Page 182 - AC/E Digital Culture Annual Report

182(Norfolk), though they were un nished when the priory was dissolved in 1540.Although the initial design was not completed, several parts were reused for a later monument in St Michael’s Church (Framlingham, Su olk, UK) and are still extant, though nished o in a di erent style and with di erent materials.Other parts of the un nished monument were abandoned in the ruins of the priority and were discovered during excavations conducted centu- ries later. These pieces are now scattered among various museums and institutions, including the British Museum.The research focused on bringing together all these pieces of the original monument, not only its material remains but also records such as surviving sixteenth-century drawings, which were dispersed.3D laser scanning and 3D prints were used to virtually dismantle the monuments at Framling- ham and recombine them with the unused parts found in the ruins of the priory built in 1540.As a result, the original Tudor tomb monuments were reconstructed as they were originally intended by means of virtual anastylosis. 3D printing techniques were used to recreate these pieces of British history.Gri oni PolyptychThe Gri oni Polyptych,273 a late fteenth-century altarpiece with paintings by Francesco del Cossa and Ercole de’ Roberti, members of the Bolog- nese school, is the object of one of the most interesting projects conducted by Fundación Factum (Madrid). This work was commissioned by the Gri oni family for the chapel of San Vicente in the basilica of San Petronio (Bologna, Italy). As in many similar cases, the altarpiece was removed when the chapel passed to another family in 1726 and was later dismantled and sold to other owners. Sixteen paintings from the original altarpiece still survive, scattered among nine museums and foundations in various parts of the world.The work of Factum Arte274 consisted in virtually reassembling the complete altarpiece with all the paintings currently housed in various institutions to produce an interpretive resource.A 3D laser scanner was used to create a three-dimensional digital model of each of the pieces, both front and reverse. High-de nition photographs were likewise taken in order to capture the slightest details and the colourof the paintings of the polyptych. The data acquisition phase ended in October 2015 with various les to be used to document and study the original pieces accurately.There are future plans – showing the potential of digital tools as allies of heritage – to use 3D printing to create a replica in order to “recover” this Italian Renaissance work; it will be placed on display in the former Gri oni chapel, which was recently restored.3.2 Analysis and interpretationAs 3D acquisition and digitisation technologies develop and broaden their scope of application, the next step will be to make available this huge amount of information to researchers and sectorFigure 21 – Virtual dismantling of the tomb monument of the third Duke of Norfolk at Framlingham. Photo: University of Leicester. Source: dropbox.com3. RESEARCH