The San Clemente Abbey, in the province of Pescara, is home to an extraordinary crucifix dating from the mid-fifteenth century, the work being examined work commissioned by the parish priest of Pescosansonesco.
Francesco Caruso 2.0 is the artisan of wood called to do the work of reproduction antique crucifix. Thanks to woodworking technology and experience of the work, Francesco Caruso studied carefully the different phases of implementation.
Initially, after obtaining authorization from the Superintendency Unica Archaeology, Fine Arts and Landscape it has been scanned the Christ through the 3D scanner. Obtained point cloud, the scans are aligned (Photo 3) in order to have a three-dimensional CAD design faithful to the original model.
At this point, the software processes the point clouds and generates complex triangular surfaces calls mesh. To all this it was followed by the modeling and reconstruction following the appearance of visible signs of aging: in the original fact of the missing parts. Everything following the anatomy of the body and by referring to the history of sculpture in 1400.
At the same time we studied the location of the work of the Sanctuary of the Blessed Nunzio Sulprizio Pescosansonesco: the crucifix would be placed inside the opening behind? Altar that reveals the rock face.
The project developed the Christ is imported into CAD-CAM software. This program allows the creation of listings for the CNC machines that make possible the realization of pieces considerably more complex than programming carried on board the machine with ISO code. Regarding the Christ has been performed a roughing and a finishing of the front and back. The material had been prepared previously through a system of linear sections on the 3D CAD model in order to have exactly the right size and the amount of wood to be worked. The wood used is beech Paul Maier. A CNC finished, the work was transferred to the workshop of a master painter who was involved in the decorative painting. After a careful study of painting and sculpture of 1400, the master gave the work a natural skin tone.
The work, now almost ready, was completed with the crown of thorns in wrought iron handmade. The last phase carried out was that of fixing the Cross of Christ and the installation of the work in the sanctuary with the support and collaboration of faithful volunteers.

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