In recent years, there has been a notable increase in attention and efforts directed toward enhancing inclusivity in the dissemination of cultural heritage. This trend is being observed across museums and cultural institutions worldwide, which are actively adopting a variety of innovative strategies to make their collections and assets more accessible to diverse audiences. A wealth of examples has emerged showcasing facilities that have been specifically designed for individuals with disabilities, highlighting a growing commitment to inclusiveness in cultural spaces. In particular, within the context of visual impairment, museums have successfully implemented tactile replicas of artworks and archaeological artifacts. These replicas enable visitors to touch and engage with the physical forms, allowing them to perceive the geometry, texture, and materials of an object in ways that foster greater understanding and appreciation. This study proposes an innovative and forward-thinking approach that leverages high-resolution geomatic surveys, employing structured light projection scanning technology, to reconstruct significant archaeological artifacts digitally. By utilizing these advanced methods, the aim is to provide museums not only with digital models but also with the means to create physical, high-fidelity replicas using cutting-edge 3D printing technologies. This initiative is part of a broader museum inclusivity project being collaboratively executed by the municipalities of Rimini and Riccione in Italy. Through this innovative endeavor, we aim to bridge the gap between cultural heritage and accessibility, ensuring that all visitors, regardless of their physical abilities, can engage with and experience the richness of our shared past in a meaningful and inclusive manner.

This study investigates the use of active thermography (AT) in the mid-wave infrared (MWIR) range to assess the conservation state of wall paintings within the Early Christian basilica complex of Cimitile (Italy). The research focused on paintings in the Basilicas of San Felice and San Giovanni, affected by issues such as pigment loss, detachment, and moisture-related degradation. Controlled thermal stimulation was applied to generate differential thermal maps (DT), enabling the identification of subsurface anomalies, weakened adhesion zones, and potential moisture accumulation. Conducted as a pre-restoration diagnostic survey, the analysis provided essential, non-invasive insights into fragile mural surfaces without physical contact. The results confirmed the diagnostic value of AT in detecting hidden defects and guiding the planning of targeted conservation strategies. This thermographic approach delivers critical data to support preservation efforts of Cimitile’s mural heritage and facilitates the early detection of deterioration processes in comparable historic contexts.

This study addresses the challenges of authenticating early 20th-century paintings, a period marked by the introduction of new artistic materials and techniques. Non-destructive and micro-destructive analytical methods were employed to identify possible forgeries, including Raman Spectroscopy, Diffuse Reflectance Spectroscopy, and SEM-EDX, by analyzing the molecular and elemental composition of artworks. These techniques helped to determine whether the materials used were consistent with those historically available. The results of some investigations highlighted the presence of phthalocyanine pigments, commercially introduced only after the 1930s, casting doubt on the authenticity of the artworks. In contrast, other paintings contained materials typical of the early 20th century, suggesting their authenticity. Overall, the study underscores the importance of an integrated scientific approach in combating art forgery, particularly in modern and contemporary works.

The aim of the study is to explain the process of chemical degradation in short times of the ultramarine blue pigment [Na₃Ca(AlSi₃O₁₂)S] when used mixed with lime in a highly basic environment for applications on the outside of stone supports or mortars. For the study, mixtures were produced with only lime and commercial ultramarine blue and also with the red pigment based on ferric oxide (hematite). The mixtures were studied and analysed by optical microscopy and Raman to define the transformations of the original crystalline phases into any new secondary phases.

Domes were one of the features that made religious buildings grandiose and, with their imposing presence, often defined city skylines. However, before the development of modern construction science, building domes presented a significant challenge to builders, often resulting in numerous designs and revisions that delayed completion by decades, if not centuries. The vulnerability of these structures means they remain one of the most delicate aspects of restoration and consolidation work. For this reason, it is particularly important to understand how they behave. The study of two 19th-century domes designed by Ferdinando Crivelli in Bergamo - the cathedral dome and the church of S. Andrea dome - demonstrates how three-dimensional digital modelling can be used as a valuable preliminary tool in assessing the behaviour of these structures.