Archeomatica_3_2023

ivista trimestrale, Anno XV - Numero 3 2023 

www.archeomatica.it 

ArcheomaticA 

Cultural Heritage Technologies 

Innovative Solutions 

for Cultural Heritage 

Between architecture 

and Digital Twin 

Leonardo da Vinci’s 

Last Supper 

Digital Narratives 

for CH

Tecnologie 

per le Scienze 

della Terra e del Mare 

Magnetometri 

terrestri 

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per drone 

Leggeri e intuitivi per rilievi 

ambientali e geologici: progetto 

preimpostato, dati visualizzati 

a colori e con il rumore di 

fondo più basso del mercato. 

Rapidi, accurati, acquisiscono dati 

ad altissima risoluzione in acque 

poco o molto profonde. G-882 è 

l’unico certificato per le bonifiche 

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La tecnologia MFAM diminuisce 

di 10 volte dimensioni e consumi 

e mantiene l’altissima risoluzione. 

Codevintec rappresenta anche: 

tel. +39 02 4830.2175 | info@codevintec.it | www.codevintec.it

EDITORIAL 

Museum use 

This issue of Archeomatica is dedicated, in no uncertain terms, to the use of museum heritage, a 

complex topic that has millions of facets, between public and private, not least of which is the 

intercontinental transmigration of cultural contents and, above all, of the narrative language that 

unites them and that separates and distinguishes them. 

The change in focus on the very delicate topic, in almost all countries including the institutional 

level, in 2022 has changed the definition of museum by the international ICOM's body, mainly 

addressing the cultural role of intergenerational communication of the museum. 

It does not mean that the accessibility of the museum and the removal of architectural barriers 

have faded into the background as regards the functional objective of opening and practicability of 

museum containers to the public, which increasingly needs to be increased in terms of frequency, 

being their permanent framework according to the historical world museum organization. 

It means that museums, like libraries, are even more instruments of cultural diffusion which, in 

making use of the audiovisual image and interactivity as a means of communication on an emotional 

level, does not forget the sustainability of the public integration projects advanced and to be 

advance, including the public that once said they were simply less fortunate. 

That is, the integration of sustainability with disability, of any kind, even alphabetic, whatever the 

cost. Tactile and audiovisual values are at the center of the communicative effectiveness of the 

museum complex and of the conservation of the works of art and literature that build the language 

and their transmission to the future: being visitable is the purpose of its collections and being open 

the purpose of its databases. 

For paintings and sculptures to be interpretable, they must not be modified, even when profoundly 

altered, and the Restoration Charters and Risk Maps are still the fundamental communicative tools 

of the artistic sign and writing, even when it has traveled the world, on paper and by cable. The 

meaning intentionally and unintentionally participates in interpretations, even the most equivocal 

identifications throughout the centuries, and the historian like the visitor moves through the 

contradictions of the vast and borderless work on the image, even more so if offered through the 

materials and techniques of art reproduction, now no longer just engraving, photographic and 

cinematographic, but radiographic, infrared, laser scanning, punctiform, holographic and so on 

through which even an expert orients himself as if he were blind in front of a hieroglyph: its its 

meanings have not changed unless the sign has been corrupted, they have increased immeasurably 

in the memory of artificial intelligence and sometimes even distorted and disguised. 

To the point that today it is possible to coherently object to Walter Benjamin and his essay entitled 

'The work of art in the era of its technical reproducibility' that the work of art in itself was born 

and lived in the era of its technical reproducibility and that there has not been an era that has not 

reproduced its samples and masterpieces, as long as sustainability and memory have not become 

in the common language above borders and frontiers synonymous with substitution, if not in the 

digital evanescence of web and viewers. The only tool in terms of prevention and protection from 

the perishability of materials that allows you to imagine the work of art totally as it was in the most 

immersive of uses. 

Buona lettura, 

Francesca Salvemini

SUMMARY 

DOCUMENTATION 

6 Digital narratives 

for education and 

cultural dissemination: 

an application case 

in the Colosseum 

archaeological park 

On the cover a demonstrative image of a 

user using VALUE (Visual Analysis for Localization 

and Understanding of Environments) 

by Noémie Gabay, Dario Di 

Girolamo, Andrea Schiappelli 

12 Between architecture and 

Digital Twin: the 3D survey 

of the Visconti Tower of the 

famous Monza Park 

by Valentina Baratti, Giada Quercia, 

Gianluca Renghini 

follow us on 

Twitter, Facebook e Instagram 

ArcheomaticA 

CULTURAL HERITAGE TECHNOLOGIES 

YEAR XV, N° 3 - 2023 

Archeomatica, quarterly published since 2009, is the 

first Italian magazine for dissemination, promotion and 

exchange of knowledge on technologies for the preservation, 

enhancement and enjoyment of cultural heritage. 

Publishing about technologies for survey and documentation, 

analysis and diagnosis, restoration and maintenance, 

museums and archaeological parks, social networking and 

"smart" peripherals. As a reference point in the field is the 

sharing media for the industry, the professionals, the institutions, 

the academia, including research institutions and 

government agencies. 

Director 

Renzo Carlucci 

dir@archeomatica.it 

Managing Editor 

Michele Fasolo 

michele.fasolo@archeomatica.it 

Editorial board 

Giuseppe Ceraudo, Annalisa Cipriani, Maurizio 

Forte, Bernard Frischer, Giovanni Ettore 

Gigante, Mario Micheli, Stefano Monti, 

Luca Papi, Marco Ramazzotti, 

Antonino Saggio, Francesca Salvemini, 

Rodolfo Maria Strollo 

Editors 

Valerio Carlucci 

valerio.carlucci@archeomatica.it 

redazione@archeomatica.it 

Matteo Serpetti 

matteo.serpetti@archeomatica.it 

Maria Chiara Spezia 

chiaraspiezia@archeomatica.it

CASE STUDY 

16 Leonardo da Vinci’s 

Last Supper: Enhanced 

Uses and New Digital 

Pathways 

by Francesco Gavioli, 

Eleonora Ligas 

COLUMNS 

32 ENTERPRISES 

STATE-OF-THE-ART 

SOLUTIONS 

40 AGORÀ 

News from Heritage world 

42 EVENTS 

20 SyncHolo: Holograms 

in the World of Art 

by paola Rocca, Caterina Rai, 

Camilla di Giacomo 

ADV 

AMOR 24 

CHNT 31 

Codevintec 2 

Esri 30 

MUSEUMS 

26 Innovative Solutions for 

the fruition of 

Cultural Heritage: VALUE 

by Antonino Lopes, Angelo Aiello, 

Gter 10 

Planetek 25 

Stonex 11 

Strumenti Topografici 44 

TechnologyForAll 43 

Teorema 42 

Luca Falzone, Viola Massa 

pubblishied by 

Science & Technology Communication 

Science & Technology Communication 

Marketing and Subcriptions 

Tatiana Iasillo 

t.iasillo@mediageo.it 

MediaGEO soc. coop. 

Via Palestro, 95 

00185 Roma 

tel. 06.64.87.12.09 

fax. 06.62.20.95.10 

www.archeomatica.it 

Graphic Design 

Daniele Carlucci 

daniele@archeomatica.it 

Publisher 

MediaGEO soc. coop. 

Archeomatica è una testata registrata al 

Tribunale di Roma con il numero 395/2009 

del 19 novembre 2009 

ISSN 2037-2485 

Printed by Bona Digital Print Srl 

Signed articles engages only the 

responsibility of the author. It is forbidden 

partial reproduction of the contents of 

this journal in any form and by any means, 

electronic or mechanical, including data storage 

systems and download, without any written 

permission.

DOCUMENTATION 

Digital narratives for education and 

cultural dissemination: an application case 

in the Colosseum archaeological park 

By Noémie Gabay, Dario Di Girolamo, Andrea Schiappelli 

Fig 1 - In the PArCo with Claudius: a path to empowerment. 

In recent years, the demand 

for innovative cultural heritage 

presentation has risen. Cognitive 

barriers pose a challenge in 

connecting cultural sites with 

the public. Storytelling and 

gamification can help overcome 

these barriers, making cultural 

places more inclusive. We'll discuss 

Cultrip's innovative approach, 

focusing on their narrative 

serious game at the Colosseum 

archaeological park (Fig. 1). 

TOWARDS NEW FORMS 

OF CULTURAL NARRATION 

Storytelling, despite the appearance 

of novelty given by the 

term, is a concept perhaps as 

old as humanity itself. In the 

context of past civilizations, 

forms of communication between 

generations were predominantly 

oral, creating a rich heritage 

of stories that, though 

largely forgotten today, finds 

new life in the objects displayed 

in museums, which are intrinsically 

linked to shared places and 

imaginaries. The mission of the 

modern cultural communicator, 

is precisely to attempt to forge 

a link between objects and the 

stories they witness, stories that 

tell of the daily lives of the men 

and women of the past. 

Storytelling can become a powerful 

tool to democratize access 

to culture and knowledge, 

translating complex concepts 

into a more accessible language. 

Additionally, due to the interaction 

guaranteed by digital 

technology, individuals with different 

needs can interact and 

participate appropriately according 

to their motivations and 

cognitive and cultural needs. 

The visitor is no longer limited 

to being a passive listener to 

a story, but becomes an active 

protagonist who now takes 

ownership of the experience. 

Storytelling techniques serve as 

effective psychological levers 

that act on the very depths of 

human psychology. The goal is to 

emotionally engage the visitor, 

not only at an intellectual level, 

but deeply in the most intimate 

sensitivity of knowledge. In this 

way, emotion becomes the vehicle 

for transmitting knowledge 

without ever trivializing the 

cultural content or degrading its 

language. 

There is a mechanism as ancestral 

as storytelling. In the ani- 

6 ArcheomaticA N°3 2023

Cultural Heritage Technology 7 

mal world, puppies learn to survive 

through play, honing their 

physical and cognitive skills. 

Play can be considered a form 

of simulation in a controlled environment, 

which aims to reproduce 

a certain situation, in order 

to provide an opportunity for learning 

through the autonomous 

resolution of a problem. 

The so-called gamification, understood 

as the application of 

game elements and game-design 

principles in non-gaming contexts, 

can be declined, as in our 

case, also in the cultural field. 

Game mechanisms like rewards, 

goals, levels, and challenges, 

motivate people to perform extraordinary 

actions they would 

normally not undertake. The success 

of gamification is rooted in 

motivational elements that, once 

again, draw on intrinsic values of 

the person, such as the desire to 

access social rewards and enhance 

his or her self-esteem. 

The use of storytelling and gamification 

in the cultural context 

is particularly effective 

when directed at children and 

teenagers, as these languages 

are part of their daily lives. Since 

young people associate play 

and storytelling with moments 

of pleasure and enjoyment, it is 

possible to mitigate the aversion 

that some of them might have 

towards what they perceive as 

school activities. 

fusion of the two concepts. Cultrip 

is an initiative mainly aimed 

at children aged 7 to 11, a group 

that shows enormous receptivity 

towards such forms of dissemination, 

as well as curiosity 

and openness to exploring even 

complex scientific and historical 

topics. 

The idea behind Cultrip is inspired 

by the so-called game books 

born in the '80s in the United 

States. In these adventure books, 

the reader took on the role 

of a character within the story 

and, jumping back and forth 

between the pages, made decisions 

that influenced the development 

of the plot. This reference 

is reinterpreted in Cultrip 

to adapt it to the contemporary 

context and the peculiarities of 

the cultural field. Therefore, 

although interactive stories can 

be accessed from smartphones 

or computers, they are closely 

linked to the site itself. The 

virtual journey undertaken by 

the player reflects what could 

physically be done, thus extending 

the interaction between 

the visitor and the site itself. 

This is one of the advantages of 

the digital mode of fruition for 

cultural sites: it accompanies 

the visitor before the visit to 

prepare for discovery and after 

the visit to relive the experience 

from home. 

Another advantage is intense 

sensory involvement thanks to 

auditory and visual immersion, 

as well as increased accessibility. 

In the digital medium, 

the concept of non-linear plot, 

already present in game books, 

expands further. The story fragments 

into narrative nodes where 

the user's choice possibilities 

are potentially infinite, allowing 

a new story to be experienced 

each time. The user becomes 

a co-creator by autonomously 

choosing which branch of the 

story to explore and takes the 

active role of a protagonist in 

the tale. By playing in the first 

person, they trigger that process 

of identification with the characters 

and the ancient world 

that makes the experience so 

powerful and memorable. 

AN INTEGRATED METHODOLOGI- 

CAL APPROACH 

There are many projects in recent 

years that have approached 

cultural communication through 

the concepts of storytelling and 

gamification. This paper will illustrate 

the experience of Cultrip, 

which is remarkable for the 

Fig 2. - Structure of narrative passages with nodes and ramifications.

Time spent by children on digital 

devices is usually perceived 

by adults as of little value, if not 

harmful. However, with the dissemination 

technique described 

above, such time is not wasted 

but is transformed into a means 

of knowledge and development 

of creative imagination. 

Fig 3. - Interactive story map at the palatine and Roman forum on Claudius with narrative arc. 

OPERATIONAL STEPS 

The Cultrip project, prioritizes 

not so much technology, but 

more than anything the value of 

cultural content. A writing methodology 

was developed to create 

compelling and aesthetically 

impactful interactive narratives 

without betraying historical accuracy. 

This method will be briefly 

explained below. 

As a first step, working closely 

with the institutions of the cultural 

site, an initial attempt is 

made to establish a connection 

with the place, to understand its 

needs and, so to speak, capture 

its essence. Together we select a 

possible visit route and consider 

where to place QR codes that 

will allow access to the interactive 

story from different points 

along the itinerary. 

Subsequently, in-depth historical 

research and source study 

is undertaken. The material gathered 

at this stage is subjected 

to critical analysis in order 

to identify a historical event, 

work of art, or theme to serve 

as a background for the future 

narrative. The proposed stories 

are always based on historical 

facts or the material and 

intangible culture of the site. 

This choice might seem like a 

constraint on imagination, but 

in fact constraints can provide 

a coherence that works in favor 

of the project. The more historical 

data are gathered, the more 

the story is enriched with details 

and subplots and becomes both 

vivid and plausible. The creative 

writing stage also assumes a 

key role in filling in the blanks 

resulting from incomplete and 

biased historical sources. In choosing 

the subject of the narrative, 

not only the great characters 

and the best-known events are 

favored, but also the everyday 

vicissitudes of ordinary people 

are considered. In this way, kids 

can feel closer to the people of 

those distant times, identifying 

with their joys and worries. 

We proceed to the creation stage, 

where the narrated story 

enriched with scientific insights 

is written, and, in addition, the 

structure and computer programming 

for the ramifications 

of the story is developed. (Fig. 

2) Finally, to make the experience 

engaging and captivating for 

children, the text is accompanied 

by vivid illustrations inspired 

by the world of graphic novels, 

narrator voices, and sound 

and musical effects, which make 

the entire narrative even more 

vibrant and exciting. This deliberate 

pop art look, with a vibrant 

color palette, plays a major 

role in overcoming the idea 

of boredom and obsolescence 

too often associated by children 

with history. 

THE CASE STUDY: 

THE NARRATIVE SERIOUS 

GAME FOR THE COLOSSEUM 

ARCHAEOLOGICAL PARK 

We now want to bring as a case 

study the experience created 

with the input and collaboration 

of the Education, Didactics and 

Training Service of the Colosseum 

archaeological park. 

This shared project, titled “At 

the PArCo with Claudius: a path 

to empowerment”, aligns with 

the guidelines that the park's 

EDF Service has established over 

time. It follows a strategy focused 

on the development of gamified 

experiences, preferably integrated 

with direct site experiences. 

This approach is considered 

essential for effective learning of 

historical-archaeological content 

and, above all, for providing a 

satisfying emotional and sensory 

experience the ultimate goal of 

initiatives like this. 

The case study consists of an interactive 

story related to a tour 



route that unfolds between the 

Palatine and the Roman Forum 

in which each narrative arc corresponds 

to a place that is emblematic 

in the park and important 

to the narrative. This story is 

enriched by a series of elements 

that make it a real teaching aid 

made available to teachers of 

Italian elementary and secondary 

schools and is usable by LIM (interactive 

whiteboard multimedia). 

It accompanies the child at all 

stages of discovery of the archaeological 

site: at school, with the 

support of teachers; at home, 

independently or in family; and 

finally, during the visit to the archaeological 

park. (Fig. 3). 

Objectives of the project 

The goals that had been foreseen 

were two: first, to gradually 

introduce children to the 

knowledge of the Palatine and 

the Roman Forum through the 

story of Emperor Claudius during 

his childhood. Second, to raise 

children's awareness of socially 

sensitive issues, such as bullying, 

marginalization, and disability, 

experiences Claudius had during 

his youth. These topics become 

an opportunity for dialogue and 

discussion with children about 

the differences and similarities 

between past societies and our 

own, making them empathize 

with the suffering that arises 

from these difficult situations. 

The narrative broadly takes up 

the traditional structure of fairy 

tales as theorized by V. Propp. It 

is a coming-of-age tale in which 

young Claudius manages to overcome 

his fears with the help of 

new friends until he is ready to 

embrace adulthood, symbolized 

by the toga virilis ceremony. 

The player becomes a character 

in the Augustan imperial court, 

talks to historical figures such 

as the emperor Augustus or the 

teacher Verrius Flaccus, and 

explores first-century Rome. 

Through his or her choices, he 

or she must help the young Claudius 

find his lost bulla by facing 

trials that, if mastered, unlock 

several possible endings, a peculiarity 

that promotes the longevity 

and replayability of the 

experience. 

Educational aspects 

The method adopted proves effective 

in the educational context 

through the use of various 

learning mechanisms. In addition 

to students' emotional involvement 

in storytelling, a verification 

system is used to consolidate 

acquired notions and 

foster long-term learning. This 

verification system also provides 

immediate feedback to teachers 

on the degree of students' attention 

and learning. 

At the end of listening to insights 

based on the ministerial 

syllabus that intersperse the 

Fig 4 - Album of stickers and collectible cards. 

narrative, a mini-verification 

game is offered. These quizzes, 

if passed, reward the player 

with collectible cards, another 

cornerstone of the experience. 

These illustrated cards stimulate 

children of that age's natural 

pleasure in collecting, and serve 

as rewards for learning efforts. 

The experience is not only digital, 

but the collectible cards 

are also provided in paper form 

to be pasted on a travel diary 

that serves as a visit guide and a 

scrapbook. The latter adopts the 

graphic language and structure 

of commercially popular sticker 

albums, but instead of soccer 

players, the protagonists are 

Roman emperors, slaves, and artists. 

(Fig. 4) 

CONCLUSION 

The success of the Cultrip 

project, and in particular of the 

application developed for the 

Colosseum archaeological park, 

confirms the potential of digital 

narrative and gamification techniques 

in the field of cultural 

communication. Cultrip's inte-

active story created for the 

Colosseum archaeological 

park represents an example 

of how the new methodologies 

of interactive storytelling 

and gamification can be 

applied with success in museum 

education and cultural 

outreach. 

Thanks to the skillful integration 

of engaging storytelling 

and appealing graphic, the 

project manages not only 

to stimulate the interest of 

children towards the historical 

and artistic heritage 

of Ancient Rome, but also 

effectively conveys cultural 

notions. 

It is time to abandon the idea 

that these types of approaches 

based on storytelling 

and play lead to a degradation 

of the scientific level or 

demean the importance of 

the cultural site. On the contrary, 

the power of stories 

lies in their ability to excite 

and create new audiences 

passionate about history that 

will bring to the museum a 

quality cultural tourism. 

Bibliography 

Bedini S. (2018), Racconto & 

Storytelling. Attualità e forme del 

narrare, Firenze: Franco Cesati Editore 

Bodo S., Mascheroni S., Panigada 

M.G. (2016), a cura di, Un patrimonio 

di storie. La narrazione nei musei, 

una risorsa per la cittadinanza 

culturale, Milano: Mimesis Edizioni 

Bonacini E. (2020), I Musei e le 

forme dello Storytelling digitale, 

Roma: Aracne Editrice 

Bravo G.L (2000), a cura di, Vladimir 

J. Propp. Morfologia della fiaba, 

Torino: Einaudi 

Dal Maso C. (2018), “Introduzione. 

Storytelling: perché”, in Dal Maso 

C., a cura di, Racconti da museo. 

Storytelling d’autore per il museo 

4.0, Bari: Edipuglia, pp. 11-24 

Maraffi S., Sacerdoti F.M. (2018), 

La didattica innovativa: digital gaming 

e storytelling, Limena: Libreria 

Universitaria 

Viola F., Cassone V. (2017), L’arte 

del coinvolgimento. Emozioni e stimoli 

per cambiare il mondo, Milano: 

Hoepli 

Abstract 

The integration of storytelling and 

gamification in cultural communication 

and education offers a powerful 

means to engage audiences 

and make cultural content more 

accessible and enjoyable. The Cultrip 

project exemplifies how these 

methodologies can be successfully 

implemented, providing an interactive 

and educational experience for 

children at the Colosseum archaeological 

park. By embracing innovative 

approaches, cultural institutions 

can foster a deeper appreciation 

and understanding of heritage 

among diverse audiences, ultimately 

contributing to the democratization 

of culture and knowledge. 

Keywords 

storytelling; gamification; cultural dissemination; 

museums; digital; education; 

accessibility; narrative serious games 

Author 

Noémie Gabay 

noemie.gabay@cultrip.it 

architect and co-founder of Duplicart, 

Dario Di Girolamo 

dario.digirolamo@cultrip.it 

architect and co-founder of Duplicart, 

Andrea Schiappelli 

andrea.schiappelli@cultura.gov.it 

Archaeological Officer, Head of the 

Education Didactics and Training Service 

at the Colosseum archaeological park, 



www.stonex.it 

SURVEYING 

THE WORLD 

COME SEE US: 

Hall 27 

Stand A27.27 / A27.28

DOCUMENTATION 

Between architecture and Digital Twin: 

the 3D survey of the Visconti Tower 

of the famous Monza Park 

by Valentina Baratti, Giada Quercia, Gianluca Renghini 

Fig. 1 - Instruments used and data exported. 

In the month of March 2022, as part of a redevelopment project 

of the Visconti Tower, in collaboration with the Villa Reale Park 

Consortium, the topographic, 3D and aerial photogrammetric 

surveys of the Tower were carried out within the walls of the 

Monza Park, famous for the international racetrack and for its 

kilometers of city walls: one of the largest European historic 

parks. The surveys were carried out to obtain an extremely 

detailed, precise and georeferenced 3D model of the building in 

order to produce high-level internal and external elevations and 

floor plans. The result obtained is the digital model of the use of 

different survey tools and techniques integrated together. 

HISTORICAL NOTES OF THE VI- 

SCONTI TOWER OF THE ROYAL 

PALACE OF MONZA 

The Visconti Tower, located inside 

the Royal Gardens of the 

Royal Palace of Monza, was 

conceived and designed in the 

first decade of the nineteenth 

century by Luigi Canonica, who 

was responsible for drawing 

up the entire perimeter of the 

current Monza Park, as can be 

seen from the cadastral map at 

that time. The idea of the tower 

with neo-Gothic shapes, howe- 



ver, found its execution only in 

1822, when Giacomo Tazzini, 

who succeeded Canonica in the 

role of architect of the Royal 

buildings, thought of exploiting 

the ancient rural building of the 

Tuscan vineyard casino to create 

a building “alla gotica” and 

enrich the royal gardens with 

another notable topical piece 

of the romantic garden repertoire: 

the gothic tower and the 

medieval ruin, so popular in the 

classic english gardens of those 

years. In a first draw the main 

elements of the structure are 

sketched, which will only be 

definitively completed in 1824, 

again by Tazzini. The new building, 

composed of a portico, 

a ground room and an upper 

room, is approached by a new 

circular tower about twenty 

meters high: inside a spiral 

staircase leads first to an upper 

gallery and finally to the crenelated 

terrace: a real lookout 

tower at the edge of the gardens 

from which was possible to 

enjoy an innovative and unusual 

point of view of the royal gardens 

and the park itself. 

An engraving by Frederic Lose 

dated 1826 and entitled Le Tour 

dans le jarden, shows the tower 

finally completed and exactly 

how it is nowdays. Therefore it 

can be deduced that the date 

of the end of the works was 

between 1824 and 1826. 

to use numerous topographic 

and aerial photography solutions 

to create, with various 

types of tools and software, 

both the interior and the exterior 

of the detected structure, 

a survey project - from a metric 

point of view - extremely 

detailed and precise, in order 

to obtain the digital twin of the 

cultural asset. 

To do this, the range of Stonex 

laser scanners (X300, X150 and 

XH120) from which orthomosaics 

of the highest quality and 

a reliable survey from a metric 

point of view were obtained. 

Finally, an aerial photogrammetric 

survey of over 230 photos, 

carried out with a DJI drone, 

completed and integrated the 

territorial data with the aerial 

photogrammetric data obtained 

from the Remotely Piloted Aircraft 

System - SAPR. 

Given the peculiarity of the 

structure - from an architectural 

point of view - which presents 

decorations and details of 

various kinds, the use of three 

different types of laser scanners 

proved to be extremely 

appropriate for the case study: 

each laser scanner of the Stonex 

it was used for a specific 

need, enhancing not only the 

properties of the instrument 

but also the possibility of collecting 

every essential detail 

with maximum precision for the 

purposes of digital reproduction 

of the structure. For example, 

the X300 laser scanner from the 

Stonex series, given its range of 

three hundred meters and its 

ability to generate extremely 

dense and precise point clouds, 

it was used to have an overall 

view and to capture details and 

decorations of the tower facades, 

in all its geometric and 

architectural interweavings, on 

F 

ig. 2 - Aeropho 

metric data pr 

in Cube-3d. 

INTEGRATION OF TERRESTRIAL 

AND AEROPHOTOGRAMMETRIC 

DATA FOR THE SURVEY OF THE 

VISCONTI TOWER 

The architectural complexity of 

the structure surveyed, although 

modest in size, and of the 

surrounding space, covered by 

vegetation, made it necessary 

Fig. 2 - Aerophotogrammetric data processed in Cube-3d.

which to integrate more precise 

data coming from other scanners. 

The X150 laser scanner is a light 

and easy to handle tool with a 

minimum range of 20cm and a 

maximum of 150m, particularly 

suitable for capturing portions 

of buildings and detailed elements. 

Multi-line Lidar technology 

and the ability to obtain 

complete coverage of the surrounding 

area allow you to process 

3D models for a wide range 

of applications. 

A perfect tool for quick topographic 

surveys, scans of building 

facades and data collection 

for floor plans. In fact, it was 

widely used to collect digital information 

about the interior of 

the Tower as well as some details 

of the exterior: the point 

clouds generated by the X150 

laser scanner were then colored 

with a 360 HDR camera integrated 

into the instrument itself. 

Finally, the XH120 portable laser 

with SLAM technology proved to 

be a reliable companion for providing 

a precision planimetry of 

the walls and for detecting the 

narrow spaces of the tower. The 

SLAM technology and the data 

derived from the portable laser 

XH120 have made it possible to 

carry out excellent integration 

and registration between the 

point clouds obtained from all 

Fig. 3 - Stonex S990A GNSS Receiver with IMU. 

the laser scanners used, providing 

an overall and integrated 

overview of all digital information 

collected and returned in 

that digital unicum which is its 

natural consequence and definition. 

All the data collected by laser 

scans, whose elaborated and 

processed point clouds constitute 

the digital twin. 

PRECISION GEOREFERENCING 

WITH S990A GNSS RECEIVER AND 

R20 TOTAL STATION 

No topographic survey can - nowadays 

- be carried out without 

precision georeferencing with 

a GNSS receiver and a cuttingedge 

Total Station. The topographic 

positioning was carried 

out with the S990A GNSS receiver 

from the Stonex range in 

harmony with the R20 total station, 

in order to be able to georeference 

all the data collected 

with maximum precision. 

Stonex S990A is an 800-channel 

GNSS receiver characterized 

by an innovative functionality 

that improves the performance 

of field investigations. All GNSS 

signals (GPS, GLONASS, BEIDOU, 

GALILEO, QZSS and IRNSS) are 

included, at no additional cost. 

The new IMU system allows tilt 

measurement (TILT) up to 60°: 

fast initialization, fast and precise 

detection. 

The S990A receiver is equipped 

with: Bluetooth, Wi-Fi, dual frequency 

UHF radio 410-470 MHz 

and 902.4-928 MHz. The needs 

of each country are supported. 

And internal 4G modem that 

works with all signals in the 

world, a fast Internet connection 

is guaranteed.. The internal 

10,200 mAh battery allows it 

to work for 9 hours and can be 

recharged via a Type-C connector. 

The color touch display and 

web user interface are a quick 

and easy way to have complete 

control of the receiver. 

Thanks to the RTK function 

and the Atlas® correction service, 

Stonex S990A is also able 

to work in particularly difficult 

areas. Atlas® provides global 

centimeter correction data via 

L-Band. 

The 1PPS port can be used in 

applications that require precise 

synchronization time to ensure 

multiple instruments work 

together. 

Stonex S990A with IMU system 

makes all measurements reliable, 

both surveying and staking 

work, and makes the acquisition 

of points extremely faster: it is 

possible to save up to 40% of 

work time in the field. 

The S990A GNSS receiver was 

also used to measure the GCPs 

(Ground Control Points) to be 

associated with the aerial photogrammetric 

data. 

Field software at work in data 

collection: stonex cube-a, stonex 

reconstructor and Cube-3D 

The Stonex Cube-a software was 

an excellent ally in field data 

collection thanks to its simple 

and intuitive interface. 

All this data was processed in 

the office in the following days 

using Cube-desk and Cube-3d 



and Stonex Reconstructor software. 

Stonex Reconstructor was used 

for filtering and recording the 

point clouds from Laser Scanner 

while with Cube-3d it was possible 

to create the final project of 

union of all the data collected 

since it is able to read a wide 

range of formats. 

Cube-3d was able to: 

• Manage the complete photogrammetric 

project (photo, 

3D model, orthophoto) 

• Import point cloud data from 

laser scanners (since it can 

handle clouds generated 

from any source) 

• Import and manage topographic 

survey CAD data 

(points, polylines, etc.) 

The final result confirms that 

the integration between TLS 

and SLAM data and from aerophotogrammetric 

survey allows 

to obtain a geometrically reliable 

digital 3D model enriched 

with color data, perfectly functional 

to the needs of the Villa 

Reale Park Consortium. 

CONCLUSIONS 

In recent years, new technologies 

have become precious 

tools for analyzing the state 

of conservation of historic and 

architectural buildings. In this 

sense, it is now widely established 

that geomatic survey 

techniques offer solutions that 

were unthinkable only a few 

years ago for integrated digital 

surveys and the documentation 

Fig. 4 - Stonex Cube-a Field Software. 

of the architectural and artistic 

heritage (point based methods, 

image-based photogrammetry 

and their combination) which, 

unlike a Traditional surveys allow 

you to save time and have 

a high level of accuracy even in 

cramped or poorly maintained 

structures. 

For this reason, laser scanner 

and aerial photogrammetry surveys 

enhanced by GNSS and total 

station positioning systems 

can be used to produce detailed 

and excellently georeferenced 

3D models. 

Abstract 

In collaboration with the Consorzio 

Villa Reale, the topographic, 

3D and aerial photogrammetric 

surveys of the 

Visconti Tower of the Monza 

Park were carried out. The 

surveys were carried out to 

obtain an extremely detailed, 

precise and georeferenced 3D 

model of the building in order 

to produce high-level internal 

and external elevations and 

floor plans and to obtain a digital 

twin of the structure. The 

survey is the result of different 

survey tools and techniques integrated 

together. 

Keywords 

3D survey; GNSS; georeferencing; 

cultural heritage; digital twin 

Author 

Valentina Baratti 

Valentina.baratti@stonex.it 

Giada QuerciaGiada.Quercia@ 

stonex.it 

Gianluca Renghini 

gianluca.renghini@stonex.it

CASE STUDY 

Leonardo da Vinci’s Last Supper: 

Enhanced Uses and New Digital Pathways 

by Francesco Gavioli, Eleonora Ligas 

Fig.1 - Last Supper Interactive project by Franz Fischnaller in the Deep Space 8K 

at the Ars Electronica Center in Linz. 

In recent years, the growing field of digital enhancement of the 

cultural heritage has seen more and more projects dedicated to the 

works and writings of Leonardo da Vinci. Digital Humanities 1 and 

Digital Storytelling 2 projects have been conceived and developed to 

enhance Leonardo’s masterpieces. 

This article offers a survey of some examples of digital 

enhancement of Leonardo da Vinci’s Last Supper where 

Haltadefinizione’s ultra-high definition digital image was 

used. Starting from the digital storytelling project Last Supper 

Interactive, we will examine several instances of uses of these 

images. We will also focus on the ultra-high definition digital 

acquisition process itself. 

LSI - LAST SUPPER INTERACTIVE 

One of the most fascinating recent 

digital storytelling projects 

based on the Last Supper is the 

immersive installation LSI - Last 

Supper Interactive, on exhibit in 

the Deep Space of the Ars Electronica 

Center in Linz. LSI is an 

8K-3D augmented reality project 

that aims to offer a deep understanding 

of the Last Supper and 

the historical and architectural 

context in which this mural painting 

was created. The centerpiece 

of the project is the ultrahigh 

resolution photograph of 

Leonardo da Vinci’s Last Supper, 

a 21-billion pixel image composed 

of 1042 individual frames, 

the result of the digitization 

that Haltadefinizione performed 

in 2010. 

Inside LSI, Franz Fischnaller has 

built the Alberti’s Theorem Virtual 

Tool (ATVT), an interactive 

learning device inspired by the 

perspective rules of Leon Battista 

Alberti. It shows how Leonardo 

applied linear perspective in 

the Last Supper. With this tool, 

you can observe the painting 

from different elevations and 

points of view, even from within 

the pictorial space. It provides a 

unique view of the details and 

positions of the apostles at the 

table. 



The LSI application brings its visitors 

right inside the Last Supper 

for a full view of its narrative 

and symbolism, as well as an understanding 

of Leonardo’s use of 

linear perspective. 

LSI was created in 2019 as a collaboration 

between Haltadefinizione, 

Professor Franz Fischnaller 

and Cineca (Bologna). The 

project was updated this year 

at Linz with the participation 

of the Laboratory of Computer 

Vision and Reverse Engineering 

of the Polytechnic University of 

Milan, which added its 3D digitization 

of the monastic complex 

of Santa Maria delle Grazie, including 

the basilica, the cloister 

and the refectory. 

THE GIGAPIXEL DIGITIZATION 

OF THE LAST SUPPER 

At the center of this immersive 

experience is the ultra-high definition 

‘gigapixel’ image of the 

Last Supper by Leonardo da Vinci. 

In 2007 and 2010, Haltadefinizione 

conducted two ultra-high 

resolution digital photographic 

sessions, in collaboration with 

the Lombardy Regional Museum 

Directorate and the Museum of 

the Last Supper (Museo del Cenacolo 

Vinciano). During photography, 

the Italian State Center 

for Restoration in Rome tested 

Haltadefinizione’s equipment 

and certified that it is in full 

compliance with the current rules 

for the protection of the artistic 

heritage. 

The digital image of the Last 

Supper was for many years the 

largest one ever made. 

Gigapixel images allow you to 

explore the smallest details of 

this masterpiece, and are an 

extraordinary tool for conser- 

Fig. 2 - Digitization project of Leonardo’s Last Supper. 

vators. An ultra-high resolution 

image serves as a benchmark for 

planning any conservation efforts. 

Restorers and specialists 

were able to compare the two 

gigapixel images taken three 

years apart to monitor the evolution 

of the conservation status 

of a masterpiece notoriously 

subject to degradation due to 

Leonardo’s unusual technique 3 . 

Historians of Leonardo have described 

his mixed technique of 

tempera and dry oil on plaster. It 

promised a chromatic intensity 

and a brilliance of the pigments 

that could not have been possible 

in fresco. However, only a 

few years after its completion, 

the technique turned out to be 

vulnerable and began to show 

the first signs of decay. 

Fig. 3 - Leonardo Da Vinci, Last Supper, 1494 - 1498, Dry wall-painting, Basilica di Santa 

Maria delle Grazie – Milan 

© Haltadefinizione Image Bank | On concession of Ministero della cultura - Direzione 

Regionale Musei Lombardia |

INTERACTIVE STORYTELLING 

AND A CLOSER LOOK AT DETAILS 

From the point of view of valorization 

and discovering new 

enhanced uses, the goal of these 

digitization campaigns was to 

make the ultra-high definition 

image available online for free, 

to enable scholars and art lovers 

to admire the Last Supper from 

closer then they could ever see 

with the naked eye. 

Gigapixel images are very large 

files that consist of billions of 

pixels. To manage them online, 

Haltadefinizione uses a Digital 

Asset Management (DAM) software 

application called Coosmo. 

It is designed specifically 

for ultra-high definition digital 

files and other heavy digital 

objects like 3D models. Haltadefinizione 

developed it with the 

support of Memooria, a leading 

company in the supply of software 

and hardware for Digital 

Humanities. 

Using the DAM, specially designed 

for the world of cultural 

heritage, several collaborative 

projects have been made possible 

between Haltadefinizione 

and DRM Lombardia - the Lombardy 

Regional Museum Directorate. 

The software has allowed 

the Last Supper to be made 

available on the website of the 

Last Supper Museum (Museo del 

Cenacolo Vinciano) with descriptions 

that follow the user’s focus 

all the down to the individual 

brush strokes. 

The digital platform is full of 

potential for a deeper user 

experience, with multimedia 

storytelling that can have customizable 

paths. The goal is to 

broaden people’s knowledge of 

the works through this new tool 

that allows you to create real 

virtual guided tours for a deeper 

understanding of digitized masterpieces. 

With this in mind, the online 

viewing tool lets the user create 

interactive narratives based 

on the work. For example, at 

Easter in 2021, Haltadefinizione 

and the Lombardy Regional 

Museums Directorate designed 

a virtual tour that invited art 

lovers and scholars to discover 

details on the Last Supper table 

setting that are almost invisible 

to the naked eye 4 . 

To show its use as a teaching 

tool, there was also a detailed 

study of the iconological meanings 

of the objects seen in the 

table setting for the Last Supper, 

Fig. 4 - Virtual guided tour available on the website of the Cenacolo Vinciano, made 

possible through Coosmo, Digital Asset Management (DAM) software for Cultural Heritage 

developed by Haltadefinizione. 

which made it not only interesting 

to the general public but 

also useful to specialists. 

CONCLUSION 

In conclusion, these projects 

show how new technologies are 

revolutionizing our ways of preserving 

and valuing our cultural 

heritage. The potential offered 

by digital models has brought 

about new ways to make use of 

great works like this one. It has 

also led to an increase in visitor 

traffic to the actual site in Milan. 

These projects for the digital 

enhancement of the Last Supper 

were pioneering examples 

that have led to a long series of 

renovations at one of the most 

visited UNESCO sites in Italy. We 

hope that, along with with the 

project now underway of redesigning 

a more sustainable museum 

5 , the Lombardy Regional 

Museums Directorate will continue 

to invest in the digital enhancement 

of this extraordinary 

site. In this way, they will carry 

on the important work of preservation 

and dissemination of the 

rich cultural heritage of the Last 

Supper around the world. 

HALTADEFINIZIONE SRL AND 

HALTADEFINIZIONE GMBH 

Haltadefinizione is a technology 

company specialized in the protection 

and enhancement of the 

historical and artistic heritage 

through the realization of digitization 

campaigns in ultra-high 

definition, 3D and multispectral 

surveys. 

Thanks to its long experience in 

the field of scanning large-format 

works (frescoes, paintings, 

maps, statues, tapestries, etc.), 

the company plans every digital 

acquisition in accordance with 



the physical conditions and the 

location of the work, ensuring 

excellent results in all conditions 

of photography, without 

ever needing to move the works. 

Haltadefinizione also applied aerophotogrammetric 

survey techniques 

with drones to digitize 

entire buildings and monuments 

of historical and artistic importance. 

In addition to the digital acquisition 

of works of art in ultra-high 

definition, the 

Research and Development department 

also deals with the engineering 

of innovative machines 

for gigapixel and 3D photography 

and for the production of 3D replicas. 

Thanks to the development of 

software for the management 

and use of ultra-high definition 

images, the company offers digital 

storage and preservation 

services for cultural heritage 

through Coosmo, its Digital Asset 

Management service. Specifically 

designed for the management 

of large quantities of digital assets, 

it is compatible with the 

IIIF Image and Presentation API 

and is flexible and adaptable 

to different needs such as protection, 

conservation and open 

source code. 

In November 2022, Haltadefinizione 

opened a branch in 

Germany, to reach out to the 

international market, providing 

its technological expertise and 

exclusive services to museums 

around the world. The objective, 

also at the European level, 

remains the protection and enhancement 

of cultural institutions 

and the promotion and 

dissemination of our cultural heritage 

through digital transformation 

projects. 

Endnotes 

1 A notable example that combines the digitization of Leonardo's 

writings and their publication within an innovative model of a 

digital library is the project Leonardo//Thek@-Codex Atlanticus, 

curated by the Galileo Museum in Florence, cf. Galluzzi, P. (2022) 

Leonardo//thek@ 1.0: a digital infrastructure to avoid being 

shipwrecked in the ocean of data of the Codex Atlanticus, in Galluzzi 

P., Nova A. (ed. by) Decoding Leonardo's codices: Compilation, 

dispersal, and reproduction technologies, Venezia: Marsilio. 

Regarding the extended bibliography on Digital Humanities, see 

Tomasi F. (2022) Organizzare la conoscenza: digital humanities 

e web semantico: un percorso tra archivi, biblioteche e musei, 

Milano: Editrice bibliografica, Previtali G. (2022) Che cosa sono le 

digital humanities, Carocci, Roma, Ciotti F. (ed. by) (2023) Digital 

Humanities: Metodi, strumenti, saperi, Roma: Carocci. 

2 Regarding digital storytelling projects related to Leonardo's 

works, see Marani P. C., Apollonio F. I., Gaiani M., Barsanti R. 

(2022) Dentro i disegni: tecnologie virtuali per la fruizione dell’opera 

grafica di Leonardo da Vinci, in Costa S., Cordera P., Poulot 

D. (ed. by) Storytelling. Esperienze e comunicazione del Cultural 

Heritage, Bologna: Bologna University Press. 

3 Measures were undertaken to address the fragility of the artwork 

during the most recent extensive restoration intervention, 

cf. Brambilla Barcilon P., Il restauro, in Brambilla Barcilon P., Marani 

P. C. (1999) Leonardo. L'Ultima Cena, Milano: Electa. 

4 The virtual tour is available on the website of the Cenacolo Vinciano 

at the following link: https://cenacolovinciano.org/ultimacena-percorso-halta/ 

5 Regarding the transformation project for the visitors’ itinerary 

at the physical site, please refer to https://cenacolovinciano. 

org/en/news-ed-eventi/new-visitors-itinerary-and-new-spacesat-the-museum-of-leonardos-last-supper/ 

Bibliography 

Brambilla Barcilon P., Marani P. C. (1999) Leonardo. L'Ultima 

Cena, Milano: Electa. 

Ciotti F. (ed. by) (2023) Digital Humanities: Metodi, strumenti, 

saperi, Roma: Carocci. 

Costa S., Cordera P., Poulot D. (ed. by) (2022) Storytelling. 

Esperienze e comunicazione del Cultural Heritage, Bologna: 

Bologna University Press. 

Galluzzi P. (2022) Leonardo//thek@ 1.0: a digital infrastructure 

to avoid being shipwrecked in the ocean of data of the 

Codex Atlanticus, in Galluzzi P., Nova A. (ed. by), Decoding 

Leonardo's codices: Compilation, dispersal, and reproduction 

technologies, Venezia: Marsilio. 

Marani P. C., Apollonio F. I., Gaiani M., Barsanti R. (2022) Dentro 

i disegni: tecnologie virtuali per la fruizione dell’opera 

grafica di Leonardo da Vinci, in 

Costa S., Cordera P., Poulot D. (ed. by) Storytelling. Esperienze 

e comunicazione del Cultural Heritage, Bologna: Bologna 

University Press. 

Occhipinti C. (2020) Cloni di Leonardo: scritti su arte, umanesimo 

e tecnologia, Roma: Dei Merangoli. 

Previtali G. (2022) Che cosa sono le digital humanities, Roma: 

Carocci. 

Tomasi F. (2022) Organizzare la conoscenza: digital humanities 

e web semantico: un percorso tra archivi, biblioteche e musei, 

Milano: Editrice bibliografica. 

Website Bibliography 

https://www.openculture.com/2017/07/leonardo-da-vincisvisionary-notebooks-now-online-browse-570-digitized-pages.html 

https://www.openculture.com/2018/08/leonardo-da-vincis-earliest-notebooks-now-digitized-and-made-free-online. 

html#google_vignette 

https://www.openculture.com/2019/05/a-complete-digitization-of-leonardo-da-vincis-codex-atlanticus.html 

http://codex-atlanticus.ambrosiana.it 

https://scholarworks.iu.edu/journals/index.php/sdh/article/ 

view/27719/35525 

https://franz-fischnaller.com/last-supper-interactive-by-franzfischnaller/ 

Abstract 

The article aims to explore recent opportunities for the digital 

enhancement of Leonardo da Vinci's Last Supper made possible 

through the gigapixel image acquired by Haltadefinizione. The 

analysis begins with an analysis of the immersive project LSI 

- Last Supper Interactive, recently presented at the Ars Electronica 

Center in Linz. Subsequently, it explores collaborations 

between Haltadefinizione and the Museo del Cenacolo Vinciano, 

which have revolutionized online accessibility to the masterpiece 

through engaging paths of interactive storytelling. 

Keywords 

Digitization; Gigapixel; Enhancement of cultural heritage; 

Conservation; Leonardo da Vinci 

Author 

Francesco Gavioli, Digital Humanities Specialist, 

Haltadefinizione 

francesco.gavioli@haltadefinizione.com 

Eleonora Ligas, Art Historian, Haltadefinizione 

eleonora.ligas@haltadefinizione.com

CASE STUDY 

SyncHolo: Holograms 

in the World of Art 

by Paola Rocca, Caterina Rai, Camilla di Giacomo 

The use of holograms 

in exhibition design 

and the new frontier of 

inclusive communication 

to the public: how 

holograms enrich the 

cultural experience and 

how digital technology 

synthesizes the analog 

into experiences that 

amplify the perception of 

art and its meaning. 

When introduced to the topic of holograms for the 

first time, one's mind may wander to a diverse archive 

of pop culture and science fiction, transporting 

us to the distant worlds of Star Wars or Star Trek, or to the 

advertisements from Back to the Future. At first glance, holograms 

appear as nothing more than a fantasy, a glimpse into 

a technology seemingly too advanced for our time. However, 

enthusiasts know that the era of holograms has begun, and 

we are already engaged in an ongoing technological pursuit. 

Experts in the field are aware that technology's evolution has 

impressively expanded the horizons of hologram applications. 

HOLOGRAMS: BACK TO BASICS 

Holograms are 3D images achievable through a variety of 

technologies that differ in type and use. From holographic 

smoke to Pepper's Ghost projectors, which suffer from complex 

setup limitations and sensitivity to space and lighting 



conditions. There are also pyramid 

systems, holographic screens, 

semi-transparent OLED 

screens, and rotating mirrors, 

all constrained by their inherently 

limited scale. One of the 

most established technologies, 

however, relies on one or more 

LED projection blades to create 

a floating image with remarkable 

detail and exponential size 

potential. The end result is a high-quality 

image, up to 4k resolution, 

projected using technology 

that enhances its impact 

through animations and previously 

unseen visual effects. 

3D HOLOGRAPHIC PROJECTION 

AND ITS DISRUPTIVE EFFECT ON 

THE MARKET 

SyncHolo has embraced the 

concept of holography, providing 

solutions based on 3D holographic 

projection devices tailored 

to various market sectors. 

It enhances the perception of 

products and displayed items, 

amplifying the overall perceptual 

experience. Developed by 

Sync Lab, a leading company in 

advanced software solutions and 

technological consulting, dedicated 

to an ongoing process of 

value-driven design and implementation, 

SyncHolo is an innovative 

solution centered around 

3D technology. It was born in 

2019 within the Research and 

Development laboratory at the 

ComoNExT Innovation Hub and 

emerged as a key player in the 

technological evolution, using 

holograms to communicate 

high-impact content and open 

up to an ever-expanding range 

of market sectors, positioning 

itself as a major market player 

during the pandemic. 

THE HOLOGRAM CONCEPT 

IN DIFFERENT CONTEXTS 

Holograms break through the 

fourth wall of language, introducing 

innovative and unconventional 

approaches to threedimensional 

communication. 

They revolutionize the content 

consumption system, becoming 

increasingly disruptive not only 

in digitally-oriented fields like 

retail and commerce but also in 

museums, fashion, luxury, and 

major events. 

A 3D hologram system, achieved 

through one or more LED 

projection blades, creates a holographic 

image that seems to 

float in space, reaching significant 

dimensions and captivating 

attention far more effectively 

than most other media. Today, 

this technology represents the 

bridging of the digital-analog 

gap, achieving a complete synthesis. 

BEAUTIFUL AND SIMPLE 

In a world where "complex" is 

often equated with "complicated," 

SyncHolo distinguishes itself 

with its straightforward and

unobtrusive configurations and 

installations that seamlessly 

integrate with exhibition spaces. 

Requiring minimal space, 

it can be wall-mounted, placed 

on a pedestal, or positioned 

inside showcases and display 

windows, allowing observation 

from any angle or distance. Easily 

transportable compared to 

first-generation holographic displays, 

it is designed with a promotional 

strategy that connects 

with consumers innovatively, interactively, 

and engagingly. 

SyncHolo and the World of Art: 

Redefining Inclusive Communication 

in Museums and Exhibitions 

SyncHolo represents the 

new frontier of open communication 

with the public within 

the museum and exhibition environment, 

harnessing the visual 

power of holograms to enhance 

content within museums 

and offer visitors unforgettable 

experiences. 

Leveraging 3D technology to 

promote culture, enabling a 

more profound understanding 

of artworks and their meanings 

through dynamic and faithful 

reproductions, is a fundamental 

element of contemporary 

exhibition design. Enriching 

exhibition spaces with historical 

figures, monuments, and 

artworks is now possible, whether 

in museums, art galleries, 

archaeological sites, churches, 

or basilicas. Visitors can immediately 

connect with history and 

art, transforming a visit into a 

highly engaging and animated 

experience. 

The ability to transcend the 

two-dimensionality of images, 

reproduce sculptures in their 

original form, and replace missing 

artworks by making them 

three-dimensional are just a 

few of the operational areas in 

which SyncHolo enhances the 

experiential impact of the art 

world. Its cross-disciplinary expertise 

has promoted innovation 

and historical reconstruction in 

cultural contexts, making them 

more accessible to an increasingly 

diverse audience across various 

levels of information and 

curiosity. 

Unlike other holographic 

projection solutions, SyncHolo's 

LED-based technology is not affected 

by ambient lighting conditions 

and, thanks to advanced 

graphic rendering capabilities, 

can replicate artworks in their 

natural lighting. As a result, it 

performs exceptionally well in 

outdoor environments, even offering 

waterproof options. 

THE PERFORMANCE 

What distinguishes SyncHolo is 

its scalable solution, which allows 

the creation of customized 

reproductions for the museum 

space, from small fan displays 

to potential wall installations 

that offer complete coverage. 

This technology is also incredibly 

versatile, providing realtime 

and interactive solutions. 

Museums where Dante recites 

the Divine Comedy, interactive 

artwork that answers questions 

and tells its story, and educational 

projects in school and academic 

environments have limitless 

possibilities. 

THE KEY ELEMENTS OF THIS IN- 

DEPTH EXPERTISE 

Designing a realistic and highperformance 

product requires 

advanced skills. The SyncHolo 

development team consists of 



3D artists with a conceptually 

versatile approach, ensuring 

full alignment with requests and 

contexts, with specialized expertise 

in rendering and 3D modeling. 

Their work results in video 

productions that go beyond 

the "wow factor," generating holograms 

that faithfully reproduce 

all the details of the subject, 

enhancing the user's emotional 

and cognitive experience. With 

support from industry-leading 

software and advanced technology, 

the solution combines video 

creation and development 

with the mechanics of blade-based 

LED technology, using testing 

and visual optimization to create 

immersive 3D experiences that 

get users into their magic. 

EXPANDING HORIZONS 

THROUGH HOLOGRAPHIC ART 

The impact of SyncHolo reaches 

far beyond the world of 

art and culture. As this cuttingedge 

technology gains momentum, 

its influence extends to 

various sectors, including entertainment 

and marketing. 

The entertainment industry is 

already exploring the immense 

potential of holographic performances: 

with SyncHolo, artists 

can create mesmerizing, threedimensional 

spectacles that 

transport audiences to entirely 

new realms of creativity. Whether 

it's a live concert, theater 

production, or a virtual presence 

at events, this technology 

opens doors to uncharted territories 

in entertainment. 

Marketing and advertising are 

another arena where SyncHolo's 

holographic prowess can't 

be overlooked. Imagine walking 

down a shopping street and 

being greeted by virtual brand 

ambassadors and interactive 

product showcases: SyncHolo 

enables advertisers to engage 

consumers in ways that were 

once reserved for sci-fi fantasies. 

It's a paradigm shift that 

disrupts traditional advertising 

methods and captivates consumers 

with innovative and memorable 

experiences. 

THE POWER OF CONNECTION 

In an age where the digital landscape 

constantly evolves, SyncHolo 

stands as a testament to 

the power of technology to create 

connections. It transcends 

the boundaries of physical space, 

allowing people to interact 

with art, history, education, 

entertainment, and marketing 

in profoundly engaging ways. As 

SyncHolo continues to push the 

boundaries of what holographic 

technology can achieve, it redefines 

our relationship with 

the world around us. In this new 

era of holographic art and immersive 

experiences, the possibilities 

are limitless, and the 

future is brimming with exciting 

prospects. 

SHAPING THE FUTURE OF 

ART AND CULTURE WITH 

HOLOGRAMS 

The fusion of technology and 

creativity that SyncHolo represents 

is not just a testament to 

innovation but also a reflection 

of our evolving cultural landscape. 

As society continues to 

adapt to the digital age, the lines 

between physical and virtual 

experiences blur. SyncHolo's role 

in bridging this gap demonstrates 

the importance of staying at 

the forefront of technological 

advancements while preserving 

the authenticity of art and culture. 

It underscores the capacity 

of technology to enhance our 

understanding and appreciation 

of the world, ushering in a new 

era where art and culture can 

be shared, celebrated, and cherished 

in ways we never before 

imagined. With SyncHolo leading 

the way, the future of holograms 

in art and beyond holds 

the promise of uncharted horizons, 

where imagination knows 

no bounds. 

Abstract 

The use of holograms in exhibition 

design and the new frontier 

of inclusive communication to the 

public: how holograms enrich the 

cultural experience and how digital 

technology synthesizes the 

analog into experiences that amplify 

the perception of art and its 

meaning. 

When introduced to the topic 

of holograms for the first time, 

one's mind may wander to a diverse 

archive of pop culture and 

science fiction, transporting us to 

the distant worlds of Star Wars 

or Star Trek, or to the advertisements 

from Back to the Future. 

At first glance, holograms appear 

as nothing more than a fantasy, 

a glimpse into a technology seemingly 

too advanced for our time. 

However, enthusiasts know that 

the era of holograms has begun, 

and we are already engaged in an 

ongoing technological pursuit. Experts 

in the field are aware that 

technology's evolution has impressively 

expanded the horizons of 

hologram applications. 

Keywords 

Holograms; cultural heritage; digital 

technologies; museums; art 

Author 

Paolo Rocca 

paolo.rocca@synclab.it 

Caterina Rai 

caterina.rai@synclab.it 

Camilla di Giacomo 

camilla.digiacomo@synclab.it

MUSUEMS 

Innovative solutions for the 

fruition of Cultural Heritage: 

VALUE 

By Antonino Lopes, Angelo Aiello, Luca Falzone, Viola Massa 

Digital evolution leads to 

important changes on the ways 

cultural services are offered 

and on the visitor’s role who, 

in certain cases, has the 

possibility to interact firsthand 

with the artwork. 

The VALUE solution offers an 

innovative method of cultural 

enjoyment based on Mixed 

Reality technologies which turn 

the visit into an immersive and 

Fig.1 - Demonstrative image of a user using VALUE. 

emotional experience. 

The digital revolution has 

contributed to radically 

change the supply of 

goods and services across all 

market sectors. The spread of 

technological innovations has 

also brought substantial changes 

within the Cultural Heritage 

sector, improving the experience 

offered to the public. 

Today’s new technologies allow 

the implementation of innovative 

solutions capable not only 

of engaging users in a direct and 

stimulating way, but also of offering 

the artistic product in a 

completely different mode. 

Just think of the possibilities offered 

by the so-called eXtended 

Reality (XR) which allows entire 

environments or individual works 

to be recreated in their original 

state even in those cases 

where the assets are not physically 

observable or accessible. 

Innovative solutions are not only 

limited to improving the visit experience 

but are a valid tool for 

breaking down social barriers; in 

fact, thanks to these technologies, 

it’s now possible to allow 

even users with disabilities to 

get complete tours. 

Within this context, VALUE (Visual 

Analysis for Localization and 

Understanding of Environments) 

is born, an innovative project 

that revolutionizes the visiting 

experience within museum spaces 

using specific technologies 

and digital tools. The service can 

be used by means of wearable 

devices (for example Microsoft 

HoloLens 2). On these devices, 

information content is presented 

in Mixed Reality, multimedia 

elements superimposed on the 

surrounding reality that allow 



the user to live a unique and 

engaging experience. 

Through VALUE it’s possible to 

imagine interaction scenarios 

with monuments, archaeological 

finds and works of art 

virtually reproduced and visible 

through augmented reality 

headsets. 

VALUE is also configured as 

a valid tool for analysing the 

preferences and degree of 

satisfaction of a visitor for 

benefiting the museum structure. 

To this aim, the system 

is able to anonymously collect 

data on the visiting preferences, 

implicitly expressed by 

the visitor through his stay in 

some rooms or in the intensive 

viewing of some works. 

This provides the managing 

body with statistical analyses 

to improve the organization of 

its cultural site (use of spaces, 

distribution of service staff, 

etc.), and, at the same time, 

improve the experience offered 

to the visitor. 

From the analysis of the observed 

works, the system will autonomously 

identify visitors' 

preferences and will be able 

to offer "cultural recommendations" 

on other works on the 

same site that may be of interest 

and will provide proposals 

(commercial suggestions) 

for the purchase of objects, 

souvenirs, books and so on, 

available in the museum bookshop. 

The development and testing 

phases of VALUE were conducted 

by examining the painting 

Annunciation by Antonello 

da Messina. The work carried 

out has made it possible to 

offer the visitor not only the 

Fig.2 - Annunciazione (by Antonello da Messina), oil on panel 180x180 cm, located at 

Palazzo Bellomo in Syracuse. 

Fig.3 - Demonstrative image of a visitor using the VALUE solution to access detailed information 

regarding the capital present in the Annunciation painting by Antonello da Messina.

ight colors of the foreground 

of the painting, a detail of Flemish 

inspiration and testimony 

to the influence of Jan van Eyck, 

a Flemish artist known by Antonello 

da Messina in Naples during 

his training (Bove, 2018). 

Fig.4 - Avatar of Antonello da Messina created for the VALUE solution. By wearing the 

viewers, users can interact with the hologram and listen to information and descriptions 

of the painting directly from the artist of the artwork. 

opportunity to appreciate the 

peculiarities of the painting in 

detail, with a fine analysis of 

the artwork’s, but also to listen 

to the descriptions narrated by 

an exceptional guide, the author 

himself, Antonello da Messina, 

reproduced in “flesh and blood” 

in a digital version thanks to virtual 

reality. Once the smart glasses 

are worn, the user will be 

able to interact with the author's 

avatar and with the surrounding 

environment and discover information 

and details about the 

painting in an innovative way. 

The VALUE project has been developed 

with funds from Regione 

Sicilia via the PO FESR 2014/2020 

– Line 1.1.5. – initiative (Support 

for the technological advancement 

of companies through the 

financing of pilot lines and early 

product validation actions and 

large-scale demonstrations). 

CASE STUDY 

L'Annunciazione (Annunciation) 

by Antonello da Messina is an oil 

on wooden panel painting dated 

1474 and exhibited in the Regional 

Gallery of Palazzo Bellomo in 

Syracuse. Commissioned by the 

priest Giuliano Manjuni of Palazzolo 

Acreide (Bove, 2018), news 

of the work was lost until 1897 

when it was rediscovered by Enrico 

Mauceri. 

The scene represents the moment 

of the annunciation inside 

a room full of details, some of 

which were lost following the 

traumatic transfer from the panel 

to the canvas, an operation 

necessary due to the poor conditions 

of the wooden support 

(La Mendola, s.d.). The humidity 

has in fact led to significant deterioration 

which has subjected 

the representation to various 

restorations over time, essential 

to prevent further damage. The 

protagonists of the depiction are 

the archangel Gabriel on the left 

and the virgin Mary on the right. 

Great attention to architectural 

details such as the ceiling beams 

and details of the false ceiling. 

In the background of the windows 

that justify the light and 

TECHNOLOGIES 

VALUE's great innovation is represented 

by Mixed Reality 

(MR). Through the wearable 

device, the visitor can observe 

virtual objects superimposed on 

the surrounding reality and interact 

with them, experiencing 

a unique and engaging experience. 

MR applications integrate 

holograms, virtual elements 

extremely similar to tangible 

physical objects, into the real 

environment. Holograms can be 

defined as virtual objects composed 

of light and sound (Coulter, 

et al., 2023). 

To guarantee a 360° immersive 

experience, therefore, the positioning 

of these virtual objects 

must be carried out with great 

precision and verisimilitude. The 

mechanism that allows you to 

draw a hologram and position it 

in a specific area with respect to 

the environment is called holographic 

rendering . 

The technologies developed in 

VALUE, the studies of the painting 

and the historical period of 

its creation, made it possible 

to conduct a peculiar analysis 

which led to the creation of a 

hologram of the artist Antonello 

da Messina. Once the smart glasses 

are worn, the avatar guides 

the visitor to discover the painting, 

the details, the curiosities 

and the history that has brought 

the painting up to the present 

day. 



The device adopted for the development 

of the solution was 

Microsoft HoloLens 2, a viewer 

that can be considered a holographic 

computer capable of integrating 

the virtual world with 

the real world. 

One of the characteristics of 

the device is precisely the ability 

to start spatial mapping processes 

that allow you to obtain 

an analysis of real surfaces and 

thus position holograms and 

contextualized virtual objects 

within the identified areas. 

Key principles for hologram control 

include Position, Occlusion 

and Physics. 

Position - By applying the principle 

of position it becomes possible 

to delineate suitable and unsuitable 

areas for the positioning 

of holograms. 

Occlusion – Occlusion is the 

aspect that profoundly affects 

the user's perception, convincing 

him of the effective integration 

of holograms into the real world. 

Physics – Applying this principle 

makes the user experience even 

more realistic. For example, by 

applying the laws of gravity to a 

falling hologram, the sensation 

perceived by the user will be 

even more integrated and harmonious 

compared to the real 

environment. 

The VALUE solution is the result 

of the implementation of multiple 

technologies which combined, 

offer a product of cultural 

enjoyment with a great emotional 

impact. The technologies 

contained in the solution can be 

summarized as follows: 

4Computer Vision: Recognition 

of observed environments and 

objects. 

4Machine Learning: Data 

Fig. 5 - Demonstration event open to the public of the VALUE solution, Wednesday 31 May 

2023 at Palazzo di Bellomo in Syracuse. 

analysis for improving recognition 

algorithms. 

4Behavioral Analysis: Identification 

of user paths and preferences. 

4Eye Tracking: Use of eye tracking 

to identify the details of 

a work observed by the user. 

4Speech Recognition: Interaction 

with a conversational 

agent using natural language. 

DEVELOPMENTS 

AND APPLICATIONS 

In a context in which the visitor 

is the main actor of the visit experience, 

technology becomes 

the fundamental means through 

which to optimize the use of a 

service. 

Even though visitors show more 

and more consensus regarding 

the possibility of enjoying a cultural 

asset through innovative 

systems, in Italy the entities that 

adopt new technologies are not 

only still few, but in most cases, 

they marginally integrate new 

technologies into their offer, not 

adopting complete solutions like 

those described above. 

Computer Vision is in fact one of 

the most promising technologies, 

especially within market sectors 

that offer services with a high 

emotional impact (Redazione 

Osservatori Digital Innovation, 

2023). Thanks to technology, the 

museum structure improves the 

quality of what is offered to the 

public, providing more dynamic 

and complete information, capable 

of bringing the public closer 

to the artwork and providing 

information that will be remembered 

more over time. 

In its testing phases with the 

public, the VALUE solution aroused 

strong interest among the 

majority of visitors sample. In 

particular, the public was more 

attracted to the solution and the 

possibility of being able to access 

historical-cultural contents

through a different methodology. 

Following the visit experience, 

almost all of the sample 

was fully satisfied and declared 

that they had learned more information 

than they would have 

done with traditional audio guides. 

The solution developed to date 

is scalable, customizable, usable 

both from wearable devices 

and from Smartphones and Tablets 

and considering the cultural 

heritage sector, the application 

possibilities are numerous. 

Regardless of the nature of the 

cultural asset considered, in 

fact, the technology developed 

in VALUE finds great application 

in this sector. Interactive tours, 

characters that come to life, 

time travel, instant sharing and 

personalized experiences are 

just a few examples of how the 

solution can be implemented in 

different scenarios. 

Bibliography 

Bove, L. (2018, novembre 5). L’Annunciazione 

di Antonello da Messina, un capolavoro 

nato a Palazzolo. Tratto da https://palazzoloacreide.italiani.it: 

https://palazzoloacreide.italiani.it/annunciazione-di-antonelloda-messina/ 

Coulter, D., Ferrone, H., Mollis, A., Narva, 

N., Sherer, T., Tieto, V., . . . v-chmccl. (2023, 

luglio 12). Che cos'è un ologramma? Tratto 

da https://learn.microsoft.com: https:// 

learn.microsoft.com/it-it/windows/mixedreality/discover/hologram 

La Mendola, D. O. (s.d.). La vicenda dell’Annunciazione 

di Antonello da Messina. Tratto 

da https://www.rivistasegno.eu: https:// 

www.rivistasegno.eu/la-vicenda-dellannunciazione-di-antonello-da-messina/ 

Redazione Osservatori Digital Innovation. 

(2023, aprile 10). Computer Vision: definizione, 

funzionamento e applicazioni. Tratto 

da https://blog.osservatori.net: https:// 

blog.osservatori.net/it_it/computer-visiondefinizione-applicazioni 

Tieto, V., Turner, A., & v-chmccl. (2023, luglio 

12). Panoramica del rendering olografico. 

Tratto da https://learn.microsoft.com: 

https://learn.microsoft.com/it-it/windows/ 

mixed-reality/develop/advanced-concepts/ 

rendering-overview 

Abstract 

The digital revolution has helped to 

radically change perspective in the 

provisioning of goods and services in all 

market sectors. In the CH business, people 

visit's approach has substantially 

changed, with the introduction of new 

enabling technology, i.e., Artificial Intelligence 

and related technologies like 

Computer Vision, Machine Learning, 

eXstended Reality, etc. The digital evolution, 

by modifying the process of providing 

the cultural services, determines 

important changes both in the ways of 

using the asset and in the role of the 

visitor, who more often has the possibility 

of interacting firsthand with the 

cultural artworks. 

The VALUE project provides a different 

cultural fruition method, based on the 

use of mixed reality technologies capable 

of making the visit a unique emotional 

experience. 

Keywords 

Mixed reality; Machine learning; Augmented 

Reality; Cultural Heritage; Computer Vision. 

Author 

Antonino Lopes 

Angelo Aiello 

Luca Falzone 

Viola Massa 

info@xeniaprogetti.it 

Xenia Progetti S.r.l. 


CHNT28 


Conference on Cultural Heritage and New Technologies 

November, 15 - 17 2023 | Vienna, Austria 

Cultural Heritage as a Resource 

Technologies for the Paradigm Shift in Archaeology, Conservation and Education 

Call for Papers: April 15 to June 30 

Notification: from July 14 

Early Bird Tickets: until October 18 

The association CHNT-ICOMOS Austria was founded 

in early 2021 to organise the annual Conference 

on Cultural Heritage and New Technologies. It is 

a sister association of the Austrian National Committee 

of the International Council on Monuments 

and Sites (ICOMOS). The association has around 20 

members who contribute to the continuous 

development of the conference and participate 

intensively in the preparations. 

The City of Vienna (Department 7 – Cultural 

Affairs) is the association’s cooperation partner and 

is hosting the event in the Vienna City Hall. 

CHNT28: November 15 - 17 

CHNT provides a platform for exchanging views on 

the Cultural Heritage protection agenda and enables 

discussions among colleagues from a wide 

range of disciplines. During the conference the 

latest approaches to the research, management 

and monitoring of world heritage sites, cultural 

assets and archaeological monuments will be 

presented. The focus is primarily on interdisciplinary 

cooperation between experts with a strong 

interest in the application of new 

technologies in the field of cultural heritage. 

This year at CHNT we will be looking at how to 

change the way we perceive and handle upcoming 

challenges and crises while focusing on archaeology 

and cultural heritage as a resource. 

CALL FOR PAPERS 

The CHNT Committee invites you to submit a contribution 

in the form of a long abstract that relate to 

a specific session (lecture of max. 20 minutes) or 

round table (short talks of about 5 to 10 minutes). 

In addition, you can participate in various panels 

and workshops. 

Please find further information online: 

www.chnt.at/call-for-papers 

Presenters and session chairs who participated in 

CHNT 28 have the possibility to publish their contributions 

in the proceedings of the conference. 

The Call is open from April 15 to June 30, 2023! 

„We believe that technology can make a difference and help to protect, 

research and valorize Cultural Heritage in a sustainable way 

and to thereby preserve it for the next generation.“ 

CHNT-ICOMOS Austria • Karlsplatz 13, 1040 Vienna • www.chnt.at • info@chnt.at

ENTERPRISES 

exercises will also take place 

with Autodesk ReCap, a particularly 

powerful low cost product, 

and the most recent tools 

developed within SfM Agisoft 

Metashape for terrain classification, 

the integration of Laser 

Scanner point clouds in the 

same software environment as 

Metashape. The procedures for 

filtering vegetation from laser 

scanner, aerophotogrammetric 

and LiDAR data will also be described 

through the Open Source 

tool FUSION - United States Department 

of Agriculture. 

A TRAINING COURSE DEDI- 

CATED TO DIGITAL PHOTO- 

GRAMMETRY AND THREE-DI- 

MENSIONAL SURVEYING: RE- 

GISTRATIONS OPEN FOR "3D 

SURVEYING AND POINT CLOUD 

MANAGEMENT" BASIC AND 

ADVANCED MODULES 

A highly professional training 

course, for years a point of 

reference for teaching technique 

and effectiveness, that 

TerreLogiche Training has built 

for those who want to expand 

their knowledge in the field of 

digital photogrammetry and three-dimensional 

surveying. The 

basic course "3D photogrammetric 

survey and point cloud management" 

will be held on 20, 

21 and 22 November, while the 

advanced module "3D survey 

and point cloud management" 

is scheduled for 23, 24 and 25 

January 2024 . 

The objective of the basic 

course is to convey the knowledge 

necessary to design and im- 

plement a photogrammetric 

survey campaign, manage the 

data and extract orthophotos, 

sections and textured models. 

Thanks to the advanced module 

you will be able to manage 

datasets coming from threedimensional 

surveys carried 

out using different acquisition 

technologies (e.g. laser scanner 

and SFM photogrammetric survey) 

to obtain point clouds and 

high-quality textured meshes 

from the processed data. 

Participants of the basic course 

will work with Agisoft Metashape 

(Professional), the best 

low-cost software for digital 

photogrammetry processing, 

CloudCompare, Open Source 

and very widespread for the 

management of point clouds 

and meshes, and Perspective- 

Rectifier, a low-cost software 

that allows the straightening 

and georeferencing of digital or 

traditional images. 

In the advanced module the 

The two modules can be purchased 

individually or in a single 

solution as a training package, 

thus saving on the list price. 

Guaranteed savings also for 

ANA - National Association of 

Archaeologists members, who 

can count on a 30% discount reserved 

for them, as long as they 

are up to date with their membership. 

For further information, please 

refer to the course sheets: 

4 "3D photogrammetric survey 

and management of point 

clouds (basic)" https://www. 

terrelogica.com/formazioneterrelogica/scopri-i-corsi/ 

rilievo-3d-fotogrammetrico-gestion-nuvole-di-punti.html 

4 "3D survey and management 

of point clouds (advanced)" 

https://www.terrelogica.com/ 

formazione-terrelogica/scoprii-corsi/rilievo-3d-gestion-dellenuvole-di-punti-avanzato. 

html 

32 32 ArcheomaticA ArcheomaticA N°3 2023 N°3 2023

Tecnologie Cultural per Heritage i Beni Culturali Technology 33 33 

Tecnologie per i Beni Culturali 33 

LITUS: THE INTERACTIVE TO- 

TEM FOR MUSEUMS AND HI- 

STORICAL PLACES 

The project was born from the 

synergy between Automata2 

SRL and Floki srls: Automata2 

deals with innovative services 

and is the protagonist of the 

hardware part while Floki has 

implemented its own webapp 

within the totem. 

The need underlying this collaboration 

develops from a widespread 

and rooted dynamic 

in the tourism sector. In fact, 

the visitor often takes multiple 

photos that remain unused on 

the phone for a long time and 

what is achieved through the 

new service is to enhance these 

images by making them available 

to a community that expands 

over time united by a passion 

for the historic place visited. 

The visitor can download the 

application directly from the 

QR Code on the totem and can 

take photographs of what strikes 

him, with his smartphone, 

directly from the app's home 

screen. Each image is collected 

and inserted into a drive shared 

with all visitors who have experienced 

the historic place. 

Furthermore, within the application 

it is possible to view 

multimedia material divided 

by step and consistent with 

the works of art present along 

the cultural route; the visitor 

himself will then choose, 

among the photos taken, some 

memories to take with him. The 

chosen images can be printed or 

sent via email. 

From the analysis of the images 

taken, it is also possible 

to provide important data on 

the points of greatest interest 

within the historical or museum 

places and allow the organization 

of the structures to be able 

to think of strategies based on 

the information provided. 

For more information about Litus: 

https://automata2.com/ 

https://www.instagram.com/ 

we_are_floki/ 

THE MANFREDONICO 

CASTLE IN VIRTUAL REALITY 

"Open the castle door, I would 

like to know what moment in 

history was experienced here." 

(Fabrizio Caramagna) 

Mussomeli, a town and municipality 

in the province of Caltanisetta, 

rises above a fertile 

plateau, behind it, on a cliff, 

stands the majestic Manfredonico 

Castle, built for military 

and residential purposes by the 

Count of Modica, Manfredi III 

Chiaramonte, in the 14th century. 

The fortress is in perfect 

symbiosis with the limestone 

cliff, dominates the valley 

below and represents one of 

the masterpieces originally in 

Arab-Norman and Chiaramonte 

style of Sicily. Built on the pre-

ENTERPRISES 

Fig. 2 - Manfredonico Castle of Mussomeli: 3D reconstruction (Image Bank Xenia Progetti) 

existing ruins of an Arab architecture 

during the possession of 

the D'Auria family, the masonry 

works are arranged at different 

heights and accompany the 

natural structure of the rock. 

The interiors of the Castle are 

equally evocative and reveal its 

magnificence: the Chiaramonte 

access portal opens into the second 

wall with the noble coats 

Fig. 3 - Manfredonico Castle of Mussomeli: 3D reconstruction (Image Bank Xenia Progetti). 

of arms still visible at the top 

and from a small vestibule there 

is the possibility of accessing 

the so-called Hall of the Barons 

, a large rectangular room with 

the ogives of two mullioned windows. 

Overlooking the internal 

courtyard is the chapel, which, 

first dedicated to San Giorgio, 

protector of Chiaromonte, has 

housed the statue of the Madonna 

della Catena since 1521. 

The castle of Mussomeli is one 

of the most evocative and wellpreserved 

Italian medieval 

castles in the Sicilian artisticcultural 

panorama and is known 

as, through the 3D reconstruction 

of artefacts or cultural sites, 

it is possible to deepen in 

situ visits and admire a deposited 

object or a cultural place 

decentralized down to the 

smallest detail, even if only 

virtually. Using techniques such 

as laser scanning, photogrammetry 

and computer modeling, 

it is possible to create incredibly 

accurate, three-dimensional 

digital “twins”. 3D reconstruction, 

in fact, allows you to capture 

the essence of an artefact 

or a cultural site, precisely reproducing 

the colours, textures, 

architectural details and other 

characteristics. Thanks to this 

technology, Xenia Progetti, an 

innovative company active in 

software development not only 

in the cultural heritage sector, 

has produced the application: 

"Castello Manfredonico VR", 

which allows the user to "navigate" 

in the most hidden corners 

of the fortress. 

Thanks to virtual reality it is in 

fact possible to visit the spaces, 

move freely through the environments 

and admire its Gothic 

beauties up close. The system 

allows users to be guided on a 

tour to discover Sicilian environments 

and history, and thus 

access cultural information in a 

simple and fun way. The application 

proposes the use and development 

of latest generation 

technology, promoting the valo- 

34 34 ArcheomaticA ArcheomaticA N°3 N°1 2023 N°3 2023


Tecnologie per i Beni Culturali AGORÀ35 

risation of the artistic heritage 

present in the area. 

3D playback can be useful for: 

• View objects or entire sites 

in their original integrity, when 

for example, due to time or mismanagement, 

an asset has not 

reached the present day in its 

optimal state of conservation; 

• Enrich the web contents of 

the site or museum, to offer an 

additional service for visiting 

cultural assets, thus breaking 

down geographical barriers and 

making an asset always accessible 

online; 

• Print models of the work or 

site to offer inclusive visit experiences 

(tactile museum, school 

activities, etc.). 

The application encourages the 

Fig. 4 - Manfredonico Castle of Mussomeli (Image Bank Xenia Progetti) 

development and use of new 

technologies in the area with 

the aim of enhancing the most 

characteristic environments full 

of meaning and historical-artistic 

value. 

PIETRO PERUGINO MASTER OF 

PERSPECTIVE 

Haltadefinizione provides highresolution 

digital images that 

can be dynamically displayed 

at maximum definition, sharp 

even at high magnification and 

simulating the three-dimensional 

effect of the surrounding 

environment. The images shine 

with power of persuasion to 

such an extent - when reporting 

it one cannot help but hide a 

certain embarrassment - that 

Instagram's Artificial Intelligence 

censored one of them, asking it 

to be replaced with another less 

sensual one from the Archeomatica 

page dedicated to Luca 

Signorelli in Haltadefinizione: it 

was the detail of the nude of a 

damned soul longed for by Satan, 

which to the painter's contemporaries 

who entered the 

Chapel of San Brizio of the 

Cathedral of Orvieto must 

have appeared of an extremely 

convincing hyperrealism 

as well as beautiful... 

With no less effectiveness, 

the Haltadefinizione database 

(Image Bank) has archived 

the works of Pietro 

di Cristoforo Vannucci, the 

Perugino, which during the 

celebrations for the five 

hundredth anniversary of 

the artist's death were reproposed 

to the public in 

the exhibition that was held 

at the National Galleries of 

Umbria and which closed 

last June, entitled “The 

best master of Italy. Perugino 

in his time", with the 

catalog edited by Marco Pierini 

and Veruska Picchiarelli. 

The overviews of around 

Fig. 1 - Pietro Perugino, Adorazione dei Magi (National 

Gallery of Umbria, Perugia; Image Bank Haltadefinizione)

ENTERPRISES 

ten paintings, which were included 

in the initiative, can be 

viewed online here: https://bit. 

ly/3Pimqwv and observed in the 

most minute details without losing 

clarity and maintaining the 

perception of the relationships 

of size, proportion and distance. 

From the digital recording, 

which exposes them online from 

any condition of permanent public 

placement or storage, under 

the authorial keyword of 

Pietro Perugino, it is the works 

that appear with maximum clarity, 

in focus just as if we were 

in front of them with a precision 

optical instrumentation. From 

the images, made dynamic up to 

maximum magnification, emerges 

a painter with a style that is 

both grandiose and meticulous, 

among the first to make use of 

the Pierfrancescan perspective, 

as supported by Federico Zeri in 

the Bollettino d'arte in 1953, in 

the article Il Maestro dell 'Annunciazione 

Gardner. Some works 

recognized by Zeri previously 

attributed to Fiorenzo di Lorenzo 

were displayed in the exhibition. 

A perspective which in the 

Adorazione dei Magi di Perugia 

(fig.1) reaches the heights of the 

master from Borgo Sansepolcro 

in the most intense chromaticism 

of Domenico Veneziano. 

I first learned both through the 

subtleties and glimpses of the 

city walls of Benedetto Bonfigli, 

whom Leone Pascoli had first 

advanced in the role of his first 

master in Perugia and through 

whom he must have become acquainted 

with their works, the 

first painters to flagrantly influence 

him. 

In this plate the characters wear 

velvet doublets buttoned on the 

collar and in the first on the left, 

with the red cap (fig. 2), a threequarter 

self-portrait is recognisable, 

based on the comparison 

with the frontal self-portrait 

of the Collegio del Cambio in 

Audience Hall. The Cambio frescoes, 

which argue for Divine 

Wisdom, are the chronological 

threshold of the painter's triumph 

in Perugia, once the idea of 

Fig. 2 - Pietro Perugino, Adorazione dei Magi, panel, detail of the self-portrait (National 

Gallery of Umbria, Perugia; Image Bank Haltadefinizione) 

a total collaboration of aids, including 

Raffaello, had been set 

aside for them: a collaboration, 

now understood only as partial, 

which was postulated by Giovan 

Battista Cavalcaselle, who, following 

Vasari and reading the 

date inscribed in the right bay of 

the frescoes (MD), dated them 

to 1500. Recently, the discovery 

of the contract drawn up in 

1496 (Sartore 2013) has allowed 

to draw up the chronology for 

the years 1498-1500, with the 

hypothesis of an intervention by 

Pinturicchio as well as Raffaello. 

A third self-portrait appeared in 

La consegna delle chiavi of the 

Sistine Chapel (fig. 3): it is the 

man in the dark habit behind 

the Apostles of the group on the 

right behind St. Peter (A. Venturi 

1950, fig.3). Perugino certainly 

did not lack, more than Raffaello 

himself, the skills of a portraitist, 

also based on the recognition, 

always in the same panel of 

the Adoration of the Magi (figs. 1 

and 2), of the portrait of Andrea 

Verrocchio, in whose workshop 

the young painter had just completed 

his Florentine apprenticeship, 

around 1475, in the fifth 

face with the gray cap in the line 

of adoring the Child. Date from 

which the tight chronology of 

the artist's intense independent 

activity in central Italy unfolds 

with commissions in Rome and 

Venice and from Mantua (Gnoli 

1923). The grandiose panel of 

the L’adorazione dei Magi comes 

from the Umbrian gallery from 

the church of S. Maria Nuova 

and, in the first half of the sixteenth 

century, from the demolished 

one of S. Maria dei Servi in 

36 36 ArcheomaticA ArcheomaticA N°3 2023 N°3 2023


Perugia and perhaps, previously, 

from the Jesuit Convent with the 

church dedicated to San Giusto 

alle Mura in Florence, where 

Giorgio Vasari could have seen 

it until 1529, with three other 

paintings of his which the historian 

mentions and which will 

have instead been transferred 

to the Uffizi. According to Vasari 

in the Life of Pietro Perugino, 

in fact, the 'wall painting' of a 

Nativity with the Magi, in which 

Perugino would nevertheless 

have portrayed Andrea Verrocchio, 

was in the cloister of the 

convent, among the paintings of 

San Giusto lost in the siege of 

Florence in 1529. An education, 

that in the workshop of Andrea 

Verrocchio, remembered not 

only by Vasari, but also by Filippo 

Baldinucci, Leone Pascoli and 

Pellegrino Orlandi. In that workshop, 

he would have painted 

both with Luca Signorelli, his 

collaborator, and alongside Leonardo 

da Vinci and Lorenzo di 

Credi, the three faces in the L’adorazione 

dei Magi di Perugia at 

the sides of the master Verrocchio, 

following the Magi kings, in 

whose clothes would instead be 

represented by members of the 

Baglioni family from Perugia, as 

donors of the altarpiece. It will 

be followed after twenty years 

by the Altarpiece of the Decemvirs 

of the Vatican Museums, 

which Perugino signed with the 

patronymic with very fine capital 

letters: "...HOC PETRUS 

DE CHASTRO PLEBIS PINXIT", to 

which was joined upon completion 

the cymatium with Cristo 

in Pietà of the National Gallery 

of Umbria, also the latter now 

Fig. 3 - Pietro Perugino, La consegna delle chiavi, fresco (Sistine Chapel; Photo Anderson, 

gelatine with silver salts, Alinari Archive, Florence) 

in Haltadefinizione. Dated 1500 

and on the lower edge signed 

in capital letters 'PERUSINUS', 

citizenship obtained in 1485, in 

the squared, refined and elegant 

calligraphic style of all the inscriptions 

of Perugino's paintings 

is also L’assunzione della Madonna 

e Santi in the Accademia Gallery 

of Florence, L’assunzione 

della Vergine from the Abbey of 

Vallombrosa. 

Corner pieces of his predella 

were the masterpieces of 

the two profile portraits of the 

monks Biagio Milanesi, abbot of 

Vallombrosa and Baldassarre di 

Angelo (figs. 4a and b), which 

still bear a refined, thin inscription 

of their respective identities 

on the edge of the compartments, 

and today at the Academy 

of Florence, true models 

of verisimilitude, painted with a 

marked predilection for detail. 

While on an altar of the La Chiesa 

dell’Annunziata (S. Maria dei 

Servi, Cappella Baratta) of the 

Fig. 4a - Pietro Perugino, Portrait of Biagio Milanesi, predella section of the Altarpiece of the L’assunzione 

della Madonna of the Vallombrosa Abbey (Gallery of the Academy of Florence); Fig. 4b - idem, Portrait of 

Baldassarre di Angelo, ibidem (Galleria dell'Accademia di Firenze)

ENTERPRISES 

same city the L’assunzione della 

Vergine is still preserved which 

was on the back of the Deposizione 

di Cristo, begun by Filippino 

Lippi and, after his death, 

completed by Perugino in 1507: 

the latter, today in the Gallerie 

dell'Accademia in Florence, 

was also a grandiose machine, 

according to Vasari once entirely 

set up in the church of the 

Servite Fathers, who had been 

among his major commitments. 

The two compartments with St. 

John the Baptist and St. Lucia 

at the Metropolitan Museum of 

Art in New York were part of it. 

Extraordinarily appreciable in 

very high resolution, even if not 

always evidently intact, is the 

color film on the panels, which, 

varied by the knowledge of works 

by Flemish painters that reached 

Florence, stands out for 

the colored shadows, finished in 

oil on tempera with a very thin 

line. Perugino finally transferred 

the oil miniature technique 

to the grandiose scale and the 

altarpiece, to the point of covering 

an entire wall. 

Bonfigli's less bright chromaticism 

will again be mentioned in 

the grandiose fresco of the L’Adorazione 

dei Magi in the Oratorio 

di Santa Maria dei Bianchi 

(S. Maria della Mercede) in Città 

della Pieve, dated 1504 (fig. 5), 

involved in the exhibition circuit 

current: another fading of ultramarine 

blue on the horizon. Not 

to be interpreted in the sense of 

a revival of Leonardo's nuance, 

but rather as peculiar to Perugino, 

parallel to the rendering 

of the shrubs, classificatory by 

a botanical treatise, no less 

than it was for Leonardo. In this 

painting Perugino, opening the 

last period of his production in 

Umbria, sprinkled the wide expanse 

of color with theories of 

Fig. 5 - Pietro Perugino, Adoration of the Magi, fresco, 1504 (Oratorio dei Bianchi, Città 

della Pieve). 

characters and knights, like his 

first master Bonfigli, but increasingly 

spaced out on the lay of 

the land, enclosing the landscape 

horizon in which Lago Trasimeno 

can be seen in the trompe 

l'oeil of a frame with racemes, 

rosettes, acanthus spirals and 

candelabras in a plastic quotation 

from Roman architecture, 

which finally makes the banded 

structure of the triumphal arch 

vanish of his most impressive 

altar machines. The immensity 

of the landscape extends over 

a single plane, unlike the Martirio 

di San Sebastiano dei Pollaiolo 

(National Gallery, London), 

painted for the SS. Annunziata 

di Firenze, in which it appears 

doubled and staggered on two 

or more levels. Adolfo Venturi, 

in the article L’arte giovanile 

del Perugino (L'arte, 1911, 14, 

p. 53) had supported, in contradiction 

with Vasari, Perugino's 

training in the workshop of Antonio 

Pollaiolo, instead of that 

of his antagonist Verrocchio, for 

the brilliance of the colors in the 

details illuminated in oil and for 

the large extensions of landscape 

on the geometrical ground 

or floor, which both Leonardo 

and Perugino intersected with 

architectural wings, rocky walls 

or windows and, finally, rolling 

hills. 

In the Gonfalone di Giustizia of 

the National Gallery of Umbria 

(fig.6), commissioned by the 

Confraternita dei Disciplinati 

di S. Maria Novella in Perugia 

starting from 1496, again compared 

to the very high resolution 

of Haltadefinizione, one can 

nevertheless see the turreted 

perspective of Perugia from out- 

38 38 ArcheomaticA ArcheomaticA N°3 N°1 2023 N°3 2023


Tecnologie per i Beni Culturali AGORÀ39 

Fig. 6 - Pietro Perugino, Gonfalone di Giustizia 

(National Gallery of Umbria, Pergia) 

(Image Bank Haltadefinizione) 

side the walls which, similarly, 

in the shiny clarity of a lens, however 

abraded, is anything but 

sweetly fantastic. The frame of 

the fresco with L’Adorazione dei 

Fig. 7 - Pietro Perugino, Annunciazione Ranieri 

(National Gallery of Umbria, Perugia; 

Image Bank Haltadefinizione) 

Magi di Città della Pieve is very 

similar to the framing of the 

perspectives of the eight panels 

of the Storie dei Miracoli di San 

Bernardino, also in the National 

Gallery of Umbria and coming 

from the Oratorio di San Bernardino 

della Chiesa di S. Francesco 

al Prato in Perugia, which date 

them to the workshop's own activity 

of the artist's full maturity 

starting from 1473, a date that 

appears in the scene of San Bernardino 

healing a girl, with stylistic 

discontinuity between them 

and extensive intervention by 

other masters, including Pinturicchio. 

They can also be compared 

to the Annunciazione Ranieri 

(fig.7), coming from the private 

collection in the Roman palace of 

Count Emanuele Ranieri (Ranieri 

del Castello di Sorbello formerly 

Del Monte) and in storage at the 

same Gallery, which repeats the 

score of a flooring recurring in 

the tablets. As well as the Opistograph 

Altarpiece of the Monteripido 

Convent in Perugia, with the 

Coronation of the Virgin on one 

side, in which the Saints' robes 

have even earlier iridescent effects 

than in Michelangelo, while 

a wooden Crucifix in the round 

stands out in the center of the 

scene of the Crucifixion on the 

other, to highlight the maximum 

degree of volumetric, plastic and 

sculptural evidence; progressively 

in the chromatic simulation 

of Donatello's flattened objects 

are increasingly flattened as the 

distance to the horizon increases. 

All works that demonstrate 

how, returning to live in Città 

della Pieve, his hometown, where 

he had more than modest ori- 

gins, Perugino had maintained 

the entrepreneurial ability to 

carry out commissions in Perugia, 

Florence, Rome and Naples 

and others on his own international, 

intended for the French, 

Spanish and German markets. 

No less than the exhibition activities 

for the celebration of 

the centenary, the collection of 

Perugino's works that the Image 

Bank of Haltadefinizione offers 

to the public, seems first of all to 

be able to fill a historiographical 

gap, restoring maximum visibility 

to his Umbrian works, precisely 

those left out of Filippo Baldinucci's 

biography (Notizie dei 

Professori del Disegno, Volume 

V, Milano 1811, p. 491) and reinstated 

by some other paintings 

extrapolated from their contexts 

and exported. 

Francesca Salvemini 

Fig 8 - Pietro Perugino, Sposalizio della Vergine (Museée 

des Beaux Arts, Caen; Image Bank Haltadefinizione)

AGORÀ 

A call to EU Member States for a 

pan-European collection of 3Ddigitised 

heritage assets Under 

Twin it!, the Ministries of Culture 

of the European Union Member 

States are invited to liaise with 

their national cultural institutions 

to submit one 3D digitised 

heritage asset to the common 

European data space for cultural 

heritage, deployed by the Europeana 

Initiative. The goal of the 

campaign is to collect and showcase 

emblematic and high-quality 

samples of Europe’s cultural 

assets in 3D, while supporting 

Member States in their 3D digitisation 

and preservation efforts. 

Introduction 

Making cultural heritage available 

for future generations to enjoy 

and be inspired by is a major 

public policy goal in the EU. 3D 

technologies offer unprecedented 

opportunities to advance 

this objective, widening access 

to culture, supporting digital 

preservation and fostering the 

reuse of Europe's cultural assets. 

In the 2019 declaration of cooperation 

on advancing digitisation 

of cultural heritage, EU Member 

States recognised the need for 

‘a pan-European initiative for 

3D digitisation of cultural heritage 

artefacts, monuments and 

sites’. The European Commission 

Recommendation of 2021 on 

a common European data space 

for cultural heritage invites EU 

Member States to set clear digitisation 

and digital preservation 

goals. By 2030, Member States 

are encouraged to ‘digitise in 3D 

all monuments and sites deemed 

at risk, 50 % of the most physically 

visited cultural and heritage 

monuments, buildings and 

sites, and pay special attention 

to specific categories of heritage 

assets with low level of digitisation’. 

It also sets ambitious 

indicative targets for content 

contribution to Europeana and 

the data space, both in terms of 

new high quality records and 3D 

assets. 

‘Twin it! 3D for Europe’s culture’ 

is a campaign by the European 

Commission and the Europeana 

Initiative, under the auspices of 

the Swedish and Spanish Presidencies 

of the Council of the EU, 

culminating during the Belgian 

Presidency, to support these goals. 

About the campaign 

Twin it! will mobilise all 27 EU 

Member States to submit one 3D 

digitised heritage asset to the 

data space by the end of the 

campaign in 2024. The selected 

asset can be cultural heritage 

at risk, among the most physically 

visited monuments, buildings 

and sites in that country, 

or belong to a category with low 

levels of digitisation, directly 

supporting the Recommendations’ 

goals. The 3D digitised asset 

should be of high technical 

quality, showcasing European 

excellence. 

This pan-European 3D collection 

will be showcased during a final 

high-level event in Brussels, 

planned in the framework of the 

Belgian Presidency. The final 

event will take place alongside 

a meeting of the Council of the 

EU so that Ministers of Culture 

could join and renew their commitment 

to the Recommendations, 

Europeana and the data 

space. The collection would be 

then hosted in a dedicated online 

collection. 

Twin it! kicks-off on 21 June 

2023 during the Swedish Presidency 

of the EU. It will continue 

under Spain’s Presidency in the 

second half of the year and will 

come to an end during Belgium’s 

Presidency in 2024. 

European Commissioner for Internal 

Market, Thierry Breton, 

said: ‘Europeana currently gives 

access to 57 million cultural 

heritage assets with only 0.01% 

in 3D. Let's take advantage of 

the opportunities brought by 

technology to preserve our European 

cultural heritage for future 

generations. Today, we are 

calling Member States to select 

digital 3D assets to enhance innovation 

and creation not only in 

the cultural and creative sectors 

but also in education, tourism 

and smart cities. This will benefit 

and empower people and businesses.’ 

Harry Verwayen, General Director 

of the Europeana Foundation, 

said, ‘3D offers unprecedented 

opportunities for the cultural 

heritage sector to fulfil its 

public mission in the 21st century, 

staying relevant in today’s 

fast-changing world. 3D modelling 

is already being used across 

Europe to support preservation 

work, capture imaginations and 

enable new forms of discovery, 

or to construct cultural virtual 

worlds, to name but a few. The 

Europeana Initiative will continue 

empowering EU Member States 

and their cultural heritage 

institutions to fully harness the 

potential of 3D for the benefit of 

Europe’s culture.’ 

Why 3D Matters 

Twin it! 3D for Europe’s culture 

will contribute to creating 

a shared understanding of the 

need for 3D, raising awareness 

of its opportunities and benefits 

and building capacity among EU 


Cultural Heritage Technology technologies 41 

Member States and their cultural 

heritage institutions. Ultimately, 

it aims to spur a wider uptake of 

3D digitisation in Europe’s cultural 

heritage sector and better 

equip it to: 

4 Broaden access to culture, 

reaching wider and more diverse 

audiences. 3D can provide 

virtual access to inaccessible 

places - for instance those underwater 

- or improve accessibility 

for people with visual impairments 

by offering, for example, 

tactile experiences. It can be 

used to enhance engagement 

with and public understanding 

of cultural heritage through tailored, 

immersive and interactive 

experiences. 

4Advance Europe’s collective 

efforts and responsibility to preserve 

its shared irreplaceable 

cultural heritage for the benefit 

and enjoyment of future generations. 

This cultural wealth is fragile 

and constantly at risk due to 

changing climate conditions and 

other human-caused threats. 

3D allows for non-destructive 

analysis of assets and visualisation 

of damages, providing crucial 

information for restoration 

and conservation. 

4 Spur innovation and creativity. 

3D digitisation with the highest 

level of detail can enhance 

the reuse of cultural heritage 

material and therefore support 

the emergence of potential new 

services and applications in the 

cultural and creative sectors and 

well beyond - from education 

and research to tourism. 

To fully capitalise on the potential 

of 3D for the benefit of our 

sector, there is a need for multidisciplinary 

capacity-building of 

heritage professionals, exchange 

of practices and pan-European 

collaboration and networking. 

Twin it! will provide a platform 

to advance these objectives. 

Events 

Work undertaken as part of the 

Twin It! campaign is supported 

by conferences on 3D which 

Europeana will organise in collaboration 

with Member States 

holding the Presidencies of the 

Council of the EU from January 

2023 - June 2024. 

Under Spain’s Presidency of the 

Council (July-December 2023), 

a conference explored how to 

build the capacities of heritage 

professionals and institutions in 

creating and making available 

high-quality 3D data. And the 

theme of 3D will also be the focus 

of Europeana activities related 

to the Belgian Presidency 

(January-June 2024). 

Source: ( https://pro.europeana.eu/page/twin-it-3d-for-europe-s-culture 

) 

EUreka3D project: latest updates 

on 3D digitisation of heritage 

collections – Content 

partners in the project started 

the work to digitize in 3D their 

assets, with final aim of sharing 

the collections as open access in 

Europeana, the European Digital 

Library. 

The EUreka3D project coordinated 

by Photoconsortium has just 

started the action on high-quality 

3D digitisation, which will 

make great collections of cultural 

heritage 3D digitised objects 

accessible to everyone in the Europeana 

website. 

The content provided by project 

partners is very diverse, and 

ranges from monuments at risk 

to archaeological objects, early 

cinema items and filigree paper 

moulds. EUreka3D will aggregate 

on Europeana about 5,000 

new 2D and 3D records, digitised 

in high quality from various 

providers: CUT Cyprus University 

of Technology, Bibracte, Museo 

della Carta and CRDI Ajuntament 

de Girona, some of which have 

never featured on Europeana before. 

The project is also creating a 

cloud-based platform managed 

at EGI the European Grid Initiative. 

dedicated to Cultural Heritage 

Institutions offering advanced 

services and tools for digital collection 

management, especially 

with 3D objects and their metadata 

and paradata management. 

During these days, CRDI / Ajuntament 

de Girona is one of the 

partners fully involved in the 

digitisation process. Around 50 

pre-cinema objects from the 

Cinema Museum of Girona are 

being digitised: magic lanterns, 

zoetropes, optical boxes, early 

cinema cameras and movie 

projectors. The 3D objects are 

being digitalised following the 

recommendations of the unique 

Study on Quality in 3D Digitisation 

of Tangible Cultural Heritage 

(VIGIE 2020/654), produced 

by partner CUT. 

Images courtesy of CRDI/Ajuntament 

de Girona 

Source: ( https://www.digitalmeetsculture.net/article/ 

eureka3d-project-updates-3d-

EVENTS 

8 NOVEMBER 2023 

ROMADRONE - Roma (Italy) 

https://romadrone.it 

14 – 16 NOVEMBER 2023 

Technologyforall - Roma (Italy) 

https://technologyforall.it 

15 – 17 NOVEMBER 2023 

CHNT28 – Cultural Heritage and New 

Technologies - Wien (Austria) 

12 – 13 DECEMBER 2023 

ArcheoFOSS 2023 - Torino (Italy) 

https://www.archeofoss.org/2023/ 


AIES - XIV International Conference on 

Diagnosis, Conservation and Enhancement 

of Cultural Heritage - Napoli (Italy) 

https://www.aiesbbcc.it/2023-2/ 


GEO – AI Artificial Intelligence for Spatial 

Data - Torino (Italy) 

https://polito.it 

21 – 23 FEBRUARY 

3D-ARCH workshop - 3D Virtual 

Reconstruction and Visualization of 

Complex Architectures - Siena (Italy) 

https://www.fbk.eu/it/event/3d-archworkshop/ 

15 – 17 MAY 2024 

RESTAURO – Salone Internazionale dei 

Beni Culturali - Ferrara (Italy) 

https://www.salonedelrestauro.com/ 

1 – 7 JULY 2024 

FOSS 4G Europe 2024 - Tartu (Estonia) 

https://2024.europe.foss4g.org/ 

2 - 5 JULY 2024 

XXXIX° Convegno Scienza e Beni Culturali. 

Preventive and Planned Conservation. 

Twenty years after the Italian Cultural 

Heritage Framework Law 

Bressanone (Italy) 

https://scienzaebeniculturali.it/ 

13 – 15 SEPTEMBER 2024 

Intersectionality: Museums, inclusion, 

and SDGs. Seventeenth International 

Conference on the Inclusive Museum 

Vienna, (Austria) 

https://onmuseums.com/2024- 

conference 

Roma 

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Contact us to know more! 

Via A. Romilli, 20/8 - 20139 Milano • Tel. 02 5398739 

42 E-mail: teorema@geomatica.it ArcheomaticA N°3 2023 

www.geomatica.it • www.disto.it • www.termocamere.com


Il Forum dell'Innovazione 

Tecnologie per il Territorio, Beni Culturali e Smart Cities 

14 - 16 NOV 2023 

www.technologyforall.it

DWG

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