OpenTwo archives, queried live.
Every record below comes from The Met or Smithsonian Open Access and was filtered on that archive’s own rights field before it reached this page. 16 shown for “Gian Battista Bolognini” — 64 records examined, 36 dropped by the rights gate.
Archives queried 2026-09-01 22:16 UTC · served from cache, not re-queried for this request
isPublicDomain field is true for this object.metadata_usage.access reads CC0 — a waiver, not an expired term.
Bacchus with his companions discovering Ariadne on the island of Naxos, after Reni
Gian Battista Bolognini · 1650–80
Carceri Series, Title Page
Giovanni Battista Piranesi, Italian, 1720–1778 · 1745
Christ giving the keys of the church to Saint Peter who kneels before him
Gian Battista Bolognini · 1640–70
Title page, "Il Campo Marzio dell'Antica Roma," from part 20 of "The Complete Works of Giovanni Battista Piranesi"
Giovanni Battista Piranesi, Italian, 1720–1778 · 1800
Massacre of the Innocents; group of women and children being attacked, two angels at upper left, after Reni
Gian Battista Bolognini · ca. 1640–70
Frontispiece: Della Magnificenza Ed. Architettura Dei Romani
Giovanni Battista Piranesi, Italian, 1720–1778 · 1761
Christ on the cross, Saint John the Baptist at right, Mary Magdelene and the Virgin at left, after Reni
Gian Battista Bolognini · ca. 1640–88
Portrait of Giovanni Battista Casti (1721-1803)
Artist not stated in the record · ca. 1830
Massacre of the Innocents; group of women and children being attacked, two angels at upper left, after Reni
Gian Battista Bolognini · ca. 1640–70
Portrait of a Woman
Giovanni Battista Gaulli (Il Baciccio) · ca. 1670s
Pope Clement X (1590–1676)
Giovanni Battista Gaulli (Il Baciccio) · ca. 1670–71
Three Saints: Roch, Anthony Abbot, and Lucy
Cima da Conegliano (Giovanni Battista Cima) · ca. 1513
Portici della piazza di S. Pietro di Roma. Plate 44 from the Album 'Basilica di S. Pietro in Vaticano'
Giovanni Battista Bonacina · ca. 1656–67
Head of an Old Woman
Orazio Borgianni · after 1610
Hercules Delivering the Erymanthean Boar to Eurystheus
François Lespingola · last quarter 17th century
Allegory on the Fidelity of the Lizard (recto); Design for a Stage Setting (verso)
Leonardo da Vinci · 1496
Where these records came from.
Two archives are wired, and only two. Each one is filtered on its own rights field — never on a title match, and never on the presence of an image file.
- The Met Collection API (Open Access)Rights field:
isPublicDomain. 35 matched · 24 examined · 0 dropped by the rights gate. Kept only where isPublicDomain === true and a file URL was published.12 shown - Smithsonian Open Access API (api.si.edu)Rights field:
content.descriptiveNonRepeating.metadata_usage.access. 692 matched · 40 examined · 36 dropped by the rights gate. Kept only where metadata_usage.access === "CC0" and an image resource was published.4 shown
These figures describe the pass run at 2026-09-01 22:16 UTC, replayed here rather than repeated. A completed pass is kept for 24 hours and replayed for an identical search, which is what keeps repeated queries inside Smithsonian’s 30-requests-per-hour allowance. A pass in which either archive failed to answer is never kept — an outage must not be replayed as though it were a finding about the catalogue.
Wikimedia Commons and the Library of Congress are deliberately not wired. Wikimedia was confirmed, on a live query, to return CC-BY material inside the same result set as genuine public domain works, and filtering it safely has not been designed yet. loc.gov was blocked by bot detection during the source evaluation, so its rights vocabulary has never been observed — and nothing here is built on a field nobody has read.
An image file is a rights claim. It never travels without its field.