Journal articles on the topic 'Museo archeologico di Siena'

Настоящая работа является первым общим описанием на русском языке двух некрополей Кампокиаро (Кампобассо, Италия) – Виченне и Морионе, датируемых последней третью VII в. – началом VIII в. Культурное содержание некрополей показывает прочные связи с населением центральноазиатского происхождения. Важнейшим признаком некрополей являются захоронения с конем, соответствующие евразийскому кочевому погребальному обряду. Автор поддержал выводы европейских исследователей о том, что с большой долей вероятности некрополи оставлены булгарами дукса–гаштальда Алзеко, зафиксированными Павлом Диаконом в VIII в. на территориях Бояно, Сепино и Изернии. Аналогии некрополей Кампокиаро с погребениями Аварского каганата показывают присутствие в аварском обществе булгар со схожим погребальным обрядом. Из тысяч погребений с конем, оставленных аварским населением, булгарам могла принадлежать большая часть. Авары и булгары составляли основу и правящую верхушку каганата. Народ Алзеко являлся той частью булгар, которая в 631 г. боролась за каганский престол, что указывает на высокое положение булгар и их большое количество. После поражения эта группа булгар мигрировала последовательно в Баварию, Карантанию и Италию. Несколько десятков лет проживания в венедской, а затем в лангобардской и романской среде привели к гетерогенности погребального инвентаря, но не изменили сам обряд. Булгары лангобардского королевства составляли новый военный слой, который представлял из себя профессиональную кавалерию, получивший землю. Эта конная дружина является ранним примером европейского феодального воинского и социального сословия, которое станет называться рыцарством. Библиографические ссылки Акимова М.С. Материалы к антропологии ранних болгар // Генинг В.Ф., Халиков А.Х. Ранние болгары на Волге (Больше–Тарханский могильник). М.: Наука, 1964. С. 177–191. Амброз А.К. Кинжалы VI – VIII вв, с двумя выступами на ножнах // СА. 1986. № 4. С. 53–73. Безуглов С.И., Ильюков Л.С. Памятник позднегуннской эпохи в устье Дона // Средневековые древности Дона / Ред. Ю.К. Гугуев. М.–Иерусалим: Мосты и культуры, 2007. C. 25–48. Бешевлиев В. Пръвобългарите. История, бит и култура. Пловдив: Фондация «Българско историческо наследство», 2008. 505 с. Гавритухин И.О., Иванов А.Г. Погребение 552 Варнинского могильника и некоторые вопросы изучения раннесредневековых культур Поволжья // Пермский мир в раннем средневековье / Отв. ред. А.Г. Иванов. Ижевск: УИИЯЛ УрО РАН, 1999. С. 99–159. Добиаш–Рождественская О.А. Ранний фриульский минускул и одна из проблем жизни и творчества лангобардского историка VIII в. // Вспомогательные исторические дисциплины / Под ред. А. С. Орлова. М.; Л.: Изд–во АН СССР, 1937. С. 109–140. Засецкая И.П. Культура кочевников южнорусских степей в гуннскую эпоху (конец IV–V вв.). СПб.: АО "Эллипс", 1994. 221 с. Казанский М.М. Оногуры в постгуннское время на Дону // Дивногорский сборник / Труды музея-заповедника «Дивногорье». Вып. 6. / под ред. А. З. Винникова. Воронеж: Изд.– полигр. центр «Научная книга», 2016. С. 96–111. Казанский М.М. Хронологические индикаторы степных древностей постгуннского времени в Восточной Европе // НАВ. 2019. Т. 18 (2). С. 109–124. Кардини Ф. Истоки средневекового рыцарства // Пер. с ит. В.П. Гайдук / Общ. ред. В.И. Уколова, Л.А. Котельникова. М.: Прогресс, 1987. 384 с. Комар А.В., Кубышев А.И., Орлов Р.С. Погребения кочевников VI–VII вв. из Северо–Западного Приазовья // Степи Европы в эпоху средневековья. Т. 5. Хазарское время / Гл.ред. А.В.Евглевский Донецк: ДонНУ, 2006. С. 245–376. Кондукторова Т.С. Антропологическая характеристика черепов из Верхнего Чир–Юртовского могильника в Дагестане // ВА. 1967. Вып. 25. С. 117–129. Красильников К.И. Могильник древних болгар у с. Желтое на Северском Донце // Проблеми на прабългарската история и култура. София: БАН, Нац. Археол. институт с музей филиал Шумен, Аргес, 1991. Т. 2. С. 62–81. Красильников К.И., Красильникова Л.И. Могильник у с. Лысогоровка – новый источник по этноистории степей Подонцовья раннего средневековья // Степи Европы в эпоху средневековья. Т 4. Хазарское время / Гл.ред. А.В. Евглевский. Донецк: ДонНУ, 2005. С. 187–244. Красильников К.И., Руженко А.А. Погребение хирурга на древнеболгарском могильнике у с. Желтое // СА. 1981. № 2. С. 282–289. Кузнецова Т.И. Павел Диакон. Из «Истории лангобардов» // Памятники средневековой латинской литературы IV–IX веков / Отв. ред. М. Е. Грабарь-Пассек и М. Л. Гаспаров. М.: Наука, 1970. С. 243–257. Медникова М.Б. Трепанации у древних народов Евразии. М.: Научный мир, 2001. 304 с. Мингазов Ш.Р. Болгары Алзеко в Баварии, Карантании и Италии как пример автономной части этнокультурной общности // Восточная Европа в древности и средневековье. Античные и средневековые общности: XXIX Чтения памяти члена-корреспондента АН СССР В.Т. Пашуто. Москва, 19–21 апреля 2017 / Отв. Ред. Е. А. Мельникова. М: Институт всеобщей истории РАН, 2017. С. 160–164. Мингазов Ш.Р. Следы взаимовлияния европейской и азиатской социокультурных моделей: булгары в Италии (VI–VIII вв.) // Восточная Европа в древности и средневековье. Сравнительные исследования социокультурных практик: XXXII Чтения памяти члена корреспондента АН СССР В.Т. Пашуто. Москва, 15–17 апреля 2020 / Отв. Ред. Е. А. Мельникова. М.: Институт всеобщей истории РАН, 2020. С. 162–166. Нестеров С.П. Конь в культах тюркоязычных племен Центральной Азии в эпоху средневековья. Новосибирск: Наука. Сиб. отд–ие АН СССР, 1990. 143 с. Павел Диакон. История лангобардов / Пер. с лат., ст. Ю.Б. Циркина. СПб.: Азбука–классика, 2008. 318 с. Решетова И.К. Население донецко–донского междуречья в раннем средневековье: Палеоантропологическое исследование. СПб.: Нестор–История, 2015. 132 с. Решетова И.К. Описание индивидов с трепанированными черепами среди носителей Салтово–маяцкой культуры: медицинская практика или культ? // Этнографическое обозрение. 2012. № 5. С. 151–157. Ронин В.К. «История лангобардов» Павла Диакона // Свод древнейших письменных известий о славянах / Отв. ред. Л. А. Гиндин, Г. Г. Литаврин. М.: Издательская фирма «Восточная литература» РАН, 1995. Т. II. С. 480–501. Ронин В.К. Так называемая Хроника Фредегара // Свод древнейших письменных известий о славянах / Отв. ред. Л. А. Гиндин, Г. Г. Литаврин. М.: Издательская фирма «Восточная литература» РАН, 1995. Т. II. С. 364–397. Трифонов Ю.И. Об этнической принадлежности погребений с конем древнетюркского времени (в связи с вопросом о структуре погребального обряда тюрков–тугю // Тюркологический сборник 1972. / Отв. ред. А.Н. Кононов. М.: Наука, 1973. С. 351–374. Храпунов И.Н., Казанский М.М. Погребение № 114 на могильнике Нейзац (предгорный Крым) и древности кочевников Северного Причерноморья второй половины V — первой половины VI в. // КСИА. Вып. 238. М.: ИА РАН, 2015. С. 170–194. Шишманов И. Българите в “Orlando furioso” и въ по–старата френска драма // Български преглед. VI. Кн. 8. София: Придворна печатница, 1900. Година С. 67–84. Ceglia V. Campochiaro. La necropoli di Vicenne // L’oro degli Avari: popolo delle steppe in Europa. Milano: Inform, 2000. P. 212–221. Ceglia V. Campochiaro: la necropoli altomedievale di Vicenne (CB) // V Settimana beni culturali. Tutela. Catalogo della mostra. Matrice: Soprintendenza archeologica e per i beni ambientali, architettonici, artistici e storici del Molise, 1989. P. 63–67. Ceglia V. Interventi di recupero dei siti sparsi e necropolis // Conoscenze. Campobasso: Soprintendenza archeologica e per i beni ambientali, architettonici, artistici e storici del Molise, 1994. Vol. 7. P. 17–20. Ceglia V. La Necropoli altomedioevale di Vicenne nel Comune di Campochiaro // Almanacco del Molise. Campobasso: Habacus Edithore,1989. Ed. 21, vol. II. P. 153–158. Ceglia V. La necropoli di Campochiaro (Italia) // Roma e i Barbari. La nascita di un nuovo mondo. Catalogo della Mostra (Venezia, 26 gennaio –20 luglio 2008) / A cura di J.J. Aillagon. Milano: Skira, 2008. P. 469–475. Ceglia V. Lo scavo della necropoli di Vicenne // Conoscenze. Campobasso: Soprintendenza archeologica e per i beni ambientali, architettonici, artistici e storici del Molise, 1988. Vol. 4. P. 31–48. Ceglia V. Necropoli di Vicenne // Studi sull’Italia dei Sanniti. Milano: Electa, 2000. P. 298–302. Ceglia V. Presenze funerarie di eta altomedievale in Molise. Le necropoli di Campochiaro e la tomba del cavaliere // I Longobardi del Sud. Roma: Giorgio Bretschneider Editore, 2010. P. 241–255. Ceglia V. Tomba bisoma 88 della necropoli di Campochiaro, localita Morrione // Il futuro dei longobardi. L 'Italia e la costruzione dell' Europa di Carlo Magno / A cura di С. Bertelli, G.P. Brogiolo. Milano: Skira, 2000. P. 80–81. Ceglia V. Varietа di infl ussi culturali nelle necropoli di Campochiaro. Considerazioni preliminari / I beni culturali nel Molise. Il Medioevo / A cura di De Benedittis G. Campobasso: Istituto regionale per gli studi storici del Molise “V. Cuoco”, 2004. P. 79–86. Ceglia V., Genito B. La necropoli altomedievale di Vicenne a Campochiaro // Samnium: Archeologia del Molisе. Roma: Quasar, 1991. P. 329–334. Ceglia V., Marchetta I. Nuovi dati dalla necropoli di Vicenne a Campochiaro // La trasformazione del mondo romano e le grandi migrazioni. Nuovi popoli dall'Europa settentrionale e centro–orientale alle coste del Mediterraneo / A cura di C. Ebanista, M. Rotili. Napoli: Tavolario Edizioni, 2012. P. 217–238. Chronicarum quae dicuntur Fredegarii Scholastici libri IV // MGH, Scriptores Rerum Merovingicarum / Ed. B. Krusch. Hannoverae: Impensis bibliopolii hahniani, 1888. T. 2. P. 1-193. Constitutiones et Acta Publica Imperatorum et Regum // MGH, Rerum Germanicarum Medii Aevi / Ed. L. Weiland. Hannoverae, Impensis bibliopolii hahniani, 1893. T. I, №. 333. P. 472–477. Curta F. 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<p><strong>Abstract.</strong> The paper describes the final step of the Baratti in 3D project, aimed at the dissemination of the important archaeological heritage of the Etruscan city of Populonia (Tuscany, Italy). The chain of “data metrical surveying &amp;ndash; 2D and 3D representation &amp;ndash; communication” has been applied on the “Princes's tombs” of the monumental necropolis of San Cerbone and its finds to provide a detailed description of their context, workmanship, morphological characteristics and materials to realize the virtual recreation. The preservation of the finds from the excavations in two different museums far from the archaeological area (the Museo Archeologico Nazionale di Firenze and the Museo Archeologico del Territorio di Populonia, in Piombino) makes the understanding of the original context very difficult for visitors. Thus the “Baratti in 3D Project” has been conceived in order to document the tombs, their finds and produce the “virtual match” showing in its entirety the environmental and architectural provenance and material ritual context and in order to display in innovative visual approach this archaeological heritage. To complement the interactive platform, as a physical fallout of this project has been realized “A museum in every sense”, a permanent exhibition in the Museo Archeologico del Territorio di Populonia.</p>

Publication of a faience ‘necklace’ composed of twenty-four plaques, inscribed on both sides with a magico-religious text in black hieroglyphs. Internal evidence suggests a Memphite provenance for the object, which can be dated by personal names to the Eighteenth or Nineteenth Dynasty. A cult or funerary purpose is suggested.

The aim of this article is to contribute to the debate on how management positions in museums can contribute in successfully implementing technological innovations within a museum. The results of a case study on the - Museo Archeologico Nazionale di Napoli (MANN) – which covers the theme of transferrable skills of a museum director for the successful implementation of technological innovations to improve the service the museum offers to the benefit of the public.

Il contributo intende rendicontare i risultati principali ottenuti dal progetto Tessuti SOCIALI” (SOCIal Learning, Allestimenti museali, Lingue, Interazioni): percorsi conoscitivi per il Museo del Tessuto di Prato, coordinato dall'Università per Stranieri di Siena e finanziato dalla Regione Toscana. A Prato, la seconda città più grande della Toscana, la popolazione straniera residente rappresenta il 22% della popolazione totale. In una realtà sociale plurilingue e pluriculturale come quella pratese è indispensabile migliorare i servizi legati al settore museale e aumentare l'accessibilità alle iniziative culturali. “Tessuti SOCIALI” è un progetto di inclusione che intende favorire lo sviluppo delle competenze linguistiche e della consapevolezza interculturale, con l’ausilio delle nuove tecnologie.

The paper retraces the history of the exhibition designs of the National Archaeological Museum of Reggio Calabria (Italy), investigating the museographic and museological instances that inspired them, with a glimpse of the cultural context in which they flourished. The investigation period spans from the 1930s, when the architect Marcello Piacentini developed the original planning ideas for the building and the interior of the “first museum in Italy built for this purpose”, to the first exhibition presented to the public at the opening in 1958. The paper concludes with an analysis of the expansion of the museum sections in the 1960s with new criteria. Thanks to hitherto unpublished documents, the history of the museum and its protagonists has been reconstructed, revealing a spirit of collaboration between architects and archaeologists which provides an example of good museum practice and laid the basis for the subsequent development of this important institution in Southern Italy.

Abstract The article focuses on the results obtained from the investigation of two yellow coffins in the Museo Archeologico Nazionale di Napoli (MANN; inv. nos. 2344, 2348; 2341, 2347), which were sold to the Real Museo Borbonico by the traveller Giuseppe Picchianti in 1827. Although first studied in 1989, a new and in-depth study on painting and typology of these objects was made in 2016 on the occasion of the rearrangement of the per- manent display. Starting with a detailed analysis and a precise description of the coffins, issues surrounding their provenance and chronology have now been updated. Furthermore, it was also necessary to investigate some unclear iconographical and structural details on the coffins, an examination that suggested, on the one hand an ancient reuse of one of the two coffins and, on the other hand, the possible production of both coffins by a possible common draftsman.

Il tema di questo studio è l’analisi di un frammento inedito di uno specchio etrusco del Museo Archeologico di Milano, su cui figura Perse con harpè e kibisis, in una scena verosimilmente successiva all’esecuzione di Metus. Per individuare la scena, l’officina e l’ambiente in cui questo manufatto fu prodotto, è stato stilato un catalogo comprendente altri quattordici specchi su cui compare tale coppia, ciascuno dei quali presenta degli attributi tipici dell’eroe. Discussed are the iconographical aspects of a scene on an unpublished fragment of an Etruscan mirror preserved at the Archaeological Museum of Milan. The scene depicts Perse with harpe and kibisis after the killing of Medusa. To identify the complete subject of the scene, the workshop, and the environment in which this artefact was produced, a catalog has been assembled that includes fourteen more mirrors on which this couple appears, each of which shows the typical attributes of the hero.

Paintings and sculptures depicting gazelles ( Gazella spp.) are frequent in Ancient Roman art. Images of gazelles have been discovered during the archaeological explorations of Herculaneum and Pompeii, devastated by the eruption of Mount Vesuvius in ad 79. Two bronze statues of ungulates from the Villa of the Papyri, Herculaneum, now on display at the Museo Archeologico Nazionale di Napoli (National Archaeological Museum of Naples), have not been correctly identified, consequently causing erroneous speculation about their cultural significance. The aim of this paper is to suggest which gazelle species inspired these artefacts, and to also discuss the wider context of the artistic representations of gazelles from Herculaneum and Pompeii and their surroundings.

The Riace Bronzes are two full-size bronzes cast around the 5th century BC, located at the ‘Museo Archeologico Nazionale della Magna Grecia’ in Reggio Calabria; they truly represent significant sculptural masterpieces of Greek art in the world due to their outstanding manufacture. This paper describes the methodology for the achievement of a 3D model of the two sculptures lead by the Geomatics Laboratory of the Department of Civil, Energetic, Environmental and Material Engineering (DICEAM) of the Mediterranean University of Reggio Calabria. 3D modeling is based on the use of imaging techniques such as digital photogrammetry and computer vision. The achieved results demonstrate the effectiveness of the technique used in the cultural heritage field for the creation of a digital production and replication through 3D printing. Moreover, when considering renewed interest in the context of international museological studies, augmented reality (AR) innovation represents a new method for amplifying visitor numbers into museums despite concerns over returns on investment. Thus, in order to further valorize and disseminate archaeological heritage, we are developing an app for tourism purposes. The created app allows the user, in real time, to obtain additional information on the object of investigation, even allowing them to view the 3D model in AR.

More than thirty years — a generation of man — have passed since the chance discovery in 1968 of what has been referred to since as the collegium of the Augustales at Misenum. In addition to statuary and architectural elements of exceptional interest, the excavations, which presented formidable technical problems, have yielded a rich epigraphical dossier pertaining to the local Augustales, and to political, social, economic, religious, and administrative aspects of their organization from the Julio-Claudian and late Flavian periods to the end of the Antonine age. One of these inscriptions has at last received appropriate scholarly attention; it both whets the appetite for more and reveals the inadequacies of the cursory accounts of the dossier published previously. Now that all the material recovered from the site has been transported to the Castello Aragonese di Baia, and is attractively displayed in the new Museo Archeologico dei Campi Flegrei, one dares to hope that the entire complex and its contents will soon receive the comprehensive archaeological and historical treatment that they so richly deserve.

Ao levar em consideração os estudos contemporâneos sobre as atitudes diante da morte e dos mortos, analisaremos, dada à relevância documental, temática e histórica, alguns epitáfios femininos presentes na região de Mediolanum, atual cidade de Milão. Sabemos que, embora não tenhamos vestígios de necrópoles, tal como em Isola Sacra, os testemunhos mortuários presentes no Civico Museo Archeologico di Milano apresentam uma vasta gama de estelas em pedras, lastras de monumentos funerários com guirlandas em pedra, altares e urnas funerárias em mármores, evidenciando a riqueza de uma região conhecida, à época de 49 a.C., como municipium ciuium romanorum. Sob esse aspecto, torna-se relevante analisar, por exemplo, uma elegante estela, datada entre os anos finais do século II d. C., como um raro testemunho de uma mulher que, sem dúvida, com uma forte personalidade, comissiona o monumento funerário aos seus familiares. A partir daí, compreendemos que os epitáfios imortalizavam os falecidos bem como estimulavam a pietas de seus familiares. Logo, ao fazer referência à epigrafia sepulcral, realçamos as conexões e as simbologias entre palavras escritas e faladas, pois, assim concebida, a repetição ritual evocava a memória do falecido.

Considering contemporary studies on attitudes towards death and the dead, we will consider, given the documentary, thematic and historical relevance, some epitaphs for females present in the region of Mediolanum, the modern city of Milan. We know that, although we do not have remains of necropolises, as in Isola Sacra, the mortuary evidences present at Civico Museo Archeologico di Milano exhibit a wide range of stone stelae, lastras of funeral monuments with stone garlands, marble funeral altars and urns, highlighting the richness of a region known, at the time of 49 BC, as municipium ciuium romanorum. In this respect, it becomes relevant to analyze, for example, a gorgeous stela, dated between the last years of the second century AD, as a rare testimony of a woman who, undoubtedly, with a strong personality, commissions the funeral monument to her relatives. Thenceforth, we understand that the epitaphs immortalized the deceased as well as stimulated the pietas of their relatives. Thus, in referring to the sepulchral epigraphy, we emphasize the connections and symbology between written and spoken words, for, thus conceived, ritual repetition evoked the memory of the deceased.

Abstract. Capturing paintings with gigapixel resolution (resolution around 1000 megapixels or greater) is an innovative technique that is starting to be used by some important international museums for documenting, analysing, and disseminating their masterpieces.This line of research is extremely interesting, not only for art curators and scholars, but also for the general public. The results can be disseminated through online virtual tours, offering a detailed interactive visualization. These virtual tours allow the viewer to delve into the artwork, in such a way, that it is possible to zoom in and observe those details, which would be negligible to the naked eye in a real visit. Therefore, this kind of virtual visualization using gigapixel images becomes an essential tool to enhance this cultural heritage and to make it accessible to everyone.This article will describe an affordable methodology, based on SfM photogrammetry techniques, with which it will be possible to achieve a very high level of detail and chromatic fidelity, when documenting and disseminating pictorial artworks. As a practical example, there will be shown a case study of the altarpiece, from the Museo de Bellas Artes de Valencia (Spain), entitled Virgen de las fiebres, painted around 1500 by Bernardino di Benedetto di Biagio, nicknamed ‘Il Pinturicchio' (Perugia, ca. 1454 – Siena, 1513).

This study concerns the characterization of the color palette of Michelino da Besozzo, one of the leading painters and illuminators of the Late Gothic period in Northern Italy. The artist’s relationship with the color blue was investigated by considering the recipe for lapis lazuli given by the artist to Giovanni Alcherio in Venice in 1410 and found in the medieval treatise of Jean Lebegue. The paper highlights this important evidence for the study of painting technique in the first half of the 15th century with an analytical and technical study of two paintings: The Mystic Marriage of Saint Catherine (Siena, Pinacoteca Nazionale, inv. 171) and The Madonna of the Rose Garden (Verona, Museo di Castelvecchio, inv. 173-1B359). These two case studies were approached through analyses carried out with non-invasive and portable techniques such as Energy Dispersive X-ray Fluorescence (ED-XRF) spectroscopy and Fiber Optics Reflectance Spectroscopy (FORS). The results show a color palette based on ultramarine, azurite, verdigris or copper resinate; earths, cinnabar or vermillion; and lead white, yellow and red ochre and lac. These preliminary results made it possible to clarify certain aspects of the artist’s style and his painting technique and identify common elements between the two works of art.

<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span style="font-size: 9pt; font-family: 'TimesNewRomanPSMT';">This paper summarizes more than four decades of cetacean research data collected by the Museo Civico di Storia Naturale di Milano and, between 1986 and 2003, by the Centro Studi Cetacei of the Società Italiana di Scienze Naturali. It is the result of the collaboration among scientists of several Italian museums. A detailed analysis concerning the amount and taxonomic representative</span><span style="font-size: 9pt; font-family: 'TimesNewRomanPSMT';">- </span><span style="font-size: 9pt; font-family: 'TimesNewRomanPSMT';">ness of the extant cetacean collections in Italian naturalistic museums and analogous institutions up until and including 2007 has been carried out. Adequately preserved and anatomically most significant specimens only have been taken into consideration. On the whole 1033 specimens representing 41 species are considered herein. They are housed in 53 institutions, of which the following ones hold the most important collections: the museums of Calci (Pisa), Genova, Firenze, Milano, Roma Zoology, </span><span style="font-size: 9pt; font-family: 'TimesNewRomanPSMT';">Siena, Comiso and Napoli. All the surveyed institutions are listed, with a short introduction about their material and an inven</span><span style="font-size: 9pt; font-family: 'TimesNewRomanPSMT';">- </span><span style="font-size: 9pt; font-family: 'TimesNewRomanPSMT';">tory of it. Specimens are then arranged in systematic order and some further data are provided in a table for each species. Such tables report the items of each museum with regard to quantity, preserva</span><span style="font-size: 9pt; font-family: 'TimesNewRomanPSMT';">- </span><span style="font-size: 9pt; font-family: 'TimesNewRomanPSMT';">tion techniques and, whenever possible, collecting data. Finally, a comparative analysis of the results is presented under multiple profiles: historical, preservation techniques, suitability of the specimens for research, place of origin, and the importance of the Italian cetacean collections for research and education. </span></p><p> </p></div></div></div>

<p><strong>Abstract.</strong> Museums perform various tasks such as collecting, cataloguing and preserving the cultural heritage (CH). In addition, they have an institutional task, which is to disseminate the heritage, discovering the most efficient tools to tell how a monument to the origin could have looked. In this process of knowledge and dissemination, digital technologies play an important role. In fact, they allow building a digital archive in which virtual copies of found objects are available to scholars for more or less in-depth analysis. Digital archives of this type also allow the dissemination of scientific data, constituting, if published, databases accessible everywhere. The role of the digital archive is also to preserve the characteristics of the finds, which are often already deteriorated, without worsening the situation through their continuous manipulation or movement. Of course, the construction of digital copies must be done in the most rigorous way so as to guarantee scholars the truthfulness of the data being analysed, and building procedures as standardized as possible to allow their use even by unskilled personnel. Moreover, museums have the very complex task of communicating the heritage, which envisages two steps: reconstruction and communication. The first phase, reconstruction, is a very complex operation, especially in the archaeological field, where there are few documents and the hypotheses are based on principles of similarity. Since no direct reference is available, the reconstruction takes place through comparison with similar objects from the same period, the same area and with the same function. Communication, then, has the task of disseminating the results and the hypotheses made, with the most appropriate tools. 3D printing allows to build three-dimensional models of reality, and therefore immediately comprehensible, even of complex forms, not always achievable with the traditional tools of modelling tools. This article describes this complex process, and its application to the funerary aediculae monument at the Museo Archeologico di Mantova, on the occasion of the refurbishment of the museum and its exhibits. In this experience, the use of new technologies is being investigated in combination with more traditional methods of representation, the maquette, but not less effective.</p>