St. Anthony's day

June, in Padua, is the "mese antoniano" (The month dedicated to St. Anthony) and the day 13 June is the day in which the Saint was born and that the Catholic Church chosed to celebrate him.

Exactly around this period, a couple of years ago (10 June 2014), we presented in Padua the Forensic Facial Reconstruction of the Saint [1], which was performed during the preparation of the open source exhibition "Facce. I molti volti della storia umana" ("Faces. The many aspects of human history") [2].

Today, with a big delay (sorry, too few time...) I'll go on sharing, with open source licenses, the material we produced for the exhibition and, considering the recurrence (13 June), I'll upload some media regarding the Forensic Facial Reconstruction (FFR) of St. Anthony.

First of all, here is the image of the final model, which is already available on Wikimedia Commons. 

FFR of St. Anthony (final model)

The credit for this image are (in order of work-flow): Luca Bezzi (Arc-Team) and Nicola Carrara (Museum of Anthropology of the University of Padua) for the 3D scanning of the cranial cast of the Saint; Cicero Moraes (Arc-Team) for the main work of digital Forensic Facial Reconstruction; Padre Luciano Bertazzo (Center for St. Anthoni Studies) for the historical validation of the final model. Moreover the project relies on on the previous work of the artist Roberto Cremesini, who produced in 1985 the bronze cast of the skull and the jaw of St. Anthony, used for the digital reconstruction (2014) and on the research directed by Prof. Vito Teribile Wiel Marin, who directed the anthropological study of the skeletal remains in 1981 (with particular attention to the work of Prof. Gino Fornaciari, Francesco Mallegni and Giorgio Ragagnini).

Then I report here the complete presentation we did during the "Giugno Antoniano", as until now in ATOR we just published the second half of the slides (by Cicero Moraes) and never the first one (regarding the digital scanning of the bronze cast done by Roberto Cremesini).

Here below is the presentation, which can be view interactively directly online:

 

Since for some people (due to the default browser) there could be some minor visualization erros, I also recorded a vdeo and uploaded it on our YouTube channel:

Have a nice day!

PS

Since the overall presentation is pretty long, I upload separately here the 3 videos embedded in the slides:

1) The FFR of Alberto da Trento

2) The Forensic Facial Reconstruction process

3) The Forensic Facial Reconstruction of St. Anthony

[1]

ATOR: 1, 2, 3

[2]

AOTR: 1, 2, 3, 4, 5, 6, 7

Bibliography

[1] 

Il Volto del Santo. La ricostruzione facciale forense di Sant'Antonio di Padova (ResearchGate, Academia)

[2] 

“FACCE. I molti volti della storia umana”: progettare una mostra Open Source basata sulla Computer Vision (ResearchGate, Academia); 

"Facce. I molti volti della storia umana" Una mostra Open Source (ResearchGate, Academia);

"Facce. I molti volti della storia umana". Una mostra che racconta (ResearchGate, Academia)

Arcaheological Forensic Facial Reconstruction with FLOSS

Last week the CAA conference 2015 (Computer Applications and Quantitative Methods in Archaeology) took place in Siena (Italy). It has been a good occasion to meet old friends, share opinions and speak with colleagues from all over the world.

This year Arc-Team participated with three oral presentations and a poster and, of course, we will share these contributions with free licenses (CC-BY) also in ATOR.
Today I upload the poster, which is self-explanatory, thanks to the text added to summarize our experience with Archaeological Forensic Facial Reconstruction (FFR). If you are a regular reader of ATOR, there will be few news for you about our work, but you will find some extra contents which we had not yet time to share through our blog (e.g. a gallery of some of the reconstructions for the open source exhibition "Facce. I molti volti della storia umana"; the video of the FFR of St. Anthony, presented during the "Giugno Antoniano", or the Mocap experiment with Franceso Petrarca).

Here is the poster, I hope you will find it useful:

Poster at CAA 2015 (Siena - Italy)

Have a nice day!

The horizons of the exhibit “FACES”: anthropological context and applications in medicine

The exhibition FACES. The Many Visages of Human History is, in its own way, a landmark of the work that Arc Team, the Museum of Anthropology at the University of Padua and Antrocom NPO are making together.

The reconstructions of the faces of hominins; of St. Anthony and of  the Blessed Luca Belludi; of Francesco Petrarca and of Giambattista Morgagni, are the evidence of a research that lasted for months and that continues nowadays; a research intended to be expanded to other areas of interest.

In fact, the exhibition offers to the visitors the opportunity to reflect on concepts meaningful to anthropology as diversity, self-perception and identity from the point of view both historical and  contemporary, but it is also a mirror of a continuous testing of technologies that open new perspectives in different areas of anthropological research.

Staying in the wake of the topics of the exhibition, there is no doubt that the perception of the self and diversity are important parameters in the assessments of medical anthropology, especially if the feedback on them are carried out in the light of the implementation of new technologies and 3D printing, in particular applied in medicine.

For example, the prostheses that can be constructed, even printed, in a relatively short time and custom-made for the patient. We have a lot of examples from this point of view:  the mandible custom-made for a 83 years old woman or the cranium completely replaced in a 22 years old Dutch patient; or the realization of live organs, such as liver, tracheal cartilage and ear directly using living cells.

More, forensic reconstruction is a valuable tool in reconstructive surgery: examples of implementation, in this context, are the reconstruction of the face of Albert of Trento via open source software, or of the face of a child mummy preserved at the Saint Louis Art Museum.

I shall focus in particular on an implementation made by Cicero Moraes in order to treat the developmental dysplasia of the hip (DDH), a neonatal congenital malformation and treatable using Pavlik harness or making a particular plaster cast (hip spica cast). There may be, in severe cases, even a type of orthopedic surgery.

This treatment involves a continuous monitoring of the patient because of its complications: pain, increased temperature, lesions of the skin. Moraes, together with researchers Munhoz, Kunkel and Tanaka, has implemented an alternative method to the common orthosis consisting in a photogrammetric scanning of the hip in order to replicate the perfect geometry of the anatomical part, with reduction of costs and time and avoiding complications to the patient.

The aims of our research are gradually expanding and we know that we have to do still a lot of work. It's a good thing, however, that we stopped for a moment to take stock of the situation and to recognize that we are helping to improve the state of affairs. Not only in archeology and anthropology, but also in other fields thanks to the scope of what we are doing. A result achieved thanks to motivated individuals who, despite residing in geographic areas far apart, have joined efforts to reach a common goal by sharing data and projects.

Forensic Facial Reconstruction, the state of the art

As many of you know last week a team of the University of Leicester have publicly revealed to have discovered, in all likelihood, the tomb of Richard III. The results seem comforted by the analysis of mitochondrial DNA, while the discrepancy on the Y chromosome could be explained by a false paternity. The study was completed with a forensic facial reconstruction of the king, performed by the experts of the University of Dundee, led by Caroline Wilkinson, Professor of Craniofacial Identification.

Given the opportunity, I decided to publish here our state of the art on this particular field (forensic facial reconstruction applied to archeology), publishing the presentation that I gave during the study day in honor of Prof. Franco Ugo Rollo (Ascoli Piceno, November 26 2014).

You can see the presentation here below (better visualized at this link)...
 

... and here is a brief explanation of each slide:

SLIDE 1

A remember of Franco Ugo Rollo, professor at the Camerino University. It was not my fortune to know personally Prof. Rollo, but his name is surely well known also in my discipline (archeology).

SLIDE 2

"Digital faces: new technologies for the forensic facial reconstruction of the historical figures".
The presentation intend to be an overview of the digital methodologies of FFR with FLOSS, developed in the last two years on the blog ATOR with a spontaneous contribution of different authors.

SLIDE 3

The traditional work-flow involves several operations: 3D scanning the skull, preparing a replica, performing the anthropological analyses, placing the tissue depth markers, reconstructing the profile, modeling the muscles and skin, calibrating the model with the available sources and dressing it.

SLIDE 4

The same operations are necessary for the digital work-flow. Our main work has been to turn the traditional process into a digital one, using only FLOSS.

SLIDE 5

There are different technology to obtain a 3D digital copy of the original skull. The main two we are using are: SfM - IBM and X-ray CT.

SLIDE 6

IN 2009 Arc-Team perform the first test in applying SfM - IBM with FLOSS to Cultural Heritage, during its participation at the TOPOI excelent cluster of Berlin.

SLIDE 7

The test developed in a collaboration with the French researcher +Pierre Moulon (Université Paris - Est and Mikros Image; actually at Acute3D) to integrate SfM - IBM software in ArcheOS 4 (codename Caersar)

SLIDE 8

The first test (TOPOI Löwe) gave positive results

SLIDE 9

The process is mainly based on different photos with different orientations, computing the displacement of common points between images

SLIDE 10

To complete the 3D documentation of an object, the next step is the so-called mesh-editing, which can be performed in the software MeshLab (developed by the Visual Computing Lab at the ISTI - CNR of Pisa, Italy)

SLIDE 11

In order to validate the digital method of FFR, some unconventional procedures (derived from the hacker culture) have been adopted. With reverse engineering techniques, based on SfM, it has been possible to digitally replicate the process of past FFR projects and to compare the results.

SLIDE 12

The anthropological validation has been performed comparing the result of 3D models obtained with SfM - IBM and the relative results coming form 3D scan (the observed distortion remained in the range of 1 mm).

SLIDE 13

In several projects it is possible to work with DICOM data. In these cases the anthropological analysis is more accurate. (3D VS Voxel)

SLIDE 14

The main software we used for DICOM data is InVesalius, mainly developed at the Renato Archer Information of Technology Center, an institute of the Brazilian Ministry of Science and Technology.

SLIDE 15

"X-ray computed tomography (X-ray CT) is a technology that uses computer-processed X-rays to produce tomographic images (virtual 'slices') of specific areas of the scanned object, allowing the user to see inside without cutting." (Wikipedia)

SLIDE 16

Also in this case, the process was validated with unconventional procedures derived from hacker culture. With reverse engineering of CT videos it has been possible to rebuild DICOM data and the 3D model of different skulls, replicating FFR projects and comparing the results.

SLIDE 17

It is necessary to check and validate the protocol with a continuous methodological comparisonwith all the available resources. For this reason, we tried also the FFR of Henry the IV, a project in which Prof. Rollo was involved, rejecting (with other scholars) the attribution of the mummified head to the French king. Our test in this case is just an experiment, starting from low quality data, but it is a good example to show some benefits of digital FFR, like the possibility to quickly modify the reconstructed face (e.g. closing the mouth in order to perform superimposition with the death mask), an operation not so simple with tangible models.

SLIDE 18

Once obtained the 3D model, digital anthropological analyses do not differ from traditional ones.

SLIDE 19

In some cases, a virtual restoration of the model is necessary. The solution comes from symmetrical and boolean operations of 3D modeling software (Blender).

SLIDE 20

The whole process of 3D modeling is actually performed in the software Blender.

SLIDE 21

The first operation is to fix the 3D skull on the Frankfurt plane, which replicates the head position of a standing human figure.

SLIDE 22

Than tissue depth markers are placed. The software keeps automatically the correct normal of each marker.

SLIDE 23

In our works, for depth tissue markers, we use the tables of Degreef et alii (2006)

SLIDE 24

A second step is the profile reconstruction.

SLIDE 25

For nose shape we refer to G. Lebedinskaya method.

SLIDE 26

The validation of the method came mainly from the comparison between FFR models and the facial DICOM data of living people, a simple simple with digital techniques, using the software CloudCompaer. All this experiment were conducted ans blind test (the artist did not know the identity and the fisionomy of the people).

SLIDE 27

According to the blind test, main deviations were detected on the cheeks.

SLIDE 28

Like other 3D operations, muscles modeling has been performed in Blender.

SLIDE 29

The technique hes been continuously rationalized and optimize. For instance, once the main muscles are modeled with metaballs in Blender, the result can be reused in successive reconstructions through an anatomical deformation.

SLIDE 30

It is possible to reach more realistic results through specific modeling tools,
like the "sculpt mode" in Blender.

SLIDE 31

Also skin modeling is an operation to be performed in Blender

SLIDE 32

Again the technique has been optimized: In order to simplify and speed up the process, a neutral facial model has been  created.

SLIDE 33

The neutral model can be anatomically deformed on different skulls to meet gender and age dimorphism.

SLIDE 34

At the same time, the neutral model can be deformed to meet the anatomical criteria which determine the individual dimorphism.

SLIDE 35

After the reconstruction process, two main models are defined:  one with hair and one hairless.

SLIDE 36

Thanks to the latest developments of the software MakeHuman it is now possible to further simplify and speed up the technique. Our actual research is following this direction.

SLIDE 37

The first tests carried out in 2014 have yielded positive results, thanks to the new feature which loads base raster images. The software is also perfectly compatible with Blender.

SLIDE 38

A further development of the protocol will allow to obtain high quality forensic facial reconstructions, in less time, without the need to master the techniques of 3D modeling.

SLIDE 39

At the end of the FFR process, the final model is calibrated with historical, archaeological and medical sources.

SLIDE 40

In case of historical reconstructions, the model appearance (hairstyle and clothing) is calibrated depending on era and culture, while the physical characteristics (color of hair and eyes) are set basing on the ancestry.

SLIDE 41

The 3D printing technologies allow the materialization of the model with different levels of detail.

SLIDE 42

A case study: the forensic facial reconstruction of St. Anthony of Padua 

SLIDE 43

The 3D scan was carried out on the bronze cast performed by R. Cremesini in 1981.

SLIDE 44

The cast done by R. Cremesini is very important, because it derives from the temporary anatomical reconnection of the skull and the jaw, which were separated since the first survey of the tomb (1263). 

SLIDE 45 

3D scan has been performed with the SfM - IBM software of the archaeological GNU/Linux distribution ArcheOS.

SLIDE 46

The final model has been presented Tuesday, June 10 at the event "Scoprendo il volto di Antonio" at the Centro Culturale S. Gaetano in PAdua (Italy)  

SLIDE 47 - 50

Digital FFR allows to further define the details of the model to reach a more realistic result.

SLIDE 51

Thanks to the collaboration with the Centro de Tecnologia da Informação Renato Archer - CTI (Ministério da Ciência and Technology do Brasil) the model was printed in 3D.

SLIDE 52

One of the materialized models was repainted by the Brazilian Mari Bueno,
specialized in religious art.

SLIDE 53

Thank you for your attention!


 

Anthropology of religion:a forensic reconstruction. The face of St. Anthony of Padua

"(...) There are mystically in our faces certain characters which carry in them the motto of our souls (...)" 

Sir Thomas Browne

On August 31, 2014 in Brusciano took place the annual "Festa dei Gigli" (lilies party). The protagonist of this celebration, even though we are in Campania, is St. Anthony of Padua. The devotion to this Saint is so strong in the town that the party in his honor is felt by people as more important than the country's patron saint, San Sebastian.

This year's celebration, however, was characterized by an important novelty: one of "Gigli" (Italian for lilies) dedicated to the saint, the "Giglio" of Passo Veloce, led at its peak the effigy of St. Anthony of Padua with its true face.

The "Gigli" are constructions made ​​of poplar, fir and chestnut, in the shape of an obelisk, up to 25 meters and weighing till 50 tons, assembled with nails and rope and decorated with religious scenes. 

The forensic reconstruction of the face of the saint was a team work that has involved, among other institutions, the Museum of Anthropology of the University of Padova (Dr. Nicola Carrara), Arc-Team (Cicero Moraes and Luca Bezzi), the Centro Studi Antoniani (Father Luciano Bertazzo) and Antrocom Onlus (Dr. Moreno Tiziani) and was  presented in Padua during the Antonian June 2014.  

The choice of the devotees of Brusciano is an opportunity of interesting considerations from the point of view of anthropology of religion, which gives us an overview of the relationship that believers have with Italian patron saints. 

The cult of the saints is in fact one of the strongest aspects of religiosity in Italy, being a powerful medium of identity. The Saints are not only representing themselves and their figures are not limited to a religious or hagiographical matter: each saint is primarily a sample of the community which he represents; he is a civic emblem that embodies the character of the city in which he is revered, of the community or the group who elected him as a patron saint and turned him into a "supernatural logo", as well summarized by the anthropologist Marino Niola. He is  a sort of totem, which can inform us about the origin of customs, symbols, characters, and rules of conduct, involving the unique relationship that the saint has with that particular community in that particular area.

It is no coincidence that the day dedicated to the local saint is a festivity day. One day that departs from the others through a series of behaviors which are different from those in use in everyday life: eating differently, dressing differently, following different rhythms given by the holiday.

We have also to consider that, according to popular physiognomy,  there is a correlation between physical features (especially facial), and character traits. The face of St. Anthony, given by the forensic reconstruction of Cicero Moraes, validates the folk imagery of the devotees. In this way the day dedicated to St. Anthony of Padua becomes a ritual representation of the city's tradition, a sacralization of the urban space and an opportunity to rewrite the "identity maps", to rebuild the community in the name of the saint.
Here is how to explain the choice of the believers to use the true face of the saint: the symbolic efficiency of the saint is reinforced by his real look, which embraces the whole community gathered in celebration.

In the video below it is possible to see the "Giglio Passo Veloce" with the statue of St. Athony on his peak (Standard YouTube License by Alessio Italo Jr. d'Alise).

In this image you can see the statue of the saint, done by the sculptor Giacomo D'Alterio and painted by the painter Ilaria Auriemma for the Giglio Passo Veloce of the maker Gerardo Di Palma (photo by Antonio Castaldo).

And here is a panoramic image of the "giglio", done by +Cícero Moraes withe the frame of the video.

Il Volto del Santo (the Face of the Saint)

As part of the celebrations of the "mese antoniano" (the month that the city of Padua dedicates to S. Anthony), on 10 June will be held an evening focused on the historical figure of Fernando Martins de Bulhões (S. Anthony). 

The event will take place in Padua at the auditorium of the Cultural Center Altinate / S. Gaetano and will point the attention to the presentation of the forensic facial reconstruction of the Saint.  
The conference will begin at 20:45.

The "Giugno Antoniano 2014" logo

The invited speakers are:

 +Luca Bezzi, archaeologist at Arc- Team Ltd., was involved in the three-dimensional documentation of the mortal remains of the Saint (the starting point for the facial reconstruction).

 +Cícero Moraes , digital artist at Arc- Team Ltd., has performed the forensic reconstruction, using the most modern protocols.

Father Luciano Bertazzo, director of the Centro Studi Antoniani, one of the leading experts in the figure of the Saint. 

Nicola Carrara, curator of the Museum of Anthropology at the University of Padua and creator of the exhibition "Faces. The many aspects of human history", the event that led to the forensic facial reconstruction of St. Anthony.

During the evening will be shown the 3D documentation techniques applied to skeletal remains, the forensic reconstruction protocols, the relationship between the classical iconography and physiognomy returned by modern technologies and, finally , will be given a preview of the exhibition "Faces. The many aspects of human history, " which will take place in October 2014 (visit the FaceBoook page!).

 

The poster of the event

Here is possible to download the leaflet of the "Giungno Antoniano 2014". The entrance is free, we wait you there!

2016-04-28 Updated

For who is interested, we wrote an article (in Italian) about the Forensic Facial reconstruction of St. Anthony:

"Il volto del Santo. La ricostruzione facciale forense di S. Antonio da Padova" (here in ResearchGate and here in Academia)