Reconstrucción virtual del estado previo de una iglesia en ruinas

Contributed to: 4th International Conference, EuroMed 2012, Limassol, Cyprus, October 29 – November 3, 2012.[EN] This document is related with the master thesis "Geometric documentation and reconstruction of the church of the Monastery of San Prudencio (La Rioja, Spain)", http://hdl.handle.net/10810/7096[ES] Este artículo está relacionado con el proyecto fin de carrera titulado This document is related with the master thesis "Documentación geométrica y reconstrucción de la iglesia del Monasterio de San Prudencio (La Rioja, España)", http://hdl.handle.net/10810/7096[EN] Three dimensional virtual models can represent both the existing and the already destroyed architectural heritage. This project deals with the 3D reconstruction and representation of the church of San Prudencio's Monastery in La Rioja (Spain) as it is supposed to be during the 15th century. Today the monument is totally in ruins; hence severe reconstruction was needed. This is an exemplary project of close collaboration of different scientific fields. Surveying data of the monument itself and of the wider area around it, but also architectural and archaeological data were collected in situ. It was not possible from the current situation to conclude about the exact form, style and representation of the monument; hence a large part of the project is based on assumptions which have a sound scientific base. Because of the multisource data there was need to define specific criteria by which every data source was evaluated.[ES] Los modelos tridimensionales pueden representar tanto los elementos patrimoniales existentes como los ya han dejado de existir. En este proyecto se trata la reconstrucción tridimensional de la iglesia del Monasterio de San Prudencio de Monte Laturce (Clavijo, La Rioja, España) tal como se supone que fue durante el siglo XV. En la actualidad el edificio está arruinado por lo que ha sido necesario realizar una importante reconstrucción virtual basad en hipótesis que han requerido la colaboración de técnicos de diferentes áreas de conocimiento, por ejemplo, se ha contado con un levantamiento topográfico de los restos y del área circundante, datos sobre los materiales e hipótesis arqueológicas y arquitectónicas. Dado que existe información de múltiples fuentes, ha sido necesario incorporar un conjunto de criterios de selección y evaluación de las mismas.This project is an outcome of the ERASMUS IP activity “TOPCART Geometric documentation of Heritage: European integration of technologies” undertaken during the summer 2010 2009-1-ES1-ERAIP-0013) and 2011 (2010-1-ES1-ERA10-0024)

Memorias evocadas - reconstrucción virtual de un hito arquitectónico

[EN] This paper addresses the challenge of digitally reconstructing ruined architectural sites and retracing their history, in order to virtually recompose their geometrical, stylistic and material integrity. To this end, the research team analyzed the ruins of the church of Santa Maria de Monasterio Albo, located in the ancient village of Misterbianco (Sicily) and destroyed (together with the entire hamlet) by the 1669 eruption of Mount Etna. In the last years, some excavation campaigns brought the church to the light, unveiling the remains of the main portal and six altars, which are one of the most remarkable examples of Mannerist art in eastern Sicily. This research aimed to three-dimensional (3D) reconstruct both the altars and the portal, ideally reviving their original 17th century configuration. This goal was achieved through an in-depth archival research (documents dating back to the years between 1300 and 1666 were consulted), an analysis of Classic and Renaissance treatises, and two integrated digital survey campaigns (laser scans and photogrammetry). The outcome is represented by the 3D models of the seven artifacts, which include surviving parts reconstructed as photogrammetric meshes, several fragments were placed in their likely early location through a virtual anastylosis, and NURBS (Non Uniform Rational Basis-Splines) surfaces (recreating the no longer existing elements). The latter were 3D modelled based on the treatises (which provided information on the correct proportioning) or in analogy with other coeval similar artifacts. Overall, the digital reconstruction was based on the ethical principles of transparency of the intervention, recognition of non-original additions and distinction between evidence and hypothesis, according to the London Charter and the Seville Principles. The experimentation provides a valid support for possible interventions in the real world and is the starting point to develop a digital archive of the site, which would make the different accuracy levels the reconstruction explicit.[ES] Este artículo aborda el reto de reconstruir digitalmente las ruinas arquitectónicas y de recomponer su integridad geométrica, estilística y material. Para ello, los investigadores analizaron la iglesia de Santa María de Monasterio Albo, situada en el antiguo pueblo de Misterbianco (Sicilia) y destruida (junto con todo el burgo) por la erupción del Etna de 1669. En los últimos años, varias campañas de excavación han sacado a la luz la iglesia, revelando los restos del portal principal y los seis altares, que constituyen uno de los ejemplos más notables del arte manierista en el este de Sicilia. La investigación ha permitido reconstruir tridimensionalmente(3D) tanto los altares como el portal, reviviendo idealmente su configuración original del siglo XVII. Este objetivo se logró mediante una investigación de archivos (se consultaron documentos que se remontan a los años 1300-1666), un análisis de los tratados clásicos y renacentistas, así como dos campañas integradas de levantamiento digital (escaneado láser y fotogrametría). El resultado está representado por los modelos 3D de los siete artefactos, que incluyen partes supervivientes (reconstruidas como mesh fotogramétricas), varios fragmentos (colocados en su probable posición inicial mediante una anastilosis virtual) y superficies NURBS (’Non Uniform Rational Basis-Splines’, que recrean los elementos que ya no existen). Estos últimos fueron modelados en 3D, bien sobre la base de los tratados (que ofrecían información sobre las proporciones correctas), o bien por analogía con otros artefactos coetáneos similares. En general, la reconstrucción digital se basó en los principios éticos de transparencia de la intervención, reconocimiento de los añadidos no originales y distinción entre pruebas e hipótesis, según las Cartas de Londres y Sevilla. La experimentación ofrece un soporte válido para posibles intervenciones en el mundo real y es el punto de partida para desarrollar un archivo digital del sitio, capaz de explicitar los diferentes niveles de precisión de la reconstrucción.The authors would like to thank: the Monasterium Album Foundation, especially the president father Giovanni Condorelli and all the members of the institution, for allowing access to the archaeological site of Campanarazzu, for authorizing the photographic reproduction of images, as well as for the helpfulness to discuss the issues addressed; the Soprintendenza dei Beni Culturali of Catania (specifically the architect Giuseppe Sciacca) for providing the documentary sources of the excavation campaigns conducted since 2002 (specifically, the Fig. 7a, 7b, 8, 9a, 9b); Mr. Mimmo Murabito, for sharing the results of his historical research.Fallica, S.; Garozzo, R.; Santagati, C. (2021). Retraced memories - virtual reconstruction of an architectural landmark. Virtual Archaeology Review. 12(25):124-139. https://doi.org/10.4995/var.2021.15302OJS1241391225Adembri, B., Cipriani, L., & Bertacchi, G. (2018). Virtual anastylosis applied to the architectural decoration of mixtilinear buildings in Villa Adriana: the case study of the scattered friezes of the Teatro Marittimo. Applied Geomatics, 10(4), 279-293. https://doi.org/10.1007/s12518-018-0207-5Aiello, D., & Bolognesi, C. (2020). Reliving history: The digital reconstruction of the convent of Santa Maria delle Grazie in Milan. Virtual Archaeology Review, 11(23), 106-126. https://doi.org/10.4995/var.2020.13706Alby, E., Grussenmeyer, P., Bitard, L., Guillemin, S., Brunet-Gaston, V., Gaston, C., & Rougier, R. (2017). Digitization of blocks and virtual anastylosis of an antique facade in Pont-Sainte-Maxence (France). The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, XLII-2/W5, 15-20. https://doi.org/10.5194/isprs-archives-XLII-2-W5-15-2017Aliberti, L., & Alonso-Rodríguez, M. Á. (2018). Digital photogrammetry for the geometrical analysis of the umbrella-shaped dome in Baia (Naples). The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, XLII-2, 23-28. https://doi.org/10.5194/isprs-archives-XLII-2-23-2018Apollonio, F. I., Fallavollita, F., Giovannini, E. C., Foschi, R., & Corso, S. (2017). The reconstruction of drawn architecture. Studies in Digital Heritage, 1(2), 380-395. https://doi.org/10.14434/sdh.v1i2.23243Apollonio, F. I., & Giovannini, E. C. (2015). A paradata documentation methodology for the Uncertainty Visualization in digital reconstruction of CH artifacts. 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What do thirty-one columns say about a "theoretical" thirty-second? Journal on Computing and Cultural Heritage, 8(1), 1-18. https://doi.org/10.1145/2700425Canciani, M., Falcolini, C., Buonfiglio, M., Pergola, S., Saccone, M., Mammì, B., & Romito, G. (2013). A method for virtual anastylosis: the case of the Arch of Titus at the Circus Maximus in Rome. ISPRS Annals of Photogrammetry Remote Sensing & Spatial Information Science, II-5/W1, 61-66. https://doi.org/10.5194/isprsannals-II-5-W1-61-2013Cignoni, P., & Scopigno, R. (2008). Sampled 3D models for CH applications: A viable and enabling new medium or just a technological exercise? Journal on Computing and Cultural Heritage, 1(1), 1-23. https://doi.org/10.1145/1367080.1367082Cipriani, L., García-León, J., & Fantini, F. (2019). From the general documentation of Hadrian's Villa to design analysis of complex cupolas: A procedural approach. The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, XLII-2/W15, 327-334. https://doi.org/10.5194/isprs-archives-XLII-2-W15-327-2019Demetrescu, E., & Fanini, B. (2017). A white-box framework to oversee archaeological virtual reconstructions in space and time: Methods and tools. Journal of Archaeological Science: Reports, 14, 500-514. https://doi.org/10.1016/j.jasrep.2017.06.034De Vos, P. J., & De Rijk, M. J. (2019). Virtual reconstruction of the birthplace of Rembrandt van Rijn: from historical research over 3D modeling towards virtual presentation. The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, XLII-2/W15, 397-404. https://doi.org/10.5194/isprs-archives-XLII-2-W15-397-2019Forte, M. (2007). La Villa di Livia. Un percorso di ricerca di archeologia virtuale. Rome, Italy: Herma. https://doi.org/10.13140/2.1.2107.4887Forte, M. (2014). 3D Archaeology. New Perspectives and Challenges. The example of Catalhoyuk. https://doi.org/10.13140/2.1.3285.0568Frommel, S., & Schlimme, H. (2020). Editorial. Virtual models and scientific value. SCIRES-IT - SCIentific RESearch and Information Technology, 10(1). https://doi.org/10.1016/S2468-2276(20)30405-1Frommel, S., & Schlimme, H. (2020). Editorial. Virtual models and scientific value. SCIRES-IT - SCIentific RESearch and Information Technology, 10(1). https://doi.org/10.2423/i22394303v10n1p1Garagnani, S., Cancilla, A., & Masina, E. (2019). Understanding the design intent through the analysis of Renaissance drawings. The digital reconstruction of an unbuilt mausoleum by Giuliano da Sangallo. SCIRES-IT - SCIentific RESearch and Information Technology, 9(2), 57-68. https://doi.org/10.2423/i22394303v9n2p57Giovannini, E. C. (2020). Workflow for an evidence-based virtual reconstruction: the marbles of the ciborium of the early medieval Monte Sorbo church. The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, XLIII-B2-2020, 1395-1402. https://doi.org/10.5194/isprs-archives-XLIII-B2-2020-1395-2020Grellert, M., Apollonio, F. I., Martens, B., & Nubbaum, N. (2018). Working Experiences with the Reconstruction Argumentation Method (RAM) - Scientific Documentation for Virtual Reconstruction. 23rd International Conference on Cultural Heritage and New Technologies 2018. ISBN 978-3-200-06576-5Guidi, G., Russo, M., & Angheleddu, D. (2014). 3D survey and virtual reconstruction of archeological sites. Digital Applications in Archaeology and Cultural Heritage, 1(2), 55-69. https://doi.org/10.1016/j.daach.2014.01.001Hermon, S., & Kalisperis, L. (2011). Between the Real and the Virtual: 3D visualization in the Cultural Heritage domain - expectations and prospects. Virtual Archaeology Review, 2(4), 59-63. https://doi.org/10.4995/var.2011.4556International Charter for the Conservation and Restoration of Monuments and sites (the Venice Charter). (1964). Second International Congress of Architects and Technicians of Historic Monuments, Venice. Retrieved from: https://www.icomos.org/charters/venice_e.pdfLerones, M. P., Llamas, J., Gómez-García-Bermejo, J., Zalama, E., & Castillo Oli, J. (2014). Using 3D digital models for the virtual restoration of polychrome in interesting cultural sites. Journal of Cultural Heritage, 15(2), 196-198. https://doi.org/10.1016/j.culher.2013.03.009London Charter. For the Computer-Based Visualisation of Cultural Heritage (2009). Retrieved from: http://www.londoncharter.org/Lopez-Menchero, V. M., & Grande, A. (2011). The principles of the Seville Charter. Proceedings of the CIPA Symposium, Prague, 12-16 September 2011, 2-6.Mancino, C. (1669). Narrativa del fuoco uscito da Mongibello il dì 11 di marzo del 1669. G. Bisagni.Morolli, G., Cantini, C., & Ente Cassa di Risparmio di Firenze. (2013). La lingua delle colonne: morfologia, proporzioni e semantica degli ordini architettonici. Florence, Italy: Edifir.Palestini, C., & Basso, A. (2019). 3D detection and reconstruction experiments in river basins. The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, XLII-2/W9, 543-550. https://doi.org/10.5194/isprs-archives-XLII-2-W9-543-2019Piemonte, A., Caroti, G., Martínez-Espejo Zaragoza, I., Fantini, F., & Cipriani, L. (2018). A Methodology for Planar Representation of Frescoed Oval Domes: Formulation and Testing on Pisa Cathedral. ISPRS International Journal of Geo-Information, 7(8), 318-339. https://doi.org/10.3390/ijgi7080318Pietroni, E., & Ferdani, D. (2021). Virtual Restoration and Virtual Reconstruction in Cultural Heritage: Terminology, Methodologies, Visual Representation Techniques and Cognitive Models. 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Documentación geométrica y reconstrucción de la iglesia del Monasterio de San Prudencio (La Rioja, España)

[EN] Data contained in this record come from the following accademic activity (from which it is possible to locate additional records related with the Monastery):● LDGP_inv_002: "Intensive Program ERASMUS: TOPCART. Geometric Documentation of the Heritage (administrative and academic documentation)", http://hdl.handle.net/10810/9906On the other hand, this project has a continuation at the National Technical University of Athens that can be downloaded from the repository of this University (in Greek):● Εικονική Αποκατάσταση της Εκκλησίας του Μοναστηριού του Σαν Προυντένθιο (La Rioja, Ισπανία) // Virtual Reconstruction of San Prudencio Church (La Rioja, Spain). http://dspace.lib.ntua.gr/handle/123456789/6168Another issue of this work is the following paper:● LDGP_art_031: "Virtual Reconstruction of the Ancient State of a Ruined Church", http://hdl.handle.net/10810/9168[ES] Los datos de este registro provienen de la una actividad académica que también aparece descrita en el repositorio y desde donde se puede acceder a otros trabajos relacionados con el Monasterio:● LDGP_inv_002: "Programa intensivo ERASMUS: TOPCART. Documentación Geométrica del Patrimonio (documentación administrativa y académica)", http://hdl.handle.net/10810/9906Por otro lado, este proyecto tiene su continuación en un trabajo presentado en la National Technical University of Athens que puede descargarse desde el repositorio de esta universidad (texto en griego).● Εικονική Αποκατάσταση της Εκκλησίας του Μοναστηριού του Σαν Προυντένθιο (La Rioja, Ισπανία) // Virtual Reconstruction of San Prudencio Church (La Rioja, Spain). http://dspace.lib.ntua.gr/handle/123456789/6168Otro resultado del proyecto es el siguiente artículo:● LDGP_art_031: "Virtual Reconstruction of the Ancient State of a Ruined Church", http://hdl.handle.net/10810/9168[EN]This diploma thesis is the result of a collaboration of two universities, the University of the Basque Country (UPV/EHU) and the National Technical University of Athens (NTUA). It is part of the bigger project of the documentation of the Monastery of San Prudencio in the province of La Rioja in Spain, which is undertaken by professors and students of the University of the Basque Country and with the contribution of six universities of Europe (National Technical University of Athens, HafenCity University of Hamburg, Polytechnic University of Madrid, University of Studies of Siena, Vilnius Gediminas Technical University) as part of an ERASMUS educational Intensive Programme. This ERASMUS project aims to document the whole Monastery by all the adequate, in any case, methods with the long-term target to make the large history of the monument known to the habitants of the region and the rest of people and to be the background of the measurements that the government will take to protect it. As part of this project, this diploma thesis deals with the documentation of the church of the Monastery and its 3 dimensional virtual reconstruction. The documentation has been done with 3Dmodels and orthophotos. All of these methods were used to represent the whole church which consists of four walls the size of which is about 20 by 7.5 meters.The 3D model as a step to make the orthophoto and also as a tool to represent the object was made with Photomodeler Scanner 6 and ImageMaster and was merged with the software Rapidform. The results that these two software gave us were evaluated and, at the end, the best parts of every software were used.Next part of this diploma thesis is the 3 dimensional virtual reconstruction of the church, something that is going to start at the NTUniversity of Athens, with the hope to be finished and presented by the end of February 2012. This reconstruction will be a representation of how the church was in the past according to historical sources that are available and with the close collaboration of archaeologists. The initial thought is that this 3Dimensional reconstruction will be created based on the 3 Dimensional models that already exist as part of this diploma thesis.All the results will be sent, saved and ready for being used in the future by the six universities which participate at the ERASMUS Intensive Programme , hoping to be a useful tool for related projects and to be a part of the base on which actions of protection for the monument will be taken.The orthophotos were created with ImageMaster and where it was necessary (more than one orthophoto for one wall), they were combined within AutoCAD. Moreover, for completing the project of the documentation of the whole church, another part of the work must be done at the NTUniversity of Athens. This is the documentation of the outside part of the church with the same methods that the inside part has been created.[ES] Este proyecto es el resultado de la colaboración de dos universidades: la Universidad del País Vasco (UPV/EHU) y la National Technical University of Athens (NTUA). También forma parte de un proyecto de mayor envergadura que ha tenido lugar en el Monasterio de San Prudencio de Monte Laturce (Clavijo, La Rioja) que ha sido desarrollado por profesores y estudiantes de ambas universidades conjuntamente a la Univesidad Politécnica de Madrid, la HafenCity University of Hamburg, la Università degli Studi di Siena y la Vilnius Gediminas Technical University como parte de un programa intensivo ERASMUS. Dicho proyecto ERASMUS tiene como objetivo la documentación geométrica de las ruinas del conjunto monástico mediante las técnicas más adecuadas para cada situación como punto de partida para la difusión del conocimiento del monumento y, en una futura instancia, su protección y preservación.Como parte de este proyecto, el trabajo fin de carrera se centra en la documentación de la iglesia del Monasterio (que ocupa una superficie de 20 x 7,5 metros) y su reconstrucción virtual. La documentación se ha realizado mediante modelos tridimensionales y ortofotografías. Se han utilizado dos aplicaciones informáticas de fotogrametría (Photomodeler e ImageMaster) combinando los mejores resultados para el producto final.El trabajo se completará con el modelado virtual y reconstrucción de la iglesia, esta fase se realizará en la NTU de Atenas y tiene prevista su finalización en febrero de 2012. Los resultados serán puestos a disposición pública de las universidades participantes en el proyecto ERASMUS con la esperanza de que sean una herramienta útil para futuros proyectos de investigación y formen una base de conocimiento que ayude a la protección del monumento.[EN] This item is composed by the general report in English (76 pp. including 4 elevation plans). 40 JPEG pictures (metric photographs of Southern, Western and Eastern façades).[ES] Proyecto Fin de Carrera. Titulación: Ingeniería Técnica en Topografía. Escuela de Ingeniería de Vitoria-Gasteiz (UPV-EHU). El documento contiene la memoria en inglés (76 pp. que incluyen 4 planos de alzados). 40 fotografías métricas correspondientes a las fachadas Sur, Este y Oeste en formato JPEG

Point cloud to Sound Cloud:Digital innovation and historic sound at Linlithgow Palace

The Space, Place, Sound, and Memory: Immersive Experiences of the Past project was led by dr James Cook, in collaboration with the Digital Documentation and Innovation team at Historic Environment Scotland, Soluis Heritage, the Binchois Consort, and scholars at the universities of Birmingham and Melbourne. It used cutting-edge technology to reconstruct the visuals and acoustics of Linlithgow Palace chapel, before situating reconstructions of liturgical music within it. Beginning with HES’ 3D scan of the chapel, the project then used archival, archaeological, and musicological research to bring to life the sights and sounds of the 16th-century chapel. This chapter explores how Digital Documentation can be harnessed in the production of innovative interpretation and research material

Architectural Intangible Heritage and Graphic Reconstruction. Terminological and Philological Notes

UNESCO’s extension of the concept of heritage to intangible has been changing the status of architectural designs and the operative frame of the practice of architectural reconstruction. The variety of reconstruction cases requires specific procedures and terms. The terms are here investigated by an analysis of the historical and theoretical roots of such a practice, focusing on the role of Quatremère de Quincy; the procedures are discussed by means of a series of personal experiences concerning with literary architecture, architectural projects, and fictive architecture. They are retrospectively analysed from the point of view of the sources – to define both the content and the appearance – which can be ‘endogenous’ to the document/monument (and priority) or ‘exogenous’, with a focus on the transparency of procedure

Acoustic heritage and audio creativity: the creative application of sound in the representation, understanding and experience of past environments

Acoustic Heritage is one aspect of archaeoacoustics, and refers more specifically to the quantifiable acoustic properties of buildings, sites and landscapes from our architectural and archaeological past, forming an important aspect of our intangible cultural heritage. Auralisation, the audio equivalent of 3D visualization, enables these acoustic properties, captured via the process of measurement and survey, or computer based modelling, to form the basis of an audio reconstruction and presentation of the studied space. This paper examines the application of auralisation and audio creativity as a means to explore our acoustic heritage, thereby diversifying and enhancing the toolset available to the digital heritage or humanities researcher. The Open Acoustic Impulse Response (OpenAIR) library is an online repository for acoustic impulse response and auralisation data, with a significant part having been gathered from a broad range of heritage sites. The methodology used to gather this acoustic data is discussed, together with the processes used in generating and calibrating a comparable computer model, and how the data generated might be analysed and presented. The creative use of this acoustic data is also considered, in the context of music production, mixed media artwork and audio for gaming. More specifically to digital heritage is how these data can be used to create new experiences of past environments, as information, interpretation, guide or artwork and ultimately help to articulate new research questions and explorations of our acoustic heritage

FOR A CONSCIUOS FRUITION OF THE CULTURAL HERITAGE OF ANCIENT NOTO (SICILY). EFIAN PROJECT AS OPPORTUNITY FOR VALORISATION

The archaeological site of Ancient Noto is all that remains of one of the most interesting and important cities in the Est part of Sicily. Architecture and political life made Noto a point of reference for the island, expecially in XVI and XVII century, before it was destroyed by a devastating earthquake in 1963. A general project of safeguard, together with archaeological excavations, could hand a great amount of information, archaeological finds, pieces of architecture, that are useful to understand the site, known as a "Sicilian Pompei". Our intervention has the aim to describe the importance of EFIAN (Experimental Fruition Ingenious Ancient Noto). The project is carried out as a collaboration between Palermo University, Catania University, SIQUILLIYA s.r.l. and Service & Advice s.r.l.. The project answers to the need of improving the valorisation of the site, according to the principles of Italian Code for Cultural Heritage and Landscape. EFIAN's purpose is that of improving public's sensibilisation, to open lines of research and restauration of monuments. The working method is based on the strong relationship established between History, Architectonic Relief, Restauration, and Study of ancient technics of construction linked to the territory. The research is supported by new generation technologies. Datas are used to build digital reconstructions of ruins in the shape of virtual anastylosis and digital reconstruction of whole buildings. Four different sites have been studied during the project development

Lost cities as a virtual experience: the example of pre-earthquake Lisbon

info:eu-repo/semantics/publishedVersio

American ruins: nostalgia, amnesia, and Blitzkrieg bop

“American Ruins: Nostalgia, Amnesia, and Blitzkrieg Bop” considers the symbolic role of contemporary urban ruins in the American imagination and in their relationship to America’s past. The United States contains more urban ruins than any other developed nation, yet ruins remain largely ignored as official sites of commemoration. This dissertation takes a look at the prominence of ruins as well as their invisibility, considering their role as sites of cultural memory, as well as how they are represented in literature, film, the visual arts, and the media. Throughout this study, an analysis of ruins as a motif in Romantic literature demonstrates how contemporary ways of seeing American ruins both challenge and conform to Romantic modes of contemplating these structures. In Chapter One, the fate of Civil War ruins is set against the history of Civil War commemoration and preservation in order to trace what narratives have been promoted about the conflict and what narratives have been erased. Chapter Two focuses on amusement ruins in Asbury Park, New Jersey. In popular recollections of Asbury Park, these ruins recall a legacy of racism and corruption as well as inspire nostalgia for the “glory days” of a working-class resort. In Chapter Three, the Aliso Village Housing Project ruins in Los Angeles testify to the ways in which attitudes towards age and ruin can help to justify the displacement and disruption of low-income communities. The final chapter studies the ruins of the World Trade Center in light of a history of New York City ruins beginning with the South Bronx during the 1970s and 1980s. Taken together, these case studies demonstrate how ruins can reflect the cultural memories of communities that remain under-represented by national monuments and memorials. The sites considered in this dissertation highlight examples of insidious traumas that frame the American experience (racism, displacement, economic upheaval), issues that put the process of commemoration/signification in crisis. These examples suggest possibilities for the incorporation of ruins into a commemorative landscape that would recognize America’s violent past and convulsive economic changes, as well offer a place to mourn and learn.Englis

The museum setup in the Benedictine dormitory of Monreale: the artworks of Santa Maria del Bosco and the textile artefacts of the Cathedral, Sicily, Italy

The recent decision to convert the Benedictine Dormitory in Monreale into an exhibition site offers the opportunity to enjoy the whole monumental complex where the wonderful cloister is the core attraction. It is on this site that the Norman Cathedral stands, brightly decorated with golden mosaics. The new exhibition has gathered together the artworks from the ruined abbey of Santa Maria del Bosco in Calatamauro and added them to the artefacts already exhibited at the Diocesan Museum. They include marble gravestones from the 16th-17th century church and those dating to the 18th century; one stone is in polychrome marble of the family of the canons, Candes and Donato; another was used for the burial of the monks from the period of the Olivetan refoundation, characterized by the Order’s coat of arms and attributed to Girolamo Musca. There are also majolica tiles from the chapels in cornu evangelij (left side of the altar) adorned with large vegetal-shaped decorations, provided by Palermitan manufacturers in the mid-eighteenth century. They are found next to the remnants of the majolica tiles still in situ, executed in 1762 by the potters from Burgio, in Sicily. Rosario Rosso (also Russo) and Giuseppe Virgadamo. Also commissioned after the refoundation of the holy temple are the four artworks by the painter Ippolito Ferrante, three of which, Sacrificio di Isacco, Melchisedec and Giale e Sisar, are on exhibition in the prestigious museum. Alongside these artworks are noteworthy textile artefacts made between the second half of the 16th and second half of the 18th centuries some of which are linked to the munificent figures of archbishops such as Ludovico II Torres and Francesco Testa