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The Russian general and future Ministry of War (1861-1881) Dmitriy Alekseyevich on 7 January 1841 landed in Naples, where he stayed for about a month. His journey in Italy had begun in early December 1840. He was profoundly impressed by the beauty of the town which "can perhaps only compete with Constantinople" and its surroundings, which also arose his wonder. His strong interest in the geological aspect of the volcanic area and the manifestation of the chthonic forces of nature led him to the crater of Vesuvius, from which he would admire an extraordinary panorama against the backdrop of a terse sky. Although he considered it pointless to repeat what had already been reported many times by other more skilled pens he declared his intention to limit himself to reporting only his personal memories; in his Vospominanija Milyutin meticulously reported every impression arisen by what he saw and described his travel experience with precision and abundance of details. The lucid and, at times, severe chronicle of his Neapolitan sojourn (he dwells on every single aspect: from hotel hospitality to the food, the artistic heritage, the local population and the natural environment) alternated with reflections and the externalization of a vivid feeling of astonishment. His recollections and impressions of his trip to Naples are contained in the first volume (Vospominanija) of his vast and valuable memoir, which covers a period between 1839 and 1881 and which so far does not seem to have received any particular attention from scholars of travel literature. The aim of this paper is to analyze the cultural, sociological, and artistic portrait of Naples and its surroundings drawn by Dmitriy Milyutin, with the intention of stressing the author's cultural perception, determined by an intense yet contradictory sensation of extraneousness mixed with the inexplicable and indefinite nostalgia that fueled his regret for his detachment. [ABSTRACT FROM AUTHOR]

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The aim of this paper is to explore the interaction between design and archaeology in building Museum engagement experiences. In particular, a case study from the Museo Archeologico Nazionale di Napoli (MANN) will be presented. This study was carried out as part of OBVIA - Out Of Boundaries Viral Art Dissemination, a joint public engagement project sponsored by the Museum and partners such as the Università degli Studi di Napoli "Federico II" and the Università degli Studi della Campania "Luigi Vanvitelli". The target of the project was to stimulate innovative communication and promotion actions. Specific research activities carried out by the Dipartimento di Architettura e Disegno Industriale dell'Università degli Studi della Campania "Luigi Vanvitelli", were dedicated to the development of Experience Design strategies for museum engagement and audience development. This study resulted in the creation of kits to be used during hands-on laboratories for children. The kit 'Museum Details' focused on the observation and reproduction of details of archaeological artifacts exhibited in the Museum. These kits included a map, instruments for detailed observation, moulding clay and casts to create 3D reproductions of original archaeological details. The necessity of a high detailed reproduction of small features of archaeological findings was an opportunity to experiment with the acquisition of accurate 3D models. In particular, the work carried out by Mnemosyne3D focused on five findings from the Magna Graecia collection. The main challenge was to detect sub-millimetric details on a reflecting surface. Photogrammetry was chosen as method for 3D scanning, a structure from motion acquisition technique. The post processing, through 3D sculpting and CAD 3D software, aimed to enhance the features of the models in order to make them suitable for casting and plastic reproductions. [ABSTRACT FROM AUTHOR]

Copyright of Reti Medievali is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Reti Medievali is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of BSAA Arte is the property of Universidad de Valladolid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)