CAA Arturo Gallozzi et al. 2017 http://dx.doi.org/10.15496/publikation-43143

3D Models and Interactive Communication for 3D Models and Interactive Archaeology: Te Nymphaeum Ponari in Communication For Ar-

Arturo Gallozzi Abstract University of Cassino and Tis study is part of a broader research project on Roman Casinum archaeolog- South ; Department ical heritage and includes tangible and intangible heritage. In the mid-twentieth of Civil and Mechanical En- century, a nymphaeum dating from the second half of the frst century B.C. was gineering, [email protected] found not far from the core of Casinum, an archaeological site, located in the modern town of Cassino in South Latium, . Te nymphaeum Ponari is part Leonardo Paris of a Roman villa still completely buried underground. Te excavations had been Sapienza University of Rome carried out so far have gradually unearthed a well-preserved environment con- [email protected] sisting of a rectangular hall with niches topped by a barrel vault. Te metric data acquired in a recent digital survey made it possible to develop a virtual model Wissam Wahbeh reconstruction of the nymphaeum and to design an interactive communication University of Applied system, on-site and of-site, linked to the nearby museum complex present at Sciences and Arts North- the archaeological site. Te present article is focused on the documentation, western Switzerland interpretation, valorization and communication of archaeological heritage of [email protected] the Roman Casinum city site.

Keywords: nymphaeum, Casinum, Cassino, Ponari, 3D models, cultural heritage

Appellantur quidem ita erosa saxa in aedifciis, quae musaea vocant, dependetia ad imaginem specus arte reddendam

Introduction period, which should stimulate a deeper, organized study of the town planning system. Te part of the Tis work is part of a broader research project on Ro- domus, which was discovered some time ago, is the man Casinum archaeological heritage. Even though so-called Ponari nymphaeum. this archaeological area contains monuments of con- siderable interest and importance, it has never been archaeologically documented enough to enable the Te Environmental Context researcher to analyze the individual fndings and the environment of the site through a well-struc- Today, Cassino is a modern town lying between Rome tured survey that would allow one to fully explore and Naples. Te city was completely rebuilt afer its it. Te main fnds of the ancient urban layout are destruction during World War II and is quite famous the remains of the , the amphitheater, the for the Montecassino Abbey. Cassino is located just theater and the mausoleum attributed to the Roman below the mountain where the Montecassino Abbey matron Quadratilla, part of gens Ummidia. Tere is situated. Te history of the city and of the Benedic- have been some interesting, very recent discoveries tine monastery of Montecassino are closely linked. related to parts of a Roman domus of the imperial Te city appears to have been historically consolidat- CAA Arturo Gallozzi et al. 2017 3D Models and Interactive Communication For Archaeology

Figure 1. Te city of Cassino, the Rocca Janula and the Abbey of Montecassino. On the lef, archaeological area with nym- phaeum Ponari. (Engraving of F. de Grado, in Gattola 1734). On the right: Roman Casinum city, archeological area today. ed up to the Second World War when any traces of its theater; the core of the Augustan town plan, brought past were lost. Te earliest settlement of the site dates to light in 1935-36; the amphitheater dating back to back to the sixth century BC when frst the the second half of the frst century AD, which has an and then the Samnites permanently settled in the elliptical shape of modest dimensions; the so-called Liri valley, building the frst houses of Casinum (the tomb of Ummidia (1st century BC - 1st century AD), name of the ancient city). From a Roman prefecture, a building planned on a Greek cross, with the central Casinum became municipium and in the third centu- part covered by a hemispherical dome intersected by ry it was granted the right of citizenship. It fourished four arms; and the nymphaeum called Ponari, which reaching the peak of development towards the end was built on a rectangular plan with a barrel-shaped of the republic and during the imperial period, and roof, closed at three sides and fully open at the front then it gradually sank into insignifcance. In AD 529, (Figure 1). Te building is connected to a well-struc- with the settlement of St. Benedict (founder of Mon- tured foorplan of a rich domus (Polito 2013) with tecassino Abbey and of the Benedectine monastic or- valuable foor mosaics, as well as fragments of walls der) among the ruins of the pre-Roman and Roman of the rooms, preserved at the height of more than 2 fortifed acropolis, the city’s history became inextri- m, whose wall decorations are articulated in archi- cably linked to that of the Abbey. tectural schemes with small paintings of mytholog- Around the frst century BC, afer the city of ical-symbolic subjects or idyllic-naturalistic themes. Casinum had become a Roman town, there began a process of consolidating its urban structure that nec- essarily took into account the particular topography Te Nymphaeum Ponari of the places and the existing conditions, as well as a circuit of pre-Roman walls. Te organization of the Te word nymphaeum has a double meaning: the frst city was mainly developed on three terraces lying on is of Greek origin and refers to a place (ofen caves) the hilly topography of the site, of which a large part consecrated to the nymph goddess; the other one is of the original substructures still exists, expanding of Latin origin and refers to a place with water and the city to the east, outside the city walls, down the fountains. In the course of centuries, the architecton- steepest area. Te settlements already existing during ic sense of nymphaeums in relation to the position the Augustan period and the late imperial period and their typology has changed signifcantly. By and when the city (at the end of the frst century AD) large, the architectural evolution of the nymphae- reached an area of about 10 hectares, led scholars to ums in relation to their position can be the follow- hypothesize an urban network was structured in the ing: public nymphaeums (monumental intentions shape of a square of two actus. - II-IV century AD), located along the main roads Te monumental structures of the present ar- or at crossroads; composite nymphaeums: interiors chaeological area are (Ghini and Valenti 1995): the for public buildings; private nymphaeums, for rich

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Figure 2. Similar Nymphaeums in Italy: a. nymphaeum “Q. Mu- tius” in Segni (Rm); b. nymphaeum “Dorico” in Castelgandolfo near Lake Albano (Rm); c. nympha- eum “Egeria” in the park of Cafarella (Rm); d. nymphaeum triclinium in a Roman villa in Minori (Sa).

domus decoration. Te main typological models of sentially has a rectangular layout, in most cases en- the Roman nymphaeums are: environments in nat- riched by niches in the walls, with a recess or an apse ural caves; environments in artifcial caves; environ- in the bottom wall, while open at the front and gen- ments in rooms without niches but with functioning, erally with a barrel -vaulted roof. Initially, the “cham- real monumentalized fountains, sometimes with a ber” building constituted a direct development of the bottom apse; environments in rooms with niches in ‘natural grotto’ model, which is connected to the re- the walls; the basilica plan environments; and other current use of rustic symbolism. Because of its loca- forms. tion, the nymphaeum Ponari recalls Specus estivus as Another renowned typological classifcation, described by Mingazzini (1955, 1957) and, owing to proposed by Mingazzini (1955, 1957), distinguishes its geometric and typological characteristics, can be these buildings according to their location and size. considered to belong to the ‘chamber’ variety. Te subdivision is essentially split into three catego- In Italy, there are some examples of nymphae- ries: nymphaeum for buildings related to monumen- ums similar to that of Cassino in shape and state of tal public fountains; musaeum for structures with conservation (Figure 2): nymphaeum “Q. Mutius” in natural grottoes, even if artifcially modifed; specus Segni (Rm); nymphaeum “Dorico” in Castelgandolfo estivus for all artifacts with specially designed foun- near Lake Albano (Rm); nymphaeum “Egeria” in the tains. Te latter can be divided into three sub-catego- park of Cafarella (Rm); nymphaeum triclinium in a ries: semi-underground, i.e. partially constructed in Roman villa in Minori (Sa). the ground; completely constructed above ground; or Te “nymphaeum Ponari,” identifed in the 1940s, conceived as an integral part of a villa, or a building thanks to the investigations carried out by the archae- (Neuerburg 1965: 27-29). A further category for the ologist Gianflippo Carettoni (1912-1990) (1940), typology related to villas is found in sub-types linked was the subject of a subsequent intervention by Mas- to the layout and architectural type. Among these, a similiano Valenti (1992) in the 1990s, especially in particular typological category referring to nymphs, 1998, removing the land fallen meanwhile due to the is the so-called “chamber”. Chambers appeared at the steep slope of the ground on which it stands. More end of the III century BC and took on more varied recently, in 2009 and 2014, the monument was the and articulated forms over time. Te “chamber” es- subject of work that ensured its preservation (Figure

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Figure3. Te nymphaeum Ponari in the archaeologi- cal site of Casinum.

3). Tanks to some further discoveries made during tian blue mosaic tiles with alternating circular and this work, architect Silvano Tanzilli (2016), then di- rhomboidal motifs originally coated with glass tiles. rector of the archaeological site at Casinum, elabo- Te bottom part encloses a diamond shaped lattice, rated a reconstruction of an alleged domus. To date, the result of the alternation of double diagonal rows however, the elements to support a plausible inter- of “tellins”. As for the later wall decoration, the rus- pretation of the presence of a domus are still insuf- tic mosaic from the imperial age overlays a plaster fcient. painted with fresco paintings with geometric deco- With the frst regeneration of the nymphaeum ration on false marble slabs (imitation of caristio and there also emerged the rich decorative elements numidian marble slabs), retaining the previous hori- that distinguish it: a foor mosaic represented by a zontal tripartition of the wall. On the bottom wall the three-color tessellated foor with crustae in marble, strip below the niches consists of a pseudo-perspec- and a “rustic mosaic” on the wall that was subse- tive representation of red, white and blue protruding quently overlaid with a plaster of pictorial decora- shelves (Figure 4). Lastly, the foor decoration has a tion imitating marble slabs, defned by a reproduc- polychrome checkerboard mosaic of small horizon- ing range of painted, colored shelves in perspective tal textured weave tiles with insertion of irregularly (Betori, Valenti & Tanzilli 2009). positioned marble chips, with a double strip of black As already mentioned, the decorative wall and tile frame along the long, white walls on the bottom fooring system are immensely rich and interesting. one. A marble trunking (bardiglio) further defnes In particular, the wall decoration consists of two dec- the latter wall, probably used to collect water fltering orative systems, the second of which was added at a down from above. later date. Te oldest one, dating to the Late Repub- Lastly, the typological and geometric character- lican - Early Augustan period is visible only in some istics of the structure and - in particular - the deco- areas where the next one collapsed (right wall). It is rative elements, have allowed the nymphaeum to be characterized by a rustic mosaic with Egyptian blue placed in a specifc chronological range. Indeed the rhomboids, fragments of limestone and polychrome mosaic foor recalls decorative styles commonly used glass as well as various kinds of shells. Even though throughout Lazio and the rest of Italy between the it is signifcantly damaged, the decoration allows end of second century BC and the end of the frst for the tripartite decorative pattern used to be iden- century BC, with Pompeian examples created until tifed. Te pattern consists of a structured top sec- the frst century AD. Te original layout can be dated tion with parallel strips, a middle part with a vertical to the late-republican age, between the end of second scan, featuring three niches on each wall, topped by century BC and mid-frst century AD, on the exam- a triangular crossbar, and the lower part defned by a ple of some similar mosaic creations from that era horizontal strip enclosed between two rows of Egyp- (e.g., villa of Barcola near Trieste). Even the shell-like

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Figure 4. Te rich de- corative apparatus, wall and foor details: below the niches, is a pseudo- perspective representa- tion of the architectural elements, colored red, white and blue; while the fooring mosaic system is formed by a three-colored tessellated foor with crus- tae marble, and a “rustic mosaic”.

mosaic wall became popular around the middle of sition, processing, and management (Adembri et al. the frst century BC, with numerous references even 2016). in central-southern Lazio. Te most outstanding is Te experience in progress at Cassino is signif- the nymphaeum Segni, Frosinone province, the date icant for the particularities of the site, highly inte- of which can be established by the architect’s signa- grated with the existing urban fabric and with a to- ture Q. Mutius, found on the structure and his asso- pography that makes the stratigraphic study of the ciation with the family of Mucii Scaevola. Moreover, diferent archaeological phases more difcult. Visible the subsequent decoration can be traced back to the today is only part of the Roman castrum and some imperial era. areas, such as that of the nymphaeum Ponari, ap- pear as isolated incidents, while it is generally agreed upon that these should be seen and relocated within Te Integrated Digital Survey a unitary urban confguration. Within this site there are archaeological remains of diferent type, size, An innovative contribution of this research regard- condition and construction features. Terefore, it’s ed new activities at the archaeological site based on important to adopt the best strategies for acquiring an integrated digital survey. In recent years digital and processing data, related to the specifcity of in- technology has produced a convergence and integra- dividual archaeological features. Te starting digital tion of diferent instrumental survey methodologies. data is a point cloud, whether using a laser scanner Some of them are already known, such as topograph- or photogrammetry. Te point cloud is a set of dis- ic mapping (merged into the wider scientifc area crete points, more or less dense, each marked by po- known as geomatics), while others are more inno- sitional values (coordinates X, Y, Z) and other values vative, such as laser scanning and photogrammetry. that depend on the characteristic of the material (as In the feld of 3D shape acquisition, the integrated for example the refectance value when using the la- digital survey confgures as the interaction and inte- ser or the RGB color value with photogrammetry). gration of three distinct methodologies: topograph- On nymphaeum Ponari, the laser scanner survey ic, laser scanning, and photogrammetric. In the ar- was integrated with spherical panoramas made with chaeological survey, the combined use of these three an external camera on a panoramic head. Tis made techniques is very common today since each has it possible to replace the image from the internal distinct characteristics for costs, mode of data acqui- camera on the 3D scanner with a higher resolution

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Figure 5. 3D elaborations from point cloud with and without texture. Te texture of the 3D model was created and mapped using HDR spherical panoramas. one in the 3D model. Te photos made with the ex- specifc information, such as horizontal or vertical ternal camera have enabled us to use the High Dy- slices used for 2D graphic elaborations. Trough the namic Range (HDR) technique to achieve the best plan (Figure 6) and the section (Figure 7) it is possi- exposure compensation. On the walls of the nym- ble to see the entire area already excavated and even phaeum there are many traces, also small ones, of the that small part of the domus only partially excavated. diferent stratigraphy. Tese traces can help the ar- Te nymphaeum is composed of three parts: the rect- chaeologists to understand the several coatings that angular hall with niches, covered by a barrel vault of have been applied over time. A careful study of these about 7.50 m long and 4.60 m wide; an open area traces is possible only through a right integration with a tub at the center which is about 7.50 m long between the metric data of the point cloud and the and 6.30 m wide; a flter area linked with the domus, high-resolution photos. Te survey of the nymphae- perhaps covered, about 3.60 m in width. Te mea- um Ponari also takes account of the current excava- surements are in meters and no metrological analysis tions that brought to light the remains of walls with has been carried out to obtain the correspondence well-preserved frescoes of a high aesthetic quality. with the Roman foot because measurements ofen Te frst step of the post-processing phase is the vary considerably, so it is difcult to identify exactly elaboration of the point cloud from the laser scan- the measure of reference. ner, obtaining frst a 3D model reconstruction as a Te covered hall contains three niches for each polygonal mesh surface. Te quality of the model de- of the three walls. Tere were certainly some dec- pends on two factors: the quality of the point cloud orative elements (moldings and cornices) that can and the Poisson surface reconstruction algorithm be partially reconstructed on the basis of the traces (Kazhdan and Hope 2013), used for generating the still visible in the plaster. Tere was also a very rich mesh surface from the point sets (Figure 5). In this pictorial decorative element that can be largely re- way, it’s possible to switch from a discrete model for constructed in its original confguration thanks to points to a discrete model for surfaces. Te photos the many painted parts still in good condition. Te made with the internal camera of the scanner can be layering of plaster allows us to clearly distinguish the replaced with other photos made with an external diferent coating techniques corresponding to the camera which improves the pixel resolution and the diferent historical phases. Behind the latest layer of exposure applying the HDR technique or the stan- plaster, probably dating back to the second century dard Low Dynamic Range (LDR) mode. AD, there are traces of a rustic mosaic covering made Tis textured 3D model can be used in the initial of stones and shells on the NE wall. Observing the investigations on the shape and geometry, extracting plan (see Figure 6), the overlapping of three diferent

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Figure 6. Plan of the nymphaeum Ponari. Te plan includes three diferent horizontal sections to highlight the several misali- gnments, horizontal and vertical.

Figure 7. Longitudinal section with the front textured using the spherical panoramas. horizontal sections made at three diferent reference ferent axis of symmetry between the nymphaeum points allows us to evaluate the diferences from the and the part of the domus that is still visible. Te possible original wall alignments that have under- niches have the same size in height and width, but gone noticeable deformations over time. there is no symmetry on the two long walls. Even Some elaborations of the plan and the section al- in the open space where there is the water tub there low us to highlight some particular features of the are two unaligned pilasters. Tese diferences can be nymphaeum. In Figure 8 note, for example, the dif- ascribed to diferent construction periods. Te over-

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Figure 8. Plan in which some particular features of the nymphaeum are highlighted. lap of the horizontal sections allows us to evaluate ing clearly emerges from under the layer of frescoed the deformation undergone by the whole structure. plaster (with geometric fgures of diferent colors, a Deformations are largely attributable to the lateral pseudo-perspective frame and panels with drawings thrust of the ground. depicting diferent types of marble). Te applica- Other elaborations made directly from the point tion of diferent visualization flters on the pattern cloud (such as the elevation maps) allow us to high- derived from the point cloud (i.e., “ambient occlu- light some details not visible to the naked eye. In sion”), allows us to analyze in detail the imprints on this way, it’s possible to fgure out the diference in the plaster of the various mosaic tiles. Among these altitude of the various parts that compose the foor. are also some imprints of shells and other natural el- In the back wall of the nymphaeum there is a canal ements that were used in the decoration according through which the water fows (still partially visible). to a well-defned geometric design (which was only It is important to note also that the foor of the cov- partially resumed in the later layer). ered chamber has not undergone particular sagging and is still perfectly level. Figure 9 allows us to ver- ify two things: the correspondence with the round Interactive Communication arch geometry of the barrel vault and the defection upwards of the outermost part of the surface in con- Another research activity of the project included sequence of the lateral thrust of the two load-bearing an on-site application using innovative ways of cul- walls. tural heritage communication. Recently a museum Particularly interesting is the study of the parts of (named “Museum Carettoni” in honor of the archae- plaster on which it is still possible to observe decora- ologist who worked on this site for years) has been tive geometric motifs. As mentioned, the peculiarity opened inside the archaeological area. Given that of this nymphaeum is that an older layer of fnish- currently the nymphaeum is outside the traditional

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Figure 9. Transversal section in which some particular features of the nymphaeum are highlighted. visitation circuit because it is still a building site, the view, while in 3D-based virtual tours, it’s possible to processing of the models shown here represents a real interact more freely with the virtual model obtaining opportunity to set up in the museum an interactive a greater communicative impact. However, the qual- box for multimedia virtual tours using immersive ity of the experience depends largely on the level of virtual reality. Today, the ways on cultural heritage model accuracy, sensory immersion (obtainable with communication can be very diverse thanks to the devices that are still too sophisticated and expensive great difusion and versatility of digital technologies. for mass use), as well as the functionality and sim- However, each context evinces its specifcities over plicity of the navigation tools. which some applications may have greater or lesser Te project that has been developed for nymphae- communicative efectiveness (Frassine et al. 2014). um Ponari involves the installation of a multimedia Te virtual tours, for example, can be used on station within the Carettoni Museum (Figure 10). fxed or mobile devices (smartphones or tablets). In Te communication interface is based on a virtual the frst case, there is almost always an of-site com- tour consisting of four spherical views that allow us munication mode that is far from the object or site to navigate within the remains of the nymphaeum by we are visiting; in the second case it is also possible rotating the 360° view with simple and intuitive in- to activate on-site procedures, in direct contact with teraction modes. It is also possible to take advantage the cultural heritage. In this case, the efectiveness of of greater spatial immersion using virtual reality op- communication is certainly greater as it eliminates tical devices. Spherical views have a number of links the loss of visual quality due to technical limitations (hotspots) through which activate more in-depth of mobile devices, which can lead to the loss of the knowledge pathways (details, historical documenta- user’s attention. In the case of nymphaeum Ponari, a tion, comparison with other nymphaeum, etc.), thus very important aspect to consider is the level of free- diversifying communication in relation to the user. dom of movement within the virtual space. In the Particular care is given to the integration of the vi- virtual tours based on spherical panoramic photos, sual component with that of the storytelling voice, space exploration is linked to a predefned points-of- rather than written texts. Tis is because in this kind

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Figure 10. Project of multimedia box to be installed inside the Archaeological National museum “G. Carettoni” built into the archaeological site of Casinum.

of communicative experiences the voice message is of the cultural heritage so widespread in our territo- much more efective than the written message. ry. Afer an initial period of experimentation, today Tis aspect of the project, which is still under a practice that is common among superintendents, development, represents a concrete opportunity for surveyors, archaeologists and scholars has estab- visitors of the archaeological area to know a current- lished itself. Te use of digital survey and 3D mod- ly inaccessible place, which is particularly interesting eling for the documentation and study of archaeo- not only for the state of conservation of the spatial logical sites and historic buildings, has increased context but also for the refnement of some decora- signifcantly in recent years. Te survey allowed us tive details, largely well preserved in their original to elaborate 2D and 3D representations useful for ex- features. panding our knowledge of the nymphaeum Ponari. Te study is also an important step to program the future excavations of the Roman domus. Moreover, Conclusions the 3D models can be used for a new form of com- municating cultural heritage both inside the nearby Tis study is part of a broader research on Roman archaeological museum as well as in of-site places. Casinum archaeological heritage and includes tan- gible and intangible aspects of that heritage. Digital technology can be an important means for optimiz- ing resources for the conservation and enhancement

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