#Ancient rome in 3D

[ancientcharm]

Digital model of Ancient Rome released

Image Credit: FLYOVERZONE

Rome Reborn 4.0, a digital model of Ancient Rome has just been released by archaeologist, Dr Bernard Frischer. Published by Flyover Zone, the model is a reconstruction of the entire city of Ancient Rome for academic study and virtual tourism. Rome Reborn provides a birds-eye perspective of the complete digital model, enabling users to glide above the historic landmarks while listening to expert narrations about 43 monuments, temples, structures, and locations.

Dr Frischer said, “Rome Reborn 4.0 is the culmination of more than twenty-seven years of collaborative international work in using digital tools to research cultural history and bring it to life.” According to the project leaders, the virtual tour can be used by teachers on Yorescape, a mobile and web app that takes their students on virtual field trips, or by armchair travellers to explore the heritage sites of the ancient capital of the Roman Empire.

Rome Reborn 4.0 represents the most recent iteration of an urban model that Dr Frischer has led since 1996. Rome Reborn has been a globally collaborative project from its inception, uniting specialists in Roman archaeology, computer graphics, and Virtual Reality design. The project’s earlier versions include 1.0 (2007), 2.0 (2008), and 3.0 (2018). Video fly-throughs of these previous versions have been viewed by millions of people worldwide. Similar to its earlier versions, Rome Reborn 4.0 portrays the city as it might have appeared at its zenith in the year AD 320, just before the capital’s relocation to Constantinople. According to Flyover Zone, “This reconstruction of ancient Rome’s urban landscape adheres to scientific accuracy based on the available but fragmentary historical evidence. As new findings and interpretations of this evidence emerge, the Flyover Zone team continuously updates Rome Reborn to ensure it remains a dependable and comprehensive visualization of the city.”

BY :Mark Milligan

[ancientcharm]

I love this

[canopiancatboy]

I did another statuee. This time it's Venus Callipyge, a Roman recreation of the Greek original

Apparently the name, Venus of the Beautiful Buttocks, is falsely attributed, but it does probably depict Venus (or Aphrodite in the original)

Oh also when it resurfaced in the 1500s it was headless, and the head was reconstructed. I wonder how many ancient works of art were reconstructed to the same degree as that famously terrible Jesus painting restoration and have just been quietly forgotten or destroyed out of embarrassment, the restoration artist banished from the kingdom

[scribl1ta]

After much work, months of work, I think I figured out how uvs work!! Unfortunately my experiments crashed Blender and I lost my lighter asset😰I hope to finish this scene and learn how to get better lighting next

[shadowdrakh]

[jackalgirl]

My Tali sets from VR-Soft Games arrived today. I don’t know why I was thinking the coins would be metal: they’re chipboard, but for all that very nicely printed and made imo. I really like that they were printed somewhat sloppily so that the coin art would not center perfectly with the die-cuts (and not exactly the same as one another either): I am 100% sure this was done on purpose to mimic hand-minted coins.

My own 3D set is shown by comparison (smaller, not marked with numbers). I have obtained some “vanilla” and also plain translucent resin and have ordered some dyes with which to experiment with coloring resin to play with, and will probably be printing more tali myself.

[ryojikagi]

Anaglyph image of Emperor's Antoninus Pius' sculpture.

https://skfb.ly/oWFvY

[phoenix-joy]

This is another free course on FutureLearn that I need to get around to finishing (I pay for Premium so I'm not constrained by the 6 week duration available for free). I've worked to about halfway, and I've found it helpful as a beginner to have this accessible material with which to interact.

Course Description Taken From FutureLearn:

Explore ancient Rome through a unique, historically accurate 3D model.

Take a guided tour around ancient Rome with expert Professor Matthew Nicholls, using his detailed and award-winning 3D digital model of the city. Explore Rome’s architecture and how it was used - how did Romans worship their gods and meet their political masters? How was drinking water supplied to the city’s million inhabitants? Moving seamlessly between footage of contemporary Rome and the digital model (including interactive elements), you’ll explore these questions and much more.

Use this insight to inform your own encounters with the eternal city and the study of ancient history more generally.

/end of extract

[forgottenlectures]

did some research on roman history and found some interesting facts on goths raiding rome... and we know, the internet is always correct so...

[ancientcharm]

3D reconstruction of the palaestra in Baths of emperor Caracalla.

Made by Rome in 3D

These are some screenshots ( large images) that I took from the original 360 panorama image by 'Rome in 3D'

The work by Rome in 3D team received recognition from scientists in the field of 3D reconstruction, archaeology and topography of Rome.

[cybergirl16]

Art

#digitalart #art #artportfolio #digitalartisiit #digitalpainting #girl #feminine #3D #3Datt

[historical-kitten]

We definitely would have been @creative-chaos-apparently! I actually made a few sarcophagi myself!

And you'd think I'd outgrow it buuut I've definitely 3D printed busts of Cleopatra, King Tut, Julius Caesar, Mark Antony, and Octavian. As well as a lithophane I quite like of Cleo I found on Thingiverse.

I did it in all white so it acts like a lithophane. Also added a hole in Tinkercad. Here it is on my window.

I did not create the original design, it was made by yb__magiic on Thingiverse. Here is the link:

So as a little kid I had a FURIOUS Egyptology phase. Not exactly the gods or anything— no I was obsessed with pyramids and mummification and all that jazz. Like I tried to steal that huge Egyptology book from the school library. It was bad.

In my art classes we had air dry crayola clay were asked to make something historical out of it. I made a shitload of little sarcophagi. Like a ton, including little ones for animals. I just found out TODAY about 13 years later that my mom has one of the cat ones on display in her curio cabinet 😭

This is just one of many weird, weird, things I did in elementary school. I was well recognized by teachers for being “very creative” but “struggling socially and in areas of non-creativity”

@historical-kitten we would’ve been great friends as little kids

[blueiscoool]

Michelangelo’s Masterpieces Are Getting a High-Tech Makeover

An experimental exhibition in Denmark is intended to spark debate about the future use of 3D-printed replicas in museums.

When it comes to critically-acclaimed museum shows, a high premium is usually placed on the uniqueness and rarity of the objects on display. Back in the day, however, copies of an ancient masterpiece would often have to do. This was how the marvels of Greek art made their way to workshops across the Roman empire, in due course influencing the Renaissance masters and Western culture at large. Not only would ideas spread far via reproduction, but otherwise site-specific art could be appreciated in new contexts.

Carrying this spirit into the 21st century, the National Gallery of Denmark (SMK) will present the most comprehensive Michelangelo exhibition since 1875, featuring a groundbreaking blend of 19th-century plaster casts and state-of-the-art 3D-printed replicas. Opening March 29, the show will reassemble scattered masterpieces and showcase works that rarely, if ever, leave their original locations, offering visitors a unique opportunity to experience the Renaissance master’s art.

Plaster cast after Michelangelo Buonarroti, Medici Madonna. Original made ca. 1526–1532, cast in 1897. Photo: SMK – National Gallery of Denmark.

Using technology from Factum Arte in Madrid, the museum will enhance its collection of 19th-century plaster casts of Michelangelo masterpieces, such as the head of David and the Medici Madonna, with newly created 3D-printed replicas. These replicas provide access to works that are otherwise unattainable due to immobility or location. For instance, Michelangelo’s depictions of Saints Peter, Augustine, Paul, and Gregory are fixed elements of the Piccolomini Altarpiece in Siena, Italy installed so high that they cannot be easily viewed up close. Other works, like Cupid, are in high demand and geographically restricted, currently on loan to the Metropolitan Museum of Art in New York from France until 2029.

The show’s curator, Matthias Wivel, said he is not concerned that the use of replicas might be off-putting to audiences. “We will achieve a beautiful exhibition with them that will be compelling to the public,” he said. “The appreciation and study of art has always relied heavily on reproductions. Without them both would be much more limited. Used responsibly, there is huge potential and value in using reproductions.”

He conceded that the show is an experiment, and he will measure its success on its ability to “stimulate debate and prompt refinement or rejection, and innovation.”

Perhaps the strongest argument for the use of reproductions is greater freedom to build art historical narratives unbounded by practical limitations. For example, the show in Denmark will bring together several pieces originally produced for the tomb of Julius II that have since scattered across different locations. These include the Boboli Prisoners at the Accademia and Genius of Victory at the Palazzo Vecchio, both in Florence, and Rachel and Leah at San Pietro in Vincoli, Rome.

Plaster cast after Michelangelo Buonarroti, Day. Original ca. 1524-26, cast 1897. The Royal Cast Collection, SMK – National Gallery of Denmark Photo: SMK.

Factum Arte have also been able to reconstruct Infant John the Baptist from Ubedà, which was smashed during the Spanish Civil War. Though the statue has been restored, it still bears the scars of its destruction; the new 3D model was made by referencing archival photographs of the work from before the restoration. Wivel hopes it will “convey some of the wonder of the original.”

The exhibition will also reveal how much reproduction technologies have evolved over the centuries. According to Wivel, Factum Arte’s facsimiles made using digital techniques are accurate down to the micron level, resulting in pieces of “much higher fidelity than the plasters, in that they reproduce the color, surface, and detailing such as veining, of the marble.”

He also noted that digital facsimiles like those made by Factum Arte provide highly detailed records of artworks that may be valuable to researchers and restorers for centuries to come. Wivel noted that traveling as part of exhibition loans can cause significant physical strain on fragile objects as well. In other contexts, high-tech replicas have also played an important role in facilitating repatriation agreements, allowing museums to keep a copy of an object that they decide to return.

Together, these reproductions, both old and new, will enable the most comprehensive monographic exhibition dedicated to Michelangelo since 1875, when the 400th anniversary of his birth was celebrated in Florence. Running through August 31, the exhibition will also include a selection of Michelangelo’s original drawings, correspondence, models in wax and clay, and several bronzes made after models that are now lost.

Plaster cast after Michelangelo Buonarroti, Head of David. Original made in 1501-1503, cast in 1890. Photo: SMK – National Gallery of Denmark.

By Jo Lawson-Tancred.