Science for art: multi-years' evaluations of biocidal efficacy in support of artwork conservation

In recent decades, the relationship between Science and Art has been gradually strengthened through the use of diagnostic, conservation, and valorization technologies. New technologies can also be used to support the creation and durability of bio-artworks. Within such a context, starting from the Spring of 2014, we performed in situ experimentations to eventually increase the durability of the graphical artwork of William Kentridge on the Lungotevere embankments, whose creation was scheduled in the following years. We applied various combinations and concentrations of three different biocides (Algophase, Biotin R, and Preventol R80) and two water repellents (Hydrophase surfaces and Silo 111) on 34 test areas. However, the artist preferred to leave his artwork to a natural fading. Right before the realization of the graphical artwork "Triumph and Laments of Rome" in 2016, just the black biological colonizations mainly composed of cyanobacteria were removed through pressurized water. We monitored the artist's work through analyses of images and colorimetric variations and such drawings showed a duration of 4 years in the natural conditions of recolonization. Here we show how the recolonization of treated and control areas, analyzed with the same methods, showed an increased duration, 3 years longer than under natural conditions in the case of Preventol R80(& REG;) and Biotin R-& REG; plus Silo 111(& REG;). The tested solutions showed differential effectiveness and multiple possibilities of use to support the maintenance of the artwork if the artist wanted to preserve his artwork for a longer period

Biodiversità e iconologia vegetale nella archeologia romana e l’influenza sul Rinascimento : l’importanza per nostro patrimonio naturale e culturale

Naturalistic iconography of ancient sculptures and paintings of the Roman period has been little investigated, despite the impressive richness of botanical diversity displayed in it. As a matter of fact, beginning with our early observations, novel information concerning the use of natural elements in Hellenistic-Alexandrine and Roman decorations has become available. The general aim of this Doctorate Thesis is to give a contribution to the knowledge on phytoiconology of the monuments of the Roman period (I cent. BC-III CE), including the paintings, sculptures and the architectural decorations. I also wish deepen aspects of the biological origins of the symbolism of the represented plants, and contribute in the interpretation of the influence and connection between the ancient Roman culture and the Renaissance. The aim of the first step of study was to define qualitative and quantitative aspects of botanical elements used in archaeological structures, and to define eventual critical taxa cited in the literature. I built up a database containing the botanical information of about 420 different art works and 3.000 related photos. The data were set up using both the information contained in the literature and the new one acquired over the research process (Kumbaric A., Caneva G. Updated floristic biodiversity of Roman iconography. Submitted). The frequencies of species and the represented morphological elements were also calculated. The database confirms the high richness of botanical elements and their high recurrence in the ancient Roman decorations. 202 taxa of plants (78 families, 159 genera and 168 species) were identified to date. The main characteristics of the identified floristic elements and their degree of rarity are reported. Acanthus mollis, Vitis vinifera, Phoenix dactylifera, Punica granatum, Ficus carica, Laurus nobilis, and Hedera helix resulted as the most commonly represented species, due to their strong association with mythological and religious symbolic meaning. The developed database contains 97 (47, 8%) new or very recently identified species, representing almost half of the information currently available in literature; a large portion of species represented in the artworks (70, 0%) seems to occur with very low frequency. This confirms the awareness of ancient men of the surrounding living creatures, and it suggests that botanical filing of ancient monuments deserves to be further deepened. The aspect of plant symbolism and origins of plant symbols has been deepened (Caneva G., Kumbaric A. 2010: Plants in the ancient artistic representations as a tool of communication and a cultural message. Proceedings of 4th International Congress on “Science and Technology for the Safeguard of Cultural Heritage in the Mediterranean Basin”. Cairo, Egypt 6th-8th December 2009 (Ferrari A. ed.), Vol. I). Particular attention was given to the Orchidaceae family (Kumbaric A., Savo V., Caneva G. 2012: Orchids in the Roman culture and iconography: Evidence for the first representations in antiquity, Journal of Cultural Heritage, http://dx.doi.org/10.1016/j.culher.2012.09.002). In the case of orchids, the particular morphology of their hypogean organs made this group of plants an object of a series of mythological episodes, beliefs and popular uses. New findings demonstrate the presence of orchids on Roman monuments changing the common belief that these plants first appeared in art much more recently. In the Roman-Hellenistic culture, their representation seems to refer to a symbolism of fertility, but their rarity in medieval art representations could probably be explained by the willing to eliminate pagan elements, which were linked to aphrodisiac power and luxury. We also demonstrate for the first time, that Roman ancients were aware of even small-scale natural phenomena and used details to express ideas through symbolism (Caneva G., Savo V., Kumbaric A.: The great message of small details: Nature in the Roman archaeology. Sumbitted). We provide examples showing the careful selection and representation of even small details carried out (e.g., aquiline-fern pastorals, orchid’s gynostemium), together with the observation of phenological phases of plants (e.g., Acanthus in its seasonal regrowth, the Arum withering of feminine flowers). The final aim of the thesis aimed to give new data on the relation among Classicism and Renaissance. The great inspiration of the ancient culture during the Renaissance (born in the XIV century in Italy and spread throughout Europe) is well known, but the naturalistic aspects of the so-called “decorations” are not well studied. This period is characterized by the flourishing of artistic and scientific activities, new translations of classical philosophers, the rise of humanism, new methods of scientific inquiry, and the extraordinary discoveries associated with the Age of Exploration. In the naturalistic meanings, it means a return to nature with inspiration from the real world rather than mere scholasticism, based on endless copying from the past. Plant representations in this art style are characterized by a high level of realism, and as such are a very important source for gathering naturalistic information. In the book Raphael and the image of the nature (Caneva G., Carpaneto G.M., (eds.) 2011: Raffaello e l’immagine della natura, Cinisello Balsamo, Silvana Editoriale, Milano) precisely in its Chapter 4, Caneva G., Kumbaric A.: The inventory of plant biodiversity is analysed the plant biodiversity present at the Raphael’s Lodge in Vatican, decorated by Raphael, Giovanni da Udine and their pupils in the period between 1514-1519. Interesting from many points of view, primarily for their great artistic value, the paintings show a great value and are interesting from a naturalistic point of view as well. An aspect particularly interesting for this Thesis are the plant representations in the paintings in the Lodges, which were created in a style strongly inspired by the Roman epoch. In fact, the architecture and the decorations show a great admiration for and inspiration by the classic epoch, especially by the just recently discovered Nero's Domus Aurea. This is particularly evident in the reproductions of the so-called Roman grotesques with fantasy creatures composed of animal and plant elements in order to express the idea of a process of metamorphosis and the transformation continues between the nature's elements. Always imitating the antique art, other forms characteristic for the classical period, such as spirals and branches, are also represented. The importance of the Vatican Lodges also lies in the fact that because of its importance, beauty and grandeur it was a point of reference and inspiration for numerous artists of that and subsequent eras. The observed plant biodiversity is rich and it is very interesting that among about a hundred plant species identified, the presence of the American species has also been noted (Cucurbita maxima, C. moschata, C. pepo and Zea mays). All were reproduced several times and sometimes in different phenological stages, a fact that testifies not only that these plants were present, but also cultivated in Rome after only twenty years after the discovery of America

Biodiversità e iconologia vegetale nella archeologia romana e l’influenza sul Rinascimento : l’importanza per nostro patrimonio naturale e culturale

Naturalistic iconography of ancient sculptures and paintings of the Roman period has been little investigated, despite the impressive richness of botanical diversity displayed in it. As a matter of fact, beginning with our early observations, novel information concerning the use of natural elements in Hellenistic-Alexandrine and Roman decorations has become available. The general aim of this Doctorate Thesis is to give a contribution to the knowledge on phytoiconology of the monuments of the Roman period (I cent. BC-III CE), including the paintings, sculptures and the architectural decorations. I also wish deepen aspects of the biological origins of the symbolism of the represented plants, and contribute in the interpretation of the influence and connection between the ancient Roman culture and the Renaissance. The aim of the first step of study was to define qualitative and quantitative aspects of botanical elements used in archaeological structures, and to define eventual critical taxa cited in the literature. I built up a database containing the botanical information of about 420 different art works and 3.000 related photos. The data were set up using both the information contained in the literature and the new one acquired over the research process (Kumbaric A., Caneva G. Updated floristic biodiversity of Roman iconography. Submitted). The frequencies of species and the represented morphological elements were also calculated. The database confirms the high richness of botanical elements and their high recurrence in the ancient Roman decorations. 202 taxa of plants (78 families, 159 genera and 168 species) were identified to date. The main characteristics of the identified floristic elements and their degree of rarity are reported. Acanthus mollis, Vitis vinifera, Phoenix dactylifera, Punica granatum, Ficus carica, Laurus nobilis, and Hedera helix resulted as the most commonly represented species, due to their strong association with mythological and religious symbolic meaning. The developed database contains 97 (47, 8%) new or very recently identified species, representing almost half of the information currently available in literature; a large portion of species represented in the artworks (70, 0%) seems to occur with very low frequency. This confirms the awareness of ancient men of the surrounding living creatures, and it suggests that botanical filing of ancient monuments deserves to be further deepened. The aspect of plant symbolism and origins of plant symbols has been deepened (Caneva G., Kumbaric A. 2010: Plants in the ancient artistic representations as a tool of communication and a cultural message. Proceedings of 4th International Congress on “Science and Technology for the Safeguard of Cultural Heritage in the Mediterranean Basin”. Cairo, Egypt 6th-8th December 2009 (Ferrari A. ed.), Vol. I). Particular attention was given to the Orchidaceae family (Kumbaric A., Savo V., Caneva G. 2012: Orchids in the Roman culture and iconography: Evidence for the first representations in antiquity, Journal of Cultural Heritage, http://dx.doi.org/10.1016/j.culher.2012.09.002). In the case of orchids, the particular morphology of their hypogean organs made this group of plants an object of a series of mythological episodes, beliefs and popular uses. New findings demonstrate the presence of orchids on Roman monuments changing the common belief that these plants first appeared in art much more recently. In the Roman-Hellenistic culture, their representation seems to refer to a symbolism of fertility, but their rarity in medieval art representations could probably be explained by the willing to eliminate pagan elements, which were linked to aphrodisiac power and luxury. We also demonstrate for the first time, that Roman ancients were aware of even small-scale natural phenomena and used details to express ideas through symbolism (Caneva G., Savo V., Kumbaric A.: The great message of small details: Nature in the Roman archaeology. Sumbitted). We provide examples showing the careful selection and representation of even small details carried out (e.g., aquiline-fern pastorals, orchid’s gynostemium), together with the observation of phenological phases of plants (e.g., Acanthus in its seasonal regrowth, the Arum withering of feminine flowers). The final aim of the thesis aimed to give new data on the relation among Classicism and Renaissance. The great inspiration of the ancient culture during the Renaissance (born in the XIV century in Italy and spread throughout Europe) is well known, but the naturalistic aspects of the so-called “decorations” are not well studied. This period is characterized by the flourishing of artistic and scientific activities, new translations of classical philosophers, the rise of humanism, new methods of scientific inquiry, and the extraordinary discoveries associated with the Age of Exploration. In the naturalistic meanings, it means a return to nature with inspiration from the real world rather than mere scholasticism, based on endless copying from the past. Plant representations in this art style are characterized by a high level of realism, and as such are a very important source for gathering naturalistic information. In the book Raphael and the image of the nature (Caneva G., Carpaneto G.M., (eds.) 2011: Raffaello e l’immagine della natura, Cinisello Balsamo, Silvana Editoriale, Milano) precisely in its Chapter 4, Caneva G., Kumbaric A.: The inventory of plant biodiversity is analysed the plant biodiversity present at the Raphael’s Lodge in Vatican, decorated by Raphael, Giovanni da Udine and their pupils in the period between 1514-1519. Interesting from many points of view, primarily for their great artistic value, the paintings show a great value and are interesting from a naturalistic point of view as well. An aspect particularly interesting for this Thesis are the plant representations in the paintings in the Lodges, which were created in a style strongly inspired by the Roman epoch. In fact, the architecture and the decorations show a great admiration for and inspiration by the classic epoch, especially by the just recently discovered Nero's Domus Aurea. This is particularly evident in the reproductions of the so-called Roman grotesques with fantasy creatures composed of animal and plant elements in order to express the idea of a process of metamorphosis and the transformation continues between the nature's elements. Always imitating the antique art, other forms characteristic for the classical period, such as spirals and branches, are also represented. The importance of the Vatican Lodges also lies in the fact that because of its importance, beauty and grandeur it was a point of reference and inspiration for numerous artists of that and subsequent eras. The observed plant biodiversity is rich and it is very interesting that among about a hundred plant species identified, the presence of the American species has also been noted (Cucurbita maxima, C. moschata, C. pepo and Zea mays). All were reproduced several times and sometimes in different phenological stages, a fact that testifies not only that these plants were present, but also cultivated in Rome after only twenty years after the discovery of America

The old roots of the grape symbol in the Euro-Mediterranean culture

La “democratización liberal y de mercado”, se propone amortiguar la crisis lobal y sistémica por la que atraviesa América Latina, región cuya memoria histórica registra traumáticos procesos de autoritarismo de mercado sobre sus sistemas políticos. La democracia procedimental y los sistemas multipartidistas monopolizan la representación, pretendiendo convertirse en antídoto contra el autoritarismo y fuente de un futuro desarrollo prominente. Mientras tanto, el discurso neoliberal que enaltecía las ventajas del libre mercado, la desregulación, las privatizaciones y el Estado mínimo, de acuerdo al Consenso de Washington, estableció este modelo ideológico como conductor de la integración, y condicionante para la estabilidad democrática y macroeconómica. Sin embargo, la democracia liberal-procedimental en la región, asociada al proceso de integración neoliberal, produjo un conflictivo triángulo Estado-Sociedad-Mercado, donde la imposición de un modelo de organización política y un sistema de valores homogéneo anglo-eurocéntrico, promovido como democracia global, fue el discurso dominante. Ante la desigualdad y la exclusión producto de ese modelo, emergen propuestas post-neoliberales orientadas a redibujar la integración democrática en la pizarra latinoamericana. Desde los movimientos sociales, surgen proyectos políticos con una nueva gramática democrática de resistencia, y reconocimiento de agendas sociales relacionadas con la integración autónoma latinoamericana

Evaluation of Mediterranean perennials for extensive green roofs in water-limited regions: A two-year experiment

Extensive green roofs (EGRs) play a crucial role in urban environments, offering numerous environmental, economic, and social benefits. However, their performance largely depends on plant selection and adaptation to local climatic conditions. This study investigates the suitability of six perennial Euro-Mediterranean species for EGRs in Mediterranean and semi-arid regions, under different water regimes. A two-year experimental analysis was conducted in Rome (Italy) assessing flowering and mortality rates. Results revealed species-specific responses to irrigation levels, with notable performances observed in Thymus serpyllum, Saponaria ocymoides, and Teucrium chamaedrys, showcasing resilience to water stress. Conversely, Lavandula stoechas and Cerastium tomentosum exhibited sensitivity to water availability, emphasizing the importance of species selection for EGRs. No species completely adhered to the expected flowering period, but showed a general tendency of anticipation, and sometimes an extended flowering period, with some differences between the species. The study underscores the complexity of plant-environment interactions and highlights the need for diversified species composition to enhance EGR functionality and resilience

In Vitro Viability Tests of New Ecofriendly Nanosystems Incorporating Essential Oils for Long-Lasting Conservation of Stone Artworks

The study explores the application of natural biocides (oregano essential oil and eugenol, directly applied in solutions or encapsulated within silica nanocapsules) for safeguarding stone cultural heritage from biodeterioration, using green algae (Chlorococcum sp.) and cyanobacteria (Leptolyngbya sp.) as common pioneer biodeteriogens. Core-shell nanocontainers were built for a controlled release of microbicidal agents, a safe application of chemicals and a prolonged efficacy. The qualitative and quantitative evaluations of biocide efficiency at different doses were periodically performed in vitro, after six scheduled intervals of time (until 100 days). The release kinetics of composite biocide-embedding silica nanocapsules were characterized by the UV-Vis spectroscopy technique. Data showed both promising potential and some limitations. The comparative tests of different biocidal systems shed light on their variable efficacy against microorganisms, highlighting how encapsulation influences the release dynamics and the overall effectiveness. Both the essential oils showed a potential efficacy in protective antifouling coatings for stone artifacts. Ensuring compatibility with materials, understanding their differences in biocidal activity and their release rates becomes essential in tailoring gel, microemulsion or coating products for direct on-site application