2015
Contribution to conference
Closed Access
The use of colour in roman marble sarcophagi
Siotto E.
This study aims to improve the knowledge of polychrome Roman sarcophagi by showing the first observations about the colour palette detected and the painting techniques by combining archaeological research with scientific results. These results are the base to understand the ancient colour and to improve the virtual reconstruction through the use of 3D Computer Graphic.Source: International Conference ASMOSIA XI, pp. 241–242, Split, 18-22/05/2015
Project(s): ARIADNE
Siotto E.
This study aims to improve the knowledge of polychrome Roman sarcophagi by showing the first observations about the colour palette detected and the painting techniques by combining archaeological research with scientific results. These results are the base to understand the ancient colour and to improve the virtual reconstruction through the use of 3D Computer Graphic.Source: International Conference ASMOSIA XI, pp. 241–242, Split, 18-22/05/2015
Project(s): ARIADNE
See at:
repozitorij.svkst.unist.hr 
| CNR ExploRA
2016
Journal article
Closed Access
Musealizzazione di un dipinto pompeiano: la Venere nella Conchiglia
Siotto E.
A careful analysis of some documents preserved in the Historical Archive of the Naples Archaeological Superintendence and the printed Guides of the Museum allows to recreate the museum itinerary of the so-called Venere nella Conchiglia (Venus in the Shell) mural painting from the Herculaneum Museum of Portici to the current location in the Gabinetto Segreto (Secret Cabinet) of the National Archaeological Museum of Naples.Source: Rivista di studi pompeiani (Testo stamp.) XXVI-XXVII (2016): 73–83.
Siotto E.
A careful analysis of some documents preserved in the Historical Archive of the Naples Archaeological Superintendence and the printed Guides of the Museum allows to recreate the museum itinerary of the so-called Venere nella Conchiglia (Venus in the Shell) mural painting from the Herculaneum Museum of Portici to the current location in the Gabinetto Segreto (Secret Cabinet) of the National Archaeological Museum of Naples.Source: Rivista di studi pompeiani (Testo stamp.) XXVI-XXVII (2016): 73–83.
See at:
www.lerma.it | CNR ExploRA
2017
Book
Open Access
La policromia sui sarcofagi Romani. Catalogo e risultati Scientifici (foreword by Guntram Koch)
Siotto E.
La monografia si occupa della policromia sui sarcofagi romani in marmo prodotti a Roma dall'inizio del II secolo alla fine del IV secolo d.C. Essa affronta in modo sistematico le problematiche del colore e della doratura per temi, in modo discorsivo, ma sempre da un punto di vista tecnico e pragmatico, riportando risultati e dati derivanti da osservazioni sul campo, da analisi scientifiche unite a ricerche archivio-bibliografiche mediante l' uso di tecnologie emergenti in supporto all' iter corrente. Per la prima volta, lo studio della policromia è affrontato in modo nuovo e la ricerca si è concentrata esclusivamente su una classe specifica di manufatti archeologici. Questo approccio, naturalmente, non toglie al testo del manoscritto un' ampia e complementare disamina dei materiali studiati sotto il profilo storico-archeologico. In tal modo, la ricerca si configura per la sua transdisciplinarità costituendo, per la materia in oggetto, un prodotto pionieristico, quindi innovativo per contenuti e metodo.Source: Roma: L'Erma di Bretschneider, 2017
Siotto E.
La monografia si occupa della policromia sui sarcofagi romani in marmo prodotti a Roma dall'inizio del II secolo alla fine del IV secolo d.C. Essa affronta in modo sistematico le problematiche del colore e della doratura per temi, in modo discorsivo, ma sempre da un punto di vista tecnico e pragmatico, riportando risultati e dati derivanti da osservazioni sul campo, da analisi scientifiche unite a ricerche archivio-bibliografiche mediante l' uso di tecnologie emergenti in supporto all' iter corrente. Per la prima volta, lo studio della policromia è affrontato in modo nuovo e la ricerca si è concentrata esclusivamente su una classe specifica di manufatti archeologici. Questo approccio, naturalmente, non toglie al testo del manoscritto un' ampia e complementare disamina dei materiali studiati sotto il profilo storico-archeologico. In tal modo, la ricerca si configura per la sua transdisciplinarità costituendo, per la materia in oggetto, un prodotto pionieristico, quindi innovativo per contenuti e metodo.Source: Roma: L'Erma di Bretschneider, 2017
See at:
ISTI Repository 
| www.lerma.it | CNR ExploRA
2019
Journal article
Open Access
Identification of gilding techniques on Roman marble sarcophagi
Siotto E.
Several Roman marble sarcophagi (2nd-4th centuries AD) have been investigated in a first systematic research effort to detect (pigments and) gilding techniques employed in the Imperial Rome. A comparative study was performed on a conspicuous group (no. eighty) of Roman sarcophagi identified in the Vatican Museums, the Capitoline Museums and the National Roman Museum collections. A focused in situ campaign of non-invasive analytical investigations have performed by multispectral imaging, spectroscopic and elemental analysis, followed by aimed micro-invasive techniques. As for the main issue of the gilding and its application techniques, the microscopy still remains one of the most efficient tools for their characterization. Therefore, some micro-samples of three sarcophagi chosen as case studies were examined by means of optical petrographic microscopy (OPM) and scanning electron microscope and energy dispersive X-ray spectrometer (SEM-EDS). The results of archaeological data and scientific analyses show that the leaf gold was applied by two different techniques. In the most attested method, the gold leaf was applied on a ground layer of colour (yellow and/or red ochre, Egyptian blue, etc.); on the other hand, in the other technique, the gold leaf was applied directly onto the marble surface or more probably on top of a thin ground layer of kaolin.Source: Journal of cultural heritage 38 (2019): 186–194. doi:10.1016/j.culher.2018.11.017
DOI: 10.1016/j.culher.2018.11.017
Metrics:
Siotto E.
Several Roman marble sarcophagi (2nd-4th centuries AD) have been investigated in a first systematic research effort to detect (pigments and) gilding techniques employed in the Imperial Rome. A comparative study was performed on a conspicuous group (no. eighty) of Roman sarcophagi identified in the Vatican Museums, the Capitoline Museums and the National Roman Museum collections. A focused in situ campaign of non-invasive analytical investigations have performed by multispectral imaging, spectroscopic and elemental analysis, followed by aimed micro-invasive techniques. As for the main issue of the gilding and its application techniques, the microscopy still remains one of the most efficient tools for their characterization. Therefore, some micro-samples of three sarcophagi chosen as case studies were examined by means of optical petrographic microscopy (OPM) and scanning electron microscope and energy dispersive X-ray spectrometer (SEM-EDS). The results of archaeological data and scientific analyses show that the leaf gold was applied by two different techniques. In the most attested method, the gold leaf was applied on a ground layer of colour (yellow and/or red ochre, Egyptian blue, etc.); on the other hand, in the other technique, the gold leaf was applied directly onto the marble surface or more probably on top of a thin ground layer of kaolin.Source: Journal of cultural heritage 38 (2019): 186–194. doi:10.1016/j.culher.2018.11.017
DOI: 10.1016/j.culher.2018.11.017
Metrics:
See at:
ISTI Repository | Journal of Cultural Heritage | www.sciencedirect.com | CNR ExploRA
2013
Doctoral thesis
Unknown
Nuove tecnologie per lo studio della policromia sui sarcofagi romani: proposte per una standardizzazione metodologica
Siotto E.
L'obiettivo principale di questa ricerca consiste nella definizione di un metodo analitico per arrivare a conoscere i pigmenti, le tecniche di stesura e di applicazione del colore e della doratura sui sarcofagi romani di produzione urbana mediante l'impiego di tecnologie digitali. In particolare questo studio, oltre a un lavoro di analisi puntuale e di catalogazione secondo norme standardizzate dei sarcofagi policromi conservati presso i Musei Vaticani, il Museo Nazionale Romano e i Musei Capitolini, si propone di sperimentare alcuni software open source e di suggerire le modifiche da apportare al fine di renderli un efficace ausilio per lo studio della policromia antica. Infatti, come le architetture e le sculture greche e romane, anche i sarcofagi erano stati pensati e realizzati tenendo in considerazione l'aspetto cromatico: un'unione di tinte differenti donava presumibilmente gradazione ai fondi e restituiva ai rilievi una maggiore plasticità, naturalezza e armonia compositiva.
Siotto E.
L'obiettivo principale di questa ricerca consiste nella definizione di un metodo analitico per arrivare a conoscere i pigmenti, le tecniche di stesura e di applicazione del colore e della doratura sui sarcofagi romani di produzione urbana mediante l'impiego di tecnologie digitali. In particolare questo studio, oltre a un lavoro di analisi puntuale e di catalogazione secondo norme standardizzate dei sarcofagi policromi conservati presso i Musei Vaticani, il Museo Nazionale Romano e i Musei Capitolini, si propone di sperimentare alcuni software open source e di suggerire le modifiche da apportare al fine di renderli un efficace ausilio per lo studio della policromia antica. Infatti, come le architetture e le sculture greche e romane, anche i sarcofagi erano stati pensati e realizzati tenendo in considerazione l'aspetto cromatico: un'unione di tinte differenti donava presumibilmente gradazione ai fondi e restituiva ai rilievi una maggiore plasticità, naturalezza e armonia compositiva.
See at: etd.adm.unipi.it | CNR ExploRA
2023
Contribution to book
Unknown
Roman sarcophagi use and reuse: colour application techniques and ancient repainting
Siotto E.
It is well known that some Roman marble sarcophagi were reused for new depositions already in Late Antiquity. Moreover, it has been ascertained that they were adapted for burials of local dignitaries in the Middle Ages. In some cases, their reuse involved repainting or re-plastering and new gilding, for example, in the Camposanto Monumentale in Pisa. Some Roman marble sarcophagi were reused for new depositions already in the Roman period. Typically, they underwent several changes and adaptations, such as repainting. Identifying a second painting on marble sarcophagi is not easy. However, the first analytical study of polychrome sarcophagi fabricated in Rome, which dates from the first half of the second to the end of the fourth century AD and is in the collection of the National Roman Museum in Rome, I observed that the presence on the same sarcophagus of two different techniques used to apply colour could serve as an indication of the second painting. Starting from the scientific examination of one of these sarcophagi, where the results exceeded our expectations since they allowed us to identify the presence of ancient repainting, this paper discusses other examples that could show the same feature or the contemporary use of different painting methods for pictorial effects, as well as substantiated reuse without traces of second polychromy.Source: Archaeology of Colour. Technical Art History Studies in Greek and Roman Painting and Polychromy, edited by Brecoulaki H., pp. 325–352, 2023
Siotto E.
It is well known that some Roman marble sarcophagi were reused for new depositions already in Late Antiquity. Moreover, it has been ascertained that they were adapted for burials of local dignitaries in the Middle Ages. In some cases, their reuse involved repainting or re-plastering and new gilding, for example, in the Camposanto Monumentale in Pisa. Some Roman marble sarcophagi were reused for new depositions already in the Roman period. Typically, they underwent several changes and adaptations, such as repainting. Identifying a second painting on marble sarcophagi is not easy. However, the first analytical study of polychrome sarcophagi fabricated in Rome, which dates from the first half of the second to the end of the fourth century AD and is in the collection of the National Roman Museum in Rome, I observed that the presence on the same sarcophagus of two different techniques used to apply colour could serve as an indication of the second painting. Starting from the scientific examination of one of these sarcophagi, where the results exceeded our expectations since they allowed us to identify the presence of ancient repainting, this paper discusses other examples that could show the same feature or the contemporary use of different painting methods for pictorial effects, as well as substantiated reuse without traces of second polychromy.Source: Archaeology of Colour. Technical Art History Studies in Greek and Roman Painting and Polychromy, edited by Brecoulaki H., pp. 325–352, 2023
See at: CNR ExploRA
2012
Journal article
Restricted
Nuove metodologie per il recupero degli immobili storici in stato di degrado
Settis S., Scopigno R., La Monica D., Benassi L., Parri A., Siotto E.
The objectives of the ArTeSalVa project (Architecture, Technology, Safeguarding and Enhancement of historic buildings) - financed by the Tuscany Region with European POR FSE funds - are the study and the definition of new methodologies for the knowledge and enhancement of huge historic public and private buildings located in Tuscany, and which are currently in a state of decay or are underused. ArTeSalVa has been created by the Scuola Normale Superiore of Pisa (LARTTE) and the National Research Council CNR-ISTI (Visual Computing Lab), in collaboration with La Sterpaia founded by Oliviero Toscani and the IT company NoveOPiu, owned by Enrico Possenti. The project concerns a historical study of deteriorated monuments, the use of computer graphics, and 2D and 3D media for the navigation and reconstruction of these buildings, and the development of strategies for improving their enhancement and publicity. The maintenance and development of historic and artistic heritage, especially of public property, are important and current topics that include the re-discovery of identity factors and the responsibility of appropriate restorations. Actually the project aims at studying the less known historical events regarding the Medici Villa located in Montelupo Fiorentino (near Florence, the Carthusian Monastery located in Calci (near Pisa, the Badia Camaldolese located in Volterra (near Pisa)and the fortress of Verrucole located in Garfagnana (near Lucca).Source: GA. Gazzetta ambiente 3 (2012): 1–9.
Settis S., Scopigno R., La Monica D., Benassi L., Parri A., Siotto E.
The objectives of the ArTeSalVa project (Architecture, Technology, Safeguarding and Enhancement of historic buildings) - financed by the Tuscany Region with European POR FSE funds - are the study and the definition of new methodologies for the knowledge and enhancement of huge historic public and private buildings located in Tuscany, and which are currently in a state of decay or are underused. ArTeSalVa has been created by the Scuola Normale Superiore of Pisa (LARTTE) and the National Research Council CNR-ISTI (Visual Computing Lab), in collaboration with La Sterpaia founded by Oliviero Toscani and the IT company NoveOPiu, owned by Enrico Possenti. The project concerns a historical study of deteriorated monuments, the use of computer graphics, and 2D and 3D media for the navigation and reconstruction of these buildings, and the development of strategies for improving their enhancement and publicity. The maintenance and development of historic and artistic heritage, especially of public property, are important and current topics that include the re-discovery of identity factors and the responsibility of appropriate restorations. Actually the project aims at studying the less known historical events regarding the Medici Villa located in Montelupo Fiorentino (near Florence, the Carthusian Monastery located in Calci (near Pisa, the Badia Camaldolese located in Volterra (near Pisa)and the fortress of Verrucole located in Garfagnana (near Lucca).Source: GA. Gazzetta ambiente 3 (2012): 1–9.
See at:
www.gazzettaambiente.it | CNR ExploRA
2016
Journal article
Open Access
Sperimentazione del Sistema Ministeriale SICaR w/b per la gestione e la consultazione informatizzata dei dati sulla policromia
Siotto E., Baracchini C., Santamaria U., Scopigno R.
The need for integration and sharing of data on ancient polychromy requires common working methods and tools. This paper illustrates the first effort in this direction thanks to the testing of the web-based Information System documentation for the Restoration of Yards (SICaR) of Italian Ministry of Cultural Heritage and Tourism (MiBACT). This testing activity has generated some proposals of change that have been implemented to enable the archaeological and scientific information to document and manage the standardized data about the ancient polychromy in Cultural Heritage.Source: Archeologia e calcolatori 27 (2016): 131–151. doi:10.19282/AC.27.2016.07
DOI: 10.19282/ac.27.2016.07
Metrics:
Siotto E., Baracchini C., Santamaria U., Scopigno R.
The need for integration and sharing of data on ancient polychromy requires common working methods and tools. This paper illustrates the first effort in this direction thanks to the testing of the web-based Information System documentation for the Restoration of Yards (SICaR) of Italian Ministry of Cultural Heritage and Tourism (MiBACT). This testing activity has generated some proposals of change that have been implemented to enable the archaeological and scientific information to document and manage the standardized data about the ancient polychromy in Cultural Heritage.Source: Archeologia e calcolatori 27 (2016): 131–151. doi:10.19282/AC.27.2016.07
DOI: 10.19282/ac.27.2016.07
Metrics:
See at:
ISTI Repository | www.insegnadelgiglio.it | CNR ExploRA
2020
Contribution to book
Closed Access
Una Loggia digitale al tempo del COVID-19
Palma G., Siotto E.
Il capitolo dopo aver illustrato il concepimento e l'evoluzione del progetto "Una loggia digitale per Raffaello e collaboratori in Villa Farnesina, Roma" per conto dell'Accademia Nazionale dei Lincei e del CNR-ISTI, descrive le fasi di progettazione e sviluppo del sistema digitale interattivo, come sono stati acquisiti i dati e come è stato creato il modello e, infine, offre una guida all'uso del sistema interattivo organizzato su due livelli di dettaglio (http://vcg.isti.cnr.it/farnesina/loggia/).Source: Raffaello in Villa Farnesina: Galatea e Psiche, edited by A. Sgamellotti, V. Lapenta, C. Anselmi, C. Seccaroni, pp. 89–96. Roma: Bardi Editore, 2020
Palma G., Siotto E.
Il capitolo dopo aver illustrato il concepimento e l'evoluzione del progetto "Una loggia digitale per Raffaello e collaboratori in Villa Farnesina, Roma" per conto dell'Accademia Nazionale dei Lincei e del CNR-ISTI, descrive le fasi di progettazione e sviluppo del sistema digitale interattivo, come sono stati acquisiti i dati e come è stato creato il modello e, infine, offre una guida all'uso del sistema interattivo organizzato su due livelli di dettaglio (http://vcg.isti.cnr.it/farnesina/loggia/).Source: Raffaello in Villa Farnesina: Galatea e Psiche, edited by A. Sgamellotti, V. Lapenta, C. Anselmi, C. Seccaroni, pp. 89–96. Roma: Bardi Editore, 2020
See at:
vcg.isti.cnr.it | CNR ExploRA
2020
Contribution to book
Closed Access
A digital Loggia at the time of COVID-19
Palma G., Siotto E.
The chapter starts illustrating the conception and evolution of the project "A digital loggia for Raphael and collaborators in Villa Farnesina, Rome" on behalf of the Accademia Nazionale dei Lincei and ISTI-CNR. After it describes the design and development phases of the interactive digital system, how the data were acquired and how the model was created and, finally, offers a guide to the use of the interactive system organized on two levels of detail (http://vcg.isti.cnr.it/farnesina /loggia/).Source: Raphael in Villa Farnesina: Galatea and Psyche, edited by A. Sgamellotti, V. Lapenta, C. Anselmi, C. Seccaroni, pp. 91–98. Roma: Bardi Editore, 2020
Palma G., Siotto E.
The chapter starts illustrating the conception and evolution of the project "A digital loggia for Raphael and collaborators in Villa Farnesina, Rome" on behalf of the Accademia Nazionale dei Lincei and ISTI-CNR. After it describes the design and development phases of the interactive digital system, how the data were acquired and how the model was created and, finally, offers a guide to the use of the interactive system organized on two levels of detail (http://vcg.isti.cnr.it/farnesina /loggia/).Source: Raphael in Villa Farnesina: Galatea and Psyche, edited by A. Sgamellotti, V. Lapenta, C. Anselmi, C. Seccaroni, pp. 91–98. Roma: Bardi Editore, 2020
See at:
vcg.isti.cnr.it | CNR ExploRA
2023
Journal article
Restricted
La grotta della Villa medicea dell'Ambrogiana: la documentazione digitale come strumento di conoscenza e accessibilità
Siotto E., Pingi P.
This work presents previously unpublished geometric and metric information about the 'cave' at L'Ambrogiana Medici Villa in Montelupo F.no, close to Florence, Italy. This data was obtained through three-dimensional (3D) survey technology and was cross-referenced with acquired images and graphical archival documentation to contextualise and document the original 'cave'. This cave is the sole artificial structure within the Medici gardens, with direct access from the Arno River. Despite its historical significance, it remains inaccessible and has not been comprehensively studied due to modifications made to the Villa over time. In the latter half of the 19th century, the Villa transformed, first into a mental hospital and subsequently into a judicial psychiatric hospital. This designation was discontinued in June 2017. Unfortunately, the reconfiguration into a judicial psychiatric hospital resulted in inappropriate and degrading use of the building, gardens, and the artificial cave. Consequently, they are currently in a state of severe decay and are now at the heart of a significant national redevelopment project.Source: Ricerche di storia dell'arte (Testo stamp.) 140 (2023): 67–78. doi:10.7374/108038
DOI: 10.7374/108038
Metrics:
Siotto E., Pingi P.
This work presents previously unpublished geometric and metric information about the 'cave' at L'Ambrogiana Medici Villa in Montelupo F.no, close to Florence, Italy. This data was obtained through three-dimensional (3D) survey technology and was cross-referenced with acquired images and graphical archival documentation to contextualise and document the original 'cave'. This cave is the sole artificial structure within the Medici gardens, with direct access from the Arno River. Despite its historical significance, it remains inaccessible and has not been comprehensively studied due to modifications made to the Villa over time. In the latter half of the 19th century, the Villa transformed, first into a mental hospital and subsequently into a judicial psychiatric hospital. This designation was discontinued in June 2017. Unfortunately, the reconfiguration into a judicial psychiatric hospital resulted in inappropriate and degrading use of the building, gardens, and the artificial cave. Consequently, they are currently in a state of severe decay and are now at the heart of a significant national redevelopment project.Source: Ricerche di storia dell'arte (Testo stamp.) 140 (2023): 67–78. doi:10.7374/108038
DOI: 10.7374/108038
Metrics:
See at:
www.rivisteweb.it | CNR ExploRA
2017
Contribution to book
Restricted
Realizzazione del sistema interattivo 'Loggia digitale'
Siotto E., Palma G., Scopigno R.
The VC Lab has developed, in collaboration with the Accademia Nazionale dei Lincei, the Interactive Digital System of the Loggia of Cupid and Psyche within the exhibition 'The Loggia of Cupid and Psyche - Raffaello and Giovanni da Udine - Colours of Prosperity: Fruits from the Old and New World' Villa Farnesina, Rome April 20 - July 20 2017. The system allows access to the 'digital Loggia' and permits the visitor to navigate freely through the high-resolution panoramic image of the painted ceiling, to admire it from a closer point of view and to consult the results of historical, botanical and scientific analyses performed on the selected species. The system is available online and with an interactive kiosk in the Farnesina building.Source: La Loggia di Amore e Psiche - Raffaello e Giovanni da Udine - I colori della prosperità: Frutti dal Vecchio e Nuovo Mondo, pp. 74–77, 2017
Siotto E., Palma G., Scopigno R.
The VC Lab has developed, in collaboration with the Accademia Nazionale dei Lincei, the Interactive Digital System of the Loggia of Cupid and Psyche within the exhibition 'The Loggia of Cupid and Psyche - Raffaello and Giovanni da Udine - Colours of Prosperity: Fruits from the Old and New World' Villa Farnesina, Rome April 20 - July 20 2017. The system allows access to the 'digital Loggia' and permits the visitor to navigate freely through the high-resolution panoramic image of the painted ceiling, to admire it from a closer point of view and to consult the results of historical, botanical and scientific analyses performed on the selected species. The system is available online and with an interactive kiosk in the Farnesina building.Source: La Loggia di Amore e Psiche - Raffaello e Giovanni da Udine - I colori della prosperità: Frutti dal Vecchio e Nuovo Mondo, pp. 74–77, 2017
See at:
vcg.isti.cnr.it | CNR ExploRA
2017
Contribution to book
Restricted
Development of the interactive system 'digital Loggia'
Siotto E., Palma G., Scopigno R.
The VC Lab has developed, in collaboration with the Accademia Nazionale dei Lincei, the Interactive Digital System of the Loggia of Cupid and Psyche within the exhibition 'The Loggia of Cupid and Psyche - Raffaello and Giovanni da Udine - Colours of Prosperity: Fruits from the Old and New World' Villa Farnesina, Rome April 20 - July 20 2017. The system allows access to the 'digital Loggia' and permits the visitor to navigate freely through the high-resolution panoramic image of the painted ceiling, to admire it from a closer point of view and to consult the results of historical, botanical and scientific analyses performed on the selected species. The system is available online and with an interactive kiosk in the Farnesina building.Source: The Loggia of Cupid and Psyche - Raffaello and Giovanni da Udine - Colours of prosperity: Fruits from the Old and New World, pp. 74–77, 2017
Siotto E., Palma G., Scopigno R.
The VC Lab has developed, in collaboration with the Accademia Nazionale dei Lincei, the Interactive Digital System of the Loggia of Cupid and Psyche within the exhibition 'The Loggia of Cupid and Psyche - Raffaello and Giovanni da Udine - Colours of Prosperity: Fruits from the Old and New World' Villa Farnesina, Rome April 20 - July 20 2017. The system allows access to the 'digital Loggia' and permits the visitor to navigate freely through the high-resolution panoramic image of the painted ceiling, to admire it from a closer point of view and to consult the results of historical, botanical and scientific analyses performed on the selected species. The system is available online and with an interactive kiosk in the Farnesina building.Source: The Loggia of Cupid and Psyche - Raffaello and Giovanni da Udine - Colours of prosperity: Fruits from the Old and New World, pp. 74–77, 2017
See at:
vcg.isti.cnr.it | CNR ExploRA
2014
Contribution to book
Restricted
Dallo stato di rudere alla realtà virtuale
Pingi P., Siotto E., Callieri M., Ferrara A., Scopigno R.
The chapter of the book "La Badia Camaldolese Volterra" reports the results obtained to the knowledge of preservation history of the Abbey church, through a deepening and integration of different knowledge fields. For this purpose, we have been used different data acquisition procedures, which have been specifically chosen to the investigated ancient building. They are supported through the study of historical and architectural features of the structure. This knowledge process was followed by a data processing step in order to manage and visualize the achieved results.Source: La Badia Camaldolese di Volterra, edited by Denise La Monica, pp. 227–243. Roma: Aracne, 2014
DOI: 10.4399/97888548795537
Metrics:
Pingi P., Siotto E., Callieri M., Ferrara A., Scopigno R.
The chapter of the book "La Badia Camaldolese Volterra" reports the results obtained to the knowledge of preservation history of the Abbey church, through a deepening and integration of different knowledge fields. For this purpose, we have been used different data acquisition procedures, which have been specifically chosen to the investigated ancient building. They are supported through the study of historical and architectural features of the structure. This knowledge process was followed by a data processing step in order to manage and visualize the achieved results.Source: La Badia Camaldolese di Volterra, edited by Denise La Monica, pp. 227–243. Roma: Aracne, 2014
DOI: 10.4399/97888548795537
Metrics:
See at:
bozze.aracneeditrice.it | CNR ExploRA
2012
Contribution to conference
Unknown
3D model of the sarcophagus of Ulpia Domnina: rendering of stored ancient color and virtual revival of original polychromy
Siotto E., Callieri M., Dellepiane M., Scopigno R.
The aim of this work is to document the current condition of the polychromy of an Roman sarcophagus and to visualize hypotheses on its original state. The sarcophagus, dedicated to Ulpia Domnina, is dated at the end of the 2nd century A.D. - early 3rd century A.D. (inv. no. 125891) and is preserved in the National Roman Museum - Baths of Diocletian. It has been chosen because of the good state of preservation of its ancient color, which can reveal the used coloring techniques (see Figure 1). As a part of this work, a high-resolution digital 3D model of the artifact was created, by acquiring a point clouds using a triangulation laser scanner. This geometry sampling has been paired with a photo acquisition campaign. The resulting sampled data (geometry and color) have been processed and integrated using the Mesh-Lab open source system (see Figure 2), to obtain a faithful representation of the current state of the artifact. This digital model has been instrumental to the main objective of this project, that is to clarify the techniques and pigments used, and to explore the potentialities of emerging technologies to reach and validate objective conclusions. To this purpose, the 3D model has been used to spatially reference (like in a 3D GIS) the various information gathered during visual, physical and chemical analysis. Moreover, digital painting interface (use paint-like interaction directly on the 3D surface to define the appearance of the 3D model) and state of the art rendering techniques (both real-time and offline) have been used to generate reconstruction hypothesis of the original appearance of the object.Source: International Conference ASMOSIA X, pp. 223–223, Rome, Italy, 21-26 May 2012
Siotto E., Callieri M., Dellepiane M., Scopigno R.
The aim of this work is to document the current condition of the polychromy of an Roman sarcophagus and to visualize hypotheses on its original state. The sarcophagus, dedicated to Ulpia Domnina, is dated at the end of the 2nd century A.D. - early 3rd century A.D. (inv. no. 125891) and is preserved in the National Roman Museum - Baths of Diocletian. It has been chosen because of the good state of preservation of its ancient color, which can reveal the used coloring techniques (see Figure 1). As a part of this work, a high-resolution digital 3D model of the artifact was created, by acquiring a point clouds using a triangulation laser scanner. This geometry sampling has been paired with a photo acquisition campaign. The resulting sampled data (geometry and color) have been processed and integrated using the Mesh-Lab open source system (see Figure 2), to obtain a faithful representation of the current state of the artifact. This digital model has been instrumental to the main objective of this project, that is to clarify the techniques and pigments used, and to explore the potentialities of emerging technologies to reach and validate objective conclusions. To this purpose, the 3D model has been used to spatially reference (like in a 3D GIS) the various information gathered during visual, physical and chemical analysis. Moreover, digital painting interface (use paint-like interaction directly on the 3D surface to define the appearance of the 3D model) and state of the art rendering techniques (both real-time and offline) have been used to generate reconstruction hypothesis of the original appearance of the object.Source: International Conference ASMOSIA X, pp. 223–223, Rome, Italy, 21-26 May 2012
See at: CNR ExploRA
2012
Conference article
Unknown
Knowledge, science and enhancement of historical decaying buildings in Tuscany. The ArTeSalVa project
Benassi L., Parri A., Siotto E., Callieri M., Pingi P., Scopigno R.
The "ArTeSalVa" project starts from the observation of the neglect and disuse of the historical public buildings in Italy, which have important architectural value. The project aims at studying the less known historical events regarding some decaying buildings in Tuscany and using 2D and 3D digitization modalities in order to map the current status, to track decay processes and to create effective tools for scientific and tourism visual communication. A significant case study is represented by the medieval Carthusia, in Calci near Pisa. The his-torical research is investigating the different ways in which the monastery was used and thus the most important changes introduced in it. The related digitized data are used to record the decay, highlight transformations and support planning of possible new uses of the areas that are not currently accessible to the public. The digital models are the instruments to document and present visually the scientific results.Source: 3rd International Conference on Heritage and Sustainable Development, pp. 1701–1710, Porto, Portugal, 19-22 June 2012
Benassi L., Parri A., Siotto E., Callieri M., Pingi P., Scopigno R.
The "ArTeSalVa" project starts from the observation of the neglect and disuse of the historical public buildings in Italy, which have important architectural value. The project aims at studying the less known historical events regarding some decaying buildings in Tuscany and using 2D and 3D digitization modalities in order to map the current status, to track decay processes and to create effective tools for scientific and tourism visual communication. A significant case study is represented by the medieval Carthusia, in Calci near Pisa. The his-torical research is investigating the different ways in which the monastery was used and thus the most important changes introduced in it. The related digitized data are used to record the decay, highlight transformations and support planning of possible new uses of the areas that are not currently accessible to the public. The digital models are the instruments to document and present visually the scientific results.Source: 3rd International Conference on Heritage and Sustainable Development, pp. 1701–1710, Porto, Portugal, 19-22 June 2012
See at: CNR ExploRA
2012
Conference article
Unknown
Telling the story of ancient coins by means of interactive RTI images visualization
Palma G., Siotto E., Proesmans M., Baldassarri M., Baracchini C., Batino S., Scopigno R.
Methodologies for virtual examination of Cultural Heritage artifacts through Reflectance Transformation Imaging (RTI) are gaining interest. Although at the beginning this techniques were designed to aid Cultural Heritage specialists in the inspection and interpretation process, the recent advances of 3D web visualization platforms are increasing our capability to open this type of visual inspection to the ordinary public. We present the design and implementation of a system that provide the access of ordinary people (visitors of the museum or web surfers) to a collection of ancient coins, preserved in the San Matteo Museum of Pisa (Italy). Those coins have been digitized to produce RTI representations and are presented to museum visitors together with some data telling their story and explaining their value. The interactive presentation system, designed to be deployed either by a museum kiosk or by a web site, is composed of two integrated sections: a brief introduction to the different subsets of coins; an interactive visualization of the RTI representation of each coin, by means of a specific RTI viewer. The coins are organized in different (possibly overlapping) subsets, to allow us to better present them to a public of inexperienced visitors. Starting from the main theme, the Historical Collection of the coins, we have some subsets about the iconography, the different production techniques (coining or fusion), the value of the coins, etc. After the selection of a specific subset, the user is presented a basic page containing an hypertext description with some basic information, a draggable image gallery with the thumbnails of the coins in the subset and the RTI viewer to display the specific selected coin. The viewer supports visualization and interaction with the RTI image through a basic set of functionalities: changing the light direction, zooming, panning over the image, flipping the coin to switch between the two sides and finally the possibility to show some hot spots, which link specific locations/areas on the coin with descriptive data (presented by means of HTML hypertext page).Source: Computer Applications and Qualitative Methods in Archaeology, pp. 177–185, Southamptom, UK, 26-29 March 2012
Palma G., Siotto E., Proesmans M., Baldassarri M., Baracchini C., Batino S., Scopigno R.
Methodologies for virtual examination of Cultural Heritage artifacts through Reflectance Transformation Imaging (RTI) are gaining interest. Although at the beginning this techniques were designed to aid Cultural Heritage specialists in the inspection and interpretation process, the recent advances of 3D web visualization platforms are increasing our capability to open this type of visual inspection to the ordinary public. We present the design and implementation of a system that provide the access of ordinary people (visitors of the museum or web surfers) to a collection of ancient coins, preserved in the San Matteo Museum of Pisa (Italy). Those coins have been digitized to produce RTI representations and are presented to museum visitors together with some data telling their story and explaining their value. The interactive presentation system, designed to be deployed either by a museum kiosk or by a web site, is composed of two integrated sections: a brief introduction to the different subsets of coins; an interactive visualization of the RTI representation of each coin, by means of a specific RTI viewer. The coins are organized in different (possibly overlapping) subsets, to allow us to better present them to a public of inexperienced visitors. Starting from the main theme, the Historical Collection of the coins, we have some subsets about the iconography, the different production techniques (coining or fusion), the value of the coins, etc. After the selection of a specific subset, the user is presented a basic page containing an hypertext description with some basic information, a draggable image gallery with the thumbnails of the coins in the subset and the RTI viewer to display the specific selected coin. The viewer supports visualization and interaction with the RTI image through a basic set of functionalities: changing the light direction, zooming, panning over the image, flipping the coin to switch between the two sides and finally the possibility to show some hot spots, which link specific locations/areas on the coin with descriptive data (presented by means of HTML hypertext page).Source: Computer Applications and Qualitative Methods in Archaeology, pp. 177–185, Southamptom, UK, 26-29 March 2012
See at: CNR ExploRA
2013
Conference article
Unknown
The Reconversion of Italian fortress through the use of modern tools
Parri A., Benassi L., La Monica D., Siotto E., Callieri M., Pingi P., Scopigno R.
The Italian historic architectural heritage includes a special and widespread category of buildings: the fortresses. Fortresses characterized for centuries the image of many Italian towns and landscapes and their presence modelled their urban or rural settings. Today these military buildings have lost their original function and very often create difficulties in current urban policies, in consideration of their dimensions, their collocation and the high costs for their preservation. As consequence, they are often in critical conditions of conservation and they have been frequently transformed in empty spaces disconnected from the current city life. The better way to protect these huge architectures consists in a long-term planning of sustainable reuse. Obviously these structures cannot be used to fulfill their original military functions and their peculiar architectural features clash sometimes with actual needs. It is necessary to study each structure according to its environmental, social and cultural contest to facilitate its best reconversion. The use of multimedia instruments suggests a method to reach satisfactory results but also it engenders some questions and doubts. The goal of this paper is to analyze the problem of fortresses today and to explain some meaningful cases of reuse in central Italy. Particular attention will be paid to the fortress of Verrucole near Lucca. This is an emblematic case study both for the choices of restoration and new display and for the difficulty to select new functions.Source: Heritage Architecture Landesign, focus on Conservation, Regeneration, Innovation. Le Vie dei Mercanti. XI Forum Internazionale di Studi, pp. 114–122, Aversa, Capri, 13-15 June 2013
Parri A., Benassi L., La Monica D., Siotto E., Callieri M., Pingi P., Scopigno R.
The Italian historic architectural heritage includes a special and widespread category of buildings: the fortresses. Fortresses characterized for centuries the image of many Italian towns and landscapes and their presence modelled their urban or rural settings. Today these military buildings have lost their original function and very often create difficulties in current urban policies, in consideration of their dimensions, their collocation and the high costs for their preservation. As consequence, they are often in critical conditions of conservation and they have been frequently transformed in empty spaces disconnected from the current city life. The better way to protect these huge architectures consists in a long-term planning of sustainable reuse. Obviously these structures cannot be used to fulfill their original military functions and their peculiar architectural features clash sometimes with actual needs. It is necessary to study each structure according to its environmental, social and cultural contest to facilitate its best reconversion. The use of multimedia instruments suggests a method to reach satisfactory results but also it engenders some questions and doubts. The goal of this paper is to analyze the problem of fortresses today and to explain some meaningful cases of reuse in central Italy. Particular attention will be paid to the fortress of Verrucole near Lucca. This is an emblematic case study both for the choices of restoration and new display and for the difficulty to select new functions.Source: Heritage Architecture Landesign, focus on Conservation, Regeneration, Innovation. Le Vie dei Mercanti. XI Forum Internazionale di Studi, pp. 114–122, Aversa, Capri, 13-15 June 2013
See at: CNR ExploRA
2014
Conference article
Open Access
From the archival documentation to standardised web database and 3D models: the case study of the Camaldolese Abbey in Volterra (Italy)
Siotto E., Callieri M., Pingi P., Scopigno R., Benassi L., Parri A., La Monica D., Ferrara A.
Our age is characterized by the ease of communication and fast and free exchange of data. The use of standards and a common approach to recollect, organize and present the documentation gives a great advantage for the knowledge and dissemination of the archaeological, artistic, historical and conservation information of Cultural Heritage. Establishing a "correct" documentation policy is the main goal that guided our initiative for the documentation, preservation and valorisation of the monumental complex of the Camaldolese Abbey in Tuscany. In this project we retrieved the paper documentation in the Historical Archives of the Tuscany Region, to study the historical and conservation data of the monumental complex. Digital technologies have been used to support storing and access to this important information, including also data to monitor the current state of its preservation. The documentation has been digitized and is accessible through a web database; this resource was designed by following the Italian National standards proposed by Central Institute for Cataloguing and Documentation (ICCD). The current state of conservation of some parts of the building has been documented by taking panoramic images or panoramas (360º images) and by the acquiring 3D digital models. In particular, panoramas are used to document the state of preservation of frescoed rooms, while geometric 3D models are produced to document the degraded areas of the church, which require a constant monitoring. Moreover, an analytical virtual reconstruction of the church was modeled to depict its status before the building's collapse. The main goals of this work are to provide a good-practice example on how to document and disseminate on the web the knowledge available on an endangered monument, following national and international standards, in order to make the knowledge widely accessible. In this way, it is possible to disseminate and enhance the old results with new analysis and interpretations of documents that can be easily shared with other researches, conservation experts and the ordinary public.Source: CHNT 18 - International Conference on Cultural Heritage and New Technologies, Vienna, Austria, 11-13 November 2013
Siotto E., Callieri M., Pingi P., Scopigno R., Benassi L., Parri A., La Monica D., Ferrara A.
Our age is characterized by the ease of communication and fast and free exchange of data. The use of standards and a common approach to recollect, organize and present the documentation gives a great advantage for the knowledge and dissemination of the archaeological, artistic, historical and conservation information of Cultural Heritage. Establishing a "correct" documentation policy is the main goal that guided our initiative for the documentation, preservation and valorisation of the monumental complex of the Camaldolese Abbey in Tuscany. In this project we retrieved the paper documentation in the Historical Archives of the Tuscany Region, to study the historical and conservation data of the monumental complex. Digital technologies have been used to support storing and access to this important information, including also data to monitor the current state of its preservation. The documentation has been digitized and is accessible through a web database; this resource was designed by following the Italian National standards proposed by Central Institute for Cataloguing and Documentation (ICCD). The current state of conservation of some parts of the building has been documented by taking panoramic images or panoramas (360º images) and by the acquiring 3D digital models. In particular, panoramas are used to document the state of preservation of frescoed rooms, while geometric 3D models are produced to document the degraded areas of the church, which require a constant monitoring. Moreover, an analytical virtual reconstruction of the church was modeled to depict its status before the building's collapse. The main goals of this work are to provide a good-practice example on how to document and disseminate on the web the knowledge available on an endangered monument, following national and international standards, in order to make the knowledge widely accessible. In this way, it is possible to disseminate and enhance the old results with new analysis and interpretations of documents that can be easily shared with other researches, conservation experts and the ordinary public.Source: CHNT 18 - International Conference on Cultural Heritage and New Technologies, Vienna, Austria, 11-13 November 2013
See at:
www.chnt.at | CNR ExploRA
2015
Conference article
Restricted
The Ulpia Domnina's sarcophagus: preliminary report about the use of digital 3D model for the study and reconstruction of the polychromy
Siotto E., Callieri M., Dellepiane M., Scopigno R.
This work documents the current condition of the polychromy of a Roman marble sarcophagus, and proposes a reconstruction hypothesis of its original state. The sarcophagus inv. no. 125891 of the Museo Nazionale Romano - Terme di Diocleziano has been chosen since the state of preservation of its ancient colour can reveal the original painting techniques. As a part of this work, a high-resolution digital 3D model of the artefact has been obtained using a triangulation laser scanner. Moreover, a photographic campaign has been performed for the acquisition of the surface appearance (colour). The resulting sampled data have been processed and integrated using the MeshLab open source tool, to obtain a faithful representation of the current state of the artefact. This digital model has been integrated in the pipeline of a project which main aims are: to clarify the pigments and techniques used, and to explore the potentialities of emerging technologies for the reconstruction and presentation of the ancient colour.Source: ASMOSIA X - Association for the Study of Marble and Other Stones In Antiquity. Tenth International Conference Interdisciplinary Studies on Ancient Stone, pp. 911–922, Roma, Italy, 21-26 May 2012
Siotto E., Callieri M., Dellepiane M., Scopigno R.
This work documents the current condition of the polychromy of a Roman marble sarcophagus, and proposes a reconstruction hypothesis of its original state. The sarcophagus inv. no. 125891 of the Museo Nazionale Romano - Terme di Diocleziano has been chosen since the state of preservation of its ancient colour can reveal the original painting techniques. As a part of this work, a high-resolution digital 3D model of the artefact has been obtained using a triangulation laser scanner. Moreover, a photographic campaign has been performed for the acquisition of the surface appearance (colour). The resulting sampled data have been processed and integrated using the MeshLab open source tool, to obtain a faithful representation of the current state of the artefact. This digital model has been integrated in the pipeline of a project which main aims are: to clarify the pigments and techniques used, and to explore the potentialities of emerging technologies for the reconstruction and presentation of the ancient colour.Source: ASMOSIA X - Association for the Study of Marble and Other Stones In Antiquity. Tenth International Conference Interdisciplinary Studies on Ancient Stone, pp. 911–922, Roma, Italy, 21-26 May 2012
See at:
digital.casalini.it | CNR ExploRA