La protezione e la valorizzazione dei beni culturali e ambientali nel processo di sviluppo del territorio
10.6092/issn.1973-9494/7165
Com’è noto, l’arte e la scienza rappresentano due modi di presentare la storia del mondo, non due soggetti in contrasto tra loro. L’arte, in altre parole i beni culturali e paesaggistici, giustamente considerati anche come ambiente, è legata alla storia dell’uomo. Relazionate a questa sono le diverse espressioni artistiche e, dunque, le diverse attività generazionali con i loro relativi eventi sociali e problemi attraverso il tempo fino al presente, collegati tra loro temporalmente. È vero che “la Natura non sostiene l’impronta dell’uomo”: questo è ciò che the World Wide Fund for Nature evidenzia nel descrivere il grande squilibrio con il conseguente irreversibile danno che avviene con il passare del tempo. Nel processo diretto alla possibile riacquisizione delle compatibilità per proteggere la natura, le condizioni della vita e i beni storico-artistici, sono riportati alcuni casi studio condotti nel corso degli anni. La ricerca riguarda la protezione e la valorizzazione del “sistema: manufatto di interesse storico-artistico – conservazione dell’ambiente – biota”. In essa sono state affrontate le seguenti problematiche: inquinamento atmosferico, degrado dei monumenti e degli ambienti storico-artistici – protezione e conseguenti vantaggi; conservazione e monitoraggio degli ambienti confinati.
application/pdf
1973-9494
7165
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Andrea Natali
Conservation Science in Cultural Heritage
environmental heritage
The Protection and Valorization of Cultural and Environmental Heritage in the Development Process of the Territory
Text.Serial.Journal
https://conservation-science.unibo.it/
16
Articles
2017-07-24
2017-07-17
2017-07-24
2018-03-27
59-88
CSCH
Andrea Natali
2016
10.6092/issn.1973-9494/7165
59
Andrea Natali Conservazione dei Beni Culturali, Vetralla
1973-9494
environmental heritage
en
88
Natali, A., Lorusso, S. (2014) L’ambiente di conservazione dei documenti grafici: riferimenti normativi e metodologie per la prevenzione del rischio, Scienze e Ricerche n. 1, November 2014; pp. 63-77.
The Protection and Valorization of Cultural and Environmental Heritage in the Development Process of the Territory
https://conservation-science.unibo.it/article/download/7165/6889
16
T    HE PROTECTION AND VALORIZATION OF CULTURAL
     AND ENVIRONMENTAL HERITAGE IN THE
     DEVELOPMENT PROCESS OF THE TERRITORY

   Salvatore Lorusso•2
   Dipartimento di Beni Culturali
   Alma Mater Università di Bologna, Ravenna, Italy

   Giampaolo Maria Cogo
   Studio Legale Cogo
   Rome, Italy

   Andrea Natali
   Andrea Natali Conservazione dei Beni Culturali
   Vetralla, Italy

   Keywords: protection; valorization; cultural heritage; environmental heritage


   1. Introduction: art and science, art is science

    Firstly, it can be said that “art and science are two different ways of interpreting reality”.
    The concept of “reading reality” is extremely important in the study of cultural herit-
age. In fact, “reading” is a synonym for: knowledge, interpretation, evaluation of art.
This sequence of steps forms the basis of the subjective evaluation carried out by




                                                                                                          CONSERVATION SCIENCE IN CULTURAL HERITAGE
historians and the objective evaluation carried out by technicians.
    Art and science have developed over time in an apparently independent manner,
but using quite different approaches in dealing with their selective experience of the
world, in pursuing objectives and interpreting achieved results [1].
    Furthermore, in comparing art and science, it can be said that despite modifying the
ways and means with which it is expressed, art is always capable of arousing different
sensations in the observer of the art object: it is therefore evident that the conserva-
tion state of the art object, with the consequent possibility of its “readability”, is of great
importance. For Leonardo da Vinci “Wisdom comes from experience... and experience
never fails, only our judgments do”.
    Science, on the other hand, is a practical extension of technology, which due to
its constant changing, leads to a feeling of incompleteness. For Galileo Galilei “the
Universe is written in a mathematical language, in which the characters are triangles,
circles and other geometrical figures, without which it is impossible to understand”.
    In relation to art, Leonardo states that experience determines wisdom, which, in
turn, determines judgment.
    In relation to science, Galileo claims that the language of mathematics and geo-
metric shapes enables us to know the world, in other words, to understand it and thus,
make judgments.


• Corresponding author: salvatore.lorusso@unibo.it

                                                                                                     59
                                                                                                               It can therefore be said that art and science are ultimately two ways of narrating the
                                                                                                            history of the world, not two subjects in contrast with each other, but two complemen-
                                                                                                            tary ways of “reading reality”: art itself is technology (from “técne”, equivalent to the
                                                                                                            Latin “ars” which, as well as meaning “art”, also means “technique”) and technology
                                                                                                            can become art and poetry (from “poiesis”, production, in which many diverse means
                                                                                                            are used to achieve specific goals).


                                                                                                               2. The holistic value of cultural heritage
S. Lorusso, G.M. Cogo, A. Natali - The protection and valorization of cultural and environmental heritage




                                                                                                               If, as Leonardo claimed, “Art is science, the culmination of observing and studying
                                                                                                            the natural world”, it follows that the holistic value of a work of art is characterized by a
                                                                                                            set of values concerning different areas of investigation:
                                                                                                               •   cultural value
                                                                                                               •   historical value
                                                                                                                                      Historical-humanistic area
                                                                                                               •   aesthetic value
                                                                                                               •   artistic value

                                                                                                               • spiritual value (in the event of works with
                                                                                                                 religious significance)
                                                                                                                                                                     Philological-philosophical
                                                                                                               • symbolic value                                             social area
                                                                                                               • social value (the work of art gives a
                                                                                                                 sense of identity)

                                                                                                               •   technical value
                                                                                                               •   economic value
                                                                                                               •   financial value        Technical-economic-management area
                                                                                                               •   mercantile value
                                                                                                               •   marketable value

                                                                                                               • value of authenticity (if the work is authentic, it is
                                                                                                                 a value in itself which is added to the others)
                                                                                                               • value of identity                                        Legal-identitary area
                                                                                                               • value of interdisciplinarity
                                                                                                               • value of internationalization

                                                                                                              As such, the holistic value should help determine the specific economic, financial,
                                                                                                            mercantile and marketable value.


                                                                                                               3. Cultural heritage as material heritage and economic heritage

                                                                                                               3.1. Cultural heritage as material heritage

                                                                                                               As a link confirming the meeting point between “art and science”, a statement made
                                                                                                            by Giulio Carlo Argan in the 1980s can be taken into consideration, which derives from
                                                                                                            his significant experience as an art critic, manager of public affairs, politician, profes-
                                                                                                            sor: “All works of art are artifacts but not all artifacts are works of art. What recognizes


                                                                                                       60
their artistic value is judgment. However, this is formed on the basis of given param-
eters and is not the expression of the aesthetic pleasure or emotion the work arouses
in the observer. The legality of the judgment depends on the mental process through
which the method is reached” [2].
    But to speak of “method” and thus “methodology”, as “the study of methods”, means
to speak of a sequence of operational stages, as part of the intervention on the work of
art. This can be linked to Art. 9, which appears at the beginning of the Italian Constitu-
tion: “The Republic promotes the development of culture and of scientific and technical
research. It safeguards the natural landscape and the historical and artistic heritage
of the Nation”, and to what was established in 2004 by the Legislative Decree of the
Ministry of Heritage and Culture, thus establishing the Code of Cultural Heritage and
Landscape.
    In particular, reference is to:
    • Art. 3 “Protection of cultural heritage”: “Protection consists in the exercise of the
       functions and in the regulation of the activities, aimed at identifying on the basis
       of adequate investigative procedures the properties constituting the cultural her-
       itage and at ensuring the protection and conservation of the aforesaid heritage
       for purposes of public enjoyment”;
    • Art. 6 “Valorization of cultural heritage”: “Enhancement consists in the exercise of
       the functions and in the regulation of the activities aimed at promoting knowledge
       of the cultural heritage and at ensuring the best conditions for the utilization and
       public enjoyment of the same heritage. Enhancement also includes the promo-
       tion and the support of conservation work on the cultural heritage”.
    More specifically, in relation to any kind of historical artifact that can be: painting,
statue, book, codex, archival document, architectural-monumental complex, etc., the
complete and correct methodological approach includes the following sequence of
steps:




                                                                                                    CONSERVATION SCIENCE IN CULTURAL HERITAGE
   PROTECTION
   • preliminary inspection and subjective evaluation of the artifact and its site;
   • documentary research relating to historical aspects and previous conservation
     interventions: historical anamnesis;
   • diagnostic and analytical investigations for the characterization of materials and
     assessment of their conservation state;
   • if necessary, subsequent restoration using appropriate materials, products and
     techniques;
   • parallel control of the location site, in reference to the container, structure and
     environmental conditions,
   • monitoring of these conditions to prevent any possible interaction with the envi-
     ronment.
   VALORIZATION
   • promotion, use and management of the building and site through artistic and
     cultural events.
   This confirms the need to know and understand the material typology of the artwork,
on which the intervention is consequently based: history, diagnosis, restoration, con-
servation, preservation, prevention, valorization.
   Having recognized the close relationship between “art and science”, between “cul-
tural values and scientific research”, it is possible to protect and enhance the cultural
heritage which the community has created and is the heir to, as it is not just the “habi-

                                                                                               61
                                                                                                            tat” and “historical memory” of which man has been and how he has learned to interact
                                                                                                            with the material, it is also “witness” across the centuries to the evolution of the spirit
                                                                                                            and culture of people and, therefore, a message for the future (Figure 1).
S. Lorusso, G.M. Cogo, A. Natali - The protection and valorization of cultural and environmental heritage




                                                                                                                               Figure 1. Protection and valorization of cultural heritage

                                                                                                               3.2. Cultural heritage as economic heritage

                                                                                                               Precisely because it is made of material, cultural heritage should be considered
                                                                                                            “economic heritage”. But it is equally true that, as was said earlier, there are a series
                                                                                                            of intangible values which cannot be defined in economic terms and are difficult to
                                                                                                            quantify, such as intellectual enrichment and aesthetic emotion. Hence, it is correct to
                                                                                                            define the artifact of historical-artistic interest as heritage that is:
                                                                                                               • scarce, because each individual object constituting the cultural heritage is char-
                                                                                                                  acterized by its uniqueness, its non-reproducibility, non-renewability and deterio-
                                                                                                                  rability;
                                                                                                               • useful not only because it satisfies an individual’s desire for enjoyment, it also
                                                                                                                  satisfies the community need to enjoy culture, a need arising from the necessity
                                                                                                                  to recreate a sense of identity;
                                                                                                               • durable, since its existence spans centuries and millennia, accompanying entire
                                                                                                                  generations eager for knowledge and culture, and needing to find something to
                                                                                                                  identify themselves with;
                                                                                                               • meritorious, as it is capable of satisfying such high expectations as to warrant the
                                                                                                                  support of the public and private financing of culture;
                                                                                                               • a refuge (store of value), in other words a form of protection against inflation,
                                                                                                                  an alternative investment, especially in economically difficult times, such as the
                                                                                                                  present-day global crisis.


                                                                                                               4. Art and Environment as a means of sustainability, ethics and aesthetics

                                                                                                               Even if man is part of the natural world and follows its biological laws, he aspires to
                                                                                                            a different world, a perfect world where there is also justice, love, happiness, beauty,
                                                                                                            and, based on this ideal world, judges both himself and nature. Of course, many schol-
                                                                                                            ars argue that the world today is dominated by nihilism (the skeptic, an advocate of
                                                                                                            the gnoseological, the ethical into which converges moral relativism), that values, and
                                                                                                            the idea that life has a purpose, have lost their significance, that concepts like order,


                                                                                                       62
duty, will, effort, guilt, merit, responsibility are meaningless. Man, therefore, is part of
nature, but at the same time, not part of it: as an object of science he is inside nature,
as a being possessing a conscience he is outside it, living in a world of culture, values
and freedom, whose principles can, however, be reconciled with those of science [3].
   In life, people take action and exert themselves by establishing goals, by nurturing
dreams and aspirations. In this respect, science can explain them through biological
and chemical processes, as well as manipulating and modifying them. Nevertheless,
decisions are always taken by people driven by desires, dreams, values and ideals.
   This is what the World Wide Fund for Nature (WWF) highlights, when stating that:
“Nature does not support the human footprint”. This means that in the international
arena, there are over one billion new consumers, whose human needs are greater
than the regenerative and receptive capacity of the Earth’s natural systems.
   This is especially true if one refers to:
   • the Italian Code of the Cultural Heritage and Landscape, which states that cul-
       tural heritage is made up, not only of cultural heritage, but also landscape herit-
       age, i.e. all properties and areas that express the cultural, historical, aesthetic,
       social , natural, morphological and technical values of the territory;
   • and the current situation of environmental degradation and present-day interna-
       tional crisis relating to economics, finance and values.
   It follows that the above-mentioned Code, when underlining the importance of over-
coming the “dichotomy between the economic and the socio-cultural sphere” through
ethics, emphasizes that this involves the action of a person who, individually, makes a
decision based on “socio-cultural assessments”, and, therefore, respects others and
the environment as a whole: this is eco-sustainability.
   However, this is not what has happened in the case of the current international
crisis, as the desire to increase personal capital has overridden any positive ethical
reference in all contexts, including the protection and valorization of cultural heritage.




                                                                                                    CONSERVATION SCIENCE IN CULTURAL HERITAGE
   The antidote is, therefore, that “silent” network which, according to some scholars,
continues to work in compliance with ethical principles to defend not only human val-
ues, but the cultural and environmental testimonies that have constituted history and
moral identity through the centuries.
   Behaviour in observance of these principles and values, rejects situations that lead
to conflict of interest, basing itself on sobriety; consequently, when making a decision,
questions are posed about whether there are any consequences that might regard
others and the entire environment.
   At this point – and here it is necessary to stress its significance – the importance of
considering the artistic product arises and, therefore, art beyond the beautiful: from the
aesthetic to the ethical.
   Is art synonymous with beauty? In other words, is beauty attributable only to aes-
thetics? And is the idea of art only a matter of aesthetics? This may be considered an
outdated, decadent idea held by those who dislike or distrust it or who believe they can
banish it to the outskirts of the cultural world.
   On the contrary, art is never solely or forcedly beautiful, its vocation is not deco-
rative, but metaphysical. Indeed, what remains of art when it escapes the diktat of
beauty? What remains is its intelligence, knowledge and wisdom related to the great
alchemies, giving a sense and meaning to what has none, or demonstrating why sense
and meaning are impossible to grasp at times.
   It can, therefore be said, that in our perception, a sense of ethics accompanies a


                                                                                               63
                                                                                                            sense of aesthetics. It is not easy, however, and will never be entirely explainable, to
                                                                                                            what extent the enjoyment of a work of art is or is not bound to affinity, i.e. to ethical
                                                                                                            and not simply aesthetic participation. It is also true that, in the contemplation of an
                                                                                                            art work, affective participation undoubtedly intervenes, together with expression or
                                                                                                            intimistic and participatory elements, although for many these elements are often re-
                                                                                                            placed by economic or political ones. This means one has to refer to old standards of
                                                                                                            taste, of a native sensitivity for art things and an innate empathy for the same.
S. Lorusso, G.M. Cogo, A. Natali - The protection and valorization of cultural and environmental heritage




                                                                                                               5. The importance of studying the “system: artifact-environment-biota”

                                                                                                                The study of the “system: artifact-environment-biota”, is of great consequence in the
                                                                                                            field of cultural heritage training and research, also in relation to the above-mentioned
                                                                                                            importance of the method and the resulting judgment.
                                                                                                                For this, it is considered significant to mention what the authors of this paper have
                                                                                                            achieved in the context of their teaching and research activities.
                                                                                                                In the field of training and, in particular, interdisciplinary training, reference is to the
                                                                                                            volumes in the book series “I beni culturali e l’ambiente” (Cultural heritage and environ-
                                                                                                            ment) and “La formazione e la ricerca nel settore dei beni culturali e ambientali” (Train-
                                                                                                            ing and research in the field of cultural and environmental heritage).
                                                                                                                The 11 volumes in the series on cultural heritage and the environment (Pitagora
                                                                                                            Editrice - Bologna), a number of them also available in French, deal with various issues
                                                                                                            related to the protection and valorization of artifacts of historical-artistic interest and of
                                                                                                            different material typologies.
                                                                                                                 In the second series (Mimesis Edizioni, Milan-Udine), the first volume “I beni cul-
                                                                                                            turali e ambientali: formazione e ricerca, interdisciplinarità e internazionalizzazione”
                                                                                                            (Cultural and environmental heritage: education and research, interdisciplinarity and
                                                                                                            internationalization), brings together the presentations of personalities with different
                                                                                                            skills, who participated in several of the Study Days held on issues that suitably repre-
                                                                                                            sent the educational grounding for this area of interest.
                                                                                                                The second volume “La gestione del rischio nel settore dei beni culturali: musei,
                                                                                                            biblioteche, archivi”, also in English, “Risk management in the cultural heritage sec-
                                                                                                            tor: museums, libraries, archives”, takes an interdisciplinary approach towards deal-
                                                                                                            ing with issues of management and control of the possible risks that trigger deterio-
                                                                                                            ration processes in heritage collections. This means that problems can be resolved
                                                                                                            at the outset, avoiding the need for restoration and / or curative treatments on the
                                                                                                            works of art.
                                                                                                                In the field of research, an essential reference point is the historical-technical jour-
                                                                                                            nal “Conservation Science in Cultural Heritage”, founded in 2001 at the University of
                                                                                                            Bologna.
                                                                                                                The Journal, published annually in English and Italian, describes studies and ex-
                                                                                                            perimental research of a technical-conservative, economic, social, legal, and manage-
                                                                                                            ment nature in the environmental and cultural heritage sector. It has formed significant
                                                                                                            partnerships with universities, institutes and research centers, both nationally and in-
                                                                                                            ternationally. The Journal is accessible online and in print and appears on numerous
                                                                                                            international platforms and websites, having attained various acknowledgements and
                                                                                                            certification.



                                                                                                       64
   6. Case studies

   The following section summarizes two case studies concerning artifacts of histori-
cal-artistic interest, which highlight the processes aimed at protecting living conditions
and historical-artistic heritage and, therefore, related to the protection and enhance-
ment of the “system: artifact of historical-artistic interest – conservation environment
– biota” [4-7]:
   • air pollution, degradation of monuments and historical-artistic environments, pro-
      tection and consequent benefits;
   • conservation and monitoring in confined spaces.
   Below are discussed the objectives that led to these investigations.

   6.1. Air pollution and degradation of artistic-historic monuments and environ-
   ments

   The research was carried out at the following sites in Italy (Figure 2):
   • Basilica of Santa Maria Maggiore, Rome
   • Theatre of Marcellus, Rome
   • Cloister of the Villa d’Este, Tivoli
   • Villa Adriana, Tivoli




                                                                                                            CONSERVATION SCIENCE IN CULTURAL HERITAGE
                                                                                               b




                                                                                               c




   a                                                                                           d

Figure 2. a) Basilica of Santa Maria Maggiore; b) Theatre of Marcellus; c) Cloister of Villa d’Este;
d) Villa Adriana.


                                                                                                       65
                                                                                                                The factors that influenced the choice of these sites are attributable not only to the
                                                                                                            different periods of construction of the monuments and the particular logistic situations
                                                                                                            (different percentages relating to the distribution of methane gas and / or traditional
                                                                                                            fuel, diversified traffic), but also to the type of material constituting the artifacts under
                                                                                                            examination (same material for the selected artifacts, i.e. travertine), in addition to the
                                                                                                            most suitable locations for taking the non-destructive measurements.
                                                                                                                The situations relating to the Basilica of Santa Maria Maggiore, the Theatre of Mar-
                                                                                                            cellus in Rome and Villa d’Este, where there are different traffic flow conditions and
                                                                                                            levels of natural gas, were compared with that of an uncontaminated environment –
S. Lorusso, G.M. Cogo, A. Natali - The protection and valorization of cultural and environmental heritage




                                                                                                            Villa Adriana with no traffic and 100% level of methane distribution.
                                                                                                                The results of the experiment were presented at the Accademia Nazionale dei Lin-
                                                                                                            cei in Rome and focused on:
                                                                                                                • determination of airborne pollutants;
                                                                                                                • quali-quantification of alteration-degradation of artifact surfaces using an index of
                                                                                                                   graying-blackening-fouling;
                                                                                                                • characterization of atmospheric aerosol.
                                                                                                                For this purpose, various analytical instruments were employed:
                                                                                                                • Spectrophotometric-colorimeter
                                                                                                                • Prototype device (EIS: Electron Industry Support) to automatically measure the
                                                                                                                   level of graying (brightness) on exposed surfaces
                                                                                                                • Video microscope for determination of tristimulus color components (R-G-B for
                                                                                                                   red, green, blue)
                                                                                                                • Scanning Electron Microscope for quali-quantification of total suspended particu-
                                                                                                                   late.
                                                                                                                A mobile laboratory was also used, equipped with automatic analyzers for air-
                                                                                                            borne pollutants such as: sulfur oxides, nitrogen oxides, total suspended particulate
                                                                                                            (Figure 3).




                                                                                                            Figure 3. Mobile laboratory equipped with automatic analyzers in compliance with EPA standards.

                                                                                                               The sophisticated equipment complying with EPA standards (Environmental Protec-
                                                                                                            tion Agency) is installed in a Fiat Iveco Daily vehicle. By appropriately programming


                                                                                                       66
experiments, this instrumentation is able to address the serious problems resulting
from pollution when related to the degradation of artifacts, as well as to the safeguard
of human health:
   Instruments in the mobile laboratory for the continuous monitoring of air quality
include:
   • SO2 analyzer: measures fluorescence emitted after absorption of UV energy;
   • NOx analyzer: measures light intensity (chemiluminescence) emitted as a result
      of reaction with O3;
   • TSP analyzer (TEOM 1400): microbalance that weighs particles with a diameter
      <10 microns (microgravimetry), constituted by a lamina that vibrates with a fre-
      quency proportional to the amount of deposited particulate.
   From the results of the campaigns carried out over 4 seasons in the 4 sites in Rome
and Tivoli, it was found that:
   • NOx and TSP: average recorded values are high in both Santa Maria Maggiore
      (NOx: 122 ppb and TSP: 99 µg/m3) and the Theatre of Marcellus (NOx: 133 ppb
      and TSP: 91 µg/m3) with peaks at practically the same time periods: early morn-
      ing (8.00-9.00) and late evening (respectively between 20.30 and 23.00 and until
      0.30 am).
   • Lower concentrations of NOx (ranging between 10 - 40 ppb) and TSP (50 - 110
      µg/m3) were found in the two sites in Tivoli.
   • SO2: concentrations for all sites were minimal and practically equal to instrumen-
      tal zero during night-time hours.
   Trends in traffic flow were found to significantly affect concentrations of NOx and
TSP throughout the day. The limited concentration of sulfur dioxide, on the other
hand, is to be related to the lower sulfur content in conventional fuels and the gradual
re-conversion of heating systems to residential use, the effects of which are obvi-
ously felt not only in areas of almost total methanisation, but also in those with partial




                                                                                                  CONSERVATION SCIENCE IN CULTURAL HERITAGE
methanisation.
   The danger threshold for NOx and TSP was amply confirmed.
   High values in the Roman sites suggest that pedestrian areas should be adopted in
order to minimize any inconvenience caused by vehicle pollution.
    TSP depositions in cities increase the need for the frequent cleaning and resto-
ration of monuments in historic centers. This is because the suspended particulate
matter, as is well known, “dirties” and attacks stone materials, particularly limestone
monuments, that are exposed to outdoor atmospheric conditions, on a massive
scale.
    In order to detect damage using simple non-destructive methods, that are rapid,
repetitive and inexpensive, in the course of this research, two devices were developed.
One is a prototype and the other a video microscope for image analysis, used to auto-
matically measure the graying of exposed surfaces.
    The results achieved provide concrete answers on issues related to the “sys-
tem: artifact-environment-biota”, in reference to the knowledge gained regarding the
trends of the various pollutants during daytime and nighttime hours, and the different
seasons. This also refers to emission sources, to interaction with artifacts and biota,
and to exceeding levels established for the wellbeing of artifacts and human safe-
guard. In this regard, alternative methods were proposed for the quali-quantification
of the alteration-degradation of the surfaces of cultural heritage exposed to atmos-
pheric pollution.


                                                                                             67
                                                                                                              6.2. Preservation and monitoring in confined environments: “Diagnostic in-
                                                                                                              vestigations, microclimate control and virtual use of the paintings in the City
                                                                                                              Art Museum of Ravenna - Loggetta Lombardesca”

                                                                                                               In collaboration with the City Art Museum of Ravenna (Museo d’Arte della Città di
                                                                                                            Ravenna – MAR) (Figure 4), the study addressed:
                                                                                                               • characterization of the artifacts;
                                                                                                               • evaluation of the conservation state of some of the paintings and attribution;
                                                                                                               • environmental monitoring;
S. Lorusso, G.M. Cogo, A. Natali - The protection and valorization of cultural and environmental heritage




                                                                                                               • the creation of virtual systems for public enjoyment of the paintings.
                                                                                                               In connection with the above, in this particularly complex museum situation, it is
                                                                                                            necessary to consider:
                                                                                                               • the wide-ranging but significant variety of the artifacts housed there, which can
                                                                                                                  be traced back to historical periods ranging from antiquity to contemporary times
                                                                                                                  and, therefore, to different concepts, techniques and modes of execution;
                                                                                                               • the corresponding different attributions of the numerous works of art under ex-
                                                                                                                  amination;
                                                                                                               • the different environments in which the works of art are placed;
                                                                                                               • the equally different conditions in the visitor and work environments.
                                                                                                               To this end, portable apparatus was employed belonging to the Diagnostic Labo-
                                                                                                            ratory for Cultural Heritage of the Department of Cultural Heritage of the University
                                                                                                            of Bologna, based in Ravenna. The instruments use innovative technologies and
                                                                                                            advanced systems to respond, in an objective and reliable manner, to the previously
                                                                                                            mentioned issues relating to the study of the “system-artifact-conservation environ-
                                                                                                            ment-biota”.
                                                                                                               With regard to the characterization of the artifacts and assessment of the conserva-
                                                                                                            tion state of several paintings and their attribution, Figure 5 shows an application of
                                                                                                            Reflectography in IR: under the wooden panel can be seen, the parchment support
                                                                                                            representing the preparatory drawing of the cartouche and, therefore, a pentimento of
                                                                                                            the artist.




                                                                                                                                  Figure 4. City Art Museum of Ravenna (MAR).


                                                                                                       68
                                                              Image in the visible




                                                              Image in infrared
Figure 5. “Deposition of Christ from the Cross”, tempera on wood, Carrari Baldassarre (1460-
1516): detail of the cartouche.

   The environmental monitoring carried out involved:
   • thermo-hygrometric monitoring with electronic thermo-hygrometers, model ES-




                                                                                                    CONSERVATION SCIENCE IN CULTURAL HERITAGE
      CORT Junior, temperature and temperature / humidity data loggers: Systems
      LTD, in order to check, by means of measurements taken every thirty minutes,
      the bands of well-being for the paintings (T 19-24°C, ΔT 1.5°C) (RH 40-55% ,
      ΔRH 6%);
   • illuminance evaluation with a Lux meter HD 9221, in order to bring values below
      the limit established by legislation: 50 lx ;
   • quantification of Total Suspended Particulate (TSP) and fine particles (PM10) by
      portable spectrometer (Grimm model 1101), which uses the Laser Scattering de-
      tection system [8], for testing limit values established by standards in force (TSP
      for the artifact and PM10 for the biota): 50 µg/m3.
   The research produced conflicting data regarding compliance with the set limit val-
ues, in particular with regard to illuminance: redesigning the lighting system is recom-
mended.
   The research furthermore includes the development of a system for virtual enjoy-
ment of the paintings, i.e. the interactive digital representation of the City Art Museum
of Ravenna in its entirety and complexity. Browsing the MAR exhibition halls also ena-
bles vision of works not on exhibition, in addition to works stored in deposit (Figure 6).
   The aim is to refer to the virtual as a strategy for communication, research and train-
ing or for the representation of conformative and configurative spatial disciplines. Its
technological application has therefore been directed toward creating a “multi-channel
interactive museum”, with the aim of performing territorial cultural marketing.

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                                                                                                              It should be noted that the research was particularly complex from both a scientific
                                                                                                            and operational point of view, as the works of art and their environments were many
                                                                                                            and varied. It was nevertheless interesting, as it involved a wide range of logistic and
                                                                                                            conservative situations.
S. Lorusso, G.M. Cogo, A. Natali - The protection and valorization of cultural and environmental heritage




                                                                                                            Figure 6. Virtual exhibition of a painting not on display, but stored in the museum depository:
                                                                                                            “Madonna and Child with Angels, St. Thomas Aquinas, Mary Magdalene, Catherine and John the
                                                                                                            Baptist”, tempera on wood, Niccolo Rondinelli.

                                                                                                               6.3. Objectives pursued by the research

                                                                                                                The following is a brief outline of the objectives that led to this research. The first
                                                                                                            is linked to problems related to human well-being, through a comparison of the data
                                                                                                            obtained experimentally with established limit values for the welfare of the biota. The
                                                                                                            other important aspect relates to the management of cultural heritage as a result of the
                                                                                                            above experimental framework and to interventions for the protection of said heritage.
                                                                                                            This is also connected to the scientific content of the Master in “Planning and promo-
                                                                                                            tion of artistic and cultural events”, held at the University of Bologna for six editions, the
                                                                                                            aims of which are summarized below:
                                                                                                                1. the importance of disseminating and communicating research programs involv-
                                                                                                                    ing the study of the “system: artifact-environment-biota”, not only to experts and
                                                                                                                    politicians but also to the public;
                                                                                                                2. the importance of business in culture which is at the basis of its valorization, and
                                                                                                                    is a direct continuation of protection;
                                                                                                                3. knowledge of the territorial forces, i.e. Cultural Units (museums, libraries, ar-
                                                                                                                    chives, art galleries, etc.) and Productive Units (industries, companies, hotel
                                                                                                                    complexes, etc.);
                                                                                                                4. training human resources for culture.
                                                                                                                It follows that by intervening in the protection, promotion and valorization of cultural
                                                                                                            heritage, the territorial forces generate value not only for the heritage, but benefits for
                                                                                                            the same territory too.


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      7. Conclusion

   In conclusion, it is important to note that nevertheless, there are evils that afflict
cultural heritage, in particular archaeological heritage, that are due to neglect, lack of
funding, vandalism, looting, theft and currently, the iconoclastic fury of ISIS, unregu-
lated urbanization in sites and ancient necropolises, and illicit trading.
   This alarm has led to a heated debate involving two points of view:
   • according to the first, the heritage of the past is safer in Western museums, in
      fact, they have a great responsibility: we are referring to illegal excavations re-
      sulting from the embargo;
   • the second, on the other hand, says that all heritage property must be protected
      where it was found. However, it is also true that while some nations have no
      awareness of their heritage, others are proud of it.

   Hence, viewed from a rational and balanced position, it is believed that the protec-
tion and valorization of the cultural artifact and site, in compliance with the specific
logistic case (e.g. regulated or unregulated), urbanization, the specific geographic situ-
ation and the availability of resources and capabilities, must be conducted in relation to
the history, identity and willingness of the country where the heritage and cultural site
are found, in order for “memory to become the future”.


      References

[1]     Lorusso, S. (2004) Arte e Scienza, l’Arte è Scienza, Editoriale, Quaderni di Sci-
        enza della Conservazione, 4, pp. 11-16.
[2]     Lorusso, S., Natali, A. (2015) La ricerca storico-artistica e tecnico-scientifica per
        la tutela e la valorizzazione del patrimonio culturale, La Chimica e l’Industria,




                                                                                                     CONSERVATION SCIENCE IN CULTURAL HERITAGE
        2(5), pp. 35-42.
[3]     Lorusso, S., Braida, A. (2012) Art and environment as media for ecosustain-
        ability, ethics and aesthetics, Conservation Science in Cultural Heritage, 12, pp.
        119-134.
[4]     Lorusso, S., Natali, A. (2015) Promozione e conservazione dei beni culturali. In:
        Pensieri nascosti nelle cose. Arte, Cultura e Tecnica, Lombardi, G., Mantovani,
        M., eds., LAS (Libreria Ateneo Salesiano), Angelicum University Press: Rome,
        Italy, pp. 352-373.
[5]     Natali, A., Lorusso, S. (2014) L’ambiente di conservazione dei documenti gra-
        fici: riferimenti normativi e metodologie per la prevenzione del rischio, Scienze e
        Ricerche n. 1, November 2014; pp. 63-77.
[6]     Lorusso, S., Natali, A., Matteucci, C., Palla F. (2014) La gestione del rischio nel
        settore dei beni culturali: musei, biblioteche, archivi. Milan, Italy: Mimesis Edi-
        tore.
[7]     Lorusso, S., Matteucci, C., Natali, A. (2013) I beni culturali e ambientali: forma-
        zione e ricerca, interdisciplinarità e internazionalizzazione. Milan, Italy: Mimesis
        Editore, pp. 1-182.
[8]     Giglioni, C., Natali, A. (2009) Laser scattering methodology for measuring par-
        ticulates in the air. Conservation Science in Cultural Heritage, 9, pp. 157-169.




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                                                                                                               Biographical notes

                                                                                                                Salvatore Lorusso, former full Professor in “Chemistry of the Environment and
                                                                                                            Cultural Heritage” in the Department of Cultural Heritage at the University of Bologna
                                                                                                            (Ravenna Campus), continues his academic and scientific activities in various fields.
                                                                                                            He is a member on the Scientific Committee of the project “Joint Research Labora-
                                                                                                            tory for Cultural Heritage Diagnosis and Conservation”, an Agreement of Cooperation
                                                                                                            between the University of Bologna, Italy, and Zhejiang University, China. He is the
                                                                                                            founder and Director of two book series: the first “I beni culturali e l’ambiente” con-
S. Lorusso, G.M. Cogo, A. Natali - The protection and valorization of cultural and environmental heritage




                                                                                                            sisting of 11 volumes (Pitagora Editrice, Bologna), and the second “La formazione e
                                                                                                            la ricerca nel settore dei beni culturali e ambientali” of three volumes (Mimesis Ed-
                                                                                                            izioni, Milano-Udine). He is the author of more than 420 publications in national and
                                                                                                            international scientific journals and congress proceedings and of 22 volumes covering
                                                                                                            subjects such as commodity science and the system: artifact-environment-biota. He is
                                                                                                            a Foreign Member of the Russian Academy of Natural Sciences; the former Vice-pres-
                                                                                                            ident, he is now a Councillor of the Presidency of the Società Italiana per il Progresso
                                                                                                            delle Scienze (SIPS – founded in 1839); Director General of the Academy of Food and
                                                                                                            Wine Culture; member of the Scientific Committee of the network “Gardens of Babylon
                                                                                                            – Green Hub”; Emeritus Professor and Visiting Professor of the Cultural Heritage Insti-
                                                                                                            tute of Zhejiang University (China); President of the Academic Committee of National
                                                                                                            Cultural Heritage Preservation (Cultural Relics Bureau of Zhejiang Province). Visiting
                                                                                                            Professor of the Faculty of Arts, Lomonosov Moscow State University, Russia. His
                                                                                                            biography appears in the 2016 Marquis Edition of “Who’s Who in the World”.

                                                                                                                 Giampaolo Maria Cogo, former tenured professor of Administrative Law (1994-
                                                                                                            2010) at the Faculty of Economics “Federico Caffè”, now the Department of Business
                                                                                                            and Economic-Legal Science-University Roma Tre. He taught Economic Law (1982-
                                                                                                            1991) at the Faculty of Economics of the University of Cagliari, Legislation on cultural
                                                                                                            and environmental heritage (1992-1995) at the Faculty of Conservation of Cultural
                                                                                                            Heritage of the University of Tuscia. Up to 31/12/2007, he was a member of the Scien-
                                                                                                            tific Board for the PhD in Public Economic Law at the Faculty of Economics, University
                                                                                                            of Rome “La Sapienza” and the PhD in Administrative Law at the University of Roma
                                                                                                            Tre (until 30/11/2009); a member of the Scientific Committee and Board of Directors
                                                                                                            of the Masters degree in Engineering and Environmental Economics at the Faculty of
                                                                                                            Economics “Federico Caffè” at the University of Roma Tre. Assessor at the Ministry of
                                                                                                            Education for the review of research projects in the areas of scientific interest. From
                                                                                                            1992-1993, Councilor of the Minister for Universities and Scientific and Technological
                                                                                                            Research; Legal Adviser (1992-2000) of the Conference of Italian University Rectors;
                                                                                                            Councilor of the Minister for Infrastructures and Transport (2009-2011). Author of over
                                                                                                            40 publications. He is a lawyer in administrative matters; founder and member of the
                                                                                                            Governing Council of Multilex & Economics, multidisciplinary consuling and assistance
                                                                                                            in Rome.

                                                                                                                 Andrea Natali carries out scientific and didactic activities, and consulting in the
                                                                                                            field of cultural heritage conservation. He has carried out scientific and didactic work in
                                                                                                            the Department of Cultural Heritage and in the Department of Architecture and Urban
                                                                                                            Planning at the University of Bologna, and at the Institute for the Conservation and
                                                                                                            Valorization of Cultural Heritage at the National Research Council of Italy (ICVBC-
                                                                                                            CNR). His didactic activities include teaching on University courses and Masters in the


                                                                                                       72
sector relating to conservation environment, restoration, art diagnostics and authen-
tication of art works, including the management and valorization of cultural heritage
and landscape, and planning and promotion of artistic and cultural events. He owns
and runs Andrea Natali - Conservazione dei Beni Culturali. He is a mediator/conciliator
(Ministerial Decree n.180 18th October 2010); part of the Scientific Committee and the
Coordination of the Journal “Scienze e Ricerche”; Editorial Coordinator of the Journal
“Conservation Science in Cultural Heritage”. He is author and co-author of over 40
publications covering the preservation and valorization of cultural heritage, which in-
clude monographs and scientific treatises used as university text books. He has been
a speaker in over 30 national and international conferences. He is the President of
the Committee for the Protection of the Ornamental Decoration of the Municipality of
Vetralla: council for the conservation and valorization of the architectural heritage. He
is an honorary member of the Academy of Food and Wine Culture.




                                                                                                 CONSERVATION SCIENCE IN CULTURAL HERITAGE




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