P5: Richtlinien für die Auszeichnung und den Austausch elektronischer Texte

<msDesc>
 <msIdentifier>
  <country>France</country>
  <settlement>Paris</settlement>
  <repository xml:lang="fr">Bibliothèque nationale de France. Réserve des livres rares></repository>
  <idno>RES P- YC- 1275</idno>
<!-- dans le cas des recueils : cote uniquement sans les sous-cotes -->
  <altIdentifier>
   <idno>Y. 1341</idno>
   <note>Cote de la Bibliothèque royale au XVIIIe s. (Catalogue de 1750).</note>
  </altIdentifier>
 </msIdentifier>
 <msContents>
  <msItem>
<!-- pour le traitement des recueils la solution possible est de répéter l'élément <msItem> -->
   <docAuthor>
    <forename>Juvénal</forename>
   </docAuthor>
   <docAuthor>
    <forename>Perse</forename>
   </docAuthor>
   <docTitle>
    <titlePart type="main"/>
    <titlePart type="sub"/>
   </docTitle>
   <docImprint>
    <pubPlace>Venise</pubPlace>
    <publisher>F. Torresani</publisher>
<!-- dans le Catalogue général: "in aedibus haeredum Aldi et Andreae soceri" -->
    <publisher>G.-F. Torresani</publisher>
   </docImprint>
   <docDate when="1535">1535</docDate>
   <note>In-8°.</note>
<!-- in-32°; in-24°; in-16°; in-8°; in-4°; in-folio; gr. folio -->
   <note>Exemplaire avec rehauts peints en argent, or et bleu.</note>
   <note>
    <ref target="http://catalogue.bnf.fr/ark:/12148/cb31088624r">Notice bibliographique
         dans le Catalogue général</ref>
   </note>
  </msItem>
 </msContents>
 <physDesc>
  <p>
   <ref target="http://bnf.fr/ark://">Image de la reliure dans l'iconothèque</ref>
<!-- RC-B-05225 (plat sup.) -->
  </p>
  <objectDesc>
   <supportDesc>
    <extent>
     <dimensions type="binding">
      <height unit="mm">170</height>
      <width unit="mm">98</width>
      <depth unit="mm">15</depth>
     </dimensions>
    </extent>
   </supportDesc>
  </objectDesc>
  <bindingDesc>
   <binding contemporary="true">
    <p>
     <index indexName="typo_reliure">
      <term>Reliure à décor</term>
     </index>
     <index indexName="typo_decor">
      <term>Entrelacs géométriques</term>
     </index> Reliure en <material>maroquin</material> brun jaspé</p>
    <decoNote type="plats"> à décor d’entrelacs géométriques (structure de losange et
         rectangle) complété de fers évidés.</decoNote>
    <decoNote type="plat_sup">Titre <q>ivvenalis. persivs</q> et ex-libris de Jean
         Grolier <q>io. grolierii et amicorvm.</q> dorés respectivement au centre et au bas
         du plat supérieur. </decoNote>
    <decoNote type="plat_inf">Devise de Jean Grolier<q>portio mea sit in terra
           viventivm</q> dorée au centre du plat inférieur.</decoNote>
    <decoNote type="dos">Dos à cinq nerfs, sans décor ; simple filet doré sur chaque
         nerf et en encadrement des caissons ; passages de chaînette marqués de même.</decoNote>
    <decoNote type="tranchefiles">Tranchefiles simples unicolores, vert foncé.</decoNote>
    <decoNote type="coupes">Filet doré sur les coupes.</decoNote>
    <decoNote type="annexes"/>
    <decoNote type="tranches">Tranches dorées.</decoNote>
    <decoNote type="contreplats">Contreplats en vélin.</decoNote>
    <decoNote type="chasses">Filet doré sur les chasses.</decoNote>
<!-- Description des gardes : gardes blanches ; gardes couleurs (marbrées, gaufrées, peintes, dominotées, etc.) généralement suivies de gardes blanches ; dans tous les cas, spécifier le nombre de gardes (début + fin du volume)-->
    <decoNote type="gardes">Gardes en papier et vélin (2+1+2 / 2+1+2) ; filigrane au
         pot.<ref>Briquet N° XX</ref>
    </decoNote>
<!-- Élément qui inclut aussi bien des remarques sur la couture que les charnières, claies ou modes d'attaches des plats : tous éléments de la structure dont la description est jugée utile à la description et l'identification de la reliure-->
    <decoNote type="structure">Defet manuscrit utilisé comme claie au contreplat
         inférieur (visible par transparence, sous la contregarde en vélin).</decoNote>
    <condition>Traces de mouillures anciennes plus ou moins importantes au bas des
         feuillets, qui n'ont pas affecté la reliure ; éraflure en tête du plat
         inférieur.</condition>
   </binding>
  </bindingDesc>
 </physDesc>
 <history>
  <origin notBefore="1540-01-01"
   notAfter="1547-09-15">
   <p>Reliure exécutée pour Jean Grolier par Jean Picard, Paris, entre 1540 et 1547.</p>
  </origin>
  <provenance>
   <p/>
  </provenance>
  <acquisition notBefore="1680-12-31"
   notAfter="1724-12-31">Estampille n° 1, utilisée de
     la fin du XVIIe siècle à 1724 (page de titre).</acquisition>
 </history>
 <additional>
  <adminInfo>
   <recordHist>
    <source>Notice établie à partir du document original</source>
    <change when="2009-10-05"
     who="#Markova">Description mise à jour le <date type="crea">5 octobre 2009 </date>en vue de l'encodage en TEI des descriptions des reliure
         de la Réserve des livres rares</change>
    <change when="2009-06-01"
     who="#Le_Bars">Description revue le <date type="maj">1er
           juin 2009 </date> par Fabienne Le Bars</change>
    <change when="2009-06-25"
     who="#Le_Bars">Description validée le<date type="valid">25
           juin 2009</date>par Fabienne Le Bars</change>
   </recordHist>
  </adminInfo>
 </additional>
</msDesc>

<additional>
 <adminInfo>
  <recordHist>
   <p>
<!-- record history here -->
   </p>
  </recordHist>
  <custodialHist>
   <p>
<!-- custodial history here -->
   </p>
  </custodialHist>
 </adminInfo>
 <surrogates>
  <p>
<!-- information about surrogates here -->
  </p>
 </surrogates>
 <listBibl>
  <bibl>
<!-- ... -->
  </bibl>
<!-- full bibliography here -->
 </listBibl>
</additional>

<additional>
 <adminInfo>
  <recordHist>
   <p>
<!-- ... -->
   </p>
  </recordHist>
  <custodialHist>
   <p>
<!-- ... -->
   </p>
  </custodialHist>
 </adminInfo>
 <surrogates>
  <p>
<!-- ... -->
  </p>
 </surrogates>
 <listBibl>
  <bibl>
<!-- ... -->
  </bibl>
 </listBibl>
</additional>

<additional>
 <adminInfo>
  <recordHist>
   <p>
<!-- 檔案歷史紀錄 -->
   </p>
  </recordHist>
  <custodialHist>
   <p>
<!-- 保管歷史紀錄 -->
   </p>
  </custodialHist>
 </adminInfo>
 <surrogates>
  <p>
<!-- 代用品資訊 -->
  </p>
 </surrogates>
 <listBibl>
  <bibl>
<!-- ... -->
  </bibl>
<!-- 完整參考書目 -->
 </listBibl>
</additional>

<additional>
 <adminInfo>
  <recordHist>
   <source>
    <p>Information transcribed from <bibl>
      <ref target="#IMEV">IMEV</ref>
           123</bibl>.</p>
   </source>
  </recordHist>
 </adminInfo>
 <listBibl>
  <bibl xml:id="IMEV">
   <author>Carleton Brown</author> and <author>Rossell Hope Robbins</author>
   <title level="m">The index of Middle English verse</title>
   <pubPlace>New York</pubPlace>
   <date>1943</date>
  </bibl>
<!-- other bibliographic records relating to this manuscript here -->
 </listBibl>
</additional>

<adminInfo>
 <recordHist>
  <source>Record created <date>1 Aug 2004</date>
  </source>
 </recordHist>
 <availability>
  <p>Until 2015 permission to photocopy some materials from this
     collection has been limited at the request of the donor. Please ask repository staff for details
     if you are interested in obtaining photocopies from Series 1:
     Correspondence.</p>
 </availability>
 <custodialHist>
  <p>Collection donated to the Manuscript Library by the Estate of
     Edgar Holden in 1993. Donor number: 1993-034.</p>
 </custodialHist>
</adminInfo>

<adminInfo>
 <recordHist>
  <source>Notice établie à partir du document original</source>
  <change when="2009-10-05" who="Markova">Description mise à jour le <date type="crea">5
       octobre 2009 </date>en vue de l'encodage en TEI des descriptions des reliure de la
     Réserve des livres rares</change>
  <change when="2009-06-01" who="Le Bars">Description revue le <date type="maj">1er juin
       2009 </date> par Fabienne Le Bars</change>
  <change when="2009-06-25" who="Le Bars">Description validée le<date type="valid">25
       juin 2009</date>par Fabienne Le Bars</change>
 </recordHist>
</adminInfo>

<adminInfo>
 <recordHist>
  <source>紀錄建立於<date>2004年8月1日</date>
  </source>
 </recordHist>
 <availability>
  <p>2015年以前，非經贈與此書者同意，不得翻印。若對內容有興趣，請洽藏書單位。</p>
 </availability>
 <custodialHist>
  <p>此收藏1993年捐贈於故宮博物院。贈與編號：1993-034。</p>
 </custodialHist>
</adminInfo>

<listObject>
 <object xml:id="TutankhamunMask">
  <objectIdentifier>
   <objectName xml:lang="en">Mask of Tutankhamun</objectName>
   <idno type="carter">256a</idno>
   <idno type="JournalD'Entrée">60672</idno>
   <idno type="exhibition">220</idno>
   <institution>Museum of Egyptian Antiquities</institution>
   <address>
    <street>15 Meret Basha</street>
    <district>Ismailia</district>
    <settlement>Cairo</settlement>
    <country>Egypt</country>
    <location>
     <geo>30.047778, 31.233333</geo>
    </location>
   </address>
  </objectIdentifier>
  <msContents>
   <p>The back and shoulders of the mask is inscribed with a protective spell in Egyptian hieroglyphs formed of ten
       vertical and horizontal lines. This spell first appeared on masks in the Middle Kingdom at least 500 years
       before Tutankhamun, and comes from chapter 151 of the <title>Book of the Dead</title>.</p>
  </msContents>
  <physDesc>
   <p>The mask of Tutankhamun is 54cm x 39.3cm x 49cm. It is constructed from two layers of high-karat gold that
       varies in thickness from 1.5-3mm. It weighs approximately 10.23kg and x-ray crystallography shows that it is
       composed of two alloys of gold with a lighter 18.4 karat shade being used for the face and neck while a heavier
       22.5 karat gold was used for the rest of the mask.</p>
   <p>In the mask Tutankhamun wears a nemes headcloth which has the royal insignia of a cobra (Wadjet) and vulture
       (Nekhbet) on it. These are thought respectively to symbolise Tutankhamun's rule of both Lower Egypt and Upper
       Egypt. His ears are pierced for earrings. The mask has rich inlays of coloured glass and gemstones, including
       lapis lazuli surrounding the eye and eyebrows, quartz for the eyes, obsidian for the pupils. The broad collar is
       made up of carnelian, feldspar, turquoise, amazonite, faience and other stones.</p>
  </physDesc>
  <history>
   <origin>
    <p>The mask of Tutankhamun was created in <origPlace>Egypt</origPlace> around <origDate when="-1323" type="circa">1323 BC</origDate>. It is a death mask of the 18th-dynasty ancient Egyptian Pharaoh Tutankhamun
         who reigned 1332–1323 BC.</p>
   </origin>
   <provenance>
    <p>The mask of Tutankhamun was found in his burial chamber at Theban Necropolis in the Valley of the Kings in
         1922. On 28 October 1925 the excavation team led by English archaeologist Howard Carter opened the heavy
         sarcophagus and three coffins and were the first people in around 3,250 years to see the mask of Tutankhamun.
         Carter wrote in his diary: <quote> The pins removed, the lid was raised. The penultimate scene was disclosed –
           a very neatly wrapped mummy of the young king, with golden mask of sad but tranquil expression, symbolizing
           Osiris … the mask bears that god's attributes, but the likeness is that of Tut.Ankh.Amen – placid and
           beautiful, with the same features as we find upon his statues and coffins. The mask has fallen slightly
           back, thus its gaze is straight up to the heavens. </quote>
    </p>
   </provenance>
   <acquisition> In December 1925, the mask was removed from the tomb, placed in a crate and transported 635
       kilometres (395 mi) to the Egyptian Museum in Cairo, where it remains on public display. </acquisition>
  </history>
  <additional>
   <adminInfo>
    <custodialHist>
     <custEvent when="1944">When it was discovered in 1925, the 2.5kg narrow gold beard was no longer attached to
           the mask and was reattached to the chin by use of a wooden dowel in 1944.</custEvent>
     <custEvent when="2014-08"> In August 2014 when the mask was removed from its display case for cleaning, the
           beard fell off again. Those working in the museum unadvisedly used a quick-drying epoxy to attempt to fix
           it, but left the beard off-centre. </custEvent>
     <custEvent when="2015-01">The damage was noticed and repaired in January 2015 by a German-Egyptian team who
           used beeswax, a material known to be used as adhesives by the ancient Egyptians.</custEvent>
    </custodialHist>
   </adminInfo>
  </additional>
 </object>
</listObject>

<object type="building" xml:lang="en"
 xml:id="UNAM-CL">
 <objectIdentifier>
  <objectName type="abbr">The Central Library of UNAM</objectName>
  <objectName type="full">The Central Library of the National Autonomous University of Mexico</objectName>
  <objectName xml:lang="es">La Biblioteca Central de la Universidad Nacional Autónoma de México</objectName>
  <settlement>Mexico City</settlement>
  <region>Coyoacán</region>
  <country>Mexico</country>
 </objectIdentifier>
 <physDesc>
  <objectDesc>
   <p>The Central Library encompasses an area of <dim unit="m" quantity="16000"
     type="area">16 thousand square
         meters</dim> and is built on a three meter platform. The base contains two <material>basalt</material>
    <objectType>fountains</objectType> and <objectType>decorative reliefs</objectType> inspired by
       pre-Hispanic art.</p>
   <p>The library has ten windowless floors for book storage, each having enough space for 120 thousand volumes.
       These storage areas have the necessary lighting, temperature and humidty conditions for book conservation.
       In the reading room, flanked by a garden on each side, the diffuse and matte light is filtered through
   <material>thin tecali stone slabs</material>. The semi-basement of the building contains the service
       and administrative offices of the library.</p>
   <p>The building facades are covered with one of the largest murals in the world and is made from naturally
       colored stone tiles. It is entitled <title>Historical Representation of Culture</title> and is by
   <persName role="artist">Juan O'Gorman</persName>.</p>
  </objectDesc>
  <decoDesc>
   <decoNote>
    <label>Base</label> At the base of the building there are two basalt fountains and decorative reliefs
       around the outside that are inspired by pre-Hispanic art. The color of the stone in these elements is left
       exposed to take advantage of the stone's texture as an aesthetic and expressive element, and to give a
       sense of continuity to the external pavement.</decoNote>
   <decoNote>
    <label>Murals</label>
    <p>The outside windowless portion of the building contains one of the largest murals in the world. This is
         called <title>Historical Representation of the Culture</title> and is a <material>stone polychromatic
           mosaic</material> based on the combination of 12 basic colors. The mural is created in an
         impressionist style where the coloured tiles when seen from a distance form specific figures. The 12
         colors where chosen from 150 samples of original stones with the criteria including the stone's
         resistance to degredation by weather. According to the artist, <persName role="artist">Juan
           O'Gorman</persName>, in the mosaic he represented three fundamental historical facets of the Mexican
         culture: the pre-Hispanic era, the Spanish colonial era, and the modern age. For example with the North
         Wall, this represents the pre-Hispanic era and is dominated by mythical elements relating to the
         life-death duality. The left side of the main axis there are
         deities and scenes pertaining to the creation of life. The right hand side of the mural contains figures
         relating to death. For a more detailed description see <ref target="https://en.wikipedia.org/wiki/Central_Library_(UNAM)#Murals">https://en.wikipedia.org/wiki/Central_Library_(UNAM)#Murals</ref>.</p>
   </decoNote>
  </decoDesc>
 </physDesc>
 <history>
  <origin> In <origDate when="1948" type="conceptual">1948</origDate> the architect and artist Juan O'Gorman, in
     collaboration with architects Gustavo Saavedra and Juan Martinez de Velasco designed the building with a
     functionalist approach, as part of the greater project of the construction of the University City on the
     grounds of the Pedregal de San Angel in Mexico City. Originally the building was planned to host the National
     Library and National Newspaper Library of Mexico. The library finally opened its doors for the first time on
  <origDate when="1956-04-05"
    type="opening">5 April 1956</origDate>. In July 2007 it was declared a UNESCO
     world heritage site. </origin>
 </history>
 <additional>
  <adminInfo>
   <custodialHist>
    <custEvent from="1981" to="1983"> The library was significantly remodelled from 1981 - 1983 with the
         purpose of changing from closed shelving to open stacks, providing users more direct access to the
         collections. </custEvent>
   </custodialHist>
  </adminInfo>
 </additional>
</object>

<listObject>
 <object xml:id="MaskOfTutankhamun">
  <objectIdentifier>
   <objectName xml:lang="en">Mask of Tutankhamun</objectName>
   <idno type="carter">256a</idno>
   <idno type="JournalD'Entrée">60672</idno>
   <idno type="exhibition">220</idno>
   <institution>Museum of Egyptian Antiquities</institution>
   <address>
    <street>15 Meret Basha</street>
    <district>Ismailia</district>
    <settlement>Cairo</settlement>
    <country>Egypt</country>
    <location>
     <geo>30.047778, 31.233333</geo>
    </location>
   </address>
  </objectIdentifier>
  <msContents>
   <p>The back and shoulders of the mask is inscribed with a protective spell in Egyptian hieroglyphs formed of ten
       vertical and horizontal lines. This spell first appeared on masks in the Middle Kingdom at least 500 years
       before Tutankhamun, and comes from chapter 151 of the <title>Book of the Dead</title>.</p>
  </msContents>
  <physDesc>
   <p> The mask of Tutankhamun is 54cm x 39.3cm x 49cm. It is constructed from two layers of high-karat gold that
       varies in thickness from 1.5-3mm. It weighs approximately 10.23kg and x-ray crystallography shows that it is
       composed of two alloys of gold with a lighter 18.4 karat shade being used for the face and neck while a heavier
       22.5 karat gold was used for the rest of the mask.</p>
   <p>In the mask Tutankhamun wears a nemes headcloth which has the royal insignia of a cobra (Wadjet) and vulture
       (Nekhbet) on it. These are thought respectively to symbolise Tutankhamun's rule of both Lower Egypt and Upper
       Egypt. His ears are pierced for earrings. The mask has rich inlays of coloured glass and gemstones, including
       lapis lazuli surrounding the eye and eyebrows, quartz for the eyes, obsidian for the pupils. The broad collar is
       made up of carnelian, feldspar, turquoise, amazonite, faience and other stones.</p>
  </physDesc>
  <history>
   <origin>
    <p>The mask of Tutankhamun was created in <origPlace>Egypt</origPlace> around <origDate when="-1323" type="circa">1323 BC</origDate>. It is a death mask of the 18th-dynasty ancient Egyptian Pharaoh Tutankhamun
         who reigned 1332–1323 BC. </p>
   </origin>
   <provenance>
    <p>The mask of Tutankhamun was found in his burial chamber at Theban Necropolis in the Valley of the Kings in
         1922. On 28 October 1925 the excavation team led by English archaeologist Howard Carter opened the heavy
         sarcophagus and three coffins and were the first people in around 3,250 years to see the mask of Tutankhamun.
         Carter wrote in his diary: <quote> The pins removed, the lid was raised. The penultimate scene was disclosed –
           a very neatly wrapped mummy of the young king, with golden mask of sad but tranquil expression, symbolizing
           Osiris … the mask bears that god's attributes, but the likeness is that of Tut.Ankh.Amen – placid and
           beautiful, with the same features as we find upon his statues and coffins. The mask has fallen slightly
           back, thus its gaze is straight up to the heavens. </quote>
    </p>
   </provenance>
   <acquisition> In December 1925, the mask was removed from the tomb, placed in a crate and transported 635
       kilometres (395 mi) to the Egyptian Museum in Cairo, where it remains on public display. </acquisition>
  </history>
  <additional>
   <adminInfo>
    <custodialHist>
     <custEvent when="1944">When it was discovered in 1925, the 2.5kg narrow gold beard was no longer attached to
           the mask and was reattached to the chin by use of a wooden dowel in 1944.</custEvent>
     <custEvent when="2014-08"> In August 2014 when the mask was removed from its display case for cleaning, the
           beard fell off again. Those working in the museum unadvisedly used a quick-drying epoxy to attempt to fix
           it, but left the beard off-centre. </custEvent>
     <custEvent when="2015-01">The damage was noticed and repaired in January 2015 by a German-Egyptian team who
           used beeswax, a material known to be used as adhesives by the ancient Egyptians.</custEvent>
    </custodialHist>
   </adminInfo>
  </additional>
 </object>
</listObject>