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The Cathedral of Florence is one of the largest churches in the world and is known for one of the most famous domes ever, which characterizes the skyline of the city. The dimensions of the building mean that the dimensions of the roof are equally large and so are the wooden structures that support it. The roof of the cathedral is organized on two levels: the roof of the large central nave and, at a lower level, those of the two lateral naves. The purpose of this paper is the identification of the wood species of which the structures are made. The sampling method of the 408 samples that have been identified is then described, the methods followed to reach a reliable identification and finally the results. The timbers most represented among the structural elements are those of silver fir, chestnut and elm. Other timbers are then found in the other components less directly linked to the main structural parts that make up the trusses. The paper then discusses the technological implications on the use of those woods within the wooden covering structures of the cathedral and the main sources of timber that the builders had available, in particular the Casentino forests that the Municipality of Florence had donated to the structure that managed the construction of the cathedral (Opera di Santa Maria del Fiore—OPA). OPA still exists today and is responsible for the maintenance of the cathedral and other annexed buildings. [ABSTRACT FROM AUTHOR]

Archaeological excavations in the docking site of Pisa (Central Italy) unearthed several shipwrecks which dated back to the Roman time, from the Republican to the Imperial periods. The recent identification of the woods used for building ships D, E, H, I and P, in addition to data of the previous analysis of ships A, B, C, F, L, revealed the utilization of 18 different taxa . Wood from oaks, both deciduous and evergreen, is mostly represented. 6 different softwood timbers, mostly from maritime and umbrella pine, were also largely used. Some of the hulls were entirely realized with hardwoods, others with softwoods or using a combination of softwoods for planking (mostly pines) and different hardwoods for the frame. The selection of timber indicates a skilful knowledge of the technological properties of the different woods and their suitable utilization in the Roman vessels. The use of woods largely available in the territory surrounding the Pisa docking site, as demonstrated by pollen analysis, does not necessary indicate the local production and/or provenance of the ships, given the spread of the identified wood taxa throughout the North Mediterranean area. [ABSTRACT FROM AUTHOR]

Paper deals with the scientific identification of timbers utilised for the production of the sculptures preserved within the collection of the National Museum of the “Palazzo di Venezia” in Rome, Italy. After a brief description of the Museum and its sculpture collections, and, more specifically, the wooden sculpture collection which is the largest in Italy, the sampling of the artwork is discussed and described, together with the methodology used for the identification of wood species following the Italian standard UNI 11118:2004. The 12 identified timbers are listed together with their distribution within the cultural provenance of the sculptures. The discussion deals with the timber species utilised by the artists from the four cultural European provenances most represented within the collection: Italy, Alps, central-southern Germany and Lowlands around the Rhine delta. In the different Italian regions, several wood species were utilised and among them mostly poplar and limewood, while the alpine sculptors mostly used Swiss stone pine and the German artists, limewood. Finally in the Rhine delta, most of the sculptures were made out of deciduous oak. [ABSTRACT FROM AUTHOR]