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.search-container .search-wrapper .search-header .search-input{-webkit-box-flex:1;-webkit-flex-grow:1;-ms-flex-positive:1;flex-grow:1;}@media (min-width:1024px){.jZaLqR .search-container .search-wrapper .search-header .search-input{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;}}.jZaLqR .search-container .search-wrapper .search-header .search-input input{outline:none;}.jZaLqR .search-container .search-wrapper .search-header .search-close{text-align:right;width:100%;font-family:'Montserrat',sans-serif;font-weight:600;font-size:.75rem;text-transform:uppercase;-webkit-letter-spacing:2px;-moz-letter-spacing:2px;-ms-letter-spacing:2px;letter-spacing:2px;margin-bottom:14px;cursor:pointer;-webkit-box-flex:0;-webkit-flex-grow:0;-ms-flex-positive:0;flex-grow:0;}.jZaLqR .search-container .search-wrapper .search-header .search-close span{margin-left:10px;}.jZaLqR .search-container .search-button{font-size:1.875rem;padding-top:8px;padding-bottom:15px;cursor:pointer;}@media (min-width:1024px){.jZaLqR .search-container .search-button{font-size:100px;padding-top:0;padding-bottom:0;}}.jZaLqR .search-container .loader{width:1.875rem;display:inline-block;}@media (min-width:1024px){.jZaLqR .search-container .loader{width:100px;}}.jZaLqR .search-container .search-results{-webkit-box-flex:1;-webkit-flex-grow:1;-ms-flex-positive:1;flex-grow:1;overflow:hidden;margin:20px auto;height:100%;width:100%;}.jZaLqR .search-container .search-results .search-results-container{width:105%;overflow:auto;height:100%;overflow-x:hidden;}.jZaLqR .search-container .search-results .search-results-container > div{width:95%;} /* sc-component-id: sc-kpOJdX */ @media (min-width:767px){.clkHOJ > span:not(:last-of-type){margin-right:33px;}}@media (min-width:1024px){.clkHOJ{color:black;}}.clkHOJ .language,.clkHOJ .button{display:inline-block;vertical-align:middle;}.clkHOJ .button{display:none;}@media (min-width:767px){.clkHOJ .button{display:inline-block;}}.clkHOJ .language{font-size:.75rem;padding:18px 15px 18px;margin-left:10px;}@media (min-width:767px){.clkHOJ .language{padding:23px 15px 22px;margin:0 10px;}}@media (min-width:1024px){.clkHOJ .language{margin:0 5px;}}@media (min-width:1060px){.clkHOJ .language{margin:0 18px;}}.clkHOJ .language.not-scroll{background-color:transparent;}.clkHOJ .language .dropdown-content{top:60px;left:auto;right:0;-webkit-transform:none;-ms-transform:none;transform:none;}.clkHOJ .language .dropdown-content:before{left:calc(100% - 50px);}@media (min-width:767px){.clkHOJ .language .dropdown-content{top:70px;left:50%;right:auto;-webkit-transform:translate(-50%,0);-ms-transform:translate(-50%,0);transform:translate(-50%,0);}.clkHOJ .language .dropdown-content:before{left:calc(50% - 9px);}}.clkHOJ .icon-search{display:inline-block;vertical-align:middle;font-size:1.125rem;}.clkHOJ .button:last-of-type{margin-left:15px;}.clkHOJ .button button{padding:0 15px;font-size:.75rem;height:40px;} /* sc-component-id: sc-ckVGcZ */ .iDCxkm{display:none;}.iDCxkm .selected{font-family:'Montserrat',sans-serif;font-weight:bold;position:relative;}.iDCxkm .selected:after{position:absolute;bottom:0;height:5px;background-color:#0075b0;content:'';width:100%;left:0;}.iDCxkm .menu-title-custom{padding:15px 0;width:100px;position:relative;display:inline-block;font-family:'Montserrat',sans-serif;font-weight:500;font-size:.625rem;line-height:16px;-webkit-letter-spacing:2px;-moz-letter-spacing:2px;-ms-letter-spacing:2px;letter-spacing:2px;text-align:center;text-transform:uppercase;cursor:pointer;}.iDCxkm .menu-title-custom:hover{font-family:'Montserrat',sans-serif;font-weight:bold;-webkit-transition:font-weight .3s ease-out;transition:font-weight .3s ease-out;}.iDCxkm .menu-title-custom .active{font-weight:800;}.iDCxkm .menu-title-custom .triangle{width:0;height:0;border-left:8px solid 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.menu-title{cursor:pointer;text-transform:uppercase;}.iDCxkm ul li .menu-title:hover{font-family:'Montserrat',sans-serif;font-weight:bold;-webkit-transition:font-weight .3s ease-out;transition:font-weight .3s ease-out;}.iDCxkm ul li .active{font-weight:800;}.iDCxkm ul li .triangle{width:0px;height:0px;border-left:8px solid transparent;border-right:8px solid transparent;border-bottom:8px solid #fff;position:absolute;z-index:100;bottom:0;left:0;right:0;margin:0 auto;}.iDCxkm ul li:hover .open{display:block;}.iDCxkm ul li:not(:first-of-type){margin-left:16px;}}@media(min-width:1200px){.iDCxkm ul li{width:137px;font-size:.75rem;}}@media (min-width:1060px){.iDCxkm ul li:not(:first-of-type){margin-left:20px;}}.iDCxkm .submenu-container{padding:50px 50px;max-width:1440px;margin:0 auto;}@media(min-width:1024px){.iDCxkm .submenu-container{height:700px;}}@media(min-width:1100px){.iDCxkm .submenu-container{height:600px;}}.iDCxkm .submenu-container .header{display:inline-block;font-family:'BodoniBdBTWXX-Bold';font-weight:normal;font-style:normal;font-size:2.1875rem;line-height:45px;margin-bottom:9px;}.iDCxkm .submenu-container .icon-arrow{color:#0075b0;margin-left:10px;} /* sc-component-id: sc-jKJlTe */ .IXFbv{box-shadow:none;position:fixed;z-index:100;width:100%;height:50px;background-color:#ffcc00;-webkit-transition:0.2s ease-in-out;transition:0.2s ease-in-out;padding:0 15px;}@media (min-width:767px){.IXFbv{height:60px;}}@media (min-width:1024px){.IXFbv{background-color:#ffcc00;padding:0;}}.IXFbv .header-container{width:100%;height:100%;max-width:1440px;margin:0 auto;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;height:50px;}@media (min-width:767px){.IXFbv .header-container{border-bottom:1px solid rgba(0,0,0,0.2);height:60px;}}@media (min-width:1024px){.IXFbv .header-container{padding:0 20px;}}@media (min-width:1200px){.IXFbv .header-container{padding:0 15px;}}@media (min-width:1400px){.IXFbv .header-container{padding:0 50px;}}.IXFbv .menu .icon{display:inline-block;vertical-align:middle;margin-right:15px;font-size:1.5rem;}@media (min-width:1024px){.IXFbv .menu .icon{display:none;}}.IXFbv .menu .logo{display:inline-block;vertical-align:middle;height:23px;}@media (min-width:1024px){.IXFbv .menu .logo{height:26px;}}@media (min-width:1240px){.IXFbv .menu .logo{height:32px;}}.IXFbv .menu .logo img{cursor:pointer;height:100%;}@media (min-width:1024px){.IXFbv .menu .logo img{margin-right:19px;}}@media (min-width:1060px){.IXFbv .menu .logo img{margin-right:35px;}}@-webkit-keyframes appear{0%{display:none;opacity:0;}1%{display:block;}100%{opacity:.5;}}@keyframes appear{0%{display:none;opacity:0;}1%{display:block;}100%{opacity:.5;}}@-webkit-keyframes disappear{0%{opacity:.5;}100%{opacity:0;}}@keyframes disappear{0%{opacity:.5;}100%{opacity:0;}}.IXFbv .increase{-webkit-transform:translateX(0);-ms-transform:translateX(0);transform:translateX(0);}.IXFbv .shadow{-webkit-animation:appear 2s;animation:appear 2s;}.IXFbv .hide{-webkit-animation:disappear 5s;animation:disappear 5s;}.IXFbv .show{position:absolute;top:0;bottom:0;left:0;right:0;z-index:100;height:100vh;width:100vw;background-color:black;opacity:.5;}@media (min-width:1024px){.IXFbv .show{display:none;}} /* sc-component-id: sc-eNQAEJ */ .cwLxUK{color:#5F6973;padding:35px 0;margin:0 15px;}@media(min-width:767px){.cwLxUK{margin-right:10px;margin-bottom:36px;padding:0;width:260px;}}@media(min-width:1024px){.cwLxUK{margin-left:50px;}}.cwLxUK img{height:36px;width:auto;margin-bottom:15px;}.cwLxUK > div{margin-top:20px;}.cwLxUK > div p{color:#fff;font-family:'Montserrat',sans-serif;font-weight:300;font-size:.75rem;line-height:20px;} /* sc-component-id: sc-hMqMXs */ .hvxvgQ{display:inline-block;vertical-align:top;width:100%;}@media (min-width:767px){.hvxvgQ{width:50%;}}@media (min-width:1024px){.hvxvgQ{width:25%;padding-right:10px;}}.hvxvgQ .head{font-family:'BodoniBdBTWXX-Bold';font-weight:normal;font-style:normal;font-size:1.125rem;line-height:25px;margin-bottom:10px;}.hvxvgQ .head a{border-bottom:2px solid transparent;-webkit-transition:border-bottom .2s;transition:border-bottom .2s;cursor:pointer;}.hvxvgQ .head a:hover{border-bottom:2px solid #FFCC00;}.hvxvgQ .subtitle{font-family:'Montserrat',sans-serif;font-weight:300;color:#fff;font-size:.875rem;line-height:30px;border-bottom:none;cursor:pointer;}.hvxvgQ .subtitle a{border-bottom:2px solid transparent;-webkit-transition:border-bottom .2s;transition:border-bottom .2s;}.hvxvgQ .subtitle a:hover{border-bottom:2px solid #FFCC00;} /* sc-component-id: sc-kEYyzF */ .bGBkAc{border-top:1px solid rgba(255,255,255,.4);padding:35px 0;margin:0 15px;}@media(min-width:1024px){.bGBkAc{margin-right:50px;}}.bGBkAc > div:not(:first-of-type){margin-top:22px;}@media(min-width:767px){.bGBkAc{margin-left:0;border-top:none;border-left:1px solid rgba(255,255,255,.4);width:calc(100% - 260px);padding:0 0 0 27px;}.bGBkAc > div{margin-top:0 !important;margin-bottom:22px;}}.bGBkAc .side{display:inline-block;}.bGBkAc .side > div:not(:first-of-type){margin-top:22px;}@media(min-width:767px){.bGBkAc .side{width:50%;}.bGBkAc .side > div{width:100%;}}@media(min-width:1024px){.bGBkAc .side{width:25%;}} /* sc-component-id: sc-kkGfuU */ .jUmdhX{border-top:1px solid rgba(255,255,255,.4);margin:0 15px;padding:36px 0 0;}@media(min-width:767px){.jUmdhX{padding-top:18px;}}@media(min-width:1024px){.jUmdhX{margin:0 50px;}}@media(min-width:767px){.jUmdhX .pages{display:inline-block;vertical-align:top;width:calc(100% - 280px);}}.jUmdhX .pages a,.jUmdhX .pages span{font-size:.75rem;line-height:15px;color:#fff;}.jUmdhX .pages span{margin-bottom:15px;display:block;}@media(min-width:767px){.jUmdhX .pages span{margin-bottom:0;display:inline-block;}}.jUmdhX .pages a{display:block;cursor:pointer;border-bottom:2px solid transparent;-webkit-transition:border-bottom .2s;transition:border-bottom .2s;}.jUmdhX .pages a:not(:last-of-type){margin-bottom:15px;}.jUmdhX .pages a:hover{border-bottom:2px solid #FFCC00;}@media(min-width:767px){.jUmdhX .pages a{display:inline-block;margin-left:15px;}}@media( min-width:900px ){.jUmdhX .pages a{margin-left:40px;}}.jUmdhX .pages a strong{font-weight:600;}.jUmdhX .social{padding:20px 0 15px;}@media(min-width:767px){.jUmdhX .social{display:inline-block;width:280px;padding:0;}} /* sc-component-id: sc-iAyFgw */ .gVTilb{background-color:#262626;color:#fff;padding:45px 0;position:relative;z-index:3;}.gVTilb .container{max-width:1440px;margin:0 auto;}.gVTilb .header{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;}@media(min-width:767px){.gVTilb .header{-webkit-flex-direction:row;-ms-flex-direction:row;flex-direction:row;margin-bottom:50px;}}@media(min-width:1024px){.gVTilb .header{margin-bottom:40px;}} /* sc-component-id: sc-hSdWYo */ .kXGOne{height:100%;width:100%;background-size:cover;background-position:center;background-repeat:no-repeat;position:relative;}.kXGOne .section-container{width:100%;max-width:1440px;margin:0 auto;} .hgxUEe{height:100%;width:100%;background-image:url(/static/images/entrance_museum.jpg);background-size:cover;background-position:center;background-repeat:no-repeat;position:relative;}.hgxUEe .section-container{width:100%;max-width:1440px;margin:0 auto;} /* sc-component-id: sc-eHgmQL */ .OrQps{height:800px;}@media (min-width:1024px){.OrQps{height:600px;}}.OrQps .newsletter-card{position:absolute;bottom:20px;right:0;left:0;width:290px;margin:0 auto;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;}@media (min-width:767px){.OrQps .newsletter-card{width:500px;bottom:45px;}}@media (min-width:1024px){.OrQps .newsletter-card{width:820px;bottom:50px;-webkit-flex-direction:row;-ms-flex-direction:row;flex-direction:row;}}.OrQps .newsletter-card .newsletter-reach{padding:50px 22px;background-color:#ffcc00;}@media (min-width:767px){.OrQps .newsletter-card .newsletter-reach{padding:45px 126px;}}@media (min-width:1024px){.OrQps .newsletter-card .newsletter-reach{padding:37px 37px 50px;width:320px;-webkit-box-pack:start;-webkit-justify-content:flex-start;-ms-flex-pack:start;justify-content:flex-start;padding-top:92px;}}.OrQps .newsletter-card .newsletter-reach .reach-info{width:100%;padding:0 16px;}@media (min-width:1024px){.OrQps .newsletter-card .newsletter-reach .reach-info{padding:0;}}.OrQps .newsletter-card .newsletter-subscribe{padding:25px 25px 35px;}.OrQps .newsletter-card .newsletter-subscribe .subscribe-form{position:relative;width:100%;}.OrQps .newsletter-card .newsletter-subscribe .subscribe-desc{width:100%;}@media (min-width:767px){.OrQps .newsletter-card .newsletter-subscribe .subscribe-desc{padding:0 26px;}}@media (min-width:1024px){.OrQps .newsletter-card .newsletter-subscribe .subscribe-desc{padding:0;}}.OrQps .newsletter-card .newsletter-subscribe .subscribe-desc .privacy{font-weight:bold;-webkit-text-decoration:underline;text-decoration:underline;color:#0075b0;}.OrQps .newsletter-card .newsletter-subscribe .btn-subscribe{width:100%;}@media (min-width:767px){.OrQps .newsletter-card .newsletter-subscribe{padding:48px 33px 50px;}}@media (min-width:1024px){.OrQps .newsletter-card .newsletter-subscribe{width:500px;padding-bottom:25px;}}.OrQps .newsletter-card .reach-title{font-family:'BodoniBTWXX-Roman';font-weight:normal;font-style:normal;font-size:1.75rem;line-height:1.44;color:#000;text-transform:uppercase;text-align:center;margin-bottom:7px;}@media (min-width:1024px){.OrQps .newsletter-card .reach-title{font-size:1.875rem;text-align:left;}}.OrQps .newsletter-card .reach-desc,.OrQps .newsletter-card .subscribe-desc{font-family:'Montserrat',sans-serif;font-weight:400;font-size:1rem;line-height:1.44;color:#000;margin-bottom:22px;text-align:center;}@media (min-width:1024px){.OrQps .newsletter-card .reach-desc,.OrQps .newsletter-card .subscribe-desc{text-align:left;}}.OrQps .newsletter-card .reach-desc{color:#000;}.OrQps .newsletter-card .subscribe-input{width:100%;border:1px solid #0075b0;padding:10px 15px;font-family:'Montserrat',sans-serif;font-weight:400;line-height:22px;color:#000;margin-bottom:15px;}.OrQps .newsletter-card .reach-button{width:100%;}.OrQps .newsletter-card .reach-button,.OrQps .newsletter-card .subscribe-input,.OrQps .newsletter-card .subscribe-button{height:44px;font-size:.875rem;}@media (min-width:1024px){.OrQps .newsletter-card .reach-button,.OrQps .newsletter-card .subscribe-input,.OrQps .newsletter-card .subscribe-button{height:55px;}}.OrQps .newsletter-card .reach-button>a,.OrQps .newsletter-card .subscribe-input>a,.OrQps .newsletter-card .subscribe-button>a{height:100%;} /* sc-component-id: sc-fBuWsC */ .jlvRSH{height:100%;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;display:none;}@media (min-width:1024px){.jlvRSH{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;}} /* sc-component-id: sc-fMiknA */ .bORONc{height:100%;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;}.bORONc .left-button{width:50px;height:50px;font-size:22px;}.bORONc .radial{width:50px;height:50px;} /* sc-component-id: sc-dVhcbM */ .eupUBy{width:100%;position:absolute;height:10px;text-align:center;bottom:10px;z-index:99;}.eupUBy .dot{background-color:#fff;opacity:.2;display:inline-block;border-radius:50%;width:10px;height:10px;margin:0 8px;}.eupUBy .dot.active{opacity:.8;} /* sc-component-id: sc-eqIVtm */ .dxuWnW{position:relative;height:100%;}.dxuWnW .carousel{height:100%;}.dxuWnW .carousel-button{display:none;width:50px;position:absolute;height:100%;z-index:5;color:#fff;cursor:pointer;top:0;font-size:26px;}@media (min-width:1024px){.dxuWnW .carousel-button{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;}}.dxuWnW .carousel-button.carousel-left-button{left:10px;}.dxuWnW .carousel-button.carousel-right-button{right:10px;} /* sc-component-id: sc-ksYbfQ */ .iqSMdI{position:-webkit-sticky;position:sticky;}@media (min-width:1024px){.iqSMdI{top:90px;}} /* sc-component-id: sc-hmzhuo */ .bUDYYd{position:relative;display:none;padding:0 15px;}.bUDYYd .line{height:1px;background-color:#5F6973;opacity:.2;}@media (min-width:767px){.bUDYYd{display:block;z-index:50;position:absolute;background:transparent;top:60px;width:100%;height:50px;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;padding:0 15px;}.bUDYYd .path{font-family:'Montserrat',sans-serif;font-weight:400;color:#ffffff;font-size:.875rem;line-height:23px;width:100%;max-width:1240px;margin:0;}.bUDYYd .path .icon{margin-right:14px;display:inline-block;vertical-align:middle;}.bUDYYd .path .strong{font-weight:bold;}}@media (min-width:1024px){.bUDYYd{padding:0 50px;}} /* sc-component-id: sc-kvZOFW */ .ggeXjN .accordion-content{max-height:0;-webkit-transition:max-height,all 0.2s ease-out;transition:max-height,all 0.2s ease-out;overflow:hidden;background:#faf8f5;font-size:.75rem;}.ggeXjN .accordion-content.open{max-height:2000px;-webkit-transition:max-height 0.4s ease-in;transition:max-height 0.4s ease-in;}.ggeXjN .accordion-title{display:block;} /* sc-component-id: sc-hqyNC */ .kctLXt{box-shadow:2px 2px 15px 0 rgba(0,0,0,0.08);}.kctLXt .mobile-accordion{display:block;position:absolute;z-index:300;height:40px;max-width:100%;right:0px;left:0px;background:white;color:#0075b0;font-size:.75rem;font-family:'Montserrat',sans-serif;font-weight:bold;line-height:26px;z-index:1;padding:8px 50px 8px 20px;}.kctLXt .mobile-accordion:before{content:'';width:5px;height:100%;background:#0075b0;position:absolute;left:0;top:0;}@media (min-width:1024px){.kctLXt .mobile-accordion{display:none;}}.kctLXt .icon{-webkit-transform:rotateX(0deg);-ms-transform:rotateX(0deg);transform:rotateX(0deg);-webkit-transition:-webkit-transform .5s ease-in-out;-webkit-transition:transform .5s ease-in-out;transition:transform .5s ease-in-out;display:inline-block;color:#0075b0;position:absolute;top:0;bottom:0;right:0;z-index:5;cursor:pointer;height:40px;padding:12px;}@media (min-width:1024px){.kctLXt .icon{display:none;}}.kctLXt .rotate{-webkit-transform:rotateX(-180deg);-ms-transform:rotateX(-180deg);transform:rotateX(-180deg);} /* sc-component-id: sc-jbKcbu */ .nFFH{position:relative;box-shadow:none;}.nFFH .wrap-title{width:auto;font-size:.75rem;padding:8px 20px;cursor:pointer;line-height:23px;background:#ffffff;}.nFFH .wrap-title .title{position:relative;}.nFFH .wrap-title .title:after{content:'';width:100%;height:1px;position:absolute;left:0;bottom:-8px;opacity:0.25;background:#9E9D98;}.nFFH .wrap-title.accordion-open{position:relative;background:#ffffff;color:#0075b0;font-family:'Montserrat',sans-serif;font-weight:bold;padding:8px 20px;box-shadow:2px 2px 15px 0 rgba(0,0,0,0.08);}.nFFH .wrap-title.accordion-open .title:after{height:1px;}.nFFH .wrap-title.accordion-open:before{content:'';width:5px;height:100%;background:#0075b0;position:absolute;left:0;top:0;z-index:2;}.nFFH .wrap-title a{display:block;} /* sc-component-id: sc-dNLxif */ .fyezxB .content .wrap{padding:0px 20px;height:100%;width:100%;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;}.fyezxB .content .wrap:after{content:'';height:1px;background:#9E9D98;position:absolute;left:0px;bottom:0px;right:0;opacity:0.25;margin:0 20px;}.fyezxB .content .wrap.selected{position:relative;width:100%;color:#0075b0;font-weight: font-family:'Montserrat',sans-serif;font-weight:bold;}.fyezxB .content .wrap.selected:before{content:'';width:5px;height:100%;background:#0075b0;position:absolute;left:0;top:0;}.fyezxB .content 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15px 0 rgba(0,0,0,0.08);}@media(min-width:767px){.kMQdsX{-webkit-flex-direction:row;-ms-flex-direction:row;flex-direction:row;}} /* sc-component-id: sc-jnlKLf */ .fAZWgS{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:flex-end;-webkit-box-align:flex-end;-ms-flex-align:flex-end;align-items:flex-end;width:100%;height:520px;background-image:url(https://api.museoegizio.it/wp-content/uploads/2024/08/funded_projects_bg.jpg);background-size:cover;background-position:center;background-repeat:no-repeat;position:relative;}.fAZWgS:before{content:'';position:absolute;background:rgba(0,0,0,0.7);top:0;left:0;right:0;bottom:0;z-index:1;opacity:0.6;}.fAZWgS .invisible{display:none;}.fAZWgS .wrap{position:relative;z-index:2;width:100%;height:auto;padding:0 15px 100px;max-width:1440px;margin:0 auto;}@media(min-width:767px){.fAZWgS .wrap{padding:0 20px 50px;}}@media(min-width:1024px){.fAZWgS .wrap{padding:0 100px 65px 365px;}}.fAZWgS .wrap img{height:auto;max-height:200px;width:auto;max-width:380px;padding-bottom:25px;}.fAZWgS .tag{padding-bottom:25px;}.fAZWgS .title,.fAZWgS .color-title{color:#ffffff;font-size:2.375rem;font-family:'BodoniBdBTWXX-Bold';font-weight:normal;font-style:normal;padding-bottom:20px;line-height:1.08;}@media(min-width:767px){.fAZWgS .title,.fAZWgS .color-title{font-size:2.5rem;}}@media(min-width:1024px){.fAZWgS .title,.fAZWgS .color-title{font-size:3.75rem;}}.fAZWgS .color-title{color:#ffcc00;margin-top:-10px;padding-bottom:10px;}.fAZWgS .subtitle{font-family:'BodoniBdBTWXX-Bold';font-weight:normal;font-style:normal;font-size:2rem;line-height:1.35;color:#ffffff;margin-bottom:30px;}@media(min-width:767px){.fAZWgS .subtitle{font-size:2.1875rem;}}@media(min-width:1024px){.fAZWgS .subtitle{font-size:2.8125rem;}}.fAZWgS .desc{color:#ffffff;font-size:.875rem;line-height:23px;padding-bottom:20px;}.fAZWgS .button{min-width:250px;width:100%;}.fAZWgS .button .btn{min-width:250px;width:100%;padding:0 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.subtitle{display:inline-block;margin-left:16px;}}.kTfuQT .wrap-title.accordion-open{position:relative;background:#ffffff;font-size:1.25rem;}.kTfuQT .wrap-title.accordion-open:hover{box-shadow:none;}.kTfuQT .wrap-title.accordion-open .title:after{height:0px;}.kTfuQT .wrap-title.accordion-open:not(:last-child):after{content:'';position:absolute;bottom:0;height:1px;background:#9E9D98;left:20px;right:20px;opacity:.4;} /* sc-component-id: sc-jwKygS */ .kLMoRk{background-color:#ffffff;box-shadow:2px 2px 15px 0 rgba(0,0,0,0.08);}.kLMoRk .header .wrap-title{padding-left:25px;-webkit-transition:box-shadow .2s;transition:box-shadow .2s;}.kLMoRk .content{background-color:#ffffff;padding:25px 35px 30px;font-size:1rem;font-family:'Montserrat',sans-serif;font-weight:400;font-weight:normal;font-style:normal;font-stretch:normal;line-height:1.75;-webkit-letter-spacing:normal;-moz-letter-spacing:normal;-ms-letter-spacing:normal;letter-spacing:normal;text-align:left;}.kLMoRk .line{width:calc(100% - 50px);height:1px;opacity:0.4;background-color:#9E9D98;margin:0px 25px;}.kLMoRk .partecipation{background:#ffffff;padding:30px;}.kLMoRk .card-btn{width:100%;}@media(min-width:1024px){.kLMoRk .card-btn{width:100%;max-width:250px;}}.kLMoRk .wrap-button{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:start;-webkit-justify-content:flex-start;-ms-flex-pack:start;justify-content:flex-start;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;width:100%;padding:0 35px 35px 35px;} /* sc-component-id: sc-btzYZH */ .dyBnFi{-webkit-flex-basis:auto;-ms-flex-preferred-size:auto;flex-basis:auto;width:100%;min-height:40px;background-image:url();background-size:cover;background-position:center;background-repeat:no-repeat;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:flex-start;-webkit-box-align:flex-start;-ms-flex-align:flex-start;align-items:flex-start;-webkit-box-pack:start;-webkit-justify-content:flex-start;-ms-flex-pack:start;justify-content:flex-start;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;height:100%;text-align:left;color:#000;}.dyBnFi i{color:#0075b0;}.dyBnFi .tag{font-family:'Montserrat',sans-serif;font-weight:bold;font-size:.75rem;color:#0075b0;-webkit-letter-spacing:1px;-moz-letter-spacing:1px;-ms-letter-spacing:1px;letter-spacing:1px;line-height:20px;text-transform:uppercase;padding-bottom:15px;}.dyBnFi .tagDesc{color:#5F6973;font-size:.875rem;line-height:23px;}.dyBnFi .icon{display:block;padding-bottom:18px;font-size:2.1875rem;width:100%;}.dyBnFi .headline{width:100%;font-size:1.125rem;color:#5F6973;padding-bottom:12px;}.dyBnFi .title{width:100%;padding-bottom:10px;font-size:1.75rem;font-family:'BodoniBdBTWXX-Bold';font-weight:normal;font-style:normal;}@media(min-width:767px){.dyBnFi .title{padding-bottom:20px;}}.dyBnFi .subtitle{width:100%;font-size:1.125rem;padding-bottom:35px;}.dyBnFi .desc{font-size:.875rem;line-height:28px;width:100%;height:auto;}.dyBnFi .button{width:100%;padding-top:25px;}.dyBnFi h6{color:#9E9D98 font-size:.875rem;line-height:18px;}.dyBnFi h1{width:100%;font-size:.875rem;font-family:'BodoniBdBTWXX-Bold';font-weight:normal;font-style:normal;line-height:24px;}@media(min-width:767px){.dyBnFi h1{font-size:1.5rem;}}.dyBnFi .card-btn{width:100%;padding-top:25px;}@media(min-width:1024px){.dyBnFi .card-btn{width:100%;max-width:250px;}}.dyBnFi a{-webkit-text-decoration:underline;text-decoration:underline;} /* sc-component-id: sc-dfVpRl */ .iDDwKM{background-image:url('https://api.museoegizio.it/wp-content/uploads/2024/08/Figure1.jpg');background-size:cover;background-position:center;} .cBmpoH{background-image:url('https://api.museoegizio.it/wp-content/uploads/2024/08/Figure2.jpg');background-size:cover;background-position:center;} /* sc-component-id: sc-gzOgki */ .bUdmSP{margin-bottom:60px;}.bUdmSP .title{font-family:'BodoniBdBTWXX-Bold';font-weight:normal;font-style:normal;font-size:2.5rem;line-height:1.13;margin:50px 0 30px;}.bUdmSP .video,.bUdmSP .exhibition-carousel,.bUdmSP .carousel-card{width:100%;height:200px;}@media(min-width:767px){.bUdmSP .video,.bUdmSP .exhibition-carousel,.bUdmSP .carousel-card{height:430px;}}.bUdmSP .exhibition-carousel{margin-bottom:30px;} /* sc-component-id: sc-hwwEjo */ .gBwOmq{max-width:260px;max-height:150px;} /* sc-component-id: sc-kPVwWT */ .idOodu .discover-funded-multimedia-content{font-size:14px !important;font-weight:300 !important;margin-top:18px;}.idOodu h2.title{font-family:'BodoniBdBTWXX-Bold';font-weight:normal;font-style:normal;font-size:2.5rem;margin-top:35px;line-height:1.12;}.idOodu h2.title i{color:#0075b0;}.idOodu h3.subtitle{font-family:'Montserrat',sans-serif;font-weight:400;font-size:1.25rem;line-height:1.67;}.idOodu h3.subtitle i{color:#0075b0;} /* sc-component-id: sc-kfGgVZ */ .kMTxrD{width:100%;max-width:710px;text-align:left;margin-top:30px;}.kMTxrD h1{font-family:'BodoniBdBTWXX-Bold';font-weight:normal;font-style:normal;font-size:2.5rem;padding-bottom:35px;line-height:1.12;}.kMTxrD h1 i{color:#0075b0;} /* sc-component-id: sc-esjQYD */ .kfHEwd .list{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:row;-ms-flex-direction:row;flex-direction:row;-webkit-flex-wrap:wrap;-ms-flex-wrap:wrap;flex-wrap:wrap;margin:-13px;margin-bottom:0 !important;} /* sc-component-id: sc-kIPQKe */ .bnxaPm{padding:18px 8px 18px 0;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;margin:1px;border:solid 1px transparent;-webkit-transition:box-shadow .2s,border-color .2s;transition:box-shadow .2s,border-color .2s;}@media ( min-width:400px ){.bnxaPm{margin:13px;}}.bnxaPm img{max-width:200px;}.bnxaPm .title{margin-bottom:20px;font-weight:300;} /* sc-component-id: sc-eXEjpC */ .iAaity{width:100%;border:none;border-top:3px dashed #C0C0C0;color:#fff;background-color:transparent;height:3px;margin:48px 0;} /* sc-component-id: sc-iuJeZd */ .hOEmzS{position:relative;background:#f5f3eb;}.hOEmzS .wrapper{padding:35px 0 100px;}@media (min-width:767px){.hOEmzS .wrapper{padding:85px 15px 120px;}}@media (min-width:1024px){.hOEmzS .wrapper{padding:75px 50px 120px;max-width:1440px;margin:auto;}}.hOEmzS .sticky-container{position:relative;display:block;height:38px;overflow:hidden;top:0px;margin:0 15px 20px;box-shadow:2px 2px 15px 0 rgba(0,0,0,0.08);}@media (min-width:767px){.hOEmzS .sticky-container{margin:0 0 20px;}}@media (min-width:1024px){.hOEmzS .sticky-container{position:absolute;top:200px;height:calc(100% - 300px);max-width:245px;-webkit-flex-basis:100%;-ms-flex-preferred-size:100%;flex-basis:100%;width:100%;z-index:3;overflow:visible;box-shadow:none;margin:0 0 20px;}}.hOEmzS .full-container{width:100%;}.hOEmzS .hero{height:540px;}.hOEmzS .breadcrumb{max-width:1440px;width:100%;margin:auto;position:relative;}@media (min-width:767px){.hOEmzS .content-wrap{margin:-15px;}}@media (min-width:1024px){.hOEmzS .content-wrap{padding-left:295px;}}.hOEmzS .full-element{margin-left:0px;margin-top:50px;}@media (min-width:767px){.hOEmzS .full-element{width:calc(100vw - 0);margin:70px -15px 0 -15px;}}@media (min-width:1024px){.hOEmzS .full-element{width:100vw;margin-left:-67px;margin-top:90px;}}@media (min-width:1440px){.hOEmzS .full-element{margin-left:calc((1308px - 100vw) / 2 );}}.hOEmzS .mobile-accordion{left:15px;margin:0 -15px;position:relative;}.hOEmzS .listAccordion{box-shadow:2px 2px 15px 0 rgba(0,0,0,0.08);} /* sc-component-id: sc-esOvli */ .kEwjxD{background:#fff;color:#000;width:100%;min-height:40px;border-top:5px solid #FFCC00;display:block;height:auto;box-shadow:2px 2px 15px 0 rgba(0,0,0,0.08);margin:15px 15px 0;padding:30px 20px;}@media(min-width:767px){.kEwjxD{margin:15px;padding:40px;}}@media(min-width:1024px){.kEwjxD{width:calc(100% - 0);}} .cYvfuG{background:transparent;color:#000;width:100%;min-height:40px;border-top:0;display:block;height:auto;margin:15px 15px 0;padding:0px;}@media(min-width:767px){.cYvfuG{margin:15px;padding:0px;}}@media(min-width:1024px){.cYvfuG{width:calc(100% - 0);}} /* sc-component-id: sc-hGoxap */ .hzyEDU .page-title{font-size:1.75rem;font-family:'BodoniBdBTWXX-Bold';font-weight:normal;font-style:normal;line-height:40px;padding:0 15px 40px;color:#002266;}@media (min-width:767px){.hzyEDU .page-title{font-size:2.1875rem;line-height:45px;padding:0 0 40px;}}@media(min-width:1024px){.hzyEDU .page-title{font-size:2.8125rem;line-height:1;}}.hzyEDU .links-list{padding:30px 15px;}@media (min-width:767px){.hzyEDU .links-list{padding:30px 60px;}}.hzyEDU .small{width:100%;margin-bottom:30px;}@media (min-width:767px){.hzyEDU .small{width:calc((100% / 2) - 15px);}}.hzyEDU div[class*="big"]{margin-bottom:30px;}.hzyEDU .wrap-list{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;-webkit-flex-wrap:wrap;-ms-flex-wrap:wrap;flex-wrap:wrap;-webkit-flex-basis:auto;-ms-flex-preferred-size:auto;flex-basis:auto;width:100%;margin:0;}.hzyEDU .single-card{padding:30px;}.hzyEDU a{color:#002266;font-family:'Montserrat',sans-serif;font-weight:600;-webkit-text-decoration:underline;text-decoration:underline;}.hzyEDU .arrow-link > 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gEXzKj"></span><a class="">Discover the museum / </a><a href="/en/discover/funded-projects" class="strong">Funded Projects</a></div></div><div class="sc-jnlKLf fAZWgS" content="[object Object]"><div class="wrap"><h1 class="title undefined">Funded Projects</h1><div class="button"><div class="button"></div></div></div></div><div class="wrapper wrapper-container"><div class="sticky-container"><div class="sc-ksYbfQ iqSMdI"><div class="listAccordion sc-dNLxif fyezxB"><div class="sc-hqyNC kctLXt"><div class="mobile-accordion"></div><span class="icon icon-arrow-down icon sc-bwzfXH gEXzKj"></span></div><nav class="sc-kvZOFW ggeXjN"><div class="accordion"><div id="acc-header-history-of-the-museum" aria-controls="acc-sub-history-of-the-museum" class="accordion-title" tabindex="0"><div class="sc-jbKcbu nFFH"><a class="wrap-title false sc-bdVaJa fVCJpx" href="/en/discover/story/" target="_self"><div class="title">History of the Museum</div></a></div></div><div class="accordion-content false" aria-labelledby="acc-header-history-of-the-museum" id="acc-sub-history-of-the-museum"></div></div></nav><nav class="sc-kvZOFW ggeXjN"><div class="accordion"><div id="acc-header-collection-and-research" aria-controls="acc-sub-collection-and-research" class="accordion-title" tabindex="0"><div class="sc-jbKcbu nFFH"><a class="wrap-title false sc-bdVaJa fVCJpx" href="/en/discover/collection/" target="_self"><div class="title">Collection and research</div></a></div></div><div class="accordion-content false" aria-labelledby="acc-header-collection-and-research" id="acc-sub-collection-and-research"><div class="content"><a class="content-item sc-bdVaJa fVCJpx" href="/en/discover/collection/library/" target="_self" role="menuitem"><div class="wrap ">Library</div></a><a class="content-item sc-bdVaJa fVCJpx" href="https://rivista.museoegizio.it/" target="_blank" role="menuitem"><div class="wrap ">Scientific magazine</div></a><a class="content-item sc-bdVaJa fVCJpx" href="/en/discover/collection/papyrus-collection/" target="_self" role="menuitem"><div class="wrap ">Papyrus collection</div></a><a class="content-item sc-bdVaJa fVCJpx" href="https://archiviofotografico.museoegizio.it/en/" target="_blank" role="menuitem"><div class="wrap ">Photo Archive</div></a><a class="content-item sc-bdVaJa fVCJpx" href="https://formazioneericerca.museoegizio.it/en/" target="_blank" role="menuitem"><div class="wrap ">Conference proceedings</div></a><a class="content-item sc-bdVaJa fVCJpx" href="/en/discover/collection/gallerie-della-cultura-materiale/" target="_self" role="menuitem"><div class="wrap ">Galleries of Material Culture</div></a></div></div></div></nav><nav class="sc-kvZOFW ggeXjN"><div class="accordion"><div id="acc-header-special-projects" aria-controls="acc-sub-special-projects" class="accordion-title" tabindex="0"><div class="sc-jbKcbu nFFH"><a class="wrap-title false sc-bdVaJa fVCJpx" href="/en/discover/special-projects/" target="_self"><div class="title">Special projects</div></a></div></div><div class="accordion-content false" aria-labelledby="acc-header-special-projects" id="acc-sub-special-projects"></div></div></nav><nav class="sc-kvZOFW ggeXjN"><div class="accordion"><div id="acc-header-funded-projects" aria-controls="acc-sub-funded-projects" class="accordion-title" tabindex="0"><div class="sc-jbKcbu nFFH"><a class="wrap-title false sc-bdVaJa fVCJpx" href="/en/discover/funded-projects/" target="_self"><div class="title">Funded Projects</div></a></div></div><div class="accordion-content false" aria-labelledby="acc-header-funded-projects" id="acc-sub-funded-projects"></div></div></nav></div></div></div><div class="full-container container-normal"><div class="content-wrap"><div class="sc-hGoxap hzyEDU"><div class="wrap-list"><div class=" discover-funded-multimedia sc-esOvli kEwjxD" type="funded_projects_multimedia_section"><div class="sc-uJMKN kMQdsX"><div class="half-left sc-kPVwWT idOodu"><img class="sc-hwwEjo gBwOmq" src="https://api.museoegizio.it/wp-content/uploads/2024/08/FacesRevealed_LOGO-1.png"/><h2 class="title">Faces Revealed Project</h2><div class="discover-funded-multimedia-content sc-iwsKbI bEVcjT" content="Investigating the faces of ‘Yellow Coffins’ through Photogrammetry. Comparison between 3D model and Digital twin for a new analysis of the manufacture, painting techniques and re-use."><div>Investigating the faces of ‘Yellow Coffins’ through Photogrammetry. Comparison between 3D model and Digital twin for a new analysis of the manufacture, painting techniques and re-use.</div></div></div><div class="half-right funded-carousel-wrapper sc-kPVwWT idOodu"><div class="sc-gzOgki bUdmSP"><div><h3 class="title">Multimedia section</h3><div class="exhibition-carousel sc-eqIVtm dxuWnW"><div class="carousel-button carousel-left-button sc-fMiknA bORONc"><div class="sc-fBuWsC jlvRSH" aria-label="prev"><span class="icon icon-arrow-hero-sx icon sc-bwzfXH gEXzKj"></span></div></div><div class="slider " style="position:relative;display:block;width:100%;height:100%;box-sizing:border-box;-moz-box-sizing:border-box;visibility:hidden"><div class="slider-frame" style="position:relative;display:block;overflow:hidden;height:auto;margin:0px;padding:0;transform:translate3d(0, 0, 0);-webkit-transform:translate3d(0, 0, 0);-ms-transform:translate(0, 0);box-sizing:border-box;-moz-box-sizing:border-box"><ul class="slider-list" style="transform:translate3d(0px, 0px, 0);-webkit-transform:translate3d(0px, 0px, 0);-ms-transform:translate(0px, 0px);position:relative;display:block;margin:0px 0px;padding:0;height:0;width:0;cursor:inherit;box-sizing:border-box;-moz-box-sizing:border-box"><li class="slider-slide" style="position:absolute;left:0;top:0;display:inline-block;list-style-type:none;vertical-align:top;width:0;height:auto;box-sizing:border-box;-moz-box-sizing:border-box;margin-left:0;margin-right:0;margin-top:auto;margin-bottom:auto"><div class="carousel-card sc-dfVpRl iDDwKM"></div></li><li class="slider-slide" style="position:absolute;left:0;top:0;display:inline-block;list-style-type:none;vertical-align:top;width:0;height:auto;box-sizing:border-box;-moz-box-sizing:border-box;margin-left:0;margin-right:0;margin-top:auto;margin-bottom:auto"><div class="carousel-card sc-dfVpRl cBmpoH"></div></li></ul></div><style type="text/css">.slider-slide > img {width: 100%; display: block;}</style></div><div class="carousel-button carousel-right-button sc-fMiknA bORONc"><div class="sc-fBuWsC jlvRSH" aria-label="next"><span class="icon icon-arrow-link icon sc-bwzfXH gEXzKj"></span></div></div><div class="dots sc-dVhcbM eupUBy"><span class="dot active"> </span><span class="dot false"> </span></div></div></div></div></div></div></div><div class=" sc-esOvli kEwjxD" type="generic_card"><div class="sc-btzYZH dyBnFi"><div class="desc sc-iwsKbI bEVcjT" content="<strong>Principal Investigator</strong> <span style="color: #616972;">Stefania Mainieri</span> <strong>Scientific Supervisor</strong> Christian Greco, Director of the Museo Egizio di Torino (Beneficiary), Kathlyn Cooney, Professor of Egyptology at the Department of Near Eastern Languages &amp; Culture (NELC), University of California, Los Angeles (UCLA) (Host Institution) and Corinna Rossi, Professor of Egyptology at the Department ABC, Politecnico di Milano (Secondment) <strong>Partner Institutions</strong> Vatican Coffin Project; Gate of Priests Project; Getty Villa, Los Angeles; Gregoriano Egizio, Musei Vaticani (Città del Vaticano); Musée du Louvre, Paris (France); Rijksmuseum van Oudheden, Leiden (The Netherlands); Metropolitan Museum of Art, New York (USA); “Museo Egizio” di Firenze (Italy); Museo Archeologico Nazionale di Napoli, (Italy); Egyptian Museum Cairo (Egypt); Los Angeles County Museum of Art, (USA); The National Museum of Egyptian Civilization, Cairo (Egypt); UCLA Digital Research Consortium; UCLA Library; Cotsen Institute, UCLA; 3x1010 srl; Robin studio srl."><div><strong>Principal Investigator</strong><br /><span style="color: #616972;">Stefania Mainieri</span><br /><br /><strong>Scientific Supervisor</strong><br />Christian Greco, Director of the Museo Egizio di Torino (Beneficiary), Kathlyn Cooney, Professor of Egyptology at the Department of Near Eastern Languages & Culture (NELC), University of California, Los Angeles (UCLA) (Host Institution) and Corinna Rossi, Professor of Egyptology at the Department ABC, Politecnico di Milano (Secondment)<br /><br /><strong>Partner Institutions</strong><br />Vatican Coffin Project; Gate of Priests Project; Getty Villa, Los Angeles; Gregoriano Egizio, Musei Vaticani (Città del Vaticano); Musée du Louvre, Paris (France); Rijksmuseum van Oudheden, Leiden (The Netherlands); Metropolitan Museum of Art, New York (USA); “Museo Egizio” di Firenze (Italy); Museo Archeologico Nazionale di Napoli, (Italy); Egyptian Museum Cairo (Egypt); Los Angeles County Museum of Art, (USA); The National Museum of Egyptian Civilization, Cairo (Egypt); UCLA Digital Research Consortium; UCLA Library; Cotsen Institute, UCLA; 3x1010 srl; Robin studio srl.</div></div></div></div><div class=" sc-esOvli cYvfuG" type="expandable_card"><div class="sc-jwKygS kLMoRk"><nav class="sc-kvZOFW ggeXjN"><div class="accordion"><div id="acc-header-objectives" aria-controls="acc-sub-objectives" class="accordion-title" tabindex="0"><div class="header sc-iELTvK kTfuQT"><div class="wrap-title false"><div class="title"><span>Objectives</span><span class="subtitle"></span></div><img src="/static/icons/add-full.svg" class="icon"/></div></div></div><div class="accordion-content false" aria-labelledby="acc-header-objectives" id="acc-sub-objectives"><hr class="line"/><div class="content sc-iwsKbI bEVcjT" content="The three-year research project Faces Revealed focuses on a feature that has never been analysed before: the geometry of the features which create the anthropoid forms. The approach adopted in this project combines digital technologies and traditional approaches and is opening new direction of research by providing important information on the production, style, chronology and ancient reuse of the “yellow” coffins. The study of a group of around 100 “yellow” coffins from the 19th (1290-1196 BCE ca.) to the beginning of the 22nd dynasty (945- 874 BCE ca.) demonstrated that it is possible to identify specific elements through the geometry of the coffins. It was thereby possible to suggest a contemporary (or not) production of coffins belonging to the same or different sets connecting to each other specific elements. The way the forms (i.e., mouth, ears, forearms, or hands) were rendered could indicate a specific production style and thus also corroborate a common origin for the material as well as also hinting at the possibility of identifying craftspeople operating in “workshops”. Moreover, the comparisons of the geometry of the coffins and its relation with the paint can help to identify a chronological sequence within the coffins (set) themselves and also clarify their reuse. The Project has Five Research Objectives: • create and analyse 3D models of selected anthropoid yellow coffin lids (RO1); • understand how important the paint is when compared to the modelled/sculpted masks, alongside how faithfully it reproduces them (RO2); • understand whether the different physiognomical sculpted traits of the faces can be linked to different “workshops” and/or can reflect the stylistic features of a certain period and whether the different features and proportions can indicate any reuse (RO3); • create a database with new information and combine it with the latest non-invasive technologies applied to “yellow” coffins (X-Ray, CT-scan, fluorescence-XRF) in order to understand whether the plaster led to the creation of new forms and three-dimensionality and whether its thickness can be linked to the re-use of the mask (RO4); • elaborate a new and more precise seriation of the “yellow” coffins combining all the data (iconography, texts, layout, morphology, and technical aspects) and organize a Digital exhibition (RO5)."><div>The three-year research project Faces Revealed focuses on a feature that has never been analysed before: the geometry of the features which create the anthropoid forms. The approach adopted in this project combines digital technologies and traditional approaches and is opening new direction of research by providing important information on the production, style, chronology and ancient reuse of the “yellow” coffins. The study of a group of around 100 “yellow” coffins from the 19th (1290-1196 BCE ca.) to the beginning of the 22nd dynasty (945- 874 BCE ca.) demonstrated that it is possible to identify specific elements through the geometry of the coffins. It was thereby possible to suggest a contemporary (or not) production of coffins belonging to the same or different sets connecting to each other specific elements. The way the forms (i.e., mouth, ears, forearms, or hands) were rendered could indicate a specific production style and thus also corroborate a common origin for the material as well as also hinting at the possibility of identifying craftspeople operating in “workshops”. Moreover, the comparisons of the geometry of the coffins and its relation with the paint can help to identify a chronological sequence within the coffins (set) themselves and also clarify their reuse.<br /><br />The Project has Five Research Objectives:<br /><br />• create and analyse 3D models of selected anthropoid yellow coffin lids (RO1);<br />• understand how important the paint is when compared to the modelled/sculpted masks, alongside how faithfully it reproduces them (RO2);<br />• understand whether the different physiognomical sculpted traits of the faces can be linked to different “workshops” and/or can reflect the stylistic features of a certain period and whether the different features and proportions can indicate any reuse (RO3);<br />• create a database with new information and combine it with the latest non-invasive technologies applied to “yellow” coffins (X-Ray, CT-scan, fluorescence-XRF) in order to understand whether the plaster led to the creation of new forms and three-dimensionality and whether its thickness can be linked to the re-use of the mask (RO4);<br />• elaborate a new and more precise seriation of the “yellow” coffins combining all the data (iconography, texts, layout, morphology, and technical aspects) and organize a Digital exhibition (RO5).</div></div></div></div></nav></div></div><div class=" sc-esOvli cYvfuG" type="expandable_card"><div class="sc-jwKygS kLMoRk"><nav class="sc-kvZOFW ggeXjN"><div class="accordion"><div id="acc-header-methodology" aria-controls="acc-sub-methodology" class="accordion-title" tabindex="0"><div class="header sc-iELTvK kTfuQT"><div class="wrap-title false"><div class="title"><span>Methodology</span><span class="subtitle"></span></div><img src="/static/icons/add-full.svg" class="icon"/></div></div></div><div class="accordion-content false" aria-labelledby="acc-header-methodology" id="acc-sub-methodology"><hr class="line"/><div class="content sc-iwsKbI bEVcjT" content="Faces Revealed Project considers only the external upper part of coffin lids as far down as the lower part of the crossed forearms or, for the <em>stola</em> coffins, until the end of the collar (<em>wesekh</em>-collar). For each coffin the following phases will be accomplished: • <strong>High-resolution photogrammetric survey</strong> <em>in situ</em> following a precise and <em>ad hoc</em> protocol and instruments to for a digital reconstruction accurate to 0.001(m) and to have a precise reference system that defines the plane on which the orthophotos are then projected; • <strong>3D photogrammetric data elaboration</strong> using the software Agisoft Metashape Professional 1.8.3. and strictly follows the photogrammetric pipeline: i) photo-alignment at high resolution; ii) automatic recognition and manual check of circular and cross non-coded targets; iii) scaling; iv) dense cloud reconstruction in “medium” or “high” quality and data cleaning; v) mesh model in “medium” or “high” quality; vi) texturing; vii) exporting high-resolution orthophoto textured and non texture; • <strong>Construction, comparison and overlapping of different layers.</strong> The 3D models are fundamental since they represent the only way to export identical and high resolution images of an object, both textured and non textured. These images represents the first two “layers” created for each coffin: the Visual appearance “layer” (the orthophoto with texture – “layer”1) and the Physical geometry “layer” (the orthophoto without texture – “layer” 2). The two models exported have an identical orthogonal projection and can be accurately overlapped. Another two “layers” for the objective analysis on how the decoration is applied on the three-dimensional features are created: one “layer” is dedicated to tracing the decoration (considering only the elements which are objects of the study and not the full decoration – “layer” 3) while the other “layer” to highlight the geometry through points (“layer” 4) have been created. These two “layers” can be overlapped in transparency on the solid model, on the texturised model and also between them, thereby maintaining the same orientation and the same proportions. This image overlapping enables a more precise inspection of objects and tracing the conformity of the two layers giving an insight into how ancient artists applied the coloured features on the three-dimensional masks, analysing any possible corrections that were applied to the geometry through the paint. • <strong>The morphometric approach, markers, variables and types.</strong> This part of the work draws inspiration from the Morellian Method based on the concept that ‘incidental details of the way a particular artist portrays ears and hands, might be used to attribute unsigned paintings or sculptures to known artists’. Following this approach, repeated patterns could correspond to habitual techniques that could be associated with a workshop or individual artist. To try to answer to this question, the coffins were digitally "dissected", taking into account fixed variables, equal both in Visual appearance and Physical geometry. Seven variables were identified for Visual appearance and nine for Physical geometry. Once isolated, each variable was analysed following a morphometric approach, starting from the forms, with the measurements, to better classify shapes and to understand the proportions of each part related to the general dimension of the object. By combining drawings, points and considering the measurements, the main variables were categorised and then, a <strong>Closed Vocabulary</strong> with short codes corresponding to specific <strong>Types</strong> was created. • <strong>Developing a Compare Spreadsheet/Database.</strong> The previous steps were fundamental because allowed the construction of a Compare Spreadsheet/ Database with all the coffins and their categorised variables. The Compare Spreadsheet identifies which and how many common features the coffins share - considering both visualisations - highlighted in different coloured boxes. This categorisation allows a reliable and consistent inspection of all the variables which the comparison objective, further it enlarges the comparison itself to all the corpus because it enables a contemporary comparison of the variables of all the coffins, highlighting the common ones and then making it easy to identify links and differences. The precise connection between these objects enables one to ascribe the sets to the same production style, and speculate on a possible common "workshop"/ artist, a contemporary time of production or perhaps the existence of a “reference model” for the production of coffins in a specific place or time."><div>Faces Revealed Project considers only the external upper part of coffin lids as far down as the lower part of the crossed forearms or, for the <em>stola</em> coffins, until the end of the collar (<em>wesekh</em>-collar). For each coffin the following phases will be accomplished:<br /><br />• <strong>High-resolution photogrammetric survey</strong> <em>in situ</em> following a precise and <em>ad hoc</em> protocol and instruments to for a digital reconstruction accurate to 0.001(m) and to have a precise reference system that defines the plane on which the orthophotos are then projected;<br />• <strong>3D photogrammetric data elaboration</strong> using the software Agisoft Metashape Professional 1.8.3. and strictly follows the photogrammetric pipeline: i) photo-alignment at high resolution; ii) automatic recognition and manual check of circular and cross non-coded targets; iii) scaling; iv) dense cloud reconstruction in “medium” or “high” quality and data cleaning; v) mesh model in “medium” or “high” quality; vi) texturing; vii) exporting high-resolution orthophoto textured and non texture;<br />• <strong>Construction, comparison and overlapping of different layers.</strong> The 3D models are fundamental since they represent the only way to export identical and high resolution images of an object, both textured and non textured. These images represents the first two “layers” created for each coffin: the Visual appearance “layer” (the orthophoto with texture – “layer”1) and the Physical geometry “layer” (the orthophoto without texture – “layer” 2). The two models exported have an identical orthogonal projection and can be accurately overlapped. Another two “layers” for the objective analysis on how the decoration is applied on the three-dimensional features are created: one “layer” is dedicated to tracing the decoration (considering only the elements which are objects of the study and not the full decoration – “layer” 3) while the other “layer” to highlight the geometry through points (“layer” 4) have been created. These two “layers” can be overlapped in transparency on the solid model, on the texturised model and also between them, thereby maintaining the same orientation and the same proportions. This image overlapping enables a more precise inspection of objects and tracing the conformity of the two layers giving an insight into how ancient artists applied the coloured features on the three-dimensional masks, analysing any possible corrections that were applied to the geometry through the paint.<br />• <strong>The morphometric approach, markers, variables and types.</strong> This part of the work draws inspiration from the Morellian Method based on the concept that ‘incidental details of the way a particular artist portrays ears and hands, might be used to attribute unsigned paintings or sculptures to known artists’. Following this approach, repeated patterns could correspond to habitual techniques that could be associated with a workshop or individual artist. To try to answer to this question, the coffins were digitally "dissected", taking into account fixed variables, equal both in Visual appearance and Physical geometry. Seven variables were identified for Visual appearance and nine for Physical geometry. Once isolated, each variable was analysed following a morphometric approach, starting from the forms, with the measurements, to better classify shapes and to understand the proportions of each part related to the general dimension of the object. By combining drawings, points and considering the measurements, the main variables were categorised and then, a <strong>Closed Vocabulary</strong> with short codes corresponding to specific <strong>Types</strong> was created.<br />• <strong>Developing a Compare Spreadsheet/Database.</strong> The previous steps were fundamental because allowed the construction of a Compare Spreadsheet/ Database with all the coffins and their categorised variables. The Compare Spreadsheet identifies which and how many common features the coffins share - considering both visualisations - highlighted in different coloured boxes. This categorisation allows a reliable and consistent inspection of all the variables which the comparison objective, further it enlarges the comparison itself to all the corpus because it enables a contemporary comparison of the variables of all the coffins, highlighting the common ones and then making it easy to identify links and differences. The precise connection between these objects enables one to ascribe the sets to the same production style, and speculate on a possible common "workshop"/ artist, a contemporary time of production or perhaps the existence of a “reference model” for the production of coffins in a specific place or time.</div></div></div></div></nav></div></div><div class=" sc-esOvli cYvfuG" type="expandable_card"><div class="sc-jwKygS kLMoRk"><nav class="sc-kvZOFW ggeXjN"><div class="accordion"><div id="acc-header-output" aria-controls="acc-sub-output" class="accordion-title" tabindex="0"><div class="header sc-iELTvK kTfuQT"><div class="wrap-title false"><div class="title"><span>Output</span><span class="subtitle"></span></div><img src="/static/icons/add-full.svg" class="icon"/></div></div></div><div class="accordion-content false" aria-labelledby="acc-header-output" id="acc-sub-output"><hr class="line"/><div class="content sc-iwsKbI bEVcjT" content="Faces Revealed has produced significant results and deepened our knowledge of yellow coffins. Specifically: their production, chronology, and reuse thereby going well beyond the state-of-the-art. The project has demonstrated that the masks and their facial features were created through a close attention to detail and were subjected to specific "styles", as was also the case for Egyptian statues. Through the variations in geometry it is possible to follow a chronological line and isolate specific markers that link different objects to each other, thereby suggesting specific styles and speculating upon as to whether they have the same provenance in terms of production. Moreover, it is possible to identify contemporary production within the coffin set and establish whether each object forming the set was built at the same time; simultaneously, the presence of specific markers in the geometry makes it possible to establish a relative dating. Among the project’s main results is the evolution of the forms over time, where a change is visible from the precise and detailed to the more schematic. This change is not abrupt but gradual, and in some cases, does not run simultaneously with the paint but occurs more slowly over time. Moreover, the existence and the coexistence of different styles, types, and a kind of autonomy in the rendering of forms and physiognomic features can be observed which make it difficult (but not impossible) to find two objects pertaining to different sets with identical or, at least, very close features. This variability of forms and individualism that characterize the coffins of the 21st Dynasty seems to stop abruptly at the beginning of the 22nd Dynasty when the stola coffins appear. Unlike the coffins of the earlier period, the stola have recognizable and standardized geometric features which affect all the pieces forming the set, from the outer coffin to the mummy boards. The stola coffins, are thus interchangeable objects, with such a specific and fixed style that they might suggest (for the first time) the existence of a possible "serial production" or their production by a unique craftsman/common “workshop”. The project has also highlighted the importance of using 3D models as a research tool for their ability to make visible the invisible, an undervalued ability at least until the submission of the project in 2019. The instruments and the methodology can also be easily reused, further developed, and applied to other classes of material or to coffins from other periods and places. Expanding the application of the methodology to anthropoid coffins from the previous and later periods, for example, might allow us to analyse in greater depth the development, evolution, and the changing of forms over time and to understand better the production of anthropoid wooden coffins from the first to the last one to appear. Finally, the implementation of the instruments and the methods used in the Project, and the use of Artificial Intelligence in the future could help in the automatic recognition of facial features on 3D models or in the connection of all the information that we have, which is sometimes difficult to manage with a traditional database."><div>Faces Revealed has produced significant results and deepened our knowledge of yellow coffins. Specifically: their production, chronology, and reuse thereby going well beyond the state-of-the-art. <br /><br />The project has demonstrated that the masks and their facial features were created through a close attention to detail and were subjected to specific "styles", as was also the case for Egyptian statues. Through the variations in geometry it is possible to follow a chronological line and isolate specific markers that link different objects to each other, thereby suggesting specific styles and speculating upon as to whether they have the same provenance in terms of production. Moreover, it is possible to identify contemporary production within the coffin set and establish whether each object forming the set was built at the same time; simultaneously, the presence of specific markers in the geometry makes it possible to establish a relative dating. <br /><br />Among the project’s main results is the evolution of the forms over time, where a change is visible from the precise and detailed to the more schematic. This change is not abrupt but gradual, and in some cases, does not run simultaneously with the paint but occurs more slowly over time. Moreover, the existence and the coexistence of different styles, types, and a kind of autonomy in the rendering of forms and physiognomic features can be observed which make it difficult (but not impossible) to find two objects pertaining to different sets with identical or, at least, very close features. This variability of forms and individualism that characterize the coffins of the 21st Dynasty seems to stop abruptly at the beginning of the 22nd Dynasty when the stola coffins appear. Unlike the coffins of the earlier period, the stola have recognizable and standardized geometric features which affect all the pieces forming the set, from the outer coffin to the mummy boards. The stola coffins, are thus interchangeable objects, with such a specific and fixed style that they might suggest (for the first time) the existence of a possible "serial production" or their production by a unique craftsman/common “workshop”.<br /><br />The project has also highlighted the importance of using 3D models as a research tool for their ability to make visible the invisible, an undervalued ability at least until the submission of the project in 2019. The instruments and the methodology can also be easily reused, further developed, and applied to other classes of material or to coffins from other periods and places. Expanding the application of the methodology to anthropoid coffins from the previous and later periods, for example, might allow us to analyse in greater depth the development, evolution, and the changing of forms over time and to understand better the production of anthropoid wooden coffins from the first to the last one to appear. Finally, the implementation of the instruments and the methods used in the Project, and the use of Artificial Intelligence in the future could help in the automatic recognition of facial features on 3D models or in the connection of all the information that we have, which is sometimes difficult to manage with a traditional database.</div></div></div></div></nav></div></div><div class=" sc-esOvli kEwjxD" type="generic_card"><div class="sc-btzYZH dyBnFi"><div class="desc sc-iwsKbI bEVcjT" content="<b>Link to the web page.</b> Click <a href="https://facesrevealed.museoegizio.it/en/section/The-Project/The-Project/" target="_blank" rel="noopener">here</a> <b>Link to the Repository.</b> Click <a href="https://zenodo.org/communities/facesrevealedprojectmsca895130/records?q=&amp;l=list&amp;p=1&amp;s=10&amp;sort=newest" target="_blank" rel="noopener">here</a> <b>Link to 3D Models.</b> Click <a href="https://sketchfab.com/Disiecta_membra/models" target="_blank" rel="noopener">here</a>"><div><b>Link to the web page.</b> Click <a href="https://facesrevealed.museoegizio.it/en/section/The-Project/The-Project/" target="_blank" rel="noopener">here</a><br /><br /><b>Link to the Repository.</b> Click <a href="https://zenodo.org/communities/facesrevealedprojectmsca895130/records?q=&l=list&p=1&s=10&sort=newest" target="_blank" rel="noopener">here</a><br /><br /><b>Link to 3D Models.</b> Click <a href="https://sketchfab.com/Disiecta_membra/models" target="_blank" rel="noopener">here</a></div></div></div></div><div class=" discover-logo-list sc-esOvli kEwjxD" type="funded_projects_logo_list"><div class="sc-hSdWYo kXGOne"><div class="section-container"><div class="sc-kfGgVZ kMTxrD"><div class="sc-esjQYD kfHEwd"><ul class="list"><li class="sc-kIPQKe bnxaPm"><p class="title">In partnership with</p><img class="funder-list-logo" src="https://api.museoegizio.it/wp-content/uploads/2024/08/Horizon2020.jpg"/></li><li class="sc-kIPQKe bnxaPm"><p class="title">Funded by</p><img class="funder-list-logo" src="https://api.museoegizio.it/wp-content/uploads/2024/08/msca.jpg"/></li></ul></div></div><hr class="sc-eXEjpC iAaity"/></div></div></div></div></div></div></div></div></div></main><div class="sc-hSdWYo hgxUEe"><div class="section-container"><div class="sc-eHgmQL OrQps"><div class="newsletter-card"><div class="newsletter-reach sc-gZMcBi brouuU"><div class="reach-info"><div class="reach-title">Museo Egizio</div><div class="reach-desc">Via Accademia delle Scienze 6, 10123, Torino</div></div><a class="reach-button sc-bdVaJa fVCJpx" href="/en/info/directions/" target="_self"><button class="reach-button sc-gzVnrw hpGaiu">How to reach us</button></a></div><div class="newsletter-subscribe sc-gZMcBi brouuU"><div class="subscribe-desc">Do you want to be updated about Museo Egizio news? 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Projects","desc":null,"image":{"id":"10150","alt":"","small":"https://api.museoegizio.it/wp-content/uploads/2024/08/funded_projects_bg.jpg","medium":"https://api.museoegizio.it/wp-content/uploads/2024/08/funded_projects_bg.jpg","medium_large":"https://api.museoegizio.it/wp-content/uploads/2024/08/funded_projects_bg.jpg","large":"https://api.museoegizio.it/wp-content/uploads/2024/08/funded_projects_bg.jpg","original":"https://api.museoegizio.it/wp-content/uploads/2024/08/funded_projects_bg.jpg"},"firstButton":{},"secondaryButton":{}},"sections":[{"alignment":"left","dimension":"100","border":true,"background":"white","type":"funded_projects_multimedia_section","content":{"title":"Faces Revealed Project","subtitle":"","description":"Investigating the faces of ‘Yellow Coffins’ through Photogrammetry. Comparison between 3D model and Digital twin for a new analysis of the manufacture, painting techniques and re-use.","logo":{"id":"10152","alt":"","small":"https://api.museoegizio.it/wp-content/uploads/2024/08/FacesRevealed_LOGO-1.png","medium":"https://api.museoegizio.it/wp-content/uploads/2024/08/FacesRevealed_LOGO-1.png","medium_large":"https://api.museoegizio.it/wp-content/uploads/2024/08/FacesRevealed_LOGO-1.png","large":"https://api.museoegizio.it/wp-content/uploads/2024/08/FacesRevealed_LOGO-1.png","original":"https://api.museoegizio.it/wp-content/uploads/2024/08/FacesRevealed_LOGO-1.png"},"single_image":null,"slideshow":[{"id":10154,"alt":"","small":"https://api.museoegizio.it/wp-content/uploads/2024/08/Figure1.jpg","medium":"https://api.museoegizio.it/wp-content/uploads/2024/08/Figure1.jpg","medium_large":"https://api.museoegizio.it/wp-content/uploads/2024/08/Figure1.jpg","large":"https://api.museoegizio.it/wp-content/uploads/2024/08/Figure1.jpg","original":"https://api.museoegizio.it/wp-content/uploads/2024/08/Figure1.jpg"},{"id":10156,"alt":"","small":"https://api.museoegizio.it/wp-content/uploads/2024/08/Figure2.jpg","medium":"https://api.museoegizio.it/wp-content/uploads/2024/08/Figure2.jpg","medium_large":"https://api.museoegizio.it/wp-content/uploads/2024/08/Figure2.jpg","large":"https://api.museoegizio.it/wp-content/uploads/2024/08/Figure2.jpg","original":"https://api.museoegizio.it/wp-content/uploads/2024/08/Figure2.jpg"}],"videoUrl":""}},{"alignment":"left","dimension":"100","border":true,"background":"white","type":"generic_card","content":{"icon":"","title":"","subtitle":"","description":"\u003cstrong\u003ePrincipal Investigator\u003c/strong\u003e\r\n\u003cspan style=\"color: #616972;\"\u003eStefania Mainieri\u003c/span\u003e\r\n\r\n\u003cstrong\u003eScientific Supervisor\u003c/strong\u003e\r\nChristian Greco, Director of the Museo Egizio di Torino (Beneficiary), Kathlyn Cooney, Professor of Egyptology at the Department of Near Eastern Languages \u0026amp; Culture (NELC), University of California, Los Angeles (UCLA) (Host Institution) and Corinna Rossi, Professor of Egyptology at the Department ABC, Politecnico di Milano (Secondment)\r\n\r\n\u003cstrong\u003ePartner Institutions\u003c/strong\u003e\r\nVatican Coffin Project; Gate of Priests Project; Getty Villa, Los Angeles; Gregoriano Egizio, Musei Vaticani (Città del Vaticano); Musée du Louvre, Paris (France); Rijksmuseum van Oudheden, Leiden (The Netherlands); Metropolitan Museum of Art, New York (USA); “Museo Egizio” di Firenze (Italy); Museo Archeologico Nazionale di Napoli, (Italy); Egyptian Museum Cairo (Egypt); Los Angeles County Museum of Art, (USA); The National Museum of Egyptian Civilization, Cairo (Egypt); UCLA Digital Research Consortium; UCLA Library; Cotsen Institute, UCLA; 3x1010 srl; Robin studio srl.","big":false,"button":[{"url":"","label":""}]}},{"alignment":"left","dimension":"100","border":0,"background":"none","type":"expandable_card","content":{"title":"Objectives","subtitle":"","description":"The three-year research project Faces Revealed focuses on a feature that has never been analysed before: the geometry of the features which create the anthropoid forms. The approach adopted in this project combines digital technologies and traditional approaches and is opening new direction of research by providing important information on the production, style, chronology and ancient reuse of the “yellow” coffins. The study of a group of around 100 “yellow” coffins from the 19th (1290-1196 BCE ca.) to the beginning of the 22nd dynasty (945- 874 BCE ca.) demonstrated that it is possible to identify specific elements through the geometry of the coffins. It was thereby possible to suggest a contemporary (or not) production of coffins belonging to the same or different sets connecting to each other specific elements. The way the forms (i.e., mouth, ears, forearms, or hands) were rendered could indicate a specific production style and thus also corroborate a common origin for the material as well as also hinting at the possibility of identifying craftspeople operating in “workshops”. Moreover, the comparisons of the geometry of the coffins and its relation with the paint can help to identify a chronological sequence within the coffins (set) themselves and also clarify their reuse.\r\n\r\nThe Project has Five Research Objectives:\r\n\r\n• create and analyse 3D models of selected anthropoid yellow coffin lids (RO1);\r\n• understand how important the paint is when compared to the modelled/sculpted masks, alongside how faithfully it reproduces them (RO2);\r\n• understand whether the different physiognomical sculpted traits of the faces can be linked to different “workshops” and/or can reflect the stylistic features of a certain period and whether the different features and proportions can indicate any reuse (RO3);\r\n• create a database with new information and combine it with the latest non-invasive technologies applied to “yellow” coffins (X-Ray, CT-scan, fluorescence-XRF) in order to understand whether the plaster led to the creation of new forms and three-dimensionality and whether its thickness can be linked to the re-use of the mask (RO4);\r\n• elaborate a new and more precise seriation of the “yellow” coffins combining all the data (iconography, texts, layout, morphology, and technical aspects) and organize a Digital exhibition (RO5).","prices":"","duration":"","participants":"","button":[{"url":"","label":""}]}},{"alignment":"left","dimension":"100","border":0,"background":"none","type":"expandable_card","content":{"title":"Methodology","subtitle":"","description":"Faces Revealed Project considers only the external upper part of coffin lids as far down as the lower part of the crossed forearms or, for the \u003cem\u003estola\u003c/em\u003e coffins, until the end of the collar (\u003cem\u003ewesekh\u003c/em\u003e-collar). For each coffin the following phases will be accomplished:\r\n\r\n• \u003cstrong\u003eHigh-resolution photogrammetric survey\u003c/strong\u003e \u003cem\u003ein situ\u003c/em\u003e following a precise and \u003cem\u003ead hoc\u003c/em\u003e protocol and instruments to for a digital reconstruction accurate to 0.001(m) and to have a precise reference system that defines the plane on which the orthophotos are then projected;\r\n• \u003cstrong\u003e3D photogrammetric data elaboration\u003c/strong\u003e using the software Agisoft Metashape Professional 1.8.3. and strictly follows the photogrammetric pipeline: i) photo-alignment at high resolution; ii) automatic recognition and manual check of circular and cross non-coded targets; iii) scaling; iv) dense cloud reconstruction in “medium” or “high” quality and data cleaning; v) mesh model in “medium” or “high” quality; vi) texturing; vii) exporting high-resolution orthophoto textured and non texture;\r\n• \u003cstrong\u003eConstruction, comparison and overlapping of different layers.\u003c/strong\u003e The 3D models are fundamental since they represent the only way to export identical and high resolution images of an object, both textured and non textured. These images represents the first two “layers” created for each coffin: the Visual appearance “layer” (the orthophoto with texture – “layer”1) and the Physical geometry “layer” (the orthophoto without texture – “layer” 2). The two models exported have an identical orthogonal projection and can be accurately overlapped. Another two “layers” for the objective analysis on how the decoration is applied on the three-dimensional features are created: one “layer” is dedicated to tracing the decoration (considering only the elements which are objects of the study and not the full decoration – “layer” 3) while the other “layer” to highlight the geometry through points (“layer” 4) have been created. These two “layers” can be overlapped in transparency on the solid model, on the texturised model and also between them, thereby maintaining the same orientation and the same proportions. This image overlapping enables a more precise inspection of objects and tracing the conformity of the two layers giving an insight into how ancient artists applied the coloured features on the three-dimensional masks, analysing any possible corrections that were applied to the geometry through the paint.\r\n• \u003cstrong\u003eThe morphometric approach, markers, variables and types.\u003c/strong\u003e This part of the work draws inspiration from the Morellian Method based on the concept that ‘incidental details of the way a particular artist portrays ears and hands, might be used to attribute unsigned paintings or sculptures to known artists’. Following this approach, repeated patterns could correspond to habitual techniques that could be associated with a workshop or individual artist. To try to answer to this question, the coffins were digitally \"dissected\", taking into account fixed variables, equal both in Visual appearance and Physical geometry. Seven variables were identified for Visual appearance and nine for Physical geometry. Once isolated, each variable was analysed following a morphometric approach, starting from the forms, with the measurements, to better classify shapes and to understand the proportions of each part related to the general dimension of the object. By combining drawings, points and considering the measurements, the main variables were categorised and then, a \u003cstrong\u003eClosed Vocabulary\u003c/strong\u003e with short codes corresponding to specific \u003cstrong\u003eTypes\u003c/strong\u003e was created.\r\n• \u003cstrong\u003eDeveloping a Compare Spreadsheet/Database.\u003c/strong\u003e The previous steps were fundamental because allowed the construction of a Compare Spreadsheet/ Database with all the coffins and their categorised variables. The Compare Spreadsheet identifies which and how many common features the coffins share - considering both visualisations - highlighted in different coloured boxes. This categorisation allows a reliable and consistent inspection of all the variables which the comparison objective, further it enlarges the comparison itself to all the corpus because it enables a contemporary comparison of the variables of all the coffins, highlighting the common ones and then making it easy to identify links and differences. The precise connection between these objects enables one to ascribe the sets to the same production style, and speculate on a possible common \"workshop\"/ artist, a contemporary time of production or perhaps the existence of a “reference model” for the production of coffins in a specific place or time.","prices":"","duration":"","participants":"","button":[{"url":"","label":""}]}},{"alignment":"left","dimension":"100","border":0,"background":"none","type":"expandable_card","content":{"title":"Output","subtitle":"","description":"Faces Revealed has produced significant results and deepened our knowledge of yellow coffins. Specifically: their production, chronology, and reuse thereby going well beyond the state-of-the-art. \r\n\r\nThe project has demonstrated that the masks and their facial features were created through a close attention to detail and were subjected to specific \"styles\", as was also the case for Egyptian statues. Through the variations in geometry it is possible to follow a chronological line and isolate specific markers that link different objects to each other, thereby suggesting specific styles and speculating upon as to whether they have the same provenance in terms of production. Moreover, it is possible to identify contemporary production within the coffin set and establish whether each object forming the set was built at the same time; simultaneously, the presence of specific markers in the geometry makes it possible to establish a relative dating. \r\n\r\nAmong the project’s main results is the evolution of the forms over time, where a change is visible from the precise and detailed to the more schematic. This change is not abrupt but gradual, and in some cases, does not run simultaneously with the paint but occurs more slowly over time. Moreover, the existence and the coexistence of different styles, types, and a kind of autonomy in the rendering of forms and physiognomic features can be observed which make it difficult (but not impossible) to find two objects pertaining to different sets with identical or, at least, very close features. This variability of forms and individualism that characterize the coffins of the 21st Dynasty seems to stop abruptly at the beginning of the 22nd Dynasty when the stola coffins appear. Unlike the coffins of the earlier period, the stola have recognizable and standardized geometric features which affect all the pieces forming the set, from the outer coffin to the mummy boards. The stola coffins, are thus interchangeable objects, with such a specific and fixed style that they might suggest (for the first time) the existence of a possible \"serial production\" or their production by a unique craftsman/common “workshop”.\r\n\r\nThe project has also highlighted the importance of using 3D models as a research tool for their ability to make visible the invisible, an undervalued ability at least until the submission of the project in 2019. The instruments and the methodology can also be easily reused, further developed, and applied to other classes of material or to coffins from other periods and places. Expanding the application of the methodology to anthropoid coffins from the previous and later periods, for example, might allow us to analyse in greater depth the development, evolution, and the changing of forms over time and to understand better the production of anthropoid wooden coffins from the first to the last one to appear. Finally, the implementation of the instruments and the methods used in the Project, and the use of Artificial Intelligence in the future could help in the automatic recognition of facial features on 3D models or in the connection of all the information that we have, which is sometimes difficult to manage with a traditional database.","prices":"","duration":"","participants":"","button":[{"url":"","label":""}]}},{"alignment":"left","dimension":"100","border":true,"background":"white","type":"generic_card","content":{"icon":"","title":"","subtitle":"","description":"\u003cb\u003eLink to the web page.\u003c/b\u003e Click \u003ca href=\"https://facesrevealed.museoegizio.it/en/section/The-Project/The-Project/\" target=\"_blank\" rel=\"noopener\"\u003ehere\u003c/a\u003e\r\n\r\n\u003cb\u003eLink to the Repository.\u003c/b\u003e Click \u003ca href=\"https://zenodo.org/communities/facesrevealedprojectmsca895130/records?q=\u0026amp;l=list\u0026amp;p=1\u0026amp;s=10\u0026amp;sort=newest\" target=\"_blank\" rel=\"noopener\"\u003ehere\u003c/a\u003e\r\n\r\n\u003cb\u003eLink to 3D Models.\u003c/b\u003e Click \u003ca href=\"https://sketchfab.com/Disiecta_membra/models\" target=\"_blank\" rel=\"noopener\"\u003ehere\u003c/a\u003e","big":false,"button":[{"url":"","label":""}]}},{"alignment":"left","dimension":"100","border":true,"background":"white","type":"funded_projects_logo_list","content":{"list":[{"image":{"id":"10158","alt":"","small":"https://api.museoegizio.it/wp-content/uploads/2024/08/Horizon2020.jpg","medium":"https://api.museoegizio.it/wp-content/uploads/2024/08/Horizon2020.jpg","medium_large":"https://api.museoegizio.it/wp-content/uploads/2024/08/Horizon2020.jpg","large":"https://api.museoegizio.it/wp-content/uploads/2024/08/Horizon2020.jpg","original":"https://api.museoegizio.it/wp-content/uploads/2024/08/Horizon2020.jpg"},"title":"In partnership with","link":""},{"image":{"id":"10160","alt":"","small":"https://api.museoegizio.it/wp-content/uploads/2024/08/msca.jpg","medium":"https://api.museoegizio.it/wp-content/uploads/2024/08/msca.jpg","medium_large":"https://api.museoegizio.it/wp-content/uploads/2024/08/msca.jpg","large":"https://api.museoegizio.it/wp-content/uploads/2024/08/msca.jpg","original":"https://api.museoegizio.it/wp-content/uploads/2024/08/msca.jpg"},"title":"Funded by","link":""}]}}]},"newsList":[{"id":9556,"tag":"Attività di ricerca","image":{"id":"9557","alt":"","small":"https://api.museoegizio.it/wp-content/uploads/2024/03/DSC0216-500x500.jpg","medium":"https://api.museoegizio.it/wp-content/uploads/2024/03/DSC0216-1024x800.jpg","medium_large":"https://api.museoegizio.it/wp-content/uploads/2024/03/DSC0216.jpg","large":"https://api.museoegizio.it/wp-content/uploads/2024/03/DSC0216.jpg","original":"https://api.museoegizio.it/wp-content/uploads/2024/03/DSC0216.jpg"},"title":"Libro dei morti di Kha: analisi e studi","subtitle":"","description":"Il Museo Egizio ha avviato un importante \u003cstrong\u003eprogetto di analisi e di studio del Libro dei morti di Kha.\u003c/strong\u003e\r\n\r\nSi tratta di un papiro lungo 14 metri esposto nella sala 7 del museo, al primo piano dell’edificio, dedicato al corredo della tomba dell’architetto Kha e sua moglie Merit.\r\n\r\nIl manoscritto contiene 33 formule magiche, molte delle quali accompagnate da illustrazioni, per la guida, la protezione e la resurrezione del defunto nell’aldilà.\r\n\r\n\u003cimg class=\"wp-image-9557 aligncenter\" src=\"https://api.museoegizio.it/wp-content/uploads/2024/03/DSC0216-1024x800.jpg\" alt=\"\" width=\"577\" height=\"450\" /\u003e\r\n\r\n\u003cem\u003e\u003cstrong\u003eIl Papiro di Kha\u003c/strong\u003e\u003c/em\u003e\r\n\r\nIl reperto è stato rinvenuto nella tomba dell’architetto reale Kha, ed è databile tra 1425 e 1353 a.C., nel Nuovo Regno. È stato scoperto da Ernesto Schiaparelli nel 1906 all’interno della tomba, durante la Missione Archeologica Italiana e sin da subito si è rivelato in ottimo stato di conservazione.\r\n\r\n\u0026nbsp;\r\n\r\n\u003cem\u003e\u003cstrong\u003eLe analisi\u003c/strong\u003e\u003c/em\u003e\r\n\r\n\u003cstrong\u003eDa lunedì 26 febbraio, per 3 settimane, il reperto sarà sottoposto ad analisi\u003c/strong\u003e nell’ambito di un progetto svolto dal Museo Egizio con il supporto del Laboratorio mobile MOLAB dell’E-RIHS (European Research Infrastructure for Heritage Science) in collaborazione con i gruppi del ISPC CNR di Catania, Firenze, Milano, Roma, dello SCITEC CNR di Perugia, e del centro SMAArt dell'Università di Perugia.\r\n\r\nDopo le analisi preliminari, grazie alla spettrometria RAMAN – tecnica non invasiva – sarà possibile analizzare la composizione dei pigmenti impiegati nel papiro nonché distinguere tra i materiali originali e quelli aggiunti successivamente, approfondirne le misure di ripristino passate e le misure di conservazione future.\r\n\r\nIn seguito, verranno svolte ulteriori analisi con l’ausilio dell’XRF mapping (spettroscopia di fluorescenza a raggi X): l’obiettivo, in questo caso specifico, è indagare ciò che non è più visibile come i disegni preliminari, modifiche alla colorazione delle vignette, le cancellature e gli eventuali errori dello scriba.\r\n\r\nUlteriori analisi saranno svolte al microscopio HIROX, per studiare in dettaglio la texture della pittura, la tecnica pittorica utilizzata, la miscelazione dei colori e il particolare effetto glitterato.\r\n\u003cp style=\"text-align: center;\"\u003e \u003cimg class=\"alignnone wp-image-9561\" src=\"https://api.museoegizio.it/wp-content/uploads/2024/03/DSC0261-1024x800.jpg\" alt=\"\" width=\"533\" height=\"416\" /\u003e\u003c/p\u003e\r\n\u003cstrong\u003e\u003cem\u003eLo studio\u003c/em\u003e\u003c/strong\u003e\r\n\r\nIl nome del proprietario che beneficia delle formule ricorre normalmente con frequenza dopo il titolo e alla fine dei capitoli. Però, sul papiro di Kha, lo spazio previsto per il nome è vuoto in alcuni capitoli; quindi, sembra che il Libro dei Morti fosse stato preparato prima di essere destinato a Kha, lasciando in bianco lo spazio per il nome di chi sarebbe poi stato il suo proprietario. Solo quando il manoscritto è stato adattato per Kha vi è stato inserito il suo nome, anche se non in tutti i punti. L’inserimento in un secondo tempo del nome è evidente nella seconda colonna del capitolo 1: i titoli e i nomi di Kha e Merit hanno infatti una spaziatura molto larga, perché lo scriba ha dovuto riempire l’interna colonna. Inoltre, l’ingrandimento rivela che i nomi sono scritti su un altro testo cancellato, del quale si vedono ancora alcune tracce di inchiostro, questo fa pensare che il manoscritto fosse stato pensato per un’altra persona.\r\n\r\nAnche ad occhio nudo si nota un cambio di programma nella decorazione, per esempio: la scena iniziale presenta il dio Osiride in forma di mummia dal torace in giù, ma sotto il collo bianco si intravede una decorazione; il corpo del dio era in origine ricoperto di piume o fiori. Le analisi in corso saranno fondamentali per chiarire la domanda se si tratti di un cambio di gusto da collegare al riutilizzo del papiro per Kha.\r\n\r\n\u003cimg class=\"alignnone wp-image-9559 aligncenter\" src=\"https://api.museoegizio.it/wp-content/uploads/2024/03/DSC0303-1024x808.jpg\" alt=\"\" width=\"563\" height=\"444\" /\u003e\r\n\r\nNonostante i numerosi studi e progetti di analisi sul reperto, \u003cstrong\u003efino ad oggi non è ancora stato ancora realizzato uno studio completo sul Libro dei Morti di Kha\u003c/strong\u003e. L’ultima pubblicazione è di Susanne Töpfer ed è acquistabile \u003cstrong\u003e\u003ca href=\"https://shop.museoegizio.it/il-libro-dei-morti-di-kha-pdf.html\"\u003eQUI\u003c/a\u003e \u003c/strong\u003e\r\n\r\nIl progetto avviato è cruciale per approfondire la storia del reperto e il testo scritto. In parallelo alle indagini diagnostiche, infatti, \u003cstrong\u003everrà avviata l’edizione filologica del testo con translitterazione, traduzione e commento.\u003c/strong\u003e\r\n\r\n\u003cstrong\u003eLa ricerca sarà cruciale per fare luce sulla pratica scribale dell’antico Egitto, che è ancora poco nota.\u003c/strong\u003e Del resto, la papirologia contribuisce sempre più alla definizione della “biografia degli oggetti”, che a partire dalla materialità dei reperti consente di ricostruire contesti e storie.","date":1709561963000,"slug":"libro-dei-morti-di-kha-analisi-e-studi","details":[],"seo":null,"info":{"top":[{"icon":"lingua","title":"","description":"","check":true}],"bottom":[{"icon":"email","title":"info@museitorino.it","description":null,"check":true},{"icon":"phone","title":"011 44 06 903","description":"Dal lunedì al sabato dalle ore 9:00 alle 18:30","check":true}]},"label_link":"scopri","link":"/explore/news/libro-dei-morti-di-kha-analisi-e-studi"},{"id":6697,"tag":"Attività di ricerca","image":{"id":"6696","alt":"","small":"https://api.museoegizio.it/wp-content/uploads/2023/08/DSC7035-500x500.jpg","medium":"https://api.museoegizio.it/wp-content/uploads/2023/08/DSC7035-1024x1024.jpg","medium_large":"https://api.museoegizio.it/wp-content/uploads/2023/08/DSC7035.jpg","large":"https://api.museoegizio.it/wp-content/uploads/2023/08/DSC7035-1200x1080.jpg","original":"https://api.museoegizio.it/wp-content/uploads/2023/08/DSC7035.jpg"},"title":"“Un falso autentico: la statua di Neshor” – la nuova mostra del ciclo “Nel Laboratorio dello Studioso”","subtitle":"","description":"La\u003cstrong\u003e statua\u003c/strong\u003e frammentaria del generale Neshor, databile al VI secolo a.C., a cui in epoca moderna, probabilmente tra gli anni 60 e gli anni 70, è stato aggiunto un \u003cstrong\u003efalso volto di faraone\u003c/strong\u003e, è il reperto sotto la lente della \u003cstrong\u003enuova mostra del ciclo \"Nel Laboratorio dello Studioso\", a cura di Federico Poole, Maxence Garde e Matteo Lombardi, visitabile da venerdì 11 agosto fino a domenica 15 ottobre 2023.\u003c/strong\u003e\r\n\r\n\u003cimg class=\"alignnone wp-image-6702\" src=\"https://api.museoegizio.it/wp-content/uploads/2023/08/DSF0146-RAF-1024x794.jpg\" alt=\"\" width=\"594\" height=\"461\" /\u003e\r\n\r\n\u0026nbsp;\r\n\r\nTra il volto di faraone e il resto della statua è facilmente distinguibile \u003cstrong\u003eil punto di giunzione tra antico e moderno\u003c/strong\u003e: il frammento moderno è stato unito con una resina dipinta di colore scuro per adattarsi alla pietra.\r\n\r\n\u003cimg class=\"alignnone wp-image-6704\" src=\"https://api.museoegizio.it/wp-content/uploads/2023/08/DSF0133-RAF-797x1024.jpg\" alt=\"\" width=\"594\" height=\"763\" /\u003e\r\n\r\nDa quando ai primi dell’Ottocento l’Egitto si apre all’Occidente e si formano le prime grandi collezioni europee, si sviluppa nel paese un fiorente mercato di antichità. Iniziano a \u003cstrong\u003ecircolare anche parecchi falsi, che ritroviamo in tutte le collezioni\u003c/strong\u003e, comprese quella del Museo Egizio. Si tratta spesso di copie grossolane con geroglifici di fantasia, ma alcuni sono realizzati con sufficiente perizia da ingannare persino alcuni esperti. Alcuni di questi falsi sono esposti in mostra, scoprite quali sono e i criteri per riconoscerli.\r\n\r\n\u003cstrong\u003eFederico Poole vi accompagnerà alla scoperta della nuova mostra in due visite speciali martedì 22 agosto e martedì 5 settembre ore 16.30\u003c/strong\u003e. Prenota il tuo posto \u003cstrong\u003e\u003ca href=\"https://egizio.museitorino.it/eventi/visita-guidata-con-curatore-museale/\"\u003eQUI\u003c/a\u003e.\u003c/strong\u003e","date":1691680771000,"slug":"un-falso-autentico-la-statua-di-neshor-la-nuova-mostra-del-ciclo-nel-laboratorio-dello-studioso","details":[],"seo":null,"info":{"top":[{"icon":"lingua","title":"","description":"","check":true}],"bottom":[{"icon":"email","title":"info@museitorino.it","description":null,"check":true},{"icon":"phone","title":"+390114406903","description":"Dal lunedì al sabato dalle ore 9:00 alle 18:30","check":true}]},"label_link":"scopri","link":"/explore/news/un-falso-autentico-la-statua-di-neshor-la-nuova-mostra-del-ciclo-nel-laboratorio-dello-studioso"},{"id":6561,"tag":"Attività di ricerca","image":{"id":"6568","alt":"","small":"https://api.museoegizio.it/wp-content/uploads/2023/06/DSCF1323-RAF_DxO_DeepPRIMEXD-500x500.jpg","medium":"https://api.museoegizio.it/wp-content/uploads/2023/06/DSCF1323-RAF_DxO_DeepPRIMEXD-1024x1024.jpg","medium_large":"https://api.museoegizio.it/wp-content/uploads/2023/06/DSCF1323-RAF_DxO_DeepPRIMEXD.jpg","large":"https://api.museoegizio.it/wp-content/uploads/2023/06/DSCF1323-RAF_DxO_DeepPRIMEXD-1200x1080.jpg","original":"https://api.museoegizio.it/wp-content/uploads/2023/06/DSCF1323-RAF_DxO_DeepPRIMEXD.jpg"},"title":"“Frammenti di storia: Eliopoli si racconta” – la nuova mostra del ciclo “Nel Laboratorio dello Studioso”","subtitle":"","description":"I\u003cstrong\u003e frammenti di tre piccole sfingi in miniatura\u003c/strong\u003e che provengono da \u003cstrong\u003eEliopoli\u003c/strong\u003e, sito sacro nell’antichità, sono i reperti sotto la lente della \u003cstrong\u003enuova mostra del ciclo \"Nel Laboratorio dello Studioso\", a cura di Federica Ugliano, visitabile dal 2 giugno fino al 6 agosto 2023.\u003c/strong\u003e\r\n\r\nGrazie alle iscrizioni che si conservano sugli oggetti e che riportano i nomi di chi li ha commissionati, possiamo identificarne i proprietari di due delle tre sfingi in miniatura: i faraoni Tuthmosi III e Sheshonq I. Ricerche ancora in corso potranno fornire in futuro informazioni sulla testa frammentaria della terza sfinge esposta.\r\n\r\n\u003cimg class=\"alignnone size-full wp-image-6566\" src=\"https://api.museoegizio.it/wp-content/uploads/2023/06/DSCF1320-RAF_DxO_DeepPRIMEXD.jpg\" alt=\"\" width=\"892\" height=\"1200\" /\u003e\r\n\r\nLa mostra accende un faro su \u003cstrong\u003ealcuni dei reperti trovati dall’archeologo Ernesto Schiaparelli\u003c/strong\u003e nella sua campagna di scavo a cavallo tra il 1903 e il 1906 a Eliopoli, oggi diventata un sobborgo del Cairo.\r\n\r\nSecondo uno dei miti raccontati dagli antichi egizi sull’origine dell’universo, il dio Atum ha creato il mondo, tutti gli dèi e le creature che lo popolano, dalla sommità di una collina primordiale, emersa dalle acque dell’oceano Nun, la collina di Eliopoli. A partire dall’epoca del faraone Djoser (2700 a.C. circa) \u003cstrong\u003eEliopoli diventa uno dei più importanti centri di culto di tutto l’Egitto\u003c/strong\u003e. A causa di questa sua origine “mitologica”, la città diventa sede di culto e venerazione di tante divinità e, in particolare, del dio del sole, Ra.\r\n\r\n\u003cimg class=\"alignnone wp-image-6567\" src=\"https://api.museoegizio.it/wp-content/uploads/2023/06/DSCF1268-RAF_DxO_DeepPRIMEXD.jpg\" alt=\"\" width=\"984\" height=\"942\" /\u003e\r\n\r\nNon erano solo i faraoni a lasciare doni votivi, con dediche e invocazioni agli dèi, ma anche le persone comuni. Tra gli oggetti che potevano essere dedicati alle divinità di Eliopoli, si trovano anche \u003cstrong\u003ereperti insoliti\u003c/strong\u003e: in mostra si può ammirare un fossile di riccio marino rinvenuto all’interno di uno dei depositi votivi, scoperti nel 1903 dalla Missione Archeologica Italiana, guidata dall’allora direttore del Museo Schiaparelli. I geroglifici incisi sulla superficie piana del fossile ci svelano che un sacerdote, di nome Tjanefer, ha trovato questo oggetto curioso e ha deciso di mostrare la propria devozione, consacrandolo al dio Ra e deponendolo all’interno di uno dei suoi templi.\r\n\r\n\u003cstrong\u003eFederica Ugliano\u003c/strong\u003e\u003cstrong\u003e vi accompagnerà in due visite speciali martedì 13 giugno e martedì 11 luglio 2023 alle 16.30\u003c/strong\u003e\u003cstrong\u003e. Clicca \u003ca href=\"https://egizio.museitorino.it/eventi/visita-guidata-con-curatore-museale/\"\u003eQUI\u003c/a\u003e per prenotare il tuo posto.\u003c/strong\u003e","date":1685631492000,"slug":"frammenti-di-storia-eliopoli-si-racconta-la-nuova-mostra-del-ciclo-nel-laboratorio-dello-studioso","details":[],"seo":null,"info":{"top":[{"icon":"lingua","title":"","description":"","check":true}],"bottom":[{"icon":"email","title":"info@museitorino.it","description":null,"check":true},{"icon":"phone","title":"+390114406903","description":"Dal lunedì al sabato dalle ore 9:00 alle 18:30","check":true}]},"label_link":"scopri","link":"/explore/news/frammenti-di-storia-eliopoli-si-racconta-la-nuova-mostra-del-ciclo-nel-laboratorio-dello-studioso"}],"slug":"funded-projects","artifactsExt":[],"artifactsInt":[]},"pathname":"/discover","query":{"lang":"en","slug":"funded-projects"},"buildId":"212c33c6-9004-4d4d-a27a-3397b9d92334","buildStats":{"app.js":{"hash":"dbb3322d05e534e62fa61ee4cca97305"}},"assetPrefix":"","nextExport":false,"err":null,"chunks":[]} module={} __NEXT_LOADED_PAGES__ = [] __NEXT_LOADED_CHUNKS__ = [] __NEXT_REGISTER_PAGE = function (route, fn) { __NEXT_LOADED_PAGES__.push({ route: route, fn: fn }) } __NEXT_REGISTER_CHUNK = function (chunkName, fn) { __NEXT_LOADED_CHUNKS__.push({ chunkName: chunkName, fn: fn }) } </script><script async="" id="__NEXT_PAGE__/discover" type="text/javascript" src="/_next/212c33c6-9004-4d4d-a27a-3397b9d92334/page/discover.js"></script><script async="" id="__NEXT_PAGE__/_error" type="text/javascript" src="/_next/212c33c6-9004-4d4d-a27a-3397b9d92334/page/_error.js"></script><div></div><script type="text/javascript" src="/_next/dbb3322d05e534e62fa61ee4cca97305/app.js" async=""></script></div><div id="acconsento-click" data-key="C8A6971856940F50B903B6DFA19888BBF656DD03495D0B371B010DA1D5557A2557CBF0C85FF9FB76F7C26372CA52DDBA" data-site-id="4cd7dd6d-2b19-4a8a-8ef7-318c1cbb52c0" data-lang="it"></div><script type="text/javascript" charSet="UTF-8" async="" src="/static/cookie-prod.js"></script></body></html>