3D Digital Investigation for Canvases and Painted Panels

Colour and 3D rendering of San Giorgio by Cosmé Tura at Galleria di Palazzo Cini
Detail of the surface of The Crucifixion by the Master of the Lindau Lamentation, courtesy of Museum Catharijne Convent
Printing the colour of the facsimile of The Crucifixion by the Master of the Lindau Lamentation © Oak Taylor Smith for Factum Foundation
The Lucida 3D Scanner recording The Creation of the Animals © Factum Foundation
Recording The Creation of the Animals by Tintoretto at Gallerie dell'Accademia © Factum Foundation
Handwoven historical patterns recostructions at Factum Foundation

key details

7 and 14 March 2024
Online on Zoom
3pm — 5pm (CET)


Online course featuring two projects undertaken by ARCHiVe, alongside other case studies: the digitisation of the Palazzo Cini Gallery (47 panel paintings) and the digitisation of a painting by Jacopo Tintoretto from the collections of the Gallerie dell’Accademia in Venice (The Creation of the Animals, 1550-1553). The course offers a detailed examination of the digital recording of these works and the investigative opportunities afforded solely through the three-dimensional digital recording of painting surfaces and supports.

In addition to unveiling 3D digital acquisition techniques, the meetings are intended as moments of restitution and exchange to disseminate the research possible thanks to this type of technology applied to Cultural Heritage. Therefore, the course shares the outcomes of the reconstruction of The Crucifixion by the Master of Lamentation from Lindau in Utrecht and the recreation of historical textile patterns derived from digital analyses of pictorial surfaces on both panel and canvas.


Class 1 March 7, 2024

Painting on panel

  • Luca Massimo Barbero | Fondazione Giorgio Cini
  • Sanne Frequin | University of Utrecht
  • Carlos Bayod Lucini | Factum Foundation

Two case studies compared: the three-dimensional recording of panel paintings in the Gallery of Palazzo Cini in Venice and the reconstruction of The Crucifixion by the Master of Lamentation of Lindau in Utrecht.


On this occasion the results of the first three-dimensional, high-resolution digitisation campaign of the painted panels in Palazzo Cini, carried out by the Factum Foundation in collaboration with the Cini Foundation, will be presented. The campaign is part of the activities promoted by the Foundation to preserve, publicise and make the collections more accessible.

Next, the results of a project to digitise, digitally restore and rematerialise a panel work from the first half of the 15th century, the Crucifixion by the Master of Lamentation of Lindau, the result of a collaboration between Factum Foundation, Museum Catharijne Convent, Utrecht University, Leiden University and Technische Universiteit Delft. The project intends to demonstrate how digital technologies and facsimile production can be part of the decision-making process in the field of conservation, becoming a possible alternative to physical intervention on the objects.

Class 2 March 14, 2024

Painting on canvas

  • Cleo Nisse | University of Groeningen
  • Helena Loermans | Lab O
  • Carlos Bayod Lucini | Factum Foundation

The analysis and creation of historical textile patterns and the digitisation of Tintoretto’s The Creation of Animals as case studies.


The second appointment, dedicated to paintings on canvas and the micro-analysis of the supports, sees the participation of a weaver specialised in the manual creation of historical textile patterns to support technical art history (particularly Italian and Spanish between the 15th and 17th centuries) to present a recent rematerialisation project made possible thanks to the digital acquisition of the original supports. This will be followed by a researcher who focuses her investigations precisely on canvas supports in relation to the pictorial language of Venetian works from Bellini to Tintoretto. In both cases, the aim is to demonstrate how this type of micrometric investigation can now be carried out more comprehensively thanks to high-resolution three-dimensional digital surveys.


luca massimo barbero

Historian and critic of modern and contemporary art, he is Director of the Institute of Art History at the Fondazione Giorgio Cini in Venice, and scientific advisor to the Lucio Fontana Foundation in Milan. He is the author of numerous publications and exhibitions on the art of the Italian post World War II period.

sanne frequin

She is an art historian who specialises in digital art history. Her research focuses on the digital reconstruction of lost or damaged artefacts and on the use of digitised artefacts for research and education. The projects of Sanne Frequin concern mediaeval and early modern art and digital reconstruction. Sanne Frequin is the academic coordinator of the master Art History at Utrecht University.

A portrait of professor Sanne Frequin. A woman wearing glasses smiles at the camera with confidence.

carlos bayod lucini

He is Project Director at the Factum Foundation. His work is dedicated to the development and application of digital technology to the conservation, study and dissemination of Cultural Heritage. Bayod has taught at the MS in Historic Preservation at Columbia University in New York among other institutions, and is a frequent speaker for centers such as Museo del Prado, Harvard Art Museums and Fondazione Giorgio Cini. 

Portrait of architect Carlos Bayod looking intensely at the camera.

cleo nisse

She is Assistant Professor of Early Modern European Art at the University of Groningen. Her research concentrates on the materials, techniques, and meanings of artistic practices, complemented by a concern for how artworks change over time. After postgraduate studies in painting conservation at the Courtauld Institute, her Columbia University PhD investigated the significance of canvas supports for Venetian painting from Bellini to Tintoretto.

A portrait of professor Cleo Nisse smiling at the camera immersed in the nature.

helena loermans

She has been a weaver since 1960. Now a member of CIETA, in 2017 she founded Lab O, a research laboratory focusing on the hand-woven patterned canvases used by the Spanish and Italian Old Masters. Photomicrographs, x-ray images, 3D recordings and softwares for generating weave drafts, allowed Loermans at Lab O, to reconstruct the weave drafts of patterns in Old Master paintings’ canvases and reweave the textiles on a hand loom.

Portrait of the weaver Helena Loermans. A mature woman posing in front of the camera showing confidence and a smiling face. She is wearing a bright yellow tunic and flamboyant necklaces.
1/2 3D Digital Investigation for Canvases and Painted Panels

Copyright for cultural property and AI

Cuarto Amarillo, Vettor Pisani, Michelangelo Pistoletto, Ettore Spalletti and Franz West, 1992
Outcome of "Creativity, copyright and AI" prompt, 2023

key details

22 — 23 February
Online on Zoom
3pm — 5pm (CET)


This two-lesson course will be an excellent opportunity to reflect on the value, legitimacy and ‘rights’ of contemporary works of art within our society and the relationship between copyright and artificial intelligence.

In the first lecture Virginia Montani Tesei (lawyer), Mario Pieroni (gallery owner) and Giovanni Floridi (notary public) will explore the themes of copyright, authenticity and different interpretations for works of art and the world of digital creativity.

During the second meeting, Francesco Paolo Micozzi (lawyer) will offer an insight into current regulations and future perspectives for adequate protection of intellectual property in the field of artificial creativity, examining both opportunities and emerging legal challenges.


February 22, 2024

Copyright for Cultural Heritage: a case study

  • Virginia Montani Tesei
  • Mario Pieroni
  • Giovanni Floridi

The issue of copyright for the cultural property will be discussed through the analysis of the case of the work Cuarto Amarillo, an installation created by four artists (Vettor Pisani, Michelangelo Pistoletto, Ettore Spalletti and Franz West) on the occasion of the 1992 ARCOMadrid fair. The heirs of one of the artists requested part of the artwork after his death. After a brief excursus on the history of the eight-handed work and the risk of its destruction to dismember it, the topic of co-authorship under Italian Law and the difference between the joint ownership of the patrimonial copyright resulting from the co-authorship of the work and the joint ownership of the work will be discussed.

February 23, 2024

Artificial intelligence (AI) and copyright

  • Francesco Paolo Micozzi

During this meeting, the dynamic intersection between artificial intelligence (AI) and copyright will be explored. With the advent of increasingly advanced technologies, the field of AI has led to the emergence of relevant questions on intellectual property and artificial creativity. The basic principles of copyright law will be introduced and how these apply (or fail to apply) to AI-generated works will be discussed. Through a series of case studies, we look at concrete examples of how AI is transforming the intellectual property landscape, examining both the opportunities and emerging legal challenges. Participants will gain an in-depth understanding of the legal and ethical implications of content creation through AI, exploring topics such as authorship attribution, liability for copyright infringement and potential legislative reforms, including in the European context.


Virginia Montani Tesei

She graduated in Law from the University of Rome Tor Vergata and pursued her studies between Italy and Spain. She perfected her studies with advanced courses in art law at the Scuola Superiore Sant’Anna in Pisa and subsequent masters in the subject, including the Master of Art at the Luiss Business School. Following experience in international law firms, she founded his own firm specialising in art and cultural heritage law. Author of numerous essays and articles on the subject, listed by We Wealth among the top 200 professionals in the private wealth sector and invited speaker at the LUISS University of Rome master courses. In 2020, she promoted at ArtVerona the Montani Tesei Under 35 Prize, now in its third edition.

Mario Pieroni

Born in Rome in 1937, he moved to Pescara to follow his family’s textile and furniture business.  From 1971 he worked in contemporary art, starting with the realisation of Giacomo Balla’s furniture and tapestries. From 1975 to 1978 he opened and managed the exhibition space Il Bagno Borbonico in Pescara. In 1979 he moved to Rome where, together with Dora Stiefelmeier, he opened the Galleria Pieroni. In 1992 he ended the Gallery’s activity to found Zerynthia, Association for Contemporary Art. He is also Artistic Director of RAM radioartemobile, a platform for contemporary art created in 2003 and dedicated to sound research and exhibition activity. In 2017, he set up the Fondazione No Man’s Land in Loreto Aprutino (Pescara).

Giovanni Floridi

He was born and works in Rome, where he practises as a notary public.

Since the end of the 1990s, he started collecting contemporary art, now holding a collection ranging from the second half of the 20th century to the present day. Together with his wife Clara Datti, he also set up the Fondazione ‘D’ARC – Rifugio di Arte Contemporanea’, which is opening a new exhibition space in Rome.

Francesco Paolo Micozzi

Lawyer and lecturer in Legal Informatics at the Department of Law, University of Perugia, is author of monographs and essays on data protection, cyber security, computer crimes and copyright. He leads the Jean Monnet “CIBER” module at the University of Perugia on the subject of data breach and is a member of the academic board of the Jean Monnet Centre of Excellence “BALDUS” at the same University on the subject of personal and non-personal data protection. Member of the Working Group of the Italian Foundation for Forensic Innovation at the CNF (National Forensic Council).

1/2 Copyright for cultural property and AI
2/2 Copyright for cultural property and AI

Digitisation and valorisation of Venetian Music Archives

© Fondazione Giorgio Cini
© Fondazione Giorgio Cini
© Fondazione Giorgio Cini
© Fondazione Giorgio Cini
© Fondazione Giorgio Cini
© Fondazione Ugo e Olga Levi

key details

22 November 2023
Onsite at ARCHiVe / Online on Zoom
2pm — 6pm (CET)


A study seminar on the Island of San Giorgio Maggiore in Venice, in collaboration with the Institute for Music and the Intercultural Institute of Comparative Music Studies of the Fondazione Giorgio Cini.

The meeting was created to take stock of the state of the art of projects for the description, digitisation and valorisation of the main sound and music archives belonging to various city institutes actively engaged in this regard. The aim is to share methods and technologies, good practices and virtuous choices adopted by the various institutions called upon to participate, highlighting the peculiarities of each archive and emphasising the links that unite them.


New IISMC proposals for audiovisual archives in ethnomusicology

  • Giovanni Giuriati | Fondazione Giorgio Cini
  • Marco Lutzu | Università degli Studi di Cagliari
  • Simone Tarsitani | Durham University
  • Costantino Vecchi | Fondazione Giorgio Cini

The IISMC (Istituto Interculturale di Studi Musicali Comparati) archive of the Fondazione Giorgio Cini holds documentation on the Institute’s activities since 1969. In addition to working on the preservation and enhancement of the archival materials (paper, audio, photographic and video), since 2004 the Institute has been systematically documenting its initiatives in audiovisual form.

The talk intends to present recent work carried out using digital technologies for the IISMC archive with particular reference to audiovisual documentation (S. Tarsitani), cataloguing and restitution (C. Vecchi) and the creation of audiovisual materials for educational and dissemination purposes (M. Lutzu).

LeviDigiLab: the digitisation project of the Fondazione Ugo e Olga Levi

  • Giulia Clera | Fondazione Ugo e Olga Levi

With the LeviDigiLab project, the Fondazione Ugo e Olga Levi in 2023 started a digitisation process for the preservation and online consultation of the documentary heritage of the Gianni Milner Library.

The project aims to bring the culture of digitisation into the Fondazione Levi, making the structure and the staff involved capable of dealing with the digital transformation of the holdings for conservation and enhancement and to increase the public’s accessibility through a dedicated platform searchable by the user through a dedicated front-end (Opac).
The foundation has equipped itself with an in-house laboratory that is currently being implemented thanks also to the numerous grants obtained.

Design and development of the digital archive of the Fondazione Archivio Luigi Nono: an interweaving of knowledge between musicology, archivistics and computer science

  • Alessandro Russo | Centro di Sonologia Computazionale (CSC) Università di Padova
  • Michele Patella | Centro di Sonologia Computazionale (CSC) Università di Padova

The Luigi Nono Archive was founded in 1993 on the initiative of Nuria Schoenberg Nono with the aim of collecting, preserving and promoting the composer’s precious legacy. Since 2015 the project of the creation of the Luigi Nono Digital Collection has been launched in collaboration with Paul Sacher Stiftung and funded by the Ernst von Siemens Musikstiftung. Between 2015 and 2017, a preservation and valorisation project took place, promoted and coordinated by the Soprintendenza archivistica e bibliografica del Veneto e del Trentino Alto Adige, which also involved the magnetic tapes of the Luigi Nono funds. The intervention was entrusted to the Centre for Computational Sonology of the University of Padua. In 2019, the online migration of the Fondazione Archivio Luigi Nono’s database began with the intervention of the company Audio Innova, a spin-off of the University of Padua.

ARMID@Venice: Music and Digital Humanism in Venice. The musical sources of the "Benedetto Marcello" Conservatory

  • Paolo Da Col | Conservatorio di Musica Benedetto Marcello di Venezia
  • Alice Martignon | Università Ca' Foscari Venezia
  • Giulio Pojana | Università Ca' Foscari Venezia

On 1 October 2021, thanks to a new scientific collaboration between the “Benedetto Marcello” Conservatory of Music in Venice and Ca’ Foscari University of Venice, it was possible to launch ARMID@Venezia (ARchivio Musicale e Iconografico Digitale A Venezia), a research project dedicated to the digitisation, virtual restoration and non-invasive diagnostic study of ancient musical sources (manuscripts and printed books) kept at the lagoon music institute. After a brief excursus on the main digitisation, cataloguing, conservation and valorisation projects currently active at the Conservatory’s “Mario Messinis” Library (Prof. P. Da Col), the technologies adopted and the results achieved within ARMID@Venezia will be described (Dr. A. Martignon, Prof. G. Pojana).

The Archives of the Institute for Music of the Fondazione Giorgio Cini

  • Francisco Rocca | Fondazione Giorgio Cini

The Fondazione Giorgio Cini’s Institute for Music works for the acquisition, preservation, protection, and valorisation of 20th and early 21st centuries archives, with a focus on those produced by prominent personalities from the worlds of music, dance and audiovisual, which can be consulted through digital archives.

The presentation aims to illustrate this archival heritage and the enhancement initiatives implemented in recent years, focusing in particular on digital archives and their huge potential.

Building the Historical Archive of the Future: the case of Heritage Lab

Hitstorical images from the photo archives © Italgas
Hitstorical images from the photo archives © Italgas
Hitstorical images from the photo archives © Italgas
Hitstorical images from the photo archives © Italgas

key details

13 November 2023
Online on Zoom
3pm — 5pm (CET)


Online class on the challenges of the Corporate Digital Archive, digital formats, integrated processes and the role of  the General Data Protection Regulation (GDPR). The seminary is dedicated to the potential of a digital company archive and the methods of preservation and sharing, in particular of the extensive documentation tracing the history of the Italgas company.

Digital transformation and technological innovation — which are Italgas’ main drives in the energy transition — are at the heart of Heritage Lab. The centre is committed to achieving several objectives, including the systematisation of the historical archive and the management of the current archive, the sharing of digitised documents and their conversion into big data, through a highly automated acquisition cycle thanks to the use of artificial intelligence algorithms for post-production and optical character recognition (OCR).


The Heritage Lab model

  • Katya Corvino

Heritage Lab is Italgas’ digitisation museum-laboratory, developed entirely in-house with specialised machinery, technologies and skills from the field of cultural heritage and applied to the massive digital acquisition of Corporate and Industrial Heritage. Their heritage consists of 3 linear kilometres of documents, and it is digitised by a team of specialists, composed of 4 archivists in charge of identifying and selecting the documents, 2 palaeographers with expertise in ancient texts, 3 librarians cataloguing the material, and 15 operators, who carry out the digitisation and append metadata.

Digitisation stream

  • Matteo Allasia

The digital transformation process can be illustrated with a sequence of nine steps, from the premises of the Italgas Historical Archive, to the cataloguing of documents on the xDams platform, and the selection of the most valuable bulks for digitisation.

At the Heritage Lab laboratory-museum, we select the most appropriate digitisation system based on the document’s format and type.
The scanned images are processed through the Time Machine server, which derives the compressed images from the master copies and applies measurement and OCR scripts. The user copies are then imported into xDams and enriched with a set of metadata, which adds meaningful narratives to the material.

Building the Historical Archive of the Future

  • Daniela Marendino

Building and feeding the Historical Archive, with the creation of a shared procedure for identifying, preserving and substituting paper documents, is essential to the management of the documentation flow of the current archive.

Heritage Lab has established a new procedure for the management of analog documents and is working on the creation of a new classification and record preservation system, and a management manual, together with an internal communication campaign to raise staff awareness.

Managing the digital heritage of business archives

  • Giovanni Michetti

The speech will cover the topic of the digital heritage of business archives, focusing in particular on the following points:

– Not just paper: digital objects as archival documents;

– The business archive as an integrated system;

– Digital formats;

– Management and preservation processes in the digital environment;

– The role of the General Data Protection Regulation (GDPR).


Matteo Allasia

A Heritage Lab expert, he was a fellow at the ARCHiVe Centre, and was then a Regesta.exe contributor for Heritage Lab Italgas. Graduated in Classical Literature and Communication, with a Master’s degree in Digital Humanities at Ca’ Foscari University, he is a digital humanist at the service of corporate cultural heritage. He collaborates in the digital transformation process of the Italgas Archive and works on the maintenance and development of digitisation machines and algorithms for automatic post production.

Katya Corvino

Head of Heritage Lab Italgas, she was also responsible for Corporate Social Responsibility at Italgas. Graduated in Political Science with a Master’s degree in Business Administration, for 30 years in the Eni Group, then Snam and finally Italgas, she has gained 20 years’ experience in the field of relations with institutions and the territory. For 7 years she was responsible for Relations with Local Authorities in the Snam group. Over the years she has also dealt with relations with European institutions as Snam’s representative for the European Union in Brussels.

Daniela Marendino

With twenty years of experience as a professional archivist, she has worked in public, private and corporate archives. She is the curator of the collections of the Italgas Historical Archive, where she oversees the preservation of the documentary heritage and the preservation of the company museum collections, the Library and the Emeroteca, as well as the valorisation of the historical heritage of the Italgas Group companies. She monitors and manages the flow of documents in the historical and current archives, preparing preservation lists and procedures for discarding them.

Giovanni Michetti

Associate Professor of Archivistics at the University of Rome ‘La Sapienza’, he has also taught at the University of Urbino and the University of British Columbia. An expert in digital archives, he deals with document management, descriptive models, digital preservation and new technologies applied to archives. He is chairman of the ‘Archives and document management’ sub-committee in UNI (the Italian standards body) and represents Italy in some ISO working groups on archives and document management. He is a member of the executive committee of the International Council on Archives.

Giacomo Verde (1956-2020). From the techno-artist’s archive to book, exhibition and movie

Renzo Boldrini with Giacomo Verde and a friend © Giallo Mare Minimal Teatro Archive
Portrait of Giacomo Verde
Scene from "Il gatto con gli stivali. Un racconto per il digitale" © Campsirago Residenza
Giacomo Verde/Giallo Mare Minimal Teatro, "Hansel & Gretel Tv" © Giuseppe Murador and Giacomo Verde Archive

key details

9, 16, 23, 30 November 2022
Online on Zoom
4pm — 6pm (CET)


  • Anna Maria Monteverdi | Università Statale, Milano
  • Tommaso Verde | Game Designer
  • Flavia Dalila D’Amico | Università di Roma La Sapienza
  • Vincenzo Sansone | Università Statale, Milano
  • Raffaella Rivi | Videomaker

the course

Giacomo Verde (Cimitile 1956 – Lucca 2020) in forty years of artistic activity has dealt with different languages such as street theatre, video art, painting, drawing, performance, Net Art with the idea of investigating contaminations between media to create works in which different artistic techniques coexist in an “artivist” spirit.


The course, curated by Anna Maria Monteverdi, is structured in 4 meetings and is held in Italian.

November 9, 2022

L’archivio di un artivista. Giacomo Verde (1956-2020)

  • Anna Maria Monteverdi
  • Tommaso Verde

November 16, 2022

Attraversamenti: le ultrascene di Giacomo Verde

  • Flavia Dalila D'Amico

November 23, 2022

Giacomo Verde: il teleracconto e i suoi doppi. La reinvenzione di una tecnica videoteatrale per bambini.

  • Vincenzo Sansone

November 23, 2022

Dall'archivio al film

  • Raffaella Rivi
1/4 L’archivio di un artivista. Giacomo Verde (1956-2020)
2/4 Attraversamenti: le ultrascene di Giacomo Verde
3/4 Giacomo Verde: il teleracconto e i suoi doppi. La reinvenzione di una tecnica videoteatrale per bambini.
4/4 Dall'archivio al film

ARCHiOx. Exploring the potential of photometric stereo 3D capture

Heatmap render of the Aršāma Sigil © ARCHiOx
Render highlighting the conservation state of an object © ARCHiOx
Copper printing plate recorded with Selene © ARCHiOx

key details

24 May, 7 June 2023
Online on Zoom
3pm — 5pm (CET)


Funded by the Helen Hamlyn Trust, ARCHiOx – Analysis and Recording of Cultural Heritage in Oxford – is a collaborative project, bringing together Oxford University’s Bodleian Libraries and the Factum Foundation.  Based in Madrid, the Factum Foundation specialise in high-resolution 3D imaging and have worked in cultural heritage institutions throughout the world, producing exceptional, three-dimensional facsimiles of artworks and artefacts. The very latest 3D recording technology conceived and developed by the Factum Foundation is being piloted at the Bodleian and has been used to reveal near-invisible text and artwork from originals in the Bodleian’s collections.  The ARCHiOx recordings serve two purposes:  data can be used to create renders which show the 3D surface of an original in order to reveal what is difficult or impossible to record through conventional photography, or for the purposes of creating incredibly accurate 3D facsimiles.  Working closely with researchers and experts, the project has been responsible for making and documenting multiple exciting discoveries.


  • John Barrett | Senior Photographer for the Bodleian Libraries


Class 1 May 24, 2023

Recording and dissemination of 3D data, captured using the Selene Photometric Stereo Recording System

  • John Barrett | Senior Photographer for the Bodleian Libraries
  • Jorge Cano | Head of Technology at Factum Arte and Factum Foundation
  • Richard Allen | Software Engineer for BDLSS

In this session John Barrett presents a collection of incredible new recordings made using the Factum Foundation’s latest 3D recording system, the Selene.  The recordings have been made from originals from broad range of the Bodleian Libraries’ world-class collections. Jorge Cano, designer of the Selene, explains the philosophy behind the Selene and discuss the technology and specifications of the system. Richard Allen demonstrates online viewers for dissemination of 3D recordings, and newly developed tools which will allow users to interact with them.

Class 2 June 7, 2023

Analysis and interpretation: How 3D recordings and other technological innovations are supporting research

  • John Barrett | Senior Photographer for the Bodleian Libraries
  • Jo Story | Professor of Early Medieval History at the University of Leicester
  • Jessica Hodgkinson | PhD candidate at the University of Leicester
  • Alessandro Bianchi | Manager of the Bodleian Japanese Library
  • Elaine Anstee | Head of Imaging for the Bodleian Libraries

In this session John Barrett introduces a panel of experts who will explain how 3D recording and other technological innovations have assisted with their research. Jo Story and Jessica Hodgkinson discuss how photometric stereo recordings and other technologies have aided their research into Anglo-Saxon manuscripts and medieval book culture. Alessandro Bianchi explores how 3D recording may hold the key to understanding how Japanese prints were made, and how 3D renders can be used for assessing their condition. The session begins with a description of how ARCHiOx was established and structured, by Elaine Anstee.


John Barrett

John Barrett is a Senior Photographer for the Bodleian Libraries.  Since 2005, John has provided photographs of Bodleian originals for numerous publications. His work involves the development of new methods of recording special collections material. He is the author of Imaging Guidelines for the Digitization of Rare and Special Materials, a document commissioned by the Bodleian Library.

Jorge Cano

Jorge Cano is currently Head of Technology at Factum Arte and Factum Foundation. He has developed a multidisciplinary career working in the intersections of art and technology. Cano is an expert in 3D recording, image filtering and Geographical Information Systems. For Factum he has developed several scanners and numerous tools for data processing. His latest design, the Selene Scanner, has been used by the Bodleian Library allowing imaging specialists and researchers to look at ancient objects with new eyes.

Richard Allen

Richard Allen is a Software Engineer for BDLSS (Bodleian Digital Library Systems and Services) where he works primarily supporting Digital Bodleian and the Imaging Studio DAMS.  He is also CEO of an Oxford University spinout company that specialises in photogrammetry.

Jessica Hodgkinson

Jessica Hodgkinson is a PhD candidate at the University of Leicester funded by the Midlands4Cities doctoral training partnership. Her research explores the participation of women in early medieval book culture in Western Europe through the analysis of surviving manuscripts commissioned, copied, owned and/or used by them.

Jo Story

Jo Story is professor of Early Medieval History at the University of Leicester. Interdisciplinary methodologies and approaches to evidence are central to her research and publications. Her current research centres on ‘Insular Manuscripts’ that were made in Ireland or the Anglo-Saxon Kingdoms or in monasteries founded by Irish or Anglo-Saxon missionaries on the Continent in the period between c. 600–900 CE.

Alessandro Bianchi

Alessandro Bianchi is the manager of the Bodleian Japanese Library and curator of the Bodleian collection of Japanese rare books and manuscripts. After receiving his Ph.D. from the University of Cambridge, he worked at the British Library, the Smithsonian’s National Museum of Asian Art, and taught at Haverford College. Alessandro is also a Visiting Researcher (2022/23) at the Art Research Centre of Ritsumeikan University.

Elaine Anstee

Elaine Anstee has been Head of Imaging for the Bodleian Libraries since October 2021. With a background in Administration and Finance she focuses on the policies and procedures supporting the ARCHiOx project in addition to the business as usual work in the Imaging department

1/2 ARCHiOx. Exploring the potential of photometric stereo 3D capture
2/2 ARCHiOx. Exploring the potential of photometric stereo 3D capture