Luca Carini  0:10  
Yes we can. Great. Hello, I'm Luca Carini from the Victoria and Albert Museum, London. I'm going to talk about how we've been using IIIF to make most of our new images of the Raphael cartoons. The Raphael cartoons on display at the V&A have just undergone an extensive new digitization project. There are seven cartoons in total. And you can see there with a conservative scale, just how large they are. And this poses a real technical challenge when it comes to digitizing them. And it also means they've always been very difficult to fully appreciate in person

The digitisation work was part of a major restoration project to mark the 500th anniversary of the Renaissance masterpieces. And after their remarkable history of survival so far, we owe it to them, and the public, to ensure that all the imagery and associated data for the cartoons now be catalogued as structured data for posterity, and onward, collaborative research. And as part of the gallery refresh, new high resolution scans obtained for each of the seven cartoons in color, infrared, and a 3D surface scan of each, a new interpretive approach was designed for people to access the cartoons, both in gallery and online as never before. So, in the same year that flash finally died on the web, we continued to develop a range of interactive viewers to present all kinds of object image data and to tell the stories of objects like the cartoons or based on IIIF which has digital preservation at its heart. Here you can see a viewer, we'd already been putting to good use on our site for exploring images with annotations linked to areas of special interest or stored as useful structured data in IIIF manifests. Sadly the same can't be said of so much content and data being locked in and flash microsites all over the internet, including a whole host of our own. That won't be the case for this and, as you will see, the same data, underlying data, can be useful, will be used across multiple viewers. We've been gradually developing our IIIF in infrastructure, the V&A to improve our image data workflow, generally. We've also been developing a host of specialized IIIF viewers to add narrative deeper interaction to the presentation and study of object imagery. Here you can see our layer stack viewer, used for overlaying image variants in a stack  so the differences between images can be examined incrementally in fine detail. This particular viewer proved useful right from the initial phase of the digitization project, when multiple teams in the museum and outside were trialing experimental imaging and scanning techniques and their outputs. Besides comparing the quality and resolution of all the enormous master files, this view was especially helpful in checking the alignment of the different scans. You can see here, the three layers stacked on top of each other, are infrared, visible, visible light, and then the surface gap. And in the demo there I'm just blending between the visible light image, and the surface scan, or rather, with a 2D projection of Surface Scan. And you can see the quality there. And it aligns pretty well. And when you've got a blend of the Surface Scan and the visible, like you have somewhere around here. It really approximates closely to something like the experience of  standing with your nose up against the real, real cartoons. Another viewer we've developed similar to layer stack, but based on the curtain sink, openSeadragon plugin provides an alternative way to compare the various scans, this time by more of a contrasting action. Both the scientific grade viewers for examining all the results in the imaging project at the deepest level, researchers could make new discoveries using them on casual visitors can intuitively explore the works up close, and everyone has the opportunity to view to view the cartoons in better detail than

even that curators have had or asked. See here. There I had just turned off the surface view gone back to full color. Now, honing in on the detail and switching on the infrared. I hope you can see some underdrawing, which shows up in the infrared. It was Raphael's cross hatching for the shading now on the word, there's evidence of underdrawing, Apparently, around the forehead area there. Switching the surface back on so that all three layers are visible at once. You can see the outline of the figure, which is traced, or I haven't mentioned so the outlines of the details were traced on to. On to the weaver's loom in order to produce the final works, which were the tapestries. Now, up close you can see a watermark that we discovered. Well, one of us discovered. This is plain in the 3D view. Once you know its there you can see, hints of it in each of the others. Let's see, back to seeing the whole canvas. the texture really comes out in that surface scan. And I think, here you see up close some of those pin holes that I mentioned, where details were outlined, this was, this was a crucial part of the process for transferring the, the design of these cartoons

towards making the final tapestries that they were commissioned for. Everything I've shown so far you can explore on the V&A website. But the crucial point about these viewers is that they are all IIIF compliant. That means the image data they present can equally be viewed in any of the other IIIF viewers  that are already in use, amongst researchers such as Mirador, here you can see our same manifest of the cartoons loaded into the Mirador viewer,

I'll demonstrate, where you can see already the separate layers are still available for each cartoon. I've just left the miraculous. Which ones... I've left one of our cartoons up 'Christ Charg to St Peter. And I've pulled in another manifest of works by Raphael directly from the National Gallery's collection, which very made made easy by IIIF. And you can see the sort of thing that a researcher might do with their own workspace, pulling in related works from different collections. And as a similar demonstration but back in our layer stack viewer, I've brought in two print, both relating to one of the cartoons. This one is the Miraculous Draft of Fishes. One is an albumin print, a type of early photograph, made in 1860, belonging to the Getty Museum, made readily available from their collection via IIIF. The, the other which you can see now is an even earlier type of print, called Baxterotypes from our own collections. So those three layers stacked on top of each other after doing some simple work just to align them. And it's surprising how good the alignment is given the vast differences between each of the techniques involved, nevermind the span of time between their production, and the sheer scale of cartoons themselves, it's quite remarkable. So now these new scans of cartoons will be easily accessible for further research, including comparison against renditions from other collections, as I'm showing a particular interest so it will be the new opportunity to marry the cartoons back up with the tapestries that they were originally commissioned to produce. And it's so it's very exciting to see that the Vatican Museum,  that own the tapestries, you can see one of them. And again the Miraculous Draft of Fishes. They, the Vatican Museum who have just recently launched their new collections site with IIIF support, which you can see there, that was a IIIF logo. So that means we're, we've got access. Anyone will have access now to putting them together. Watch this space as IIIF makes it possible to bring the cartoons and their tapestries together. Once again and closer virtually than they have been in centuries.

I can't wait to have a play with that. But that's all from me, the V&A does unfortunately remain closed at the moment, you can explore the cartoons in all their glory on the V&A website. And there's another link, which get dropped into the chat, in case you're interested in the source code, the open source code, between some of our viewers, which, which hopefully you can use. That's it from me.