Degree Course: Preservation and Restoration of Cultural Property Syllabus for A.Y. 2020/2021  

Material and composite. Inorganic, metallic and organic materials. Chemical, chemical-physical and mechanical characterization of materials. Diffusion and transport of fluids in materials. Natural and artificial pigments and dyes, pastels, paints and enamels. Binders: aerial and hydraulic limes, cements. Clays, crockery, pottery, glass. Metals and alloys. Colorimetry.

Amoroso, Trattato di scienza della conservazione dei monumenti, Alinea Ed.
F.Bertoni, Chimica Applicata ai materiali da costruzione, Ed. Zanichelli.

Wood macroscopic structure
Wood microscopic structure
Chemical characterization
Macroscopic and microscopic identification
Wood defects
Wood dendrochronological dating
Wood decay
Physical characterization.
Durability
Mechanical properties
Wood technological properties for each tree species.
Wood conservation
Technical standards
Laboratory for each topic of lectures

Nardi Berti (2006). Contributi Scientifico Pratici per una migliore conoscenza del legno
Dispense Bonamini e Uzielli e Zanuttini: Dispense di Tecnologia del Legno, Università degli Studi di Firenze.
Romagnoli M- Dendrocronologia per i Beni Culturali e l’ambiente. Nardini Editore.
Gambetta A 2010. Insetti e Funghi che attaccano il legno. Nardini editore, Firenze.
Liotta G. Insetti che attaccano il legno. Nardini editore
Altri testi di riferimento
Giordano G., 1984. Tecnologia del Legno
Palanti S. 2013.
Dispense distribuite a lezione dal docente.
Normativa tecnica di riferimento
Nocetti M. 2013. I Difetti del legno. Quaderni di Sherwood, Ecoalleco libri
Borghini e Massafra (a cura di) 2002. Legni da Ebanisteria.

Students will be given responsibilities such as such is liaising with the library staff, administration of lesson materials, taking care of equipment and conservation materials, photographic documentation, liaising with the scientific laboratories and disposal of waste. Apart from widening their knowledge base, this will help the students to get to know other teaching staff and students in other courses.
Students will be encouraged to develop a team spirit and to collaborate with their classmates
The course takes place over the 1st and 2nd semesters of the academic year and will involve a total of 450 hours. This will include a mix of theoretical lessons with practical experience, including visits to museums, archaeological sites, artists workshops and conservation work sites.
The last part of the course is a full training worksite on an artwork which will last one month

L. Lazzarini Pietre e marmi antichi, Ed Milani 2004
Marmi antichi a cura di G. Borghini, Ed. De Luca 1998
P. Rocwell Lavorare la pietra
Bernini scultore a cura di Anna Coliva, Ed. De Luca 2002
L.Lazzarini, M.Laurenzi Tabasso Il restauro della pietra, Ed. Milani 1979
Istituto Centrale per il Restauro DIMOS Tecniche di esecuzione e materiali costitutivi, 1979
CNR-ICR Normal 1/88 Alterazioni macroscopiche dei materiali lapidei: lessico
Jean- Pierre Adam - L'arte di costruire presso i Romani - Materiali e tecniche - Longanesi
EUA Enciclopedia Universale dell'Arte (voce Strutture, elementi e tipi edilizi - Opera laterizia)
EUA Enciclopedia Universale dell'Arte (voce Stucchi)
G.Caneva, M.P.Nugari, D.Pinna, O.Salvadori, Il controllo del degrado biologico, I biocidi nel restauro dei materiali lapidei, Nardini Editore
Anna Brunetto, L'utilizzo della strumentazione laser per la pulitura delle superfici nei manufatti artistici, Collana i Talenti
G.Alessandrini, C.Beltrami, M.Cordaro, G.Torraca, Patine, pellicole, patinature, (in Ministero Beni Culturali e Istituto Centrale di Restauro - Diagnosi e progetto per la conservazione dei materiali dell'architettura - Edizioni De Luca
AAVV, Le pellicole ad ossalati: origine e significato nella conservazione delle opere d'arte, Atti del convegno : Milano 25-26- ottobre 1989

Students will also be provided with handouts, articles, websites and PowerPoint presentations prepared and chosen by the teachers of the different subjects studied.

Part I : March-May 2021 (6 CFU : 150 hours)

. Introduction to the study of constituent materials and techniques of execution of
wooden paintings. Ancient sources and treatises (C.Cennini , G.Vasari) . Stage on reproduction of
copy

. introduction of reading on techniques of execution: visit of museums and churches.

. Introduction of reading on morphology of decay. Interpretation of causes of
alteration.

. Examination of paintings in the laboratory: introduction to documentation.
Direct analysis in diffuse and raking light.
Collecting technical data and assessment of state of conservation ( The Doria Pamphilj-ICR form).

. Introduction to graphic mapping processing for data transfer.
From manual records to Autocad program.




Part II: July 2021 (6 CFU : 150 hours)

. Introduction to the diagnostic investigation activities, in coordination with the scientific
Laboratories. UV ; IR ; photo shooting sessions ; XRF ; microchemical analyses addressed to the
analysis of constituent materials and products of alteration.

. General theoretical introduction and practical applications to the phases of:

a) Preliminary biocide treatment

b) Re-establishment of adhesion and cohesion of pictorial film and preparatory layers
. infiltration of acrylic microemulsions
. achievement of planarity through controlled thermal spatula

c) Surface cleaning:
. critical principles: the dialectic between original, patina and overpainted layers
. orientation on parameters of toxicity,
. solvents (evaporation, penetration, solvent power), solvent parameters,
solvent triangle, solubility testing, solubility
. concept of polar/apolar,
. acids and bases,
. tensioactive and chelates,
. watery environment,
. thickening solutions, gels,

d) fillings of gaps (lacuna)
. application and texture

(e) Aesthetic presentation
. theoretical principles of pictorial reintegration with topic of history of restoration
. Lacuna and theory of visual perception (Gestalt psychologies),
. reintegrable lacuna and non-reintegrable lacuna: tratteggio technique and sublevel.
. reintegrative treatments in comparison: lowering of tone with ‘dirty-water’ technique and
mimetic intervention

(f) Intermediate and final varnishing.

The lab activities will be organized under the constant supervision of the professor. Any material used in the practice of the intervention will be introduced in total safety through the awareness of technical sheet.

Miscellaneous articles provided by the professor from catalogs and periodical
. Cennini C. “Il libro dell’arte”,; (chapter related to panel paintings), Neri Pozza, 1985
. Vasari G. “ Le vite de’ più eccellenti architetti, pittori, et scultori italiani, da Cimabue insino
a’ nostri tempi,; (chapter related to panel paintings), ), Newton Compton, 2009
. Cremonesi P. "Un approccio alla pulitura dei dipinti mobili” , Il Prato - I Talenti, 2012 ;
. Mora P.e L. – Philippot P. “Conservazione di dipinti murali”, Ed. Compositori, Bologna 1992
(chapter related to cleaning and aesthetical presentation)
. Capriotti G. e al. – in “Una ritrovata Madonna della Fabbrica di San Pietro”,Cat. Mostra
Palazzo Madama Torino 2018, a cura di S.Turriziani e P.Zander, pp. 65-9 , Il Formichiere Ed.,
2018

1. Materials of interest for cultural heritage: Stone materials. (3 hours)
2. Descriptive mineralogy and physical properties of minerals: morphology, habit, luster, hardness, cleavage. Systematic mineralogy: native elements, sulphides, oxides, hydroxides, carbonates, sulphates, borates, phosphates, silicates. The essential and accessory minerals of igneous, metamorphic and sedimentary rocks. Minerals used as gems and pigments. Industrial minerals; notes on the production of mortars, cements and ceramics. (21 hours)
3. Notes on the tectonics of terrestrial plates and petrogenetic processes: the rock cycle. (6 hours)
4. Chemical composition of rocks: major elements, classification and discrimination diagrams. (3 hours)
5. Geometric relationships of igneous rocks on the ground; volcanism and plutonism. The essential minerals of igneous rocks. (6 hours)
6. Metamorphic rocks: metamorphism and deformation; types of metamorphism and subdivisions of the metamorphic field, the metamorphic facies; classification criteria; the main minerals of metamorphic rocks. (6 hours)
7. Sedimentary rocks: Processes of formation of sedimentary rocks. Composition and texture of terrigenous rocks. Composition and texture of carbonate rocks. (6 hours)
8. Ornamental stones, commercial classifications and properties. The ancient marbles. (3 hours)
9. Quarries and Mines: methods of obtaining materials. (3 hours)
10. Laser Scanner, survey and data processing techniques.

Practical exercises will be carried out for the recognition and description of the main magmatic, sedimentary and metamorphic lithologies

Palmieri, E. L., & Parotto, M. (2000). Il globo terrestre e la sua evoluzione. Zanichelli.

Ole Johnsen, Guida ai minerali del mondo ed. italiana: Zanichelli (è disponibile anche la versione inglese). Klein: Mineralogia ed. Zanichelli.

Klein-Phillpots: Earth materials, Cambridge university press.

Morbidelli L. (2014) Le rocce e i loro costituenti, Scienze e Lettere Ed.

Students will be given responsibilities such as such is liaising with the library staff, administration of lesson materials, taking care of equipment and conservation materials, photographic documentation, liaising with the scientific laboratories and disposal of waste. Apart from widening their knowledge base, this will help the students to get to know other teaching staff and students in other courses.
Students will be encouraged to develop a team spirit and to collaborate with their classmates
The course takes place over the 1st and 2nd semesters of the academic year and will involve a total of 450 hours. This will include a mix of theoretical lessons with practical experience, including visits to museums, archaeological sites, artists workshops and conservation work sites.
The last part of the course is a full training worksite on an artwork which will last one month

L. Lazzarini Pietre e marmi antichi, Ed Milani 2004
Marmi antichi a cura di G. Borghini, Ed. De Luca 1998
P. Rocwell Lavorare la pietra
Bernini scultore a cura di Anna Coliva, Ed. De Luca 2002
L.Lazzarini, M.Laurenzi Tabasso Il restauro della pietra, Ed. Milani 1979
Istituto Centrale per il Restauro DIMOS Tecniche di esecuzione e materiali costitutivi, 1979
CNR-ICR Normal 1/88 Alterazioni macroscopiche dei materiali lapidei: lessico
Jean- Pierre Adam - L'arte di costruire presso i Romani - Materiali e tecniche - Longanesi
EUA Enciclopedia Universale dell'Arte (voce Strutture, elementi e tipi edilizi - Opera laterizia)
EUA Enciclopedia Universale dell'Arte (voce Stucchi)
G.Caneva, M.P.Nugari, D.Pinna, O.Salvadori, Il controllo del degrado biologico, I biocidi nel restauro dei materiali lapidei, Nardini Editore
Anna Brunetto, L'utilizzo della strumentazione laser per la pulitura delle superfici nei manufatti artistici, Collana i Talenti
G.Alessandrini, C.Beltrami, M.Cordaro, G.Torraca, Patine, pellicole, patinature, (in Ministero Beni Culturali e Istituto Centrale di Restauro - Diagnosi e progetto per la conservazione dei materiali dell'architettura - Edizioni De Luca
AAVV, Le pellicole ad ossalati: origine e significato nella conservazione delle opere d'arte, Atti del convegno : Milano 25-26- ottobre 1989

Students will also be provided with handouts, articles, websites and PowerPoint presentations prepared and chosen by the teachers of the different subjects studied.

Part I : March-May 2021 (6 CFU : 150 hours)

. Introduction to the study of constituent materials and techniques of execution of
wooden paintings. Ancient sources and treatises (C.Cennini , G.Vasari) . Stage on reproduction of
copy

. introduction of reading on techniques of execution: visit of museums and churches.

. Introduction of reading on morphology of decay. Interpretation of causes of
alteration.

. Examination of paintings in the laboratory: introduction to documentation.
Direct analysis in diffuse and raking light.
Collecting technical data and assessment of state of conservation ( The Doria Pamphilj-ICR form).

. Introduction to graphic mapping processing for data transfer.
From manual records to Autocad program.




Part II: July 2021 (6 CFU : 150 hours)

. Introduction to the diagnostic investigation activities, in coordination with the scientific
Laboratories. UV ; IR ; photo shooting sessions ; XRF ; microchemical analyses addressed to the
analysis of constituent materials and products of alteration.

. General theoretical introduction and practical applications to the phases of:

a) Preliminary biocide treatment

b) Re-establishment of adhesion and cohesion of pictorial film and preparatory layers
. infiltration of acrylic microemulsions
. achievement of planarity through controlled thermal spatula

c) Surface cleaning:
. critical principles: the dialectic between original, patina and overpainted layers
. orientation on parameters of toxicity,
. solvents (evaporation, penetration, solvent power), solvent parameters,
solvent triangle, solubility testing, solubility
. concept of polar/apolar,
. acids and bases,
. tensioactive and chelates,
. watery environment,
. thickening solutions, gels,

d) fillings of gaps (lacuna)
. application and texture

(e) Aesthetic presentation
. theoretical principles of pictorial reintegration with topic of history of restoration
. Lacuna and theory of visual perception (Gestalt psychologies),
. reintegrable lacuna and non-reintegrable lacuna: tratteggio technique and sublevel.
. reintegrative treatments in comparison: lowering of tone with ‘dirty-water’ technique and
mimetic intervention

(f) Intermediate and final varnishing.

The lab activities will be organized under the constant supervision of the professor. Any material used in the practice of the intervention will be introduced in total safety through the awareness of technical sheet.

Miscellaneous articles provided by the professor from catalogs and periodical
. Cennini C. “Il libro dell’arte”,; (chapter related to panel paintings), Neri Pozza, 1985
. Vasari G. “ Le vite de’ più eccellenti architetti, pittori, et scultori italiani, da Cimabue insino
a’ nostri tempi,; (chapter related to panel paintings), ), Newton Compton, 2009
. Cremonesi P. "Un approccio alla pulitura dei dipinti mobili” , Il Prato - I Talenti, 2012 ;
. Mora P.e L. – Philippot P. “Conservazione di dipinti murali”, Ed. Compositori, Bologna 1992
(chapter related to cleaning and aesthetical presentation)
. Capriotti G. e al. – in “Una ritrovata Madonna della Fabbrica di San Pietro”,Cat. Mostra
Palazzo Madama Torino 2018, a cura di S.Turriziani e P.Zander, pp. 65-9 , Il Formichiere Ed.,
2018

History of the ancient working techniques of stone artefacts of classical world (Greek and Roman), including also the reference to the historical sources.
The course will address the following topics:
1) Relevance of the technical working knowledge of stone artifacts in the context of historical-artistic studies and artifact restoration.
2) Stone materials: quarrying and transport.
3) Stone artefacts of Greek and Roman art: tools, techniques and processes for the execution of stone artefacts (sculpture, architectural elements, floor and wall coverings and mosaics). Analysis of some case studies following a methodological path that willuse of the reading of ancient sources, the direct observation of original artefacts and their documentation, giving attention to the analysis and recognition of material aspects that constitute the fundamental elements for the study of the stoneworking techniques.
4) Painted and metallic finishing of stone artefacts.
5) Reuse and rework of stone artefacts in ancient, medieval and modern times.
5) Cases of ancient integration and/or restoration of stone artefacts.
6) Recognition of modern restoration interventions on the basis of the stoneworking technique analysis.
7) Analysis and description of the state of deterioration and conservation of stone artefacts: morphological aspects and reading of macroscopic signs.
8) Drafting of a first technical report of the stone artefact and its state of conservation upon arrival in the laboratory.

Exercises and visits of museums and monuments will be an integral part of the course.

BIBLIOGRAPHY:
P. ROCKWELL, Lavorare la pietra. Manuale per l’archeologo, lo storico dell’arte e il restauratore, Roma, La Nuova Italia Scientifica, 1992 (about sculpture).
U. PAPPALARDO - R. CIARDIELLO, Mosaici greci e romani. Tappeti di pietra in età ellenistico-romana, Verona, Arsenale Editore, 2010 (about mosaic).

History of the ancient working techniques of stone artefacts of classical world (Greek and Roman), including also the reference to the historical sources.
The course will address the following topics:
1) Relevance of the technical working knowledge of stone artifacts in the context of historical-artistic studies and artifact restoration.
2) Stone materials: quarrying and transport.
3) Stone artefacts of Greek and Roman art: tools, techniques and processes for the execution of stone artefacts (sculpture, architectural elements, floor and wall coverings and mosaics). Analysis of some case studies following a methodological path that willuse of the reading of ancient sources, the direct observation of original artefacts and their documentation, giving attention to the analysis and recognition of material aspects that constitute the fundamental elements for the study of the stoneworking techniques.
4) Painted and metallic finishing of stone artefacts.
5) Reuse and rework of stone artefacts in ancient, medieval and modern times.
5) Cases of ancient integration and/or restoration of stone artefacts.
6) Recognition of modern restoration interventions on the basis of the stoneworking technique analysis.
7) Analysis and description of the state of deterioration and conservation of stone artefacts: morphological aspects and reading of macroscopic signs.
8) Drafting of a first technical report of the stone artefact and its state of conservation upon arrival in the laboratory.
Exercises and visits of museums and monuments will be an integral part of the course.

BIBLIOGRAPHY:
P. ROCKWELL, Lavorare la pietra. Manuale per l’archeologo, lo storico dell’arte e il restauratore, Roma, La Nuova Italia Scientifica, 1992 (about sculpture).
U. PAPPALARDO - R. CIARDIELLO, Mosaici greci e romani. Tappeti di pietra in età ellenistico-romana, Verona, Arsenale Editore, 2010 (about mosaic).

Further reference bibliography will be provided during the lessons

The course will be articulated by alternating theoretical and practical activities with field applications and the presentation of case studies, in order to provide the widest panorama on the most up-to-date information technologies that contribute to the documentation, enhancement and dissemination of cultural heritage.
The effort made in recent years to improve the photorealism that computer graphics are able to transmit thanks its sophisticated hyper-realistic effects has now also infected scientific environments in which communication and dissemination through the image is fundamental.
The study of a Cultural Property for reconstructive purposes certainly cannot ignore a strictly scientific approach that takes into account historical knowledge, scientific, bibliographic data, etc., otherwise the entire operation would be reduced to a mere exercise of the potential of computer graphics. .
Given these assumptions, the reconstructive study must be combined with the use of modern information technologies, not only to meet the needs related to the interpretation of the data itself, but also and above all to transmit the scientific data to an increasingly vast and heterogeneous public, with an innovative approach capable of satisfying different levels of interest and understanding.
The course therefore includes an introductory theoretical part of basic computer science relating to hardware and software components, and to the nature and processing of digital images. Ample space will then be reserved for the study of the most modern instrumental expeditious systems for the relief and documentation (in 2D and 3D) of archaeological and historical-artistic assets, in order to be able to evaluate their different effectiveness and metrological precision and the possible fields of application. This awareness will lead from time to time to the most appropriate choice in relation to the resources available, the time and the nature of the Property being studied.
Ample space will also be given to the use of AutoCAD software, and the techniques for the acquisition and processing of digital images, aimed at photogrammetric use (monoscopic photogrammetry, digital photogrammetry, close range multi images survey systems, creation digital terrain models, DEM, TIN, photo-straightening, photoplanes and photomosaics). The course will include the practical use of techniques for topographic survey, (total station, metric and operational characteristics of 3D scanning systems), systems and software for three-dimensional modeling.

General course:
1- U. Marrone: Elementi di Informatica per esami e concorsi, Edizioni Simone 2015
2- M. Lo Prejato (A cura di): Manuale di informatica avanzato per la certificazione Microsoft Digital Literacy, Fondazione Mondo Digitale 2010.
3- Cannarozzo et Alii : Fotogrammetria Moduli 1-3 Zanichelli Editore 2012, (Scaricabile a questo indirizzo : https://online.scuola.zanichelli.it/cannarozzomisure-5ed/fotogrammetria/)
4- A. Pizzirani: Teoria e Tecnica del Trattamento delle Immagini, Ferrara, 2014.
5- D. Vasta: Video con la Reflex, Apogeo 2015.
(The manuals will be made available in pdf format during the course).

The course will be devoted to the integrated study of the execution modes of works of art relevant to different classes of artefacts. The aim is to acquire: the necessary skills to develop a critical interpretation of the work of art that passes through technical-executive knowledge, a method of research and theoretical-critical tools as well as practical through the direct relationship with Works of art and their context.

Expected learning outcomes
At the end of the course students will be able to:
1) demonstrate that they have acquired knowledge about the topics dealt with;
2) write a card on the execution technique of a work of art;
3) correctly present the technical-executive characteristics of a work;
4) to demonstrate that they are able to integrate technical-executive knowledge with the historical-critical analysis of the work.

M. Cordaro, Per una filologia die materiali costitutivi delle opere d’arte e dei materiali di restauro come fondamento della valutazione storica ed estetica, in Fragmenta Picta. Affreschi e mosaici staccati del Medioevo romano, catalogo della mostra, Roma 1989, pp. 33-36
Pogliani P. (2013). Sguardi sulle tecniche d'esecuzione nella cultura italiana degli anni Trenta. In: (a cura di): M. I. Catalano, Snodi di critica. Musei, mostre, restauro e diagnostica artistica in Italia 1930-1940. p. 151-173, Roma: Gangemi Editore
C. Giannini, Materiali e procedimenti esecutivi della pittura murale, Il Prato, 2009, pp. 59-133
A Cerasuolo, Diligenza e prestanza. La tecnica nella pittura e nella letteratura artistica del Cinquecento, Firenze 2014, pp. 113-140
M. Nimmo, C. Olivetti, Sulle tecniche di trasposizione dell’immagine in epoca medievale, in «Rivista dell’Istituto Nazionale d’archeologia e storia dell’arte», S. III, VIII-IX (1985-86), pp. 399-411
P. Pogliani, Pittori e mosaicisti nei cantieri di Giovanni VII (705-707), in L’officina dello sguardo. Scritti in onore di Maria Andaloro, vol. II, Roma 2014, pp. 443-450
Voce MOSAICO - TECNICA enciclopedia dell’Arte medievale
http://www.treccani.it/enciclopedia/mosaico_%28Enciclopedia-dell%27-Arte-Medievale%29/
Voce MOSAICO – TECNICA Enciclopedia dell’Arte Antica 1. Terminologia. 3. Mosaici parietali. 4. Mosaici pavimentali. a) Tecnica e artisti
http://www.treccani.it/enciclopedia/mosaico_res-b6dbf70d-8c60-11dc-8e9d-0016357eee51_%28Enciclopedia-dell%27-Arte-Antica%29/
P. Pogliani, C. Seccaroni, Il mosaico parietale. Trattatistica e ricette dall'Alto medioevo al Settecento, Nardini Editore, Firenze 2010 CAPP.: I, II, V, VI
M. Ciatti – C. Castelli – A. Santacesaria, Dipinti su tavola: la tecnica e la conservazione dei supporti, Firenze 1999, pp. 59-98
G. Perusini, Il restauro dei dipinti e delle sculture lignee: storia e tecniche, Udine 1994 CAP. 7 pp. 199-218

During the lessons the reading of a selection of texts taken from:

Plinio il Vecchio, Storia delle arti antiche, a cura di M. Harari, S. Ferri, Milano 2001
Vitruvio, De architectura, a cura di Pierre Gros, Antonio Corso e Elisa Romano, Torino 1997
Theophilus, Le varie arti : manuale di tecnica artistica medievale / Teofilo Monaco, a cura di Adriano Caffaro, Salerno 2000
C. Cennini, Il libro dell'arte, a cura di F. Brunello, Neri Pozza, Vicenza 1982
G. Vasari, Le vite dei più eccellenti pitturi, scultori et architettori, Firenze 1568, ed cons., Einaudi, Torino, 1995

The volumes indicated can be found at the University Library System.
The materials will be available on the educational platform of the University of Tuscia.

NON-ATTENDING STUDENTS will have to agree on the program with the teacher.

Program: the course has been organised with the aim of training students to organise and carry out correctly the various phases of a project of conservation and restoration of wall paintings. During the course the student is introduced to all the different phases of a restoration treatment.
While maintaining a balance between theory and practice, the first module initially concentrates on the basic theory underpinning much of the rest of course: historical wall painting techniques and materials (backed up by practical work where with students create their own mural paintings), documentation, basic deterioration mechanisms and methods of treatment. This is followed by starting practical work on fragments of wall paintings in the specially equipped conservation studios of the university.
The second module of the course concentrates more on the practical aspects of treatment including more specialised lessons on conservation techniques and deterioration phenomena and means of prevention.
The last part of the course is a training work site, where the students conduct a treatment on wall paintings on site from start to finish.
One of the aims for the courses to encourage the students to work together.
During the course the students are also taken on visits to monuments and conservation work sites

Detailed breakdown of the course
First module - 150 hours (Mark Gittins)
Theory lessons
• techniques of wall paintings: original materials, methods of design, the various layers of a wall painting
• fresco paintings and secco paintings
• studying and documenting an artwork: registering condition and treatment, technical glossaries and methods of graphic documentation
• introduction to the deterioration of works
• treatment methods and materials

Methodology and practical work
Simultaneously with the theoretical lessons the students construct a model of a wall painting in order to gain familiarity with traditional materials and methods. Other practical training is given on basic design, photography, and how to layout and write reports and presentations of treatments as well as introducing conservation materials and their technical and safety data sheets. The students are frequently called upon to describe and discuss their work in order to develop confidence with the language and the ideas involved.
During this module the students also begin work on fragments of wall paintings in the university’s wall paintings conservation studio, starting with close observation of the work and it's graphic and photographic documentation leading to the initial phases of planning a treatment and testing various methods.

Second module - 150 hours (Mark Gittins Valeria Valentini)

Theory Lessons
• a detailed look at deterioration mechanisms and systems of prevention
• examination of more specialised treatment strategies and methods

Methodology and practical work
Practical work is undertaken in the university's specialized wall painting studio. During this work the students will experiment with and apply practically the theoretical notions they have studied in their earlier lessons in order to construct a complete cycle of restoration treatment: from historical and technical study to treatment hypotheses and testing, then the treatment itself and the writing of a final report.
At the same time as these treatments are undergoing, there will be further lessons involving more detailed discussions on deterioration factors, systems of prevention and more specialised treatment methods and materials.
In particular, one part of the course will be dedicated to the theory and practice of various systems of retouching and reintegration , including the toning of losses and the tratteggio system of pictorial reconstruction.
Work would be carried out on fragments of wall paintings from the 15th and 16th century from the old city of Castro (VT).
The module will conclude with the writing of a detailed report on the treatment carried out by the student on their fragments. This will include the art historical context, evaluation of the condition of the paintings and a critical assessment of the treatment methods adopted.
During the module students will have the opportunity present their work both formally and informally to their colleagues so is to gain familiarity with the correct technical language for the field.

Historical sources for techniques: Vitruvius, Pliny, Cenino Cennini, Vasari, etc.
Dimos Parte I Modulo I. Tecniche di esecuzione Materiali Costitutivi. ICR, 1978
Dimos Parte I Modulo II. Fattori di deterioramento. ICR, 1978
P. Mora, L. Mora, P. Philipot The Conservation of wall paintings. Butterworths/ICCROM 1977
S. Rinaldi, Storia tecnica dell’arte. Materiali e metodi della pittura e della scultura (secc. V-XIX) Carocci editore, 2011
Materiali e tecniche della pittura murale del Quattrocento, Acts of the conference, ENEA, February 2002
Bollettini ICR, OPD, Studies in Conservation
Lo stato dell’arte Acts of the IGIIC conferences
Acts IIC Conferences.
Kermes: La rivista di restauro

Program: The teaching mainly involves practical activities in the laboratory and / or in
construction site on artefacts and, to a small extent, on models. The theoretical lectures will be from time to time articulated in such a way as to integrate the information provided during practical activities. The arguments processing will also take into account the lessons already imparted or programmed by others Degree course teachers.

First phase - 150 hours - Laboratory (C. Caldi)
Theoretical lectures:
- polychrome wooden sculpture: peculiarities and operational criticalities;
- construction techniques of the supports;
- consolidants and adhesives for wood. Materials and operating methods;
- cleaning and removal of repaintings. Solvents, aqueous systems, supporting;
- special techniques: glass eyes;

Second phase - 150 ore - Laboratory (S. Scioscia)
Theoretical lectures:
- disinfestation and disinfection. Materials and operating methods;
- special techniques: estofado, pressbrokat, pictura translucida, aventurine;
- the wooden inlays. Degradation techniques and types;

Third phase - 150 ore - Site (C. Caldi)
Theoretical lectures:
- the wooden ceilings. Techniques and type of degradation;
- plastic integrations and reconstructions. Materials and methods.




Pratical activities:
- close study of the works and collection of all preliminary information on the data sheets;
- graphic documentation (on paper and / or digital support);
- consolidation and fixing of the preparation lifts and of the paint layer;
- consolidations, renovations, reconstructions of the support wood;
- cleaning tests and cleaning;
- possible removal of superimposed layers;
- grouting and aesthetic presentation;
- final protection;
- disinfection and / or disinfestation;
- gradual preparation of a detailed technical report;
- collection and organization of photographic material.

.BERGAMASCHI, Note di tecnica della tarsia lignea tra XV e XVI sec., in “Progetto Restauro”, numero speciale 5, Padova, Il Prato 2018.
M. SEBASTIANELLI, G. D’ANNA, Sguardo vitreo nella statuaria lignea devozionale, in «OADI Rivista dell’osservatorio per le Arti Decorative in Italia», 2016.
A. CERASUOLO, Estofado e policromie: osservazioni sulla tecnica attraverso la testimonianza di Francisco Pacheco. Atti del convegno di Serra San Quirico e Pergola: Scultura lignea – per una storia dei sistemi costruttivi e decorativi dal medioevo al XIX secolo, 13-15 dicembre 2007, in «Bollettino d’Arte», n. extra 1, De Luca, 2011, pp 147-160.
G.B. FIDANZA, Sistemi di assemblaggio e risultati formali: alcuni casi seicenteschi. Atti del Convegno di Serra San Quirico e Pergola: Scultura lignea – per una storia dei sistemi costruttivi e decorativi dal medioevo al XIX secolo, 13-15 dicembre 2007, in «Bollettino d’Arte», n. extra 1, De Luca, 2011, pp. 199-210.
P. STIBERC, Ricerca anatomica e innovazioni nelle tecniche costruttive della scultura lignea fiorentina del Quattrocento. Atti del Convegno di Serra San Quirico e Pergola: Scultura lignea – per una storia dei sistemi costruttivi e decorativi dal medioevo al XIX secolo, 13-15 dicembre 2007, in «Bollettino d’Arte», n° extra 1, De Luca, 2011, pp. 49-62.
AA.VV., Storia di un dettaglio: il coprigiunto, in Conservare e restaurare il legno Conoscenze,esperienze, prospettive. Atti del Convegno di studi, Bressanone 23-26 giugno 2009, pp. 135-150.
G.B. FIDANZA, Caratteristiche tecnologiche e formali delle specie legnose. Una verifica su statue e intagli di età moderna, in Statue di legno, caratteristiche tecnologiche e formali delle specie legnose. Atti del seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato, 2008, pp.33–57.
G. GALOTTA, M. VALENZUELA, Scultura lignea policroma e specie legnose: l’esperienza dell’Istituto Centrale per il Restauro, in Statue di legno, caratteristiche tecnologiche e formali delle specie legnose. Atti del seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato, 2008, pp. 59 –79.
N. MACCHIONI, S. LAZZERI, L’identificazione delle specie legnose e la loro caratterizzazione tecnologica, in Statue di legno, caratteristiche tecnologiche e formali delle specie legnose. Atti del seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato, 2008, pp. 9-31.
L. SPERANZA, I. TOSINI, Scultura lignea policroma e specie legnose: l’esperienza dell’Opificio delle Pietre Dure di Firenze, in Statue di legno, caratteristiche tecnologiche e formali delle specie legnose. Atti del seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato, 2008, pp. 81 – 101.
A. FEDELI, F. FEDELI, Il Coro Ligneo della Cattedrale di San Lorenzo a Perugia Restauro e Ricostruzione in «Kermes – Cronache del Restauro», n.58, 2005, pp. 23-34.
G. PERUSINI, Il dibattito sulla reintegrazione della scultura lignea policroma dal 1950 ad oggi ed i restauri italiani, in Die kunst der restaurierung: entwicklungen und tendenzen der restaurierungsästhetik in Europa. Internationale Fachtagung München, Germany 2005, pp. 67-85.
P. STIBERC, La scultura lignea policroma del Rinascimento fiorentino. Osservazioni sulla tecnica scultorea in «OPD Restauro», n.17, Firenze, Centro Di, 2005, pp. 304-316.
G. CANOCCHI, M.C. GIGLI, M.D. MAZZONI, P. STIBERC, La lacuna nella scultura lignea. Problematiche di intervento. In LACUNA Atti dei convegni 2002/2003 al Salone del Restauro di Ferrara, Firenze, Edifir, 2004, pp. 131-135.
G. TAMPONE, Solai, in Strutture di legno. Cultura conservazione restauro, a cura di G. Tampone, M. Mannucci, N. Macchioni, Milano, 2002, pp. 80-90 e 100-107
AA.VV., Applicazioni dei gel come supportanti nel restauro, in «Bollettino ICR», nuova serie n.3, 2001, pp.101-118.
V. FORNI, Il problema critico delle integrazioni plastiche nella scultura lignea policroma, in «OPD Restauro», n.10, Firenze, Centro Di, 1998, pp. 95-111.
A. CONTI, Puliture della scultura, policromie e problemi di presentazione, in ID., Manuale di restauro, Torino, Einaudi, 1996, pp. 208-217.
M. BACCI, Le sculture lignee nel folklore religioso: alcune considerazioni, in Scultura Lignea: Lucca 1200-1425. Lucca dicembre 1995–30 giugno 1996, a cura di C. Baracchini, Firenze, 1996, pp.31-41.
E. SPALLETTI, Fortuna critica e collezionismo dell’antica scultura lignea italiana nel Settecento e nell’Ottocento: un avvio di ricerca, in Scultura lignea: Lucca 1200-1425. Lucca dicembre 1995 – 30 giugno 1996, a cura di C. Baracchini, Firenze, 1996, pp.9-30.
M. CIATTI, Considerazioni sul restauro della scultura lignea, in «Kermes», n.1, Firenze, Nardini, 1988, pp.6-8.
A. PANDOLFO, Aspetti tecnici e conservativi della scultura lignea policroma, in «Kermes», n°1, Firenze, Nardini, 1988, pp.9-13.
T.PERUSINI-G.PERUSINI, La tecnica del “Pressbrokat” nell’altare di Giovanni Martini di Remanzacco, in «Restauro nel Friuli Venezia Giulia Memorie della Scuola Regionale di Restauro», n. 1, 1983.

The course presents a series of preparatory lessons aimed at defining the guidelines of the history of contemporary art. In particular, preparatory lessons are planned to define the guidelines of the history of contemporary art from impressionism to the most recent experiences. During the lessons we provide, through the analysis of some basic figures and joints, the contexts, the foundational texts, the works, the main interpretations that allow the student an adequate approach to the problems of contemporary art, to its fundamental concepts , to the protagonists, to the new languages, to the new hermeneutical models involved, to the new technologies.
The course will be spend particular attention to praxis of art towards environmental trespassing, the aspiration to transform itself into a practice that is hybrid with the space of everyday life, and to the relationship between art and architecture, between art and environment and landscape (city and nature) during the 20th and 21th centuries.

Students in regular attendance
1. G.C. Argan, L’Arte Moderna 1770-1970. L’arte oltre il Duemila, Sansoni (various editions)
2. E. Cristallini, Dialoghi tra arte e architettura negli anni della ricostruzione 1945-1955, Gangemi, 2017

Students not in regular attendance
In addition to the texts indicated above, it's necessary to study the following volumes:
1. M. De Micheli, Le avanguardie artistiche del ‘900, Feltrinelli (various editions)
2. E. Cristallini (a cura di), Avanguardie del dopoguerra 1945-1952, Lithos, 1999

The course illustrates the general features of the history, society and artistic culture of the Etruscans from the early Iron Age to Romanization, with particular attention to the framing of the phenomena in the historical context of the ancient Mediterranean.
The main aspects of the organization of society, artistic production, architecture and religion of the Etruscans will be taken into consideration.

G. BARTOLONI (a cura di), Introduzione all'Etruscologia, Milano 2012;
M. CRISTOFANI, L'arte degli Etruschi. Produzione e consumo, Torino 1982.
PPT and additional bibliography provided all through lectures will be part of the program

Non-attending students will add one of the following volumes

M. Cristofani, Gli Etruschi del mare, Milano, Longanesi 1983;
G. Bartoloni, Le società dell'Italia primitiva, Roma, Carocci 2003;
V. Bellelli, E. Benelli, Gli Etruschi, La scrittura, la lingua, la società, Rom, Carocci 2018

General characteristics of living systems. Interactions between organisms and cultural heritage. The biodeterioration. The Animal Kingdom. Classification, phylogeny and animal organization. Species concept and binomial nomenclature. Systematic position, biology, behavior and ecology of biodeteriogen species. Insects: role in the deterioration of constituent materials of cultural heritage. Wood-destroying insects. The main insect species involved in textile, leathers and archival materials biodeterioration. Methods for the detection of insects degradation. Preventive and curative methods. The zoological collections as a cultural asset. Problems of preservation of the zoological collections. The rodents and control methods. The birds and control methods. Aquatic fauna involved in the degradation of the submerged artifacts: shellfish, segmented worms, crustaceans, sponges, cnidarians. Substrates for growth and degradation processes. Microscopy for art and conservation: diagnostic investigations using microscopic techniques. Notes on the use of molecular biology techniques for the diagnosis and prevention of the biodeterioration of the cultural heritage.

Insetti e Restauro, E.Chiappini, G Liotta , M.C. Reguzzi, A Battini
ed. Calderini edagricole - 2001
Degrado biotico del legno, Michela Dalprà. Daniela Piazza Editore
Sugli infestanti e le infestazioni, Montanari, Ruschioni, Trematerra Gangemi Editore
Zoologia, De Bernardi, Balsamo, Corrado, Rastogi, Rossaro, Vinciguerra. Ed Idelson-Gnocchi
Il biodeterioramento dei Beni Culturali, Giuseppe Magaudda - Borgia Editore

A series of cases covering prehistory and case history will be presented. Some notions of a critical and theoretical nature will be combined with the experience of the work. The goal is to learn how to make history by overcoming a binary and mechanistic logic.

C. Brandi, Restauro, Enciclopedia Universale dell' Arte, vol. XI, Firenze 1963, pp. 322 a 332; C. Brandi, Teoria del restauro, Einaudi, Torino 1977 (I e VIII capitolo); P. Petraroia, Genesi della Teoria del restauro, in Brandi e l' estetica, a cura di L. Russo, Palermo, Aesthetica, 1986, pp.LXXVII - LXXXVI; A, Conti, Storia del restauro e della conservazione delle opere d’ arte, Milano, Electa, 1988; Luigi Russo, Cesare Brandi e l’estetica del restauro, in La teoria del restauro del Novecento da Riegl a Brandi, a cura di Maria Andaloro, Atti del Convegno Internazionale (Viterbo, 12 – 15 novembre 2003), Firenze, Nardini, 2006, pp. 301 314; G. Martellotti, Ehi Maddalena! Dialogo sul restauro, Roma 2012; M. Carboni, Introduzione. Tutela, conservazione e restauro dell’arte contemporanea: l’orizzonte filosofico, in Tra memoria e oblio. Percorsi della conservazione dell’arte contemporanea, a cura di Paolo Martore, Roma, 2014, pp. 6 - 26; M.I. Catalano, Il riconoscimento come ricostituzione. Per un’edizione commentata della Teoria del restauro di Cesare Brandi, in L’officina dello sguardo, Scritti in onore di Maria Andaloro, a cura di Giulia Bordi, Iole Carlettini, Maria Luigia Fobelli, Maria Raffaella Menna, Paola Pogliani, vol. II, Roma 2014, pp. 311 - 316
M.I. Catalano, Roberto Longhi e Cesare Brandi. Il corpo dello stile e il sentimento del restauro, in “Ricerche di Storia dell’Arte”, 122, 2017, pp. 78 – 86

This subject treats about the diagnostic analysis, especially the non-invasive ones, used in the study of cultural heritage objects in order to obtain information about the constituent materials and the state of preservation to be used for conservative purposes. The diagnostic methods are theoretically unlimited and can be derived also by other fields of science. Between the most used diagnostics techniques the following are treated: multispectral analysis with digital devices; elemental and molecular analysis by non-invasive portable instruments (X-ray fluorescence, Raman and infrared spectroscopy, reflectance spectrophotometry and other spectroscopic techniques). Innovative diagnostic techniques.
Laboratory experiences will be performed by using the instruments and the diagnostic techniques treated during the lessons.

- Aldo Napoli, Claudia Pelosi, Vittorio Vinciguerra, Principi di analisi spettroscopica con applicazioni ai beni culturali, Aracne Editrice, Roma, 2010, capitoli 1, 2, 3, 4, 5, 5, 6, 7, 8, 9, 12, 13.

- Salvatore Siano, Archeometria e restauro. L'innovazione tecnologica. Nardini Editore, Firenze, 2012 .

All teaching material is made available to students on a shared drive folder.

. The Renaissance perspective
. The birth of photography and its historical / scientific premises
• Focus on Niépce, Daguerre, Talbot, Bayard.
• Photography vs Painting: 19th century pictorialism and Baudelaire's criticisms
• The photographic automation from the carte-de-visite to the photo booth
(photomatic)
• The first photographic colonizations
• The Alinari family in Florence
• Photography and Historical Avant-gardes - Photography and ready made.
• Surrealism, Atget and Walker Evans
• Documentary Photography: the Farm Security Administration
• Photographic trends from the 40s-50s
• The conceptualism of the Sixties and Seventies
• New Trends and Snapshot Style
• Photography as a document and tool for recording reality
• Democratization of the image and social networks
 

• F. Muzzarelli, L'invenzione del fotografico. Storia e idee della fotografia dell'ottocento, Einaudi, Torino 2014.

•Roland Barthes, La camera chiara, Einaudi, 2003

• E. Gabrielli, Pietro Toesca: "misurare" l'arte con l'obiettivo fotografico, pp. 57, in Callegari P. - Gabrielli E., Pietro Toesca e la fotografia, saper vedere, Milano 2009

During the lectures, handouts will be provided to deepen some topics, in particular for the issue of photographic documentation for cultural heritage

Title: Outlines of prehistory and research methodology.
The module is divided into two parts. In the first part of the course methodological issues are addressed. A short history of the studies will be followed by themes that aim to provide a critical reading of archaeological sources. Then we will discuss topics on the social organization systems of pre-protohistoric societies through ethno-anthropological points of view and we will introduce topics on the ancient systems of economic exchange. The fundamental stages of man will also be illustrated: his physical evolution, the introduction of the productive economy, the urbanization process, the role of technology and the birth of religion.
The slides of the individual lessons in pdf format will be sent periodically by the teacher to the attending students only.
Students who cannot attend classes are invited to contact the teacher for an interview on the exam schedule and to receive information on the exam texts.

Indication on the exam texts will be provided by the teacher on the first day of class.

HISTORY OF STUDIES
DANIEL G., RENFREW 1988 – The idea of Prehistory, Edinburgh University.
GUIDI A. 1988 - Storia della Paletnologia, Laterza, Bari. (Biografia di V.G. Childe)
GUIDI A. 2001 – La storia dell’archeologia preistorica italiana nel contesto europeo, in Archeologia teorica, Terrenato N. (ed.), All’insegna del Giglio, Firenze: 23-37.
RERONI R. - Preistoria e protostoria. La vicenda degli studi in Italia, in Le vie della preistoria, edizione Il Manifesto, Roma 1992: 9-70.

GENERAL TOPICS
MANZI G. 2007 – L’evoluzione umana, il Mulino, Bologna.
SALA B. 1989 – L’ambiente del Quaternario, in Archeologia, L. Fasani (ed.), Mondadori, Milano: 18-32.
KOZLOWSKI J.K., OTTE M. 1994 – Il Paleolitico superiore in Europa, in J. Guilaine, S. Settis, Storia d’Europa. Preistoria e antichità, vol. 2°, tomo 1°, Einaudi, Torino: 29-102.
DI NOCERA G.M. 2012 - La rivoluzione neolitica e la nascita dell’urbanizzazione (8000-4000 a.C.), in Il Vicino Oriente antico dalle origini ad Alessandro Magno, L. Milano (ed.), EncycloMedia Publishers, Milano: 24-54.
DI NOCERA G.M. 2012 - Vicino Oriente ed Egitto nel IV millennio, in Il Vicino Oriente antico dalle origini ad Alessandro Magno, L. Milano (ed.), EncycloMedia Publishers, Milano: 56-79.
MANFREDINI A. 2006 – Il Neolitico in Europa, in Storia d’Europa e del Mediterraneo, vol. 1, Salerno Editrice, Roma: 267-314.
CAZZELLA A. 2006 – L’Eneolitico in Europa, in Storia d’Europa e del Mediterraneo, vol. 1, Salerno Editrice, Roma: 315-363.
BETTELLI M. 2006 - L’età del bronzo e la prima età del ferro in Europa, in Storia d’Europa e del Mediterraneo, vol. I, Salerno Editrice, Roma: 365-411.
SAHLINS M. 1963 - Sociologia dello scambio primitivo, in E. Grendi, (a cura di) L'antropologia economica, Torino: Einaudi, pp. 99-145.
CHILDE G. V. 1960 – Frammenti del passato. Archeologia della preistoria, Feltrinelli.

An integral part of the course are the materials provided by the teacher to the attending students in PDF format of the individual lessons. This material can only be used for educational purposes.

Bibliography for those who do not attend
Students who cannot attend classes are invited to contact the teacher for an interview on the exam schedule and to receive information on the exam texts.
The bibliography is the same as that of attending students with the addition of the following volume:

RENFREW C. 1987- Before civilisation, Pinguin.

Restoration activities in the laboratory and outside on stucco works

M. Vitruvio Pollione, De Architectura
Gaio Plinio Secondo, Storia Naturale
Cennino Cennini, Il libro dell'arte
Giorgio Vasari, Le vite de' più eccellenti pittori, scultori ed architettori
Paolo Mora, Laura Mora, Paul Philippot, La conservazione delle pitture murali
AA.VV. DIMOS - corso sulla manutenzione di dipinti murali, mosaici e stucchi, ICR, Roma 1978
T. Turco, Il Gesso, Lavorazione, Trasformazione, Impieghi, Milano, 1961
A. Giuffredi, La Formatura, manuale delle tecniche di formatura e fonderia, Firenze, 2006
M. C. Laurenti, Il restauro dei calchi in gesso, in Archeologia classica n. 46,1994

. Introduction to the study of constituent materials and techniques of execution of
Paintings on textile support. Ancient sources and treatises (C.Cennini, Il Libro dell’arte o trattato della pittura, 1397 ; G.Vasari, Le vite de’ più eccelenti pittori,scultori …,1550-1568 ; De Mayerne “ Pictoria sculptoriaet....”, 1620 ; G.B. Volpato “Modo da tener nel dipinger”,1633) .

. introduction of reading on techniques of execution: visit of museums and churches.

. Introduction of reading on morphology of decay. Interpretation of causes of
alteration.

. Examination of paintings in the laboratory: introduction to documentation.
Direct analysis in diffuse and raking light.
Collecting technical data and assessment of state of conservation ( The Doria Pamphilj-ICR form).

. Introduction to graphic mapping processing for data transfer.
From manual records to Autocad program.


. Introduction to the diagnostic investigation activities, in coordination with the scientific
Laboratories. UV ; IR ; photo shooting sessions ; XRF ; microchemical analyses addressed to the
analysis of constituent materials and products of alteration.

. General theoretical introduction and practical applications to the phases of:
a) Surface cleaning:
. critical principles: the dialectic between original, patina and overpainted layers
. orientation on parameters of toxicity,
. solvents (evaporation, penetration, solvent power), solvent parameters,
solvent triangle, solubility testing, solubility
. concept of polar/apolar,
. acids and bases,
. tensioactive and chelates,
. watery environment,
. thickening solutions, gels




b) fillings of gaps (lacuna)
. application and texture

c) Aesthetic presentation
. theoretical principles of pictorial reintegration with topic of history of restoration
. Lacuna and theory of visual perception (Gestalt psychologies),
. reintegrable lacuna and non-reintegrable lacuna: tratteggio technique and sublevel.
. reintegrative treatments in comparison: lowering of tone with ‘dirty-water’ technique and
mimetic intervention

d ) Intermediate and final varnishing.

The lab activities will be organized under the constant supervision of the professor. Any material used in the practice of the intervention will be introduced in total safety through the awareness of technical sheet.

CENNINI C. , Il libro dell’arte…, ,1397, Neri Pozza, 1985;
. VASARI G., Le vite de’ più eccellenti architetti, pittori, et scultori italiani, (capitoli relativi alla
pittura su tela),Firenze,1550-1568, Newton Compton, 2009;
. VOLPATO G.B., “ Modo da tener nel dipinger “,1633 , in Merrifield M.P. , Original Treatises on
the art of painting , Londra ,1849 ;
. GETTENS , STERNER, Compatibility of pigments in artist’s oil pant, Tecnical Studies ,1941;
. DE MAYERNE , Pictoria sculptoria et.... , manoscritto ,1620 ;
. VIBERT J.G., Science de la peinture , Parigi , 1892, ( traduzione di Previati );
. URBANI G., Problemi di conservazione , ed. compositori Bologna, 1973 ;
. CREMONESI P., L'uso dei solventi organici nella pulitura di opere policrome , Il Prato - I Talenti,
2004 ;
. CREMONESI P., Un approccio alla pulitura dei dipinti mobili , Il Prato - I Talenti, 2012 ;
. CREMONESI P., L'ambiente acquoso per la pulitura di opere policrome, Il Prato - I Talenti, 2011
. BORGIOLI L., CREMONESI P., Le resine sintetiche usate nel trattamento di opere policrome,
Il Prato - i Talenti, 2005 ;
. WOLBERS R. , La pulitura di superfici dipinte, Il prato, 2005 .

The course aims to deepen the content of the Code of the cultural Heritage and of the legislation in force on the structure and the powers conferred to the Ministry, the Regions and the other territorial entities on this specific subject.

A. CROSETTI – D. VAIANO, I beni culturali e paesaggistici, Quinta edizione, Giappichelli, Torino, 2018, only Part I.

Titolo del corso: Dante maestro di tutti. Le antiche “lecturae Dantis”

Programma:
I modulo: introduzione all’analisi tecnica e tematica del testo letterario
II modulo: riflessioni sul rapporto tra scrittura letteraria e società.

Testi d’esame (frequentanti e non frequentanti):
I modulo:
1. antologia (a scelta; l’elenco degli autori e dei brani richiesti è consultabile nella bacheca della cattedra, II piano, studio 20, e nel sito del docente)
2. manuale di metrica italiana (a scelta)
3. manuale di filologia italiana (Pasquale Stoppelli, Filologia della letteratura italiana, Roma, Carocci)

II modulo:
1. Dante Alighieri, Commedia, lettura di una cantica a scelta
2. Da Boccaccio a Landino. Un secolo di ‘lecturae Dantis’, a cura di Lorenz Boeninger e Paolo Procaccioli, Firenze, Le Lettere, 2020

The course is organized in two parts, a theoretical and an archive exercise which is an integral part of the course itself. The first part first illustrates the basic principles and definitions, the structure of the archive and the tools for the formation of the archive; a second one concerns the historical archive with specific attention to the activities necessary for its use. With particular reference to the first part the course includes the following topics: terminology problems, the concept of archival document, document types, document management system and phases, archive classification, document registration, transfer of documents and the management of archival repositories, selection, nature and evolution of the document management system and archival discipline, archive definitions, the structure of the archives, the typology of the producers, the main normative references, the rules for sorting and describing in a national environment, the development of international standards, the application of the general principles of description in computerization projects. The second part will cover an archive filing exercise. Following the exercise, the student will have to produce a term paper that he will present for the exam.

Archivistica. Teorie, metodi e pratiche, a cura di M. Guercio L. Giuva, Carocci, 2014
F. Valacchi, Diventare archivisti, Editrice bibliografica, 2015
I. Zanni Rosiello, Gli archivi nella società contemporanea, Il Mulino, 2009
G. Nicolai, Il consorzio antitubercolare di Viterbo e le sue carte 1927-1975, Civita editoriale, 2020

The term“Maintenance” means a scheduled and periodic process designed to know, control and maintain the best conservation conditions desirable for a movable, immovable property or a set of these.
The first part of the course is dedicated to the analysis of maintenance practices in history.
The theories and operational proposals that led to maintenance being indicated as an integral part of preventive conservation will be presented and discussed later.
We will analyze specific plans of programmed maintenance, one destined to archaeological areas and one addressed to museum collections; will be treated the organizational and managerial aspects of a maintenance and technical intervention, with the aim of preserving a whole rather than a single object.
In coordination with the course of Diagnostics and Spectroscopy of Cultural Heritage, will be presented the tools and methods for environmental monitoring in relation to the materials that make up the works of art and the environments that host them and will analyze some case studies.
The lessons will include visits to monuments and museums in Lazio and exercises.
Visits will be proposed at galleries and archaeological areas to observe the best practice of the maintenance plan in place.
Practical exercises are planned at the Viterbo Civic Museum, during which useful data will be collected for the drafting of conservative sheets for the drafting of an ordinary maintenance plan.
Finally, we will implement the practical program of routine maintenance that will be developed during the cognitive and data collection phase, as indicated in the Protocol of the Environmental Data Sheet present on the MIBAC Risk Charter.
The term “Maintenance” means a scheduled and periodic process designed to aknowledge, control and maintain the best conservation conditions desirable for a movable, immovable property or a set of these. The first part of the course is dedicated to the analysis of maintenance practices in history. The theories and operational proposals that led to maintenance being indicated as an integral part of preventive conservation will be presented and discussed later. We will analyze specific plans of programmed maintenance, one destined to archaeological areas and one addressed to museum collections; will be treated the organizational and managerial aspects of maintenance and technical intervention, with the aim of preserving a whole rather than a single object.In coordination with the course of Diagnostics and Spectroscopy of Cultural Heritage, will be presented the tools and methods for environmental monitoring in relation to the materials that make up the works of art and the environments that host them and will analyze some case studies.The lessons will include visits to monuments and museums in Lazio and exercises.Visits will be proposed at galleries and archaeological areas to observe the best practice of the maintenance plan in place.Practical exercises are planned at the Viterbo Civic Museum, during which useful data will be collected for the drafting of conservative sheets for the drafting of an ordinary maintenance plan. Finally, we will implement the practical program of routine maintenance that will be developed during the cognitive and data collection phase, as indicated in the Protocol of the Scheda Ambinetale present on the MIBAC Carta del Rischio.

OBLIGATORY TEXT
Atto di indirizzo sui criteri tecnico-scientifici e sugli standard di funzionamento e sviluppo dei musei (D. Lgs. n.112/98 art. 150 comma 6)

RECOMMENDED OR OBLIGATORY TEXTS FOR THOSE WITH LESS THAN 75% PRESENCE
Carte del restauro e Raccomandazioni: Carta di Atene (1931), Consiglio Superiore per Le Antichità e Belle Arti. Norme per il restauro dei monumenti. Carta Italiana del restauro (1932), Carta di Venezia (1964), Carta Italiana del Restauro (1972)
Silvia Cecchini, Trasmettere al Futuro. Tutela, conservazione, manutenzione programmata, Gangemi Editore, Roma, 2012; pp. 44-50, 66-75, 97-109, 122-140, 161-210.
La conservazione preventiva delle raccolte museali : atti del convegno Servizi e professionalità "nuove" per la tutela, a cura di Cristina Menegazzi e Iolanda Silvestri , Kermes Quaderni, Nardini ed., Firenze 2003
Oggetti nel tempo: principi e tecniche di conservazione preventiva, a cura dell’ Istituto per i Beni Artistici Culturali e Naturali della regione Emilia-Romagna, Servizio Musei e Beni Culturali, Clueb Edizioni, Bologna, 2007
Paolo Gasparoli, La manutenzione preventiva e programmata del patrimonio storico tutelato come prima forma di valorizzazione, University Press, Firenze, 2011
Stefano Della Torre, Preventiva, integrata, programmata: le logiche coevolutive della conservazione, in Pensare la prevenzione. Manufatti, usi, ambienti, atti del XXVI convegno Scienza e Beni Culturali (Bressanone 13-16 luglio 2010), Venezia, Arcadia Ricerche, 2010, pp. 67-76
Condition Assessment dal sito https://www.getty.edu/conservation/publications_resources/teaching/case/olita/collecti

The course deals with the preliminary study of the history of contemporary architecture, starting from the first half of the 19th century, with particular attention to the Italian, European and North American scene. Lessons will focus on the main cultural movements of the period, the architects of particular importance in the development of national and international trends, the most significant projects and realizations.
The second part of the course focuses on the theme of industrial archaeology and in particular on the definition of the discipline and its affirmation in Italy, on its specificities and problems, on the main types of building recognizable within the Italian industrial heritage, on the related process of recognition, knowledge, protection and enhancement.

- M. Biraghi, Storia dell'architettura contemporanea I. 1750-1945, Einaudi, Torino 2008
- M. Biraghi, Storia dell'architettura contemporanea II. 1945-2008, Einaudi, Torino 2008

Prima parte
Posizione e ruolo del suolo nella società e cultura odierna. Centralità del suolo nella vita dell’uomo. Perché il suolo è patrimonio culturale? Il valore storico, estetico/artistico e etno/antropologico del suolo. Suolo e arte: il suolo nelle diverse forme d'arte (pittura, installazioni, arti visive). Analisi critica della diversa attenzione da parte dell'artista nei confronti della risorsa suolo nel corso del tempo.
Funzioni del suolo (ecologiche e socio-economiche). Importanza del suolo in archeologia. Suolo e conservazione: ruolo attivo e passivo.

Seconda parte
Suolo e archeologia - presentazione di casi di studio:
1) Caratterizzazione dei suoli di interesse archeologico: studio dei parametri di conservazione.
2) Analisi funzionale degli spazi di interesse archeologico per ricostruire il loro uso

Terza parte
Esercitazioni di laboratorio
Manipolazione di campioni di suolo in laboratorio: setacciamento, determinazione umidità e conservazione.
Determinazione della tessitura, del pH, della sostanza organica, della capacità di scambio cationico, del calcare totale, del fosforo disponibile, della conducibilità elettrica e della respirazione del suolo.

Materiale didattico fornito dai docenti e separato per curriculum
Soil and culture, 2010 – E.R. Landa, C. Feller – Springer (letture a scelta)
Basi di Pedologia. Giacomo Certini e Fiorenzo Cesare Ugolini. Edagricole
Soil Science for Archeologists. Stewart Reed, Nathan Bailey, Oghenekome Onokpise Edited by: Michael Russo and Virginia Horak

Pedoarcheology: pedology in archaeological contexts, genesis, properties and characteristics of soil in the past with respect to the environment reconstruction where man interacted. Pedon: definition and characteristics. The pedogenesis: factors and processes of soil formation and genesis. Overview of soil classification systems. The characteristics of pedogenetic and diagnostic horizons. The anthropic factor in pedogenesis. Description of the profile of a soil. The physical and chemical properties of soil modified by human activity. Detail stratigraphy: possible matrices. Micromorphological and geochemical analysis, isotopic dating. Case studies related to the analysis of stratigraphic sequences in buried soils between the Bronze (sometimes the early Holocene) and the late Middle Ages (holoceic pedophile complex).

Materilas provided by lessons
Basi di Pedologia. Giacomo Certini e Fiorenzo Cesare Ugolini. Edagricole

aims to accompany the growth of critical reasoning and the propensity to abstraction by stimulating the student with heterogeneous materials. Different ways of doing criticism and heterogeneous places through which critical thinking is expressed will be considered

R. Longhi, Proposals for an art criticism, in "Comparison", I, 1950, pp. 5 - 19. On line it is to be purchased in the reprint introduced by Giorgio Agamben: Proposals for an art critic, Publisher: Water Bearers Series: Shortcuts Year edition: 2014.
• Reasoned summary of the course in max three pages (30 lines of 1800 characters including spaces) based on the materials received during the lessons
• Filing of the passages relating to observations on the materials of the works of art and of the landscape * in Cesare Brandi's travel books, accompanied by a commentary by max one folder (30 lines, 1800 characters), considering the following texts collected in C. Brandi , Travels and literary writings, edited by Vittorio Rubiu Brandi, Milan 2009, to which are added 100 pages chosen by Terre d'Italia (as mentioned above):
1. Trip to ancient Greece
2. City in the desert
3. Pilgrim of Puglia
4. Green Nile
5. Martina Franca
6. At walking pace
7. Wonderful Persia
8. Buddha smiles
9. 100 pages chosen by C. Brandi, Terre d’Italia, edited by Vittorio Rubiu, Milan 2006

First module, 150 hours:
The training of the first module will be carried out at the University Conservation Laboratory, on a bi-chrome, black and white, opus tessellatum with geometric and floral decoration. The mosaic come from the archaeological excavation of Well Q15, executed to instal Metro C in Rome . The mosaic, detached from its place of origin and reassembled on clay in the laboratory of the University during the last academic year, is now glued again on canvas, divided into 16 sections.

The module will address the following topics, referring to the mosaic at the Laboratory, with possible comparisons with other work cases:
- Study of original materials and decorative motifs.
- Study of conditions and causes of degradation.
- Study of ancient and modern conservation / maintenance interventions and discussion on whether or not to remove them.
- Methodologies of intervention, pros and cons of different methods identified.
- Implementation of all conservation operations needed to prepare the artifact for assembly on a new support: temporary reassembly from mosaic front, further cutting of the sections to reduce the size of the fragments, 1:1 tracing of the new section division on transparent sheet, backing of the sections with mortar layers and storage.
- Graphic and photographic documentation of the data acquired with observation during the study phase and documentation of carried out intervention operations.
- Planning the restoration of a mosaic.

The module provides lectures on mosaic in general (materials, technique and typologies) and on mosaics detached from their original place (detachment methods, different supports, conservation problems and different intervention methods both on site and laboratory).

Second module 150 hours
During the second module, conservation intervention on Well Q15 mosaic is continued, facing topics such as:
- Different support methodologies for detached mosaics.
- Lime mortars for tessellatum re-bedding.
- Stone tesserae surface cleaning methods.
- Lacunae reintegration.
- Implementation of all conservation operations needed to prepare the artifact for public display: preparation of the support that will house the mosaic sections, gluing the sections on the new support, tessellatum surface cleaning, tessellatum lacunae re-integration or treatment and presentation of the mosaic.
- Graphic and photographic documentation of carried out interventions.

Third module 150 hours
Module 3 will be carried out at the archaeological site of Carsulae, addressing all operations needed for in situ mosaic stabilization, operating on one or more mosaics that will be assigned to the course:
- Surface cleaning and vegetation removal.
- Mobile tesserae re-bedding in their original position with lime mortar.
- Grouting of detachments between tessellatum and preparatory mortar layers, with infiltration of hydraulic liquid mortars.
- Mortar edging for tessellatum protection and containement
- Lacunae and interstices between tesserae in-filling with lime-based mortars.

The module will also include lectures on mosaics deterioration in archaeological sites, deterioration stabilization methods and protection and prevention methods used on the site, such as water drainage and backfilling.

No text on mosaic restoration is adopted as course text. For various topics dealing with different aspects of mosaic conservation, both for ancient and modern mosaics and floor and wall mosaics, it is referred to the following bibliography.

Lectures:
- History of contemporary artistic techniques; methods and materials of works of art created in the period dating from the industrial age to the present day.
- Materials used in contemporary art: atypical supports, commercial ground layers, commercial oil and synthetic based binders, pastels, water-colors, pens and markers, plastics, paper materials of the XX and XXI centuries.
- Artist’s Homes: focus on the collections of Artists homes in the Tuscia area: Bonaria Manca. Alessandro Kokocinski, Serpara Park.
- Critical weaknesses in contemporary and/or poly material works, with regard to their technique of execution: deterioration and conservation. Conservation problems of twentieth and twenty-first century works on paper.
- Introduction to contemporary art conservation: distinction between deterioration foreseen and accepted by the artist and unplanned-for decay. Problems of balance in conservation interventions on contemporary works and the relationship with the artist’s will and intent.
- Consolidants and adhesives for artworks and their methods of application.
- Removal of surface dirt and cleaning of recent works. Sensitivity of synthetic materials to traditional solvents and problems in cleaning.
- Pictorial integration and the use of varnishes in modern and contemporary painting.
- Special problems in the treatment of contemporary works: conserving “the idea” and the conservation of installations.

Technique and conservation of contemporary works: laboratory and on-site projects
- Creation of reproductions of modern and contemporary artworks, researching original procedures and techniques, and applying them in order to learn new methodologies.
- Structural analysis and creation of state of conservation reports on the works which will be conserved during the course (Siveri, Kokocinski,Separa Park, SMA collections).
- Types of endogenous and exogenous damage.
- Digitally supported graphic documentation.
- Removal of surface deposits using current techniques
- Cleaning and removal of repaints and extraneous additions based on cleaning tests
- Disinfection of biological growth and treatment of insect infestations
- Consolidation using various methods and re-creation of missing areas with compatible materials
- Filling and structural integration
- Aesthetic reintegration
- Protection of the artwork
- Designing and developing a conservation report
- Photographic documentation and its place in the conservation report
- Examples of conservation interventions
- Interviews with the artist, or those close to the artist (where possible)

Various authors, Arte contemporanea, conservazione e restauro, contributi al colloquio sul restauro dell’arte moderna e contemporanea, Firenze, Nardini, 1994
Arte contemporanea. Le ricerche internazionali dalla fine degli anni '50 ad oggi. Edited by F. Poli, Milano, Electa, 2009 (first ed. 2003)
Banik G., Cremonesi P., de LA Chapelle A., Montalbano L., Nuove metodologie nel restauro del materiale cartaceo, I Talenti, Saonara (PD), Il Prato, 2003
Bordini S., Arte contemporanea e tecniche. Materiali, procedimenti, sperimentazioni, Roma, Carocci, 2007
Chiantore O., Rava A., Conservare l’arte contemporanea problemi, metodi, materiali, e ricerche, Milano, Ed. Electa, 2005
Crook J., Learner T., The Impact of Modern Paints, Los Angeles, The Getty Conservation Institute, 2000
M. Daudin-Schotte,H. Van Keulen,K. J. Van den Berg, Analisi e applicazione di materiali per la pulitura a secco di superfici dipinte non verniciate, Ediz. Bilingue, Quaderni del Cesmar7, Saonara (PD), Il Prato, 2014
Kermes, La rivista del Restauro, Restaurare l'Arte contemporanea? Fascicolo monografico, Anno XXVIII, Numero 98, Torino, Lexis, Aprile-Giugno 2015
Giordano R. C., Il restauro della carta, Teoria e Tecnica, Palermo, L’Epos, 2000
Iazurlo P., Valentini F., Conservazione dell’arte contemporanea temi e problemi. Un’esperienza didattica, Saonara (PD), Il Prato, 2010
I Materiali cartacei, Le antologie di ‘OPD restauro’, a cura di C. Frosinini, Firenze, Centro Di, 2006
Modern Paints Uncovered: Proceedings from the Modern Paints Uncovered Symposium, May 16–19, London, Tate Modern, 2006
Mundici M.C., Rava A., editors, Cosa cambia, teorie e pratiche del restauro nell’arte contemporanea, Milano, Skira, 2012
Sánchez Pons M., Fuster López L., Shank W., Conservation Issues in Modern and Contemporary Murals, Cambridge, Scholars Publishing, 2015
Shashoua, Y., Conservation of Plastics: Materials Science, Degradation and Preservation, Oxford, Butterworth and Heinemann, 2008), p.215
Parco della pace a Ravenna (Il). Esperienze di restauro del mosaico contemporaneo, Ravenna, Centro Internazionale per la Documentazione dei Mosaici, 2009 – data base with conservation reports (http://www.mosaicocidm.it)
Problemi conservativi dei manufatti dell'Ottocento. Edited by M. Fratelli ed E. Signorini. Atti Problemi di restauro - Giornate di studio, Milano 2-8-15-23-30-Maggiio 2006, Spazio Oberdan, Saonara, Il Prato, 2008, pp. 11-88
Pugliese, M., Tecnica mista. Materiali e procedimenti nell'arte del XX secolo, Milano, Bruno Mondadori, 2006
Standeven H., House paints 1900-1960, history and use, Los Angeles, The Getty Conservation Institute, 2011
Verteramo R., The age of plastic, beni artistici e industriali, I Talenti, Saonara (PD), Il Prato, 2013
Web Sites
https://issuu.com/cesmar7/docs/imp_analisi
https://fondazioneplart.it/ricerca/
 Di Pasqua, G., Scardapane, S., Terzini, A., Vico, V., Vito, C., Intervista a Studio Forma Fantasma sulle collezioni Autarchy 2010 e Botanica 2011 - Immagini di accompagnamento
 Martuscelli, E., The chemistry of degradation and conservation of plastic artefacts, Palazzo Spinelli, Edizioni Paideia, Firenze 2010
 Martuscelli, E., Plastics artefacts as part of the cultural heritage: conservation issues related to the molecular structure, processing and composition, II Conference 'Diagnosisi for the Conservation and Valorization of Cultural Heritage, 15-16 Dicember 2011
 Martuscelli, E., Degradation and preservation of artefacts in synthetic plastics, Palazzo Spinelli, Edizioni Paideia, Firenze, 2012

http://www.getty.edu/conservation/our_projects/science/modcon/

ISCR Istituto Superiore per la Conservazione ed il Restauro_ Pubblicazioni
http://www.icr.beniculturali.it/pagina.cfm?usz=2&uid=249&umn=76&smn=141
Interesting bibliography researchable online on the ISCR website

https://www.nga.gov/conservation/publications.html

https://www.tate.org.uk/research/reshaping-the-collectible/research-approach-conservation

Themes, languages, protagonists of Art in Europe from 1969 to Today
-The Postmodern condition: definition and characters
-Focus on: Marcel Broodthaers, Joseph Beuys, Fabio Mauri
-The issue of Postcolonialism in art: the "Les Magiciens de la Terre" exhibition and debate
-The controversial limelight of Eastern art after the collapse of the Berlin Wall
-The 90s: relational aesthetics, the biennial format
-The third millennium: between globalization and resistance. The new emergencies

-Nicolas Bourriaud, Il radicante, postmediabooks, 2014
-Patrizia Mania, Racconti mediterranei. Immagini, memoria, azioni nell’arte contemporanea, Round Robin, 2017.
-Patrizia Mania Maria Raffaella Menna, a cura di, Frammenti di Siria Dal medioevo alla contemporaneità Prendersi cura dell’arte/L’arte come cura, Round Robin, 2019, pp.97-137
-Patrizia Mania, “I Like Europe but Europe Doesn’t Like Me. Sentirsi discriminati: gli artisti dell’Est dopo la Guerra fredda”, in Raffaella Petrilli, Hate Speech L’odio nel discorso pubblico. Politica, media, società, Round Robin, 2019, pp.99-111.

-Dispense fornite dal docente

The lectures will address the following topics:
- Needs, goods and value.
- Meaning, evolution and interpretation of the concept of business.
- The conditions of the existence, the characters of the firm, and its classification.
- The function of the firm, its aims and the concept of business management.
- The subjects within the firm.
- Strategies
- Business activities and organization
- The notion of corporate assets, liabilities and equity.
- Qualitative and quantitative analysis of the corporate net assets.
- The accrual-basis and the cash basis of accounting.
- The different measures of the capital in non-financial entities under the hypotheses of going concern and liquidation.
- The costs and the break-even analysis.
- The bookkeeping of the fundamental firms’ operations with the double-entry system.

1) G. Catturi, Principi di economia aziendale. L'azienda universale. L'idea forza, la morfologia e la fisiologia, Cedam, Padova, 2019 (Section A: lessons 1, 2, 5; Section B: lessons 7, 8, 10, 13, 14, 18; Section C: lessons 20, 21, 22, 26, 29).

2) E. Cavalieri - R. Franceschi Ferraris, Economia Aziendale, Vol. I, Attività aziendale e processi produttivi, Giappichelli, Torino, 2010, 4th Edition (Section II, Chapter 3 and 5).

3) Teaching materials available on the course web site (slides and the lecture notes about the bookkeeping with the double-entry system, ratios, and cost accounting)

The course aims at tracing the history of this subject in Italy in the 50s, but also at outlining tasks and current functions of the relevant job. To that purpose the projectual events of some of the most renowned Italian museums of the Post – War period, such as the Galleries of Palazzo Bianco and Palazzo Rosso in Genua, Palazzo Abatellis in Palermo and the Castelvecchio Museums in Verona will be reviewed. Also the biographies of the museology pioneers (art historians, archeologists, architects, superintendents and directors) making these museums possible, are going to be dealt with, in order to clarify the different fields of action of both museology and museography, by stressing their reciprocal interactions, too. Special attention will be given to the study of some of the most renowned museums realized by architect Franco Minissi, after one tundre years from his birth in Viterbo in 1919. Site visits at museums in Rome, Viterbo and Latium, are going to be an integral part of the course.

Adalgisa LUGLI, Museologia; Jaca Book, Milano 1992 (ristampa 2018); Maria Cecilia MAZZI, Musei anni ’50: spazio, forma e funzione, Edifir edizioni, Firenze 2009 (pp. 9-184); Federico BUCCI e Augusto ROSSARI, I musei e gli allestimenti di Franco Albini, Electa, Milano 2005 (pp. 43-74); Marisa DALAI EMILIANI, Per una critica della museografia del Novecento in Italia. Il “saper mostrare” di Carlo Scarpa, Marsilio, Venezia 2008 (pp. 77-149); Dante BERNINI, Colloqui con Franco Minissi sul museo, Edizioni De Luca, Roma 1998 (pp. 9-24); Beatrice A. VIVIO, Franco Minissi. Musei e restauri: la trasparenza come valore, Gangemi editore, Roma 2010 (pp. 65-135); Simonetta ANGELI, Il Museo Civico di Viterbo: storia delle raccolte, in Conoscere per conservare. Percorsi culturali e didattici nella Tuscia (a cura di Simona Rinaldi), Aracne, Roma 2008 (pp. 127-174); S. MARSON and P. POGLIANI, Franco Minissi. Il museografo, l'architetto e gli allestimenti del Museo Civico di Viterbo, Edifir, Firenze 2020
Non-attending students should contact the professor in order to agree with him on the exam programme.

Introduction to analytical methods. Qualitative and quantitative analysis. Concentration units.
Acids and bases definitions. Strength of protolytes.
Chemical equilibrium. Principles of kinetics.
Acid-base equilibriums. pH calculation. Buffer solutions. Acid-base titrations.
Formation equilibriums of complexes. EDTA.
Equilibriums of precipitation. Solubility product. Gravimetric determinations.
Redox reactions. Redox titrations.
Potentiometry. Electrolytic cells. Specific electrodes. pH determination.

Practice laboratory

D. C. Harris "Chimica analitica quantitativa" Zanichelli

-Orality and writing. The history of man and the communicative artefact, means of communication and social transformations.
-The roots of the modern: birth of metropolitan civilization and consumer aesthetics, archeology of mass communication media (1800-1850).
-Advent of the technical reproducibility of the work of art, development of mass communication and audiovisual media, progressive transformations of literature and society (1850-1900).
-From the historical avant-gardes to the birth of the modern collective imagination (1900-1930).
-Growth and deconstruction of the mass culture industry, information, education, entertainment. Redefinition of public opinion (1930-1970).
-Transformation of cultural policies and of the generalist media system, advent of neo-television (1970-1980).
-Birth and development of new interactive media, spread of information technology and telematics, relationship between technological innovation, knowledge models and social relations.
The society of networks. Convergent culture (1980-2018).

1. A. Abruzzese, P. Mancini, Sociologie della comunicazione, Laterza, Roma 2007
(ISBN 978-88-420-8484-6), tutto il volume per un totale di pagine 265.

2.
G. Fiorentino, Dalla parte del suono. Radio, Sud e Mediterraneo 1943-1978, Settecittà, Viterbo 2018 (ISBN ISBN 978-88-7853-827-6)
G. Fiorentino, Il flaneur e lo spettatore. La fotografia dallo stereoscopio all'immagine digitale, con testi di C. Baudelaire e O. W. Holmes, Franco Angeli, Milano 2014 (ISBN 9788891708960)

3.
M. Pireddu, M. Serra, a cura di, Mediologia. Una disciplina attraverso i suoi classici, Liguori, Napoli 2012 (ISBN 978-88-207-5601-7).