3

EDITORIAL RULES, CONTINUED

3.6

CONA Depicted Subject and Getty Iconography Authority (IA)

Depicted Subject for CONA works and information for the Getty Iconography Authority (IA). See also illustrated training presentations on the topic of CONA and Subject Access and on Introduction to the Getty Iconography Authority, which is a separate Getty Vocabulary.

    Included in this chapter

• General Depicted Subject (required)
  • General Depicted Subject List
  • Sequence Number (required-default)^[1]
  • Preferred Flag (required-default)
  • Indexing Type
  • Subject Extent
    
    
• Specific Depicted Subject
  • Sequence Number
  • Preferred Flag
  • Indexing Type
  • Subject Extent
    
    
• Outside Iconography Term
  • Outside Iconography Code
  • Source
  • Preferred Flag
  • Page

     GETTY ICONOGRAPHY AUTHORITY

3.6.3.1

General Depicted Subject (required)

3.6.3.1.1

Definition
Indexing terms that characterize in general terms what the work depicts or what is depicted in it. This subject analysis is the minimum required. It is recommended to also list specific subjects, if possible

• Examples
  allegory
  architecture
  botanical
  cartographic
  ceremonial object
  portrait
  religion and mythology
  seascape
  still life
  

3.6.3.1.2

Values
Values are controlled by an extensible list, which is derived from and linked to the AAT..

3.6.3.1.3

Sources
The same authoritative sources that are appropriate for the rest of the record may be used, including data from the repostory of the work.

3.6.3.1.4

Discussion
The subject matter of a work of art (sometimes referred to as its content) is the narrative, iconographic, or non-objective meaning conveyed by an abstract or a figurative composition. It is what is depicted in and by a work of art. For a fuller discussion and examples for determining subject matter for works, see CONA and Subject Access.

Subject indexing also covers characteristics that are not always considered subject matter per se: For example, the function of an object or architecture that otherwise has no narrative content may be recorded here.

CONA records terms to separately index a general subject and specific subjects.

One term is required, a term for general subject.

What are subjects in CONA?
Subjects include things, places, activities, abstract shapes, decorations, narratives, and events from literature, mythology, religion, or history that are portrayed by the work. Philosophical, theoretical, symbolic, and allegorical themes and concepts may be subjects.

Subjects of representational (figurative) works may be narrative, meaning that they tell a story or represent an episode in a story; they may be non-narrative, representing persons, animals, plants, buildings, or objects depicted in portraits, still lifes, landscapes, genre scenes, architectural drawings, allegories, and so on.

Non-representational works also have subject matter, which may include a reference to abstract content, decoration, function, or implied themes or attributes.

Subject should be recorded for all works and images, even those that have no narrative or figurative "subject matter" in the traditional sense. For abstract works, architecture, decorative arts, furniture, and other works with no narrative or figurative subject matter, their "content" may be the function of the works and important aspects of their form or composition.

Analyzing subject
Recording terms for depicted subject should answer the question: What is the work "of" or "about"? Traditionally, what the work is of (often called ofness) is defined as what would be seen in the work by an objective, non-expert, unknowledgeable viewer; what the work is about (often called aboutness) is defined as its iconographic, narrative, thematic, or symbolic meaning. If the work is the subject term, this is called isness. These concepts are discussed in Zeng et al, FRSAD: Conceptual Modeling of Aboutness.

Consideration of all these aspects of subject matter is important for retrieval. A methodical approach to subject analysis is recommended. Subject may be analyzed by posing successive questions Who?, What?, When?, and Where?

Description, identification, interpretation
Description, identification and interpretation are discussed in Indexing Types below. Catalogers should also examine the work at these various levels of specificity, which are based loosely on theories of human perception and recognition of meaning in images as described by the scholar Erwin Panofsky. Panofsky identified three primary levels of meaning in art: pre-iconographic description, expressional analysis or identification, and iconographic interpretation.

Using a simplified and more practical application of the traditional art-historical approach can be helpful in indexing subjects for purposes of retrieval. The first level, description, refers to the generic elements depicted in or by the work (e.g., man). The second level, identification, refers to the specific subject, including named mythological, fictional, religious, or historical subjects (e.g., George Washington). The third level, interpretation, refers to the meaning or themes represented by the subjects and includes a conceptual analysis of what the work is about (e.g., leadership).

Aboutness, ofness, isness
Another way of looking at subject matter is in terms of aboutness, ofness, and isness.

Aboutness is what the work conveys. Ofness is what the work literally depicts. What a represenational art work is about may be subjective. What the work is of tends to be more concrete and objective.

Aboutness and ofness are not mutually exclusive of description, identification, and interpretation. However, it is recommended to choose one method or the other when cataloging a data set, for the sake of consistency across the data and to allow clarity of goals and procedures among the catalogers involved in the project.

Isness in Indexing Type: Isness implies the class to which the work belongs, what it is. Terms in General and Specific Subject may refer either to the depiction of a work or to the work itself. How are these nuances expressed? It has to do with whether the term chosen refers to what the work is of or about, or what it is. That is, for the general subject term architecture, does it refer to the work itself (isness), or is it a term to describe the drawing depicting a built work (Indexing Type description = ofness)?

CONA allows clarification by flagging isness in the Indexing Type field, discussed below. In retrieval, the distinction may also be made by querying on both the Work Type field and Subject fields together. The work type for a drawing would be drawing; the work type for a built work would refer to the built work, for example, cathedral.

Isness may be used with either method of analysis, both with description, identification, and interpretation (which has no indexing level that maps to isness), and also with aboutness and ofness.

References: For Description, Identification, Interpretation, see Panofsky, Erwin. Studies in Iconology: Humanistic Themes in the Art of the Renaissance New York, Oxford University Press, 1939. For aboutness, ofness, isness, see Zeng, Marcia Lei, Athena Salaba, and Maja Zumer. FRSAD: Conceptual Modeling of Aboutness. Third Millennium Cataloging. Santa Barbara, California: Libraries Unlimited, 2012.

Specificity and exhaustivity
Include a general subject designation (e.g., portrait, landscape).

Specific Subject terms should also be recorded; however, the level of specificity and inclusiveness applied to cataloging the subject content of a work of art or architecture will depend upon various factors, including the depth of the cataloger's expertise and the quality and extent of information available.

Uncertainty
The cataloger should not include information, such as interpretation, if he or she does not have scholarly opinion to support it. Furthermore, if expert knowledge is unavailable, it is better to be broad and accurate rather than specific and incorrect (e.g., index a depicted creature broadly as bird rather than specifically as goldfinch if you are uncertain of the genus or species).

If there is scholarly debate about the subject, explain the uncertainty in the Descriptive Note and index all probable subjects in specific subject.

Why can't Title suffice instead of Subject?
Titles are free text, they often do not contain references to subject matter, and cannot be reliably used to retrieve subject content.

Linking to designated, controlled subject terminology allows the variant terms and other information about the subject to be retrieved, regardless of how it is spelled in the title (e.g., Hercules, Heracles, Herakles, Ercole, Ἡρακλῆς, Херкул in the IA). In addition, links to other subjects and sources may be maintained in the linked Getty vocabularies and IA, thus greatly expanding the potential for retrieval, research, and discovery.

Having designated subject terminology allows research queries such as “return all works with the subject Irises that were Japanese and available in the Netherlands or France during the years when Vincent van Gogh was working.” The word “irises” is not necessarily in the Title.

How to determine subject terms for an existing data set
Retrieval by depicted subject for art works is among the most commonly needed criteria by end users, including both scholars and the general public. In the library and archival communities, the professional standards have long required subject indexing. However, in art museums, adding indexing terms for subject has historically been overlooked.

How can this lack of subject indexing in the source data be addressed when contributing to CONA? Institutions can implement practices and technology that allow new records to be indexed for subject matter as it is cataloged. For legacy data, institutions could a) assign staff or interns to go back over the data to assign a few subject terms, or b) use technical solutions to mine titles and descriptive notes for references to subject, using algorithms to match the terms to the Getty vocabularies and the IA, or to Iconoclass or another subject authority. The results of the latter method would require vetting by human experts; indexing subject matter by algorithm alone would be unreliable and introduce errors.

3.6.3.1.5

RULES for General Depicted Subject

3.6.3.1.5.1

Minimum requirements for General Depicted Subject

Required: It is required to record at least one term for General Depicted Subject.

It is strongly recommended to also record Specific Depicted Subject terms.

3.6.3.1.5.1

Choosing an appropriate General Depicted Subject

• Record one or more general terms that characterize the types of persons, things, places, activities, abstract shapes, decorations, narratives, events from literature, mythology, religion, or history, and philosophical, theoretical, symbolic, or allegorical themes depicted in the work or represented by the work.
  
  Note that general subject terms place the subject into a broad class of types of subjects. Therefore count nouns are the plural form.
  
  
• Do not index trivial features in the composition, only significant ones.
  
  
• Choose terms based on the following premise: General Subject terms should allow researchers to find all works having broadly similar subjects (e.g., portraits, landscapes, nonrepresentational art).
  
  
• Terms may refer to the content depicted or stated in text. Alternatively, terms may refer to a subject implied; for example, the general subject of a carpet could be utilitarian objects and also ornament, because its depicted design is primarily ornament.
  
  
• In general, avoid repeating a term for Object Type or Classification in General Depicted Subject terms.
  
  Exceptions to this rule are for architecture, decorative arts, numismatics, and a few others, which may have no depicted or iconographic subject, and thus may repeat the Classification term here. For other types of visual works, avoid repeating Classification as General Depicted Subject.
  
  
• Isness regarding General Depicted Subject terms may be indicated in Indexing Type, particularly when so advised in the annotated list below. For example, if a work is architecture, Indexing Type is isness; if a work depicts architecture, Indexing Type is description (mapping to ofness).

3.6.3.1.5.3

List of General Depicted Subject terms

General Depicted Subject is an extensible list. As of this writing, the following are the general depicted subject terms in CONA. Choose one or more terms based on the definitions below. You may also access a spreadsheet of the General Depicted Subject List mapped to AAT (XLSX, 15 KB).

3.6.3.2

Sequence Number (required-default)

3.6.3.2.1

Definition
An indication of the sort order of the general depicted subject terms.

3.6.3.2.2

Values
Numbers, 1 through n.

3.6.3.2.3

Sources
The same authoritative sources that are appropriate for the rest of the record may be used, including data from the repostory of the work.

3.6.3.2.4

Discussion

For items: Most CONA records for a single item require only 1 to 3 general depicted subject terms. Catalogers should use Specific Subject for long lists of subjects.

For groups: When recording a group of works, catalogers should use as many general depicted subject terms as necessary to properly index the group.

3.6.3.2.5

RULES for Sequence Number

3.6.3.2.5.1

Minimum requirements for Sequence Number

Required-default: Sequence number is required. If there is only one general depicted subject, the default value is 1. If there are multiple general depicted subject terms, sort them in an appropriate sequence.

• Number the general subject types in continuous sequence. Do not skip numbers.
  

3.6.3.2.5.2

How to sequence general depicted subject terms

• Order of importance
  In general, sequence the general depicted subject terms in order of importance.
  
  Place the most prominent or most generally applicable subjects first. As a secondary criterion, try to anticipate the subjects that will be more interesting to most end users.
  
  For any given set of records, be consistent in the numbering of general depicted subject terms.

3.6.3.3

Preferred Flag (required-default)

3.6.3.3.1

Definition
An indication of whether the general depicted subject term is preferred or non-preferred for this record.

3.6.3.3.2

Values
Values are controlled by a list.

preferred
variant

3.6.3.3.3

Sources
The same authoritative sources that are appropriate for the rest of the record may be used, including data from the repostory of the work.

3.6.3.3.4

Discussion

The preferred general depicted subject may appear as the default value in short descriptions of the work.

All general depicted subject terms are available in retrieval.

For the preferred general depicted subject, analyze what is the most prominent subject of the work. This will depend upon the way in which the artist has portrayed the subject. For example, for a painted scene depicting the Roman hero Hercules with his attributes of lion skin and club, participating in an activity from his myth, the primary subject would be religion and mythology. A non-preferred general depicted subject term may be human figure. By contrast, if a drawing is a figure study, that seemingly as an afterthought includes an attribute of Hercules, the primary general depicted subject is human figure.

3.6.3.3.5

RULES for Preferred Flag

3.6.3.3.5.1

Minimum requirements for Preferred Flag

Required-default: Set the flag to Preferred or Non-Preferred, as appropriate. If there is only one general depicted subject, by default it is preferred.

3.6.3.3.5.2

Choosing the preferred general depicted subject term

• Choose as the preferred general depicted subject a term that best represents the primary and most prominent subject content of the work.
  
  
• Consistency
  Within a given collection, be consistent in choosing the preferred general depicted subject term. For example, if you have two vase paintings with similar scenes painted in similar ways, do not label one with preferred general depicted subject religion and mythology and the other with preferred general depicted subject human figure.

3.6.3.4

Indexing Type

3.6.3.4.1

Definition
A classification of the level of subject description indicated by the indexing terms, for use if necessary to distinguish between what a work is "of" and what it is "about."

3.6.3.4.2

Values
Values are controlled by a list.

undetermined
description
identification
interpretation
isness
aboutness
ofness

3.6.3.4.3

Sources
The same authoritative sources that are appropriate for the rest of the record may be used, including data from the repostory of the work.

3.6.3.4.4

Discussion
This designation will allow the distinction between a subject reflecting what the work is "of" (description) or from what the work is "about" (identification and interpretation). In addition, the designation isness allows users to retrieve subject terms referring to what the work "is."

3.6.3.4.5

RULES for Indexing Type

3.6.3.4.5.1

Minimum requirements for Indexing Type

Optional: Record a term to designate the scope of indexing provided by the subject term being recorded.

3.6.3.4.5.2

How to choose Indexing Type

Use indexing type when necessary for clarity.

It is not required to use indexing type. In some cases it is ambiguous which indexing type applies. If the type is unclear, omit it (leave the field blank).

Catalogers may use aboutness and ofness, or they may use description, identification, and interpretation. The library community is more familiar with aboutness and ofness, while art historians will be more familiar with description, identification, and interpretation. The terms are not mutually exclusive.

Choose an indexing type based on the following definitions:


• undetermined
  Do not use this designation. It is reserved for problematic data loads. If the Indexing Type is unknown or ambiguous, leave the field blank.
  
  
• description
  For terms that index the work according to the generic elements of the image or images depicted in, on, or by it. These are elements that may be recognized by a viewer having little or no knowledge of a particular theme or the iconography depicted. Used in both General Depicted Subject (e.g., a viewer without specialized knowledge may recognize a human figure) and Specific Depicted Subject (e.g., child (people by age group) [AAT 300025945]). Description is usually analogous to ofness.
  
  
• identification
  For terms that name the subject depicted in or on a work: its iconography. Iconography is the named mythological, fictional, religious, or historical narrative subject matter of a work, or its non-narrative content in the form of persons, places, things, from the real world or iconographic themes. Identification requires knowledge of the subject depicted. Used primarily in Specific Depicted Subject (e.g., an image of a child may be identified as Eros (Greek god) [IA 1000613]). Identification may be analoguous to either aboutness or ofness.
  
  
• interpretation
  For terms that refer to the meaning or theme represented by the subject matter or iconography of a work. Interpretation requires access to expert analysis or knowledge of common themes, such as represented in allegory or symbols. Used primarily in Specific Depicted Subject (e.g., an image of Eros symbolizes love (emotion) [AAT 300055165]). Interpreation is usually analogous to aboutness.
  
  
• isness
  For terms that equal the work described or the class to which it belongs, relevant particularly to distinguish when the subject term is the work, as opposed to descriptive of the subject portrayed in the work. Used primarily in General Depicted Subject. For example, if you are cataloging a cathedral as a built work, General Depicted Subject term architecture has Indexing Type isness; if you are cataloging a drawing of a cathedral, architecture has Indexing Type description.
  
  
• aboutness
  If more familiar with aboutness than the Panofsky-inspired terms, cataloging institutions may use this flag to indicate what the work is about. It may analogous to either identification or interpretation.
  
  
• ofness
  If more familiar with ofness than the Panofsky-inspired terms, cataloging institutions may use this flag to indicate what the work is of. It may analogous to either description or identification.
  

3.6.3.5

Subject Extent

3.6.3.5.1

Definition
When there are multiple subjects, a term indicating the part of the work to which these subject terms apply. Also includes terminology to flag attributes relating to a part or characteristic of the work not captured in other fields, such as language or purpose.

• Examples
  recto
  verso
  overall
  

3.6.3.5.2

Values
Values are controlled by an extensible list; subject to frequent additions.

3.6.3.5.3

Sources
The same authoritative sources that are appropriate for the rest of the record may be used, including data from the repostory of the work.

3.6.3.5.4

Discussion

This field may be used for clarity when a single work may has multiple subjects. It is more often necessary for Specific Depicted Subject, but may occasionally be needed for General Depicted Subject too.

For example, a pendant may have a portrait on the recto and a genre scene on the verso.

3.6.3.5.5

RULES for Subject Extent

3.6.3.5.5.1

Minimum requirements for Subject Extent

Optional: Record a term designating the part of the work for which the subject terms are pertinent.

3.6.3.5.5.2

When to use Subject Extent

• For broad extent
  Use subject extent for broad extent designations, such as primary, secondary, and common (referring to the subjects common to all items in a group).
  
  
• For positional attributes
  Use subject extent terms that describe positional attributes (such as recto, verso, top, bottom) only when necessary for clarity. Do not use positional subject extent terms except when warranted. For example, if the only subject or subjects is overall, omit subject extent.
  
  
• For non-positional attributes
  For non-positional attributes (such as language, related event, dedication, purpose, method of representation, design element), use subject extent terms according to the definitions below, even if there is only one subject.

3.6.3.5.5.3

List of Subject Extent terms

As of this writing, subject extent terms are those in the list below. Choose subject extent terms based on the following definitions.

3.6.3.6

Specific Depicted Subject

3.6.3.6.1

Definition
Indexing terms that characterize what the work depicts or what is depicted in it, including generic terms and proper names. These terms are more specific than the general subjects discussed above. They are drawn from AAT, TGN, ULAN, IA, and CONA works.

• Examples
  
  
• single-sitter portrait (portraits, <visual works by subject type>, ... Objects Facet) [AAT 300404138]
  
  
• Adoration of the Magi (event; Life of Jesus Christ; Christian iconography; Religion and Mythology) [IA 5000189]
  
  
• Battle of Nördlingen (event; (Thirty Years' War; European History); 1634) [IA 1000639]
  
  
• Hercules (Greek and Roman characters; Greek and Roman iconography; Religion and Mythology) [IA 5000074]
  
  
• Henry IV, King of France (French, 1553-1610) [ULAN 500122324]
  
  
• Mount Fuji (mountain; Honshū (island), Japan) [TGN 1107685]
  
  
• Taj Mahal (mausoleum; patron: Shah Jahan; principal designer: Ustad Ahmad Lahauri; construction began 1632; Āgra (Uttar Pradesh, India)) [CONA 700000214]

3.6.3.6.2

Values
Values are controlled by linking to the AAT, TGN, ULAN, CONA, and the IA.

3.6.3.6.3

Sources
The same authoritative sources that are appropriate for the rest of the record may be used, including data from the repostory of the work.

3.6.3.6.4

Discussion
Terms for Specific Depicted Subject access may come from various authorities, including AAT, TGN, ULAN, IA and CONA work records.

For terms outside the scope of these four vocabularies, control terminology with the Iconography Authority for the proper names of the following: historical events; fictional characters, places, and events; religious or mythological characters or events; literary themes; iconographic themes.

3.6.3.6.5

RULES for Specific Depicted Subject

3.6.3.6.5.1

Minimum requirements for Specific Depicted Subject

Optional: Optional, but strongly recommended. Link to one or more specific subjects, as appropriate.

3.6.3.6.5.2

Link to the correct vocabulary
Link to the vocabulary appropriate for the term that you require for indexing.

• Person or corporate body
  Link to ULAN for people and corporate bodies depicted in the work, including the proper names of sitters and historical characters. For mythical or legendary characters, use the IA.
  
  
• Geographic places
  Link to TGN for geographic locations depicted in the work, such as the proper names of cities or mountains. For fictional places, use the IA.
  
  
• Generic terms
  Link to AAT for subjects depicted that are not described by generic terms rather than proper names (e.g., knight, moated castle, battlefield, horses).
  
  
• Other works
  If the work depicts another work, link to the other work in CONA. For example, if a drawing depicts a built work, link to the separate built work record in CONA.
  
  
• Iconography and events
  Link to the Iconography Authority (IA) for names for iconography and other subject terminology not contained in the other linked vocabularies. The IA includes proper names for historical events, religion and mythology, fictional characters, themes from literature, and fictional places. The IA is discussed in detail below.

3.6.3.6.5.3

Adding terms to the appropriate vocabulary

• Stub records
  If the term required is not already present in the AAT, TGN, ULAN, CONA, or IA, add it as a "stub" record.
  
  In each vocabulary, a candidate hierarchical level has been added to facilitate the quick addition of minimal stub records to which CONA may be linked immediately. As separate editorial projects, these stub records will be filled out and moved to the published hierarchies. Typically, editors should not take time out of their workflow in CONA to add fully researched records in the other vocabularies.
  
  
• Following editorial rules
  If you are assigned the task of filling in fuller records in the other vocabularies, follow the appropriate editorial rules: AAT Guidelines, TGN Guidelines, ULAN Guidelines, IA Guidelines.
  
  
• To which vocabulary should new subject be added?
  To add a stub record, you must determine to which vocabulary it should be added. Do not guess. Do the minimal research required. Once the term has been linked to a given vocabulary, it requires significant editorial effort to instead add it to another vocabulary and correct the links.
  
  In most cases, it will be clear to which vocabulary a term should belong; but in some cases it may be ambiguous. Based on the definitions above, certain subject terms may seem to conceptually belong to multiple vocabularies.
  
  
  • TGN or IA?
    If a place is generally accepted by scholars to be mythical or legendary, or if it is a theological concept from religious texts, put the place in the IA (e.g., Garden of Eden [IA 5000238]).
    
    However, if the geographic location of a place is unknown or debated, but the place is known in literature and believed by most scholars to have actually existed -- even if documentation derives from a religious text -- add it to TGN with place type lost settlement (e.g., Gath (Israel) (lost settlement)) [TGN 6002210]).
    
    
  • ULAN or IA?
    The difference between historical people and legendary characters is not always clear. How can you know if a person is historial, belonging in ULAN, or strictly religious or legendary, belonging in the IA? Base your decision on the current, pervasive scholarly opinion.
    
    As a geneneral rule: If authoritative, unbiased, scholarly sources call the character a deity or legendary hero, put the person in the IA.
    
    What if a person is probably historical, but little of his or her biography is known and a large legend and iconography surrounds the person? If he or she is a major protagonist in iconographic themes or narratives, even if they may have existed in history, this justifies placement in the IA. For example, the biblical character, John the Baptist [IA 1001056] is recorded in the IA because, as a subject in art works the bulk of his biography and narratives are biblical, not necessarily historical. His placement in the IA is not a judgment that he did not exist in history. Some such characters may exist in both the IA and in ULAN; however, this duplication should be avoided if possible.
    
    If the person is was a ruler from any period, or if he or she lived after 1000 CE, typically record them in ULAN, even if he or she is also part of a legend or story (and provided authoritative sources do not call them legendary or mythical). The reason is that for such people, independent sources usually verify the biography. For example, Herod Antipas, Tetrarch of Galilee [ULAN 500350196], who is a minor characer in biblical narratives, is recorded in ULAN because his biography is independently verified in various historical sources.
    
    For characters who are not rulers and reportedly lived earlier than 1000 BCE, use available authoritative information to make a decision. Note that saints and other religious characters are often historical; do the research to determine whether or not they are believed to be historical.
    
    Named animals: Named animals who are legendary or characters in literary works are recorded in the IA; for example the legendary Nemean lion [IA 5000068] and Bambi [IA 1001086], the white-tailed deer of the Disney story, are in the IA. Named animals who existed in history are recorded in ULAN, for example Secretariat (American racehorse, 1970-1989) [ULAN 500353456].
    
    
  • AAT or IA?
    Before assuming the term belongs in the IA, check the AAT for precedents.
    
    Named events that took place in a given span of time or on a given date belong in the IA (e.g., Battle of Ticinus (event; Ancient History; 218 BCE) [IA 1000374]). The AAT contains the names of holidays (e.g., Chinese New Year [AAT 300400798]) and other recurring events.
    
    A named individual mythological or legendary being is recorded in the IA (e.g., Anubis (deity) (Egyptian iconography) [IA 1000707]). Generic terms for legendary, religious, or mythical beings are included in the AAT (e.g., angels (spirits) [AAT 300379004]).

3.6.3.6.5.4

Choosing terms for specific depicted subject

• Which term within a vocabulary record?
  When linking to the vocabularies, you may link to a particular term within the vocabulary record. Singular or plural, historical or current? Link to the term in the vocabulary record that best describes the subject.
  
  For example, link to the singular or plural noun in an AAT record as warranted by whether one or more of the object is depicted in the composition. In another example, if the subject is better described by a historical name in a TGN record, link to that historical name. If a portrait depicts the sitter when he was a cardinal rather than a pope, in ULAN link to his name as cardinal.
  
  
• Terms from the titles
  Index all proper names and topics that are named in the title and refer to subject. For example, if the title is Portrait of Thomas Jefferson at Monticello, index single-sitter portrait [AAT] (portrait would be the General Depicted Subject), Thomas Jefferson [ULAN], and the built work, Monticello [CONA].
  
  If the title includes the physical work type or other words unrelated to subject, do not index them here. For example, if the title is Bronze Sculpture of the Buddha, the subject would be Buddha [IA]; bronze is the Material and sculpture is the Work Type.
  
  
• Terms from inscriptions
  If there is an inscription that describes the subject matter of the work, index the important concepts and proper names contained in the inscription.
  
  
• Terms from the descriptive note
  If the descriptive note discusses aspects of the subject, index them here.
  
  
• Terms for recognizable subjects
  Index all subjects readily identifiable from visible inspection, so long as they are important or prominent. This is the description level of subject indexing.
  
  
• Unknown or uncertain
  Catalogers may link to terms for the broad description level of indexing, as necessary, based on their observations. This is the defining characteristic of description, that the subject is apparent to casual viewers having no background information. However, avoid choosing terms that are truly the identification level, more specific than warranted by available information.
  
  Link to named or otherwise identified subjects only when there is authoritative warrant. Do not guess. Do not rely upon your own observations or assumptions. For example, if a zebra is portrayed, you may index the broader AAT term zebra (mammal). However, do not use the specific term for one of the multiple species of zebra, such as Equus grevyi (species), unless warranted by authoritative sources.
  
  
• Only significant subjects
  Index only prominent or important themes and subjects. Do not index trivial features in the composition. Is the composition "of" or "about" the term? If not, omit it.
  
  If enough is known to index on the interpretation level of subject indexing, you may find that features that are small in the overall composition may be important, even though not visually prominent. For example, if the scene portays a stormy sea with a small mountain in the distance, the mountain may be important to the meaning of the subject (e.g., The Great Wave by Hokusai, which portrays a compositionally tiny Mount Fuji in the distance). You may index small features that are nonetheless important if you have authoritative information regarding meaning and interpretation. If not, omit them.
  
  
• Organized analysis of composition
  Maintain a consistent and logical survey of the composition to index important subjects. Procede in the following sequence of analysis:
  
  
  • Description level subject indexing.
    
  • Identification level subject indexing.
    
  • Prominent to the less important subjects; however, omit trivial compositional elements.
    
  • For three-dimensional works, subjects as depicted front to back or top to bottom.
    
  • For two-dimensional works, subjects depicted from top to bottom of composition.
    
  • Alternatively, for two-dimensional works, subjects depicted foreground to background of compositional space.
    
  • Interpretation of implied themes, if warranted by authoritative sources.
  
  
• Correspondence with General Depicted Subject
  General Depicted Subject is not connected to the AAT. Therefore, it is sometimes important, here in specific subject, to again refer to the subject already indexed as general subject. See discussions below for various examples.
  
  However, as an overall rule, typically avoid repeating the same term as in general depicted subject here. For specific subject, try to link to a more specific subject than in general subject. For example, if the general subject is portrait [31602], link to the AAT that is a narrower term for portrait, perhaps group portrait [AAT 300124525].
  
  
• Correspondence with Work Type
  Unless warranted by the exceptions for isness described below, do not repeat the work type or classification terms here. Work Type (which is linked to the AAT) and Classification should be used with depicted subject terms in retrieval; therefore, it is not necessary to repeat these terms here in most cases.
  
  
• Correspondence with Associative Relationships
  Associative Relationships includes the relationship type depicted in. When should you use associative relationships instead of, or in addition to, linking to the work depicted as specific depicted subject?
  
  Works depicting other works: In most cases, the work depicted, when not part of the creation process, should be linked here through specific depicted subject rather than associative relationships.
  
  Works that are depicted in other works should be linked through associative relationships only in rare cases. If the works are important in the creation process, they should be linked through associative relationships. If the works are themselves works of art that document the depicted work in a particularly important historical context, they may be linked through associative relationships.
  
  Keep in mind that associative relationships are reciprocal. By linking purely reproductive images through associative relationships, you are causing all of those records for relatively unimportant images to show up in the record for the work of art in the critical associative relationship field. From the art work record, such images may be linked through the Images field, if they are located with a persistent URL. From the reproductive image record, the work of art should be linked through specific subject. See the discussion of Visual Surrogates below.
  
  For reproductive relationships: For two works of art having a reproductive relationship, such as an art work that is a copy of another art work, link the two works through associative relationships. An example is Rubens' copy of Titian's Bacchanal (Prado, Madrid) or George Baxter's nineteenth-century print of Raphael's Descent from the Cross. The copy here is not a visual surrogate, but itself a work of art. In this case, the work depicted may also be linked as specific depicted subject, as well as through associative relationships.
  
  Do not link works through associative relationships if one work merely references the other; instead, use specific depicted subject to make the connection. For example, with Marcel Duchamp's "visual quotation" of the Mona Lisa, there should be a link to Leonardo da Vinci's Mona Lisa as a specific depicted subject of the Duchamp painting, but not through associative relationships.
  
  Visual surrogates: In almost all cases, links for visual surrogates and the work depicted should be made through specific depicted subject rather than associative relationships. For visual surrogates, reproductive prints, or photographs considered works of art, link to the work depicted through associative relationships only if the image is an important document recording the history or construction of the work depicted.
  
  If the work is a visual surrogate, but not itself a work of art in its own right, place the record in the Visual Surrogates facet and link to the depicted work through specific depicted subject.

3.6.3.6.5.4

Issues for various types of subject
Below are guidelines regarding some of the most common types of depicted subjects.

• Portraits and other figures
  If the work is intended to be a likeness of an individual, as the preferred general subject term, choose portraits [31602].
  
  Identified sitters: For portraits, as the preferred specific subject term, link to the sitter's name in ULAN if known.
  
  If there are multiple sitters, link to all of them in ULAN, if possible. For the preferred specific subject, use the most prominent sitter or the sitter first or most prominent in the composition; for example, the one furthest to the left or foremost to the front of the composition. Alternatively, list the sitters in alphabetical order.
  
  Unidentified sitters: If the work is a portrait, but you do not know the name of the sitter, link to an appropriate general AAT term describing the sitter, such as woman (female human) [AAT 300025943].
  
  Type of portrait: For portraits, it is necessary to convey the meaning of the general subject designation portraits [31602] in specific subject; however, avoid repeating the same word portrait. If possible choose a more specific term under the AAT term portrait [AAT 300015637], such as single-sitter portrait [AAT 300404138], group portrait [AAT 300124525], self-portrait [AAT 300124534], etc.
  
  Method of representation: If possible, index a reference to the method of representation of the sitter, such as full-length figure [AAT 300343592]. In Subject Extent, flag this term as method of representation.
  
  Portrait vs. depiction of a generic figure: A portrait is intended to convey an identifiable likeness of a particular person. If the work is a figure study or other depiction that is not intended to convey a particular person's likeness, use the general subject term human figures rather than portraits.
  
  For the specific subject, reference the figure or figures generically, for example, man (male human), woman (female human), family (kinship group), dancer, etc. However, even if the work is not intended to be a portrait, if the name of the model or sitter is known, include it here by linking to ULAN.
  
  Religious or legendary figures: If the figure depicted is intended to represent a religious, mythical, legendary, or historical figure (but not a portrait), use the general subject human figures rather than portraits. In general subject, you may also include terms religion and mythology or history and legend. In specific subject, link to any named historical person in ULAN; link to any legendary, religious, or mythical named people in the IA.
  
  Both portrait and another character: Note that it is possible that the same figure may be a portrait of a known sitter, and at the same time a representation of a mythical, literary, or religious figure. For example, a nobleman may be portrayed in the guise of Hercules. In this example, index both the named sitter using ULAN and the character Hercules using the IA.
  
  
• Landscapes
  As the preferred general subject term, choose landscapes, or another appropriate general term.
  
  As the preferred specific subject, link to a named place in TGN, if known, whether an adiminstrative entity in which the landscape is located (e.g., Tuscany (Italy)) or a physical feature (e.g., Adirondack Mountains (New York state, United States)).
  
  Type of landscape: For landscapes, it is necessary to convey the meaning of the general subject designation landscapes in specific subject by linking to the appropriate AAT term. Although typically you should avoid repeating the general subject term here, it may be necessary to include the AAT term landscape (representation) here, if no narrower term for landscape is applicable.
  
  If pertinent, you may include a reference to the type of view from AAT <views by vantage point or orientation>, such as distant view, imaginary view, or bird's-eye view. Views do not have as a context landscape in the AAT; thus landscape (representation) should also be included.
  
  Prominent or unusual landscape features: In choosing AAT terms for specific subject, include unusual or particularly prominent features in the landscape. While most landscapes will include sky, a horizon line, hills, and trees, it would be useful to index any notable features. For trees, you may know the type of forest, such as temperate deciduous forest or the type of trees, such as Acer (genus) (i.e., maples). If the time of day is apparent, include it, for example (e.g., sunset). If the clouds are prominent design elements, include the type, if known (e.g., cumulus clouds). If human figures, animals, water elements such as rivers or lakes, or distant towns are included, include terms for them. If buildings are prominent and identifiable index them using CONA built works for named built works (e.g., Chartres Cathedral), or generically using the AAT (e.g., church).
  
  Secondary landscapes: If a landscape is a secondary element in a composition, such as in the background of a narrative scene or cityscape, generally do not include landscape among the general subject terms. If it is secondary compositionally but remarkable or important in the history of landscape depictions, include landscape (representation) among the specific subject terms, with Extent background. For example, in early Renaissance northern European narrative scenes, landscapes were beginning to become works of art in their own right, albeit in the background of paintings focusing on other subjects.
  
  Cityscapes and seascapes: If a view focuses primarily on a city, town, the ocean, or seaside, use the general subject terms cityscapes or seascapes; also consider site or marine. In specific subject, index any proper names of the inhabited place or ocean location using TGN, and appropriate generic terms using the AAT. If buildings are prominent and identifiable, index them using CONA built works if named, or the AAT for generic terms.
  
  
• Still Lifes
  For still lifes, use the preferred general subject term still lifes.
  
  Types of still lifes: As the preferred specific subject term, use an AAT term indicating a more specific type of still life, if appropriate, such as banquet piece, kitchen piece, fruit piece, flower piece, vanitas, etc. If the still life does not meet the definition of a more specific type, use the AAT term still life, even though it repeats the general subject term.
  
  Important objects: Using the AAT, index an overall term for the objects represented in the piece (e.g., metalwork (visual works) with Indexing type description), or index terms for the primary or most important objects depicted (e.g., pitcher (vessel) and wine glass). Do not index every item in a busy still life.
  
  If an object is named in the title, index it here.
  
  As secondary elements: If a grouping of inanimate objects is a secondary element in a composition, do not use the general subject term still lifes. However, if the grouping is nonetheless important or remarkable, even if not the primary focus of the composition, index it as a specific subject.

• Animals and plants
  If the primary subject comprises one or more animals or plants, for preferred general subject use animals or botanical.
  
  For the preferred specific subject, use the AAT to link to the name of the taxonomic species, genus, or family, to the level of specificity known at the identification level of indexing. Subspecies, varieties, and -- for domestic animals -- the breed may be recorded.
  
  Latin name or common name: Typically, prefer the Latin scientific name for the animal or plant, ideally the binomial for species, if known (e.g., Ovis aries (species)). The Latin term is often more unique than the common name, which could refer to multiple species. However, if preferred by the cataloging institution, use the common term for the animal or plant rather than the scientific term (e.g., domestic sheep (species)).
  
  If authoritative information is lacking, link to an AAT term representing the animals or plants at the level of description (e.g., flowers (plant components)) rather than identification.
  
  
• Genre scenes
  For scenes focusing on activities from everyday life, for the preferred general subject term, use genre.
  
  For the preferred specific subject term, use an AAT term referring to the primary activity (e.g., sewing (needleworking techinique)) or the main protagonists in the scene (e.g., needleworkers).
  
  If there are real people or places having a known name, index them using ULAN or TGN.
  
  For known depicted events, literary, religious, or legendary people or places, use the IA. A scene may be both historical, literary, etc. and at the same time a genre scene.
  
  
• Narrative scenes
  For scenes from narratives, for the preferred general subject term, choose history and legend, religion and mythology, literary, or another appropriate term.
  
  For the preferred specific subject term, choose the named event from the IA, either from history (e.g., Storming the Bastille (French Revolution) European history)) or from religion, mythology, literature, or legend (e.g., Rama battles the demon-king Ravana (Hindu mythology)).
  
  If the narrative is not a named event, choose a generic term from the AAT describing the narrative (e.g., coronation).
  
  
• Allegory and satire
  If the subject is primarily allegorical or satirical, choose allegory or satire as the preferred general subject term. If the allegory or satire is secondary to another subject, make allegory or satire a non-preferred general subject term.
  
  For the preferred specific subject term, if the main theme is allegory or satire, list the named allegorical or satirical theme, if appropriate. In the IA are allegorical personifications (e.g., Charity) and activities (e.g., Triumph of Love over War). Physical and mental activities, emotions, seasons, and other pertinent generic terms that could apply to allegories may be found in the AAT (e.g., spring (season)). Index type should be interpretation for the naming of allegorical subjects.
  
  
• Nonrepresentational art
  For nonrepresentational paintings. sculptures, drawings, and other movable works, use nonrepresentational art as the preferred general subject term.
  
  For architecture, furnishings, and other works that also have no iconographic subject, do not use nonrepresentational art. Instead, use other appropriate terms (e.g., architecture, furnishings, utilitarian objects).
  
  If there is no theme or implied subject, omit specific depicted subject terms.
  
  If there is a known implied theme or important design element, index it here using the AAT or other vocabulary as appropriate.
  
  
• Performance Art
  For performance art, use performance art as the preferred general subject term. Note that in art history, performance art is not the same thing as the performing arts.
  
  As the preferred specific subject term, index the primary theme, activities, and allegorical subjects in the performance. Actions that take place in the performance should be indexed here (e.g., running (physical activity), reclining), not as a technique in Materials and Techniques.
  
  People in the performance: Index proper names of any people, places, events, literary works, etc. that are referenced. It is not necessary to index the actors or artists here in specific subject. The creators of the performance are included as Related People for creation of the work. In specific subject, index what the work is about. However, if the work is about one or more of the actors or the creator, repeat the link to ULAN here in specific subject.
  
  
• Architecture
  For built works, use architecture or structures as the preferred general subject. If the catalog record is for the built work itself, flag indexing type isness. If the work depicts a built work, flag indexing type description.
  
  Omit terms for specific subject if none applies. Built works themselves often have no specific subject. Architectural drawings and other depictions of built works usually have specific subjects.
  
  Depictions of a built work: For architectural drawings, reproductive prints, photographs, and other works that depict a built work, link to the record for the built work as the specific subject depicted. If the built work is the primary subject of the depiction, make this the preferred specific subject. If the work being cataloged is part of the creation process, or if it is a particularly important record of the built work, link it also through Associative Relationships.
  
  If the depiction is of an unnamed or unknown built work, choose approriate terms from the AAT to index the content. Extent should be labeled depiction.
  
  Dedication: For cataloging built works themselves, the dedication of a religious structure to a deity or saint may be included as specific subject (e.g., a temple in India may be dedicated to Shiva (Hindu deity) [IA1000021] ). In such cases, the deity's name is often part of the name of the built work and should be indexed. Flag the subject extent as dedication.
  
  For the status honoring a patron, ruler, or other person -- also called "dedication" and often for a movable work rather than architecture -- use the Related Person fields connected to creation rather than specific subject.
  
  Design elements: Important design elements that are not appropriately indexed as Materials and Techniques may be indexed here. For example, if an architectural drawing specifically depicts a certain type of floorplan, it may be indexed here using the AAT (e.g., basilican plan). It is indexed as specific subject because it is depicted in the work.
  
  On the other hand, if you are cataloging a built work itself, basilican plan should be listed with its other physical characeristics in Materials and Techniques.
  
  Method of representation and Purpose: For architectural drawings, method of representation and purpose should be indexed using the AAT. Flag them with the appropriate Extent (e.g., axonometric projection (image) Extent: method of representation; presentation drawing (proposal) Extent: purpose).
  
  
• Utilitarian objects and furnishings
  For objects that are not primarily art works, use utilitarian objects, furnishing, or another appropriate general subject term. Flag the indexing type isness.
  
  Omit terms for specific subject if none applies.
  
  Work type and purpose: For specific subject, do not repeat Work Type. You may indicate purpose as specific subject, if appropriate. Flag it with Extent purpose.
  
  Designs or subjects depicted: If appropriate, index subjects depicted on the work. For example, a dower chest may be decorated with a scene of cupids or a wedded couple (e.g., cupids [AAT 300380105]); an Aztec jar may be in the shape of a vulture (e.g., Vultur (genus) [AAT 300404089]).
  
  If appropriate, index important ornament on the work. For example, textiles, windows, and other works may have only patterns or ornament as subject (e.g., checker pattern [AAT 300010111]).
  
  Do not index minor ornament or decoration.
  
  
• Volumes
  For books and other primarily written works, for general depicted subject use literary, history and legend, religion and mythology, or another appropriate term.
  
  For the preferred specific subject, link to the named literary work, if any, using the IA (e.g., De duobus amantibus historia (Piccolomini, 15th century)).
  
  If the content of the work is not a named literary work, use generic AAT terms to describe its content. For example, a breviary may have as subject the AAT terms hours (prayers) and readings.
  
  Work type: Avoid repeating the work type here. The work type may imply subject, but subject terms should more explicitly state the conent, if possible. For example, for work type breviary in the example above, the subject is hours (prayers).
  
  The form of the book, such as book or scroll, should be included in work type, not as subject.
  
  Illuminations: If the work is illuminated or illustrated, the subjects of the illuminations may be listed here. However, if the individual pages or folios are cataloged separately as items, do not repeat the full list of depicted subjects here. Instead, at this broader level of cataloging, choose terms describing the primary, overall subjects.
  
  Language of texts: The language in which the text is written may be indexed here. Choose the language from the AAT and flag the term as extent language (e.g., Liturgical Latin (language) Extent: language).
  
  
• Groups and collections
  For groups and collections, choose as the preferred general subject the term that best describes the prevalent or most important content in the group or collection. For example, an archive from an advertising firm may have as primary subject advertising and commercial. The general term documents is also often applicable to archival groups; however, make documents a non-preferred general term (rather than specific subject) whenever possible.
  
  For specific subjects, link to proper names and generic terms representing the primary subjects and content of the group. If the full group or collection will also be cataloged at the item level, the full list of subjects need not be repeated here.
  
  Creators and originators: As subject, do not repeat creators or administrative originators who are indexed with creation as Related Persons. An exception is when the items in the group are about the originator or creator; in this case, repeat the names as specific subjects, linked to ULAN.
  
  Work types: Avoid repeating work types, if possible. For example, a group containing primarily photographs of colonial Hildago, Mexico would have as a work type photographs, and as specific subject a link to TGN Hidalgo (state) (Mexico) and any appropriate ULAN and AAT terms (e.g., perhaps colonialism).
  
  Other subject headings: Groups may be indexed with Library of Congress authority headings; ideally, the headings should be mapped to the linked Getty vocabularies here. In addition, the authority headings and the associated LC Control Number may be included in Outside Iconography.

3.6.3.6.5.5

Examples of subject indexing

[for the portrait of an identified sitter]
General Subjects

• portraits [31602]
  
  Specific Subjects
  
• Reede-Athlone, Maria Frederike van (Dutch countess, 1748-1807) [ULAN 500312914]
  
• single-sitter portrait (portraits, <visual works by subject type>, ... Objects Facet) [AAT 300404138]
  
• child (<people by age group>, People (hierarchy name), Agents Facet) [AAT 300025945]
  
• Canis familiaris (species) (Canis (genus), Canidae (family) ... Living Organisms (hierarchy name), Agents Facet) [AAT 300250130]

 
Jean-Étienne Liotard (Swiss, 1702-1789); Portrait of Maria Frederike van Reede-Athlone at Seven Years of Age; 1755 or 1756; pastel on vellum; 57.2 x 47 cm. (22 1/2 x 18 1/2 inches); J. Paul Getty Museum (Los Angeles, California); 83.PC.273.

[for a seascape and identified built work, documented interpretation concerns fishermen; "seascape" repeated as specific subject]
General Subjects

• seascapes [31901]
  
  Specific Subjects
  
• Conway Castle (castle (fortification); Wales; James of Saint George (English mason, active ca. 1270); 1283-1286) [CONA 700000063]
  
• seascape (<visual works by subject type>, ... Objects Facet) [AAT 300117546]
  
• storm (natural events, events (activities) ... Activities Facet) [AAT 300054734]
  
• fishermen (people) (<people in agriculture or natural resource occupations>... Agents Facet) [AAT 300025608]

 
Joseph Mallord William Turner (English, 1775-1851); Conway Castle, North Wales; 1798; watercolor and gum arabic with graphite underdrawing; 53.7 x 76.5 cm (21 1/8 x 30 1/8 inches); J. Paul Getty Museum (Los Angeles, CA). 95.GC.10.

[for a painted scene on a Maya vessel]
General Subject

• religion and mythology [31801]
  
  Specific Subject
  
• Xibalbá (Maya legendary places, Maya iconography, Religion and Mythology) [IA 1000045]
  
• Baby Jaguar (Maya king, ruled ca. 317 BCE) [ULAN 500329587]
  
• skeleton (animal components) (<skeletons and skeleton components>, ... Objects Facet) [AAT 300191778]
  
• altar (<altars and altar components>, religious building fixtures, ... Objects Facet) [AAT 300003725]
  
• death (personal life events, events (activities), Events (hierarchy name) [AAT 300151836] Indexing Type: interpretation
  
• sacrifice (religious ceremonies, ceremonies, ... Events (hierarchy name)) [AAT 300263243] Indexing Type: interpretation

 
unknown Maya; Vessel with Mythological Scene; 8th century; terracotta vase painting; 14 cm (height) (5 1/2 inches); Metropolitan Museum of Art (New York, New York, USA); 1978.412.206.

[for a complex composition, foreground and background]
General Subjects

• religion and mythology [31801]
  
  Specific Subjects
  
• Adoration of the Magi (Event; Life of Jesus Christ...Christian Iconography, Religion and Mythology) [IA 1000083]   Extent: foreground
  
• Holy Family (Character/Person; Life of Jesus Christ...Christian Iconography, Religion and Mythology) [IA 1000071]
  
• Magi (Character/Person; Life of Jesus Christ...Christian Iconography, Religion and Mythology) [IA 1001061]
  
• horses (species) (Equus, ... Animalia... Living Organisms, Agents Facet) [AAT 300250148]
  
• gifts (property) (legal concept)… Associated Concepts Facet) [AAT 300138913]
  
• Epiphany (feast day) (Christian holidays … Events, Activities Facet) [AAT 300264546]   Indexing Type: interpretation
  
• Journey of the Magi (Event; Life of Jesus Christ...Christian Iconography, Religion and Mythology) [CONA 1000231]  Extent: background
  
• Siena (inhabited place; Tuscany, Italy) [TGN 7011179]  Extent: background
  
• continuous representation (visual and representational concepts, … Associated Concepts Facet) [AAT 300056330] Extent: method of representation

 
Bartolo di Fredi (Sienese, ca. 1330-1410); Adoration of the Magi; altarpiece; ca. 1385; Pinacoteca Nazionale di Siena (Siena, Siena province, Tuscany, Italy); no. 104.

[for a print depicting an historical event]
General Subjects

• history and legend [30801]
  
• events [30501]
  
  Specific Subjects
  
• Storming of the Bastille (event; French Revolution, European History, Named Events) [IA 1000248]
  
• Bastille (bastide; Built Work; unknown architect, by order of Charles V; begun 1370; Paris, France) [CONA 700001912]
  
• attack (armed conflict) (events, ... Activities Facet) [AAT 300404141]
  
• cannon (artillery) (<artillery by form>, ... weapons, ...Objects Facet) [AAT 300036936]
  
• revolutionaries (<people by ideology...>, ...People, Agents Facet) [AAT 300237490]
  

 
Laurent Guyot (French, 1756-1806); Storming the Bastille; etching; ca. 1789; Prints of the French Revolution; Getty Research Institute (Los Angeles, California); 2682-187.

[for a depiction of flowers; interpretation based on authoritative sources]
General Subjects

• botanical [30201] Indexing Type: description
  
  Specific Subjects
  
• Iris (genus) (Iridaceae (family), ... Living Organisms, Agent Facet) [AAT 300343602] Indexing Type: identification
  
• Nature (Associated Concepts, Associated Concepts Facet) [AAT 300179372] Indexing Type: interpretation
  
• regeneration (events... Activities Facet) [AAT 300343606] Indexing Type: interpretation

Vincent van Gogh (Dutch, 1853-1890); Irises; 1889; oil on canvas; 71 x 93 cm (28 x 36 5/8 inches); J. Paul Getty Museum (Los Angeles, California, USA); 90.PA.20.

[for a nonrepresentational sculpture, with interpretation-level subject indexing]
General Subjects

• nonrepresentational art [31401]
  
  Specific Subjects
  
• motion (dynamics, mechanics concepts, ... Associated Concepts) [AAT 300056039] Indexing Type: interpretation
  
• woman (female human) (<people by gender>, ... Agents Facet) [AAT 300025943] Indexing Type: interpretation
  
• space (general physical concept) (attributes and properties by specific type, ... Physical Attributes Facet) [AAT 300404143] Indexing Type: interpretation

 
Umberto Boccioni (Italian, 1882-1916); Unique Forms of Continuity in Space; 1913; bronze (cast 1931); 111.2 x 88.5 x 40 cm (43 7/8 x 34 7/8 x 15 3/4 inches ); Museum of Modern Art (New York, New York, USA); 1990.38.3.

[for a bronze bell, purpose may be included]
General Subjects

• ceremonial objects [30302] Indexing Type: isness
  
  Specific Subjects
  
• ceremonial sound device (<sound devices by function>, ... Objects Facet) [AAT 300312157] Extent: purpose

 
unknown Chinese; Zong Zhou Zhong; bell; bronze; ca. 857-842 BCE; 65.6 x 35.2 cm; National Palace Museum (Taipei, Taiwan).

[for an art work depicting a built work]
General Subjects
• architecture   Indexing Type: depiction
  
  Specific Subjects
  
• Case Study House No. 21 (house; Pierre Koenig (American architect, 1925-2004); 1958-1959; Los Angeles) [CONA 700000090]
  
• reflecting pool (water features (landscaping) … Objects Facet) [AAT 300179485]
  
• carport (exterior covered spaces, <rooms and spaces by location or context>, ... Objects Facet) [AAT 300004090]
  
• dwelling (single built works … Objects Facet) [AAT 300005433]

 
Julius Shulman (American, 1910-2009); Case Study House No. 21: Reflecting pool, carport, entrance to kitchen and study/bedroom Job 2622-32; photograph; 1958-1959 (Job 2622: Case Study House No. 21 (Los Angeles, Calif.), 1958, 1959, Series III.A. Case Study Houses, 1945-2004, Julius Shuman Photography Archive 1935-2009; Getty Research Institute (Los Angeles, California); Job 2622-32.

[for a built work]
General Subject
• architecture Indexing Type: isness
  
  Specific Subjects
• Planetary Gods (Greek and Roman characters, Greek and Roman iconography, Religion and Mythology) [IA 1000079] Extent: dedication
• Queen of Martyrs (Life of the Virgin Mary, New Testament narratives, Christian iconography, Religion and Mythology) [CONA 1000080] Extent: dedication
• religious structure (ceremonial structures, ... Objects Facet) [AAT 300007391] Extent: purpose

 
Pantheon (temple (building); unknown Ancient Roman, for the Emperor Hadrian (Roman emperor and patron, 76 CE-138 CE, ruled 117-138); begun in 27 BCE, completely rebuilt 118/119-125/128) (Built Works)

3.6.3.7

Sequence Number

3.6.3.7.1

Definition
An indication of the sort order for the specific depicted subject terms.

3.6.3.7.2

Values
Numbers, 1 through n.

3.6.3.7.3

Sources
The same authoritative sources that are appropriate for the rest of the record may be used, including data from the repostory of the work.

3.6.3.7.4

Discussion

For items: Most CONA records for a single item require only 1 to 6 specific depicted subject terms. If there are a large number of subjects with proper names, such as a group portrait, more terms may be required.

For groups: When recording a group of works, catalogers should use as many general depicted subject terms as necessary to properly index the group.

3.6.3.7.5

RULES for Sequence Number

3.6.3.7.5.1

Minimum requirements for Sequence Number

Required-default: Sequence number is required. If there are multiple depicted subject terms, sort them in an appropriate sequence.

• Number the specific subject types in continuous sequence. Do not skip numbers.
  

3.6.3.7.5.2

How to sequence specific depicted subject terms

• Order of importance
  In general, sequence the subject terms in order of importance.
  
  In establishing sequence, try to order the most prominent subjects first. As a second criterion, try to anticipate the subjects that will be more interesting to most end users.
  
  For any given set of records, be consistent in the numbering of general depicted subject terms.

3.6.3.8

Preferred Flag

3.6.3.8.1

Definition
An indication of whether the specific subject term is preferred or non-preferred for the record.

3.6.3.8.2

Values
Values are controlled by a list.

preferred
non-preferred

3.6.3.8.3

Sources
The same authoritative sources that are appropriate for the rest of the record may be used, including data from the repostory of the work.

3.6.3.8.4

Discussion

The cataloger must choose one specific subject term as preferred, but all specific depicted subject terms are available in retrieval.

The preferred subject should be the one most representative of the composition or the named subject represented by the iconography. Preferences among other types of subjects are also covered in the rules for choosing terms above.

3.6.3.8.5

RULES for Preferred Flag

3.6.3.8.5.1

Minimum requirements for Preferred Flag

Required-default: Set the flag to Preferred or Non-Preferred, as appropriate. If there is only one specific depicted subject, by default it is preferred.

3.6.3.8.5.2

Choosing the preferred specific depicted subject term

• Choose as the preferred specific depicted subject a term that best represents the primary and most prominent subject content of the work. However, do not repeat the General Depicted Subject term here, other than in the exceptions described above.
  
  
• Consistency
  Within a given collection, be consistent in choosing the preferred specific depicted subject term. For example, if you have two portraits of named individuals, do not include the named person from ULAN as preferred in one record and single-sitter portrait [AAT 300404138] as preferred in the other. In this example, both should have the named sitter linked to ULAN as the preferred specific subject term, and single-sitter portrait is a non-preferred subject term.
  

3.6.3.9

Indexing Type

3.6.3.9.1

Definition
A classification of the level of subject description indicated by the indexing terms, for use if necessary to distinguish between what a work is "of" and what it is "about."

3.6.3.9.2

Values
Values are controlled by a list.

undetermined
description
identification
interpretation
isness
aboutness
ofness

3.6.3.9.3

Sources
The same authoritative sources that are appropriate for the rest of the record may be used, including data from the repostory of the work.

3.6.3.9.4

Discussion
This designation will allow the distinction between a subject reflecting what the work is "of" (description) or from what the work is "about" (identification and interpretation). In addition, the designation isness allows users to retrieve subject terms referring to what the work "is."

3.6.3.9.5

RULES for Indexing Type

3.6.3.9.5.1

Minimum requirements for Indexing Type

Optional: Record a term to designate the scope of indexing provided by the subject term being recorded.

3.6.3.9.5.2

How to choose Indexing Type

Use indexing type when necessary for clarity.

It is not required to use indexing type. In some cases it is ambiguous which indexing type applies. If the type is unclear, omit it (leave the field blank).

Catalogers may use aboutness and ofness, or they may use description, identification, and interpretation. The library community is more familiar with aboutness and ofness, while art historians will be more familiar with description, identification, and interpretation. The terms are not mutually exclusive.

Choose an indexing type based on the following definitions:


• undetermined
  Do not use this designation. It is reserved for problematic data loads. If the Indexing Type is unknown or ambiguous, leave the field blank.
  
  
• description
  For terms that index the work according to the generic elements of the image or images depicted in, on, or by it. These are elements that may be recognized by a viewer having little or no knowledge of a particular theme or the iconography depicted. Used in both General Depicted Subject (e.g., a viewer without specialized knowledge may recognize a human figure) and Specific Depicted Subject (e.g., child (people by age group) [AAT 300025945]). Description is usually analogous to ofness.
  
  
• identification
  For terms that name the subject depicted in or on a work: its iconography. Iconography is the named mythological, fictional, religious, or historical narrative subject matter of a work, or its non-narrative content in the form of persons, places, things, from the real world or iconographic themes. Identification requires knowledge of the subject depicted. Used primarily in Specific Depicted Subject (e.g., an image of a child may be identified as Eros (Greek god) [IA 1000613]). Identification may be analoguous to either aboutness or ofness.
  
  
• interpretation
  For terms that refer to the meaning or theme represented by the subject matter or iconography of a work. Interpretation requires access to expert analysis or knowledge of common themes, such as represented in allegory or symbols. Used primarily in Specific Depicted Subject (e.g., an image of Eros symbolizes love (emotion) [AAT 300055165]). Interpreation is usually analogous to aboutness.
  
  
• isness
  For terms that equal the work described or the class to which it belongs, relevant particularly to distinguish when the subject term is the work, as opposed to descriptive of the subject portrayed in the work. Used primarily in General Depicted Subject. For example, if you are cataloging a cathedral as a built work, General Depicted Subject term architecture has Indexing Type isness; if you are cataloging a drawing of a cathedral, architecture has Indexing Type description.
  
  
• aboutness
  If more familiar with aboutness than the Panofsky-inspired terms, cataloging institutions may use this flag to indicate what the work is about. It may analogous to either identification or interpretation.
  
  
• ofness
  If more familiar with ofness than the Panofsky-inspired terms, cataloging institutions may use this flag to indicate what the work is of. It may analogous to either description or identification.
  

3.6.3.10

Subject Extent

3.6.3.10.1

Definition
When there are multiple subjects, a term indicating the part of the work to which these subject terms apply. Also includes terminology to flag attributes relating to a part or characteristic of the work not captured in other fields, such as language or purpose

• Examples
  recto
  verso
  side A
  side B
  overall
  

3.6.3.10.2

Values
Values are controlled by an extensible list, subject to frequent additions.

3.6.3.10.3

Sources
The same authoritative sources that are appropriate for the rest of the record may be used, including data from the repostory of the work.

3.6.3.10.4

Discussion

This field may be used for clarity when a single work may has multiple subjects.

For example, a Greek vase may have the Judgment of Paris on Side A and Amazons on Side B; a polyptych may have multiple subjects on various side panels, components (such as Saint Catherine, Saint Ursula, etc.).

3.6.3.10.5

RULES for Subject Extent

3.6.3.10.5.1

Minimum requirements for Subject Extent

Optional: Record a term designating the part of the work for which the subject terms are pertinent.

3.6.3.10.5.2

When to use Subject Extent

• For broad extent
  Use subject extent for broad extent designations, such as primary, secondary, and common (referring to the subjects common to all items in a group).
  
  
• For positional attributes
  Use subject extent terms that describe positional attributes (such as recto, verso, top, bottom) only when necessary for clarity. Do not use positional subject extent terms except when warranted. For example, if the only subject or subjects is overall, omit subject extent.
  
  
• For non-positional attributes
  For non-positional attributes (such as language, related event, dedication, purpose, method of representation, design element), use subject extent terms according to the definitions below, even if there is only one subject.

3.6.3.10.5.3

List of Subject Extent terms

As of this writing, subject extent terms include those in the list Subject Extent Terms. Choose subject extent terms based on the definitions provided.

3.6.3.11

Outside Iconography Term

3.6.3.11.1

Definition
Terms for subjects taken from some outside source not included in AAT, TGN, ULAN, or the CONA Iconography Authority.

3.6.3.11.2

Values
Free text. Any character in Unicode or numbers.

3.6.3.11.3

Sources
Standard sources of iconographic terms, such as Iconoclass or Library of Congress Subject Headings.

3.6.3.11.4

Discussion

For contributions to CONA, if the contributing institution has linked the subjects to another source, particularly Iconclass or Library of Congress Subject Headings, this information should be captured here.

3.6.3.11.5

RULES for Outside Iconography Term

3.6.3.11.5.1

Minimum requirements for Outside Iconography Term

Optional: Record an appropriate value from an outside source of iconographic terms.

3.6.3.11.5.2

Recording outside terms

Record the term verbatim from an outside source of iconography.

Ideally, the matching term from the AAT, TGN, ULAN, CONA, or the IA should also be linked, as described in the sections above.

3.6.3.12

Outside Iconography Code

3.6.3.12.1

Definition
An indication of the code or unique identifier for the subject in the cited iconographic source.

• Examples
• sh 85060359
• 94L
  

3.6.3.12.2

Values
Free text. Any character in Unicode or numbers.

3.6.3.12.3

Sources
Standard reference work for the iconographic term.

3.6.3.12.4

Discussion

It is important to capture the unique number or alphanumeric code of the term from the source. The term itself will likely not be unique over time, and is not multilingual. It is the code that allows consistency and persistence of data.

3.6.3.12.5

RULES for Outside Iconography Code

3.6.3.12.5.1

Minimum requirements for Outside Iconography Code

Required if applicable: If you record an outside term, it is critical to record the unique identifier. Record the code or unique identifier for the subject in the authority cited.

3.6.3.12.5.2

Recording the code

• Cite the code exactly as represented in the authority, including punctuation and capitalization.

3.6.3.13

Source

3.6.3.13.1

Definition
A link to the published work that provided the term used to index the depicted subject.

• Examples
  
• Iconclass 2100 Browser (2009-)
  
• Library of Congress Authorities online (2002-)

3.6.3.13.2

Values
Values are controlled by the Source Authority.

3.6.3.13.3

Sources
The same authoritative sources that are appropriate for the rest of the record may be used, including data from the repostory of the work.

3.6.3.13.4

Discussion

It is critical to cite the source of the outside iconography term. Without a reference to the source, the term is of very little use.

3.6.3.13.5

RULES for Source

3.6.3.13.5.1

Minimum requirements for Source

Required if applicable: If an outside iconography term is included, it is required to link to a citation for the source.

3.6.3.13.5.2

Citing Sources

For detailed instructions for creating citations, see Appendix C: Sources.


• Examples
  
  
• Brief title: Iconclass 2100 Browser (2009-)
  Full title: Iconclass 2100 Browser. The Hague: Rijksbureau voor Kunsthistorische Documentatie, 2009-. http://www.iconclass.org/rkd/9/ (24 August 2010).
  Source ID: 2000052084
  
  
• Brief title: Library of Congress Authorities online (2002-)
  Full title: Library of Congress Authorities [online]. 2002-. http://authorities.loc.gov/ (12 August 2003).
  Source ID: 2000052652

3.6.3.14

Preferred Flag

3.6.3.14.1

Definition
An indication of whether the outside iconography term is preferred or non-preferred in the source.

3.6.3.14.2

Values
Values are controlled by a list.

preferred
non-preferred

3.6.3.14.3

Sources
The same authoritative sources that are appropriate for the rest of the record may be used, including data from the repostory of the work.

3.6.3.14.4

Discussion

It is important to note if the term taken from the outside authority is a preferred term for that authority, or is instead a non-preferred see also reference.

3.6.3.14.5

RULES for Preferred Flag

3.6.3.14.5.1

Minimum requirements for Preferred Flag

Required-default: Record an appropriate value from the controlled list.

3.6.3.14.5.1

Noting if the term is preferred or not preferred

• Flag as preferred the term that is the entry term or primary heading for the iconography concept in the source, which may be indicated differently in authorties, dictionaries, and encyclopedia, or glossaries.
  
  
• Other terms from the same source should be flagged as non-preferred for the source.

3.6.3.15

Page

3.6.3.15.1

Definition
Page number, volume, date accessed for Web sites, and any other information indicating where in the source the term was found.

3.6.3.15.2

Values
Free text. Use Unicode values or numbers.

3.6.3.15.3

Sources
The same authoritative sources that are appropriate for the rest of the record may be used, including data from the repostory of the work.

3.6.3.15.4

Discussion

It is important to note the page or other location in the source where the term was found. Users should be able to refer to the source and verify the page or other context where you found the term.

3.6.3.15.5

RULES for Page

3.6.3.15.5.1

Minimum requirements for Page

Optional: Optional but strongly recommended. Include the page number or other reference to where in the published work the term was found. If this is a unique identifier for the term, include it in the Code field as well.

3.6.3.15.5.2

How to record page

• For pages, do not state "page" or "p." before the numbers. Use the following formats: e.g., 532, 45-53, 12 ff. List the entire number for both numbers in spans of pages (e.g., 691-693, NOT 691-3).
  
  
• For full instructions, see Appendix C: Sources.

GUIDELINES FOR THE GETTY ICONOGRAPHY AUTHORITY

CONTENTS

Preface
Purpose of These Guidelines
Purpose of IA
Focus
Use
Contributors

1 ABOUT THE GETTY ICONOGRAPHY AUTHORITY (IA)
    Introduction and Overview (PDF, 4.2 MB, 100pp)

1.1 GENERAL INFORMATION ABOUT IA
    1.1.1 Scope and Structure
    1.1.2 What is a Thesaurus?
    1.1.3 What is an Iconographical Concept?

1.2 EDITORIAL CONTROL
    1.2.1 Review process
    1.2.2 Does contributors' data follow editorial rules?

1.3 RELEASING THE DATA
    1.3.1 Web browsers
    1.3.2 Data releases
    1.3.3 Sample Displays of IA Data

1.4 VOCABULARY COORDINATION SYSTEM (VCS)
    1.4.1 Database
    1.4.2 Merged Records
    1.4.3 Operating VCS

GETTY ICONOGRAPHY AUTHORITY EDITORIAL RULES

• Iconography ID (required-default)
• Iconography Parent (required)
• Broad Iconography Type (required)
• Iconography Label (required-default)
• Iconography Name (required)
• Iconography Term ID (required-default)
• Sequence Number (required-default)
• Term Preferred Flag (required-default)
• Other Flags
• Term Type (required-default)
• Qualifier / Descriptive Phrase
• Iconography Part of Speech (required-default)
• Language
  • Language Preferred Flag
• Name Source (required)
  • Source Preferred Flag
  • Page
• Descriptive Note
• Iconography Display Date
  • Start Date and End Date
• Related Iconographic Subject: IA to IA
  • Relationship Type
  • Relationship Note
• Related Generic Concept: IA to AAT
  • Relationship Type
  • Relationship Note
• Related Place: IA to TGN
  • Relationship Type
  • Relationship Note
• Related Person or Corporate Body: IA to ULAN
  • Relationship Type
  • Relationship Note
• Iconography Source
• Page
  
  

GETTY ICONOGRAPHY AUTHORITY: GUIDELINES

    compiled and edited by
    Patricia Harpring, managing editor, and
    the Getty Vocabulary Program:
    Jonathan Ward, editor
    Antonio Beecroft, editor
    Robin Johnson, editor

    Revised: 27 November 2022

PREFACE

This document contains information about editorial practice for the Getty Iconography Authority (IA)™ one of the vocabularies produced by the Getty Vocabulary Program. The other vocabularies are the Art & Architecture Thesaurus (AAT)®, Getty Thesaurus of Geographic Names (TGN)®, Union List of Artist Names (ULAN)®, and the Cultural Ojbects Name Authority (CONA)®.

NOTE: The guidelines in this document are subject to frequent modification and additions.

Purpose of these guidelines
This document contains rules and guidelines intended for use by contributors and the editors of the Getty Vocabulary Program. Implementers of the Vocabulary data should consult these guidelines to extrapolate information and guidance.

Purpose of IA
The AAT, TGN, ULAN, CONA, and IA are structured vocabularies that can be used to improve access to information about art, architecture, and material culture. The Getty Vocabularies are not simple 'value vocabularies'; they are unique knowledge bases in themselves. Through rich metadata and links, the Getty Vocabularies provide powerful conduits for knowledge creation, complex research, and discovery for digital art history and related disciplines.

• Cataloging: For some users, the Getty Vocabularies are utilized as data value standards at the point of documentation or cataloging, to promote consistency in assignment of a term or to provide options among multiple terms referencing the same concept. The Vocabularies provide preferred names/terms and synonyms for people, places, and things. They also provide structure and classification schemes that can aid in documentation.
  
  

• Linking: For other users, the Getty Vocabularies are used in linking, in order to reference the unique identifier of the Vocabulary record, or to otherwise reconcile their data.
  
  

• Retrieval: For other users, the Getty Vocabularies aid in retrieval and discovery, utilizing synonymous terms, broader/narrower contexts, and other rich contextual data in search assistants, in database retrieval systems, and more broadly in a linked environment. The Vocabularies are rich knowledge bases that contain dozens of fields of rich contextual data about each concept, and semantic networks that highlight links and paths between concepts. The contain coreferences to other resources containing information about the same concept.
  
  

• Research tools: For other users, the Getty Vocabularies are used as look-up resources, valuable because of the rich information and contextual knowledge that they contain.


In order to meet the needs of these various user communities, the Getty Vocabularies are made available in several ways.

• Data formats: IA, AAT, TGN, ULAN, and CONA are available through APIs. The data file releases are refreshed periodically throughout the year. The Getty Vocabularies are published under the Open Data Commons Attribution License (ODC-By) 1.0. Further releases of AAT, TGN, and ULAN include Linked Open Data (LOD) (JSON, RDF, N3/Turtle, N-Triples for GVP and Linked.Art), XML, and Relational Tables, as well as the Web Services APIs. These files are used by developers or incorporated in various tools by vendors or others. These releases may be transformed to comply with other formats, such as the MARC format used for ULAN and TGN in the Virtual International Authority File (VIAF). Some of these releases contain simplified versions of the data, while others contain the full, rich data sets, providing versions to meet the requirements of various developer communities.

• Online search: The five Getty Vocabularies' online search pages are consistently the top sites visited at the Getty Research Institute Web site each month. Using these search tools, catalogers copy-and-paste Vocabulary terms and IDs as part of their daily workflow. Researchers use the search to locate rich information about the Vocabulary concepts. In the results displays, for each concept the data fields are presented in a logical full-record display for end users, as well as in hierarchical views. The online search data is refreshed monthly.
  
  Various releases or utilizations of the Getty Vocabulary data may contain more or less of the full, available data for each Vocabulary record, depending upon the purpose of the release. An implementation that intends to ask complex queries using the Vocabulary data would require the full available data. In another example, if a developer only needs to link to the unique identifier for the concept, perhaps a streamlined data set would be more appropriate; e.g., the ULAN data (and soon TGN data also) that is included in the VIAF (Virtual International Authority File) is a subset of the full data available, which is streamlined and parsed to fit the particular requirements of MARC.

Focus
Buddha in parinirvana or Bouddha couché? IA is a structured vocabulary, including proper names, dates, relationships, and other metadata for themes and narratives from religion and mythology, legendary and fictional characters, named events, themes from literature and performing arts, and legendary and fictional places. IA includes proper names and associated information not covered by the other Getty Vocabularies, ULAN, TGN, CONA, or terms in AAT.

For further discussion of the history and scope of IA, see About IA.

Use
The Getty Vocabularies are copyrighted: Copyright © J. Paul Getty Trust and released under Open Data Commons Attribution License (ODC-By) 1.0. For details, see Obtain the Getty Vocabularies.

Contributors
IA is a compiled resource; it is not comprehensive. It grows over time through contributions. Information in IA is compiled by the Getty Vocabulary Program in collaboration with many institutions and other content experts. Institutions or scholars interested in becoming contributors should follow instructions on the Contribute pages.

the Getty Vocabulary Program
vocab@getty.edu

the Getty Vocabulary Program
vocab@getty.edu

Getty Vocabulary Program
1200 Getty Center Drive, Suite 1100
Los Angeles, CA 90049

1

ABOUT THE GETTY ICONOGRAPHY AUTHORITY (IA)

1.1

General Information about IA

For a briefer general introduction, see IA Introduction and Overview (PDF, 8.9 MB, 223pp).

For translating the IA, please see Guidelines for Multilingual Equivalency Work. While these guidelines are intended for AAT translations, they may be used for iconography terms as well.

1.1.1

Scope and Structure

1.1.1.1

Scope of IA
The domain of the IA is the visual arts. The scope of IA includes proper names and other information for themes and narratives from religion/mythology, legendary and fictional characters, named events, themes from literature and performing arts, and legendary and fictional places. IA includes proper names not covered by the other Getty Vocabularies, ULAN, TGN, CONA, or terms in AAT. IA is unique in the following ways: The coverage of IA is multilingual, multicultural, and global; IA is not rooted in Western iconography, but culturally is universal in scope. Where there is overlap with other resources, such as Iconclass and US Library of Congress subject authorities, links are made between IA and these resources. IA also shares areas of uniqueness common to all the Getty Vocabularies, when compared to other resources covering similar topics: In their global coverage of defined domain of visual arts, in citing published sources and contributors, in allowing interconnections among historical and current information, in accommodating the sometimes debated and ambiguous nature of art historical information, and in allowing complex relationships within and between Vocabularies

What is excluded in IA? In general, out of scope for IA are topics and names included in the other Getty Vocabularies. Generic terms are found in AAT; personal names of historical people are found in ULAN; names of real places are found in TGN; and names of visual works are found in CONA. Also excluded are characters, themes, narratives, and other topics within the general scope of IA, as noted above, but which are not needed for cataloging, researching, or discovery of visual works.

Also generally excluded are phrases or words that do not have literary warrant, organizational warrant, or user warrant. However, warrant may not always be available. Instructions for constructing new iconographical terms are included in the guidelines below. Overall, records that lack the minimal information for an IA record are excluded; see guidelines for contributions for more information regarding minimum contribution requirements.

1.1.1.2

Structure of the Data
The focus of each IA record is called a concept. In the database, each concept's record (also called a subject in these guidelines) is identified by a unique numeric ID. Linked to each IA concept record are names or terms, related concepts in IA, roles and other concepts in the other Getty Vocabularies, dates, a parent (that is, a position in the hierarchy), sources for the data, and notes.

• IA is a hierarchical database; its trees branch from a root called Top of the IA hierarchies (Subject_ID: 901000000). There may be multiple broader contexts, making IA polyhierarchical. In addition to the hierarchical relationships, IA has equivalence and associative relationships. IA is a thesaurus based on ISO and NISO standards.
  
  
• Unpublished facets in IA are used for candidate records. Unpublished facets and hierarchies are designated by the "name" temp.parent (e.g., temp.parent/candidate records)

1.1.1.2.1

Facets and heirarchies
Facets constitute the major subdivisions of the IA hierarchical structure. A facet contains a homogeneous class of concepts, the members of which share characteristics that distinguish them from members of other classes. The facets and structure are further discussed in the Editorial Rules below.

1.1.2

What is a Thesaurus?

• IA is a thesaurus. A thesaurus is a semantic network of unique concepts, including relationships between synonyms, broader and narrower (parent/child) contexts, and other related concepts. Thesauri allow three types of relationships: equivalence (synonym), hierarchical (instance, genus/species, or whole/part), and associative. Thesauri may be monolingual or multilingual.
  
  
• The structure of IA supports multilinguality insofar as names/terms and scope notes may be written and flagged in multiple languages.

1.1.2.1

Relationships:
Thesauri may have the following three relationships:

1.1.2.1.1

Equivalence relationships
The relationships between synonymous terms or names that refer to the same concept, typically distinguishing preferred terms (descriptors) and non-preferred terms (variants, or ALTs and UFs).

1.1.2.1.2

Hierarchical relationships
Broader and narrower (parent/child) relationships between concepts. Hierarchical relationships are instance, whole/part, or genus/species; in IA, most hierarchical relationships are genus/species or instance (e.g., Agastya is an instance of (example of) Hindu characters). Relationships may be polyhierarchical, meaning that each child may be linked to multiple parents.

1.1.2.1.3

Associative relationships
The relationships between concepts that are closely related conceptually, but the relationship is not hierarchical because it is not instance, genus/species, or whole/part.

1.1.3

What is an iconographical subject in IA?

• IA includes names and terms to index and allow rich discovery for the subject matter of a work of art (sometimes referred to as its content) or architecture (such as dedications). Subject matter is the narrative, iconographic, or non-objective meaning conveyed by an abstract or a figurative composition. It is what is depicted in and by a work of art. All of the Getty Vocabularies should be used to record subject matter. The IA focuses on subjects that have proper names but are not included in the other Getty Vocabularies. IA subjects include characters, things, places, events, and narratives that are generally in the realm of legend, religion, mythology, or fiction, which have a proper name and are portrayed by or otherwise represented in the work. If such a topic does not have a proper name, it is usually in scope for AAT (e.g., Dobiel the angel is within scope of IA, but the generic term angel (spirit) is in AAT). Subjects of representational (figurative) works may be narrative, meaning that they tell a story or represent an episode in a story. Subjects may be non-narrative, representing persons, animals, plants, buildings, or objects depicted in history or religious images, genre scenes, allegories, portraits, still lifes, landscapes, architectural drawings, and so on. For such subjects that have a proper name, but are not included in the scope of AAT, TGN, CONA, or ULAN, the name and associated information is recorded in IA.

1.1.3.1

Warrant for an IA concept

• Subjects in IA should have a proper name that is found in multiple authoritative, scholarly sources. Inscriptions on works or in archival sources may also serve as sources. For narrative subjects, the name, term, or phrase representing the topic may be difficult to find. The phrase must be brief, suitable for an entry in the thesaurus. Instructions in the guidelines below give advice on how to construct a brief name or phrase for the iconographical topic when necessary.

1.1.3.2

Discrete and concise concepts
A "concept" in the context of IA should be a discrete topic, not a subject heading, long descriptive phrase, or sentence. When making coreferences to long phrases in Iconclass or subject headings in Library of Congress that represent the IA topic, link to the entry that contains or is most similar to the IA name.

1.1.3.3

Range of coverage
IA includes Characters, Narratives, Legendary Places, and Alegory and Symbolism, within the following facets: Legend, Religion, Mythology; Literature and Performing Arts; Miscellaneous Topics; and Named Events..

1.2

Contributions and Editorial Control

1.2.1

Review Process

• Contributions must meet the following criteria: they must be submitted by an authorized contributor; must be within scope of the Vocabulary; must include the minimum information; and must be submitted in one or the prescribed formats. By contributing data to the Vocabulary, the contributor agrees to its contributed data becoming a permanent part of the Vocabulary, which is or will in future be made available in several formats, including as Linked Open Data. See How to Contribute.
  
  Submitted contributions are subjected to an established review procedure, which will determine if they meet the required standards, are in line with the goals and mission of the Getty Vocabulary Program and the Getty Research Institute, and are in a format compatible with processing the data. If accepted, contributions will be prioritized, processed, and published according to internal priorities and timetables.
  
  
• As time permits, the Vocabulary Program reviews individual records from contributors before they are released in IA. All contributions are checked, but with less supervision required for trained, established contributors.
  
  
• Vocabulary Program (VP) editors follow strict rules when adding new records to IA. VP editors may edit the contributors' records to comply with VP policy and practice.
  
  
• The VP collects new issues that arise during the course of accepting contributions and editing IA. The resolutions of these issues are periodically transferred to an updated version of the manual.

1.2.2

Does contributors' data follow editorial rules?

• The Vocabulary Program communicates with and trains potential contributors, to assure that 1) the incoming data will be within the scope of IA, and 2) the incoming data will be in appropriate format and generally consistent with the IA standards.
  
  

1.3

Releasing the data

1.3.1

Web searching

• On the Getty Web site: Users may search for individual terms and names in the Getty Vocabularies online. Using these search tools, catalogers may copy-and-paste Vocabulary terms and IDs as part of their daily workflow. Researchers use the search to locate rich information about the Vocabulary concepts. In the results displays, for each concept the data fields are presented in a logical full-record display for end users, as well as in hierarchical views. The online search data is refreshed monthly.

1.3.2

Data files

• Fee-free formats: All formats are published under the Open Data Commons Attribution License (ODC-By) 1.0. See the data dictionaries and more information about acquiring the data at the Download Center.
  

• Data files: IA, AAT, TGN, ULAN, and CONA are available through APIs. Releases of AAT, TGN, and ULAN currently also include Linked Open Data (LOD) (JSON, RDF, N3/Turtle, N-Triples for GVP and Linked.Art), XML, and Relational Tables. These files are used by developers or incorporated in various tools by vendors or others. These releases may be transformed to comply with other formats, such as the MARC format used for ULAN and TGN in the Virtual International Authority File (VIAF). Some of these releases contain simplified versions of the data, while others contain the full, rich data sets, providing versions to meet the requirements of various developer communities. The data file releases are refreshed periodically throughout the year.
  

• Incorporated in vendors' systems: The Getty Vocabularies are used in various collection management systems or other information systems. Examples are the AAT and others in TMS (The Museum System) by Gallery Systems and in the Refine cloud app in Alma by Ex Libris.

• Data Dictionaries: For AAT, TGN, and ULAN, the data dictionaries and other documentation describe the release formats and content of the Getty vocabularies. They do not give step-by-step instructions on how to construct a database or interface based on the data files; analysis and programming resources will be required to implement the vocabularies. The Getty does not provide technical support. View the data dictionaries and data from the Download Center.

1.3.3

Sample Displays of IA Data

1.4

Vocabulary Coordination System (VCS)

• VCS is the editorial system that was custom-designed to house and edit the Getty Vocabularies. AAT, TGN, and ULAN are each stored in a separate iteration of VCS; CONA and IA share an interation of VCS. References to "the system" refer to VCS. References made to "fields" refer to data elements in VCS. References to a "record" or "subject record" refer to an intellectual record comprising all the data linked to a given Subject ID in the data structure.

1.4.1

Database

• VCS uses a relational database; the database models for each of the vocabularies are identical in the core fields, differing only where additional tables or controlled values are necessary. See the Data Dictionary for further information.

1.4.2

Merged Records

• IA is compiled from terms and other information that has been collected by the Getty and other institutions. When multiple contributors have submitted information about the same concept, all the terms and information about the concept are merged into a single record ("merge" is a function of the VCS editorial system).

1.4.3

Operating VCS

• The following sections of this manual contain definitions of the fields, suggested values, sources where the values may be found, and rules for entering the data where relevant. The fields are presented roughly in the order in which they are found in VCS.
  
  
• While there is some mention of the functionality of VCS in this manual, detailed instructions for the system are not included here. Instructions regarding how to use VCS are provided during training.

Chapter 2: General Guidelines for IA

General Information

Following the rules

• Data creators: For Vocabulary editors, contributors, and other content creators, to enter or edit data for the Getty Vocabularies, follow the Editorial Rules in this document. Contributors or other users may compare their in-house rules to the guidelines in this document to gauge compatibility. Where the rules or their application are ambiguous or not applicable to a situation at hand, please consult with the Getty Vocabulary Program, vocab@getty.edu. These rules are regularly updated to reflect solutions and recommendations for new issues.

Required fields and minimal records

• Implementers: Developers and other implementers of the Getty Vocabularies should refer to this document to extrapolate information that will aid in understanding and presenting the Getty Vocabulary data correctly.
  
  Among the most important guidelines are the following: Do not omit references to the sources and contributors of the Getty Vocabulary data. The Getty Vocabularies are compiled from contributors' data and this contribution should be recognized. Published sources should be cited to avoid plagiarism. In implementations, please consider including all data included in the Vocabulary record ("record" meaning all data linked directly or indirectly by a given subject_id). Do not omit flags such as "unknown" or values in display fields "undetermined." For scholarship, contributors who are adding information to the records, and others, it useful to know when a value is unknown rather than left empty. An empty field means nothing. A value such as "unknown," even if it is a default value, is in itself useful information about the status of the field and can serve to identify areas requiring additional research. See also the discussion below about how catalogers deal with information that is unknown to themselves, or unknowable in the broader context of scholarship.
• VCS: The custom-built editorial system used by the Getty Vocabulary Program is called "VCS" (Vocabulary Coordination System). You may find occasional references to "VCS" in this document, for the benefit of Vocabulary Program editors or others using this particular system. The Vocabulary databases comprise relational tables and allow construction of rich data in compliance with international standards for thesauri. In addition to creating polyhierarchies, linking associative relationships, creating terms and other data in multiple languages, and other typical funtions required by a thesaurus-construction system, VCS is optimized for loading contributions, merging contributions representing the same concept, citing preferences to allow alternate points of view, and tracking revision histories over long periods of time.

Minimal record

• When adding new records, create a record that meets requirements for a minimal record, which contains at minimum all required fields ("core" fields).

Fuller records

• For contributions, fuller records are welcome, particularly those having useful alternate names, relationships, and coreferences. Editors: When adding records or editing existing records, if there is additional time and the record is important, you may create a fuller record by filling in fields beyond the Core as time and research warrant.

Required fields

• A minimum record in IA contains the fields listed below. VCS will not allow you to save a record without the following system-required fields. Minimum records for contribution may be fewer than the list below, because default values may be added during the data load. See Contributions.
  
  
  • a numeric ID identifies the record uniquely (IDs are assigned by the system)
  • iconography type
  • a parent (hierarchical position is indicating by marking the parent level with DOM)
  • preferred name
  • language of the name
  • various associated flags (most are system-assigned automatically)
  • sources for the name
  • contributor of the name (automatically assigned by VCS)
  • descriptive note
  • sources for the descriptive note

Additional names, links to other IA records, to TGN, AAT, ULAN, or CONA may also be included, as time and editorial priorities allow.

Chapter 3. Identifying Numbers

3.6.3.16

Iconography ID (required-default)

3.6.3.16.1

Definition
Unique numeric identifier for the Iconography Authority record.

• Example
• 1000021

3.6.3.16.2

Values
System generated.

3.6.3.16.3

Sources
N/A.

3.6.3.16.4

Discussion

Unique, persistent numeric identifiers allow the IA records to be linked and tracked over time.

3.6.3.16.5

RULES for Iconography ID

3.6.3.16.5.1

Minimum requirements for Iconography ID

Required-default: The number is system generated and may not be edited.

Chapter 4. Hierarchical Relationships

3.6.3.17

Iconography Parent (required-default)

3.6.3.17.1

Definition
The broader context(s) for the iconography record; parents refer to Hierarchical Relationships, which are broader/narrower, reciprocal relationships between records.

3.6.3.17.2

Values
Values are concatenated automatically by the system, using the preferred name, qualifier/descriptive phrase, and appropriate indentation.

Example

Iconography Root
....Religion and Mythology
.......<Greek iconography>
...........<Greek narratives>
................Judgment of Paris (Greco-Roman narrative)

3.6.3.17.3

Sources
Authoritative sources on the subject of iconography that provide background and context for hierarchical placement by the editor.

3.6.3.17.4

Discussion
As with all of the Getty vocabularies, each record is linked to its immediate parent by means of a numeric ID. The hierarchy is constructed through these links.

• Hierarchical relationships form the structure of the Iconography Authority, even though the data may be displayed as a list.
  
  
• The hierarchy in the Iconography Authority refers to the method of structuring and displaying the work records within their broader contexts. Relationships in the hierarchy are indicated with indentation.
  
  
• The subdivisions of the IA are subject to frequent additions. As of this writing, the following facets provide the top level divisions of the IA. Each main level may have several subfacets.
  
  
  Legend, Religion, Mythology
  Literature and Performing Arts
  Named Events
  Miscellaneous Topics
  
  
• Hierarchical relationships between records in the Iconography Authority are generally instance or whole/part (rather than genus/species).
  
  
• The Iconography Authority is polyhierarchical, meaning that concepts can belong to more than one parent.
  
  
• Hierarchical relationships are referred to by genealogical terms: child, children, siblings, parent, grandparent, ancestors, descendents, etc.

3.6.3.17.5

RULES for Iconography Parent

3.6.3.17.5.1

Minimum requirements for Iconography Parent

Required: Link to the appropriate hierarchical level when adding a new Iconography Authority record.

3.6.3.17.5.2

Choosing the hierarchical placement

For each new concept added to the IA, choose the hierarchical placement based on the following descriptions.

• Literature
  The Literature facet includes literary works that do not fit more conveniently in Legend, Religion, Mythology facet or as history. As of this writing, the Literature facet is divided into the following divisions.
  
  Literary characters: Included are named characters from literary, musical, and dramatic works. Examples are Don Quixote (Cervantes, Don Quixote de la Mancha) and Queen of the Night (Mozart, Magic Flute). Through associative relationships, link the character to the literary work in Related Iconographic Subject.
  
  For religious and mythological characters, place them in the Religion and Mythology facet. Historical characters should be included in ULAN.
  
  Literary legendary places: Included are legendary or fictional physical features, administrative geographic places, and legendary or fictional built works. An example is Middlemarch (England), the fictional place in the setting for George Eliot's 1872 novel Middlemarch. Through associative relationships, link the place to the literary work in Related Iconographic Subject.
  
  For religious and mythological places, place them in the Legend, Religion, Mythology facet. Historical places should be placed in TGN.
  
  Literary themes and narratives: Included are themes and narratives. An example is the tale of the lovers Angelica and Medoro, from Orlando Furioso by Ariosto. Through associative relationships, link the theme or narrative to the literary work in Related Iconographic Subject.
  
  For religious and mythological narratives, place them in the Legend, Religion, Mythology facet.
  
  Named written or performed works: Included are named written or performed works. Examples includeThe Odyssey by Homer; De arithmetica by Boethius; Fedra incoronata, a choreographic work; and The Bible as a literary work. Link authors and other creators of the literary work in ULAN through Related People and Corporate Bodies. For a single performance on one date, place the event under Named Events / Specific Performances
  
  
• Named Events
  In the Named Events facet are included events having a proper name, including historical events, named natural disasters, and exhibitions. For generic terms referring to events, use the AAT rather than the IA.
  
  As of this writing, the Named Events facet is divided into the following subfacets.
  
  African history: Includes named events taking place in Africa. The subfacet is further divided by nation or area.
  
  Ancient history: Includes named events related to human activity taking place in ancient history, in any location but particularly those that are unrelated to modern political-geographic designations. For localized ancient events, you may instead place them under the appropriate modern political-geographic subfacet elsewhere in the IA hierarchy.
  
  Asian history: Includes named events taking place in Asia. The subfacet is further divided by nation or area; for example, Chinese history and Indian history.
  
  European history:Includes named events taking place in Europe. The subfacet is further divided by nation or area.
  
  Global historical events: Includes named events related to human activity and taking place over several nations. An example is World War II. For events that took place in one area, but should have a part/whole relationship to a global event, make the preferred parent the specific location and a second parent the global event (e.g., Battle of Maastricht took place in the Netherlands, but is part of World War II). For ancient events taking place over multiple areas, prefer Prehistoric events or Ancient events facets. For named events that primarily affect nature, even if created by humans, place the concept in the Named natural events facet.
  
  Named auctions and sales:Includes auctions and sales that have proper names and that were for transfer of ownership of art and other works of cultural heritage.
  
  Named competitions:Includes competitions that have proper names and that were for the design of art and other works of cultural heritage.
  
  Named exhibitions: Includes exhibitions that have proper names and where art and other works of cultural heritage were exhibited. The exhibition may be indexed as a generic event exhibition, with location and date applicable to the Work in the Location area of a Work record. The proper name of the exhibition should be linked in the Specific Subject area of the Work record.
  
  For exhibitions that recur, if the location and coverage of the exhibition is basically the same every year, do not necessarily make a separate entry for every year in which the exhibtion took place (e.g., International Art Exhibition (Venice, Italy)). On the other hand, if the exhibition occurs less frequently and is located in a different place each time, often with a different focus, you may create a separate record for each exhibition (e.g., French Industrial Exposition (Paris, 1844)).
  
  Named natural events: Includes named events that were natural in origin, or that affect nature. An example is the Eruption of Krakatoa (1883, Dutch East Indies). For generic terms referring to events or processes that are natural or that affect nature, such as global warming, use the AAT.
  
  North and South American history:Includes named events taking place in North, South, or Central America. The subfacet is further divided, for example United States history and Pre-Columbian history.
  
  Prehistoric events: Includes named events related to human activity in the prehistoric era. Events placed here may also be linked to the hierarchical level for the geographic region where they occurred. For example, Settlement of the Americas may be linked to North and South America history, but also linked here as a Prehistoric event. For events occuring prior to human activity, place them under Named natural events facets.
  
  Specific performances:Subjects include specific performances of a dramatic, musical, or other work of performing arts, which took place on a specific date. For the name of the general work, use Literature and Performing arts/ Named written or performed works.
  
  
• Legend, Religion, Mythology
  The Legend, Religion, Mythology facet includes themes, narratives, characters, and places associated with the iconography of legend, religion, and mythology. Historical events are included in the Named Events facet.
  
  Concepts in this facet are numerous, given the rich heritage of depictions of religion, mythology, and legend in the history of art. Subdivisions of this facet are subject to frequent revision, based on contributions. As of this writing, the Legend, Religion, Mythology facet is further divided into the following subfacets.
  
  African iconography:Includes the iconography of African traditional religions and ancient religions. It is subdivided in African allegory and symbolism, African characters, African legendary places, African narratives.
  
  Amerindian iconography:Includes the iconography of various belief systems of the Pre-Columbian Americas, some of which persist today. The list of subdivisions is likely to grow significantly with contributions. As of this writing, it is further divided into Aztec iconography, General Amerindian iconography, Inca iconography, Maya iconography, Sourthwestern Native American iconography, Toltec iconography, each of which has further subdivisions by allegory and symbolism, characers, legendary places, and narratives.
  
  Ancient Near-Middle Eastern iconography: Includes subjects from the ancient Near and Middle Eastern cultures. It is subdivided in Ancient Near-Middle Eastern allegory and symbolism, Ancient Near-Middle Eastern characters, Ancient Near-Middle Eastern legendary places, Ancient Near-Middle Eastern narratives.
  
  Buddhist iconography:Includes named iconographic subjects from Buddhist traditions. It is further divided into subfacets Buddhist allegory and symbolism, Buddhist characters, Buddhist legendary places, Buddhist narratives.
  
  Chinese iconography: Includes named iconographic subjects from traditional Chinese culture, not including Buddhist and Hindu iconography. It is further divided into subfacets Chinese allegory and symbolism, Chinese characters, Chinese legendary places, Chinese narratives.
  
  Christian iconography:Includes named iconographic subjects from the Christian tradition. It is further divided into various subfacets, including Christian allegory and symbolism, Christian characters, Christian legendary places, New Testament narratives, and Other Christian narratives.
  
  Egyptian iconography:Includes named iconographic subjects from the ancient Egyptian tradition. It is further divided into subfacets Egyptian allegory and symbolism, Egyptian characters, Egyptian legendary places, Egyptian narratives.
  
  European iconography: Includes named iconographic subjects from traditional European culture, not including Christian and other named religious traditions. It is further divided into subfacets European allegory and symbolism, European characters, European legendary places, European narratives
  
  Greek iconography: Includes named iconographic subjects from the ancient Greek tradition. It is further divided into subfacets Greek allegory and symbolism, Greek characters, Greek legendary places, Greek narratives.
  
  Hindu iconography: Includes named iconographic subjects from Hindu traditions. It is further divided into subfacets Hindu allegory and symbolism, Hindu characters, Hindu legendary places, Hindu narratives.
  
  Islamic iconography:Includes named iconographic subjects from Islamic tradition. It is further divided into subfacets Islamic allegory and symbolism, Islamic characters, Islamic legendary places, Islamic narratives.
  
  Norse iconography: Includes mythology of the North Germanic people from Norse paganism and into the Scandinavian folklore of the modern period. It is further divided into subfacets Norse allegory and symbolism, Norse characters, Norse legendary places, Norse narratives.
  
  Old Testament iconography: Includes iconography from the Hebrew Bible and first section of the Christian Bible. It is further divided into subfacets Old Testament allegory and symbolism, Old Testament characters, Old Testament legendary places, Old Testament narratives.
  
  Pacific Islander iconography: Includes iconography of the traditional cultures of the Pacific Islands. It is further divided into subfacets Pacific Islander allegory and symbolism, Pacific Islander characters, Pacific Islander legendary places, Pacific Islander narratives.
  
  Persian iconography: Includes the iconography of various belief systems of the area of ancient Persia, particularly the iconography of Proto-Indo-Iranian religion and Zoroastrianism, but also including Zurvanism, Mandaeism, and others. It is further divided into subfacets Persian allegory and symbolism, Persian characters, Persian legendary places, Persian narratives.
  
  Prehistoric iconography: Includes named iconographic subjects dating to prehistory. It is further divided into subfacets Prehistoric allegory and symbolism, Prehistoric characters, Prehistoric legendary places, Prehistoric narratives.
  
  Roman iconography: Includes named iconographic subjects of the Ancient Roman world. It is further divided into subfacets Roman allegory and symbolism, Roman characters, Roman legendary places, Roman narratives.
  
  Semitic iconography:Includes named iconographic subjects of the ancient Semitic world, not bound to another division of the IA hierarchy. It is further divided into subfacets Semitic allegory and symbolism, Semitic characters, Semitic legendary places, Semitic narratives.
  
  Taoist iconography:Includes the iconography of Taoism. It is further divided into subfacets Taoist allegory and symbolism, Taoist characters, Taoist legendary places, Taoist narratives
  
  
• Miscellaneous Topics: Topics that do not apply to one area or culture, but can be applied broadly. Subdivisions include the following:
  
  Miscellaneous Allegory and Symbolism:This subdivision includes named allegorical and symbolic subjects that do not fit into another facet. For generic terms referring to allegory or symbolism, use the AAT rather than the IA.
  
  Miscellaneous Characters: This subdivision includes named characters that are subjects but do not fit into another facet. An example is the allegorical portayal using human figures to represent the Four Winds.
  
  Miscellaneous Legendary Places: This subdivision includes named legendary places that do not fit into History, Religion, and Legend facet or any other facet.
  
  Miscellaneous Themes and Narratives: This subdivision includes named themes and narratives that do not fit into the Literature facet, the Named Events facet, or the Legend, Religion, Mythology facet.