Heritage

The H2IOSC project aims to establish a federated cluster of European distributed research infrastructures involved in the humanities and cultural heritage sectors, with operating nodes across Italy. Through four key RIs—DARIAH-IT, CLARIN, OPERAS, and E-RIHS—the project promotes collaboration among researchers with interdisciplinary expertise. Within this framework, DIGILAB functions as the digital access platform for the Italian node of E-RIHS. Conceived as a socio-technical infrastructure for the Heritage Science community, DIGILAB is designed to manage heterogeneous data and metadata through advanced knowledge graph representations. The platform adheres to the FAIR principles and supports the complete data lifecycle, enabling the development and maintenance of Heritage Digital Twins. DIGILAB integrates diverse categories of information related to cultural sites and objects, encompassing historical and artistic datasets, diagnostic analyses, 3D models, and real-time monitoring data. This monitoring capability is achieved through the deployment of cutting-edge Internet of Things (IoT) technologies and large-scale Wireless Sensor Networks (WSNs). As part of DIGILAB, we developed SENNSE (v1.0), a fully open hardware/software platform dedicated to environmental and structural monitoring. SENNSE allows the remote, real-time observation and control of cultural heritage sites (collecting microclimatic parameters such as temperature, humidity, noise levels) and of cultural objects (collecting object-specific data including vibrations, light intensity, and ultraviolet radiation). The visualization and analytical tools integrated within SENNSE transform these datasets into actionable insights, thereby supporting advanced research and conservation strategies within the Cultural Heritage domain. In the following sections, we provide a detailed description of the SENNSE platform, outlining its hardware components and software modules, and discussing its benefits. Furthermore, we illustrate its application through two representative use cases: one conducted in a controlled laboratory environment and another implemented in a real-world heritage context, exemplified by the “Biblioteca Bernardini” in Lecce, Italy.

Multiband imaging (MBI) is a non-invasive, portable digital technique that has become increasingly widespread in the technical study and condition assessment of paintings, owing to its affordability and ease of use. This paper presents an experimental study aimed at optimising MBI at the microscopic scale—referred to as micro-multiband imaging (µMBI)—with the particular aim of expanding its diagnostic capabilities. A range of µMBI techniques was used on custom-made mock-ups made up of pigments selected for their spectral responses, and representative of traditional artistic materials. The techniques used included microphotography of polarised and unpolarised visible light (µVIS), raking light microphotography (µRL), transmitted light microphotography (µTL), ultraviolet-induced visible luminescence microphotography (µUVL), near-infrared microphotography (µIR), near-infrared micro-trans-irradiation (µIRT), and near-infrared false-colour microphotography (µIRFC). The results obtained through µMBI were compared with those from standard MBI methods, allowing for a critical discussion of the strengths and limitations of this emerging approach. Results evidence that µMBI provides high-resolution, spatially specific insights into materials and painting techniques, offering a more detailed understanding at the microscale of how a painting was executed. It also enables the assessment of deterioration processes (e.g., cracking, delamination, and metal soap formation), contributing to a deeper comprehension of the origin and progression of failure phenomena and supporting the development of more informed, preventive conservation strategies.

This study identifies the technological signature of ancient and alternative “Chu” and “Kriab” gold glass mosaic mirrors from Thailand. Although these mirrors play an important role in Thai decorative heritage, their production routes and interfacial chemistry at the lead-to-glass interface have remained unclear. A survey of 154 sites across Thailand shows mosaic glass was widely distributed and likely produced during the Ayutthaya period (~300 years ago). Portable X-Ray Fluorescence (pXRF), Wavelength-Dispersive XRF (WD-XRF), scanning electron microscopy (SEM), and X-ray Photoelectron Spectroscopy (XPS) were used to examine the material properties of observed Chu mirrors. Most samples can be classified as a mixed lead–alkaline glass type, with a PbO content ranging from 4.28 to 48.17 wt%. Their yellow tone is controlled by iron and manganese redox states. Chemical and physical analyses distinguish between Chu from the northern part of Thailand and Kriab from the central part of Thailand, which share a silica source but rely on different fluxes, pointing to different glass workshops. Crucially, XPS depth profiling reveals a well-defined interfacial reaction zone extending to approximately 6 nm in the ancient mirrors, predominantly characterized by disordered, chain-like Pb–O–Pb linkages. These polymeric structures enable a “chemical bridging” mechanism that effectively accommodates interfacial strain arising from thermal expansion mismatch, thereby ensuring exceptional long-term adhesion. Furthermore, the depth-dependent distribution of hydrated lead species and the emergence of photoelectron energy-loss features beyond ~6 nm distinguish the superior metallic integrity of the ancient coatings from the alternative reproductions. This distinct stratification confirms that ancient artisans achieved a sophisticated balance between a chemically bonded interface and a coherent metallic bulk. These findings offer significant insights into the ingenuity of ancient Thai artisans, providing a scientific foundation for the conservation, restoration, and replication of these culturally significant artifacts.