PSI - Issue 11

Giada Cerri et al. / Procedia Structural Integrity 11 (2018) 274–281 Cerri et al./ The Bartolomeo Ammannati’s Fo untain: an artifact in progress 00 (2018) 000 – 000

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1.3 The Fountain’s journeys

The project interruption turned uncertain the future of the fountain. Documents testify the presence of its marbles in Medici’s gardens and villas through time. Some papers (Zikos, 2011) indicate the presence of some statues inside Ammannati’s bottega (atelier), while Borghini (Borghini, 1584) recognized the statues of Arno and Parnasus at Pratolino Villa: it can be assumed that Ammannati finished the back of the statues when they were set up in the Prat olino’s garden. In 1588, the sculptures moved to Palazzo Pitti. Ammannati himself was the person in charge of the arrangement of the artwork in the courtyard. In 1635, the Artichoke Fountain (Fontana del Carciofo) took its place, and, once again, the Juno’ s Fountain changed location. The group of sculptures was dismantled, and the pieces were scattered between the Casino di San Marco and the Boboli gardens. As well as the concept design for the South wall of Sala Grande, also the vicissitudes of fountain’s story are not well documented.

1.4 The final arrangement

During the XX century, the statues were somehow brought together and placed under the vaults of the courtyard of the National Museum of the Bargello. The current set up is the result of an interdisciplinary study that involved the curators of the museum and the University of Florence (Pirazzoli, 2011) in occasion of the temporary exhibition: “L’acqua, la Pietra, il Fuoco. Bartolomeo Ammannati scultore” (Paolozzi Strozzi and Zikos, 2011), made in 2011 to celebrate the 5th centenary of the birth of Ammannati. The final set up has taken advantage of the studies made by Heikamp (Heikamp, 1978), which lead to a reconstructive proposal for the group of sculptures. Years later, regular studies combined to 3D technologies helped to find a likely solution, actually close to Heikamp’s suggestion.

1.5 The current developments

Now, the location of the Fountain is not going to change. Nevertheless, investigations concerning this piece-of art are still in progress, involving different issues and techniques. The current concerning is the safety of the Fountain with regards to the seismic risk. The assessment of the seismic response of the Fountain has been checked by modeling each statue and representing the seismic excitation through the elastic spectra provided by the Italian Technical Code (2008) for the site hazard. The response of the statues has been found with reference to a simplified representation of their response, i.e. by assuming a rigid block behavior.

2. The sculptures in detail 2.1 The 3D laser scanner survey

A reliable and detailed geometrical representation is a crucial step of the seismic assessment of artifacts; the recent developments in the digital survey procedures (Pascale and Lolli, 2013) have improved the quality of the achieved results. In the current work, the geometrical description of the sculptures has been made by means of a 3D laser scanner survey. The survey work was done using a Cam/2 Faro Photon unit, based on phase shift measurement technology. To complete some parts of the back of the statues of Cerere, Arbia and Arno it was used a Nextengine unit, with a higher accuracy, but most of all, with the correct size to enter in the narrow space between the statues and the wall.