scholarly journals PROPUESTA DE REUBICACIÓN MEDIANTE RECONSTRUCCIÓN VIRTUAL. CASO DE ESTUDIO: RETABLO MAYOR DE SAN FRANCISCO DE SAN ESTEBAN DE GORMAZ (SORIA)

2016 ◽  
Author(s):  
Mónica Sánchez
Keyword(s):  
Cultural Heritage ◽  
San Francisco ◽  
3D Modeling ◽  
Cultural Property ◽  
Wall Paintings ◽  
Visual Recovery ◽  
Paper Briefly ◽  
The Church

This paper briefly shows the skills acquired not only in the field of Conservation-Restoration, but also in Virtual Restoration as applied to Cultrual Heritage. The work under consideration is the Mayor Altarpiece of the old Convent of San Francsico, today Church of San Esteban Protomartir in San Esteban de Gormaz, Soria. Built in 1628 in one of the most important workshops of the Diocese, in 1985 renovation works and refurbishment of the church had uncovered wall paintings in advocation to the founder of the Order behind the wooden reredos, one of the few examples of pictorial altarpieces preserved in Spain that forced the transfer of the wooden altarpiece to a shrine in the same locality where it is currently disassembled.This Cultural Property is a great example of heritage on which to apply the techniques of 3D modeling for virtual restoration and reconstruction of the environment as well, which aims to attempt visual recovery and potential unit without counyerfeiting, as methods of conservation, restoration and dissemination of Cultural Heritage.

scholarly journals Multi-Scale Modeling of the Basilica of San Pietro in Tuscania (Italy). From 3D Data to 2D Representation

2011 ◽  
Vol 6 ◽  
pp. 300-306
Author(s):  
Filiberto Chiabrando ◽  
Dario Piatti ◽  
Fulvio Rinaudo
Keyword(s):  
Cultural Heritage ◽  
3D Modeling ◽  
3D Model ◽  
Scale Model ◽  
Lazio Region ◽  
The Real ◽  
Multi Scale ◽  
Modeling Methodology ◽  
3D Data ◽  
The Church

The Basilica of San Pietro is a Romanic architecture located in the municipality of Tuscania in the Lazio Region about 100 km far from Rome. In 1971 the apse dome collapsed during the earthquake and the important fresco of a Christ Pantocrator was destroyed. In 1975 the dome was reconstructed using reinforced concrete.In 2010 an integrated survey of the Church has been performed using LiDAR techniques integrated with photogrammetric and topographic methodologies in order to realize a complete 2D documentation of the Basilica of San Pietro. Thanks to the acquired data a complete multi-scale 3D model of the Church and of the surroundings was realized.The aim of this work is to present different strategies in order to realize correct documentations for Cultural Heritage knowledge, using typical 3D survey methodologies (i. e. LiDAR survey and photogrammetry).After data acquisition and processing, several 2D representations were realized in order to carry out traditional supports for the different actors involved in the conservation plans; moreover, starting from the 2D drawing a simplified 3D modeling methodology has been followed in order to define the fundamental geometry of the Basilica and the surroundings: the achieved model could be useful for a small architectural scale description of the structure and for the documentation of the surroundings. For the aforementioned small architectural scale model, the 3D modeling was realized using the information derived from the 2D drawings with an approach based on the Constructive Solid Geometry. Using this approach the real shape of the object is simplified. This methodology is employed in particular when the shape of the structures is simple or to communicate new project ideas of when, as in our case, the aim is to give an idea of the complexity of an architectural Cultural Heritage. In order to follow this objective, a small architectural scale model was realized: the area of the Civita hill was modeled using the information derived from the 1:5000 scale map contours; afterwards the Basilica was modeled in a CAD software using the information derived from the 2D drawings of the Basilica. Finally, a more detailed 3D model was realized to describe the real shape of the transept.  All this products were realized thanks to the data acquired during the performed survey. This research underlines that a complete 3D documentation of a Cultural Heritage during the survey phase allows the final user to derive all the products that could be necessary for a correct knowledge of the artifact.

PROBLEMS OF CLASSIFICATION OF CULTURAL HERITAGE OBJECTS

2020 ◽  
Vol 10 (2) ◽  
pp. 158-168
Author(s):  
SVETLANA IVANOVA ◽  
Keyword(s):  
Cultural Heritage ◽  
Cultural Values ◽  
Research Work ◽  
Cultural Property ◽  
Cultural Inheritance ◽  
Federal Laws ◽  
Cultural Heritage Objects ◽  
Cultural Monuments

The purpose of the research work is to analyze the norms of Federal laws, as well as the laws of the Russian Federation's constituent entities, devoted to the definitions and classification of the concepts “cultural heritage”, “historical and cultural monuments”, “cultural values”. Conclusions obtained in the course of the research: based on the study of current legislation, it is concluded that the definitions of “cultural values”, “cultural property”, “objects of cultural inheritance” contained in various normative legal acts differ in content. Based on the research, the author proposes the concept of “cultural values”.

Historic Churches of New Mexico Today

2019 ◽  
Author(s):  
Frank Graziano
Keyword(s):  
New Mexico ◽  
San Francisco ◽  
San Jose ◽  
Pueblo Indians ◽  
New Mexican ◽  
Cultural Legacy ◽  
Attachment To Place ◽  
The Village ◽  
The Church ◽  
Previous Scholarship

Historic Churches of New Mexico Today is an interpretive ethnography based on fieldwork among hispanic villagers, Pueblo Indians, and Mescalero Apaches. The fieldwork was reinforced by extensive research in archives and in previous scholarship. The book presents scholarly interpretations in prose that is accessible, often narrative, at times lyrical, and crafted to convey the experience of researching in New Mexican villages. Descriptive guide information and directions to remote historic churches are provided. Themes treated in the book include the interactions of past and present, the decline of traditions, a sense of place and attachment to place, the church as a cultural legacy, the church in relation to native traditions, resistance to Catholicism, tensions between priests and congregations, maintenance and restoration of historic buildings, and, in general, how the church as a place and devotion as a practice are important (or not) to the identities and everyday lives of individuals and communities. Among many others, the historic churches discussed in the study include the Santuario de Chimayó, San José de Gracia in Las Trampas, San Francisco de Asís in Ranchos de Taos, the village churches of Mora County, St. Joseph Apache Mission in Mescalero, and the mission churches at Laguna, Acoma, and Picurís Pueblos.

scholarly journals “‘But the Fountain Sprang Up and the Bird Sang Down’: Heidegger’s Gathering of the Fourfold and the Seven-Sacraments Font at Salle, Norfolk.”

Religions ◽  
2021 ◽  
Vol 12 (7) ◽  
pp. 464
Author(s):  
Marie Clausén
Keyword(s):  
Cultural Heritage ◽  
Art History ◽  
Architectural Elements ◽  
15Th Century ◽  
The Earth ◽  
Medieval Church ◽  
The Church ◽  
As If

My paper analyses the 15th-century seven-sacraments font at the medieval church of St Peter and St Paul at Salle in Norfolk (England). The church guides and gazetteers that describe the font, and the church in which it is situated, owe both their style and content to Art History, focusing as they do on their material and aesthetic dimensions. The guides also tend towards isolating the various elements of the font, and these in turn from the rest of the architectural elements, fittings and furniture of the church, as if they could be meaningfully experienced or interpreted as discrete entities, in isolation from one another. While none of the font descriptions can be faulted for being inaccurate, they can, as a result of these tendencies, be held insufficient, and not quite to the purpose. My analysis of the font, by means of Heidegger’s concept of Dwelling, does not separate the font either from the rest of the church, nor from other fonts, but acknowledges that it comes to be, and be seen as, what it is only when considered as standing in ‘myriad referential relations’ to other things, as well as to ourselves. This perspective has enabled me to draw out what it is about the font at Salle that can be experienced as not merely beautiful or interesting, but also as meaningful to those—believers and non-believers alike—who encounter it. By reconsidering the proper mode of perceiving and engaging with the font, we may spare it from being commodified, from becoming a unit in the standing reserve of cultural heritage, and in so doing, we, too, may be momentarily freed from our false identities as units of production and agents of consumption. The medieval fonts and churches of Norfolk are, I argue, not valuable as a result of their putative antiquarian qualities, but invaluable in their extending to us a possibility of dwelling—as mortals—on the earth—under the sky—before the divinities.

scholarly journals Improvement of the Non-Destructive Testing of Heritage Mural Paintings Using Stimulated Infrared Thermography and Frequency Image Processing

2019 ◽  
Vol 5 (9) ◽  
pp. 72
Author(s):  
Kamel Mouhoubi ◽  
Vincent Detalle ◽  
Jean-Marc Vallet ◽  
Jean-Luc Bodnar
Keyword(s):  
Infrared Thermography ◽  
Cultural Property ◽  
Wall Paintings ◽  
Non Destructive Testing ◽  
Property A ◽  
Destructive Testing ◽  
Mural Paintings ◽  
Works Of Art ◽  
Optical Effects ◽  
Non Destructive

Within the framework of conservation and assistance for the restoration of cultural property, a method of analysis assistance has been developed to help in the restoration of cultural heritage. Several collaborations have already demonstrated the possibility of defects detection (delamination, salts) in murals paintings using stimulated infrared thermography. One of the difficulties encountered with infrared thermography applied to the analysis of works of art is the remanence of the pictorial layer. This difficulty can sometimes induce detection artifacts and false positives. A method of thermograms post-processing called PPT (pulse phase thermography) is described. The possibilities offered by the PPT in terms of reducing the optical effects associated with the pictorial layer are highlighted first with a simulation, and then through experiments. This approach can significantly improve the study of painted works of art such as wall paintings.

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