Painted marble sculptures and their broader context in the Villa of Poppaea at Oplontis

The so-called Villa of Poppaea in Oplontis (Torre Annunziata,\r\nNaples), which was destroyed during the\r\neruption of Vesuvius in A.D. 79, offers a unique opportunity\r\nto examine the polychromy of one of the most\r\nlavish ensembles of Roman marble sculptures. The\r\ninitial findings from this research were shared at the\r\n8th Round Table in Paris (2016). This paper aims to\r\npresent the updated results of ongoing studies focused\r\non the sculptures, interior spaces, and gardens of the\r\nVilla of Poppaea. All the sculptures found in the villa\r\nwere analysed on-site using a non-invasive analytical\r\nprotocol. This included multiband imaging techniques\r\nsuch as visible reflected, ultraviolet-induced\r\nvisible luminescence, and visible induced luminescence\r\nphotography. Additionally, single spot methods\r\nlike X-ray fluorescence spectroscopy and UV-VIS fibre\r\noptics reflectance spectroscopy were employed. Comprehensive\r\ndocumentation was also carried out using\r\nportable microscopy. By comparing the results obtained\r\nfrom both imaging and spectroscopic techniques\r\nwith archaeological research, new information\r\nwas also obtained concerning pigments and conservation\r\nhistory. Among the sculptures analysed,\r\none particularly interesting piece is a small statue of\r\nVenus untying her sandal. This sculpture stands out\r\ndue to its exceptionally well-preserved polychromy.\r\nDetailed findings about this artefact are presented\r\nhere, including a comprehensive 3D model that maps\r\nall the information gathered during the diagnostic\r\ncampaign. This model serves multiple purposes, such\r\nas communicating complex contents (material degradation,\r\ndiagnostic analysis, etc.), promoting a deeper\r\nunderstanding of the object, and making the research\r\neasily accessible and widely shareable thanks to web\r\napplications. At the time of eruption in A.D. 79, the\r\nvilla was undergoing renovations, leading to the relocation\r\nof some of the sculptures for safekeeping. This\r\npaper will propose some hypotheses concerning the\r\noriginal placement of these sculptures. Given that the\r\nwall paintings of the villa are still well preserved, the\r\nlast part of the paper will explore various potential\r\nscenarios for the wall paintings that complemented\r\nthe polychrome sculptures.