Consolidation of mural paintings in hypogea is challenging because of their severe microclimatic conditions, characterized by high humidity levels, low air circulation, the presence of salts efflorescence, and the detrimental growth of biodeteriogen agents. Traditional consolidant products show significant drawbacks when used in hypogeum. Organic compounds, such as acrylic emulsions, are bio-receptive and some inorganic consolidants, such as silica-based products, show a lack of compatibility with the original substrate, which could lead to a reduction in permeability and an increase in the mechanical resistance of the external layer. The presence of solvents in their formulations, particularly short-chain alcohols that can activate germination of fungal spores, leads to the release of great amounts of volatile organic compounds, which are particularly harmful in the hypogeic environment. To solve these problems, restorers of the Istituto Centrale per il Restauro (ICR) decided to use a new aqueous nanolime dispersion, NANOLAQ, consisting of pure and crystalline Ca(OH)₂ nanoparticles dispersed in water, produced by an innovative and sustainable patented procedure. After laboratory testing, the product has been applied on site, on a medieval mural painting in the Ss. Peter and Paul hypogeum in the UNESCO site of Matera (Italy), monitoring the performance in terms of cohesion of the paint layer and preservation of aesthetic features.

This research is focused on the laboratory study of salt crystallization inhibitor products as new materials for conservation treatments which can be applied to mortars and painted plasters; as is well known, salt crystallization is one of the most frequent causes of decay processes on decorated architectural surfaces in a wide range of environments. Specifically, the study targets the field of the preventive conservation of mural paintings within rupestrian heritage sites. For the first time, systematic investigations were performed on mock-ups made of plaster painted with two different pigments: yellow ochre and carbon black. Two types of phosphonate inhibitors, PBTC (2-phosphonobutane-1,2,4-tricarboxylic acid) and ATMP (aminotris (methylene phosphonic acid)), were chosen and applied at two different concentrations. Given the limited literature available, and the presence of pigments potentially sensitive to treatment with salt inhibitors, preliminary tests were required. Their effects on the chromatic features of the pigments were evaluated visually and using colorimetry. The changes in the behaviour of water circulation in the mortar resulting from the treatments were evaluated through water vapour permeability and absorption tests. Accelerated crystallization experiments were carried out to assess how inhibitors could influence the growth of salts and the resulting material damage. The latter was carried out by employing sodium sulphate and calcium sulphate solutions, quantifying the damage to the specimens through material loss in weight and the percentage of painted surface loss. Based on the overall results, the product with the best performance was identified was ATMP 0.1% (by volume) in deionized water. The obtained results show that salt inhibitor treatments are promising for in situ application and could represent an innovative approach to promote the sustainable conservation of mural painting, particularly those located in hypogeal contexts, where the salt supply cannot be removed and slowing the growth of salts and/or changing their crystalline habitus may be effective in limiting their damage.

Preventive conservation and restoration of mural paintings in hypogean environments is a significant challenge. These types of settings are particularly difficult to manage due to their peculiar morphological and microclimatic features. Since its foundation in 1939, the Central Institute for Restoration (Istituto Centrale per il Restauro—ICR) within the Italian Ministry of Culture has been engaged in the prevention and safety of these unique cultural heritage assets. Starting from a holistic analysis of vulnerability and hazards specific to hypogean environments, this study examines the main risks and corresponding conservation strategies. Particular attention is given to the impact of residual risk on restoration decision-making, with the aim of defining logistical and operational requirements to carry out sustainable and enduring interventions in these complex settings. The compatibility and durability of restoration materials under hypogean conditions are also examined. Furthermore, thanks to funding provided by the PNRR CHANGES project, a few research directions are proposed to address unresolved issues through the investigation and assessment of innovative products and methodologies. This review aims to lay the foundation for the development of guidelines incorporating protocols for the conservation and restoration of mural paintings in hypogean contexts, with particular attention to the needs and constraints imposed by these specific environments.

This paper presents an overview of a research line developed at the Istituto Centrale per il Restauro within the CHANGES (Cultural Heritage Active Innovation for Next-Gen Sustainable Society) project, funded under the Italian National Recovery and Resilience Plan. The research was developed in different phases: a first one dedicated to the study of the deep background and the state of the art in the ICR background: history, methodologies and research in the field; a second phase was dedicated to the selection of a specific urban art mural, as a key study with conservation problems connected to some of the principal preservation treatments related to the outdoor context; the mural was also identified as a beloved icon in the public space with a profound socio-cultural meaning for the community. Nido di Vespe, created in 2014 by the artist Lucamaleonte is part of a broader artistic project called M.U.Ro-Museum of Urban Art of Rome, an open-air public art museum located in the Quadraro district in Rome, designed by the artist Diavù. A third phase focused on the research in ICR laboratories, specifically addressing: cleaning, reintegration, and protection strategies adapted to dynamic outdoor environments. A multi-step cleaning system based on polyvinyl alcohol-borax semi-interpenetrated hydrogels loaded with nanostructured fluids was developed to selectively remove spray-paint vandalism while preserving the chemically similar original pictorial layers. The reintegration phase investigated acrylic and urea-aldehyde resins as binders to produce compatible, reversible, and UV-traceable retouching and infilling materials. For surface protection, multilayer coating systems incorporating nanoparticles with antimicrobial, photocatalytic, and UV-stabilizing properties were formulated to enhance durability and chromatic stability. Laboratory tests on mock-ups simulating typical street and urban art materials and morphologies showed satisfactory results, while diagnostic investigations on Nido di Vespe provided the reference data to calibrate the experiments with real mural conditions. Cleaning tests demonstrated promising removal efficiency, influenced by the chemical composition, thickness of the overpainted layers, and surface roughness. The reintegration system met the expected performance requirements, as the tested binders provided good results and allowed the development of compatible, reversible, and distinguishable solutions. Protective coatings showed good results in terms of chromatic stability and surface integrity; however, the long-term behavior of both reintegration, cleaning, and protection systems requires further evaluation. The results achieved so far support the development of sustainable and flexible conservation strategies for the conservation of contemporary street and urban murals and will guide the future application of the selected materials and methodologies in pilot conservation interventions on the mural chosen as a meaningful case study within the broader research.

Waterlogged archaeological wood (WAW) is a rare and precious organic material that can hold outstanding cultural values. In order to protect WAW for the next generations, this material must be accurately characterized to set its proper conservation, storage and exhibition conditions in museum environments. In this study, the mineral content found in WAW retrieved in a volcanic lake, was investigated by analysing wood ash through scanning electron microscopy coupled with energy dispersion spectroscopy (SEM-EDS). This micro-destructive approach was coupled with morphological studies carried out through optical microscopy. SEM-EDS was also performed on the WAW and on the surrounding sediment, to study the possible correlation between the mineral composition and the wood degradation state. The analysis revealed that calcium was the most abundant element in all poles with weight percentages ranging between 24 % and 42 %. This element was more represented in heartwood (HW) than sapwood (SW). In Sapwood the second most abundant element was arsenic. Sulphur, iron, and potassium were also present in all the analysed samples. Arsenic was detected also in the sediments; it was particularly concentrated in the samples taken near archaeological wood. The presence of this element can be linked to the volcanic origin of the lake, and its high concentration points to bioaccumulation processes induced by bacteria (erosion bacteria and sulphate-reducing bacteria) and biochemical processes favouring precipitation of insoluble compounds. The present work is the first investigation on mineral content in archaeological wood establishing a possible correlation with the surrounding volcanic lake sediments.