Daniele Malfitana
Full professor of Archaeology at the Department of Humanities of University of Catania. Head of the School of Advanced Study in Archaeology (2021 - ) and President of the “Scuola Superiore” of the University of Catania (2021 - ). He is a classical archaeologist who specializes in the culture and history of the Roman empire. He was Research Director at the National Research Council of Italy and has conducted research at many Roman period sites in Italy, Greece, Cyprus, Albania and he was Director of the Institute for Archaeological and Monumental Heritage of the Italian CNR (2011-2019). He is Leader Project of a long series of research projects based at University of Catania and CNR and other foreign Universities. He teaches a variety of undergraduate courses on subjects pertaining to the history, culture and archaeology of the ancient Mediterranean as well as archaeological theory and methods. He is currently directing joint archaeological research and excavations projects in Italy and Sicily (potter’s quarter of anciet Syracusae and cetariae of Portopalo and Vendicari). He is co-director of the international peer-review journal titled HEROM. Journal on Hellenistic and Roman material culture. He is in the Advisory Board of Journal of Roman Archaeology. He is President of the “Comitato Tecnico scientifico per l’Archeologia” and member of the “Consiglio Superiore dei Beni Culturali e Paesaggistici” of the Ministery of Culture. Distinguished Lecturer in Stanford University (2019-2020).
Current research interests include the study of artisanal production of Hellenistic and Roman period; economy of the Roman empire; Roman Sicily and field survey; urban archaeology; public archaeology; research management.
• Archaeology, cultures and history of Roman Mediterranean;
• Archaeology, cultures and history of Sicily (Roman through early Medieval);
• Urban development and social interaction in Roman Sicily;
• Ancient systems of production and trade;
• Archaeological materials, especially ceramics;
• Archaeological methods and theory;
• Archaeometry.
Phone: +39 3487902494
Address: via Biblioteca 4, 95124 Catania
Current research interests include the study of artisanal production of Hellenistic and Roman period; economy of the Roman empire; Roman Sicily and field survey; urban archaeology; public archaeology; research management.
• Archaeology, cultures and history of Roman Mediterranean;
• Archaeology, cultures and history of Sicily (Roman through early Medieval);
• Urban development and social interaction in Roman Sicily;
• Ancient systems of production and trade;
• Archaeological materials, especially ceramics;
• Archaeological methods and theory;
• Archaeometry.
Phone: +39 3487902494
Address: via Biblioteca 4, 95124 Catania
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Books by Daniele Malfitana
della banca dati, della piattaforma GIS e del WebGIS, i tre elementi a cui è demandato il compito di archiviare, gestire, analizzare e rendere liberamente accessibili, su base geospaziale, i dati relativi alla complessa stratificazione urbana della città di Catania.
The beautiful images shown in this exhibition act as vehicles for transmitting genuine life moments for contemporary man - be he archaeologist or not - and for communicating them to the viewer. The shootings are related to the charismatic archaeological site of Sagalassos, which is situated in the southern part of Turkey. Through them, the viewer is able to capture the core dynamics and the interactions thath exist between humans and environment and make us think about the concept of place as an important aggregation point of actions and emotions. The images give us an idea about the appearance and uniqueness of the territory of Sagalassos. Moreover, they generate a wide range of notions about different relationships between artifacts and places, between human beings and things, and between static positions and restless actions. For those who like me are scholars of modern history, that means getting in touch with tools that enable us to recreate the “whole territory’s history” by bringing out not only its historical context but also all the actions, human wills and communication strategies linked to that territory.
This exhibition gives the viewer the opportunity to focus on the strategic role, the study of the ancient and modern territory should ideally have in contemporary society. This was also the general idea of the Master degree in “History and analysis of territory” organized a few years ago within our University thanks to the collaboration of Giuseppe Giarrizzo, Maurice Aymard and Giancarlo de Carlo. The Master was conceived as a “knowledge container” combining scholars with expertise in a wide range of fields (economists, city planners, historians, geographers, archaeologists, engineers, computer experts etc.), whose principal aim was to recreate the ancient territorial identity and the ancient territorial dimension otherwise neglected by analytical research.
Finally, as Past Dean of the Faculty of Literature and Philosophy of the University of Catania, I wish to welcome you all to the opening of this exhibition, which is the result of the collaboration and the synergies established among different Universities and Research Centers. The Belgian research in Sagalassos is indeed a highly important field of study, which not only involves our students but also researchers of the Institute for Archaeological and Monumental Heritage of the Italian National Research Council (IBAM - CNR). Thanks to IBAM’s efforts, we are today happy to open this exhibition, which demonstrates that we shall achieve our common goal of historical reconstruction through knowledge sharing and multidisciplinary collaboration.
Enrico Iachello - Past Dean of the Faculty of Literature and Philosophy of the University of Catania"
I diversi contributi presenti, sviluppati su piattaforme di indagine multidisciplinare, sono il frutto di attività di ricerca svolte, sia in Italia che all'estero, dai ricercatori delle tre sedi Lecce, Potenza e Catania e vogliono così offrire un quadro aggiornato di sintesi dei risultati di un'intensa attività scientifica che sta raggiungendo traguardi rilevanti nel contesto internazionale.
L'integrazione tra le diverse unità operative all'interno delle commesse di ricerca attive presso l'Istituto è servita per sviluppare prassi innovative per la conoscenza e per la conservazione dei Beni Culturali."""
“Corinthian” Roman Relief Ware was produced during a relatively short period, from the mid (if not late) 2nd century AD until the late 3rd or early 4th.
Previously, the emergence of the ware was dated to the early 3rd century AD. However, it can now be placed at some point in the second half of the 2nd century, on the basis of new finds from stratified contexts (in particular from Patras, Emona and Paestum), in which the associated material, no¬tably Corinthian lamps of Broneer type XXVII (especially his groups A, C and D), is in¬di¬ca¬tive of a 2nd-century date, in particular within the Hadrianic-Antonine and Severan periods.
The 3rd century AD was apparently the main period of production (in parallel with the production of lamps), since a large number of specimens were found in stratified contexts of this period (mainly at Corinth, Ostia, Olympia and the wreck off Milazzo in Sicily). The vessels in question were generally associated with Corinthian lamps, African Red Slip Ware, transport amphorae from the Central Mediterranean, and in some cases also anchors and glass.
The end-date is suggested by a destruction deposit of the second half of the 3rd cen¬tury/early 4th century AD, recently excavated at Corinth, and by unpublished contexts from Corinth and Argos. One such deposit contained an ample number of Attic and Corinthian lamps, pottery and coins from the second half or late 3rd century and the early decades of the 4th. Two other deposits contained material which was mainly from the second half of the 3rd century and the beginning of the 4th.
Despite the absence of evidence for actual workshops (which might become available with the publica¬tion of the rich finds from Patras), the problem of determining the geographical source of the ware may be said to have been more or less resolved. Laboratory analyses, which were undertaken for the first time on this type of ware, showed a substantial homogeneity of fabric, which suggests a single place of production through time. The strong similarity between the chemical composition of the relief ware and that of other classes of pottery known to have been produced at Corinth, leaves little doubt that the “Corinthian” Roman Relief Ware was actually made at Corinth. Further evidence is provided by the finding in that city of the only known mould for making such bowls. Moreover, certain cups/pyxides bear incised names which correspond to examples found beneath the bases of Corinthian lamps.
The corpus at my disposal – comprising 630 examples – in con¬junc¬tion with the availability of rich photographic documentation was helpful in establishing a detailed typology of the ware, based on the correlation of a range of features (shape and profile of the rim, body and base, the angle of the carination, the rendering of a profile-band below the rim and, finally, the dimensions). The typology is designed as an open system, so that it can be expanded where necessary.
The repertoire of shapes of “Corinthian” Roman Relief Ware is for all practical purposes limited to three forms.
Form 1 is a cup/pyxis with a more or less cylindrical body. This form was the most frequently produced and had the widest distribution. A number of sub-types were identified, marked by a ring base of variable height, straight vertical sides (in some cases oblique and curving), a plain thickened rim, more or less everted, and with one or more mouldings on the exterior. This form was never provided with handles, except perhaps for a rare variant, until now only known from a fragmentary find from Pergamon: a small clay lug decorated with four faint grooves on its outer face was perhaps an attachment for the insertion of a vertical handle. D. C. Spitzer reported another example from Pergamon with faint traces of a handle attachment on the body of the vessel, but this was recently re-assigned to Pergamene Sigillata of the Middle to Late Imperial period.
Form 2 is a shallow open bowl/plate with a ring base. So far, this form is known only from Corinth, which may be another indication for the provenance of the ware.
Finally, Form 3 is a hemispherical trulla, with a very low base and a flat handle decorated on the upper side with a kantharos.
As for vessel dimensions, it proved possible to define three typical sizes for the cups/pyxides of Form 1, with rim-diameters of 14–15 cm, 9–10 cm and a few miniature examples of about 6 cm.
With regard to function, use as drinking vessels at symposia and other such occasions, is suggested, from the analysis of the find contexts. This was confirmed by the vessels found in an important deposit recently excavated at Corinth, even though the excavator inferred that they were intended for solid food or sauces. However, the intriguing hypothesis remains that these vessels could have been used as containers for an unguent, in powdered or – more probably – a more solid form (the diapasmata or perhaps the spissa mentioned by Pliny the Elder). Until now, no lids have been found which can be associated with this class of vessels, though it is possible to imagine the existence of covers made of perishable materials, such as cork, which would not have been preserved.
The decorative repertoire comprises seven schemes: the labours of Hercules, a combat motif (presumably an amazonomachy), Dionysiac scenes, a theoxenia, a rural landscape, “Homeric” scenes and, finally, simple vegetal decoration.
The trullae with the theoxenia motif are particularly noteworthy. The scene is set in a rural landscape and represents the majestic figure of Dionysus dressed in a pleated garment, holding a thyrsos in his left hand and supported on the right side by a young satyr. A satyr, who is unlacing his sandals, crouches in front of him, followed by another satyr with a thyrsos in his raised right hand. He rests a leather skin on his shoulder with his left hand. Further on, below thick foliage, stands a kline on which two figures are reclining: one of these is dressed on the upper part of the body and supports his left arm on a cushion, while his right is raised in a gesture of invitation. The other, a woman, is reclining towards the right, turning the upper part of her body towards Dionysus, who is just about to enter. The whole scene, which has a clear Hellenistic imprint, has precise parallels in a relief known from a long series of copies and variants: the so-called “Visit of Dionysus to Icarius”, which depicts a lively scene representing the visit of Dionysus to the poet. Interestingly, a fragment of a cup/pyxis from Gortyn displays a completely new subject: a “Homeric” scene of the blinding of Polyphemus. Odysseus to the right offers a cup filled with wine to the giant who is reclining on the rock. On the ground below may be seen the pole to be used in the blinding.
Also new is a vegetal scheme made up of small cypresses placed one next to the other without leaving space for a figurative element; this is hitherto attested only on a cup/pyxis from Corinth. Unique, also, is a fragment from Argos with a representation of small figures and animals in a rural setting.
A comprehensive analysis of all the examples in the corpus made it possible for the author to reject the hitherto current hypothesis concerning the placing of the individual punches in the matrix. On the one hand, this seems completely casual and without any narrative logic, yet, on the other hand, it follows an overall scheme generating fixed sequences, which are repeated consistently on an important number of examples of identical dimensions. This is certainly the case with the cups/pyxides with combat motifs, and also with those bearing Dionysiac scenes. The trullae with the theoxenia motif stand apart; they adopt a more fluid narrative style that is not sub-divided by metopes with inserted motifs and hence delimited by floral decoration. The cups/pyxides depicting the labours of Hercules are likewise distinctive, in that the existence of two decorative series with a regular disposition of the punches could be demonstrated. The first of these com¬prises cups/pyxides with seven of the hero’s labours: the Lion (I), the Hydra (II), the Boar (III), the Hind (IV), the Birds (V), the Belt (IX) and the Augean Stables (VI); the second series comprises the remaining labours: the Bull (VII), the Horses (VIII), Cerberus (XI) and the Apples (XII), and again also the Belt (IX) and the Augean Stables (VI). The existence of a literary source (a text by Antipater of Thessalonica) combined with an in-depth analysis of the social, religious and cultural context of the city of Corinth in the Middle Imperial period made it possible to explain why certain episodes are missing. Hence, the absence of the fight of Hercules with the three-bodied Geryon may be explained by the particular political situation of Corinth. The city was destroyed in 146 BC by the consul Lucius Mummius Achaicus. On his return to Rome, Mummius decided to erect a temple to Hercules on the Mons Caelius in commemoration of his campaign, in which the Hercules Victor type seems to have been associated with the Geryon episode, in particular with his presence in Rome and his encounter with the local hero Cacus, son of Vulcan. Geryon and Cacus are equated in some ancient sources, which may explain why the inhabitants of Corinth, who might have preserved a vivid memory of the destruction of their city by Mummius,...
Papers by Daniele Malfitana
della banca dati, della piattaforma GIS e del WebGIS, i tre elementi a cui è demandato il compito di archiviare, gestire, analizzare e rendere liberamente accessibili, su base geospaziale, i dati relativi alla complessa stratificazione urbana della città di Catania.
The beautiful images shown in this exhibition act as vehicles for transmitting genuine life moments for contemporary man - be he archaeologist or not - and for communicating them to the viewer. The shootings are related to the charismatic archaeological site of Sagalassos, which is situated in the southern part of Turkey. Through them, the viewer is able to capture the core dynamics and the interactions thath exist between humans and environment and make us think about the concept of place as an important aggregation point of actions and emotions. The images give us an idea about the appearance and uniqueness of the territory of Sagalassos. Moreover, they generate a wide range of notions about different relationships between artifacts and places, between human beings and things, and between static positions and restless actions. For those who like me are scholars of modern history, that means getting in touch with tools that enable us to recreate the “whole territory’s history” by bringing out not only its historical context but also all the actions, human wills and communication strategies linked to that territory.
This exhibition gives the viewer the opportunity to focus on the strategic role, the study of the ancient and modern territory should ideally have in contemporary society. This was also the general idea of the Master degree in “History and analysis of territory” organized a few years ago within our University thanks to the collaboration of Giuseppe Giarrizzo, Maurice Aymard and Giancarlo de Carlo. The Master was conceived as a “knowledge container” combining scholars with expertise in a wide range of fields (economists, city planners, historians, geographers, archaeologists, engineers, computer experts etc.), whose principal aim was to recreate the ancient territorial identity and the ancient territorial dimension otherwise neglected by analytical research.
Finally, as Past Dean of the Faculty of Literature and Philosophy of the University of Catania, I wish to welcome you all to the opening of this exhibition, which is the result of the collaboration and the synergies established among different Universities and Research Centers. The Belgian research in Sagalassos is indeed a highly important field of study, which not only involves our students but also researchers of the Institute for Archaeological and Monumental Heritage of the Italian National Research Council (IBAM - CNR). Thanks to IBAM’s efforts, we are today happy to open this exhibition, which demonstrates that we shall achieve our common goal of historical reconstruction through knowledge sharing and multidisciplinary collaboration.
Enrico Iachello - Past Dean of the Faculty of Literature and Philosophy of the University of Catania"
I diversi contributi presenti, sviluppati su piattaforme di indagine multidisciplinare, sono il frutto di attività di ricerca svolte, sia in Italia che all'estero, dai ricercatori delle tre sedi Lecce, Potenza e Catania e vogliono così offrire un quadro aggiornato di sintesi dei risultati di un'intensa attività scientifica che sta raggiungendo traguardi rilevanti nel contesto internazionale.
L'integrazione tra le diverse unità operative all'interno delle commesse di ricerca attive presso l'Istituto è servita per sviluppare prassi innovative per la conoscenza e per la conservazione dei Beni Culturali."""
“Corinthian” Roman Relief Ware was produced during a relatively short period, from the mid (if not late) 2nd century AD until the late 3rd or early 4th.
Previously, the emergence of the ware was dated to the early 3rd century AD. However, it can now be placed at some point in the second half of the 2nd century, on the basis of new finds from stratified contexts (in particular from Patras, Emona and Paestum), in which the associated material, no¬tably Corinthian lamps of Broneer type XXVII (especially his groups A, C and D), is in¬di¬ca¬tive of a 2nd-century date, in particular within the Hadrianic-Antonine and Severan periods.
The 3rd century AD was apparently the main period of production (in parallel with the production of lamps), since a large number of specimens were found in stratified contexts of this period (mainly at Corinth, Ostia, Olympia and the wreck off Milazzo in Sicily). The vessels in question were generally associated with Corinthian lamps, African Red Slip Ware, transport amphorae from the Central Mediterranean, and in some cases also anchors and glass.
The end-date is suggested by a destruction deposit of the second half of the 3rd cen¬tury/early 4th century AD, recently excavated at Corinth, and by unpublished contexts from Corinth and Argos. One such deposit contained an ample number of Attic and Corinthian lamps, pottery and coins from the second half or late 3rd century and the early decades of the 4th. Two other deposits contained material which was mainly from the second half of the 3rd century and the beginning of the 4th.
Despite the absence of evidence for actual workshops (which might become available with the publica¬tion of the rich finds from Patras), the problem of determining the geographical source of the ware may be said to have been more or less resolved. Laboratory analyses, which were undertaken for the first time on this type of ware, showed a substantial homogeneity of fabric, which suggests a single place of production through time. The strong similarity between the chemical composition of the relief ware and that of other classes of pottery known to have been produced at Corinth, leaves little doubt that the “Corinthian” Roman Relief Ware was actually made at Corinth. Further evidence is provided by the finding in that city of the only known mould for making such bowls. Moreover, certain cups/pyxides bear incised names which correspond to examples found beneath the bases of Corinthian lamps.
The corpus at my disposal – comprising 630 examples – in con¬junc¬tion with the availability of rich photographic documentation was helpful in establishing a detailed typology of the ware, based on the correlation of a range of features (shape and profile of the rim, body and base, the angle of the carination, the rendering of a profile-band below the rim and, finally, the dimensions). The typology is designed as an open system, so that it can be expanded where necessary.
The repertoire of shapes of “Corinthian” Roman Relief Ware is for all practical purposes limited to three forms.
Form 1 is a cup/pyxis with a more or less cylindrical body. This form was the most frequently produced and had the widest distribution. A number of sub-types were identified, marked by a ring base of variable height, straight vertical sides (in some cases oblique and curving), a plain thickened rim, more or less everted, and with one or more mouldings on the exterior. This form was never provided with handles, except perhaps for a rare variant, until now only known from a fragmentary find from Pergamon: a small clay lug decorated with four faint grooves on its outer face was perhaps an attachment for the insertion of a vertical handle. D. C. Spitzer reported another example from Pergamon with faint traces of a handle attachment on the body of the vessel, but this was recently re-assigned to Pergamene Sigillata of the Middle to Late Imperial period.
Form 2 is a shallow open bowl/plate with a ring base. So far, this form is known only from Corinth, which may be another indication for the provenance of the ware.
Finally, Form 3 is a hemispherical trulla, with a very low base and a flat handle decorated on the upper side with a kantharos.
As for vessel dimensions, it proved possible to define three typical sizes for the cups/pyxides of Form 1, with rim-diameters of 14–15 cm, 9–10 cm and a few miniature examples of about 6 cm.
With regard to function, use as drinking vessels at symposia and other such occasions, is suggested, from the analysis of the find contexts. This was confirmed by the vessels found in an important deposit recently excavated at Corinth, even though the excavator inferred that they were intended for solid food or sauces. However, the intriguing hypothesis remains that these vessels could have been used as containers for an unguent, in powdered or – more probably – a more solid form (the diapasmata or perhaps the spissa mentioned by Pliny the Elder). Until now, no lids have been found which can be associated with this class of vessels, though it is possible to imagine the existence of covers made of perishable materials, such as cork, which would not have been preserved.
The decorative repertoire comprises seven schemes: the labours of Hercules, a combat motif (presumably an amazonomachy), Dionysiac scenes, a theoxenia, a rural landscape, “Homeric” scenes and, finally, simple vegetal decoration.
The trullae with the theoxenia motif are particularly noteworthy. The scene is set in a rural landscape and represents the majestic figure of Dionysus dressed in a pleated garment, holding a thyrsos in his left hand and supported on the right side by a young satyr. A satyr, who is unlacing his sandals, crouches in front of him, followed by another satyr with a thyrsos in his raised right hand. He rests a leather skin on his shoulder with his left hand. Further on, below thick foliage, stands a kline on which two figures are reclining: one of these is dressed on the upper part of the body and supports his left arm on a cushion, while his right is raised in a gesture of invitation. The other, a woman, is reclining towards the right, turning the upper part of her body towards Dionysus, who is just about to enter. The whole scene, which has a clear Hellenistic imprint, has precise parallels in a relief known from a long series of copies and variants: the so-called “Visit of Dionysus to Icarius”, which depicts a lively scene representing the visit of Dionysus to the poet. Interestingly, a fragment of a cup/pyxis from Gortyn displays a completely new subject: a “Homeric” scene of the blinding of Polyphemus. Odysseus to the right offers a cup filled with wine to the giant who is reclining on the rock. On the ground below may be seen the pole to be used in the blinding.
Also new is a vegetal scheme made up of small cypresses placed one next to the other without leaving space for a figurative element; this is hitherto attested only on a cup/pyxis from Corinth. Unique, also, is a fragment from Argos with a representation of small figures and animals in a rural setting.
A comprehensive analysis of all the examples in the corpus made it possible for the author to reject the hitherto current hypothesis concerning the placing of the individual punches in the matrix. On the one hand, this seems completely casual and without any narrative logic, yet, on the other hand, it follows an overall scheme generating fixed sequences, which are repeated consistently on an important number of examples of identical dimensions. This is certainly the case with the cups/pyxides with combat motifs, and also with those bearing Dionysiac scenes. The trullae with the theoxenia motif stand apart; they adopt a more fluid narrative style that is not sub-divided by metopes with inserted motifs and hence delimited by floral decoration. The cups/pyxides depicting the labours of Hercules are likewise distinctive, in that the existence of two decorative series with a regular disposition of the punches could be demonstrated. The first of these com¬prises cups/pyxides with seven of the hero’s labours: the Lion (I), the Hydra (II), the Boar (III), the Hind (IV), the Birds (V), the Belt (IX) and the Augean Stables (VI); the second series comprises the remaining labours: the Bull (VII), the Horses (VIII), Cerberus (XI) and the Apples (XII), and again also the Belt (IX) and the Augean Stables (VI). The existence of a literary source (a text by Antipater of Thessalonica) combined with an in-depth analysis of the social, religious and cultural context of the city of Corinth in the Middle Imperial period made it possible to explain why certain episodes are missing. Hence, the absence of the fight of Hercules with the three-bodied Geryon may be explained by the particular political situation of Corinth. The city was destroyed in 146 BC by the consul Lucius Mummius Achaicus. On his return to Rome, Mummius decided to erect a temple to Hercules on the Mons Caelius in commemoration of his campaign, in which the Hercules Victor type seems to have been associated with the Geryon episode, in particular with his presence in Rome and his encounter with the local hero Cacus, son of Vulcan. Geryon and Cacus are equated in some ancient sources, which may explain why the inhabitants of Corinth, who might have preserved a vivid memory of the destruction of their city by Mummius,...
Anno di Edizione: 2020
Edizione: L'ERMA di BRETSCHNEIDER
Collane:
Bibliotheca Archaeologica, 69
ISBN: 9788891319937
Rilegatura: Rilegato
Pagine: 328
Formato: 24 x 28 cm
e sismici impongono continui interventi di recupero e manutenzione, che uniscono all’esigenza della conservazione, quella della messa in sicurezza.
In tale prospettiva, la disponibilità di dati aggiornati, di estremo rigore e di alta precisione, costituisce il requisito per la creazione di un sistema informativo
capace di supportare qualsiasi intervento. Il progetto eWAS, finanziato dal PON R&I 2014-2020, Area di specializzazione PRIN 2015-2020 “Cultural
Heritage” e coordinato da INGV, mira a sviluppare nuove tecnologie per la tutela, conservazione e sicurezza del patrimonio culturale, contribuendo sia
alla pianificazione, sia alla gestione dei Beni Culturali, tramite l’applicazione a differenti contesti, dal centro urbano di Catania, su cui l’esperienza del
progetto OpenCiTy, sviluppato dall’IBAM-CNR, aveva tracciato primi percorsi operativi, a siti archeologici di rilievo internazionale (Ercolano, Villa romana
del Casale). L’obiettivo è la creazione di un modello di piattaforma di monitoraggio integrata Smart-wireless e ICT in grado di attivare “warnings”
a diversi livelli di allarme sulla base delle informazioni derivanti da sistemi di misura terrestre (microsensoristica) e satellitare, integrata da accurate
valutazioni sulle caratteristiche costruttive-strutturali e sulla vulnerabilità ai diversi rischi naturali e ambientali.
Oggi, sulla scia della campagna di rilevamento fotografico di Pompei curata dall’ICCD anni or sono, l’intero Plastico di Pompei è stato acquisito mediante fotografia digitale e restituito tridimensionalmente: dall’archivio materico ad un archivio digitale 3D. All’incrocio tra fotografia d’archivio e nuove metodologie, il suo rilievo costituisce un archivio singolare di immagini e informazioni correlate nello spazio e mediate a loro volta dal modello analogico in sughero: un efficace strumento di ricerca, conoscenza e divulgazione nell’era degli open data. Considerando alcune domus pompeiane e le loro decorazioni parietali, è possibile operare con più efficacia un confronto fra il loro stato attuale di conservazione, il corpus fotografico d’archivio in merito a quei contesti e la testimonianza del plastico mediata dal suo modello 3D.