Abstract
This paper addresses the problem of surveying illusory architectures painted on vaulted surfaces. The survey of a quadratura, or a painting in general, requires recording the metric and chromatic characteristics of the subject and the typical characteristics of the painted surfaces, such as soot, engravings, and giornate. Our goals are the proposal of an “optimum” quality standard for surveying curved painted surfaces and testing a method to acquire and render the data that allows those standards to be met. The test, conducted on the corridor of Saint Ignatius of Loyola rooms in Rome depicted by Andrea Pozzo, shows how the quality of the texture can be measured in terms of overall sharpness and average resolution. It is also shown how it is possible to identify some reference standards that allow the quality of the final result to be determined already in the photography phase of the project.
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Notes
- 1.
We are currently testing this methodology on similar paintings, such as on the vault of the Church of St. Ignatius and that on the hall of Palazzo Barberini (Rome), to confirm its validity.
- 2.
In this experimentation we chose to adopt one of the currently most popular photogrammetric software, Agisoft Photoscan 1.1, but the considerations of this paper are still valid by using any other similar software.
- 3.
The procedure is also advantageous if viewed in light of the time and cost entailed in the photography and processing phases, which make this technology a shared standard for quick survey campaigns.
- 4.
The resolution of cameras installed on today’s commercially available scanners guarantee a maximum of 4 megapixels on average, compared to the 18 megapixels available on average for a full-frame professional camera.
- 5.
The calculations made by the software are statistical, which leads to variations of the results even when starting with identical datasets.
- 6.
A UV texture associates a raster image to each triangle of a mesh surface developed on the plane. Since the meshes are irregular polyhedrons, the constituent polygons tend to overlap in plane development. To avoid this superposition in the development phase, the surface is divided into multiple parts, and the developed polygons are situated in order to optimize the raster space available. The developed mesh obviously does not cover the entire square surface of the texture.
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Mancini, M.F., Salvatore, M. (2016). Surveying Illusory Architectures Painted on Vaulted Surfaces. In: Ioannides, M., et al. Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection. EuroMed 2016. Lecture Notes in Computer Science(), vol 10058. Springer, Cham. https://doi.org/10.1007/978-3-319-48496-9_30
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