Michelangelo carved his Florentine Pieta, the second of three Pieta statues, from a single block of marble while in his 70s. The piece includes posed figures of Christ in the arms of the Virgin Mary, Nicodemus (properly Joseph of Arimathea) looking on, and Christ touching Mary Magdelene. The statue was thought to be for the artist's tomb. Two years after he had stopped working on the unfinished piece, Michelangelo attacked the statue with a sledgehammer. Only the interruption of a servant prevented its complete destruction. The servant disposed of the statute. Subsequently, a second artist repaired some of the damage and completed some unfinished sections. What portions represent the original work, the restoration, and new work by the second artist? What parts were obscured by the subsequent sculptor, and which were reworked? Renowned art historian Jack Wasserman hopes to settle 400 years of debate and raise new issues-by bringing together contemporary scholars and technologies to literally view the work in a completely new way. In 1997, he enlisted researchers at IBM's Thomas J. Watson Research Center to create a high-resolution virtual model of the sculpture. The team planned to use new technologies in 3D digital photography, database management, compression, and detail visualization to enable examination and analysis of the source work in ways not possible or permitted using the original sculpture.
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机译：米开朗基罗在70年代时用一块大理石雕刻了他的佛罗伦萨圣母怜子图，这是圣母怜子图的三个雕像中的第二个。作品包括摆在圣母玛利亚怀抱中的基督摆姿势，望着尼哥底母（Nicodemus，正确的Arimathea的约瑟夫），以及基督触摸玛丽·马格达琳。该雕像被认为是为艺术家的墓葬。在他停止为未完成的作品工作两年后，米开朗基罗用大锤袭击了这座雕像。只有仆人的打扰才阻止了它的彻底破坏。仆人解除了规约。随后，第二位画家修复了部分损坏，并完成了一些未完成的部分。哪些部分代表第二位艺术家的原始作品，修复作品和新作品？后来的雕刻家遮掩了哪些部分，并对哪些部分进行了重新加工？著名的艺术史学家杰克·瓦瑟曼（Jack Wasserman）希望通过汇集当代学者和技术，以全新的方式从字面上看待作品，来解决400年的辩论并提出新的问题。 1997年，他邀请IBM的Thomas J. Watson研究中心的研究人员创建了雕塑的高分辨率虚拟模型。该团队计划在3D数码摄影，数据库管理，压缩和细节可视化中使用新技术，从而以原始雕塑不可能或不允许的方式对原始作品进行检查和分析。
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