3D restitution technologies for enhanced knowledge of medieval painted ceilings

Georges Puchal y Marion Ortiz : Les technologies de restitution 3D au service de la connaissance des plafonds peints médiévaux (3D restitution technologies for enhanced knowledge of medieval painted ceilings)

In Patrimoines du Sud, 12, 2020 : Patrimoines et numérique : un état de la recherche et des expérimentations (Heritage and digital solutions: a status report on research and experimentation)


3D modelling is of real interest in the research and dissemination of knowledge on medieval painted ceilings. Intrinsic to architecture, but also carrying rich and as yet unknown, artistic and social content, their study is complex for several reasons. Site access issues and complex structures with multiple volumes, make reading the ensembles difficult. Research work over the last thirty years has demonstrated the importance of the general organisation of decorative elements when studying symbolism. The use of digital imagery via 3D modelling makes it possible to overcome these constraints. The International Association for Research on Medieval Painted Structures and Ceilings (RCPPM) is currently exploring ways of applying 3D modelling to these objects of study.

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A publication on roman painted ceilings

Alix Barbet : Coupoles, voûtes et plafonds peints d’époque romaine. Ier-IVe siècle apr. J.-C., Paris, Hermann, Paris, 2021.

ISBN : 9791037006806
Dimensions : 23.1 x 28.7 cm
Pages : 350
Prix : 64,00 €

The book is available on CAIRN : https://www.cairn.info/coupoles-voutes-et-plafonds-peints-d-epoque-romain–9791037006806.htm

The study of the domes, vaults and painted ceilings of the Roman Empire is an undertaking that takes us from present-day Great Britain to the borders of ancient Mesopotamia, via the countries of Eastern Europe, not forgetting North Africa, as far as Libya and Egypt. More than four hundred decors are studied and photographed, some of which have disappeared, been destroyed or stolen. Of the two hundred and seventy-two sites from which these paintings come, sixty are from Gaul, thus almost a quarter of the sites illustrated with a perspective of Gaul in the space of the Roman world.

We are trying to classify these paintings, which at first imitate the wooden or stone caissons that preceded them, then the draperies, before inventing very varied decorative schemes, close to certain mosaic pavements. Flowerbeds are obviously abundant in the tombs, where they remind us of the annual rose festival dedicated to the deceased. An emperor like Nero added gold to the vaults of his palace, rightly called the Domus Aurea, which inspired Renaissance painters when it was discovered. The link between the past and the present can be read through this investigation.

(translation of the french presentation on the website of the publisher).


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