Digital Restoration Proposals for the Basilica of Santa Maria Assunta in Torcello

Abstract

One of the recent developments in the digital domain is its application to the preservation and presentation of cultural heritage. Although a lot has been done on describing and improving the technical aspect of it, insufficient attention has been given to its theoretical aspect. Especially to the part that concerns the relation between the practical philosophical and ethical postulates of contemporary conservation and restoration practice and the sphere of digital restoration. Therefore, the aim of this paper is to present, examine, and offer a possible understanding of the theory of digital restoration, as well as its relation to its practical counterpart. The case study on which the whole research is applied is the basilica of Santa Maria Assunta on the island of Torcello, located in the northern part of the Venetian lagoon. After presenting a brief history of the church itself, the thesis is developed towards the presentation and examination of the ‘Brandian’ postulates and their applicability in complex cases i.e. multilayered frescoes. The next step is to present and understand how the digital approach to restoration functions; to examine its pros and cons. This is further explained in comparison with the practical (Brandian) approach. By doing this, my aim is to stress the good potential that digital restoration has, especially in the field of presentation, communication, and education of the public regarding cultural heritage. The second part of the thesis is dedicated to the application of the ideas and postulates presented in the previous part to the specific case studies. The first one is the problem of two strata (a mosaic decoration placed over a fresco) and solving the complex issue of recreating a historical setting such as the interior of the apse from the 12th century. I will propose a few visual solutions for this problem that can be used for creating digital models and for a simplified narrative for educating the visitors. The second case is that of fresco fragments located in a place unreachable for people. Here I will examine the potentials of material and digital copies as a deductive tool. The third case is that of the crypt, which has a multilayered fresco, a dismantled altar, and lacks the original decoration of a sky with stars. In this case, the parts of the original medieval altar have been reused for making several other objects. Hence, the digital restoration can help with reassembling the altar, regardless of the actual practice with the remaining pieces. The final part is telling the narrative of the changes that occurred to the main portal, seen both from the outside, as well as on the mosaic covering the inner side of the western wall.