Conference Presentations by Barbara Mazzei
ARCHEOLOGIA CRISTIANA IN ITALIA. RICERCHE, METODI E PROSPETTIVE (1993-2022), 2024
In the spring of 2019, conservation work was undertaken on the decorative apparatus preserved in ... more In the spring of 2019, conservation work was undertaken on the decorative apparatus preserved in the catacomb of S. Eutizio near Soriano nel Cimino.
The fragments of the fresco with the painted inscription of Apra were recovered and set up on a new support, which returned perfectly legible, allowing us to validate the reading of the chronological elements indicated in it (consulate of Flavius Eusebius), the only pivotal point of the topographical reconstruction of the funerary complex linked to the figure of the martyr Eutizio. In fact, in connection with the Apra inscription is also the funerary mausoleum, whose frontal decoration has undergone general cleaning and consolidation. Here, too, in addition to confirming previous readings, faint chromatic traces add suggestive details that allow us to frame more clearly the derivation of the pictorial complex from models of courtly origin.
Semel pro semper. Atti dell’incontro di studio in memoria di Fabrizio Bisconti, 2023
R. Giuliani, B. Mazzei, D. Mazzoleni, C. Salvetti, Il secolo di Giovanni Battista de Rossi (1822-1894). La cultura archeologica dall’Italia all’Europa, 2022
Through the archive documents of the Ponti cal Commission for Sacred Archeology, which at the tim... more Through the archive documents of the Ponti cal Commission for Sacred Archeology, which at the time of G. B. de Rossi had the task of supervising the protection of monuments of Christian antiquity (catacombs and basilicas) the theoretical foundations of the conservation and restoration of this kind of decorated monuments are reconstructed, sometimes in line with the practices of the time, sometimes showing foresight in suggesting preventive conservation solutions.
Proceedings of the 12th International Conference on non-destructive investigationa and microanalysis for the diagnostics and conservation of cultural heritage
In the frame of the COBRA (Conservation of Cultural Heritage through Radiation and Enabling Techn... more In the frame of the COBRA (Conservation of Cultural Heritage through Radiation and Enabling Technologies) Regional project, several historical sites have been object of study by means of non-destructive techniques to analyze different kinds of artworks from different points of view, as structural modification or chemical degradation. The availability of information on the state of health of artworks quickly and as complete as possible can represent a great advantage for the optimization of the conservation and restoration actions. To this aim, several prototypes based on non-destructive laser based techniques have been developed at ENEA and encouraging results have been obtained by their application to some cases study supported by COBRA project. In this work, some results of the study of the Greek Chapel in the Priscilla's Catacombs in Rome performed by LIF (Laser Induced Fluorescence) Scanning, giving information regarding the surface chemical composition, will be reported. Particular attention has been devoted to the area indicated by the site referents as of special interest for the presence of an evident biological attack. In addition to the characterization of extended biofilms, LIF was also able to detect microorganisms from areas where biodegradation is not evident, suggesting the possibility of its early detection. This result can be of great usefulness for the site conservation. The analyses by standard laboratory techniques (e.g. microscope observations) prompt us to exclude the presence of photosynthetic microorganisms. For an easy and understandable vision of the obtained results, collected by different instruments, a post-processing and data fusion phase was needed.
Proceeding of the IMEKO International Conference on Metrology for Archaeology and Cultural Heritage
In the last years, with the large growth of new state-of-the-art technologies used in the field o... more In the last years, with the large growth of new state-of-the-art technologies used in the field of cultural heritage, it's increasingly necessary to promote non-invasive and non-destructive techniques which are "sensitive" to the nature of the site in which they are applied, respecting the Italian historicalartistic heritage. Within the COBRA project [1], ENEA developed a new low-cost and non-destructive survey technique by 3D Photogrammetric reconstruction, using the Structure from Motion (SfM) method, for innovative applications in the field of cultural heritage [2]. This paper shows an application of this methodology on the archaeological complex of Priscilla's Catacombs in Rome. Three case studies have been identified, with several design purposes, showing the different applications of this technique: a sarcophagus called "Sarcofago delle Muse" , a chapel named "Cappella Greca" and a masonry element, which are all situated in the "Criptoportico" area.
V. Cappellini (ed.), EVA 2011 Florence. Proceedings Conference, Electronic Imaging & the Visual Arts, 2011
A. Brunetto (ed.), APLAR 4. Applicazioni laser nel restauro, 2013
Roma 14-15 giugno 2012 4 casa editrice Pontificia Commissione di Archeologia Sacra 9 PRESENTAZION... more Roma 14-15 giugno 2012 4 casa editrice Pontificia Commissione di Archeologia Sacra 9 PRESENTAZIONE La Pontificia Commissione di Archeologia Sacra e il laser La Pontificia Commissione di Archeologia Sacra ha accolto con favore l'invito di Anna Brunetto a partecipare attivamente all'organizzazione della quarta edizione del Convegno Nazionale Applicazioni laser nel restauro, una delle più proficue occasioni di aggiornamento e scambio di esperienze sull'impiego di una sofisticata tecnologia che tante strade ha aperto nel campo del restauro dei Beni Culturali. La conservazione degli ambienti ipogei e, in particolare, delle pitture murali in essi conservati, infatti, si inserisce coerentemente nell'attività della Pontificia Commissione di Archeologia Sacra che, come è noto, fu istituita da papa Pio IX, nel 1852, per un'idea di Giovanni Battista de Rossi, l'archeologo romano che gettò le basi scientifiche dell'archeologia cristiana, studiando e scavando le catacombe romane secondo un moderno metodo topografico, che tiene simultaneamente in considerazione le fonti storiche e i monumenti. Nel 1925 la Commissione fu dichiarata Pontificia dal papa Pio XI e ne vennero particolarmente definite le competenze, ribadite, ancora di recente, nelle convenzioni tra la Santa Sede e lo Stato Italiano, secondo cui: "La Santa Sede conserva la disponibilità delle catacombe cristiane di Roma e delle altre parti del territorio italiano con l'onere conseguente della custodia, della manutenzione, della conservazione (Motu Proprio di Pio XI. Della Pontificia Commissione di Archeologia Sacra e dal nuovo Pontificio Istituto di Archeologia Cristiana, Città del Vaticano 1925; Acta Apostolicae Sedis. Inter Sanctam Sedem et Italiam Conventiones initae diebus 18 febr. et 15 nov. 1984, Città del Vaticano 1985.
European Journal of Science and Theology, 2015
The roman catacombs are the most important early Christian monuments in Rome and they are visited... more The roman catacombs are the most important early Christian monuments in Rome and they are visited by thousands of pilgrims every year. Their underground nature affects their state of conservation and these specific conditions can not be changed without compromising their integrity. The only viable solution would seem to be found a form of sustainable conservation. It is for this reason that in the recent years we have undertaken many and diversified experimentation.
EGU General Assembly 2012, 2012
ARTI MINORI e ARTI MAGGIORI. Relazioni e interazioni tra Tarda Antichità e Alto Medioevo, 2019
Polychromy in Ancient Sculpture and Architecture, 2018
A. Brunetto (ed.), Aplar 5. Applicazioni laser nel restauro, 2017
Atti del Convegno di studi: Nicola Ciavolino a vent’anni dalla scomparsa: il presbitero, lo studioso, l’archeologo, 2016
BARBARA MAZZEI RIASSUNTO -Il contributo ripercorre le vicende conservative del patrimonio pittori... more BARBARA MAZZEI RIASSUNTO -Il contributo ripercorre le vicende conservative del patrimonio pittorico conservato nelle Catacombe di San Gennaro. Le notizie più remote sono state estrapolate dalle note redatte dai primi esploratori delle cavità sotterranee. Con la metà dell'Ottocento e l'avvio delle campagne di scavo archeologico si assiste alla parallela presa di coscienza sulla tutela dei monumenti e ai primi tentavi per arginare i fenomeni di degrado. A partire dagli anni '70 del Novecento un forte impulso fu dato all'attività conservativa parallelamente alla ripresa degli scavi archeologici, voluti da padre Umberto Maria Fasola e supervisionati dal vice ispettore delle Catacombe della Campania don Nicola Ciavolino. Sulla scorta dell'eccezionale rinvenimento della cripta dei vescovi e dei suoi preziosi mosaici furono intraprese diverse campagne conservative per la salvaguardia degli affreschi della catacomba, attività che prosegue fino ai nostri giorni.
Acta XVI Congressvs Internationalis Archaeologiae Christianae, Costantino ei Costantinidi. L'innovazione costantiniana, le sue radici e i suoi sviluppi, 2016
C. Saiz-Jimenez (ed.) The conservation of the subterranean cultural heritage, 2014
All rights reserved. No part of this publication or the information contained herein may be repro... more All rights reserved. No part of this publication or the information contained herein may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, by photocopying, recording or otherwise, without written prior permission from the publisher.
C. Saiz-Jimenez (ed.) The conservation of the subterranean cultural heritage, 2014
All rights reserved. No part of this publication or the information contained herein may be repro... more All rights reserved. No part of this publication or the information contained herein may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, by photocopying, recording or otherwise, without written prior permission from the publisher.
M. Micheli (ed.), 1860-1970. Il restauro archeologico in Italia, Roma, Sala dei Convegni dell’Archivio Centrale dello Stato, 21 marzo 2012., 2015
Soltanto nei giorni scorsi è stato riaperto, dopo una "pausa di riflessione" durata più di un ann... more Soltanto nei giorni scorsi è stato riaperto, dopo una "pausa di riflessione" durata più di un anno, il cantiere di restauro dei frammenti lapidei conservati nel Museo delle catacombe di Pretestato. La ripresa dei lavori dovrebbe condurre alla felice conclusione di una lunga ed impegnativa impresa, avviata nell'ormai lontano 1992 1 con il restauro dei tre più eminenti esemplari della collezione: il sontuoso sarcofago dell'imperatore Balbino 2 , il monumentale sarcofago della caccia 3 e l'elegante sarcofago a vasca con centauri marini e nereidi 4 .
F. Bisconti, M. Braconi (edd.), Incisioni figurate della tarda antichità, 2014
G. Biscontin, G. Driussi (edd.), Proceedings of the International Congress Scienza e Beni Culturali XXIX”, 2013
The cubicle called " dei fornai " is located in the first level of Domitilla Catacombs, in Rome, ... more The cubicle called " dei fornai " is located in the first level of Domitilla Catacombs, in Rome, dated II-III century. The cubicle presents a contradiction in its style: subjects and themes suggest the attribution to a customer belonging to the upper class and having an important position, whilst some utilized expedients were hurried and not well-finished. In order to better shine a light on this nonsense, a diagnostic campaign was carried out, by means of exclusively non invasive methods and techniques. In a first phase of the work, Fiber Optics Reflectance Spectroscopy (FORS) measures were employed in order to investigate barely readable areas, due to carbonate concretion having different thickness and color. Such analyses gave also useful suggestions for the cleaning intervention of the decorative setup. In the second phase of the work, subsequent to the laser cleaning, other non invasive techniques were added to FORS, in order to univocally identify pigments and materials used in mural paintings. Infrared Spectroscopy in total reflection (TR FT-IR), X-ray Fluorescence Spectrometry (XRF), Colorimetric Measures, Digital Microscopy (DM) and Visible Induced Luminescence (VIL) were therefore utilized together with FORS in absolutely not invasive protocols, and brought to unambiguously assign the color palette.
G. Biscontin, G. Driussi (edd.), Proceedings of the International Congress “Scienza e Beni Culturali XXIX “, 2013
The scientific research project HYPOGEA started in 2012 by the Pontifical Commission for Sacred A... more The scientific research project HYPOGEA started in 2012 by the Pontifical Commission for Sacred Archaeology (PCAS), Vatican, and ICVBC-CNR, Florence, aims to understand the processes of calcium carbonate crystallisations that commonly cover the painted and rock naked surfaces in Roman catacombs, and assess the influence exerted by the environmental conditions and their trend changes. Microclimate monitoring of the Cubicle of the Twelve Apostles in the catacombs of Saints Mark, Marcellian and Damasus by means of a sensor network is coupled with periodic surface pattern change detection. The latter is carried out by combining non-invasive techniques (e.g., colorimetric measurements and digital micro-photogrammetry) and laboratory investigations (e.g., thin and cross-section, FT-IR, XRD and ESEM analyses) on samples taken from both ancient surfaces and newly applied frescoes. The first outcomes are providing interesting insights into the operational issues involved in the monitoring of such unusual environments, including for instance the choice of the parameters to take into account, as well as the materials to use for in-situ experimentations (e.g., pigments and methods and time of application). Monitoring is assumed here as a mean towards a long-term preservation plan, with the perspective of a feasible balance between the aspects of conservation and those of promotion of this hypogeum painted heritage.
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Conference Presentations by Barbara Mazzei
The fragments of the fresco with the painted inscription of Apra were recovered and set up on a new support, which returned perfectly legible, allowing us to validate the reading of the chronological elements indicated in it (consulate of Flavius Eusebius), the only pivotal point of the topographical reconstruction of the funerary complex linked to the figure of the martyr Eutizio. In fact, in connection with the Apra inscription is also the funerary mausoleum, whose frontal decoration has undergone general cleaning and consolidation. Here, too, in addition to confirming previous readings, faint chromatic traces add suggestive details that allow us to frame more clearly the derivation of the pictorial complex from models of courtly origin.
The fragments of the fresco with the painted inscription of Apra were recovered and set up on a new support, which returned perfectly legible, allowing us to validate the reading of the chronological elements indicated in it (consulate of Flavius Eusebius), the only pivotal point of the topographical reconstruction of the funerary complex linked to the figure of the martyr Eutizio. In fact, in connection with the Apra inscription is also the funerary mausoleum, whose frontal decoration has undergone general cleaning and consolidation. Here, too, in addition to confirming previous readings, faint chromatic traces add suggestive details that allow us to frame more clearly the derivation of the pictorial complex from models of courtly origin.
Within this project, the Structure-from-Motion (SfM) technique has been applied to the archaeological complex of Priscilla’s Catacombs. SfM is a low-cost and non-destruc- tive methodology which can represent a good alternative to obtain, in a contactless and fast way, 3D information of archaeological finds, especially where areas to be inspected are not easily accessible and when it is not possible to use other instrumentation.
This paper describes the application of the above mentioned technique for three different objectives: the monitoring of a biological attack that affected a surface of the so-called “Greek Chapel”, the virtual fruition of a sarcophagus named “Sarcofago delle Muse” and the structural monitoring of a damaged masonry element.
for each fragment with a database online. A 3D web ap- plication based on software called ISEE allows exploring of the most important pieces of the museum. As an intuitive online interface and easy archaeological description, it can become part of instrument tools of communication and of sharing in the restoration field.