British Museum blog

The British Museum has created a Semantic Web Endpoint

Dominic Oldman, IS Development Manager, British Museum

This month the British Museum launched a service known as a Semantic Endpoint that will allow more direct online access to the collection database. Although it is a technical service it will support the creation of new web applications and services accessible to many different audiences.

What is a Semantic Endpoint?

Since 2007, visitors to the British Museum website have been able to search the collection through regular web pages. The Collection Online system has nearly two million objects and is still growing but provides only one way of viewing the information.

Rosetta Stone, from Egypt, 196 BC

Rosetta Stone, from Egypt, 196 BC

So, although people can search the collection using our website, the search interface cannot really meet the needs of all the many different audiences that might use it. The Endpoint allows external IT developers to create their own applications that satisfy particular requirements, and these can be built into other websites and use the Museum’s data in real time – so it never goes out of date.

Why have we done this?

The demand for new digital services and products increases as the Internet grows. Research projects require particular datasets; aggregation projects need data to help make cultural assets more accessible to larger audiences; educational software requires access to up-to-date knowledge, and so on.

Digital services on the Web can only fully develop if the information that underpins them is more freely available. If more organisations release data using the same open standards then more effort can go into creative and innovative uses for it rather than into laborious data collection and cleaning.

Why is it a ‘Semantic Web’ Endpoint?

The Museum’s Endpoint specifically uses a global open standard technology for data storage and retrieval – the Semantic format. This means that developers can potentially bring together data from different cultural organisations (if they adopt the open standard) using a common language, and use it, for example, to study and compare all drawings by the artist Rembrandt held in one, two, three or however many museums and galleries.

The result is applications that are more sustainable and robust, and this means that developers can provide general open source tools that can be downloaded and used by anyone for free.

Also, the ‘semantic’ element of the technology means that it is structured in such a way that allows the discovery of connections and relationship between data from different sources that would be difficult, if not impossible, to discover with traditional technologies. With this, we can improve our understanding and knowledge of objects and events even further.

You can find more information and the endpoint itself on the British Museum website.

If you would like to leave a comment click on the title

Filed under: Collection, , , , ,

Receive notifications of new posts by email.

Join 14,533 other followers


Follow @britishmuseum on Twitter

British Museum on Instagram

These beautiful studies drawn from life are by artist Antoine Watteau, born #onthisday in 1684.
The drawing was intended for figures in one of Watteau's many scenes where men and women feast in the countryside, talking, flirting and making music. The costume is the main focus of Watteau's studies. The woman is seated on the ground so that her elaborate dress spreads out around her. This provides the artist with an excuse to study the movement of the drapery according to the different positions of her body. The play of light and shade, especially the strong shadows which the model casts, sets off the figure very clearly. Watteau, with red chalk alone, has studied the fall of light from the upper left on the complex drapery patterns. The drawing is remarkably detailed and controlled.
Antoine Watteau, Five studies of a seated woman seen from behind. Drawing, France, about AD 1712-15.
#drawing #art These beautiful studies drawn from life are by artist Antoine Watteau, born #onthisday in 1684.
This is a rare type of drawing by Watteau, who used black chalk to strengthen the shadows and the darker lines of the stronger contours. The hands themselves are cast into relief by their shadows on the paper. The red chalks, of course, suggests the real flesh of the model in front of him, and was a favoured technique, in combination with black and white chalks, of French eighteenth-century artists. The drawing's expression lies in the position of the hand and not so much in its details. Although the hands are fully modelled there is still a stark, bare quality to them. They are economical, almost abstracted.
Antoine Watteau, Three studies of open hands. Drawing, France, about AD 1717-1718.
#art #drawing These beautiful studies drawn from life are by artist Antoine Watteau, born #onthisday in 1684. Watteau has used his favourite combination of black, red and white chalks. This technique 'à trois crayons' became widely used by French artists of the eighteenth century. With all of the chalks Watteau made stronger lines alongside thinner ones to provide texture. He then shaded in between these lines or rubbed the chalk with his fingers. Like most of Watteau's drawings from a live model, this sheet possesses a great sense of fluency, immediacy and freshness.
Antoine Watteau, Four studies of a young woman's head. Drawing, France, about AD 1716-1717.
#drawing #art Room 95 includes some of the finest Chinese ceramics in the world dating from the 3rd to the 20th centuries, from the collection of Sir Percival David. Some of the ceramics are unique creations, while others were mass-produced in batches of several hundred at a time. Technological innovations and the use of regional raw materials mean that Chinese ceramics are visually diverse.
Porcelain was first produced in China around AD 600. The skilful transformation of ordinary clay into beautiful objects has captivated the imagination of people throughout history and across the globe. Chinese ceramics, by far the most advanced in the world, were made for the imperial court, the domestic market, or for export.
#China #ceramics These white wares date from the late Ming to Republic period (1600–1949). Potters in the late Ming, Qing and Republican periods made copies of Ding wares at Jingdezhen in Jiangxi province, Zhangzhou in Fujian province and in other southern kilns. Potters at Zhangzhou under-fired the clay, which resulted in a ‘rice-coloured’ body. They then covered the ceramics either with a white slip and thin clear glaze or with an opaque white glaze.
See these amazing ceramics alongside nearly 1,700 objects from the collection of Sir Percival David in Room 95.
#ceramics #China Collector of Chinese ceramics Sir Percival David died #onthisday in 1964. He built the finest private collection of Chinese ceramics in the world. His passion for China inspired him to learn Chinese well enough to translate 14th-century art texts and to give money towards establishing the first public display of Chinese ceramics at the Palace Museum in Beijing. He was determined to use his own collection to inform and inspire people and to keep it on public view in its entirety. His collection is on long-term loan to the British Museum and has been on display in Room 95 since 2009.
Explore nearly 1,700 objects from Sir Percival David’s incredible collection in Room 95, including some of the finest Chinese ceramics in the world, dating from the 3rd to the 20th centuries.
#China #ceramics

Get every new post delivered to your Inbox.

Join 14,533 other followers

%d bloggers like this: