Multispectral 3D mapping on a Roman sculpture to study ancient polychromy
This work addresses the challenge of accurately reconstructing ancient polychromy for conservators and archaeologists, though it is incremental as it builds on existing imaging techniques.
The study tackled the problem of underestimating original polychromies on ancient sculptures by developing a methodology using multispectral imaging and 3D modeling, resulting in a classification algorithm that maps material distributions onto a 3D model for detailed analysis.
Research into the polychromy of Greek and Roman sculptures has surged to explore the hypothesis that ancient sculptures were originally not pristine white but adorned with colors. Multispectral and multimodal imaging techniques have been crucial in studying painted surfaces, revealing polychromies even in traces. In fact, imaging techniques, such as reflectance and fluorescence, can identify different materials and map inhomogeneities, guiding further investigations such as Raman, XRays Fluorescence, and Fourier Transform InfraRed Spectroscopy (FTIR) to investigate residual colors. However, this approach may underestimate the original polychromies' extent over the complex articulation of a sculptured surface. This study proposes a methodology to analyze the original appearance of ancient sculptures using reality-based 3D models with textures not limited to those visible to the naked eye. We employ Visible Reflected Imaging (VIS) and Ultraviolet-induced Fluorescence Imaging (UVF). From the UVF and VIS datasets, the underlying 3D model is built by means of photogrammetry. Through raw data processing, images taken with different illuminating sources are successfully aligned and processed, creating a single 3D model with multiple textures mapped onto the same bi-dimensional space. The pixel-to-pixel correspondence of different textures allows for the implementation of a classification algorithm that can directly map its outcome onto the 3D model surface. This enables conservators to deepen their understanding of artifact preservation, observe mate-rial distribution in detail, and correlate this with 3D geometrical data. In this study, we experiment with this approach on an ancient Roman sculpture of Artemis, conserved at the Archeological and Art Museum of Maremma (MAAM) in Grosseto, Italy.