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Abstract:Digital technologies are now mature for producing high quality digital replicas of Cultural Heritage (CH) assets. The research results produced in the last decade ignited an impressive evolution and consolidation of the technologies for acquiring high-quality digital three-dimensional (3D) models, encompassing both geometry and color. What remains still an open problem is how to deliver those data and related knowledge to our society. The web is nowadays the main channel for the dissemination of knowledge. Emerging commercial solutions for web-publishing of 3D data are consolidating and becoming a de-facto standard for many applications (e-commerce, industrial products, education, etc.). In this framework, CH is a very specific domain, requiring highly flexible solutions. Some recent experiences are presented, aimed at providing a support to the archival of archaeological 3D data, supporting web-based publishing of very high-resolution digitization results and finally enabling the documentation of complex restoration actions. All those examples have been recently implemented on the open-source 3D Heritage Online Presenter (3DHOP) platform, developed at CNR-ISTI.Key words: 3D digitization, virtual archaeology, cultural heritage, documentation, web-based 3D visualization, restoration Resumen:Las tecnologías digitales están ahora maduras para producir réplicas digitales de alta calidad de valores activos del patrimonio cultural (CH). Los resultados de la investigación producidos en la última década han mostrado una evolución impresionante y una consolidación de las tecnologías para la captura de modelos digitales tridimensionales (3D) de alta calidad, que abarcan la geometría y el color. Lo que queda aún por resolver está relacionado con la forma de distribuir los datos y el conocimiento relacionado con la sociedad. La web es hoy en día el principal canal utilizado para divulgar el conocimiento. Las soluciones comerciales nuevas relacionadas con la publicación en la red de datos en 3D se están consolidando y convirtiendo en un estándar de facto para muchas aplicaciones (comercio electrónico, productos industriales, educación, etc.). En este escenario, el patrimonio cultural es un dominio muy específico, que requiere soluciones muy flexibles. Se presentan algunas experiencias recientes, destinadas a proporcionar un apoyo al archivo de los datos arqueológicos 3D, la publicación web de los resultados de digitalización de muy alta resolución que permiten finalmente la documentación de trabajos de restauración complejos. Todos estos ejemplos se han implementado recientemente en la plataforma 3D Heritage Online Presenter (3DHOP) de código abierto, desarrollada en el CNR-ISTI.Palabras clave: digitalización 3D, arqueología virtual, patrimonio cultural, documentación, visualización web 3D, restauración

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Three-dimensional content is becoming an important component of the World Wide Web environment. From the advent of WebGL to the present, a wide number of solutions have been developed (including libraries, middleware, and applications), encouraging the establishment of 3D data as online media of practical use. The fast development of 3D technologies and related web-based resources makes it difficult to identify and properly understand the current trends and open issues. Starting from these premises, this survey analyzes the state of the art of 3D web publishing, reviews the possibilities provided by the major current approaches, proposes a categorization of the features supported by existing solutions, and cross-maps these with the requirements of a few main application domains. The results of this analysis should help in defining the technical characteristics needed to build efficient and effective 3D data presentation, taking into account the application contexts.

Scientific investigations of artworks are crucial in terms of preservation since they provide a measurable evaluation of the materials and the state of conservation. This is the case of Antonello da Messina’s painting “Ecce Homo”: its delicate state of conservation, with the need for constant monitoring, required a broad and in-depth diagnostic campaign to support the restorers. The project was carried out entirely in situ using non-invasive cutting-edge techniques and proposes a multimodal and data-centric approach, integrating 3D and 2D methodologies. The surface irregularities and the support were analysed with a structured-light 3D scanner and X-ray tomography. The painting materials were investigated with X-ray fluorescence scanning (MA-XRF) and reflectance hyperspectral imaging (HSI). Primarily, the data were jointly used for a scientific scope and provided new knowledge of the painting in terms of materials and painting techniques. In addition, two web-based interactive platforms were developed: one to provide restorers and experts with a new perspective of the hidden geometries of the painting, and the other targeted at the general public for dissemination purposes. The results of the Ecce Homo scientific analysis were exhibited, using a touch-screen interface, and developed for different user levels, from adults to kids.

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