ABSTRACT. In Person Presentation: The Gigantomachy on the West Pediment of the Late Archaic Temple of Apollo at Delphi represents a significant work of early Greek architectural sculpture. Crafted from poros stone covered with plaster and paint, the surviving figures from the West pediment are notably different in material from those on the East pediment, which are made of marble. The extant fragments include a partially preserved standing male figure, potentially Apollo or Dionysos, dressed in a robe and animal skin; a fighting female figure identified as Athena, dressed in a chiton and moving left; and a prone, nude male figure in a three-quarter view with an extended leg, likely representing the serpent-footed giant Enkelados, as referenced by the chorus in Euripides' Ion. This study focuses on documenting and analyzing the polychromy of Athena. Non-destructive methods and imaging techniques have revealed remnants of rich, colorful decorations on the plaster surfaces covering the stone figures. These methods include handheld/portable X-ray fluorescence spectrometry for elemental analysis, visible-induced luminescence (VIL), and various ground-based remote multispectral imaging techniques such as visible wavelength spectral imaging (400-900 nm), high-resolution spectral imaging(hyperspectral analysis Remote VIS/NIR Hyperspectral Prisms 400-1000 nm), and laser-induced fluorescence spectroscopy. The pigments identified thus far include Egyptian blue, natural blue and green copper-based pigments, and ochre-based reds and yellows applied on a white calcitic ground. These findings offer significant evidence for a more accurate evaluation of Archaic polychromy in Greek architecture within its specific archaeological context. Further investigation into the Gigantomachy is expected to enhance our understanding of the chromatic techniques employed by Archaic artists and the application of polychromy on poros stone sculpture.

ABSTRACT. Online: The Holy Monastery of “Kokkini Ecclesia”, a significant cultural and religious heritage site in Platystoma, Lefkada, presents a unique architectural and historical challenge for restoration and conservation efforts. The abstract outlines a preliminary restoration proposal based on detailed historical research, architectural analysis, and structural assessment conducted on-site. The Monastery complex, characterised by its enclosed polygonal shape and central chapel, encompasses four wings, each housing various functions and structures. Historical sources provide fragmented information on the specific uses of these spaces, necessitating careful deciphering and interpretation through onsite investigation. Through a thorough study of historical records and physical examination of the monument, the architectural configuration and original functions of the Monastery spaces have been elucidated. The Eastern wing housed administrative functions such as the Abbot guestroom, the “Archontariki” (monastery reception hall) and storage areas. The Southern wing accommodated storage and animal facilities on the ground floor and monks' cells on the upper level. The Western wing comprised guest rooms, furnace chamber, possibly a kitchen, and the Monastery's refectory. The Northern wing exhibits remnants of buildings with undefined boundaries and configurations, posing challenges in determining their historical uses.Based on the findings from historical research and onsite exploration, a proposed restoration plan, on a preliminary stage, has been formulated to preserve and revitalise the Holy Monastery of “Kokkini Ecclesia”. 

ABSTRACT. Online: This paper deals with the preservation and scientific application of glass dry plates as cultural properties, showing the effectiveness of image comparison as instructive part of the research basis of heritage studies. Wall paintings of the Sopoćani Monastery (founded in the second half of the 13th century) are recorded as glass dry plates, which have been deposited at the Institute for the Protection of Historical Monuments of Serbia. The glass plates were taken in 1954 as visual documentation, and the author has assessed the conservation state of the wall paintings by comparing them with glass plates which are under ongoing archiving. The comparative study is carried out applying images of three different times: photographs recorded in 1926 before the first intervention of modern restoration, glass dry plates images dating 1954 and digital data taken by the author in 2017. By analyzing differences between the multiple images of long intervals of time, the author clarified that wall paintings at Sopoćani are comprehensively in good condition. Besides image comparisons, the results of a field survey done by the author and field measurements carried out in 2017 for further discussion have been introduced. As a result, no critical damage to the mural structure or serious changes to their appearance were identified. Conservation state of the wall paintings remained satisfactory, mainly because the restoration works carried out between 1926 and 2017 had been modest enough, allowing the wall paintings to retain the stability of the original production.

ABSTRACT. Online: The following contribution is part of one of the broadest and most developed areas of research in the field of restoration. The numerous publications span the various disciplines that are part of it: architecture, chemistry, art history, geology. The aim of the following research is not to publicize the important work of the ICR institute, which has already been done in numerous places, but to reconstruct and relate some episodes of the dense web of relations that existed between the ICR and the most important Italian and international restoration institutes at the turn of the century. Especially in relation to the serious problem of stone conservation, which has arisen cyclically on an almost untold number of monuments and to which only in a few cases has it been possible to respond effectively. Through archival research, compared to a careful reading of the published sources, it will be possible to shed light on some lesser-known aspects of the events related to the respective institutes, through correspondence between the directors of the respective laboratories and in relation to some case studies that saw their close collaboration about the deterioration of stone materials.

ABSTRACT. Opening Lecture

ABSTRACT. In Person Presentation: The scope of the study was the development and implementation of a methodology for the restoration and reconstruction processes of an ancient theater in Dodoni, Greece. In the current study, we conducted a digital three-dimensional documentation and diagnosis of the conservation status of two kerkides at the Dodoni theater using photogrammetry technology. The ancient theater of Dodoni faces several preservation and restoration challenges, particularly the extensive documentation work associated with the monument's members. This task requires leveraging the opportunities that contemporary digital technologies offer. A methodological proposal is suggested for the application of three-dimensional (3D) digital acquisition and modeling technology tailored to the specific characteristics and themes of the Dodoni theater.The project aims to preserve cultural heritage by creating a detailed digital 3D replica of the bedrock. Such an effort will aid engineers and restorers address questions that arise from its discovery. The project also aims to prevent the bedrock from being exposed again after the theater members are reattached. With the assistance of the generated 3D digital models, the proposed framework aims to enhance the accuracy of the study results and facilitate the reorganization of architectural members by identifying original placements and authentic joints. Productivity increases as a result in both the research phase and the restoration phase.The Dodoni theatre is a monumental construction associated with the reign of Pyrrhus. The orchestra forms a complete circle with the thymele positioned at the center. The koilon (cavea) capacity of around 15,000 spectators is divided into nine kerkides. Two concentric pathways, known as the diazomes, divide the koilon vertically into three parts. The highest of these is the epitheatre. Retaining walls encircle the koilon to the east, west, and south, where two external staircases have been constructed. The scene, located to the south of the orchestra, has undergone transformations during the four building phases of the monument. During the last building phase, under Augustus Caesar (first century BC), the theater was converted into an arena. The edolia (seats) of the four lower rows were removed, and a high wall was raised between the koilon and the orchestra. The current form of the ancient theater is a result of restoration works that were completed in a short period of time during 1960’s. This allowed the theater to be used for performances of ancient drama in the summer of 1960. The works of 1960 were completed in a short period of time without thenecessary documentation, resulting in limited data on the monument's original state. Thus, an additional factor of difficulty was added to the present-day scholars. Contemporary research aims to eliminate misunderstandings and issues by leveraging the opportunities provided by technology and focusing on members related to the time period of the monument before 1960. Part of the research and study involves examining the architectural members in the area where they were found. This process includes extracting them from the koilon area and transporting them to the laboratory facilities.From the restoration works conducted so far, it seems that a large number of members of the lower zone, particularly those in kerkida 9, are built on formed bedrock. In more detail, during the cleaning work to tidy up the background of kerkida 9, a stepped bedrock was exposed. Its surface, in places, has horizontal configurations for the direct seating of the corridors and edolia. These configurations provide essential information for the construction logic of the monument and are a fundamental requirement for the accurate geometrical restoration of the koilon.A photogrammetric methodology was developed and three-dimensional models of Kerkida 9A were created before any restoration work. Revealing the background and documenting the exposed rock in 3D has been instrumental in the ongoing efforts to capture, document, preserve, and restore the theater.The ancient formations on the surface of the natural bedrock revealed important details about not only the geometry of the theater but also the original arrangement of the edolia (seats). The areas with horizontal formations were pointed out as evidence of geometry, along with the vertical well-carved formations, which were associated with a specific type of edolia.The rocky terrain, a set of steps, and an edolion were photographed for the photogrammetry reconstruction as part of the project. To create 3D representations, the data was processed using two distinct photogrammetry applications in close collaboration with the staff of the archaeological site of Dodoni. Open-source software was then used to post-processing and export the final product, which contains the individual 3D renderings of each object. Finally, an attempt was made to evaluate the value of the current work by placing the edolia and pathways plates in a computational environment, enabling a detailed investigation of alternative identifications. This was possible because their actual locations are known and have not changed since ancient times. The next step involves restoring the design and identifying the data of the design proposal. This includes the creation of the two-dimensional layouts of kerkis 9A, and 5A. The study team implemented a workflow process for projecting and aligning the two-dimensional layouts with the 3D bedrock models obtained from photogrammetric reconstruction.The following step involves matching the 3D model of the rock with the geometric restoration data derived from the restoration study plans, as well as identifying the original position of some displaced members. Thus, we implement digital repositioning and identification techniques to locate two specific displaced members on the 3D exposed rock surface.These approaches are intended to enhance researchers' capabilities during the study phase, and improve their results. The primary goals are to maximize efficiency in order to achieve, first, the greatest possible economy of movements of the actual members (seats, etc.) and second prevent and minimize failures during repositioning and recovery processes.The framework presented can improve both the processes and the quality of the study results in the reattachment and restoration of an architectural monument of such magnitude.

ABSTRACT. In Person Presentation: Over the past few years, Opera della Primaziale Pisana has perfected a plan for periodic monitoring of the monuments in the monumental complex of Cathedral Square in Pisa. The monitoring is carried out by a group of OPA conservators specialized in rope access restoration works. The operators lower themselves from the monuments with ropes and safety harnesses to check the state of preservation of all the architectural elements. This operational choice allows restorers to supervise architectural surfaces in their complexity without scaffolding or mobile elevating work platforms, prioritizing visitor safety. A specific inspection procedure is planned for each monument according to its complexity and features. All surfaces are visually and tactually examined, and critical issues are documented with photos. The data are reported in technical sheets, customized by AFI (Associazione Fabbricerie Italiane), that estimate the state of damage. Since 2020, this systematic approach has been integrated with a GIS (Geographic Information System) for more efficient data management and accessibility. This project simplifies maintenance planning and minimizes emergency interventions by implementing preventive maintenance procedures. Periodic inspection would save resources and be more efficient in preservation compared to sporadic restoration work.

ABSTRACT. In Person Presentation: This study evaluates the application of innovative materials in 3D printing for the protection and conservation of cultural heritage, focusing on the intervention conducted on the environmental installation 'Spiette, 36' by artist Paolo Icaro at MAXXI, Rome. The main challenge of this artwork’s conservation is related to its interaction with the museum's audience. Specifically, the presence of floor-placed elements necessitated a comprehensive approach to ensure their preservation. For this reason, with the artist and museum's support, a project was developed to create exhibition copies and digitally preserve the installation.The project involved acquiring the shape through 3D scanning and generating its negative by processing the digital model. Extensive research was then conducted to select elastomers introduced to the market in recent years capable of emulating the performance of silicone rubbers for 3D printing molds. The study of these materials and printing techniques has provided valuable insights, laying the groundwork for potential applications of 3D printing elastomers in restoration.

ABSTRACT. In Person Presentation:  The Monastery of Dafni is one of the most important monuments of the middle-byzantine period, included on the World Heritage List of UNESCO. The monastery was founded in the 6th century A.D. and its second constructional phase, dated to the end of the 11th century (around 1080), is the one preserved today. The main church is a cross-in-square of the octagonal type building, surmounted by a broad and high dome. The interior is decorated with superb mosaics, a unique, fine example of the Middle Byzantine art. The arrangement of the mosaics is on the dome, the cross-arms, the altar (sanctuary) and the eso-narthex of the church, while their scenes depict the life of Christ and the Virgin.  The building has suffered many structural damages by earthquakes in 1889 and 1897, after which Italian artisans restored the mosaics and rebuilt the west side of the narthex and the dome. In 1955, a more extensive restoration project was undertaken by the Restorations Department of the Ministry of Culture, which continued until 1968. After another damaging earthquake in 1999, the poor state of the building has significantly affected the mosaics. The main problem was the structural damages of the building fabric that allowed moisture infiltration, triggering a series of decaying phenomena, such as cracking and detachments reducing the preservation state of the mosaics. A great restoration programme was initiated in 2000, which apart from the structural reinforcement of the building, also aimed to protect the interior of the building from water penetration. After the completion of restoration and conservation works in 2016, the mosaics presented soluble salt efflorescences and consequent disaggregation of a specific type of tesserae produced from marlstone while neighboring tesserae and mortar joints were not affected at all. In order to investigate the pathology of the mosaics and study the weathering mechanisms a methodology process was developed.  The present study was performed in three steps: 1) microclimatic monitoring, 2) thermographic survey and 3) salts analysis. The approach was based on non-destructive testing techniques (NDT’s) such as Infrared Thermography (IRT), Microwave Hygrometer combined with microclimatic monitoring and instrumental techniques such as Digital Microscopy (CMOS), Scanning Electron Microscopy coupled with Energy Dispersive X-ray Spectroscopy and X-ray Diffraction. The mosaics investigated are located at the dome, the altar (sanctuary) and the narthex of the church. The weathering phenomena were mainly observed on the mosaics at the altar and the narthex, where humidity accumulation has been identified in the past due to water penetration. It is important to mention that salt weathering was not observed before or during the interventions. The investigation related very rapidly moisture content to damage phenomena, indicating the necessary actions ahead. The mobilisation of salts has been triggered by trapped moisture during restoration works. The moisture front has been directed to the internal surfaces even during high temperature outdoors conditions probably due to the external consolidation of the monument with low porosity mortars. The generation of damage which affected a specific tesserae type can be attributed to the hydration- dehydration cycles of gypsum. The role of the pore properties of the tesserae is also under investigation although the surrounding tesserae consisted of either glass or very low porosity stones. Still, it was evident that damage was an individual incident that was receding with the evaporation of the trapped moisture and probably it would not occur periodically. Thus no further interventions like desalination or cleaning needed to take place. The environmental conditions are still monitored and thermography investigations will take place in longer intervals for precautionary measures.

ABSTRACT. In Person Presentation: Exposure to natural weathering and deleterious agents poses a significant risk to traditional porous building materials, like stone and mortar, with salt crystallization featuring as a prominent degradation mechanism. Despite the existence of standardized laboratory tests to assess the salt crystallization resistance of stone, the international scientific community still seeks more reliable and reproducible alternatives. In this framework, RILEM TC ASC-271 recently recommended a novel accelerated test procedure for the assessment of the resistance of natural stone and fired-clay brick units against salt crystallization. This study assessesRILEM’s recommendation by comparing results from laboratories in Cyprus and the UK on a particular lithotype. The interlaboratory results show similar mass losses, with higher values reported with an increase in the salt concentration used. Micro-destructive cutting tests adopted to locate the salt crystallization front at the end of the procedure, revealed layers of increased resistance behind the evaporation surface of the test specimens, because of pore clogging. The reproducibility of the results reported, and the efficiency of the micro-destructive cutting techniques employed in mapping the salt front, suggest that the new test recommendation may be used effectively in the lab to predict damage due to salt crystallization in natural stone.

ABSTRACT. In Person Presentation: The aim of the study was the development and implementation of a methodology for the characterization and damage assessment of the building materials of a prehistoric kiln excavated at Kirra, Greece. Northeast of the center of the modern settlement of Kirra, is the archaeological site where the kiln was found. The kiln was excavated in 1984 and 1989 by the French School at Athens and is dated to 1450-1400 BCE. The kiln is of the updraft type, and it’s mainly constructed by mudbricks. Based on Hasaki’stypology, it’s classified as type Ie kiln, since it is circular with three parallel walls on the long axis. Mud brick structures are dramatically susceptible to water as it triggers different deterioration phenomena, the results of which are clearly visible in the many decay features on site. For this reason, the excavation is temporarily covered by a typical “Dexion” type canopy for protection from rainwater. A pump is also installed near the entrance of the combustion chamber to pump outground water and restrain rising damp. Although mud brick has been used, in different structures, worldwide since the early Neolithic times and is therefore encountered in many archaeological contexts, there is no consensus on the best practice for its documentation, analysis and preservation. Because of the significant efforts necessary to preserve inherently unstable earthen structures, as well as the significant costs of the development and implementation of sustainable conservation and maintenance methods, the preservation of ancient mud brick architecture remains a challenge and is still not standard practice.

ABSTRACT. In Person Presentation: This work is the first systematic research study to acquire information on the pigments, the painting technique and assess the conservation status of the post-Byzantine wall paintings in the Byzantine Monastery of Daphne (Attica, Greece). A combined non-invasive methodology including Portable X-Ray fluorescence (XRF), portable Fourier Transform Infrared Spectroscopy (FT-IR), multi-spectral imaging (MI) and digital microscopy (DM) was employed in situ. The identification of pigments hematite, goethite, green earths, carbon black, cal-cite, massicot and the creation of the wall paintings by different artists in different time periods were confirmed. MI and DM images gave useful insight on the conservation status of the wall paintings, revealing surface ware with microcracking, loss of color and original material as well as parts of the underdrawing of the painting.

ABSTRACT. Online: This paper explores the innovative application of non-destructive testing techniques for the preservation and analysis of cultural heritage artifacts. Through a comprehensive review of cutting-edge methods, including infrared thermography, ultrasonic testing, and X-ray fluorescence, we illuminate how these technologies offer unparalleled insights into the condition, composition, and historical context of artifacts without compromising their integrity. Case studies demonstrate the successful application of these techniques across a diverse range of materials and historical periods, underscoring the potential of NDT to revolutionize the field of cultural heritage conservation. By bridging the gap between traditional preservation methods and modern technology, this work aims to foster a deeper understanding of our shared history and ensure its protection for future generations.