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 della Rovere” — 64 records examined, 9 dropped by the rights gate.
Archives queried 2026-08-26 20:21 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 Massacre of the Innocents
Giovanni Battista della Rovere · ca. 1590
Design for a Chapel Wall
Giovanni Battista della Rovere, Italian, ca. 1561–ca. 1630 · late 16th century
The Triumph of Fame; (reverse) Impresa of the Medici Family and Arms of the Medici and Tornabuoni Families
Giovanni di ser Giovanni Guidi (called Scheggia) · ca. 1449
Frontispiece: Della Magnificenza Ed. Architettura Dei Romani
Giovanni Battista Piranesi, Italian, 1720–1778 · 1761
Ferdinando de' Medici, Grand Prince of Tuscany
Giovanni Battista Foggini · ca. 1680–82
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
The Battle of Vercellae
Giovanni Battista Tiepolo · 1725–29
Palace of the Marchese Serlupi
Artist not stated in the record · 17th century
The Triumph of Marius
Giovanni Battista Tiepolo · 1729
Stage Set for Il Trionfo della Pietà
Artist not stated in the record · 1658
The Capture of Carthage
Giovanni Battista Tiepolo · 1725–29
Set Design for Scene 3, "La Vita Humana overo," from "Il Trionfo della Pieta"
Giovanni Francesco Grimaldi, Italian, 1606 – 1680 · 1658
Bartolomeo Bonghi (died 1584)
Giovanni Battista Moroni · shortly after 1553
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
The Investiture of Bishop Harold as Duke of Franconia
Giovanni Battista Tiepolo · ca. 1751–52
Spaccato della bottega ad uso di caffè detta degl'Inglesi situata in piazza di Spagna..., from Diverse Maniere d'adornare i cammini
Giovanni Battista Piranesi, Italian, 1720–1778 · 1769
The Glorification of the Barbaro Family
Giovanni Battista Tiepolo · ca. 1750
View of the Piazza del Popolo, Rome from series : "Vedute di Roma", v. II
Giovanni Battista Piranesi, Italian, 1720–1778 · 1750
The Apotheosis of the Spanish Monarchy
Giovanni Battista Tiepolo · 1760s
Altro spaccato per longo della stessa bottega, ove si vedonofra le aperture del vestibolo le immense piramide, from Diverse Maniere d'adornare i cammini
Giovanni Battista Piranesi, Italian, 1720–1778 · 1769
The Apotheosis of the Spanish Monarchy
Giovanni Battista Tiepolo · 1760s
Basilica of S. Lorenzo fuori le Mura, "Le Vedute di Roma" (1745-1778)
Giovanni Battista Piranesi, Italian, 1720–1778 · 1748–78
Saint Thecla Praying for the Plague-Stricken
Giovanni Battista Tiepolo · 1758–59
Design for a Tondo with Arms of Cardinal Giulio della Rovere
Niccolò Martinelli, called il Trometta, Italian, 1565 – 1620 · 1566–78
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. 361 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. 2373 matched · 40 examined · 9 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 2026-08-26 20:21 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.