The content of this paper is a very significant contribution to the heritage regional reconstruction and conservation interventions. The results about the iconographic analysis of the Early-Renaissance frescoes of St. Leocadia Church, in Chaves, in the north-east of Portugal, were presented for the first time. This paper aims to study facial similarity analysis applied to identification of the personages represented in the 1511-1513 mural paintings of the apse of St. Leocadia Church, in Chaves Municipality (North of Portugal) and those ones in the oil paintings by the Proto-Renaissance Portuguese painter Nuno Gonçalves. In this work, it was explored the feasibility of face recognition technologies in answering many ambiguities concerning Manueline stylistic identity and iconography. A proposal was made to identify the characters, fundamental to the meaning of the frescoes. It has been experimentally proved on 7 characters of St. Leocadia Church’s paintings, in comparison with the referred old master portraits. It was used an in-house trained deep face recognition model to extract facial features from images of 15th and 16th century portraits to compare their degree of similarity. It was undertaken facial similarity analysis of the faces in the formidable portrait gallery of the 15th century Portuguese society represented in the Panels of St. Vicent, which has been subject of national and international research for 130 years. On the other, in the oil painting of St. Peter and St. Paul and Infanta St. Joana, of the same old master. The iconographic interpretation of the mural paintings of St. Leocadia, based in the deep facial features of the images, is plausible: a catechetical purpose; the ritual practices of royal ancestor worship in royal portrait apses of the churches; the Portuguese maritime expansion and the macro-imperial ideology of D. Manuel I.

Colours were ubiquitous in the medieval world, and castles were no exception. While in the eyes of most people their rich colour schemes manifested power and wealth, some could also read the more nuanced messages these colours conveyed. The main objective of this paper is to discuss the use and role of colour in the interiors of castles of medieval Bohemia and Poland. The picture is complemented by the analysis of colour decorations of defensive residences of the Teutonic Order, for which colour schemes of external facades can be addressed as well. The dis-cussion takes into account the varying state of preservation and draws from the available writ-ten accounts. To present the most complete picture possible, we discuss royal residences, for which unfortunately limited data is available, as well as better-preserved castles of dukes and knights. We discuss the identified iconographic programmes and their chivalric, heraldic, and hagiographic motifs. Also within the scope of our discussion are late forms of floral decorations, known as “green chambers”. The numerous examples presented in the paper prove that colour was an important tool of visual social communication in castle architecture: it complemented the symbolism, and sometimes carried an independent message.

The ancient Duchy of Urbino (Marche and Emilia-Romagna Regions, Italy) is known for its spectacular landscapes linked to a unique geological history. This area owns an unexpected cultural resource, which concerns using its landscapes in art. Some great Renaissance artists, including Piero della Francesca, Raphael, and Leonardo, were so impressed by the landscapes that they reproduced them in their most famous paintings. This paper summarizes research concerned with their identification, employing a multidisciplinary method that has enabled the recognition of many morphologies. This contribution provides the scientific community with information on the methodology and regional and national projects developed in this area to enhance its cultural landscapes. Starting from the geological description of the territory, the research focuses on famous works by three great Renaissance artists, providing evidence and morphological details related to the recognition of places: “Nativity” by Piero della Francesca, “Madonna Litta” by Leonardo da Vinci and “Knight’s Dream” by Raphael. Finally, it is proposed to make these landscapes a timeless resource through their inclusion in UNESCO’s cultural heritage. This contribution is addressed to representatives of the administration, conservation, and enhancement of artistic and landscape heritage to stimulate new perspectives for research, education, and tourism within the cultural heritage of this area.

The emergence of new methodologies and tools for digitizing objects belonging to the Cultural Heritage (CH) changed the paradigms adopted so far. Traditionally, the process to acquire artifacts required specialized and often costly equipment tailored to specific purposes. However, the development of more generalized, adaptable, and affordable tools led to novel approaches. This manuscript provides a glimpse into the evolving landscape of custom-made tools for digital documentation, both hardware and software, and their transformative impact on the digitization techniques, built to meet requirements of specific case studies, including ancient drawings, manuscripts, paintings, and museum objects. The advent of self-built instruments has revolutionized the way professionals work today, by leveraging a new generation of low-cost, adaptable gears, leading to unprecedented flexibility and efficiency, while facilitating the capture of high-quality digital representations of objects with minimal damage and preserving their integrity. The outcomes of instruments and tools specifically produced for the contexts described in this paper highlight their potential for promoting interdisciplinary collaboration, facilitating scholarly research, enhancing conservation efforts, and fostering cultural exchange. Ultimately, this research contributes to illustrate how custom software, in combination with recent devices such as smartphones and 3D printers, underscores the importance of adopting these innovative approaches to generate an ecosystem of tools and methods able to preserve, document, and promote the richness of our collective past for future generations.