerous task. All these reasons have been weighted to adopt the ESE format as the one chosen for uploading the digital objects to Europeana.

The crosswalk between Dublin Core and ESE schemas has been defined in this document. It has been also detailed the need of adding two custom elements to the Dublin Core schema in order to meet the requirements of the ESE schema. The element dc:europeanarights has been added in order to let the partners from museums to select the rights statements of the digital objects to be uploaded into Europeana. And finally, the element dc:dataprovider has been added to distinguish between the two data providers that are providing content.

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References

[1] Howe, D. Free on-line Dictionary of Computing (FOLDOC). 1993

[2] Conway, Paul, Preservation in the Digital World, Washington, DC: Commission on Preservation and Access, 1996. http://www.clir.org/cpa/reports/conway2/.

[3] Dublin Core Metadata Initiative. Available online (27 November 2015): http://dublincore.org/

[4] Heery, R. and Patel, M., 2000. Application profiles: mixing and matching metadata schemas. Ariadne, 25.

[5] Getty Museum website, “Categories for the description of works of art”. Available online (27 November 2015): https://www.getty.edu/research/publications/electronic_publications/cdwa/ introduction.html

[6] Collections Trust website, “The SPECTRUM standard”. Available online (27 November 2015): http://www.collectionstrust.org.uk/collections-link/collections-management/spectrum/the-spectrum-standard

[7] International Council of Museums website, “CIDOC CRM Home Page”. Available online (27 November 2015): http://www.cidoc-crm.org/

[8] Doerr, M., Theodoridou, M.: CRMdig: A Generic Digital Provenance Model for Scientific Observation. In: TaPP 2011, Heraklion (2011)

[9] 3D Coform project website. Available online (27 November 2015): http://www.3d-coform.eu/

[10] ICOM International Committee for Documentation website, “What is LIDO”. Available online (27 November 2015): www.lido-schema.org

[11] Europeana Pro website, “Europeana semantic elements documentation”. Available online (27 November 2015): http://pro.europeana.eu/page/ese-documentation

[12] Doerr, M., Gradmann, S., Hennicke, S., Isaac, A., Meghini, C., & Van de Sompel, H. (2010). The

europeana data model (EDM). In: IFLA 2011: World library and information congress: 76th IFLA general conference and assembly. Gothenburg, Sweden.

[13] Europeana Pro website, “Europeana data model documentation”. Available online (27 November 2015): http://pro.europeana.eu/page/edm-documentation

[14] Sánchez, J. A., et al., “D5.2.2 Report on the integration of 2D/3D models with movement into Europeana” (ongoing), INSIDDE project.

[15] Ministerio de Educación, Cultura y Deporte website, “Dspace2Europeana”. Available online (27 November 2015): http://www.mecd.gob.es/cultura-mecd/areas-cultura/bibliotecas/recursos-profesionales/8.html

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Annex A RDF mappings

A.1 Annex A1

<rdf:RDF

xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"

xmlns:crm="http://www.cidoc-crm.org/cidoc-crm/"

xmlns:rdfs="http://www.cidoc-crm.org/rdfs/cidoc_crm_v5.0.4_english_label.rdfs#"

xmlns:xsd="http://www.w3_org/2001/XMLSchema#">

<crm:E84_Information_Carrier rdf:string="Painting Adoracion de los reyes">

<crm:P2_has_type>

<crm:E55_Type rdf:string="Painting"/>

</crm:P2_has_type>

<crm:P102_has_title>

<crm:E35_Title rdf:string="Adoracion de los reyes">

<crm:P2_has_type>

<crm:E55_Type rdf:string="Main Title">

<crm:P72_has_language>

<crm:E56_Language rdf:string="Es"/>

</crm:P72_has_language>

</crm:E55_Type>

</crm:P2_has_type>

<crm:P73_has_translation>

<crm:E35_Title rdf:string="Adoration of the Magi">

<crm:P72_has_language>

<crm:E56_Language rdf:string="En"/>

</crm:P72_has_language>

</crm:E35_Title>

</crm:P73_has_translation>

</crm:E35_Title>

</crm:P102_has_title>

<crm:P2_has_type>

<crm:E55_Type rdf:string="Spanish Flemish"/>

</crm:P2_has_type>

<crm:P56_bears_feature>

<crm:E55_Type rdf:string="walnut wood support"/>

</crm:P56_bears_feature>

<crm:P43_has_dimension>

<crm:E55_Type rdf:string="Height of painting">

<crm:P90_has_value>

<crm:E60_Number rdf:string="131"/>

</crm:P90_has_value>

<crm:P91_has_unit>

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<crm:E58_Measurement_Unit rdf:string="cm"/>

</crm:P91_has_unit>

</crm:E55_Type>

</crm:P43_has_dimension>

<crm:P43_has_dimension>

<crm:E55_Type rdf:string="Width of painting">

<crm:P90_has_value>



<crm:P91_has_unit>

<crm:E58_Measurement_Unit rdf:string="cm"/>

</crm:P91_has_unit>

</crm:E55_Type>

</crm:P43_has_dimension>

<crm:P108_was_produced_by>

<crm:E12_Production rdf:string="Painting of Adoracion de los reyes">

<crm:P14_carried_out_by>

<crm:E21_Person rdf:string="Fernando Gallego">

<crm:P98_was_born>

<crm:E67_Birth rdf:string="Birth of Fernando Gallego">

<crm:P4_has_time-span>

<crm:E52_Time-Span>

<crm:P81_ongoing_throughout>

<crm:E61_Time_Primitive rdf:string="1440"/>

</crm:P81_ongoing_throughout>

</crm:E52_Time-Span>

</crm:P4_has_time-span>

</crm:E67_Birth>

</crm:P98_was_born>

<crm:P100_died_in>

<crm:E67_Birth rdf:string="Dead of Fernando Gallego">


<crm:E52_Time-Span>






</crm:E67_Birth>

</crm:P100_died_in>

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</crm:E21_Person>

</crm:P14_carried_out_by>

<crm:P3_has_note>

<crm:E62_String rdf:string="The painting was carried out by Fernando Gallego in the role of Artist"/>

</crm:P3_has_note>


<crm:E52_Time-Span>


<crm:E61_Time_Primitive rdf:string="1490-1494"/>




<crm:P32_used_technique>

<crm:E55_Type rdf:string="oil on board"/>

</crm:P32_used_technique>

</crm:E12_Production>

</crm:P108_was_produced_by>

<crm:P52_has_current_owner>

<crm:E40_Legal_Body rdf:string="Museo de Bellas Artes de Asturias">

</crm:E40_Legal_Body>

</crm:P52_has_current_owner>

<crm:P52_has_former_or_current_owner>

<crm:E40_Legal_Body rdf:string="Catedral de Zamora">

<crm:P74_has_current_or_former_residence>

<crm:E53_Place rdf:string="Zamora"/>

</crm:P74_has_current_or_former_residence>


</crm:P52_has_former_or_current_owner>

<crm:P24_changed_ownership_through>

<crm:E8_Acquisition rdf:string="Acquisition Parroquia Arcenillas">

<crm:P22_transferred_title_to>

<crm:E40_Legal_Body rdf:string="Parroquia Arcenillas">


<crm:E53_Place rdf:string="Arcenillas"/>



</crm:P22_transferred_title_to>

<crm:P23_transferred_title_from>

<crm:E40_Legal_Body rdf:string="Catedral de Zamora">


</crm:P23_transferred_title_from>


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<crm:E52_Time-Span>






</crm:E8_Acquisition>

</crm:P24_changed_ownership_through>


<crm:E74_Group rdf:string="Familia Ruiz Zorrilla"/>



<crm:E8_Acquisition rdf:string="Acquisition Masaveu">


<crm:E39_Actor rdf:string="Pedro Masaveu">


<crm:E53_Place rdf:string="Oviedo"/>


</crm:E39_Actor>



<crm:E74_Group rdf:string="Familia Ruiz Zorrilla">


<crm:E53_Place rdf:string="Burgos"/>


</crm:E74_Group>



<crm:E52_Time-Span>









<crm:E39_Actor rdf:string="Pedro Masaveu"/>



<crm:E8_Acquisition rdf:string="Acquisition MBBAA">


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<crm:E40_Legal_Body rdf:string="Museo de Bellas Artes de Asturias">


<crm:E53_Place rdf:string="Oviedo"/>





<crm:E39_Actor rdf:string="Pedro Masaveu">

</crm:E39_Actor>



<crm:E52_Time-Span>








</crm:E84_Information_Carrier>

</rdf:RDF>

A.2 Annex A2

<rdf:RDF

xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"

xmlns:crm="http://www.cidoc-crm.org/cidoc-crm/"

xmlns:crmdig="http://www.ics.forth.gr/isl/CRMext/CRMdig.rdfs/"

xmlns:rdfs="http://www.cidoc-crm.org/rdfs/cidoc_crm_v5.0.4_english_label.rdfs#"

xmlns:xsd="http://www.w3_org/2001/XMLSchema#">

<crmdig:D2_Digitization_Process rdf:string="3D scanning Ceramic balsamarium dark">

<crmdig:L1_digitized>

<crm:E84_Information_Carrier rdf:string="Ceramic balsamarium dark"/>

</crmdig:L1_digitized>

<crmdig:L30_has_operator>

<crm:E21_Person rdf:string="Yannick Francken"/>

</crmdig:L30_has_operator>

<crmdig:L31_has_starting_time>

<crm:E61_Time_Primitive rdf:string="01/07/2014"/>

</crmdig:L31_has_starting_time>

<crmdig:L12_happened_on_device>

<crm:D8_Digital_Device rdf:string="4DD Scanner">

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<crm:P2_has_type>

<crm:E55_Type rdf:string="3D Scanner"/>

</crm:P2_has_type>

</crm:D8_Digital_Device>

</crmdig:L12_happened_on_device>

<crmdig:L11_had_output>

<crm:D9_Data_Object rdf:string="3D Ceramic balsamarium dark model">

<crm:P90_has_value>



<crm:P91_has_unit>

<crm:E58_Measurement_Unit rdf:string="vertex"/>

</crm:P91_has_unit>

<crm:P2_has_type>

<crm:E55_Type rdf:string="PLY file format"/>

</crm:P2_has_type>

</crm:D9_Data_Object>

</crmdig:L11_had_output>

</crmdig:D2_Digitization_Process>

</rdf:RDF>

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Annex B Set of object templates (2D & 3D) uploaded to Europeana

B.1 Crucifixion

Information Element Value

Title dc:title Crucifixion

Alternative Title dc:title.alternative Anonymous from Siena

Creator dc:creator Anonymous

Location creation dc:coverage:spatial Siena, Italy

Date creation dc:date:created XIV Century

Temporal Info dc:coverage:temporal Gothic

Description dc:description Over golden background, the painting shows the silhouettes of the characters and Angels flitting and expressing pain and emotion at the death of Christ. On the left, the Holy Women are holding the Virgin while St John (on the right) appears serene but pained and concerned.

Style dc:description Sienese school

Material dc:description Tempera on Golden panel

Size dc:format:extent 1.20 x 1.52 m

Provenance dc:description:provenance In the collection of Museo de Bellas Artes de Asturias from 1995. Comes from Mr. Pedro Masaveu's collection

Rights dc:rights Museo de Bellas Artes de Asturias

Europeana Rights dc:europeanarights http://www.europeana.eu/rights/rr-f/

Subject dc:subject Sienese anonymous, crucifixion, XIV Century

Type dc:type Painting

Format dc:format image/jpeg

Data provider dc:dataprovider Museo de Bellas Artes de Asturias

Publisher dc:publisher Insidde Project

Object

B.2 Still life with vases


Title dc:title Still life with vases

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Alternative Title dc:title.alternative NONE


Location creation dc:coverage:spatial Spain

Date creation dc:date:created Before 1936

Temporal Info dc:coverage:temporal -

Description dc:description First decade of the XX Century

Style dc:description Figurative

Material dc:description Oil painting on canvas

Size dc:format:extent 23.4 X 28.4 cm

Provenance dc:description:provenance Regional council of Asturias



Subject dc:subject Still life with jugs made, anonymous





Object

B.3 Still life with vases (Infrared)


Title dc:title Still life with vases (Infrared)




Date creation dc:date:created Before 1936

Temporal Info dc:coverage:temporal -

Description dc:description The showed image represents the so called "false colour image" obtained by combining one infrared image with the red and green ones, and addressed, respectively, to the R, G, B channels of the standard trichromatic modality. In this case the IR channel at 2265 nm has been used. The analysis unveils a

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landscape with some houses present in the underlying layers of the painting.



Size dc:format:extent 23.4 X 28.4 cm

Provenance dc:description:provenance Regional council of Asturias



Subject dc:subject Still life with jugs made, anonymous





Object

B.4 Still life


Title dc:title Still life

Alternative Title dc:title.alternative Still life with bottle, jars, pies and knife

Creator dc:creator Luis Meléndez Durazo


Date creation dc:date:created 1772

Temporal Info dc:coverage:temporal Naturalism

Description dc:description The painting presents foreground objects with backgrounds painted in neutral colour highlighting the contours of the light volumes. Luis Meléndez Durazo studied the effects of light, texture and colour of the loaves represented as well as the copper vessel and the glass. This is a meticulous composition where objects are placed with a sought unity in a realistic and thoughtful way.

Style dc:description Naturalism, realistic

Material dc:description Oil Painting on canvas

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Size dc:format:extent 48 X 34,5 cm.

Provenance dc:description:provenance Regional Council of Asturias. Comes from Masaveu´s collection



Subject dc:subject Meléndez, Still life, Luis Meléndez Durazo





Object

B.5 Carlos II at ten years


Title dc:title Carlos II at ten years

Alternative Title dc:title.alternative Carlos II

Creator dc:creator Juan Carreño de Miranda



Temporal Info dc:coverage:temporal Baroque

Description dc:description A standing portrait of Charles II where both the clothing and the environment as well as all the symbols of the royal house of Austria contributed towards a regal and solemn artwork

Style dc:description Baroque


Size dc:format:extent 210 x 147 cm.

Provenance dc:description:provenance From the royal collection to the collection of Mr. Sebastian of Borbón. The Regional Council of Asturias acquired it on 10th April 1981



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Subject dc:subject Carlos II, Royal Portrait, Carreño de Miranda





Object

B.6 Coronation


Title dc:title Coronation


Creator dc:creator Pedro Berruguete

Location creation dc:coverage:spatial Spain. Castile


Temporal Info dc:coverage:temporal Spanish renascence

Description dc:description Coronation of the Virgin by the angels under the blessing of the Eternal Father


Material dc:description Oil painting on glittered panel

Size dc:format:extent 147 x 92 cm

Provenance dc:description:provenance In the collection of the Museum of Fine Arts of Asturias since 1995. It comes from Mr. Pedro Masaveu's collection



Subject dc:subject Religious painting, coronation of the Virgin, Pedro Berruguete





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Object

B.7 Dead Christ on the Cross


Title dc:title Dead Christ on the Cross

Alternative Title dc:title.alternative -

Creator dc:creator Francisco de Zurbaran




Description dc:description On a mysterious background, the painting presents the crucified Christ with an amazing study of light and shadows. The viewer can see the ravaged body, the head down and the cloth in white representing a call of hope



Size dc:format:extent 271 X 177 cm

Provenance dc:description:provenance It belongs to the Regional Council of Asturias. It comes from Masaveu´s collection



Subject dc:subject Christ, Zurbarán, Crucifixion





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Object

B.8 The Adoration of the Magi


Title dc:title The Adoration of the Magi

Alternative Title dc:title.alternative La adoración de los magos

Creator dc:creator Fernando Gallego


Date creation dc:date:created 1490-1494

Temporal Info dc:coverage:temporal Flemish influence in Spain

Description dc:description Fernando Gallego represents a young Mary, with broad features, rounded cheeks and a pointed chin, her eyebrows almost straight, with elongated eyes and heavy eyelids, lowering her eyes. Some of the male figures look into the distance. The composition is complex and balanced, displaying great mastery of drawing, the noble dignity of the characters being portrayed in the rich colours used. The Virgin Mary is located in the centre. The harsh folds of her robe contrast with the sweetness of her facial expression showing a true reflection of the light and fluid brushwork of Fernando Gallego. To her left is Saint Joseph, grey in old age. He holds a present in one hand and a rudimentary cane in the other, a prime example of the Spanish Flemish school. In front of him one of the Magi is offering a gift of myrrh, his attention focused on the Virgin and child. The child, however, looks to the other side, attracted by one of the other kings, who is looking at him while kneeling on the ground with his head uncovered as a mark of respect. The ground is impoverished, typical of the Leon area, and, illustrating simplicity and poverty, the roof covering the group has a large hole in its right side. Also on the right is a page, holding his master’s hat in his hands. His hose bear a wide gilt lettering inscription that says "biva

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biva the bivo rei". The final character depicted on the right of the painting is a, perhaps surprised, rugged-looking shepherd. Through the doorway on the left we see the distant landscape of a lightly vegetated hillside, which creates the desired effect of remoteness. Through the window on the right, behind the shepherd is a large rock, both these forms being characteristic of the Flamenco style.

Style dc:description Spanish Flemish

Material dc:description Oil on wood

Size dc:format:extent 131 x 100 cm

Provenance dc:description:provenance The panel belonged first to Ruiz Zorrilla and came to him through an inheritance from Saturnino Gutiérrez Santos who died childless. The panel was then acquired, in 1970, by Pedro Masaveu At the death of Don Pedro in 1993, his heirs donated the painting to the regional centre of Fine Arts of Asturias in lieu of payment of estate taxes, which is how it came to be in this public collection. It was restored in 1995.



Subject dc:subject Fernando Gallego, Arcenillas´ altarpiece, The Adoration of the Magi





Object

B.9 Covadonga´s cave


Title dc:title Covadonga´s cave

Alternative Title dc:title.alternative None

Creator dc:creator Genaro Pérez Villaamil

Location creation dc:coverage:spatial Asturias, Spain

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Temporal Info dc:coverage:temporal Romanticism

Description dc:description The painting reflects the interior of the cave of Covadonga with a group of pilgrims dressed in traditional costumes of Asturias. They had participated in the pilgrimage and then they celebrate the feast of Our Lady of Covadonga. It stresses the type of colours used, with blue, gold and orange to represent the natural light and the sense of the atmosphere tones.

Style dc:description Romanticism


Size dc:format:extent 52,5 X 43,3 cm.

Provenance dc:description:provenance Regional Council of Asturias



Subject dc:subject Covadonga´s cave, Villaamil, Genaro Perez Villaamil, romanticism





Object

B.10 Luis I


Title dc:title Luis I

Alternative Title dc:title.alternative none

Creator dc:creator Miguel Jacinto Meléndez

Location creation dc:coverage:spatial SpainMMmM Madrid, Spain


Temporal Info dc:coverage:temporal Baroque

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Description dc:description The work represents the future King in half-figure, three quarters to the left and looking at the viewer calmly and little swaggering. This pose was frequently painted by Miguel Jacinto. The painting highlights specially a Saint-Spirit cross pinned to the steel-grey coat. This provides information about the age of the king; the minimum official age to enter in the order was twelve years old.

Style dc:description Figurative portrait


Size dc:format:extent Framed: 102 X 81 cm Unframed: 85.7 X 64.5 cm

Provenance dc:description:provenance Obtained in Alcala Auction # 32. February 2006



Subject dc:subject Portrait of Luis I, Miguel Jacinto Meléndez





Object

B.11 Saint Stephen


Title dc:title Saint Stephen

Alternative Title dc:title.alternative San Esteban

Creator dc:creator Luis de Morales “The Divine”



Temporal Info dc:coverage:temporal Mannerism

Description dc:description A representation of St. Stephen with a rocky and nature background. Hands and gestures provide us a sign of the martyr life that Saint

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Stephen lived. Great treatment influenced by Leonardo da Vinci

Style dc:description Mannerism

Material dc:description Oil Painting on panel

Size dc:format:extent 69 X 50 cm.

Provenance dc:description:provenance From the collection of Mr. Pedro Rega Lado Meana y Salazar. Acquired at Manuel Barbié Gallery in Barcelona, in 2002 by the Regional Council of Asturias



Subject dc:subject El Divino, San Esteban, Luis de Morales





Object

B.12 Saint Peter


Title dc:title Saint Peter

Alternative Title dc:title.alternative San Pedro

Creator dc:creator José de Ribera




Description dc:description The painting is a representation of Saint Peter as an ancient, quiet, suffering and peaceful apostle. It predominantly shows whites in beard and robe. The domain of the tone is sublime



Size dc:format:extent 70 X 62 cm.

Provenance dc:description:provenance Regional Council of Asturias

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Subject dc:subject Saint Peter, Apostle, Ribera.





Object

B.13 Running on the beach


Title dc:title Running on the beach


Creator dc:creator Joaquin Sorolla y Bastida



Temporal Info dc:coverage:temporal Post-impresionism

Description dc:description The artwork presents an incredible background of waves, sea, sun and air. The painting displays three happy children playing and running on the seashore.

Style dc:description Post-impressionism


Size dc:format:extent 90 X 166.5 cm.

Provenance dc:description:provenance Regrional council of Asturias. From Mr. Pedro Masaveu's collection



Subject dc:subject Sorolla, running children, landscape, the beach




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Object

B.14 Saint Catalina and Saint Margarita


Title dc:title Saint Catalina and Saint Margarita


Creator dc:creator Fernando Yañez de Alamedina



Temporal Info dc:coverage:temporal Renascence

Description dc:description The artwork presents a front and vertical composition with a clear influence of Leonardo da Vinci. It shows two Saints with their attributes, overlooking the centre of the work and backgrounds with the landscape and architecture.

Style dc:description Renascence

Material dc:description Oil Painting on canvas over panel wood

Size dc:format:extent 73 X 57,5 cm.

Provenance dc:description:provenance Regional Council of Asturias. Acquired at Gabriel Terrades Gallery in Paris



Subject dc:subject Saint Catalina, Saint Margarita





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Object

B.15 Triptych of the Adoration of the Magi


Title dc:title Triptych of the Adoration of the Magi

Alternative Title dc:title.alternative Triptych of Ms. Alvaro de Carreño

Creator dc:creator Master of the Legend of the Magdalene

Location creation dc:coverage:spatial Brussels

Date creation dc:date:created XVI Century

Temporal Info dc:coverage:temporal Flemish style

Description dc:description It is a marriage portrait, the apostle Saint James with Ms. Alvaro and Saint Peter with Mrs. María González de Quirós. In both sides, they are introduced by their protector saints. In the middle panel, the Adoration of the Magi

Style dc:description Flemish

Material dc:description Oil painting on oak panel

Size dc:format:extent 91 X 45 X 4.7 cm

Provenance dc:description:provenance At Saint Tirso church until 1962 when Museo de Bellas Artes de Asturias acquires it



Subject dc:subject Tryptic of Carreño, Adoration of the Magi. Religious Painting

Type dc:type Painting (Piece of an alterpiece)




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Object

B.16 Portrait of Jovellanos


Title dc:title Portrait of Jovellanos

Alternative Title dc:title.alternative Jovellanos by Goya

Creator dc:creator Francisco de Goya


Date creation dc:date:created 1780-1782

Temporal Info dc:coverage:temporal Romanticism

Description dc:description The work represents Jovellanos in whole body and standing on his feet. The painting presents a natural environment with a seascape background which is identified with the sands of San Lorenzo in Gijon. Jovellanos appears in a relaxed attitude with crossed legs, supporting the body in a cane held in the right hand while the left holds a hat. He is dressed with green jacket and vest, white ruffled shirt, short pants, and black shoes. On his chest he carries a badge of the Order of Alcantara. He is looking to the horizon with a serene face. A recent X-ray image has revealed that there is another painting under the portrait that shows a woman whose identity is currently under investigation.

Style dc:description Romanticism


Size dc:format:extent 185 X 110 cm

Provenance dc:description:provenance National Museum of sculpture of Valladolid. Exhibited at the Museum of Fine Arts of Asturias



Subject dc:subject Jovellanos, Goya



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Object

B.17 Ceramic balsamarium (Dark)


Title dc:title Ceramic balsamarium


Creator dc:creator Unknown

Location creation dc:coverage:spatial Augusta Trajana, today’s Stara Zagora

Date creation dc:date:created II – III c. AD

Temporal Info dc:coverage:temporal Roman period

Description dc:description Ceramic balsamarium made of well purified clay which became light brown after being baked. It has long neck which ends with straight edge of the mouth. The body is turbinate widened with low centre of gravity. There are signs of orange-brown varnish.

For the creation of the 3D models a structured light scanned composed by a machine vision camera Sony XCDSX90, an Optoma DLP projector and a DSLR camera model Canon EOS 1100D has been used. The scanner was placed at a distance of around 50 cm from the object, giving a spatial resolution for the point cloud between 200 and 300 µm. The scanning incorporates an albedo reconstruction in order to retrieve the original colour of the artwork, eliminating the baked-in illumination from the projector. The original model has 1731424 vertex and 3462634 faces, with a colour representation per vertex and has been reduced to 25481 vertices and 50958 faces with texture mapping.

Style dc:description Local Roman ceramic

Material dc:description Ceramic

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Size dc:format:extent Height – 13,8 cm;

Width of the mouth – 3,3 cm;

Width of the bottom – 5,3 cm;

Width of the middle – 7,3cm.

Provenance dc:description:provenance Found during excavations in the archaeological reserve “Augusta Trajana – Vereia – Stara Zagora”and kept in the fund “Ancient archaeology”of RIM – Stara Zagora with inv. No. 2Сз17.

Rights dc:rights Ministry of Culture of Republic of Bulgaria


Subject dc:subject Balsamarium, ceramics

Type dc:type Image, 3D

Format dc:format 3D-PDF

Data provider dc:dataprovider Regional History Museum - Stara Zagora


Object

B.18 Ceramic balsamarium (Light)


Title dc:title Ceramic balsamarium




Date creation dc:date:created II – III c. AD


Description dc:description Ceramic balsamarium made of well purified clay which became light brown after being baked. It has long neck which ends with straight edge of the mouth. The body is turbinate widened with low centre of gravity. The bottom is flat.

Description dc:description For the creation of the 3D models a structured light scanned composed by a machine vision camera Sony XCDSX90, an Optoma DLP projector and a DSLR camera model Canon EOS 1100D has been used. The scanner was placed at a distance of around

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50 cm from the object, giving a spatial resolution for the point cloud between 200 and 300 µm. The scanning incorporates an albedo reconstruction in order to retrieve the original colour of the artwork, eliminating the baked-in illumination from the projector. The original model has 1360300 vertex and 2720337 faces, with a colour representation per vertex and has been reduced to 25783 vertices and 51562 faces with texture mapping.



Size dc:format:extent Height – 14, 3 cm;

Width of the mouth – 3,9 cm;

Width of the bottom – 5,5 cm;

Width of the middle – 6,7 cm.




Subject dc:subject Balsamarium, ceramics





Object

B.19 Ceramic cup (Handle)


Title dc:title Ceramic cup




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Date creation dc:date:created III c. AD


Description dc:description Ceramic cup made of well purified clay which became light brown after being baked. It is covered with reddish varnish. The body is spherical and ends with curved rounded edge of the mouth, enhanced from the outside with engraved line. The bottom is flat.

Description dc:description For the creation of the 3D models a structured light scanned composed by a machine vision camera Sony XCDSX90, an Optoma DLP projector and a DSLR camera model Canon EOS 1100D has been used. The scanner was placed at a distance of around 50 cm from the object, giving a spatial resolution for the point cloud between 200 and 300 µm. The scanning incorporates an albedo reconstruction in order to retrieve the original colour of the artwork, eliminating the baked-in illumination from the projector. The original model has 1333958 vertex and 2666639 faces, with a colour representation per vertex and has been reduced to 25603 vertices and 50000 faces with texture mapping.



Size dc:format:extent Height – 8,5 cm; Width of the mouth – 6,4 cm; Width of the bottom – 3,2 cm; Width of the middle – 8,3 cm~.




Subject dc:subject Cup, ceramics





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Object

B.20 Ceramic cup (No Handle)


Title dc:title Ceramic pot with a lid




Date creation dc:date:created III c. AD


Description dc:description Ceramic pot made of fine clay which became light brown - orange after being baked. The pot has spherical form. The bottom is formed as annular rest. The lid is cylindrical with handle. There is orange varnish on the pot and the lid. They are decorated with incised twigs and leaves.

Description dc:description For the creation of the 3D models a structured light scanned composed by a machine vision camera Sony XCDSX90, an Optoma DLP projector and a DSLR camera model Canon EOS 1100D has been used. The scanner was placed at a distance of around 50 cm from the object, giving a spatial resolution for the point cloud between 200 and 300 µm. The scanning incorporates an albedo reconstruction in order to retrieve the original colour of the artwork, eliminating the baked-in illumination from the projector. The original model has 1293709 vertex and 2586166 faces, with a colour representation per vertex and has been reduced to 50575 vertices and 99999 faces with texture mapping.



Size dc:format:extent Height with the lid – 15, 7 cm; Height without the lid– 12,7 cm; Width of the

Deliverable D5.2.1

INSIDDE (ICT-2011-9 600849) of (71)

mouth – 9,3 cm; Width of the bottom – 7,4 cm; Width of the middle – 17 cm.




Subject dc:subject Pot, ceramics





Object

d5.2.1 "report on compilation of metadata for 2d/3d artworks in

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