Pub Date : 2017-01-01DOI: 10.19282/AC.28.2.2017.15
G. B. Gianni, Matilde Marzullo, Andrea Garzulino
The Centro di Ricerca Coordinata ‘ProgettoTarquinia’ of the Universita degli Studi di Milano is a LERU (League of European Research Universities) exemplary interdisciplinary research project that involves groups from the Universita Statale di Milano (Archaeology, Information and Communication Technologies, Geoarchaeology, Palaeoanthropology), the Politecnico di Milano (Architecture and Topography) and bridges the gap between soft and hard sciences. This project stems from the ‘Progetto Tarquinia’ conceived by Maria Bonghi Jovino in 1982. During the last ten years, our integrated system of tools and services, supported by ICTs (ArchMatrix), through which multidisciplinary domain experts can examine all the typologies of data of a given culture, has made it possible to concentrate on the links between data-sources focusing on the recurrence of association rates within different aspects of material evidence and phenomena. The fields of application of our methodology in the domain of archaeology and epigraphy are multifaceted as regards the inside and outside connections of the Tarquinian heritage, whose necropolis with the famous painted tombs is a UNESCO World Heritage Site. Research includes areas of the Civita plateau: the ‘monumental complex’, the Ara della Regina sanctuary, fortifications, and archaeological sites previously explored. In the past ten years, research in the necropolis (roughly 6,000 tombs, of which 400 are painted) and in the surrounding territory has also been implemented and has produced the complete corpus of the painted tombs of Tarquinia. Our holistic approach encompasses archaeological analysis of small (mobile finds), medium (archaeological contexts) and large scale (territory and landscape) architectural analysis and applications for integrated solutions for the cultural heritage, including the first bilingual Virtual Museum dedicated to an Etruscan city.
米兰大学(Universita degli Studi di Milano)的“ProgettoTarquinia”中心是一个LERU(欧洲研究型大学联盟)的模范跨学科研究项目，涉及来自米兰国立大学(考古学、信息和通信技术、地理考古学、古人类学)、米兰理工大学(建筑和地形学)的团队，弥合了软科学和硬科学之间的差距。该项目源于Maria Bonghi Jovino于1982年构思的“Progetto Tarquinia”。在过去的十年中，我们的综合工具和服务系统，由信息通信技术(ArchMatrix)支持，通过多学科领域的专家可以检查给定文化的所有类型的数据，使得有可能专注于数据源之间的联系，重点关注物证和现象的不同方面的关联率的复发。我们的方法论在考古学和金石学领域的应用领域是多方面的，涉及塔奎尼遗产的内部和外部联系，塔奎尼遗产的墓地和著名的彩绘墓葬被联合国教科文组织列为世界遗产。研究包括奇维塔高原地区:“纪念性建筑群”、Ara della Regina圣所、防御工事和以前探索过的考古遗址。在过去的十年里，对墓地(大约6000座坟墓，其中400座是彩绘的)和周围地区的研究也得到了实施，并产生了塔奎尼亚彩绘墓葬的完整资料。我们的整体方法包括小型(移动发现)、中型(考古背景)和大型(领土和景观)建筑分析的考古分析和文化遗产综合解决方案的应用，包括第一个专门为伊特鲁里亚城市设计的双语虚拟博物馆。
{"title":"The last ten years of research at Tarquinia","authors":"G. B. Gianni, Matilde Marzullo, Andrea Garzulino","doi":"10.19282/AC.28.2.2017.15","DOIUrl":"https://doi.org/10.19282/AC.28.2.2017.15","url":null,"abstract":"The Centro di Ricerca Coordinata ‘ProgettoTarquinia’ of the Universita degli Studi di Milano is a LERU (League of European Research Universities) exemplary interdisciplinary research project that involves groups from the Universita Statale di Milano (Archaeology, Information and Communication Technologies, Geoarchaeology, Palaeoanthropology), the Politecnico di Milano (Architecture and Topography) and bridges the gap between soft and hard sciences. This project stems from the ‘Progetto Tarquinia’ conceived by Maria Bonghi Jovino in 1982. During the last ten years, our integrated system of tools and services, supported by ICTs (ArchMatrix), through which multidisciplinary domain experts can examine all the typologies of data of a given culture, has made it possible to concentrate on the links between data-sources focusing on the recurrence of association rates within different aspects of material evidence and phenomena. The fields of application of our methodology in the domain of archaeology and epigraphy are multifaceted as regards the inside and outside connections of the Tarquinian heritage, whose necropolis with the famous painted tombs is a UNESCO World Heritage Site. Research includes areas of the Civita plateau: the ‘monumental complex’, the Ara della Regina sanctuary, fortifications, and archaeological sites previously explored. In the past ten years, research in the necropolis (roughly 6,000 tombs, of which 400 are painted) and in the surrounding territory has also been implemented and has produced the complete corpus of the painted tombs of Tarquinia. Our holistic approach encompasses archaeological analysis of small (mobile finds), medium (archaeological contexts) and large scale (territory and landscape) architectural analysis and applications for integrated solutions for the cultural heritage, including the first bilingual Virtual Museum dedicated to an Etruscan city.","PeriodicalId":43161,"journal":{"name":"Archeologia e Calcolatori","volume":"1 1","pages":"211-221"},"PeriodicalIF":0.4,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68137786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-01DOI: 10.19282/AC.28.2.2017.43
J. Bonetto, Arturo Zara
The ancient city of Nora was a Phoenician, Punic and Roman settlement rising on a peninsula in the south-western coast of Sardinia. Since 1990, the University of Padova has been carrying on an interdisciplinary research project of excavation, architectural analysis, historical reconstruction and cultural promotion of tourism in this site. The excavations allow us to increase our knowledge of Middle Imperial Roman urban planning and to get a better understanding of the whole city and its history; the restoration of excavated monuments using gravels with different colours helps more than 60,000 tourists every year to recognize the function of different areas. In spite of this, visitors experience difficulty in understanding a landscape of ruins with barely visible evidence. Thus, a complete virtual reconstruction of the ancient city has become essential. 3D models of the Phoenician and Roman settlement have been developed, reshaping archaeological plans produced in 25 years by Universities that work in the site. The main monuments of the Roman city and the major crossroads have been rendered in greater detail, using sample-based textures that give a photorealistic effect and implementing the models with furniture and decorations selected through reliable sources of information. 3D reconstructions are now available for tourist groups led by a guide in the Nora Virtual Tour: stereoscopic images have been rendered and uploaded in an app for mobile headsets that provides immersive virtual reality for the users. The guide controls the devices with a tablet using a Bluetooth connection: at the beginning of the visit, the tourists can view equirectangular panoramas of the ruins taken from a helicopter, then they are accompanied to hot-spots where the ancient monuments are shown in an evocative Roman reconstruction.
{"title":"The Nora Virtual Tour: an immersive visit in the ancient city","authors":"J. Bonetto, Arturo Zara","doi":"10.19282/AC.28.2.2017.43","DOIUrl":"https://doi.org/10.19282/AC.28.2.2017.43","url":null,"abstract":"The ancient city of Nora was a Phoenician, Punic and Roman settlement rising on a peninsula in the south-western coast of Sardinia. Since 1990, the University of Padova has been carrying on an interdisciplinary research project of excavation, architectural analysis, historical reconstruction and cultural promotion of tourism in this site. The excavations allow us to increase our knowledge of Middle Imperial Roman urban planning and to get a better understanding of the whole city and its history; the restoration of excavated monuments using gravels with different colours helps more than 60,000 tourists every year to recognize the function of different areas. In spite of this, visitors experience difficulty in understanding a landscape of ruins with barely visible evidence. Thus, a complete virtual reconstruction of the ancient city has become essential. 3D models of the Phoenician and Roman settlement have been developed, reshaping archaeological plans produced in 25 years by Universities that work in the site. The main monuments of the Roman city and the major crossroads have been rendered in greater detail, using sample-based textures that give a photorealistic effect and implementing the models with furniture and decorations selected through reliable sources of information. 3D reconstructions are now available for tourist groups led by a guide in the Nora Virtual Tour: stereoscopic images have been rendered and uploaded in an app for mobile headsets that provides immersive virtual reality for the users. The guide controls the devices with a tablet using a Bluetooth connection: at the beginning of the visit, the tourists can view equirectangular panoramas of the ruins taken from a helicopter, then they are accompanied to hot-spots where the ancient monuments are shown in an evocative Roman reconstruction.","PeriodicalId":43161,"journal":{"name":"Archeologia e Calcolatori","volume":"1 1","pages":"531-538"},"PeriodicalIF":0.4,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68139673","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-01DOI: 10.19282/AC.28.2.2017.26
S. Mantellini
Located in the heartland of Central Asia, Samarkand has always been an economic, cultural, ethnic, linguistic and religious hub along the ancient Silk Road. A regional approach, based on a GIS remote sensing assessment followed by field validation, was used here to reconstruct the urban evolution of Samarkand in connection with its hinterland. The basic archaeological features in the landscape (anthropic mounds, canals and burials) allowed us to reconstruct the main forms of land use and resource exploitation according to site distribution and chronology. If Samarkand was established as early as the Achaemenid period (late 6th century BCE), the evidence dated to that time from its hinterland is scarce. A first significant increase occurred during the post-Hellenistic centuries (3rd-1st centuries BCE), and reached the peak at the time of the most intense trade along the Silk Road just before the major changes following the Arab conquest of the early 8th century CE. Data also demonstrated how the development of Samarkand must be closely linked with a proper exploitation of its territory. A massive and complex irrigation system in the floodplain ensured the supply of water necessary to develop extensive farming and daily-life activities, while rain-fed foothills were used as pastures.
{"title":"A city and its landscape across time: Samarkand in the ancient Sogdiana (Uzbekistan)","authors":"S. Mantellini","doi":"10.19282/AC.28.2.2017.26","DOIUrl":"https://doi.org/10.19282/AC.28.2.2017.26","url":null,"abstract":"Located in the heartland of Central Asia, Samarkand has always been an economic, cultural, ethnic, linguistic and religious hub along the ancient Silk Road. A regional approach, based on a GIS remote sensing assessment followed by field validation, was used here to reconstruct the urban evolution of Samarkand in connection with its hinterland. The basic archaeological features in the landscape (anthropic mounds, canals and burials) allowed us to reconstruct the main forms of land use and resource exploitation according to site distribution and chronology. If Samarkand was established as early as the Achaemenid period (late 6th century BCE), the evidence dated to that time from its hinterland is scarce. A first significant increase occurred during the post-Hellenistic centuries (3rd-1st centuries BCE), and reached the peak at the time of the most intense trade along the Silk Road just before the major changes following the Arab conquest of the early 8th century CE. Data also demonstrated how the development of Samarkand must be closely linked with a proper exploitation of its territory. A massive and complex irrigation system in the floodplain ensured the supply of water necessary to develop extensive farming and daily-life activities, while rain-fed foothills were used as pastures.","PeriodicalId":43161,"journal":{"name":"Archeologia e Calcolatori","volume":"1 1","pages":"333-342"},"PeriodicalIF":0.4,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68137715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-01DOI: 10.19282/AC.28.2.2017.33
M. Roussou, F. Ripanti, Katerina Servi
The use of interactive storytelling by museums and heritage sites lends to the creation of experiences that support visitors in engaging emotionally with the objects on display. Finding ways to connect to the cultural content is even more important for visitors of archaeological sites due to the often fragmentary nature of the exhibits, which can leave them wondering what was once there and how it relates to them. In this paper, we describe the creation of a prototype mobile storytelling experience that attempts to explore a more emotive kind of storytelling in cultural contexts. The prototype was evaluated in a preliminary study that took place at the archaeological site of the Ancient Agora of Athens. The observations provide insights for the design of future iterations of such emotive storytelling experiences.
{"title":"Engaging visitors of archaeological sites through ‘emotive’ storytelling experiences: a pilot at the Ancient Agora of Athens","authors":"M. Roussou, F. Ripanti, Katerina Servi","doi":"10.19282/AC.28.2.2017.33","DOIUrl":"https://doi.org/10.19282/AC.28.2.2017.33","url":null,"abstract":"The use of interactive storytelling by museums and heritage sites lends to the creation of experiences that support visitors in engaging emotionally with the objects on display. Finding ways to connect to the cultural content is even more important for visitors of archaeological sites due to the often fragmentary nature of the exhibits, which can leave them wondering what was once there and how it relates to them. In this paper, we describe the creation of a prototype mobile storytelling experience that attempts to explore a more emotive kind of storytelling in cultural contexts. The prototype was evaluated in a preliminary study that took place at the archaeological site of the Ancient Agora of Athens. The observations provide insights for the design of future iterations of such emotive storytelling experiences.","PeriodicalId":43161,"journal":{"name":"Archeologia e Calcolatori","volume":"1 1","pages":"405-420"},"PeriodicalIF":0.4,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68138499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-01DOI: 10.19282/AC.28.2.2017.34
M. Gaiani
In this paper, we reviewed 20 years of development of 3D based IS to support archaeological and AH artefact knowledge, management and communication and their theoretical work basis. In detail, we illustrated our experiences showing the advantages and limits we had observed after extensive use. In conclusion, we have illustrated a new paradigm based on IoT-related technologies, potentially able to overcome existing problems, and the theoretical foundation of the new framework that has been designed, the concept of the Smart Cultural Object, sources and recipients of advanced information and related technological underpinning.
{"title":"Management and communication of archaeological artefacts and architectural heritage using digital IS. What today? What next?","authors":"M. Gaiani","doi":"10.19282/AC.28.2.2017.34","DOIUrl":"https://doi.org/10.19282/AC.28.2.2017.34","url":null,"abstract":"In this paper, we reviewed 20 years of development of 3D based IS to support archaeological and AH artefact knowledge, management and communication and their theoretical work basis. In detail, we illustrated our experiences showing the advantages and limits we had observed after extensive use. In conclusion, we have illustrated a new paradigm based on IoT-related technologies, potentially able to overcome existing problems, and the theoretical foundation of the new framework that has been designed, the concept of the Smart Cultural Object, sources and recipients of advanced information and related technological underpinning.","PeriodicalId":43161,"journal":{"name":"Archeologia e Calcolatori","volume":"1 1","pages":"421-435"},"PeriodicalIF":0.4,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68138558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-01DOI: 10.19282/AC.28.2.2017.35
Andrea D'Andrea, Angela Bosco, M. Barbarino
Computer graphics and three-dimensional modelling techniques have extended the possibilities of archaeologists in the creation of virtual reconstruction of ancient sites and monuments. Modern computational systems allow the implementation of computer-generated scenarios tailored on human cognitive capacities. Although Virtual Archaeology is not a novelty in the panorama of archaeological methods, there is no agreement among scholars on the minimal parameters necessary to virtually rebuild an ancient context, nor is there any requirement needed to guarantee the accuracy and the effectiveness of the final reconstruction; the strength of a model is based mainly on the capacity of the archaeologist to check the final result in terms of comparison between interpretations and hypotheses. The paper aims at exploring how the archaeologists could perform their work in a computational laboratory thanks to shared 3D models. The case study selected is the recent virtual reconstruction of the so-called Basilica in Herculaneum, a monument - 250 years after its discovery - still largely unexplained. The building is completely buried by volcanic lava save for part of its entrance porch. It was extensively explored using tunnels and looted by its early excavators. Different scholars have rebuilt the monument mainly on the basis of two plans, drawn in the 18th century, and few notes taken by the archaeologists during the exploration. The 3D model, carried out by integrating cad modelling with close-range photogrammetry, is intended to highlight some controversial parts of the reconstructions. Metadata associated to the digital replica describe the physical object and register all phases from data-acquisition to data-visualization in order to allow the validation of the model and the use or re-use of the digital resource.
{"title":"A 3D environment to rebuild virtually the so-called Augusteum in Herculaneum","authors":"Andrea D'Andrea, Angela Bosco, M. Barbarino","doi":"10.19282/AC.28.2.2017.35","DOIUrl":"https://doi.org/10.19282/AC.28.2.2017.35","url":null,"abstract":"Computer graphics and three-dimensional modelling techniques have extended the possibilities of archaeologists in the creation of virtual reconstruction of ancient sites and monuments. Modern computational systems allow the implementation of computer-generated scenarios tailored on human cognitive capacities. Although Virtual Archaeology is not a novelty in the panorama of archaeological methods, there is no agreement among scholars on the minimal parameters necessary to virtually rebuild an ancient context, nor is there any requirement needed to guarantee the accuracy and the effectiveness of the final reconstruction; the strength of a model is based mainly on the capacity of the archaeologist to check the final result in terms of comparison between interpretations and hypotheses. The paper aims at exploring how the archaeologists could perform their work in a computational laboratory thanks to shared 3D models. The case study selected is the recent virtual reconstruction of the so-called Basilica in Herculaneum, a monument - 250 years after its discovery - still largely unexplained. The building is completely buried by volcanic lava save for part of its entrance porch. It was extensively explored using tunnels and looted by its early excavators. Different scholars have rebuilt the monument mainly on the basis of two plans, drawn in the 18th century, and few notes taken by the archaeologists during the exploration. The 3D model, carried out by integrating cad modelling with close-range photogrammetry, is intended to highlight some controversial parts of the reconstructions. Metadata associated to the digital replica describe the physical object and register all phases from data-acquisition to data-visualization in order to allow the validation of the model and the use or re-use of the digital resource.","PeriodicalId":43161,"journal":{"name":"Archeologia e Calcolatori","volume":"1 1","pages":"437-446"},"PeriodicalIF":0.4,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68138642","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-01DOI: 10.19282/AC.28.1.2017.03
Mara Sternini
The study of a massive waste dump of the Arretine potter Ateius, by means of the database FileMaker Pro 11, provided some evidence concerning the deposit’s formation. For part of the fragments there were at least two depositions at different times, as some potsherds were re-used as building material within the kiln itself, then discarded again, with a layer of lime and sand that still covered them. Some fragments were first used as slats for shaping vases, then thrown into the dump, and eventually re-used as building material. All these operations inevitably caused the alteration of the stratigraphy, making it quite difficult to piece together all the fragments pertaining to a single vase. Moreover, in a period that cannot be identified, part of the dump was moved from the original place to the location where it was found in the excavation carried out in the 1950s . All these events are reflected by the archaeological records. The Conspectus 9 cup is a good example: the fragments of rims largely outnumber those of foots. Assessing the minimum number of vessels present in the dump is not easy under these circumstances.
利用数据库FileMaker Pro 11对Arretine potter Ateius的大量废渣进行了研究，提供了有关该矿床形成的一些证据。部分碎片在不同时期至少有两次沉积，因为一些陶器碎片在窑内被重新用作建筑材料，然后再次被丢弃，上面仍然覆盖着一层石灰和沙子。一些碎片首先被用作花瓶的板条，然后被扔进垃圾堆，最后被重新用作建筑材料。所有这些操作都不可避免地导致了地层的改变，使得将属于一个花瓶的所有碎片拼凑起来变得相当困难。此外，在一段无法确定的时期内，部分垃圾场从原来的地方移到了20世纪50年代进行挖掘时发现的地方。所有这些事件都反映在考古记录中。contspectus杯就是一个很好的例子:杯沿碎片的数量远远超过了足部碎片的数量。在这种情况下，评估倾倒场中存在的最低船只数量并不容易。
{"title":"Tanti cocci, quanti vasi?","authors":"Mara Sternini","doi":"10.19282/AC.28.1.2017.03","DOIUrl":"https://doi.org/10.19282/AC.28.1.2017.03","url":null,"abstract":"The study of a massive waste dump of the Arretine potter Ateius, by means of the database FileMaker Pro 11, provided some evidence concerning the deposit’s formation. For part of the fragments there were at least two depositions at different times, as some potsherds were re-used as building material within the kiln itself, then discarded again, with a layer of lime and sand that still covered them. Some fragments were first used as slats for shaping vases, then thrown into the dump, and eventually re-used as building material. All these operations inevitably caused the alteration of the stratigraphy, making it quite difficult to piece together all the fragments pertaining to a single vase. Moreover, in a period that cannot be identified, part of the dump was moved from the original place to the location where it was found in the excavation carried out in the 1950s . All these events are reflected by the archaeological records. The Conspectus 9 cup is a good example: the fragments of rims largely outnumber those of foots. Assessing the minimum number of vessels present in the dump is not easy under these circumstances.","PeriodicalId":43161,"journal":{"name":"Archeologia e Calcolatori","volume":"1 1","pages":"49-60"},"PeriodicalIF":0.4,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68133005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-01DOI: 10.19282/AC.28.2.2017.48
Ilenia Gradante, D. Tanasi
The Catacombs of Santa Lucia are one of the oldest and most important monuments in the Christian communities of Siracusa and Sicily in the late Roman period. The name of the complex derives from a tradition, according to which Saint Lucy was buried here, after her martyrdom in the early 4th century AD, under the reign of Diocletian. A large underground cemetery extends beneath the homonymous square. The cemetery gradually expanded from the 3rd to the 5th century AD, as it incorporated pre-existing constructions once used for funerary, religious and industrial purposes, by transforming them into monumental burial chambers. One of the most significant structures is the so-called ‘Pagan Shrine’: a chamber that is dated between the 3rd century BC and 1st century AD, prior to the foundation of the cemetery and frescoed with worldly themes and pagan deities. The Shrine is located in the South-western corner of Regio C, an area that is hard and rather dangerous to reach, never opened to the public and visited only by few scholars over the past decades. The excavation project undertaken in the years 2011-2015 by the Pontifical Commission of Sacred Archaeology, in association with the Arcadia University and the University of Catania, led to the development of the first virtual replica of the Shrine, using Digital Photogrammetry. This new approach facilitated an accurate examination of both its structure and its decoration, allowing us to propose a new theory about the original purpose of the room, traditionally regarded by scholars as a place for worshipping Zeus Peloros.
{"title":"3D digital technologies for architectural analysis. The case of the \"Pagan Shrine\" in the Catacombs of Santa Lucia (Siracusa, Sicily)","authors":"Ilenia Gradante, D. Tanasi","doi":"10.19282/AC.28.2.2017.48","DOIUrl":"https://doi.org/10.19282/AC.28.2.2017.48","url":null,"abstract":"The Catacombs of Santa Lucia are one of the oldest and most important monuments in the Christian communities of Siracusa and Sicily in the late Roman period. The name of the complex derives from a tradition, according to which Saint Lucy was buried here, after her martyrdom in the early 4th century AD, under the reign of Diocletian. A large underground cemetery extends beneath the homonymous square. The cemetery gradually expanded from the 3rd to the 5th century AD, as it incorporated pre-existing constructions once used for funerary, religious and industrial purposes, by transforming them into monumental burial chambers. One of the most significant structures is the so-called ‘Pagan Shrine’: a chamber that is dated between the 3rd century BC and 1st century AD, prior to the foundation of the cemetery and frescoed with worldly themes and pagan deities. The Shrine is located in the South-western corner of Regio C, an area that is hard and rather dangerous to reach, never opened to the public and visited only by few scholars over the past decades. The excavation project undertaken in the years 2011-2015 by the Pontifical Commission of Sacred Archaeology, in association with the Arcadia University and the University of Catania, led to the development of the first virtual replica of the Shrine, using Digital Photogrammetry. This new approach facilitated an accurate examination of both its structure and its decoration, allowing us to propose a new theory about the original purpose of the room, traditionally regarded by scholars as a place for worshipping Zeus Peloros.","PeriodicalId":43161,"journal":{"name":"Archeologia e Calcolatori","volume":"1 1","pages":"581-586"},"PeriodicalIF":0.4,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68139786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-01DOI: 10.19282/AC.28.2.2017.02
M. Torelli
Among the rare surprises I had during my long permanence at Perugia, in the first place I put the discovery of the fascinating frescoes of the local Quattrocento painter Benedetto Bonfigli (on this painter, see Mancini 1992). Twenty years ago, my colleague of Art History invited me to give a look at the restorations of the frescoes painted by Bonfigli in the years 1449-1456 in the Cappella dei Priori, the Chapel of the local magistrates inside the City Hall, the Palazzo dei Priori. News on his life are really scanty, but it is certain that Bonfigli was included into the group of painters headed by Beato Angelico, to whom Pope Nicholas V, following his decision to move the papal see from the Lateran, commissioned the decoration of the “Appartementi Nicoliniani”, i.e. his apartments in the Vatican, unfortunately destroyed in the course of centuries. The stories painted by Bonfigli on the walls of the Perugian Chapel can be considered among the masterpieces of the Italian early Renaissance, a cycle of frescoes lamentably unknown not only to the great public, but sometimes also to specialists in art history. The frescoes represent various episodes of the life of two of the three saints, chosen to be protectors of the city of Perugia, the local bishop Herculaneus, accused of intelligence with the Byzantines and sentenced to death by the king Totila during the Gothic war, and Saint Louis from Toulouse, saint of the royal house of France, chosen by Perugia to protect the commercial interests of the town, mainly connected with clothes, the “panni”, a deal that already three centuries before suggested to a merchant from Assisi to give his son the name Francesco. Bonfigli places here and there in his frescoes memories of the classical past to follow in his own way the brand new fashion to copy Roman monuments 1, a must for men of both letters and arts, but also to obey by instinct to his culture of the late Middle Ages, heir of the great Trecento realism. This is why he sets the funerals of Saint Louis in a church of an unmistakable
在佩鲁贾的漫长生活中，我遇到了一些罕见的惊喜，首先是发现了当地四世纪画家贝内代托·邦菲利(Benedetto Bonfigli)的迷人壁画(关于这位画家，见Mancini 1992)。20年前，我的艺术史同事邀请我去参观邦菲利(Bonfigli)在1449年至1456年间在Cappella dei Priori(市政厅内地方法官的礼拜堂)壁画的修复工作。关于Bonfigli生平的新闻很少，但可以肯定的是，Bonfigli被包括在以Beato Angelico为首的画家团体中，教皇尼古拉斯五世在决定将教皇座堂从拉特兰搬走后，委托他装饰“Appartementi Nicoliniani”，即他在梵蒂冈的公寓，不幸的是在几个世纪的过程中被摧毁了。邦菲利在佩鲁贾教堂墙上画的故事可以被认为是意大利文艺复兴早期的杰作之一，令人遗憾的是，不仅公众不知道，有时艺术史专家也不知道这一系列壁画。壁画描绘了三位圣人中的两位的生活，他们被选为佩鲁贾市的保护者，一位是当地主教赫库兰尼，他被指控与拜占庭人勾结，并在哥特战争期间被托蒂拉国王判处死刑，另一位是图卢兹的圣路易，他是法国王室的圣人，被佩鲁贾选中保护该镇的商业利益，主要与服装有关，“潘尼”。早在三个世纪前，阿西西的一位商人就建议给他的儿子取名弗朗西斯科。邦飞利在他的壁画中到处留下对古典历史的回忆，以他自己的方式追随模仿罗马纪念碑的全新时尚，这对文艺人士来说是必须的，但也本能地服从他的中世纪晚期文化，伟大的特伦托现实主义的继承人。这就是为什么他把圣路易斯的葬礼安排在一座教堂里
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Pub Date : 2017-01-01DOI: 10.19282/AC.28.1.2017.14
A. Rucco, M. Vianello, Danilo Vitelli
The paper presents a reconstruction of the ancient morphology of the early medieval port of Comacchio through Kriging and Radial Basis Functions algorithms, and 3D models of the archaeological remains. The predicted surfaces are in significant accord with past hypotheses, also providing a good amount of certainty from a scientific point of view, since they appear extremely consistent with the geological data collected through stratigraphic corings. As a whole, the predicted surfaces and the 3D reconstructions of the wooden remains of the port offer fresh perspectives on the interpretation of the site by showing the existence of different building phases and spatial organizations, thus providing new guidelines for future excavations.
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