Abstract
Across many sites in Italy today, wall paintings face particular dangers of damage and destruction. In Pompeii, many extant fragments are open to the air and accessible to tourists. While efforts are underway to preserve the precious few examples that have come down to us today, after excavation even new finds begin to decay from the moment they are exposed to the air. Digital photogrammetry has been used for the documentation, preservation, and reconstruction of archaeological sites, small objects, and sculpture. Photogrammetry is also well-suited to the illustration and reconstruction of Roman wall painting and Roman domestic interiors. Unlike traditional photography, photogrammetry can offer three-dimensional (3D) documentation that captures the seams, cracks, and warps in the structure of the wall. In the case of an entire room, it can also preserve the orientation and visual impression of multiple walls in situ. This paper discusses the results of several photogrammetric campaigns recently undertaken to document the material record in the House of Marcus Lucretius at Pompeii (IX, 3, 5.24). In the process, it explores the combination of visual analysis with digital tools, and the use of 3D models to represent complex relationships between spaces and objects. To conclude, future avenues for research will be discussed, including the creation of an online database that would facilitate visualizing further connections within the material record.
Highlights
This contribution presents a discussion of 3D data capture, modeling, restoration, and publication of Roman wall paintings with special reference to projects involving domestic space
From these older forms of documentation, 3D models have inherited many of their principal functions, along with several new functions that are advantageous to the study of Roman wall painting, as will be demonstrated here.[1]
The digital model of the House of Marcus Lucretius was useful for both spatially organization the complex set of information collected during the research process, and maintaining the three-dimensional relationships between the central garden, along with the surrounding rooms, throughout the project
Summary
This contribution presents a discussion of 3D data capture, modeling, restoration, and publication of Roman wall paintings with special reference to projects involving domestic space. From these older forms of documentation, 3D models have inherited many of their principal functions, along with several new functions that are advantageous to the study of Roman wall painting, as will be demonstrated here.[1]. This project represents a collaborative effort of the Virtual World Heritage Lab at Indiana University.
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