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Journal articles on the topic 'Museo archeologico nazionale del melfese'

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Published: 26 July 2024

Last updated: 28 July 2024

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1

Noferi, Claudia. "Materiali vulcenti nel Museo Archeologico Nazionale di Firenze : alcune riflessioni." Mélanges de l'École française de Rome. Antiquité, no. 135-1 (January 1, 2023): 107–15. http://dx.doi.org/10.4000/mefra.14146.

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2

Ammerman, Rebecca Miller, Lucia Amalia Scatozza Höricht, and Lucia Amalia Scatozza Horicht. "Le Terrecotte figurate di Cuma del Museo Archeologico Nazionale di Napoli." American Journal of Archaeology 94, no. 3 (July 1990): 511. http://dx.doi.org/10.2307/505825.

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3

Nicastro, G., and P. Puma. "VIRTUAL HERITAGE FOR THE DISSEMINATION OF THE BARATTI IN 3D PROJECT." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W9 (January 31, 2019): 529–34. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w9-529-2019.

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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 &ndash; 2D and 3D representation &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>

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4

Izzo, Filomena. "Technological Innovation and Management Skills: Case Study of the Museo Archeologico di Napoli." International Business Research 10, no. 8 (July 4, 2017): 44. http://dx.doi.org/10.5539/ibr.v10n8p44.

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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.

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5

Burnett, A. M. "F. Catalli, Tarquinia. Museo Archeologico Nazionale. Le Monete (Materiali del Museo Archeologico Nazionale di Tarquinia X). Rome: G. Bretschneider, 1987. Pp. 119, 17 pls. ISBN 88-7689-005-X." Journal of Roman Studies 79 (November 1989): 265–66. http://dx.doi.org/10.2307/301274.

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6

Mainieri, Stefania. "A New Study on Two Yellow Coffins at the Museo Archeologico Nazionale di Napoli (MANN)." Annali Sezione Orientale 83, no. 1-2 (August 15, 2023): 3–37. http://dx.doi.org/10.1163/24685631-12340139.

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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.

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7

Masseti, Marco. "Gazelles (Gazella spp.) depicted in frescoes and sculpture from Herculaneum and Pompeii." Archives of Natural History 49, no. 2 (October 2022): 259–68. http://dx.doi.org/10.3366/anh.2022.0789.

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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.

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8

Germanò, Germano. "Il Museo della Magna Grecia. Dal progetto di Piacentini ai primi allestimenti del Museo Archeologico Nazionale di Reggio Calabria." Opus Incertum 9 (December 13, 2023): 122–33. http://dx.doi.org/10.36253/opus-14846.

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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.

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9

Moignard, E. "Notice. Corpus vasorurn antiquorum: Italia, 68: gioia del colle-museo archeologico nazionale (vol. 1). A Ciancio." Classical Review 47, no. 1 (January 1, 1997): 219–20. http://dx.doi.org/10.1093/cr/47.1.219.

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10

Tarantino, Chiara. "Plinio, Pausania e un modello di Marsia : riflessioni da una kylix del Museo Archeologico Nazionale Tarquiniese." Agoghè, no. 12 (2022): 7–45. http://dx.doi.org/10.12871/97888333951111.

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11

Crawford, Michael H. "A. POLOSA, MUSEO ARCHEOLOGICO NAZIONALE DELLA SIBARITIDE. IL MEDAGLIERE (Tekmeria 12). Paestum: Pandemos, 2009. Pp. 304, numerous pls. isbn9788887744224. €80.00." Journal of Roman Studies 102 (November 2012): 353. http://dx.doi.org/10.1017/s0075435812000469.

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12

Barrile, Vincenzo, Antonino Fotia, Gabriele Candela, and Ernesto Bernardo. "Geomatics Techniques for Cultural Heritage Dissemination in Augmented Reality: Bronzi di Riace Case Study." Heritage 2, no. 3 (July 29, 2019): 2243–54. http://dx.doi.org/10.3390/heritage2030136.

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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.

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13

Ceccacci, Silvia, Andrea Generosi, Alma Leopardi, Maura Mengoni, and And Ferruccio Mandorli. "The Role of Haptic Feedback and Gamification in Virtual Museum Systems." Journal on Computing and Cultural Heritage 14, no. 3 (July 2021): 1–14. http://dx.doi.org/10.1145/3453074.

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This article reports the results of a research aimed to evaluate the ability of a haptic interface to improve the user experience (UX) with virtual museum systems. In particular, two user studies have been carried out to (1) compare the experience aroused during the manipulation of a 3D printed replica of an artifact with a pen-like stylus with that aroused during the interaction (visual and tactile) with a 3D rendering application using a haptic interface and PC monitor, and (2) compare the users’ perceived usability and UX among a traditional mouse-based desktop interface, haptic interface, and haptic gamified interface based on the SUS scale and the AttrakDiff2 questionnaire. A total of 65 people were involved. The considered haptic application is based on the haptic device Omega 6 produced by Force Dimension, and it is a permanent attraction of the Museo Archeologico Nazionale delle Marche. Results suggest that the proposed haptic interface is suitable for people who commonly use mouse-based computer interaction, but without previous experience with haptic systems, and provide some insights useful to better understand the role of haptic feedback and gamification in enhancing UX with virtual museums, and to guide the development of other similar applications in the future.

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14

Sparkes, Brian A. "(A.M.) Esposito and (G.) De Tommaso Museo Archeologico Nazionale di Firenze. Antiquarium. Vasi attici. Florence: Edizioni II Ponte, 1993. Pp. 102, ill. L18,000." Journal of Hellenic Studies 117 (November 1997): 263. http://dx.doi.org/10.2307/632615.

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15

McPhee, Ian. "Corpus Vasorum Antiquorum. Italia LXVIII. Gioia del Colle, Museo archeologico nazionale, I. By A. Cancio. Rome: L'Erma di Bretschneider, 1995. Pp 35 + ill. L230,000." Journal of Hellenic Studies 116 (November 1996): 231–32. http://dx.doi.org/10.2307/632018.

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16

D'Auria, Alessia, Fabio Marzaioli, Isabella Passariello, Riccardo Spaccini, Stefano Conti, Giuseppe Melchionna, Maurizio Teobaldelli, and Gaetano Di Pasquale. "Can plant material be considered part of cultural heritage? A lesson from Vitis vinifera L. remains stored in the Museo Archeologico Nazionale di Napoli, (Italy)." Journal of Cultural Heritage 60 (March 2023): 72–77. http://dx.doi.org/10.1016/j.culher.2023.02.001.

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17

Gianolio, S., F. Mermati, and G. Genovese. "Image-based 3D modeling for the knowledge and the representation of archaeological dig and pottery: Sant'Omobono and Sarno project's strategies." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5 (June 6, 2014): 243–50. http://dx.doi.org/10.5194/isprsarchives-xl-5-243-2014.

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This paper presents a "standard" method that is being developed by ARESlab of Rome's La Sapienza University for the documentation and the representation of the archaeological artifacts and structures through automatic photogrammetry software. The image-based 3D modeling technique was applied in two projects: in Sarno and in Rome. The first is a small city in Campania region along Via Popilia, known as the ancient way from Capua to Rhegion. The interest in this city is based on the recovery of over 2100 tombs from local necropolis that contained more than 100.000 artifacts collected in "Museo Nazionale Archeologico della Valle del Sarno". In Rome the project regards the archaeological area of Insula Volusiana placed in Forum Boarium close to Sant'Omobono sacred area. During the studies photographs were taken by Canon EOS 5D Mark II and Canon EOS 600D cameras. 3D model and meshes were created in Photoscan software. The TOF-CW Z+F IMAGER® 5006h laser scanner is used to dense data collection of archaeological area of Rome and to make a metric comparison between range-based and image-based techniques. In these projects the IBM as a low-cost technique proved to be a high accuracy improvement if planned correctly and it shown also how it helps to obtain a relief of complex strata and architectures compared to traditional manual documentation methods (e.g. two-dimensional drawings). The multidimensional recording can be used for future studies of the archaeological heritage, especially for the "destructive" character of an excavation. The presented methodology is suitable for the 3D registration and the accuracy of the methodology improved also the scientific value.

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18

Giovannini, Annalisa. "Pendenti in vetro di forma circolare. Spunti di ricerca dagli esemplari del Museo Archeologico Nazionale di Aquileia e dei Civici Musei di Storia ed Arte di Trieste." Pallas, no. 83 (October 1, 2010): 117–41. http://dx.doi.org/10.4000/pallas.10794.

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19

Weber-Lehmann, Cornelia. "Valentina Vincenti: La Tomba Bruschi di Tarquinia. Roma: Giorgio Bretschneider Editore 2009. XI, 190 S. 23 Taf. (Materiali del Museo Archeologico Nazionale di Tarquinia. 17. Archaeologica. 150.)." Gnomon 87, no. 1 (2015): 57–61. http://dx.doi.org/10.17104/0017-1417_2015_1_57.

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20

Ridgway, F. R. Serra. "More Material From Tarquinia - Giampiero Pianu: Ceramiche etrusche sovradipinte. (Archaeologica 21: Materiali Del Museo Archeologico Nazionale di Tarquinia, 3.) Pp. viii + 149; 114 plates. Rome: Giorgio Bretschneider, 1982. Paper, L. 130,000. - Annamaria Comella: Il deposito votivo presso ;'Ara della Regina. (Archaeologica 22: Materiali del Museo Archeologico Nazionale di Tarquinia, 4.) Pp. xii + 242; 126 plates. Rome: Giorgio Bretschneider, 1982. Paper, L. 180,000." Classical Review 35, no. 1 (April 1985): 166–69. http://dx.doi.org/10.1017/s0009840x00107802.

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21

Estiot, Sylviane. "Médaillons romains. À propos de : P. F. Mittag, Römische Medaillons. Caesar bis Hadrian, Stuttgart 2010 ; S. Bani, M. Benci, A. Vanni, I Medaglioni Romani del Monetiere del Museo Archeologico Nazionale di Firenze, Gubbio s. d. (2011) ; S. Bani, M. Benci, A. Vanni, I Medaglioni Provinciali e i Contorniati Romani nelle raccolte del Monetiere del Museo Archeologico Nazionale di Firenze, Gubbio s. d. (2012)." Revue des Études Anciennes 117, no. 2 (2015): 613–20. http://dx.doi.org/10.3406/rea.2015.5943.

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22

Wallace, Rex E. "Cippi inscribed in Etruscan and Latin from the Tarquinia Museum and their social context - JORMA KAIMIO, THE CIPPUS INSCRIPTIONS OF MUSEO NAZIONALE DI TARQUINIA (Materiali del Museo Archeologico Nazionale di Tarquinia XVIII; Archaeologica 154; Giorgio Bretschneider Editore, Roma2010). Pp. xii + 217, many figs. ISSN 0391-9293; ISBN 978-88-7689-242-4. EUR. 230." Journal of Roman Archaeology 24 (2011): 508–11. http://dx.doi.org/10.1017/s1047759400003512.

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23

Visonà, Paolo. "The coins of Tarquinia - FIORENZO CATALLI , LE MONETE (Materiali del Museo Archeologico Nazionale di Tarquinia 10, “Archaeologica” 69, Giorgio Bretschneider, Roma 1987). Pp. 119, Tav.17. Lit.170.000. ISBN 88-7689-005-X." Journal of Roman Archaeology 2 (1989): 154–55. http://dx.doi.org/10.1017/s1047759400010412.

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24

Malone, Caroline, and Simon Stoddart. "Ripostigli di bronzi della sicilia nel museo archeologico di Siracusa. By Rosa Maria Albanese Procelli (with appendices by Fulvia Lo Schiavo). Palermo: Accademia Nazionale di Scienze, Lettere e Arti. 1993. 344 pp., 50 pls. 67 figs. L. 100.000." Proceedings of the Prehistoric Society 61 (1995): 472–73. http://dx.doi.org/10.1017/s0079497x0000325x.

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25

Buitron-Oliver, Diana. "Archaic red-figure vases from Tarquinia's cemetery - GLORIA FERRARI , I VASI ATTICI A FIGURE ROSSE DEL PERIODO ARCAICO (Materiali del Museo Archeologico Nazionale de Tarquinia XI, Archaeologica 73, Giorgio Bretschneider, Roma 1988). Pp. 196, tav. 99. ISBN 88-7689-009-2. Lit. 550.000." Journal of Roman Archaeology 7 (1994): 317–20. http://dx.doi.org/10.1017/s1047759400012654.

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26

Whitehouse, David. "Glass from the port city of Aquileia - LUCIANA MANDRUZZATO e ALESSANDRA MARCANTE (a cura di), VETRI ANTICHI DEL MUSEO ARCHEOLOGICO NAZIONALE DI AQUILEIA. IL VASELLAME DA MENSA (Corpus delle Collezioni del Vetro nel Friuli Venezia Giulia, vol. 2; Comitato Nazionale Italiano dell’AIHV; Pasian di Prato2005). Pp. 173, numerous ills, including colour. ISBN 88- 88018-47-6." Journal of Roman Archaeology 19 (2006): 538–39. http://dx.doi.org/10.1017/s1047759400006772.

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27

Hanoune, Roger. "M. Cavalieri , Dei, eroi ed offerenti. La collezione di bronzetti etrusco-italici del Museo archeologico nazionale di Parma . Rome, Institut historique belge, 2006, 260 p., ill. (Institut historique belge de Rome). (Études de philologie, d’archéologie et d’histoire anciennes , 54). ISBN 90-74461-62-X." Revue du Nord 368, no. 5 (December 1, 2006): I. http://dx.doi.org/10.3917/rdn.368.0231a.

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28

Griffith, Alison B. "ARCHITECTURAL TERRACOTTAS - P. Lulof, C. Rescigno (edd.) Deliciae Fictiles IV. Architectural Terracottas in Ancient Italy. Images of Gods, Monsters and Heroes. Proceedings of the International Conference held in Rome (Museo Nazionale Etrusco di Villa Giulia, Royal Netherlands Institute) and Syracuse (Museo Archeologico Regionale ‘Paolo Orsi’), October 21–25, 2009. Pp. xiv + 634, ills, maps, colour pls. Oxford: Oxbow Books, 2011. Cased, £40, US$80. ISBN: 978-1-84217-426-5." Classical Review 63, no. 1 (March 1, 2013): 243–45. http://dx.doi.org/10.1017/s0009840x12003228.

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29

Ridgway, F. R. Serra. "Etruscan Vases - Birgitte Ginge: Ceramiche etrusche a figure nere. (Archaeologica 72: Materiali del Museo Archeologico Nazionale di Tarquinia, 12.) Pp. 117; 105 plates. Rome: Bretschneider, 1987. Paper, L. 250,000. - Nigel Jonathan Spivey: The Micali Painter and his Followers. (Oxford Monographs on Classical Archaeology.) Pp. xv + 103; 19 figures; 40 plates. Oxford: Clarendon Press, 1987. £30." Classical Review 39, no. 2 (October 1989): 341–44. http://dx.doi.org/10.1017/s0009840x00272120.

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30

Serra Ridgway, Francesca R. "Etruscan bronzes from Tarquinia - MARIA PAOLA BINI, GIANLUCA CARAMELLA, SANDRA BUCCIOLI, I BRONZI ETRUSCHI E ROMANI (Materiali del Museo Archeologico Nazionale di Tarquinia XIII = Archaeologica 114, Giorgio Bretschneider, Roma 1995). 1: pp. xxxiv + 296; 2: pp. 297-624, pls. i-cxvi (line) and cxvii-clxii (half tone) (vol. curato da G. Pianu). ISBN 88-7689-149-8. Lit. 1,250,000." Journal of Roman Archaeology 11 (1998): 404–7. http://dx.doi.org/10.1017/s1047759400017426.

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31

Turfa, Jean MacIntosh. "Rehabilitating the Tomba Bruschi at Tarquinia: Etruria's élite in the later 4th and early 3rd c. B.C. - VALENTINA VINCENTI, LA TOMBA BRUSCHI DI TARQUINIA (Materiali del Museo Archeologico Nazionale di Tarquinia, vol. XVII; Archaeologica 150; Giorgio Bretschneider Editore, Roma2009). Pp. xi + 190, Tav. 23 including colour. ISSN 0391-9293; ISBN 978-88-7689-235-6. EUR. 190." Journal of Roman Archaeology 23 (2010): 455–58. http://dx.doi.org/10.1017/s1047759400002555.

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32

Serra Ridgway, Francesca R. "Etruscan mirrors and archaeological context - ALBA FRASCARELLI, ITALIA 2, PERUGIA-MUSEO ARCHEOLOGICO NAZIONALE I (Corpus Speculorum Etruscorum [henceforth CSE]; “L'Erma” di Bretschneider, Rome 1995). Pp. 179, figs. 126. ISBN 88-7062-912-0. - GABRIELE CATENI, ITALIA 3, VOLTERRA-MUSEO GUARNACCI I (CSE; “L'Erma” di Bretschneider, Rome 1995). Pp. 194, figs. 140. ISBN 88-7062-911-2. - DENISE EMMANUEL-REBUFFAT, FRANCE 1, PARIS-MUSÉE DU LOUVRE III (CSE; “L'Erma” di Bretschneider, Rome 1997). Pp. 190, figs. 112. ISBN 88-7062-946-5. - LARISSA BONFANTE, USA 3, NEW YORK-THE METROPOLITAN MUSEUM OF ART (CSE; “L'Erma” di Bretschneider, Rome 1997). Pp. 186, figs. 100. ISBN 88-7062-997-X. - MARIA STELLA PACETTI, ITALIA 4, ORVIETO–MUSEO “CLAUDIO FAINA” (CSE; “L'Erma” di Bretschneider, Rome 1998). Pp. 167, figs. 110. ISBN 88-8265-028-6. - GABRIELLA BARBIERI (with LORENZO GALEOTTI), ITALIA 5, VITERBO–MUSEO ARCHEOLOGICO NAZIONALE (CSE; “L'Erma” di Bretschneider, Rome 1999). Pp. 209, figs. 156. ISBN 88-8265-050-2." Journal of Roman Archaeology 13 (2000): 407–18. http://dx.doi.org/10.1017/s1047759400019024.

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33

Ridgway, David. "Etrusco-Italic progress - SINCLAIR BELL and HELEN NAGY (edd.), NEW PERSPECTIVES ON ETRURIA AND EARLY ROME. IN HONOR OF RICHARD DANIEL DE PUMA (University of Wisconsin Press, Madison2009). Pp. xxiv + 305, ills. 122. ISBN 978-0-299-23030-2. $55. - FULVIA LO SCHIAVO and ANTONELLA ROMUALDI (edd.), I COMPLESSI ARCHEOLOGICI DI TRESTINA E DI FABBRECCE NEL MUSEO ARCHEOLOGICO DI FIRENZE (Accademia Nazionale dei Lincei, Monumenti Antichi, serie miscellanea 12; Giorgio Bretschneider, Rome2009). Pp. 206, ills. ISBN 978-88-7689-214-1; ISSN 0391-8084. EUR. 230. - ANTHONY TUCK, THE NECROPOLIS OF POGGIO CIVITATE (MURLO). BURIALS FROM POGGIO AGUZZO (Archaeologica 153; Giorgio Bretschneider, Rome2009). Pp. ix + 146, fig. 16, tav. 33 fuori testo. ISBN 978-88-7689-217-6; ISSN 0391-9293. EUR. 180. - ROBERTA GABRIELLI, CERAMICA ETRUSCO-CORINZIA DEL MUSEO ARCHEOLOGICO DI TARQUINIA (Archaeologica 155; Materiali del Museo Archeologico Nazionale di Tarquinia XIX; Giorgio Bretschneider, Rome2010). Pp. xiii + 567, fig. 26, tav. 30 fuori testo. ISBN 978-88-7689-251-6; ISSN 0391-9293. EUR. 190. - CORINNA RIVA, THE URBANISATION OF ETRURIA. FUNERARY PRACTICES AND SOCIAL CHANGE, 700-600 BC (Cambridge University Press2010). Pp. xii + 247, ills. 59. ISBN 978-0-521-51447-7. $98." Journal of Roman Archaeology 24 (2011): 512–22. http://dx.doi.org/10.1017/s1047759400003524.

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34

Maffre, Jean-Jacques. "Vases étrusques et vases attiques au Musée de Tarquinia [Archeologia 13, 16, 32 et 33, Materiali del Museo archeologico nazionale di Tarquinia, I, II, V et VI ; Giampiero Pianu, Ceramiche etrusche a figure rosse ; Lucrezia Campus, Ceramica attica a figure nere : piccoli vasi e vasi plastici ; Carlo Tronchetti, Ceramica attica a figure nere : grandi vasi : anfore, pelikai, crateri ; Elena Pierro, Ceramica « ionica » non figurata e coppe attiche a figure nere]." Bulletin de l'Association Guillaume Budé : Lettres d'humanité 44, no. 4 (1985): 417–21. http://dx.doi.org/10.3406/bude.1985.1697.

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Serra Ridgway, Francesca R. "The University of Milan's final reports on Tarquinia, and two exhibitions on Tarquinia and her neighbours - CRISTINA CHIARAMONTE TRERÉ (ed.), TARQUINIA. SCAVI SISTEMATICI NELL' ABITATO, CAMPAGNE 1982-1988. I MATERIALI, 1 (Université degli Studi di Milano, Tarchna II; ‘L'Erma’ di Bretschneider, Rome 1999). Pp. xxxiii + 402, 89 pls. ISBN 88-8265-068-5. Euro 299. - MARIA BONGHI JOVINO (ed.), TARQUINIA. SCAVI SISTEMATICI NELL'ABITATO, CAMPAGNE 1982-1988. I MATERIALI, 2 (Università degli Studi di Milano, Tarchna III>; ‘L'Erma’ di Bretschneider, Rome 2001). Pp. xxxviii + 576, 151 pls. ISBN 88-8265-165-7. Euro 403. - MARIA CATALDI (ed.), TARQUINIA, MUSEO ARCHEOLOGICO NAZIONALE. GUIDA BREVE (‘L'Erma’ di Bretschneider- Ingegneria per la Cultura, Rome 2001). Pp. 79, 95 colour figs. in text. ISBN 88-8265-122-3. Euro 26. - ANNA MARIA MORETTI SGUBINI (ed.), TARQUINIA ETRUSCA. UNA NUOVA STORIA (Catalogo della Mostra, Tarquinia, Museo Archeologico Nazionale, 4 ottobre–20 dicembre 2001; ‘L'Erma’ di Bretschneider – Ingegneria per la Cultura, Rome 2001). Pp. x + 140, 198 figs. in text (many colour). ISBN 88-8265-175-4. Euro 104. - ANNA MARIA MORETTI SGUBINI (ed.), VEIO, CERVETERI, VULCI. CITTÀ D'ETRURIA A CONFRONTO (Catalogo della Mostra, Roma, Museo Nazionale Etrusco di Villa Giulia–Villa Poniatowski, 1 ottobre–30 dicembre 2001; ‘L'Erma’ di Bretschneider – Ingegneria per la Cultura, Rome 2001). Pp. xiv + 276, 545 black and white figs., 19 pls. (colour). ISBN 88-8265-174-6. Euro 155." Journal of Roman Archaeology 16 (2003): 463–68. http://dx.doi.org/10.1017/s1047759400013301.

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Crawford, Michael H. "M. Staub Gierow, POMPEJANISCHE KOPIEN AUS DÄNEMARK (Studi della Soprintendenza Archeologica di Pompei 24). Rome: ‘L'Erma’ di Bretschneider, 2008. Pp. 308, illus. isbn9788882654405. €230.00. - P. Guzzo and M. Guidobaldi, NUOVE RICERCHE ARCHEOLOGICHE NELL'AREA VESUVIANA (Studi della Soprintendenza Archeologica di Pompei 25). Rome: ‘L'Erma’ di Bretschneider, 2008. Pp. 578, illus. isbn9788882654795. €350.00. - A. Carrella , MARMORA POMPEIANA NEL MUSEO ARCHEOLOGICO NAZIONALE DI NAPOLI (Studi della Soprintendenza Archeologica di Pompei 26). Rome: ‘L'Erma’ di Bretschneider, 2008. Pp. 301, illus. isbn9788882654740. €220.00. - P. Guzzo and V. Scarano Ussani, EX CORPORE LUCRUM FACERE. LA PROSTITUZIONE NELL'ANTICA POMPEI (Studi della Soprintendenza Archeologica di Pompei 27). Rome: ‘L'Erma’ di Bretschneider, 2009. Pp. 179, illus. isbn9788882655587. €120.00. - D. Esposito, LE OFFICINE PITTORICHE DI IV STILE A POMPEI: DINAMICHE PRODUTTIVE ED ECONOMICHE-SOCIALI (Studi della Soprintendenza Archeologica di Pompei 28). Rome: ‘L'Erma’ di Bretschneider, 2009. Pp. 294, illus. isbn9788882654962. €250.00. - A. Varone and G. Stefani, TITULORUM PICTORUM POMPEIANORUM QUI IN CIL VOL. IV COLLECTI SUNT: IMAGINES (Studi della Soprintendenza Archeologica di Pompei 29). Rome: ‘L'Erma’ di Bretschneider, 2009. Pp. 544, illus. isbn9788882653927. €250.00. - M. Verzár-Bass and F. Oriolo, RILEGGERE POMPEI. II. L'INSULA 13 DELLA REGIO VI (Studi della Soprintendenza Archeologica di Pompei 30). Rome: ‘L'Erma’ di Bretschneider, 2009. Pp. 556, illus. isbn9788882655280. €330.00. - A. Varone, TITULORUM GRAPHIO EXARATORUM QUI IN CIL VOL. IV COLLECTI SUNT: IMAGINES (Studi della Soprintendenza Archeologica di Pompei 31). Rome: ‘L'Erma’ di Bretschneider, 2012. Pp. 550, illus. isbn9788882656263. €440.00." Journal of Roman Studies 103 (October 14, 2013): 297–98. http://dx.doi.org/10.1017/s0075435813000373.

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Berriola, Riccardo. "Un gruppo di culle-tintinnabula del Museo Archeologico Nazionale di Napoli." Les Carnets de l'ACoSt, no. 15 (December 2, 2016). http://dx.doi.org/10.4000/acost.922.

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Berriola, Riccardo. "Le terrecotte della collezione di Raffaele Gargiulo al Museo Archeologico Nazionale di Napoli." Les Carnets de l'ACoSt, no. 14 (March 5, 2016). http://dx.doi.org/10.4000/acost.874.

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Varner, Eric R. "Book Review of Museo Archeologico Nazionale di Palestrina: Le Sculpture, by Nadia Agnoli." American Journal of Archaeology 110, no. 4 (October 2006). http://dx.doi.org/10.3764/ajaonline1104.varner.

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Vine, Brent. "Jorma Kaimio. The Cippus Inscriptions of Museo Nazionale di Tarquinia. Materiali del Museo Archeologico Nazionale di Tarquinia XVIII. (Rome: Giorgio Bretschneider Editore, 2010)." Etruscan Studies 14, no. 1 (January 2011). http://dx.doi.org/10.1515/etst.2011.14.1.217.

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Zubiri, Eukene Bilbao. "Une figurine de type métapontin dans la collection Berne-Malibu-Copenhague." Les Carnets de l'ACoSt 24 (2024). http://dx.doi.org/10.4000/11rv3.

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Cette contribution présente une figurine appartenant à la collection Berne-Malibu-Copenhague, issue de pillages réalisés en Italie du Sud dans les années 1970-1980 et conservée désormais au Museo nazionale archeologico della Sibaritide. Examinée dans le cadre de la publication d’ensemble de cette collection, en cours de préparation, la pièce se caractérise par une grande originalité morphologique. Le type moulé a été créé à Métaponte à la fin du VIIe siècle av. J.-C., mais la technique de fabrication combinant un avers moulé et un revers modelé ne trouve pas de parallèle exact dans cette cité, ni dans les établissements voisins. Sa provenance ne peut pas être assurée actuellement mais elle constitue un témoin original de la diversité des procédés de fabrication des premiers plasticiens mouleurs de Grande Grèce.

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"“Bronzi Di Riace” Geomatics Techniques in Augmented Reality for Cultural Heritage Dissemination." International Journal of Innovative Technology and Exploring Engineering 9, no. 3 (January 10, 2020): 1001–10. http://dx.doi.org/10.35940/ijitee.c7953.019320.

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In the ‘Museo Archeologico Nazionale della Magna Grecia' in Reggio Calabria (south Italy) are located two full-size bronzes cast around the 5th century BC: The Riace Bronzes; thanks to their outstanding manufacture, they truly represent significant sculptural masterpieces of Greek art in the world. This paper describes the methodology used by the Geomatics Laboratory of the DICEAM of the Mediterranean University of Reggio Calabria to achieve a 3D model of the two sculptures. The 3D modelling 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 considering that in the renewed interest in the context of international museological studies, Augmented Reality innovation represents a new method for amplifying visitor numbers into museums despite concerns over returns on investment, the procedure to develop a touristic app is described. In fact the enhancement of cultural heritage through the use of 3D acquisition and modeling tools represents one of the fields of study that will see rapid development in the near future. 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. Moreover, the app combines AR and VR technologies with the opportunities offered by 3D printing,

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Corso, Antonio. "Praxitelian Dionysi." EULIMENE, December 31, 2000, 25–53. http://dx.doi.org/10.12681/eul.32682.

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Si percorre l'evoluzione dell'interpretazione statuaria di Dioniso nel Santuario di Dioniso Eleutereo ad Atene, dallo xoanon arcaico del dio alla statua criselefantina di Alcamene, ai tipi Hope, alcamenico, e Sardanapalo, cefisodoteo. Questa tradizione figurativa, e l'Ermete con Dioniso di Cefisodoto il Vecchio, stanno alla base della ridefinizione del dio operata da Prassitele. L'immagine di Dioniso accreditata nelle 'Baccanti' di Euripide ebbe pure un rilevante impatto nelle cultura figurativa tardoclassica. Alla bottega di Prassitele è riconducibile la base di monumento coregico, con Dioniso e due Vittorie, che si trova ad Atene, Museo Archeologico Nazionale, n. 1463. Il Dioniso di Prassitele ricordato da Plinio e descritto da Callistrato può esser riconosciuto, grazie alla descrizione di questi, nel tipo Sambon/Grimani. Il Dioniso d'Elide, pure di Prassitele, è raffigurato su monete di questa città e riconoscibile nel tipo Tauromorfo Vaticano/Albani. L'Ermete con Dioniso di Olimpia è forse un donario degli Elei del 343 A. C. ed è quasi certamente un'opera originale di Prassitele. Ai figli di Prassitele è ascrivibile il Dioniso WoburnAbbey/Castle Howard, rimeditazione del tipo Sambon/Grimani. Il tipo Richelieu/Prado pare dipendere da una variante protoellenistica del tipo Woburn Abbey/Castle Howard, il tipo Jacobsen sembra essere un adattamento dello stesso alla temperie barocca, il tipo Terme pare costituire una rimeditazione del medesimo in chiave Rococo. Il tipo Cirene offre una soluzione tardorepubblicana dello stesso schema compositivo, rispondente all'esigenza eclettica di valorizzare le soluzioni ritenute migliori di Prassitele, Policleto e Lisippo. Il tipo Borghese/Colonna sembra un adattamento del ritmo Woburn Abbey alla predilezione neoattica per ritmi frontali. Il tipo Horti Lamiani/Holkham Hall pare un adattamento del tipo Woburn Abbey alla posizione di quinta architettonica destra di un ambiente. Il tipo Copenhagen/Valentini risponde al bisogno, tipico del classicismo romano, di dare movimento e vita alla creazione statuaria. Altri due Dionisi, che si trovano a Digione e a Cirene, sono variazioni del tipo Jacobsen. La documentazione raccolta dimostra che l'immagine del dio elaborata nella corrente prassitelica divenne quella consueta nella cultura iconografica di età ellenistica e imperiale.

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Meyers, Gretchen E. "Tesori dalle terre d’Etruria. La collezione dei conti Passerini, Patrizi di Firenze e Cortona. Museo Archeologico Nazionale di Firenze, October 29, 2020–July 30, 2021 (extended until October 22, 2022), curated by Mario Iozzo and Maria Rosaria Luberto with Stefano Casciu." Etruscan and Italic Studies, September 26, 2022. http://dx.doi.org/10.1515/etst-2022-2002.

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