We’re excited to present two newly digitised 3D models of the bust of Emperor Charles VI, offering a rare opportunity to explore both the finished marble sculpture and its terracotta counterpart side by side.
How We Scanned It
Behind the 3D models of Emperor Charles VI lies a carefully planned digitisation process tailored to the material, condition, and level of detail of each sculpture. Our goal was not only to create visually engaging models, but also to produce accurate digital records suitable for research, conservation, and public presentation.
Marble Bust of Emperor Charles VI - City Museum of Ljubljana
The marble bust, carved in 1728 by Francesco Robba, required a high-resolution workflow to capture both the overall form and the fine surface details typical of Baroque sculpture.
We used a combination of Artec Leo and Artec Spider scanners. Artec Leo enabled fast, wireless scanning of the full sculpture, while Artec Spider was employed for areas requiring higher precision, such as facial features, armour details, and the Order of the Golden Fleece. To further enhance surface accuracy and texture quality, the scan data was complemented with photogrammetry using a Canon EOS R5 Mark II camera.
This hybrid approach ensured that subtle chisel marks, material transitions, and ornamental details were faithfully recorded in the final 3D model.
Terracotta Bust of Emperor Charles VI - National Gallery of Slovenia
The terracotta bust, also dated to 1728 and likely created as a preparatory model for the marble version, presented different challenges. The sculpture is fragmented and more fragile, requiring a non-invasive and efficient scanning method.
For this reason, the bust was digitised using Artec Leo alone. Its contactless scanning and real-time feedback allowed us to safely capture the geometry of each surviving fragment, while preserving delicate features such as the drapery folds, armour elements, and the insignia of the Order of the Golden Fleece.
From Physical Object to Digital Model
After scanning, the datasets were processed to align, clean, and optimise the geometry, resulting in precise and accessible 3D models. These digital surrogates allow users to examine the sculptures from angles that are not possible in a museum display and to directly compare the terracotta model with the finished marble work.
The final results are interactive 3D models, viewable online and in augmented reality, offering a new way to experience and study Francesco Robba’s portrait of Emperor Charles VI.
Explore both models here!