Augmented Perception of the Past -
The Case of Hellenistic Syracuse
Filippo Stanco1, Davide Tanasi2, Giovanni Gallo1, Matteo Buffa1, Beatrice Basile3
1University of Catania, Dipartimento di Matematica e Informatica,
Viale A. Doria, 6 - 95125 Catania, Italy
Email: {fstanco, gallo}@dmi.unict.it
2Arcadia University, The College of Global Studies - AUMCAS,
Palazzo Ardizzone, via Roma, 124 - 96100 Siracusa, Italy
Email: tanasid@arcadia.edu
3Servizio Museo Archeologico Regionale Paolo Orsi di Siracusa,
Viale Teocrito, 66 - 96100 Siracusa, Italy
Email: museo.arche.orsi@regione.sicilia.it
Abstract— The aim of this paper is to present a real-time
interaction system for ancient artifacts digitally restored in a
virtual environment. Using commercial hardware and open
source software, Augmented Reality versions of archaeologi-
cal artifacts are experienced on mobile devices both in a real
outdoor site as well as an indoor museum. The case study
for this project is represented by two artifacts of Syracuse,
Italy, a statue and an altar, dated back to Hellenistic time.
Virtual replicas of the two artifacts were produced applying
different techniques. Later the two projects became part of
the same research plan aimed to virtually rebuild the most
significant artistic and architectural features of Hellenistic
Syracuse. Besides the simple production of 3D models, via
laserscanning and 3D modelling, a digital process of visual
improvement of the statue was preliminary carried out based
on photographic documentation of some archetypes. The
commercial framework for mobile devices, ARToolworks,
has been used for developing Augmented Reality applica-
tions. Using a pattern that is recognized by the device, the
virtual model is shown as it is in the real world. The novelty
of this work is that graduate students in virtual archaeology
and non computer programmers such as museum staff,
could benefit of this work and implement such a system.
Index Terms— Augmented reality, Laser scanning, 3D Mod-
elling, Real time interaction, Virtual heritage
I. INTRODUCTION
In the last fifty years, the growing use of computer
applications has become a main feature of archaeological
research [1]. It can now influence interpretation proce-
dures and revolutionize the language and contents of the
study of the past.
From its first definition by Reilly in 1990 [2], virtual
archaeology (VA) was intended as the use of digital recon-
struction in archaeology. Recently, new communicative
approaches to archaeological contents through the use of
This paper is based on “Augmented perception of the past. The case
of the Telamon from the Greek theater of Syracuse,” by F. Stanco,
D. Tanasi, M. Buffa, B. Basile, which appeared in the Proceedings of
International Workshop on Multimedia for Cultural Heritage (MM4CH
2011) May 3, 2011, Modena (Italy).
interactive strategies have been added [3]. 3D modeling is
especially very useful for the identification, monitoring,
conservation, restoration, and promotion of archaeological
artefacts. In this context, 3D computer graphics can
support archaeology and politics of cultural heritage by
offering scholars a “sixth sense” for understanding the
traces of the past, as it allows us to experience it [4].
3D documentation of extant archaeological remains or
building elements is an important part of collecting the
necessary data for a virtual archaeology project. New
developments facilitate this phase of documentation, in-
cluding the obtaining of correct measurements and ground
plans from photography, through the use of readily-
available equipment. This is important in restoring archae-
ological remains when older phases are reconstructed in
a virtual way. The original state, the restored state, and
eventual in–between states can be recorded easily through
photo–modeling technique [5].
In this paper a project of virtual archaeology focusing
on two artefacts of Hellenistic Syracuse (3rd century
BC) is presented. The two artifacts are a statue of a
Telamon (Fig. 1) held at the Archaeological Museum
of Syracuse and the altar of Hieron II (Fig. 2), to
which probably the Telamon belonged, located in the
western suburb of the city, in the so called ancient district
of Neapolis. Virtual replicas of the two artifacts were
produced applying different techniques as parts of two
originally separated projects and with diverse goals: to
monitor the degradation of the statue and to provide a
more accurate reconstruction of the altar, that is an unicum
without comparisons in the ancient Mediterranean. Later
the two projects became part of the same research plan
aimed to virtually rebuild the most significant buildings
of Hellenistic Syracuse.
II. THE AR CHE OMATI CA PROJ ECT
A state of the art experience in the field of digital
archaeology is represented by Archeomatica Project [6],
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doi:10.4304/jmm.7.2.211-216
(a) (b)
Figure 1. (a) Telamon in a photograph of 1927; (b) Telamon in a recent
photo.
Figure 2. Altar of Hieron II from the West. Red arrow indicates the
feet currently preserved of one Telamon.
[7], a research program started out in late 2007 at the Im-
age Processing Lab [8] of the University of Catania. The
main aim of the project is to produce automatic systems
of recognition and classification of graphic data, such as
figurative pottery decoration, through the use of computer
vision and pattern recognition techniques, and to develop
virtual models of ancient artefacts with a high degree of
accuracy using data from excavation, through application
of laser scanner and 3D modeling techniques managed
with open source software. This cognitive process is
based on peer-to-peer exchange of knowledge between
experts of computer science and archaeology working side
by side. A further goal of this research program is to
train graduate students as communication consultants for
virtual archaeology projects, giving them the opportunity
of attending stages with public institutions and of devel-
oping individual projects aimed to promotion of cultural
heritage. At the same time, through seminars and practical
workshops, the staff of museums and archaeological parks
are trained in the use of software and hardware solutions
for dealing with their work of knowledge dissemination.
III. VIS UAL IMPROVEMENT:TH E TELAMON
The first case study is represented by a Late Classical
Greek statue of a Telamon [9] coming from the south-
western district of the ancient Syracuse, named Neapolis,
where important public building as the theather and the
altar of Hieron II are located. This statue, currently on
display at the Archaeological Museum of Syracuse, is
made out of local calcarenite plastered with a mix of
marble dust and sand, and it is representing a satyr
version of the titan, with typical hairy legs and pointed
ears. Due to the materials used, the statue is subject
to cyclical degradation and even the restoration attempts
seem unsuccessful, as can be observed in Fig. 1. A virtual
copy of the statue can be used to monitor the degradation
and to present the statue in a new way.
The technique of 3D digital restoration of archaeo-
logical objects is perhaps the most common trend in
interdisciplinary projects related to the interpretation and
dissemination of archaeological knowledge. This is be-
cause of the potential that 3D has in subtracting the
archaeological goods from the destructive effects of at-
mospheric agents, of pollution, of time, and, in some
cases, of natural disasters and wars. The high–definition
3D laser scanner is an instrument that collects 3D data
from a given surface or object in a systematic, automated
manner, at a relatively high rate, in near real time using a
laser ray to establish the surface coordinates. Over the last
decade, this technology has been applied to archaeological
research to construct geometric models with different
characteristics [10]. Most archaeological work has been
carried out to digitize objects of an intermediate size, such
as settlement structures, statues, and vessels. The most
recent projects have been focused on modeling structures
during the excavation of archaeological sites, either of one
limited zone [11] or the complete ensemble [12]. These
studies have been carried out from the ground surface or
using helicopters and airplanes [13].
The possibility of obtaining a virtual, exact replica of
reality in a limited amount of time makes the laser scan-
ning method ideal for studies of 3D digital restoration,
where the virtual recomposition of fragmented elements,
both physically and narratively, is fundamental [14]. In
this field, the Archeomatica Project team of researchers
has proposed integrating the Blender–based 3D model-
ing [15] and image–based 3D modeling with the laser
scanning technique, in order to solve the problems of
possible data voids connected with complex scanning. The
laser scanner used is the compact and handy Next Engine
[16], and it is very versatile especially when the objects
to be scanned are placed in restricted spaces or cannot
be removed. It is an optical triangulation scanner that
offers a high degree of precision, allowing the creation
of good three-dimensional models of real subjects. Since
the Telamon was very large, a tripod was used with the
scanner in manual mode. For the alignment process the
software Meshlab [17] was used. It is rather suitable for
this kind of work offering a wide range of specific filters
to manipulate and improve data acquired in the previous
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(a) (b)
Figure 3. (a) Statue of Telamon, from Syracuse Museum; (b) 3D model
of the statue obtained with laser scanning technique.
Figure 4. Restoration analysis in virtual environment of the Telamon
acquired with laser scanning technique.
phase.
After filling gaps and data voids of 3D models (Fig.
3(b)), dark blotches and salt encrustations were removed
from the surfaces of the models. One detached ear was
fixed in its original position and the missing half part of
the body was replaced by a mirror of the preserved one.
In this way the overall appearance was optimized (Fig.
4).
IV. ARCHAEOLOGICAL 3D M ODELING:THE ALTAR
As clarified above, the second monument we worked
on is strictly connected with the Telamon. The altar of
Hieron II (Fig. 2) was built between 270 and 215 BC,
by the will of Hieron II, king of Syracuse at the time
[18]. Only its foundations,cut in the bedrock, remain. The
superstructure was made of calcareous limestone blocks
and was almost completely dismantled and re-used in the
Spanish fortifications of the 16th century. On the north
and south ends of the front, two symmetrically-placed
ramps gave access to the central platform where animal
sacrifices took place. Each ramp was preceded by an
entrance: at least the northern entrance was flanked by
two Telamons. On the right side, the feet of one statue
are still visible. Besides two attempts of reconstructing it
carried out by artists aiming to give general idea of this
impressive structure, no further recostructions have been
suggested until now (Fig. 5).
To test scholars’ hypothesis about the altar and its
use, an archaeological 3d modelling analysis has been
(a) (b)
Figure 5. Artistic reconstructions of the altar of Hieron II.
(a) (b)
Figure 6. (a) Virtual reconstruction of the altar; (b) 3D model of the
Telamon placed in its hypothetical position in the virtual reconstruction
of the altar.
carried out. Archaeological 3D modeling is basically the
recreation of landscapes, architecture, and objects by
digital means based upon the current state of the salvaged
monuments integrated with the data coming from his-
torical and archaeological researches using software for
developing 3D models [19], without the application of
reverse engineering methodology.
The archaeological 3D modeling is not just a simple
cognitive tool to reproduce virtually aspects of the past
to improve the knowledge and the comprehension. It
is also, above all, a methodology of recording all the
archaeological data in a much more complete way than
the traditional photography and drawing. It is a kind of
virtual benchmark of the archaeologists’ theories where
the hypothesis is tested and corrected in order to produce
a truthful image of something buried by time. A kind
of “solid modeling to illustrate the monument” becoming
“solid modeling to analyze the monument” [20]. For this
reason, the privileged application field for this technique is
the prehistoric archaeological research, where, the scarcity
of iconographical sources and the poor state of conserva-
tion of the findings, makes extremely complex both the
process of decoding the information and of transmitting
the knowledge to the public. For reconstructing the altar
the vectorialized plan was imported into Blender [15] and
completed with elements deriving from iconographical
fonts of contemporary architecture. Afterwards, the walls
were extruded, thus realistically imitating the original
building technique observed in the remaining rows of
blocks. The texture used is procedural but modified and
optimized in order to recall the Syracusan limestone,
mainly used for the Greek buildings of the city (Fig. 6).
V. AUGMENT ED RE A LI TY
Virtual reality allows the 3D visualization of concepts,
objects, or spaces and their contextualization through the
creation of a visual framework in which data is displayed.
VR also enables interaction with data organized in 3D,
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facilitating the interaction between operator, data, and
information in order to enhance the sensorial perception
[21]. It creates a virtual space that is a replica of the
real space, where the information about every feature
that constituted the different moments of life of the real
space are “translated” into 3D data. The two crucial
points of every project of VR are the selection of the
information (pictures, drawings, geometrical measures)
and the choice of which facets of the original object’s
nature must be captured and reconstructed. “Visual com-
puter models should make clear their sources and the
criteria on which they are based” [22]. In order to
understand archaeological systems, much more than a vi-
sually “realistic” geometric model is needed. “Dynamism
and interaction” are essential. A dynamic model is a
model that changes in position, size, material properties,
lighting, and viewing specification. If those changes are
not static but respond to user input, we enter into the
proper world of virtual reality, whose key feature is
real-time (RT) interaction. Here real-time means that the
computer is able to detect input and modify the virtual
world “instantaneously” at user commands. By selectively
transforming an object, that is, by interpolating shape
transformations, archaeologists may be able to form an
object hypothesis more quickly [23]. One field where
the scholars in archaeology and computer science are
recently getting involved is augmented reality (AR) where
the simultaneous visualization of virtual data and the real
world is performed [24]–[27]. One of the objectives of AR
is to bring the computer out of the desktop environment
and into the world of non professional users dealing with
3D applications. In contrast to VR, where the user is
immersed in the world of the computer, AR incorporates
the computer into the reality of the user. He can then
interact with the real world in a natural way, with the
computer providing information and assistance. It is then
a combination of the real scene viewed by the user and
a virtual scene generated by the computer that augments
the scene with additional information. The virtual world
acts as an interface, which may not be used if it provides
the same experience as face-to-face communication. AR
enables users to go “beyond being there” and enhance the
experience in order to achieve both the full interpretation
of the traces of the past and the development of the best
tool for the dissemination of their message [28].
VI. EX P ER IME NTAL RES ULTS
Final goal of our research project about Hellenistic
Syracuse is to give an augmented reality experience to
the visitors of the Archaeological Museum and of the
Neapolis Archaeological Park, aimed to revive virtually
both the Telamon and the altar as they were on common
mobile devices. In this preliminary phase of our work
we just focused on the case study of the Telamon. The
environment developed provides new ways of information
access at the Museum in a user-friendly way through
the use of 3D-visualization on mobile devices [29], [30].
We have chosen as our device a common mobile Apple
Figure 7. The AR applied to the Telamon. The mobile phone gives the
statue model when the pattern is found by the camera.
Iphone, with the commercial framework ARToolworks
which provides an high level programming tool for devel-
oping AR. Once the three-dimensional statue is obtained,
it is necessary to adapt it to the hardware limitations
imposed by the device. The graphical engine inside the
mobile device is able to handle three-dimensional en-
vironments without loss of data and without any delay
within a certain threshold. This limit has a maximum of
seven million polygons per second. However, the statue
is composed of thirty-nine million polygons and must
necessarily be reduced to fit within the limitations of the
device, without compromising the aspect of the statue.
For this operation, a filter contained in Meshlab software
[17] called “Quadric Edge Collapse Decimation” has been
used. This filter has been applied many times by halving
the number of faces each time. This is preferable than
making only one application of this filter with a single
drastic decimation with bad results in terms of quality
and shape of the final object.
ARToolworks is based on ARToolkit [31], an open
source library for Augmented Reality that allows many
easy-to-use functions of Computer Vision to be used for
AR, the openGL library for high performance graphics
and the rendering process. It gives the possibility to
create Augmented Reality applications on any mobile
device using a high level programming environment that
allows the developer to set and manipulate the Video
Tracking process and three-dimensional overlapping in
a few simple steps without having to delve into the
world of deep programming and the theory of Computer
Vision. In fact we have chosen this tool because the
aim of this paper is to allow the development of a new
way interaction between visitors and cultural heritage in
museums or archeological sites, through the use of a very
common hardware as a mobile device. ARToolworks is
integrated in Xcode, an Apple Integrated Development
Environment; it uses only API approved by Apple and any
application is “App-Store” compatible. Using a pattern
that is recognized by the device, a three-dimensional
model is associated with the pattern and the virtual model
is shown like it is in the real world (Figs. 7 and 8).
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(a) (b)
Figure 8. The augmented reality in the Museum. (a) the user in the
Museum; (b) the display shows the restored version of the Telamon
where the left arm is reconstructed.
VII. CONCLUSION
The encouraging results of the application of AR to
archaeological evidence has demonstrated that it is pos-
sible to use another “sense” to decrypt the traces of the
past: the three-dimensional recreation of ancient life and
visual images are extremely effective in explaining the
past because they allow us to experience it.
The potential of this approach in the future could be
enhanced by investing much more in the five fundamental
elements of an AR environment, namely virtuality (ob-
jects that don’t exist in the real world can be viewed and
examined), augmentation (real objects can be augmented
by virtual annotations), cooperation (multiple users can
see each other and cooperate in a natural way), indepen-
dence (each user controls his own independent viewpoint),
and individuality (displayed data can be different for each
viewer) [32].
ACKNOWLEDGMENT
Many thanks to Giuseppe Sammatrice who worked on
the production of the 3D models.
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Filippo Stanco is an Assistant Professor with the Department of
Mathematics and Computer Science, University of Catania. He
coordinates the “Archeomatica Project” to develop new digital
tools for the archaeological research and preservation of cultural
heritage. His research interests include digital restoration, zoom-
ing, super-resolution, artifacts removal, interpolation, texture,
and GIS. Dr. Stanco has been an organizer and associate editor
of several conferences and symposiums, and he is a reviewer
for several international journals.
Davide Tanasi is Adjunct Professor of Archaeology and Ancient
History with Arcadia University - The College of Global Studies
(AUMCAS). He is co-director of the Archeomatica Project
(IPLab, University of Catania) aimed to develop new digital
tools for archaeological research and the preservation of cultural
heritage.
Giovanni Gallo is a Full Professor of Computer Graphics and
Computer Vision at Catania University where he coordinates a
research group on image processing and graphics applied to
medicine, archaeology, and data visualization. Prof. Gallo is
also a member of the faculty of “Accademia di Belle Arti”
of Catania and coordinates several interdisciplinary projects
involving art and technologies. He is president of the Italian
chapter of Eurographics for 2009-2012.
Matteo Buffa is a Master Degree student. He is involved in
several projects of IPLab at University of Catania. His interests
lie in the areas of Computer Graphics and Computer Vision with
application in the Cultural Heritage.
Beatrice Basile is the Director of the Archaeological Museum
“Paolo Orsi” of Syracuse, Italy.
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