4.6 Article

3D Photogrammetric Survey, Raking Light Photography and Mapping of Degradation Phenomena of the Early Renaissance Wall Paintings by Saturnino Gatti-Case Study of the St. Panfilo Church in Tornimparte (L'Aquila, Italy)

Journal

APPLIED SCIENCES-BASEL
Volume 13, Issue 9, Pages -

Publisher

MDPI
DOI: 10.3390/app13095689

Keywords

3D documentation; digital photogrammetry; damage analysis and mapping; mural painting techniques; raking light; Saturnino Gatti; St. Panfilo Church; Tornimparte; decay; restoration; geomaterials

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This study presents the results of a 3D photogrammetric survey conducted on the apsidal conch of St. Panfilo Church in Tornimparte, Italy. A three-dimensional model of the conch was created using acquired and processed images, which could be accessed on the Sketchfab platform. Orthomosaics of the five panels and the vault were obtained from the 3D model and imported into CAD software for mapping degradation phenomena. The examination of the conch's surface revealed various degradation issues attributed to the wall painting technique and microclimate conditions.
This paper provides the results of a 3D photogrammetric survey of the apsidal conch of St. Panfilo Church in Tornimparte (L'Aquila, Italy). The images were acquired and then processed in order to obtain a three-dimensional model available on Sketchfab platform. The five panels and the vault of the apsidal conch were exported from the 3D model as orthomosaics and then imported into CAD software for the mapping of the main degradation phenomena. The examined surface was almost entirely covered by mural painting and restoring mortars, the latter mainly located in the lower part of the apsidal conch. The whole surface of the apsidal conch was also examined by means of raking light that enabled highlighting of conservation problems and the presence of incision marks and giornata/pontate boundaries indicating the use of the fresco painting technique. Several degradation phenomena, attributable both to the executive technique of wall painting and the microclimate conditions, could be observed. According to the overlapping of weathering forms and the material involved, most of the examined surfaces exhibited moderate to very severe degradation.

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