Meraviglie di Venezia (Wonders of Venice) arose in the field of actions aimed at valorising Venetian cultural heritage and realised under the umbrella of the Strategic Project for the knowledge and enjoyment of shared cultural heritage – SHARED CULTURE financed by the 2007-2013 Italy-Slovenia Cross Border Cooperation Programme.
The cataloguing and digitization campaign realised in the triennium 2010-2012 offered the scientific premises to turn information and knowledge generally reserved to specialists of the field into academic user-friendly contents readily accessible to the general public.
The task, which was developed in 2 years, was complex and made possible by the collaboration among the several authorities involved, by the synergy among different Region offices and by the participation of the various Institutions present on the territory: all those involved worked in a common perspective oriented towards the valorisation and recovery of the cultural heritage related to Veneto.
Heartfelt thanks to all those involved for realizing this project that allows global citizenship to have access to some of the most valuable places in Venice providing devices to visit virtually and to make better knowledge of incredible cultural heritage.
General coordination of the initiative:
Consultation Committee for scientific aspects:
Irene Favaretto, Giulio Bodon, Diego Calaon
Consultation Committee for technical and administrative aspects:
Pierluigi Artico, Giorgio Boller, Micol Pillon, Silvia Tricarico
Those below have collaborated:
Regione del Veneto: Settore Progetti strategici e politiche comunitarie: Clara Peranetti, Giorgio Boller, Silvia Tricarico; Sezione Beni Culturali: Pierluigi Artico, Giulio Bodon; Sezione Sistemi Informativi: Andrea Boer, Gaetano Monetti, Alex Danieli; Sezione Pianificazione Territoriale Strategica e Cartografia: Antonio Zampieri.
We thank the institutions and authorities who are depositaries for the cultural assets and whose collaboration made the realization of the project possible:
Procuratoria di San Marco, Polo Museale del Veneto (ex Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo museale della città di Venezia e dei comuni della Gronda lagunare), - Museo Archeologico Nazionale and Museo di Palazzo Grimani, and Biblioteca Nazionale Marciana.
Procuratoria di San Marco, Venice: Mons. Antonio Meneguolo, Ettore Vio, Irene Favaretto, Maria Da Villa Urbani, Antonella Fumo, Paolo Gasparotto, Chiara Vian.
Polo Museale del Veneto: Daniele Ferrara, Giovanna Damiani, Michela Sediari, Giulio Manieri Elia, Fiorella Spadavecchia, Giorgio Bacovich and the whole security staff of two Museums.
Biblioteca Nazionale Marciana: Maurizio Messina, Annalisa Bruni, Marcello Brusegan, and the whole security staff.
We would particularly like to thank: Università Iuav di Venezia - Dipartimento di Architettura Costruzione Conservazione, Fondazione Musei Civici di Venezia, Comune di Venezia.
And: Mattia Agnetti, Guido Biscontin, Fausta Bressani, Carlo Caineri, Francesco Ceselin, Maurizio De Gennaro, Maria Teresa De Gregorio, Marcella De Paoli, Tania Fabbian, Clinio Gretter, Francesco Guerra, Elena La Rocca, Chiara Mendolia, Rossella Riccato, Giovanna Slongo, Elvio Tasso, Camillo Tonini, Umberto Trivelloni, Sabrina Trovò.
We also thank the firm Space S.p.a. that carried out the work and in particular the team of Francesca Romana Conti, the restorer Corinna Mattiello and the cataloguer Martina Minini.
The translations were realized by the firm Studio Moretto Group srl.
The reconstruction of Tribuna of Palazzo Grimani is based on the drawing by Federico Zuccari, kept in the British Museum of London (The British Museum, Department of Prints and Drawings, 2004, 07 29 5, in: Master Drawings and Oil Sketches, An Exhibition: New York (4-28 May 2004) – London (1-23 July 2004), presented by J.L.Baroni, Catalogue by S. Ongpin, New York-London 2004, n. 10) and is, to date, the most believable hypothesis of the place layout as it was in 1582, when Zuccari visited Palazzo Grimani (see I. Favaretto - M. De Paoli, La Tribuna ritrovata. Uno schizzo di Federico Zuccari con l’“Antiquario dell’Ill. Patriarca Grimani”, in «Eidola », 7, 2010, pp. 97-135). The scientific consultation for the reconstruction is by Irene Favaretto; the 3D reconstruction of the environment in Tribuna Grimani is by Francesco Guerra (Università Iuav di Venezia - Dipartimento di Architettura Costruzione Conservazione).
The reconstruction of Statuario Pubblico of Serenissima is based on the drawings realized by the young Anton Maria Zanetti in 1736 and kept in Biblioteca Nazionale Marciana, Cod. It. IV, 123 (10040) and Cod. It. IV, 65 (5068), (see Lo statuario pubblico della Serenissima: due secoli di collezionismo di antichità, 1596-1797, edited by I. Favaretto, G.L. Ravagnan, Cittadella 1997).
St. Mark’s Treasury is presented in accordance with the cataloguing of 1971 (see H. Hahnloser, Il Tesoro e il Museo. Il tesoro di San Marco, Firenze 1971).
The renderings of “Virtual Objects” and “Rediscovered Museums” are used after the agreements among Regione del Veneto, Procuratoria di San Marco, Polo Museale del Veneto and Biblioteca Nazionale Marciana.
The background drawing in “Rediscovered Museums” is Pianta-Veduta di Venezia di Gian Battista Arzenti and is used by courtesy of Fondazione Musei Civici di Venezia .
The rendering of Oinochoe of Grimani collection is used by courtesy of Szepmuveszeti Muzeum (Museum of Fine Arts) Budapest.
The website is optimised for the visualisation with the browsers “Mozilla Firefox” or “Google Chrome”.
The virtual reconstruction of the assets was realised thanks to photo-based technology starting from orderly sequences of photos.
Possible imperfections in 3D visualisation of the sculptural production depend on objective difficulties in shooting related to the impossibility of moving the single masterpieces which are kept in the partial reconstruction of Statuario in Antisala of Libreria Marciana and in Museo Archeologico Nazionale di Venezia today.
The virtual tours are proposed from the perspective view that the visitor would get if they were physically in the place reconstructed.
When assessing the renderings of the statues, one should consider that most of them were “de-restored” during the 20th century, that is the previous restoration was removed and the statues were restored a second time.
We also proceeded with the virtual reconstruction of some brackets and bases for the statues which didn’t have one.
For deeper analysis of the assets, please see the regional Catalogue of the Cultural Assets (only in Italian).