Filed under: Commentary, Guest Blogger, Lighting, On Location, Technology | Tags: capture, guest blogger, medieval, mosaic, Preservation, PTM, Reflectance transformation imaging (RTI), tesserae
Our guest blogger is Heidrun Feldmann, a PhD student in History of Art at the University of Basel and an assistant on the research project “Digital Materiality” at the Digital Humanities Lab there. Thank you, Heidrun!
It is obvious that art historians need good reproductions of works of art to do their research. However, photographic images, which are static and two-dimensional, are not capable of reproducing the visual impression we have when we look at mosaics. Their specific materiality and surface properties make a visualization of these characteristics difficult. Besides, as ancient or medieval mosaics are usually placed on the walls of churches, they interact with those specific surroundings. The lighting conditions inside these buildings, as well as the optical impressions for a visitor moving across the room, change dynamically, which results in a unique sensory experience. This is also a reason why the designs of mosaics in such religious contexts were often attuned to the liturgy. The impressive sparkling effect is caused by the surface properties of the countless tesserae, which – when animated by light − shimmer in many different colours and shine like precious metals. Sometimes those tesserae were placed in the setting bed with a certain tilt angle. This might seem irregular to us today, but then it was done intentionally to optimize the reflectivity of the surface.
With the aid of RTI (Reflectance Transformation Imaging), we now have more options for capturing and simulating the reflection properties of a mosaic’s surface, as well as its interaction with changing light conditions. The RTIViewer software enables us to convey the impressions of this highly dynamic medium to people who cannot visit the actual mosaic in situ. RTIs also help us document the current condition of mosaics more accurately than in the past, and they support our goal to answer questions about how light was used in medieval architecture.
To test the RTI method, we visited the Bode-Museum in Berlin, where a mosaic, originating from the church of San Michele in Africisco, Ravenna, is exhibited as part of the Early Christian and Byzantine Collection (Figure 1). We thank Gabriele Mietke, curator of the department, for allowing us to take our photos. The mosaic is fitted into the architecture of the museum, where an apse was constructed to imitate the original place of its installation in the church in Ravenna, albeit without the original lighting situation.
Scholars have extensively debated the condition and state of preservation of this mosaic. Without going into all the details, we can say it is certain that the mosaic we see in the museum differs from the original of 545 AD because of its turbulent history. It has been restored and changed more than once, and some critics say that the whole mosaic is merely a copy. For us this was particularly interesting. We were wondering if the RTIs would provide further information regarding interventions, changes, or repairs.
Because of its size and form, it was impossible to take pictures that cover the whole of the apse. Therefore we captured it in twelve segments. About sixty photographs were taken of each of these segments, changing the position of the flashlight by hand for every picture. The twelve RTI files we obtained in this way show the reflection properties much better than any static photograph could do.
There are some limitations with glossy surfaces, because specular reflection cannot be adequately represented with the typical mathematical model used in Polynomial Texture Maps (the first form of RTI). However, changing the angle of the incoming light in the RTIViewer software allows us to identify areas whose structure and reflection properties differ from the others. In those areas the tesserae are of a different size or form and seem to be set in another way. All this suggests that these are the areas where the mosaic has undergone some kind of repair or restoration (Figures 2 and 3).
Having successfully tested the technique under the special conditions in the museum, we are now looking forward to the next step: capturing RTIs of medieval mosaics in situ and working on enhanced models for the visualization of gloss.
To find out more about our research project, see http://www.dhlab.unibas.ch.