Its permeability to light was one of the fundamental features of the Domus Aurea.
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When we took on the job of consolidating and conserving Room 34 of the Domus Aurea, the tasks and difficulties to be tackled seemed fairly circumscribed.
Work to secure Room 33, the Room of the Red Vault, has recently been completed.
After the holiday break, work has resumed inside the Domus Aurea and particularly in Room 41, which as we have said is a representative example of the problems that we face inside the rooms. In agreement with the Works Management, we have carried out preliminary first aid to secure and conserve the painted plaster of the vault, in danger of collapse.
The first “Conservation Plan for the Monument” (Preliminary project report and definitive project), developed from an idea by A. Vodret, was drawn up by the Soprintendenza Speciale per i Beni Archeologici di Roma in March 2011 and written by F. Filippi, A. Vodret, I. Sciortino, E. Segala and M. Pesce. It was then presented to the Technical Committees for Archaeological, Architectural and Landscape Heritage of the Italian Ministry for Cultural Heritage and Activities (MiBAC). Subsequently, those parts of the project concerning the consolidation of structures and decorations, and the tests for the proposed new arrangement of the waterproof roof were launched.
Conservation work aimed at securing the surfaces of the Domus Aurea decorated with plaster, wall paintings and stucco elements are proceeding in parallel with stability tests on architectural structures and environmental monitoring.
From 2010, the German Archaeological Institute in Rome (DAI), in collaboration with the Soprintendenza Speciale per i Beni Archeologici di Roma (SSBAR), has created a topographical map covering the underground rooms of the Domus Aurea and the overlying level of Trajan’s Baths now forming part of the park on the Oppian Hill.
In the context of the institutional collaboration between the Soprintendenza speciale per i beni archeologici di Roma (SSBAR – Mibac)
Among the main factors that endanger the conservation of Nero’s palace, now underground after Trajan’s works, a crucial role for the frescoed surfaces is played by light.