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. 24 shown for “Giovanni Battista Maganza il Giovane” — 64 records examined, 7 dropped by the rights gate.
Archives queried 2026-09-01 04:05 UTC · fetched live for this request
isPublicDomain field is true for this object.metadata_usage.access reads CC0 — a waiver, not an expired term.
The Martyrdom of Saint Lucy (Her Last Communion before Being Dragged by Oxen)
Giovanni Battista Maganza il Giovane · 1556–1630
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
Bartolomeo Bonghi (died 1584)
Giovanni Battista Moroni · shortly after 1553
A Stucco Angel from the Nave Vault, Church of the Gesu, Rome," from the album "Drawings after Ornament and Architecture"
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773 · ca. 1759–70
Allegorical Figure Representing Geometry
Giovanni Battista Tiepolo · 1760
Washbasin, page from Il Campo Marzio dell'Antica Roma
Giovanni Battista Piranesi, Italian, 1720–1778 · 1762
Pope Clement X (1590–1676)
Giovanni Battista Gaulli (Il Baciccio) · ca. 1670–71
Scenographia Campi Martii, page from Il Campo Marzio dell'Antica Roma
Giovanni Battista Piranesi, Italian, 1720–1778 · 1762
Portrait of a Woman
Giovanni Battista Gaulli (Il Baciccio) · ca. 1670s
Stage Set for Il Trionfo della Pietà
Artist not stated in the record · 1658
The Lamentation
Scipione Pulzone (Il Gaetano) · 1593
Sarcaphagus, page from Il Campo Marzio dell'Antica Roma
Giovanni Battista Piranesi, Italian, 1720–1778 · 1762
Saint Mary Magdalen Holding a Crucifix; (reverse) The Flagellation
Spinello Aretino (Spinello di Luca Spinelli) · ca. 1395–1400
Set Design for Scene 3, "La Vita Humana overo," from "Il Trionfo della Pieta"
Giovanni Francesco Grimaldi, Italian, 1606 – 1680 · 1658
Lucrezia Agliardi Vertova (1490?–1558)
Giovanni Battista Moroni · 1557
Frontispiece, with Dedication to Robert Adam, in Il Campo Marzio dell'Antica Roma
Giovanni Battista Piranesi, Italian, 1720–1778 · 1762
Saint Matthew and the Angel
Giovanni Gerolamo Savoldo
Ceiling of the Church of the Gesù, Rome, Italy
Artist not stated in the record · 1750
Allegorical Figure Representing Arithmetic
Giovanni Battista Tiepolo · 1760
The Catologue of the artist's work (Table of Contents of the Vedute di Roma)
Giovanni Battista Piranesi, Italian, 1720–1778 · ca. 1779
Allegorical Figure Representing Metaphysics
Giovanni Battista Tiepolo · 1760
The Arch of Marcus Aurelius
Giovanni Battista Piranesi, Italian, 1720–1778 · 1762
Allegorical Figure Representing Grammar
Giovanni Battista Tiepolo · 1760
Dedication Page to Charles III of Spain and the Two Sicilies, frontispiece for Paolantonio Paoli, Rovine della città di Pesto detta ancora Posidonia (1784)
Giovanni Battista Tiepolo, Italian, 1692 - 1770 · ca. 1765
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. 88 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. 17037 matched · 40 examined · 7 dropped by the rights gate. Kept only where metadata_usage.access === "CC0" and an image resource was published.12 shown
These figures describe the pass run at 2026-09-01 04:05 UTC, during this request. 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.