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MUSEO DELTA ANTICO

Museum Guide www.museodeltaantico.com MUSEUM GUIDE Edited by Carla Buoite, Lorenzo Zamboni Graphic design and editing All’Insegna del Giglio Text The display texts were adapted by Carla Buoite and Lorenzo Zamboni, from museum panels by Aniello Zamboni and Claudio Negrelli (Roman period), Laura Ruffoni (ship’s cargo), Valentino Nizzo and Lorenzo Zamboni (protohistory), Carla Buoite and Lorenzo Zamboni ( settlement), Annachiara Penzo (Spina cemetery), Sauro Gelichi (Late Antiquity and medieval period). The historical reconstructions and graphic elaborations are based on the latest research by the Superintendency, and the universities of Zurich, , , and Pavia. Special thanks to Maurizio Cattani for unpublished information on the settlement of Valle del Mezzano. Gabriele Arveda’s text was revised by Aniello Zamboni. Coordination Roberto Cantagalli, Caterina Cornelio, Alessandra Felletti, Laura Ruffoni Photos Sergio Orselli, Paolo Rondini, Maurizio Cinti, Lorenzo Zamboni By permission of the Ministero dei Beni e delle Attività Culturali e del Turismo - Polo Museale Romagna, Soprintendenza archeologia, belle arti e paesaggio per la città metropolitana di e le province di , e Ferrara, of the Arcidiocesi di Ferrara-, and of the Biblioteca Statale di Cremona. Unauthorized reproduction is prohibited. 3D photogrammetry Paolo Rondini Maps Teseo Editore - Drawings Inklink - English translation Jim Bishop, Lorenzo Zamboni

ISBN 978-88-7814-814-7 e-ISBN 978-88-7814-815-4 © 2017 All’Insegna del Giglio s.a.s.

Edizioni All’Insegna del Giglio s.a.s via del Termine, 36; 50019 Sesto Fiorentino (FI) tel. +39 055 8450 216; fax +39 055 8453 188 [email protected] [email protected] website www.insegnadelgiglio.it

Printed in Firenze, September 2017 Grafiche Martinelli MUSEUM DESIGN Coordination and organization: Dirigente Settore I, Cabling and wifi system: Delta Web Telecomunicazioni Roberto Cantagalli; Dirigente Settore V, Antonio Pini; Dispaly materials: G. Bonomi srl – ; Aimi – Parma; Gian Giacomo Cavalieri, Alessandra Felletti, Antonio Ferroni, Fab Lab – Spazio Marconi Comacchio (FE) Leonardo Nascosi, Laura Ruffoni, Maria Rosa Sabattini Video: Teseo Editore, Rome: design, direction and Scientific Board: Luigi Malnati, Sauro Gelichi, Carlo Peretto, multimedia content; Concept: Enrico Orsingher; Aniello Zamboni Creativity and post-production: Guglielmo Guarnera Collaboration and specialist advice: Riccardo and Gian Claudio Pallotta (Krd/Cliché); Photography: Belcari, Marco Bonino, Carla Buoite, Giovanna Bucci, Mario Setter, Andrea Agostini, Luca De Marinis; Narrator Mario Cesarano, Caterina Cornelio, Paola Desantis, Simona voice (Italian): Stefano Nazzaro; Narrator voice (English): Facioli, Glenda Giampaoli, Elena Grandi, Stefano Manfredini, Devin Watkins; Soundtrack: Jameson Nathan Jones, Benedetta Martini, Stefano Medas, Claudio Negrelli, Ivan Krasnov, Phaelaeh, Purple Planet, Rainer Struck, Virerai; Valentino Nizzo, Annachiara Penzo, Laura Ruffoni, Costume: Ombretta Luciani; Specialist advice on Etruscan Benedetto Sala, Ursula Thun Hohenstein, Davide Tomasi, weaving: Glenda Giampaoli and Benedetta Martini; 3D Carmela Vaccaro, Silvia Vertuani, Chiara Beatrice Vicentini, graphics: Alfonso Annarumma, Emanuel Demetrescu, Lorenzo Zamboni Cristina Ducci, Fernando Luceri, Roman Testoni; Archives: Rai Teche. Management system for multimedia devices: Lenders: Polo Museale Emilia Romagna – Museo Maurizio Cerolini and Giorgio Tiranti. Archeologico Nazionale di Ferrara; Soprintendenza archeologia, belle arti e paesaggio per la città Museum’s name and logo: Stefano Buzzi; Alberto Zetti metropolitana di Bologna e le Province di Modena, Graphics, Website, App: Parallelo, Florence: Ferrara e Reggio Emilia; Arcidiocesi di Ferrara-Comacchio; Filippo Fineschi, Nicola Nottoli, Francesco Delacqua, Biblioteca statale di Cremona Vincenzo Bologna, Francesco Marsoni Conservation direction: Micol Siboni, Monica Zanardi Promotional material design: Noemastudio, Ferrara Conservation treatment: Valentina Guerzoni, Museo Promotional material printing: Del Gallo Editori, Archeologico Nazionale di Ferrara, Opus Restauri, Parma: Angela Allini, Giorgio Arcari, Anna Ghillani, Società Graphics: Inklink, Florence: Simone Boni; Claudio Negrelli; Strati s.n.c. di Marianna Cappellina, Ilaria Perticucci, Teseo Editore – Rome: Luciana Amapani Christian Tortato, con la collaborazione di Maria Baruffetti Translation: Studio Blitz, Pistoia; Ann Hilary Gashler; e Giulia Basilissi, Soprintendenza archeologia, belle arti e Devin Watkins paesaggio per le province di , Forlì-Cesena e Museum services: Consorzio COGETOUR, Comacchio (FE) Museum display: Riccardo Belcari; Carla Buoite; Claudio Negrelli; Annachiara Penzo; Alain Rosa; Laura Ruffoni; Security: Protezione Civile – Beni culturali Gruppo Aniello Zamboni; Lorenzo Zamboni Trepponti Comacchio; Auser; Pro Loco – Comacchio (FE); Top Secret – Ferrara Conservation assistance: Opus Restauri, Angela Allini Communication Office: Laura Burgio, Katia Romagnoli Display assistance: Andrea Dal Bon ed Elena Maini; Polo Museale: Alain Rosa; Cooperativa Le Pagine: Communication: Dinamica Media - Ferrara Anastasia Rizzoni Insurance: Aon Spa, Bologna - Axa Art Versicherung Transport and display: Crown Fine Art, Milan Fragrance project: Università di Ferrara, Master di II livello Consulting and coordination of texts: Carla Buoite, in Scienza e tecnologia cosmetiche: COSMAST; Fragranze Lorenzo Zamboni Claudia Scattolini – Fragrance designer ; Laura Bosetti Tonatto Museum layout design, supervision and coordination: Michela Biancardi, Angela Cazzoli, Nike Maragucci, Photographic and video credits: Teche RAI, Polo Museale Alessandro Tricoli, Rita Zambonelli Emilia Romagna, Museo Archeologico Nazionale di Ferrara, Museo Cristiano e Museo del Duomo di , Site management for the municipality: Soprintendenza archeologia, belle arti e paesaggio per la Leonardo Nascosi città metropolitana di Bologna e le province di Modena, Security coordination: Camilla Fabbri Ferrara e Reggio Emilia, Soprintendenza archeologia, belle arti e paesaggio per le province di Ravenna, Forlì-Cesena Lighting: Carolina De Camillis, Riccardo Fibbi e Rimini, Sergio Orselli, Maurizio Cinti Display: Tecton Soc. Coop. (mounting); Special thanks: All the employees of the Municipality Reset (electrical circuitry) of Comacchio involved in this project: Polizia Municipale, Systems: GPS Servizi Segreteria e Organi di Governo, Settore I Turismo Cultura e Pubblica Istruzione, Settore II Affari Generali Personale, Scenography: Laboratorio Scenografico, Pesaro Settore III Finanze e Partecipate, Settore IV Territorio Display case air conditioning: A&R Project – Molinetto Sviluppo Economico Demanio, Settore V Lavori Pubblici Mazzano, e Patrimonio, Settore VI Politiche Sociali The realization of this guide has been made possible thanks to the contribution of: INDEX

8 Institutional greetings 10 Presentations 13 Ospedale degli Infermi. The building before the museum, by Gabriele Arveda 16 The museum design, by Michela Biancardi, Angela Cazzoli, Nike Maragucci, Alessandro Tricoli, Rita Zambonelli

MUSEUM DISPLAY, by Carla Buoite and Lorenzo Zamboni 21 The ancient Delta. Environment and landscape 22 Before Spina. The protohistoric population 24 Spina. Crossroads of the ancient world 41 Roman period. A land without towns 48 The roman ship. Its cargo 54 Late Antiquity and medieval period. A new town 63 Further reading Institutional greetings

The opening of the new Ancient Delta Mu- This new museum has thus deep roots in seum is a historic moment for Comacchio, Comacchio’s history, but it also has an inno- and also a great achievement on the part vative exhibition design, with a fresh, mod- of the council. For many years our citizens ern appearance thanks to the intelligent use have wanted to develop the local cultural of multimedia and narrative presentations. heritage, for touristic and educational pur- Our wish is that this reality may be nurtured poses, and also to enhance our local cul- and constantly improved through scientific tural identity. Now it is time for Comacchio research and dissemination. – which for centuries was isolated and sub- The inauguration of the museum is there- ject to foreign dominion and long-lasting fore the result of a great effort shared by poverty – to make its thousands of years of many institutions and professional teams. history live again. This goal could be indeed We would like to express our gratitude to seen as social redemption and the recovery the ‘Ministero dei Beni e Attività culturali e of a sense of belonging to our land. del Turismo’ and especially to the ‘Soprint- Moreover, archaeological evidence recalls an endenza archeologia, belle arti e paesaggio ancient past when the territory of Comac- per la città metropolitana di Bologna e le chio, at the mouth of the River , was an Province di Modena, Reggio Emilia e Fer- international crossroads for people, goods, rara’, along with the ‘Polo Museale Emilia ideas and civilizations. Archaeology tells us Romagna’, the Emilia Romagna Regional of the challenging relationship between Authority, and the universities of Ferrara, men and a harsh – but at the same time Bologna and Venezia. Thanks also to all the fertile – environment. A relationship based researchers, designers, and restoration and on hard work and a vision of the future. It museum design companies, and also to is important to make better known and to the employees of Comacchio Council, who communicate this historical culture, which have worked together during a period of remains a source of inspiration even today. intense commitment that we will always Our community therefore wanted to wel- remember gladly. come these monuments to our past into the The new Ancient Delta Museum thus rep- town centre, and house them inside a histori- resents a goal achieved by an entire com- cal building – the 18th century Ospedale degli munity, a desire fulfilled over generations. Infermi, for too many years left abandoned. The final result is to give back Comacchio Giving a new life to this building is another its historical roots, its memory of belonging. important achievement, since it remained The monumental museum seat, built inside for a long time a huge silent presence in the intricate maze of canals in the town the historic town centre. Only a few cultural centre, was conceived as an asylum for sick events were held there, such as the exhibi- bodies and poor souls. After centuries, the tions “Genti nel Delta da Spina a Comac- former hospital has become the perfect chio” (2007), “L’Isola del Vescovo” (2009), and home for the spirit of the Po Delta. “Omaggio a Giglio Zarattini” (2014). Just as water crosses borders, the desires Today this great building, the museum’s and aspirations of an entire community can- natural home, is once more fully functional, not be dammed into small creeks. Ongoing after long restoration work. We can now ad- research and continuing new discoveries mire not only the treasures inside the mu- foreshadow amazing, brand new vistas. seum, but also the architectural splendour Comacchio’s new museum lies in the delta’s of its premises, an original and impressive embrace. witness to the scientific and social vision of the Enlightenment applied to public health. Alice Carli, Marco Fabbri

8 The scientific project for the new museum of Like most municipal archaeological museums Comacchio – a necessary step before work in Italy, the Ancient Delta Museum houses began on the museum’s design – was deve- only material owned by the State, because loped over the course often years. the finds all come from excavations carried This inauguration is therefore an important out during the last century. Collaboration goal achieved by Comacchio Council in first between Comacchio Council, now responsi- place, and also thanks to dedicated work ble for the museum’s upkeep, and the natio- by the former ‘Soprintendenza per i Beni nal – recently renamed – Archaeology, Fine Archeologici dell’Emilia Romagna’, and in- Art and Landscape Superintendency has been deed of the researchers of the universities essential for what has been achieved, but will involved in archaeological excavations and be even more so for future issues. I refer in studies, including Ferrara, Venice, Bologna, particular to the longstanding problem of the Zurich and Pavia. Thus today we can see the unfinished conservation treatment of the Ro- results of all their hard work, which gives the man shipwreck. After many interruptions, we citizens of Comacchio – as well as national are now completing the treatment, having and international visitors – a comprehensive identified the best methodology – the wreck, picture of the history of this territory and the to everyone’s satisfaction, is actually in very life of its ancient inhabitants. good condition inside its artificial shell. Futu- The museum makes wide use of new techno- re goals could be new excavations, carried out logical tools, but at the same time keeps clo- by the universities involved in the project and sely in touch with the traditional display of by the Superintendency. The results of this excavation finds. It is thus possible to fully work will stimulate the renewal and growth of explain what archaeology really is, going the Ancient Delta Museum. beyond the superficial sensationalism of the As should be clear to everyone (even to those media and some improvised popularization. who know little about archaeology), an ar- For it is hard work to communicate history chaeological museum must always have close using all the results of an archaeological ties with the surrounding territory, where ar- excavation, which involve increasingly com- chaeological excavations continue. Otherwise plex methods and more advanced techno- it will be left behind by new developments logy. We must therefore consider the whole and may indeed itself become ‘mummified’. context, beyond the single – more or less re- Contrary to what is sometimes said, the only vealing and evocative – discoveries. We have sound basis for the conservation of our ar- to comprehend the entire picture over an chaeological heritage is adequate scientific extensive territory, putting in parallel data knowledge, and without correct conservation from other excavations and using (when there is no future for development. these exist) traditional written sources, in- cluding historical texts, local chronicles and Luigi Malnati archives. I believe that the authors of this Director of the ‘Soprintendenza archeologia short guide have rendered this complexity belle arti e paesaggio per la città metropolitana with passion and intelligence, placing Co- di Bologna e per le province di Modena, Reggio macchio within a broad historical discourse Emilia e Ferrara’ – former head of the ‘Soprintendenza and letting the objects on display “speak” for ai beni archeologici dell’Emilia Romagna’ themselves. and of the ‘Direzione Generale Archeologia’

9 Presentations

Comacchio’s archaeological adventure of- On the first floor the visitor will find arte- ficially began on 3rd April 1922, with the dis- facts belonging to the pre-Spina inhabit- covery of Etruscan graves during reclama- ants, who lived here during the late Bronze tion work in Valle Trebba. This was a sector, Age and Early Iron Age (11th to 7th cent. with over 1200 graves, of the cemetery of BC). Then comes the large section on the Spina, the Etruscan port town between the wealthy and highly Hellenized Adriatic port River Po and the Adriatic Sea, until then only of Spina (late 6th to middle 3rd cent.BC), first known from references by ancient writers. the town, then the cemetery. Since their time, the archaeological im- The rich collection of grave goods from portance of the Comacchio area has been sector D of Valle Pega, mostly unpublished, occasionally pre-announced by reports of gives an account of the chronological devel- surface finds discovered over the centuries opment of the burials, while the reconstruc- during dry periods by chroniclers and local tion of the stratigraphic sequence immerses history enthusiasts. the visitor in the reality of an excavation. Archaeological knowledge of Spina and the The last section is dedicated to late antiquity delta area has been closely linked to the prog- and the medieval period. Thanks to recent ress of . With the drainage excavations we know about Comacchio at of Valle Pega between 1953 and 1965, another the time of its birth (mid 6th cent. AD), during rich sector of the cemetery was brought to its prosperity, up to the last archaeological light, with another 2650 graves, along with evidence dating to the 15th and 17th centuries. the harbour zone of Motta della Girata, and Its strategic location ensured its wealth and the Early Christian church of Santa Maria in reliance upon trade. It is cited for the first Padovetere with its own cemetery. time withthis name in Liutprand’s Capitulary In 1960 the reclamation of Valle Lepri - Mez- (AD 715-730), a document that established zano led to the identification of the settle- commercial relations between the ment of Spina. Excavation began there in of Pavia and the inhabitants of a new centre, 1965 and are still in progress. Other discov- Comacchio, at this time already established eries were made in the Roman villa of Bocca from an administrative, military and ecclesi- delle Menate. These exciting results were astical point of view. accompanied by other positive outcomes On this long journey through the centuries, during the monitoring of work in the terri- the visitor is assisted by traditional infor- tory, along with the initiatives promoted by mation sources, abetted by multimedia for Comacchio Council aimed at discovering interaction and in-depth themes. more about the inthe lagoon. These instruments of instruction are fur- Inside the Museo Delta Antico we find the ther emphasized by sensory experiences. substantial fruits of all the activities just de- One may hear the sound of the backwash scribed, starting from the Julio-Claudian mon- running over the Valle Ponti shipwreck, or ument found in 2015 in Baro Zavelea, which perceive delicate flavours inside the “olfac- welcomes the visitor and introduces the first tory path”. section dedicated to the Roman period (1st This short Museum Guide, published soon cent. BC-4th AD). Here we can admire objects after the inauguration, is another item of- from excavations of settlements in populated fered by Comacchio Council to visitors. areas (including Argine d’Agosta and Dosso The Ancient Delta Museum is an archaeo- dei Sassi), or found in neighbouring territo- logical treasure of undoubted value which ries. Among them there are also some valu- will become an important milestone in the able funerary monuments from . The museum network of the . Roman section closes with the abundant and renowned Valli Ponti shipwreck. Caterina Cornelio Cassai

10 Our society entrusts museums with the task the slight awe that may often afflict our re- of preserving material cultural heritage and lations with a cultural institute. conveying knowledge to the present and We are all by now used to living in a virtual future public. However, a museum cannot world, to employing technology naturally play its educational, preservative and in- and learning without reading. The commu- spirational role without communicating its nication style of the videos is quite classic, content effectively and comprehensively, brief and matter-of-fact. especially to those who are not experts in The scenographies too have the same goal the fields it covers. of transmitting content, with understand- That is why the theme of museum commu- ing facilitated by the medium of imagery. nication is now at the centre of internation- These basic means of communication may al debate, in European cultural programmes be used either alone or in groups; inter- as well as in the specialist and technical activity is minimal, mainly concerning the documents of the Ministry of Cultural Heri- choice of language (Italian or English) at tage and Tourism and Institute for the Ar- the simple press of a button. tistic, Cultural and Natural Heritage of the More advanced levels of approach are also Emilia Romagna Region. envisaged, and are currently under devel- This short guide to the Ancient Delta Mu- opment. The aim is to explore some topics seum is a flexible and informative tool, in greater detail and highlight the particu- which offers a different presentation of lar features of certain objects. the contents of a visit to the museum. Its Through the variety of communication sys- publication is an opportunity to take stock tems, we also want to keep visitors’ attention of how the general communication of the high and increase their involvement. There newly opened museum has been designed is, for example, a sensory and olfactory path, and set up. The creation of a new museum inspired by the main themes of the museum. has of course involved the design the vari- Other tools are touch-screen content, tablet ous instruction devices, including panels, and smartphone applications, and teaching labels, films, guides, apps, sites, didactic workshops for children and adults. And not workshops, as parts of a single general and least this short guide, to be followed by a coherent view. forthcoming more specialized catalogue, At a basic level, we chose to use many vid- allowing visitors to take news and scientific eos, along with more traditional panels and information away with them. labels, with the aim of locating the archaeo- In conclusion, we started out from a general logical objects firmly within their territorial, framework of images and suggestions, but temporal and cultural contexts, and to sum- returned in the end, via diversified paths, marize the main historical backgrounds. to the reading of written texts and to the In addition to easy communication, this concreteness of the material archaeological familiar medium also has the purpose of data. reducing distances and making the visitor more comfortable, helping to overcome Laura Ruffoni

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Before the museum

The Ospedale degli Infermi

Gabriele Arveda

The seat of the new Ancient Delta Museum position, isolated but centrally placed at a is the former hospital of Comacchio, a crossing point between three canals and building with a long and troubled history two roads. which has played a major role in the town’s The year 1778 saw the beginning of the life. work,which continued until 1784 with many The history of the old hospital is closely difficulties, including the limited resources linked to the precarious economic and available and the population’s protests at social situation of Comacchio under the the increased costs. domination of the Papal State during the A key figure in the building of the hospital second half of the 18th century AD, when was Cardinal Francesco Carafa, appointed the applied a reformist policy to head of the Ferrara . Carafa was a its provincial territories. good administrator and reformer opposed The population’s chronic poverty and the to the waste of public resources and the resulting bad public health in Comacchio overwhelming power of the Papal clergy required the presence of a hospital, the and nobility. To reduce costs, for example, lack of which had been denounced for he used prisoners for the excavation of wa- decades. A document of Clement XIV ter channels. in 1771 started the formation process, part- In 1780, the direction of the work was ly because the Holy See wanted to quell entrusted to Gaetano Genta (1750-1837), Comacchio’s tax protest regarding the another architect from Ferrara – less re- rents of its valleys. The solution was thus to nowned but also less expensive than allocate a large sum for construction work Foschini. and services, including a hospital. After many difficulties and economic sacri- After a few years of indecision, mainly fices, including loan reductions, in 1784 the due to the large amount of expenditure work was finally finished. planned, in 1777 Pope Pius VI finally ordered However, the hospital was not yet ready the start of work. The burden of expenses for use, for economic reasons and also due was fully incurred by the local communi- to formal issues. On one hand there was a ty and the project was entrusted to the lack of funding to run it, on the other the architect Antonio Foschini from Ferrara above-mentioned 1771 document by Pope (1741-1813). Clement XIV stipulated that the hospital’s The first step was the selection of the construction should be accompanied by houses and sites to examine and compare, the establishment of a home for spinsters, so as to choose the most suitable ones. and also a school for poor children. Failure The decision made, however, was to de- to comply with these conditions meant sign a new building rather than modify that the hospital could not open. pre-existing properties. The reasons were The official opening finally took place to contain costs and also to be able to on May 15 1811, as decreed by Eugène de choose an isolated position more suitable Beauharnais, Viceroy of Napoleonic Italy. for a hospital. In fact it was not until the completion of A construction site was therefore select- further massive and expensive restoration ed by a committee from those proposed works, made necessary by various civilian by Foschini, on the basis of its strategic and military occupations in the difficult

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