As part of a new collaboration between the Thyssen-Bornemisza Museum and Factum Foundation, our experts just completed the recording of the Young Knight in a Landscape (1510) by Vittore Carpaccio, painter of the Venetian School. The painting, one of the most celebrated works in the museum’s collection, underwent a cleaning and restoration process and will form part of the exhibition ‘Carpaccio’s Knight: Restoration and technical study’ (17 May - 1 November 2021). If considered a portrait, the painting is the first known example in Western painting in which the sitter is depicted full-length.
Working closely with the Thyssen-Bornemizsa’s conservation team, who showed great interest in pushing the analysis of the painting further using Factum’s high-resolution recording methods, the Young Knight in a Landscape was digistised in 3D and colour in May 2021, along with its frame. The surface and colour data are in the process of being merged by a team of 2D and 3D specialists in Factum’s studios.
This will result in the production of a digital multi-layered viewer, which will act as a ‘digital passport’ of Carpaccio’s painting, providing information on its material state at the highest degree of accuracy. The dataset will be handed over to the museum’s team and will serve as a point of reference for any current and future analysis and research, while the museum will retain full ownership of the data recorded by Factum Foundation.
'The final decision about the future of the Whitechapel Bell Foundry now rests with the secretary of state, and is expected in the coming week.'
The latest article on the fight to save a foundry based in Whitechapel since the reign of Elizabeth I, producing such bells as Big Ben, the Liberty Bell, Bow Bells and the Bells of St Clements. Hettie O'Brien tells the story of this historical site and the efforts of Re-Form and Factum Foundation to reopen it as a viable foundry.
After the closing of the exhibition 'La riscoperta di un capolavoro' at Palazzo Fava, the facsimile of the Polittico Griffoni remained in the city of Bologna and was installed in Palazzo Pepoli. It will also return to the Basilica of San Petronio on the occasion of the city's patron saint day, in the Griffoni chapel for which the original was produced between 1471 and 1472, before it was removed in 1725, when the chapel was re-dedicated to the Aldrovandi family.
The project to record and replicate all the known panels, between 2012 and 2018, started as an initiative to return one of the masterpieces of the Bolognese Renaissance to the city. In October 2017, facsimiles of the sixteen panels were given to the Basilica of San Petronio. The exhibition organised in collaboration with Fabio Roversi Monaco and Genus Bononiae. Musei nella città was an extraordinary occasion to enable the reappraisal of the Renaissance altarpiece and to demonstrate how new technologies can help raise questions about originality and authenticity, offering new developments in curation and exhibition designs.
Photo © Paolo Righi per Genus Bononiae. Musei nella città.
On January 25 2021, the V&A launched a new online platform where the data from the Raphael Cartoons, recorded by Factum Foundation in high-resolution 3D, colour and infrared, was made available to the public for the first time. Through a new digital environment on the V&A’s website, users are now able to engage with the Cartoons in new ways and at an unprecedented level of detail. The dataset from the recording, which was supported by the Royal Commission for the Exhibition of 1851, is accessible through a high-resolution multi-layer viewer where both the surface, colour and infrared information can be explored, with different datasets viewable either merged or separated out.
The refurbished Raphael Court will reopen to visitors when the museum reopened on 19 May 2021.
In his podcast 'Blood and Bronze' on BBC Radio, Jerry Brotton reveals how the Renaissance was a time of conflict as well as beauty, creativity and tyranny, by retracing the life of Benvenuto Cellini through his autobiography.
In episode 9, Adam Lowe, founder of Factum Foundation, visits the Real Monasterio de San Lorenzo de El Escorial to talk about Cellini's Crucifixion, thanks to the collaboration of Patrimonio Nacional.
Factum Foundation welcomes the adoption of the EU Concept on Cultural Heritage in crisis and conflict, an important step in a new approach in mediation and conflict resolution. Stakeholders working with cultural heritage, political negotiation and peace-building have welcomed the initiative presented in November 2020 by Spain´s Ambassador-at-large for Mediation and Intercultural Dialogue at the EEAS/UNESCO Conference.
An international conference will be held at the end of September 2021 in Toledo to launch an international platform that will promote projects in the fields of cultural heritage and conflict resolution, supported by the Junta de Castilla la Mancha and other regional institutions as well as the Spanish Ministry of Foreign Affairs.
Factum Foundation is proud to join the Centro Internacional Toledo para la Paz (CITpax) and other international partners in this ambitious initiative.
Factum Foundation has initiated an ambitious project involving the use of digital technologies for recording and re-materialisation of a divided panel painting by Carpaccio – the aim is to reunify the panels and analyse the missing area.
The painting known as Two Venetian Ladies (c. 1490), located at the Museo Correr in Venice, is the lower half of a larger panel that was cut down, possibly on each side and in the middle. The upper half being Hunting on the Lagoon, is at the J. Paul Getty Museum in Los Angeles, California, and the recording is currently under discussion. The panel at the Museo Correr was recorded in November 2020 with the assistance of Arteria. The panel was taken out of its protective case and placed on an easel before recording it using the Lucida 3D Scanner and composite photography. The data was processed in ARCHiVe.
The project involving the recording and replication of the sepulchre of Cardinal Tavera is a collaboration between Fundación Casa Ducal de Medinaceli, The Auckland Project and Factum Foundation. In May 2018, a team from Factum Foundation carried out the digitisation of the sepulchre in Toledo. Three complementary systems were used: photogrammetry, a structured white light scanner and LiDAR. The data was processed and merged together to form a high-resolution digital archive. It was then re-materialised using 3D printing and CNC milling. The results were then thoroughly worked on by the workshop team, moulded and cast in a resin simulating the qualities of the original marble.
© a video by Óscar Parasiego for Factum Foundation
Factum Foundation is working with the Fundación San Millán de la Cogolla on the digitisation of the Glosas Emilianenses, in Madrid’s Real Academia de la Historia. The glossa (annotations) in the Codex Aemilianensis 60 manuscript are considered to be the earliest surviving Castilian-language text. During the first week of April, Factum Foundation recorded several pages of the Glosas Emilianenses in high resolution, photographing the colour and using the Lucida 3D Scanner for the surface. The aim of the project is to enable further philological investigation into the parts that, until now, have been proving more difficult to read.
Since the creation of Factum Foundation, the preservation of manuscripts has played an important part of our digitisation initiatives, from the recording of the Beato de Liébana at the Biblioteca Nacional in Madrid to the world-class archive of more than 3000 Islamic manuscripts in Dagestan. This area of activity has also led Factum Arte’s technical and software engineering departments to develop several recording systems exclusively focussed on the recording of manuscripts, such as the photographic manuscript scanner or the portable manuscript scanner.
The recreation of the Sacred Cave of Kamukuwaká was awarded with the Prêmio Rodrigo Melo Franco de Andrade 2020, organised by the Brazilian National Historical and Artistic Heritage Institute (Iphan) since 1987 for the dissemination of knowledge and intangible heritage.
Pirata Waurá presented the project on March 25 (8pm GMT) on occasion of the webinar which will go live on Iphan's Youtube channel.
Go to Iphan's Youtube channel
Factum Foundation is working with the European Commission, Aliph, the Aga Khan Foundation and other cultural foundations, institutes and agencies to organise a conference in Toledo in June 2021 about heritage documentation, preservation and conflict resolution.
This International Conference is to discuss and promote the European Union’s new policy on heritage documentation as part of conflict resolution. This represents a significant change in the approach to the preservation of cultural heritage. The conference will acknowledge the importance of the training and the transfer of both skills and technologies to local communities, as a peace-building tool.
In honour of the 200th anniversary of the formation of the Greek State, the Rothschild Foundation has commissioned a facsimile of Sir Thomas Lawrence’s portrait of John Capodistria, painted at the Congress of Vienna in 1818-19. The painting normally hangs in the Waterloo Chamber at Windsor Castle, and forms part of the Royal Collection, and sits in the company of other major figures who participated in the remoulding of post-Napoleonic Europe.
With the generous collaboration of Her Majesty Queen Elizabeth II and the Royal Collection, the portrait of John, Count Capo d'Istria (1776-1831) was recorded on 11th-12th and 19th August 2020 by a team from Factum Foundation at the Queen’s Gallery, Buckingham Palace, where it formed part of the Royal Collection exhibition ‘George IV Art and Spectacle’. It was then re-materialised as a facsimile in Factum Arte’s Madrid studios.
The facsimile will be presented in an early nineteenth-century English gilt frame and will be included in the exhibition ‘1821 Before and After’ at the Benaki Museum in Athens (dates to be announced).
In February, four years ago, the director-general of UNESCO, Irina Bokova and Egypt’s Minister of Antiquities and Tourism Khaled al-Anany opened the Stoppelaëre House Training Centre.
It was the first architectural restoration by Factum Foundation and it is currently being used as the 3D Scanning, Training and Archiving Centre for the Theban Necropolis Preservation Initiative.
The entirely Egyptian team, almost all from the West Bank in Luxor, will hopefully finish the complete recording of the tomb of Seti I this year.
Factum Foundation’s team is currently finishing the ground recording of the Nabataean heritage site of Hegra and the Dadanite site of Dadan, expecting to soon move to Jabal Ikmah and Abu Ud. Commissioned by the Royal Commission for AlUla (RCU), this work is the largest high-resolution 3D recording project carried out in the Kingdom of Saudi Arabia and is aimed at producing 3D models that will prove essential for the dissemination, condition monitoring and conservation of the heritage landmarks and cultural legacy of the Nabataean, Dadanite and Lihyanite cultures in and around the AlUla oasis.
By merging 3D recording, 3D modelling, virtual simulation, architectural details and craftsmanship, we are revisiting the relationship between Islamic, Christian and Jewish influcences on Spanish interior design.
The workshops are filled with a variety of ceilings that will form part of the exhibition display at Bishop Auckland. After months of work, the four complete ceilings will be leaving Madrid in a few days to be installed in the Spanish Galleries in the north-east of England.
Between February 24th until the first week of March, a team from Factum Foundation has been recording the tapestry made after Raphael's Cartoon The Sacrifice at Lystra at Palazzo Ducale in Mantua. The recording, arranged with Arnold Nesselrath, is part of the ongoing research into the production of tapestries and the cartoons from which they were made.
The data from the high-resolution recording in 3D, colour and infrared of the Cartoons in 2019 was made public on the V&A's website a few weeks ago.
We hope the recording of the tapestry of the Sacrifice at Lystra in Mantua will launch a digital humanities research project in the relationship between the production of the cartoons and the production of the tapestries.
We are delighted to have been awarded the Premio a la Promoción y difusión Cultural 2020-21 offered by the Museo Liceo Egipcio in Léon, Spain.
'MLE Award for Cultural Promotion and Diffusion: Since its creation in 2001 by the hand of artists, technicians and curators, and through its offices in Madrid, Milan and London, Factum Foundation has created an innovative approach in the fields of conservation and dissemination of artistic works through design of equipment and software and its implementation in numerous projects of different periods and characteristics. The digital information obtained from their works has been used for the documentation, monitoring and production of 2D and 3D facsimiles, which reproduce the complex surface and characteristics of the original works. Among his projects we can mention his scanning work in the Valley of the Kings in Egypt or his digitization of 'The Wedding at Cana' of Veronese, among many others that were successfully completed.' (from the MLE website)
Our work in the Valley of the Kings through the Theban Necropolis Preservation Initiative, in collaboration with the Egyptian Ministry of Antiquities and the University of Basel, is demonstrating what new technologies can do for the preservation of cultural heritage. We wish to thank our Egyptian team, with everyone from Luxor and the West Bank except Aliaa Ismail, originally from Cairo, which is working on the recording in high resolution of the tomb of Seti I and all its fragments.
We are delighted to bring our collaboration with Canon Production Printing to the next level with the installation of an elevated printing system in our workshops in Madrid. Factum Arte and Factum Foundation have been working closely with Canon since 2015, applying their elevated printing technology to the reproduction of exact facsimiles using Factum’s approach to 3D scanning and colour management.
The new solution will enable us to use a Canon customised flatbed UV printer to print multiple stacked layers in Factum’s workshops, resulting in the re-creation of the surface of paintings that are accurate to a few microns.