2024
Journal article
Open Access
Digital methods and techniques for reconstructing and visualizing ancient 3D polychromy – An overview
Siotto E., Cignoni P.
The digital technologies employed in archaeology since the 1990s have progressively and experimentally been utilized over the last two decades to document and re-present the ancient polychromy of Greek and Roman marble artworks. Given that this remains a developing field of investigation and application, this study offers, for the first time, a systematic review of the endeavours undertaken thus far in implementing information technology for the documentation, analysis, reconstruction, visualization, and presentation of ancient polychromy. This overview is supported by a literature review and existing implementations, organized into methods and techniques employed for 3D colour preservation, analysis, and reconstruction, as well as those used for the visualization and dissemination of findings. The goal is to identify gaps and provide intriguing insights for future research concerning the use of digital technologies as an essential tool in the stages of documenting and disseminating ancient polychromy in architecture and archaeological artefacts. This, in turn, aims to encourage data sharing, contribute to the dissemination of science-based knowledge and resolve substantial barriers associated with the long-term retention of digital data.Source: JOURNAL OF CULTURAL HERITAGE, vol. 68, pp. 59-85
DOI: 10.1016/j.culher.2024.05.002
Metrics:
Siotto E., Cignoni P.
The digital technologies employed in archaeology since the 1990s have progressively and experimentally been utilized over the last two decades to document and re-present the ancient polychromy of Greek and Roman marble artworks. Given that this remains a developing field of investigation and application, this study offers, for the first time, a systematic review of the endeavours undertaken thus far in implementing information technology for the documentation, analysis, reconstruction, visualization, and presentation of ancient polychromy. This overview is supported by a literature review and existing implementations, organized into methods and techniques employed for 3D colour preservation, analysis, and reconstruction, as well as those used for the visualization and dissemination of findings. The goal is to identify gaps and provide intriguing insights for future research concerning the use of digital technologies as an essential tool in the stages of documenting and disseminating ancient polychromy in architecture and archaeological artefacts. This, in turn, aims to encourage data sharing, contribute to the dissemination of science-based knowledge and resolve substantial barriers associated with the long-term retention of digital data.Source: JOURNAL OF CULTURAL HERITAGE, vol. 68, pp. 59-85
DOI: 10.1016/j.culher.2024.05.002
Metrics:
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Journal of Cultural Heritage 
| IRIS Cnr | IRIS Cnr | CNR IRIS 
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, vol. 140 (issue 2), pp. 67-78
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, vol. 140 (issue 2), pp. 67-78
DOI: 10.7374/108038
Metrics:
See at:
CNR IRIS | CNR IRIS | www.rivisteweb.it
2023
Contribution to book
Open Access
Digitalizzazione 3D dei frammenti della statua di Athena e del fregio monumentale dell'Athenaion di Castro
Callieri M, Potenziani M, Siotto E
Nell'ottobre 2021, diversi frammenti della statua di Athena e del fregio monumentale dell'Athenaion di Castro sono stati digitalizzati in modelli 3D a cura del Visual Computing Lab dell'Istituto di Scienza e Tecnologie dell'Informazione (ISTI), CNR. Il personale del laboratorio di ricerca, che si occupa di grafica 3D e di tecnologie digitali applicate ai beni culturali, ha lavorato presso i locali del museo archeologico e dei depositi del comune di Castro nel contesto del Programma di Accesso Molab 2021 del progetto E-RHIS.it.Source: ADRIAS, pp. 189-192
Callieri M, Potenziani M, Siotto E
Nell'ottobre 2021, diversi frammenti della statua di Athena e del fregio monumentale dell'Athenaion di Castro sono stati digitalizzati in modelli 3D a cura del Visual Computing Lab dell'Istituto di Scienza e Tecnologie dell'Informazione (ISTI), CNR. Il personale del laboratorio di ricerca, che si occupa di grafica 3D e di tecnologie digitali applicate ai beni culturali, ha lavorato presso i locali del museo archeologico e dei depositi del comune di Castro nel contesto del Programma di Accesso Molab 2021 del progetto E-RHIS.it.Source: ADRIAS, pp. 189-192
See at:
edipuglia.it | CNR IRIS | ISTI Repository | CNR IRIS
2023
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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.
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.
2022
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Temporal deformation analysis of 3D models as diagnostic tool for panel paintings
Palma G, Pingi P, Siotto E
3D scanning is a well-known technology in the cultural heritage field for the study and monitoring of the artworks. For a panel painting, this technology facilitates the acquisition and documentation of its 3D shape at multiple scales, from the micro-geometry of craquelure to the macro-geometry of the support. All these geometric components may change over time due to the deformations induced by the conservation environment parameters. A usual method for estimating the deformation of the panel is the comparison of 3D models acquired at different times. For this purpose, the chapter presents a new approach to automatically estimate the amount of deformation between two 3D models of the same object. The proposed method is based on a nonrigid registration algorithm that deforms a 3D model on the other, enabling to separate the real panel deformation from the structural changes of the artwork. It uses only on the acquired geometric data of independent 3D acquisitions that were uncontrolled and unsupervised over time.DOI: 10.1007/978-3-030-60016-7_67
Metrics:
Palma G, Pingi P, Siotto E
3D scanning is a well-known technology in the cultural heritage field for the study and monitoring of the artworks. For a panel painting, this technology facilitates the acquisition and documentation of its 3D shape at multiple scales, from the micro-geometry of craquelure to the macro-geometry of the support. All these geometric components may change over time due to the deformations induced by the conservation environment parameters. A usual method for estimating the deformation of the panel is the comparison of 3D models acquired at different times. For this purpose, the chapter presents a new approach to automatically estimate the amount of deformation between two 3D models of the same object. The proposed method is based on a nonrigid registration algorithm that deforms a 3D model on the other, enabling to separate the real panel deformation from the structural changes of the artwork. It uses only on the acquired geometric data of independent 3D acquisitions that were uncontrolled and unsupervised over time.DOI: 10.1007/978-3-030-60016-7_67
Metrics:
See at:
doi.org | CNR IRIS | CNR IRIS | link.springer.com
2022
Conference article
Restricted
Leafing through the painting "Ecce Homo" by Antonello da Messina: multimodal imaging techniques and data-fusion
Cucci C., Potenziani M., Albertin F., Ruberto C., Picollo M., Stefani L., Callieri M., Siotto E., Pingi P., Scopigno R., Castelli L., Taccetti F., Bettuzzi M., Brancaccio R., Morigi M. P., De Vita F.
European Research Infrastructures for Heritage Science enable access to cutting-edge technologies and top-level expertise to solve specific queries on high value artworks and heritage assets. A successful example of this approach was the ECCEHOMO Project, carried out within E-RIHS program [1-3] and dedicated to non-invasive multimodal analysis of the painting “Ecce Homo” by Antonello da Messina (ca. 1430–1479). This masterpiece of the Early Italian Renaissance is carefully preserved at the Collegio Alberoni in Piacenza (Italy). Being extremely fragile, this painting needs continuous monitoring and the implementation of careful preventive conservation strategy, which should be based on sound knowledge of materials and conservation status of the painting. The interdisciplinary research undertaken in the project combined cutting-edge 3D and 2D techniques to perform a systematic, rigorously non-invasive, analysis of the artwork. By exploiting the complementarity of imaging spectroscopic techniques operating in different regions of the electromagnetic spectrum (from X-rays to the Ultraviolet, Visible and Infrared ranges) the painting was fully investigated, virtually ‘leafing through' its levels and structures the from the surface to the wooden support. Structured-light 3D metrological survey was used to digitize the external surface of the artwork. The surface irregularities and the support were analyzed with a structured-light 3D scanner and X-ray tomography. UV fluorescence was used to visualize the aged layers of varnishes. X-ray fluorescence scanning (MA-XRF) and reflectance hyperspectral imaging (HSI) were combined to study pictorial materials and their distributions, and the artist technique. Hidden details were brought to the light, like a fingerprints traces. Data-fusion from the 2D and 3D techniques provided new insights on the artwork and updated documentation of the conservation status. The obtained digital documentation was exploited to compile web-based interactive platforms targeted at the visualization and dissemination of the results, for both professional users and large public.
Cucci C., Potenziani M., Albertin F., Ruberto C., Picollo M., Stefani L., Callieri M., Siotto E., Pingi P., Scopigno R., Castelli L., Taccetti F., Bettuzzi M., Brancaccio R., Morigi M. P., De Vita F.
European Research Infrastructures for Heritage Science enable access to cutting-edge technologies and top-level expertise to solve specific queries on high value artworks and heritage assets. A successful example of this approach was the ECCEHOMO Project, carried out within E-RIHS program [1-3] and dedicated to non-invasive multimodal analysis of the painting “Ecce Homo” by Antonello da Messina (ca. 1430–1479). This masterpiece of the Early Italian Renaissance is carefully preserved at the Collegio Alberoni in Piacenza (Italy). Being extremely fragile, this painting needs continuous monitoring and the implementation of careful preventive conservation strategy, which should be based on sound knowledge of materials and conservation status of the painting. The interdisciplinary research undertaken in the project combined cutting-edge 3D and 2D techniques to perform a systematic, rigorously non-invasive, analysis of the artwork. By exploiting the complementarity of imaging spectroscopic techniques operating in different regions of the electromagnetic spectrum (from X-rays to the Ultraviolet, Visible and Infrared ranges) the painting was fully investigated, virtually ‘leafing through' its levels and structures the from the surface to the wooden support. Structured-light 3D metrological survey was used to digitize the external surface of the artwork. The surface irregularities and the support were analyzed with a structured-light 3D scanner and X-ray tomography. UV fluorescence was used to visualize the aged layers of varnishes. X-ray fluorescence scanning (MA-XRF) and reflectance hyperspectral imaging (HSI) were combined to study pictorial materials and their distributions, and the artist technique. Hidden details were brought to the light, like a fingerprints traces. Data-fusion from the 2D and 3D techniques provided new insights on the artwork and updated documentation of the conservation status. The obtained digital documentation was exploited to compile web-based interactive platforms targeted at the visualization and dissemination of the results, for both professional users and large public.
2022
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Un modello 3D per lo studio ed il monitoraggio
Pingi P., Siotto E.
Il volume presenta le analisi, gli studi e i risultati dell'intervento di conservazione eseguito su La Resurrezione di Piero della Francesca, in particolare il capitolo descrive come attraverso l'analisi di un modello tridimensionale è possibile ottenere informazioni utili per lo studio ed il monitoraggio di un affresco.Source: PROBLEMI DI CONSERVAZIONE E RESTAURO, pp. 243-245
Pingi P., Siotto E.
Il volume presenta le analisi, gli studi e i risultati dell'intervento di conservazione eseguito su La Resurrezione di Piero della Francesca, in particolare il capitolo descrive come attraverso l'analisi di un modello tridimensionale è possibile ottenere informazioni utili per lo studio ed il monitoraggio di un affresco.Source: PROBLEMI DI CONSERVAZIONE E RESTAURO, pp. 243-245
2021
Journal article
Open Access
"Ecce Homo" by Antonello da Messina, from non-invasive investigations to data fusion and dissemination
Albertin F., Ruberto C., Cucci C., Callieri M., Potenziani M., Siotto E., Pingi P., Scopigno R., Bettuzzi M., Brancaccio R., Morigi M. P., Castelli L., Taccetti F., Picollo M., Stefani L., De Vita F.
Scientific investigations of artworks are crucial in terms of preservation since they provide a measurable evaluation of the materials and the state of conservation. This is the case of Antonello da Messina's painting "Ecce Homo": its delicate state of conservation, with the need for constant monitoring, required a broad and in-depth diagnostic campaign to support the restorers. The project was carried out entirely in situ using non-invasive cutting-edge techniques and proposes a multimodal and data-centric approach, integrating 3D and 2D methodologies. The surface irregularities and the support were analysed with a structured-light 3D scanner and X-ray tomography. The painting materials were investigated with X-ray fluorescence scanning (MA-XRF) and reflectance hyperspectral imaging (HSI). Primarily, the data were jointly used for a scientific scope and provided new knowledge of the painting in terms of materials and painting techniques. In addition, two web-based interactive platforms were developed: one to provide restorers and experts with a new perspective of the hidden geometries of the painting, and the other targeted at the general public for dissemination purposes. The results of the Ecce Homo scientific analysis were exhibited, using a touch-screen interface, and developed for different user levels, from adults to kids.Source: SCIENTIFIC REPORTS, vol. 11 (issue 1), pp. 15868-15885
DOI: 10.1038/s41598-021-95212-2
Project(s): E-RIHS PP
Metrics:
Albertin F., Ruberto C., Cucci C., Callieri M., Potenziani M., Siotto E., Pingi P., Scopigno R., Bettuzzi M., Brancaccio R., Morigi M. P., Castelli L., Taccetti F., Picollo M., Stefani L., De Vita F.
Scientific investigations of artworks are crucial in terms of preservation since they provide a measurable evaluation of the materials and the state of conservation. This is the case of Antonello da Messina's painting "Ecce Homo": its delicate state of conservation, with the need for constant monitoring, required a broad and in-depth diagnostic campaign to support the restorers. The project was carried out entirely in situ using non-invasive cutting-edge techniques and proposes a multimodal and data-centric approach, integrating 3D and 2D methodologies. The surface irregularities and the support were analysed with a structured-light 3D scanner and X-ray tomography. The painting materials were investigated with X-ray fluorescence scanning (MA-XRF) and reflectance hyperspectral imaging (HSI). Primarily, the data were jointly used for a scientific scope and provided new knowledge of the painting in terms of materials and painting techniques. In addition, two web-based interactive platforms were developed: one to provide restorers and experts with a new perspective of the hidden geometries of the painting, and the other targeted at the general public for dissemination purposes. The results of the Ecce Homo scientific analysis were exhibited, using a touch-screen interface, and developed for different user levels, from adults to kids.Source: SCIENTIFIC REPORTS, vol. 11 (issue 1), pp. 15868-15885
DOI: 10.1038/s41598-021-95212-2
Project(s): E-RIHS PP
Metrics:
See at:
Scientific Reports | Scientific Reports | CNR IRIS | ISTI Repository | Scientific Reports | Scientific Reports | Archivio istituzionale della ricerca - Alma Mater Studiorum Università di Bologna | CNR IRIS
2021
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Documentation and analysis of the deformations of the panel and painted surface with 3D scanner
Pingi P, Siotto E, Palma G, Scopigno R
Despite what might be assumed, the surface of a painting on a canvas or a wooden panel is not perfectly flat, but rather is characterized by a complex three-dimensionality. The paint the artist lays down on the support possesses its own body and thickness, that, even on a millimeter or sub-millimeter scale, may be detected using instruments and three-dimensional measurement applications. At the same time, a wooden panel may be affected by deformations from historical or restoration changes, which may be readily revealed and documented. When analyzing a work of art subjected to an important restoration treatment, as was the case of the Adoration of the Magi by Leonardo da Vinci, a precise 3D documentation of the painted surface is thus strictly linked to the state of its wooden support. As is well-known, a panel painting is a layered structure (usually a protective varnish coating, paint layers, usually preparatory or ground layers, and the wooden panel), each with different physical and chemical compositions. Therefore, an accurate geometric 3D acquisition of the board structure and its connecting components (butterfly joins or dowel inserts) and the auxiliary support system (crossbars) may supply information to not only improve understanding of how the painting was made and its condition, but also permit it to be monitored over time or during restoration. Furthermore, the application of modern 3D computer graphics technologies is not only a valid diagnostic aid to acquiring knowledge about the work, but also a way to map information and share it (for example art historical information, technical data, and the results of chemical and physical analyses), making them easily accessible online both to experts in the sector and a wider public, thanks to specifically developed multimedia systems.1 In the case of the unfinished masterpiece by Leonardo, a complete high resolution 3D acquisition was performed in order to show and measure--at the moment during conservation treatment--a map of deviations from planarity caused by the curvature and warp of the wooden boards, permitting the documenting of the spatial deformation of the painted surface and the monitoring of its state of preservation.Source: PROBLEMI DI CONSERVAZIONE E RESTAURO, pp. 281-286
Pingi P, Siotto E, Palma G, Scopigno R
Despite what might be assumed, the surface of a painting on a canvas or a wooden panel is not perfectly flat, but rather is characterized by a complex three-dimensionality. The paint the artist lays down on the support possesses its own body and thickness, that, even on a millimeter or sub-millimeter scale, may be detected using instruments and three-dimensional measurement applications. At the same time, a wooden panel may be affected by deformations from historical or restoration changes, which may be readily revealed and documented. When analyzing a work of art subjected to an important restoration treatment, as was the case of the Adoration of the Magi by Leonardo da Vinci, a precise 3D documentation of the painted surface is thus strictly linked to the state of its wooden support. As is well-known, a panel painting is a layered structure (usually a protective varnish coating, paint layers, usually preparatory or ground layers, and the wooden panel), each with different physical and chemical compositions. Therefore, an accurate geometric 3D acquisition of the board structure and its connecting components (butterfly joins or dowel inserts) and the auxiliary support system (crossbars) may supply information to not only improve understanding of how the painting was made and its condition, but also permit it to be monitored over time or during restoration. Furthermore, the application of modern 3D computer graphics technologies is not only a valid diagnostic aid to acquiring knowledge about the work, but also a way to map information and share it (for example art historical information, technical data, and the results of chemical and physical analyses), making them easily accessible online both to experts in the sector and a wider public, thanks to specifically developed multimedia systems.1 In the case of the unfinished masterpiece by Leonardo, a complete high resolution 3D acquisition was performed in order to show and measure--at the moment during conservation treatment--a map of deviations from planarity caused by the curvature and warp of the wooden boards, permitting the documenting of the spatial deformation of the painted surface and the monitoring of its state of preservation.Source: PROBLEMI DI CONSERVAZIONE E RESTAURO, pp. 281-286
2020
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Il rilievo 3D per la caratterizzazione morfologica dell'opera di Raffaello
Pingi P, Siotto E, Palma G
Tra le analisi diagnostiche non invasive effettuate in supporto al restauro della tavola raffigurante Papa Leone X de' Medici tra i cardinali Giulio de Medici e Luigi de' Rossi di Raffaello è stato eseguito un rilievo tridimensionale (3D) dell'intera opera. Il rilievo 3D, oltre ad essere usato per effettuare misure sulla forma della superficie ed essere un valido supporto per la conoscenza e lo studio dell'opera, si configura anche come un efficace mezzo per monitorarne lo stato di conservazione nel tempo. In questo caso, l'acquisizione 3D era volta alla valutazione della deformazione del supporto ligneo e allo studio del deterioramento della superficie pittorica. Per tale motivo l'intera opera (fronte, retro e bordi) è stata acquisita con un passo di campionamento medio pari a 0.3 mm. Alcune zone sono state acquisite anche ad una risoluzione di 0.16 mm al fine di mettere a punto un metodo automatico in grado di evidenziare le micro-fratture dello strato pittorico.
Pingi P, Siotto E, Palma G
Tra le analisi diagnostiche non invasive effettuate in supporto al restauro della tavola raffigurante Papa Leone X de' Medici tra i cardinali Giulio de Medici e Luigi de' Rossi di Raffaello è stato eseguito un rilievo tridimensionale (3D) dell'intera opera. Il rilievo 3D, oltre ad essere usato per effettuare misure sulla forma della superficie ed essere un valido supporto per la conoscenza e lo studio dell'opera, si configura anche come un efficace mezzo per monitorarne lo stato di conservazione nel tempo. In questo caso, l'acquisizione 3D era volta alla valutazione della deformazione del supporto ligneo e allo studio del deterioramento della superficie pittorica. Per tale motivo l'intera opera (fronte, retro e bordi) è stata acquisita con un passo di campionamento medio pari a 0.3 mm. Alcune zone sono state acquisite anche ad una risoluzione di 0.16 mm al fine di mettere a punto un metodo automatico in grado di evidenziare le micro-fratture dello strato pittorico.
2020
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Una Loggia digitale al tempo del 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/).
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/).
See at:
CNR IRIS | CNR IRIS | vcg.isti.cnr.it
2020
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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/).
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/).
See at:
CNR IRIS | CNR IRIS | vcg.isti.cnr.it
2019
Conference article
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Analisi dei frammenti di Sectilia vitrei dalla Villa romana di Aiano-Torraccia di Chiusi (si) e studio della tecnica d'esecuzione
Cavalieri M, Landi S, Manna D, Giamello M, Fornacelli C, Bracci S, Palma G, Siotto E, Scopigno R
The consistent amount of sectilia fragments from the late Roman Villa of Aiano (4th-5th century AD)provides important insights on the study of the diffusion of opus sectile during the Late Roman period. The extent of the corpus of glass slabs, in particular, immediately suggests interesting perspectives on both the archaeological and technological issues. Thanks to cooperation between archaeologist, conservators, IT and scientists, an in-depth study of the repertory is in progress to provide important information about the technologies and the raw materials used to produce a number of selected samples. High-resolution images have been obtained via Reflectance Transformation Imaging (RTI) to better understand all the different phases characterizing the manufacture of the more complex slabs. Due to their flexibility and low analytical costs, portable and non-invasive analytical techniques provided a fast and quite accurate definition of the chemical and mineralogical properties of each sample and the first classification of a large number of slabs in compositional clusters. Portable X-Ray Fluorescence (p-XRF) and Fiber Optics Reflectance Spectroscopy (FORS) allowed a first definition of the chemical variability within the repertory and provided indications about both manufacturing and coloring techniques.
Cavalieri M, Landi S, Manna D, Giamello M, Fornacelli C, Bracci S, Palma G, Siotto E, Scopigno R
The consistent amount of sectilia fragments from the late Roman Villa of Aiano (4th-5th century AD)provides important insights on the study of the diffusion of opus sectile during the Late Roman period. The extent of the corpus of glass slabs, in particular, immediately suggests interesting perspectives on both the archaeological and technological issues. Thanks to cooperation between archaeologist, conservators, IT and scientists, an in-depth study of the repertory is in progress to provide important information about the technologies and the raw materials used to produce a number of selected samples. High-resolution images have been obtained via Reflectance Transformation Imaging (RTI) to better understand all the different phases characterizing the manufacture of the more complex slabs. Due to their flexibility and low analytical costs, portable and non-invasive analytical techniques provided a fast and quite accurate definition of the chemical and mineralogical properties of each sample and the first classification of a large number of slabs in compositional clusters. Portable X-Ray Fluorescence (p-XRF) and Fiber Optics Reflectance Spectroscopy (FORS) allowed a first definition of the chemical variability within the repertory and provided indications about both manufacturing and coloring techniques.
See at:
CNR IRIS | CNR IRIS | www.aiscom.it
2019
Journal article
Open Access
Deformation analysis of Leonardo da Vinci's "Adorazione dei Magi" through temporal unrelated 3D digitization
Palma G, Pingi P, Siotto E, Bellucci R, Guidi G, Scopigno R
3D scanning is an effective technology for dealing at different levels the state of conservation/deformation of a panel painting, from the micro-geometry of the craquelure to the macro-geometry of the supported used. Unfortunately, the current solutions used to analyze multiple 3D scans acquired over time are based on very controlled acquisition procedures, such as the use of target reference points that are stationary over time and fixed to the artwork, or on complex hardware setups to keep the acquisition device fixed to the artwork. These procedures are challenging when a long monitoring period is involved or during restoration when the painting may be moved several times. This paper presents a new and robust approach to observe and quantify the panel deformations of artworks by comparing 3D models acquired with different scanning devices at different times. The procedure is based on a non-rigid registration algorithm that deforms one 3D model over the other in a controlled way, extracting the real deformation field. We apply the method to the 3D scanning data of the unfinished panel painting "Adorazione dei Magi" by Leonardo da Vinci. The data were acquired in 2002 and 2015. First, we analyze the two 3D models with the classical distance from the ideal flat plane of the painting. Then we study the type of deformation of each plank of the support by fitting a quadric surface. Finally, we compare the models before and after the deformation computed by a non-rigid registration algorithm. This last comparison enables the panel deformation to be separated from the structural changes (e.g. the structural restorations on the back and the missing pieces) of the artwork in a more robust way.Source: JOURNAL OF CULTURAL HERITAGE, vol. 38, pp. 174-185
DOI: 10.1016/j.culher.2018.11.001
Metrics:
Palma G, Pingi P, Siotto E, Bellucci R, Guidi G, Scopigno R
3D scanning is an effective technology for dealing at different levels the state of conservation/deformation of a panel painting, from the micro-geometry of the craquelure to the macro-geometry of the supported used. Unfortunately, the current solutions used to analyze multiple 3D scans acquired over time are based on very controlled acquisition procedures, such as the use of target reference points that are stationary over time and fixed to the artwork, or on complex hardware setups to keep the acquisition device fixed to the artwork. These procedures are challenging when a long monitoring period is involved or during restoration when the painting may be moved several times. This paper presents a new and robust approach to observe and quantify the panel deformations of artworks by comparing 3D models acquired with different scanning devices at different times. The procedure is based on a non-rigid registration algorithm that deforms one 3D model over the other in a controlled way, extracting the real deformation field. We apply the method to the 3D scanning data of the unfinished panel painting "Adorazione dei Magi" by Leonardo da Vinci. The data were acquired in 2002 and 2015. First, we analyze the two 3D models with the classical distance from the ideal flat plane of the painting. Then we study the type of deformation of each plank of the support by fitting a quadric surface. Finally, we compare the models before and after the deformation computed by a non-rigid registration algorithm. This last comparison enables the panel deformation to be separated from the structural changes (e.g. the structural restorations on the back and the missing pieces) of the artwork in a more robust way.Source: JOURNAL OF CULTURAL HERITAGE, vol. 38, pp. 174-185
DOI: 10.1016/j.culher.2018.11.001
Metrics:
See at:
CNR IRIS | ISTI Repository | www.sciencedirect.com | Journal of Cultural Heritage | CNR IRIS | CNR IRIS
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, vol. 38, pp. 186-194
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, vol. 38, pp. 186-194
DOI: 10.1016/j.culher.2018.11.017
Metrics:
See at:
CNR IRIS | ISTI Repository | www.sciencedirect.com | Journal of Cultural Heritage | CNR IRIS | CNR IRIS
2019
Other
Metadata Only Access
The EcceHomo project
Callieri M, Pingi P, Potenziani M, Siotto E, Scopigno R
In the 2017 "Access Programme" call of the E-RIHS.it (European Research Infrastructure for Heritage Science) project, which makes the diagnostic tools and the technologies of a number of research institutes available to Italian conservation institutions, the project concerning the Ecce Homo by Antonello da Messina from the Collegio Alberoni di Piacenza collection was selected. The objective of the non-invasive diagnostic investigations carried out by CNR-ISTI (Pisa), CNR-IFAC (Florence), INFN-CHNet (Bologna) and INFN-CHNet (Florence), was to achieve greater knowledge of the work and create an objective digital support for evaluation and measurement that could assist the activities of conservators and restorers. The joint work of the multidisciplinary team of the Italian node of E-RIHS.it generated a three-dimensional graphic representation, digital twin of the painting, which varies over time and can be useful as a basis for comparison in the periodic control of the Ecce Homo of Piacenza. All the data gathered with the scientific investigations were integrated (by the Visual Computing Laboratory of the CNR-ISTI of Pisa), through their mapping on the 3D/2D space of the digital representation of the work, in a multimedia platform, with the aim of make possible easy consultation and visualization of all data on the web, both for scientific and educational purposes. The multimedia platform was presented as a kiosk in a public conference dedicated to the "ECCEHOMO" project, which had excellent feedback from the public. The kiosk was subsequently integrated into the museum visit itinerary of the Alberoni College of Piacenza. Developed with HTML/JavaScript technology, the kiosk is based on the HTML5 WebGL API, which makes 2D/3D rendering possible without plug-ins on all major web browsers. The use of web technologies allows installation on a stand-alone machine (as in the museum installation) but at the same time publication on the web. The web visualization of high resolution images is managed by the Relight library, developed by ISTI-CNR. The generation of multiresolution 3D models, and their web visualization, is managed by the Nexus, SpiderGL, and 3DHOP software, all developed by the Visual Computing Laboratory of the CNR-ISTI in Pisa. The contents of the kiosk were designed, discussed and validated with the collaboration of all the work teams involved in the project (CNR-ISTI, CNR-IFAC, INFN-CHNet Bologna and Florence) and by Francesca De Vita, restorer and conservator of the artwork.
Callieri M, Pingi P, Potenziani M, Siotto E, Scopigno R
In the 2017 "Access Programme" call of the E-RIHS.it (European Research Infrastructure for Heritage Science) project, which makes the diagnostic tools and the technologies of a number of research institutes available to Italian conservation institutions, the project concerning the Ecce Homo by Antonello da Messina from the Collegio Alberoni di Piacenza collection was selected. The objective of the non-invasive diagnostic investigations carried out by CNR-ISTI (Pisa), CNR-IFAC (Florence), INFN-CHNet (Bologna) and INFN-CHNet (Florence), was to achieve greater knowledge of the work and create an objective digital support for evaluation and measurement that could assist the activities of conservators and restorers. The joint work of the multidisciplinary team of the Italian node of E-RIHS.it generated a three-dimensional graphic representation, digital twin of the painting, which varies over time and can be useful as a basis for comparison in the periodic control of the Ecce Homo of Piacenza. All the data gathered with the scientific investigations were integrated (by the Visual Computing Laboratory of the CNR-ISTI of Pisa), through their mapping on the 3D/2D space of the digital representation of the work, in a multimedia platform, with the aim of make possible easy consultation and visualization of all data on the web, both for scientific and educational purposes. The multimedia platform was presented as a kiosk in a public conference dedicated to the "ECCEHOMO" project, which had excellent feedback from the public. The kiosk was subsequently integrated into the museum visit itinerary of the Alberoni College of Piacenza. Developed with HTML/JavaScript technology, the kiosk is based on the HTML5 WebGL API, which makes 2D/3D rendering possible without plug-ins on all major web browsers. The use of web technologies allows installation on a stand-alone machine (as in the museum installation) but at the same time publication on the web. The web visualization of high resolution images is managed by the Relight library, developed by ISTI-CNR. The generation of multiresolution 3D models, and their web visualization, is managed by the Nexus, SpiderGL, and 3DHOP software, all developed by the Visual Computing Laboratory of the CNR-ISTI in Pisa. The contents of the kiosk were designed, discussed and validated with the collaboration of all the work teams involved in the project (CNR-ISTI, CNR-IFAC, INFN-CHNet Bologna and Florence) and by Francesca De Vita, restorer and conservator of the artwork.
See at:
CNR IRIS | vcg.isti.cnr.it
2018
Conference article
Restricted
A web-Based system for data integration and visualization of the ancient colour
Siotto E., Palma G., Potenziani M., Scopigno R.
A renewed interest in the study of the ancient colour of Greek and Roman architectures and artworks has emerged in the last decade, originating multidisciplinary studies in the Digital Humanities field. Despite the important results achieved within a few years, the existing projects on the study of the ancient polychromy do not take into account the need to define a standard methodological approach focused on the use of new technologies as instruments to document and connect the different data gathered, improving our knowledge on this subject. For this reason, we present a systematic methodological process defined to identify, document and visualize the preserved (and in some cases the digital reconstructed) original colour and gilding on marble artefacts, starting from the analytical study of Roman marble sarcophagi made in Rome from the first half of the 2nd cent. to the end of the 4th cent. AD. Having the possibility to combine different diagnostics modalities with archaeological data is very interesting for the specialists of polychromy. In order to resolve this problem, we have developed specific components for 3D Heritage Online Presenter (3DHOP) system, where the 3D model is used to manage and display all achieved information about the ancient polychromy and the history of the artefacts.
Siotto E., Palma G., Potenziani M., Scopigno R.
A renewed interest in the study of the ancient colour of Greek and Roman architectures and artworks has emerged in the last decade, originating multidisciplinary studies in the Digital Humanities field. Despite the important results achieved within a few years, the existing projects on the study of the ancient polychromy do not take into account the need to define a standard methodological approach focused on the use of new technologies as instruments to document and connect the different data gathered, improving our knowledge on this subject. For this reason, we present a systematic methodological process defined to identify, document and visualize the preserved (and in some cases the digital reconstructed) original colour and gilding on marble artefacts, starting from the analytical study of Roman marble sarcophagi made in Rome from the first half of the 2nd cent. to the end of the 4th cent. AD. Having the possibility to combine different diagnostics modalities with archaeological data is very interesting for the specialists of polychromy. In order to resolve this problem, we have developed specific components for 3D Heritage Online Presenter (3DHOP) system, where the 3D model is used to manage and display all achieved information about the ancient polychromy and the history of the artefacts.
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.
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.
See at:
CNR IRIS | CNR IRIS | vcg.isti.cnr.it
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.
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.
See at:
CNR IRIS | CNR IRIS | vcg.isti.cnr.it
2017
Contribution to book
Restricted
Documentazione e analisi delle deformazioni del supporto ligneo e della superficie pittorica mediante rilievo 3D
Pingi P, Siotto E, Palma G, Scopigno R
Un dipinto su tela o su tavola, contrariamente a quanto si potrebbe pensare, non è un oggetto con una superficie perfettamente planare, ma è caratterizzato da una complessa tridimensionalità. Il colore che l'artista pone sul supporto ha una propria corposità materica, uno spessore, che, seppur millimetrico o sub-millimetrico, può essere rilevato con strumenti e applicativi di misurazione tridimensionale (3D). Allo stesso tempo, il supporto ligneo può presentare deformazioni legate a vicissitudini storiche e conservative, che possono essere facilmente rilevate e documentate. Nella fase di analisi di un'opera soggetta ad un importante intervento di restauro, come è avvenuto per l'Adorazione dei Magi di Leonardo da Vinci, un'accurata documentazione 3D della superficie pittorica è pertanto strettamente legata a quella del suo supporto ligneo. Pertanto, una scrupolosa acquisizione geometrica 3D del tavolato e dei suoi elementi di collegamento (farfalle e cavicchi) e di sostegno (traverse) può fornire elementi utili non solo per una maggiore conoscenza della fattura dell'opera e del suo stato di conservazione, ma anche per un suo monitoraggio nel corso del tempo o in fase di restauro. Inoltre, un uso appropriato delle moderne tecnologie di Computer Grafica 3D non rappresenta soltanto un valido ausilio diagnostico per la conoscenza dell'opera, ma anche un mezzo per raccogliere informazioni di carattere scientifico-divulgativo (ad esempio dati storico-artistici, tecnici, risultati di analisi chimico-fisiche) e renderle facilmente fruibili on-line agli addetti del settore e ad un pubblico più vasto, grazie a sistemi multimediali appositamente sviluppati. Nel caso del capolavoro non concluso di Leonardo, una sua completa acquisizione 3D ad alta risoluzione è stata eseguita con lo scopo di evidenziare e misurare - in fase di restauro pittorico - una mappa di deviazioni della planarità causata dalla curvatura e deformazione delle tavole lignee, consentendo di documentare la deformazione spaziale subìta dalla pittura e monitorare il suo stato di conservazione.
Pingi P, Siotto E, Palma G, Scopigno R
Un dipinto su tela o su tavola, contrariamente a quanto si potrebbe pensare, non è un oggetto con una superficie perfettamente planare, ma è caratterizzato da una complessa tridimensionalità. Il colore che l'artista pone sul supporto ha una propria corposità materica, uno spessore, che, seppur millimetrico o sub-millimetrico, può essere rilevato con strumenti e applicativi di misurazione tridimensionale (3D). Allo stesso tempo, il supporto ligneo può presentare deformazioni legate a vicissitudini storiche e conservative, che possono essere facilmente rilevate e documentate. Nella fase di analisi di un'opera soggetta ad un importante intervento di restauro, come è avvenuto per l'Adorazione dei Magi di Leonardo da Vinci, un'accurata documentazione 3D della superficie pittorica è pertanto strettamente legata a quella del suo supporto ligneo. Pertanto, una scrupolosa acquisizione geometrica 3D del tavolato e dei suoi elementi di collegamento (farfalle e cavicchi) e di sostegno (traverse) può fornire elementi utili non solo per una maggiore conoscenza della fattura dell'opera e del suo stato di conservazione, ma anche per un suo monitoraggio nel corso del tempo o in fase di restauro. Inoltre, un uso appropriato delle moderne tecnologie di Computer Grafica 3D non rappresenta soltanto un valido ausilio diagnostico per la conoscenza dell'opera, ma anche un mezzo per raccogliere informazioni di carattere scientifico-divulgativo (ad esempio dati storico-artistici, tecnici, risultati di analisi chimico-fisiche) e renderle facilmente fruibili on-line agli addetti del settore e ad un pubblico più vasto, grazie a sistemi multimediali appositamente sviluppati. Nel caso del capolavoro non concluso di Leonardo, una sua completa acquisizione 3D ad alta risoluzione è stata eseguita con lo scopo di evidenziare e misurare - in fase di restauro pittorico - una mappa di deviazioni della planarità causata dalla curvatura e deformazione delle tavole lignee, consentendo di documentare la deformazione spaziale subìta dalla pittura e monitorare il suo stato di conservazione.