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DigiCULT
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Info
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digitised to include
two pages per digital
shot, although all of
the larger volumes
have only one shot
per page.Two of
Cinquecentine's
books (Vita di Giesu
Christo Nostro
Redentore scritta da
Landolfo di Sassonia
dell'ordine certosino
(printed in Venice, 1570) and Del trattato della
grandezza della Terra, e dell' acqua, di M.
Alessandro Piccolomini, a Monsignor di Corf
(printed in Venice, 1558)) will shortly inte-
grate each page as a full-text version hidden
behind the digitised page, which will allow a
full-text search.These images show the front
covers of the Cinquecentine texts which
will have full electronic text attached.
A
s already mentioned, the Pro
Civitate Museum (the
Osservatorio) includes a section for
audio records.The collection was begun in
the early 1940s and since then it has develo-
ped according to the main goal of the foun-
der of the Pro Civitate Christiana, i.e. to
create a modern Abbey open to all arts and
to all religions.The TECA project ensured
that an updated online catalogue was created
(which will be available shortly at the pro-
ject portal:
F
or each of the selected types, the
number of shots had been previously
defined (see table). For items compri-
sing several different parts (e.g.Via Crucis) it
was decided to take a general view shot and a
supplementary image for each component. In
a few selected cases it was also decided to
include a specific shot of certain details.
Type of item
Number of shots
Painting
1
Sculpture
6 (every 60)
Bas-relief
3 (0, +45, -45)
Ancient engraving 1
Medal
2 (recto and verso)
Shot(s) per type of item
Almost all paintings were digitised without
the frame, with the exception of artworks
where the frames were selected by artists
themselves (for example, De Chirico's
masterpiece) or where removing the frame
could have compromised the integrity of the
painting. Quality was specifically tested to
ensure the high standard of these digital
objects. Due to the very high resolution of
the scanning process, a supplementary check
was introduced in addition to the standard
quality checks. Each image was enlarged on
the Barco monitor as much as possible to
check whether dust or small liquid drops
were recorded during the digitisation process.
Viewed at very high enlargements, these
impurities can be detected as they split light
into the three basic colours.
Subsequent to the digitisation process, the
digital archive contains three sections:
the high-resolution section holds 3300
uncompressed digital objects in TIFF
format;
the medium-resolution section holds the
same number of digital objects but they
have been compressed by approximately
90% and are stored in PNG format;
the low-resolution (thumbnail) section
stores all 3300 digital images in JPEG
format which are compressed by 80%
more than the PNG files.
T
he storage environment for these
digital objects is provided by an
Oracle DBMS. A specific naming
system was set up to make access to each
digital object unambiguous. From the file
name it is possible to find out the following
information directly: the catalogue number of
the work, the resolution, the angle of view,
whether this is the general view or a smaller
part of the work. Each work is assigned a
cataloguing record (according to national
standards).
T
hanks to an agreement with the
Umbria Region Library System
(URLS), it was possible to integra-
te catalogue records for around half of the
library's collection (nearly 35,000 records).
The library is quite specialised, with over
three quarters of its books on Fine Art, the
Bible, Liturgy, Literature and Philosophy.
The library catalogue is available via OPAC
on the URLS. As previous-
ly mentioned, some of the
material selected for digiti-
sation was a small set of
seventeen early printed
books (Cinquecentine)
containing around 3400
pages. Every one of these
pages has been digitised
and will be available
through the project portal.
Each page will be water-
marked with the Rea
Compressor software. For
budgetary and size reasons,
fourteen of the books were