The Church of Meryem Ana at Göreme, fragile custodian of an outstanding art treasure threatened by the disintegration of the rocks

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Gulludere

e K1z1lçukur:

la Valle delle Rose

e la Valle Rossa

in Cappadocia

Premio Internazionale

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31st edition

edited by

Patrizia Boschiero and Luigi Latini

Extract in

pdf

format:

section The study and care of the place, contributions by

Maria Andaloro, Paola Pogliani, Michele Benucci e Giuseppe Romagnoli,

Carmela Crescenzi, Giorgio Verdiani,

pp. 142-186 and 187-191 (sectional bibliography)

Fondazione Benetton Studi Ricerche

Antiga

Treviso 2020

International Carlo Scarpa

Prize for Gardens 2020–2021

Güllüdere

and Kızılçukur:

the Rose Valley

and the Red Valley

in Cappadocia

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Güllüdere and Kızılçukur: the Rose Valley and the Red Valley in Cappadocia

International Carlo Scarpa Prize for Gardens 2020-2021

published by Fondazione Benetton Studi Ricerche, with Antiga,

edited by Patrizia Boschiero and Luigi Latini On the occasion of the 31st International Carlo Scarpa Prize for Gardens, dedicated to Güllüdere and Kızılçukur, this dossier is being issued simultaneously in Italian and English editions.

Editorial production:

Patrizia Boschiero (coordination), Chiara Condò and Nicoletta Tesser (editing and layout). Proofreading of English texts by Oona Smyth. Translations from Italian to English:

Oona Smyth (Motivation of the Prize, pp. 7-14; essays by Maria Andaloro, pp. 61-77, 142-154, and 226-239; Chiara Bordino, pp. 89-100; Giuseppe Barbera, pp. 102-117;

Natalia Rovella and others, pp. 125-129; Andrea Bixio, Roberto Bixio, Andrea De Pascale, pp. 131-141; Paola Pogliani, pp. 155-162; Maria Raffaella Menna, pp. 164-166; Michele Benucci and Giuseppe Romagnoli, pp. 167-169; Carmela Crescenzi, pp. 170-178; Giorgio Verdiani, pp. 179-186).

Translations from Italian to Turkish: Elettra Ercolino (Motivation of the Prize, pp. 15-21).

Translations from French to English: Traduttori Associati (essay by Monique Mosser, pp. 213-225).

The translations published in the Italian edition of this book are by Elettra Ercolino, Oona Smyth, and Traduttori Associati. The editors, authors, the publications office and the documentation centre of Fondazione Benetton Studi Ricerche worked on research and acquisition of bibliographic, cartographic, iconographic and documentary materials.

Contents

pp1-36.indd 4

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Contents

The International Carlo Scarpa Prize for Gardens

Statement of the Carlo Scarpa Prize,

in English, Turkish and Italian, edited by the Scientific Committee of the Fondazione Benetton Studi Ricerche

Maps of the Rose Valley and the Red Valley, Cappadocia,

edited by Thilo Folkerts

The place and its history

Thilo Folkerts,

Cappadocia: immediate continuity. Visiting Rose Valley, Red Valley and their surroundings

Maria Andaloro,

Cappadocia. Deep in the rocks among valleys and painted churches

Ekrem Akurgal,

The great civilizations of Anatolia

Chiara Bordino,

The development of Christianity

in the Nevșehir region (4th-10th centuries) and its role in the promotion of the visual arts

The nature of the landscape

Giuseppe Barbera,

Agrarian practices and rural landscape of the valleys

Mutluhan Akin and Ahmet Orhan,

The geological structure and the volcanic nature of Cappadocia: a brief review

Natalia Rovella, Stefano Marabini, Mauro Francesco La Russa, Gino Mirocle Crisci,

Geological readings of the rupestrian territory of Cappadocia: the case of Şahinefendi

Andrea Bixio, Roberto Bixio, Andrea De Pascale,

Underground hydraulic systems and anthropogenic cavities in Cappadocia

6 7 32 37 61 79 89 102 119 125 131

The study and care of the place

Maria Andaloro,

Tuscia University’s Mission in Cappadocia

Paola Pogliani,

Painting in Cappadocia

Maria Raffaella Menna,

The garden and the gardener

in the Church of St Joachim and St Anne

Michele Benucci and Giuseppe Romagnoli,

The rock-cut settlement of Şahinefendi

Carmela Crescenzi,

Survey of landscape surrounded by the Göreme and Kılıçlar valleys

Giorgio Verdiani,

The Church of Meryem Ana at Göreme

Sectional bibliography

Readings of the place

Murat Ertuğrul Gülyaz,

Paşabaği and Zelve ruins

Aslı Özbay,

Cappadocian civil architecture

Monique Mosser,

World heritage and museumification in times of mass tourism

Maria Andaloro,

Pasolini and Medea in Cappadocia Carlo Scarpa Prize 1990-2021 The activities of the Carlo Scarpa Prize for the place

Bibliography The authors Illustration references 142 155 164 167 170 179 187 193 201 213 226 240 246 247 255 260 pp1-36.indd 5 pp1-36.indd 5 15/10/20 09:4015/10/20 09:40

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Güllüdere and Kızılçukur: the Rose Valley and the Red Valley International Carlo Scarpa Prize for Gardens 2020-2021

Scientific Committee and Coordination

Luigi Latini, architect, Iuav University of Venice (chairman);

Giuseppe Barbera, agronomist, University of Palermo;

Hervé Brunon, garden historian, André Chastel Centre, Paris, cnrs;

Thilo Folkerts, landscape architect, 100Landschaftsarchitektur, Berlin;

Anna Lambertini, architect and landscape architect, University of Florence;

Monique Mosser, art historian, Advanced School of Architecture, Versailles, cnrs;

Joan Nogué, geographer, University of Girona; José Tito Rojo, botanist, University of Granada. Carmen Añón, landscape architect, University of Madrid, member of the Prize Jury from 1990 to 2010, honorary member from 2011;

Domenico Luciani, architect, director of the Fondazione Benetton Studi Ricerche from 1987 to 2009, deviser of the Prize and its chief executive from 1990 to 2014, honorary member from 2015.

Former members of the Prize Jury include: Sven-Ingvar Andersson (1927-2007), landscape architect, member of the Jury from 2002 to 2005, honorary member from 2006 to 2007; Rosario Assunto (1915-1994), philosopher, chairman of the Jury in 1990 and honorary chairman from 1991 to 1994;

Ippolito Pizzetti (1926-2007), landscape architect, writer, member of the Jury from 1990 to 1996, honorary member from 1997 to 2007; Lionello Puppi (1931-2018), art historian, chairman of the Jury from 1990 to 2013, member of the Scientific Committee from 2014 to 2018; Massimo Venturi Ferriolo, philosopher, member of the Jury from 2009 to 2014, member of the Scientific Committee from 2015 to 2018; Thomas Wright (1928-2016), consultant to the National Trust and lecturer at the University of London (Wye College), member of the Jury from 1990 to 2000, honorary member from 2001 to 2016.

Since 2015 the Scientific Committee of the Foundation and the Jury responsible for awarding the Carlo Scarpa Prize from 1990 to 2014, have merged to become a single organism. Other participants in the work of the Committee include the director of the Foundation and the heads of the various sectors.

The activities of the Carlo Scarpa Prize have been coordinated, since 2015, by Patrizia Boschiero and the chairman of the Scientific Committee, Luigi Latini.

The International Carlo Scarpa Prize for Gardens

The International Carlo Scarpa Prize for Gardens is a campaign of studies

and care for a site which is particularly rich in natural, historical and creative

values, instituted and organized every year since 1990 by the Fondazione

Benetton Studi Ricerche.

The purpose of the Prize is to enhance and propagate the culture of

“stew-ardship of the landscape” and “care of places”; it is conceived as an opportunity

and an instrument through which a wider public, beyond the community of

specialist experts, can be acquainted with the intellectual and manual skills

re-quired to manage the changing landscape and to safeguard and promote the

natural and historical heritage it embodies; the work requires a wide-ranging

combination of scientific, technical, artistic and craft knowledge and skills and

entails identification of the distinctive nature and characteristics of a site and

an appreciation of its true extent and context; it involves acts of creation,

far-sighted renewal programmes, a daily routine of care and maintenance and

sensitive application of procedures whereby expressions of the natural

herit-age, cultural change and human communities can exist side by side in the same

place; it shuns ephemeral and superficial effect and measures success in the

long term; it seeks a balance between conservation and innovation, accepting

that taste changes constantly and that the role of nature and history may

dif-fer radically from one civilization or historical period to another.

Each year the Scientific Committee of the Foundation, within the

am-bit of its ongoing research activities, selects a place that features specific

characteristics, deserves attention and prompts considerations relevant to

the aims of the Prize; a statement is issued in which the Committee

ex-plains the reasons for its choice. The Committee’s decision is final.

Throughout the campaign, the Scientific Committee proposes and

pro-vides guidelines for those actions that can contribute to increasing

knowl-edge, safeguarding, and promoting the site concerned. Using various means

of communication, it addresses public administrations, scientific, artistic,

technical and operative communities and all those who are committed to or

interested in enhancing appreciation of landscapes and gardens, developing

new skills in investigation and planning as well as improving management

procedures. Of particular importance among the actions envisaged are: the

publication of a dossier, as part of the Fondazione Benetton Studi Ricerche

ed-itorial collection ‘Memorie,’ to raise awareness and give information about the

place; the collection of relevant bibliographic and cartographic materials,

which are made available through a documentary exhibition and for

consulta-tion in the Foundaconsulta-tion’s library; the producconsulta-tion of a documentary film, the

or-ganization of one or more study meetings and a public ceremony during which

the body or person responsible for the management of the site or representing

the concept of care for this place is presented with a symbolic award consisting

of the ‘seal’ designed by Carlo Scarpa (1906-1978), the designer of gardens after

whom the Prize is named.

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Güllüdere and Kızılçukur: the Rose Valley and the Red Valley International Carlo Scarpa Prize for Gardens 2020-2021

Agronomists

Università di Palermo: Giuseppe Barbera. Università della Tuscia: Rita Biasi.

Experts in technologies applied to cultural heritage

cnr itabac: Francesco Antinucci

and Eva Pietroni, with Walter Balducci, Claudio Rufa, Stefano Scialotti.

Photographers

Università della Tuscia: Gaetano Alfano, Rodolfo Fiorenza, Domenico Ventura. Università Roma Tre: Danilo Renzulli.

Local institutions involved in safeguarding Cappadocia

Nevşehir Archaeological Museum, directors: Alis Yenipinar, Murat Gülyaz, Sevim Tunçdemir.

Nevşehir Regional Restoration Laboratory, director: Hatice Temur.

Director of the research and restoration project: Maria Andaloro. Deputy director: Paola Pogliani.

Central Restoration Laboratory, Istanbul: Ismet Ok.

Restorers

Università della Tuscia: Livia Alberti, Anna Arcudi, Silvia Borghini, Cristina Caldi, Sara Scioscia, Maria Cristina Tomassetti, Valeria Valentini with Anna Levi and Daniele Rossi.

Niğde Archaeological Museum: Fazil Açikgöz. Nevşehir Regional Restoration Laboratory: Merve Azize Işin, Ayça Baştürkmen, Mustafa Toptepe, Uğur Yalçinkaya. Central Restoration Laboratory, Istanbul: Öslem Toprak Cihan, Elif Bozdemir,

Gülseren Dikilitaş with Esra Esen and Seda Kartal.

Geologists/geographers

Università della Calabria: Gino Mirocle Crisci, Mauro Francesco La Russa, Stefano Marabini, Natalia Rovella, Silvestro Antonio Ruffolo. Università della Tuscia: Giuliano Bellezza.

Speleologists

Centro Studi Sotterranei, Genova: Andrea Bixio, Roberto Bixio,

Andrea De Pascale, Alessandro Maifredi, Simona Mordeglia, Mauro Traverso.

Participants in Tuscia University’s Mission in Cappadocia

Art historians/archaeologists

Università della Tuscia: Maria Andaloro, Michele Benucci, Chiara Bordino, Claudia Guastella, Maria Raffaella Menna, Paola Pogliani, Daniela Sgherri, Giuliana Solimine,

Manuela Viscontini with Elisa Potenziani and Rachele Zanone/Giuseppe Romagnoli. Università Roma Tre: Antonella Ballardini, Giulia Bordi, Maria Luigia Fobelli.

Architects

Università di Roma “La Sapienza”: Marco Carpiceci and Carlo Inglese with Andrea Angelini, Giovanna Cresciani and Antonello Gamba.

Università di Firenze: Carmela Crescenzi, Marcello Scalzo, Giorgio Verdiani

with Claudio Giustiniani and Francesco Tioli.

Chemists

Università della Tuscia: Giorgia Agresti, Silvia Amato, Claudia Pelosi,

Ulderico Santamaria with Carmela Malomo. Università di Modena e Reggio Emilia: Pietro Baraldi.

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1. The site of the Church of Meryem Ana at Göreme along with the other two complexes included in the digital survey carried out in 2012 (33, 10, 11 refer to the Open Air Museum – Açık Hava Müzesi – codes assigned to each church).

GiorGio Verdiani

The Church of Meryem Ana at Göreme, fragile custodian of an outstanding art treasure threatened by the disintegration of the rocks

The rupestrian landscape of Cappadocia offers an incredible vision of a unique, rich geological environment,1_eroded

into forms creating evocative panoramas and fantastical architectural visions. A heritage made up of rocks, gorges, valleys, and promontories where the populations of the past2_dedicated

themselves to creating rock-cut cavities to hold dwellings, religious spaces, shared places, and defence systems3_as

well as storage areas or spaces intended for agricultural or farming purposes.4

However, this vast rock-cut heritage is undergoing a gradual process of deterioration as nature progressively erodes the stone. Sometimes this process has been accelerated by the presence of the voids created by these rock-cut settlements: for example, the collapse of part of a rock wall may expose entire sections of subterranean cities, the interior wall of a church can become its façade, the core of a peak may reveal doorways or apses. In this complex situation, visiting and gaining access to some of these architectural structures may prove difficult and, at times, even unsafe. This means that architectural research must focus on producing efficient documentation as well as creating the necessary premises for interventions leading to the conservation and eventual access to

1. JoliVet-léVy 2001b. For the complete

bibliography cited in abbreviated form in this and in the following footnotes, see, here, on pp. 187-191.

2. Jerphanion 1925-1942.

3. thierry 2002.

4. JoliVet-léVy 1991.

33 Meryem Ana 10 St Daniel 11 St Eustace

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2-3. Horizontal and vertical section of the Church of Meryem Ana from the 2012 digital survey; the rock-cut spaces in the interior are coloured red.

these rock-cut environments. Carrying out interventions on these structures is no easy matter and the failure to adopt the correct approach when seeking to provide access to tourists could result in damage to the particular qualities of these places, compromising their ‘poetry’. In many cases the state of alteration of the rocks may have reached a dangerous point close to collapse, creating conditions that make it extremely difficult to ensure safe access to the sites of these rock-cut works. The extremely fragile nature of this architecture is revealed by huge cracks, the presence of elements on the verge of toppling, and dangerous passages.

Meryem Ana is a stunning rock-cut church that was used as one of the set locations for Pier Paolo Pasolini’s 1969 film Medea.5_{It is referred to as}

‘Göreme 33’ in the register of local cultural goods. It was carved, together with a small monastery complex, out of a rocky peak overlooking Valley of Swords (Kılıçlar Vadisi in Turkish). The access route to the church is rather difficult, and involves crossing the ruins of several rock-cut rooms with partially collapsed front walls in order to reach the floor with the entrance to the church. The passage is not usually open to the public who are prevented from entering by a small gate set into one of its narrow openings. A series of interconnecting rooms provided access to the church. The entrance has a

horseshoe arch formerly decorated with wall paintings. Most of the paintings in the interior depict stories of the Virgin and biblical events connected to her life. The architecture of the church differs from the other churches in this area in that it has a transverse nave with two barrel vaults of differing sizes with no supports. The sequence of spaces clearly reveals the complex evolution of the church over time, which included several rather aggressive interventions like the entrance to the room of the tombs that altered and destroyed a part of the original paintings. Thebema, which is raised up on three

steps, was originally separated by an iconostasis into which six arches and five columns were carved; however, the subsequent loss of two columns has given the interior an asymmetric appearance. Only two of the three original apses are still present; the southern apse has almost completely disappeared and there is a huge opening towards the valley with a breathtaking view towards the rock face on the other side. Underneath the right section of the bema are two

further rooms that were dug out on top of each other (probably at different times) and that were once linked by a wooden staircase (now lost). This richly modelled and decorated church6_is

split in two by a huge crack that runs through the entire building, allowing water to percolate into the wall paintings. This splendid rock-cut structure belongs

5. Chiesi-Tursi2007.

See also contribution by Maria Andaloro in this volume, pp. 226-239.

6. AndAloro 2013.

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Giorgio Verdiani, The Church of Meryem Ana at Göreme, fragile custodian of an outstanding art treasure

to the category of sites that are hard to recover and is a dramatic example of the extreme deterioration that can be experienced by this type of architecture. It is threatened by the complete collapse of the pinnacle, which rises 17 metres above it while the valley lies 25 metres below. Although the church is composed of rather compact spaces, the rich colours, complex forms, sequence of different levels, and the ‘sense of drama’ engendered by the conspicuous crack, all have a strong impact on visitors, capturing the eye and arousing great admiration.

In August 2012, in the context of a complex campaign documenting rock-cut environments carried out with the participation of the Tuscia University and of the Department of Architecture of the University of Florence

(for the part regarding the digital survey), it was decided to implement an urgent documentation survey of the church of Meryem Ana.7_{The survey}

was carried out as part of an integrated process involving use of panoramic photography as well as of a phase-shift 3D laser scanner (Cam/2 Faro Focus 3D). This easy-to-handle, high precision scanner is small, lightweight, and supplied with a compact tripod. It has a range of 0.6 to 120 metres, and generates a point cloud with a 360-degree field of vision on the horizontal axis and 320 degrees on the vertical axis. For every point measured the precision is around

2 millimetres at a 10-metre distance with normally reflective material. The sampling step produced a point cloud with point spacing ranging from 2 to 3 millimetres in the interiors, and from 5 to 10 millimetres for external surfaces. Using these settings, each single scan producing complete coverage took about 4 minutes to carry out. This approach proved ideal for the operating conditions in this rock-cut environment, allowing rapid, detailed scans to be taken, even in the narrow tunnels. The location of the single survey stations was determined on the basis of the form and specific conditions of the space concerned. A full sphere panorama was also shot to ensure the accurate rendering of the colours of all the wall paintings. The shots were taken using a Pentax K7 digital slr15-megapixel camera with

an 18-55 millimetres standard zoom lens. The camera was mounted on a tripod with a specific panoramic head that allows the lens to rotate around the nodal point of the sensor so as to reduce parallax distortion between single shots. Sixty shots were taken for each panorama. Both laser scans and photographic shots were designed to minimize occlusions produced by the complex forms of this rock-cut structure.

The dataset collected was processed in order to create a body of images that could promote an understanding of the relationship between the rock-cut

church and its natural context, including 7. AndAloro 2013.

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the fracture running through the pinnacle. Subsequently, these images were used to create a Digital Twin, focusing in particular on the interior of the church. This involved developing a detailed, fully texturized 3D digital model capable of presenting the spatial model in immersive virtual environments or for animations and simulations. At the same time, this model was used for experimentation exploring the possibility of virtual musealization combining both physical and digital components,8_{with the aim of making}

the church of Meryem Ana accessible to everyone, by means of both physical reproductions and digital components. The approach to the production of solutions for a potential musealization involved three proposals, formulated as follows.

Level 1. Traditional digital models, traditional physical scale models

In this case, the solution proposed provided a layout based on explanatory panels and 3D scale models.

All of the component parts of the panels can be obtained from data resulting from the digital survey.

The models on display are designed as models presented to the public with possibilities for direct contact so that visitors can touch and move them in order to observe them from different points of view.

These models could be replicated and produced in synthetic materials like pla

(polylactic acid, a thermoplastic material used in 3D printing), which would allow them to be put on display to the public for long periods without undergoing significant damage. The low cost of both

8. Bertuglia-Bertuglia-Magnaghi 1999.

4. Interior view towards the main barrel vault in the Church of Meryem Ana. 5. Interior view of the Church of Meryem Ana.

6. Detail of the interior.

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the materials and printing technology means that these models could easily be replaced if needed.

Level 2. Physical models integrated with digital models

In this case, the solution proposed is based on a model produced using the 3D printing process, resized or even reproduced as life-size models (either completely or in part), with the entire body of wall paintings visualized on the physical model by an app presenting an augmented reality. This ensures that, no matter what scale model is used, the paintings will have a realistic appearance thanks to the use of a personal device like a tablet or smartphone, without the need for complex, unique immersive systems; all that is needed is an Internet

connection to receive the necessary data. The connection system linking the physical and virtual model will use a qr code that can be scanned directly

by the visitor’s device.

Level 3. The physical ‘cloned’ model becomes an alternative to reality

In this case, the solution consists of a life-size model of the rock-cut church, created without seeking to reproduce the complex palette of colours, instead adopting a ‘neutral’ space with the necessary detail of the structure, which can be visited like a kind of ‘technological clone’. The surfaces have been designed to permit rear projection using a digital projector. The main surfaces and the vaulted ceilings will be made from resin with a minimum thickness using laser sintering and a 3D printer.

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This solution can be produced as a group of elements divided into portions and reinforced with ribbing according to the divisions of the wall paintings themselves.

The minimal thickness ensures the necessary transparency to allow an effective presentation, which can be based on displaying the paintings as they actually are or integrating them with graphic and multimedia effects designed to increase the communication capacity of the installation.

The digitization of cultural heritage is

an advanced form of copy of the original. Although it has incredible potential, it requires careful reflection and an understanding of the processes involved. There is the risk that rapidly developed digital systems will place too much reliance on the ‘wow factor’ thereby drawing attention away from their ultimate goal and salient points. The main target of this process must always be the cultural heritage concerned and the promotion of a better understanding of the site. Any copy, whether physical or digital,

7. 3D laser scanner operating in the interior of the Church of Meryem Ana, view towards the apses.

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9. Agnew-BridglAnd 2006.

is a reproduction of the original, the sole holder of its magnificence and authenticity. Nonetheless, the ‘wonders’ of our technological era offer great opportunities while, at the same time, presenting a huge challenge in terms of creating models that are more than mere reproductions of the original.9

In this way, digital copies will encourage visitors to wish to see the original, at the same time providing them with an opportunity to learn and to increase their knowledge about the characteristics of the actual original site.

8. Selection of interior and exterior views ‘produced’ by the 3D laser scanner survey.

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13 14 15 12 16 9 10 11

Güllüdere and Kızılçukur: the Rose Valley and the Red Valley International Carlo Scarpa Prize for Gardens 2020-2021 The survey and documentation of the Church

of Meryem Ana were carried out as part of the

prin 2010-2011 scientific activities, thanks

to the collaboration between Università degli Studi di Firenze and Università degli Studi della Tuscia. The activities in Cappadocia were carried out by the Dipartimento di Architettura, Florence, as part of the European

chRima project and of the subsequent pRin2010-2011 research project.

The dida research unit (Dipartimento

di Architettura, Florence) participating in the chrima and prin 2010-2011 projects is

9-11. 3D digital model treatment phases: application of texturing and normal map in order to reduce the dataset needed to describe the object while maintaining a high level of detail. 12-15. Production of the physical scale model of the Church of Meryem Ana.

16. Scale model with augmented reality visualization of the complete body of wall paintings.

made up of Carmela Crescenzi (coordinator), Marcello Scalzo, Giorgio Verdiani,

Sergio Di Tondo, Claudio Giustiniani, Andrea Pasquali. The survey of the Church of St Eustace was carried out by Giorgio Verdiani, Sergio Di Tondo, and Claudio Giustiniani; the digital survey of Meryem Ana by Giorgio Verdiani and Claudio Giustiniani. Data treatment by Giorgio Verdiani, Sergio Di Tondo, Carmela Crescenzi, Tiziana Pignatale, Alexia Charalambous, Vittoria Niccolini, Francesca Rafanelli, Carlo Gira. Research into virtual musealization,

3D prototyping/printing and multimedia extraction of the churches of St Daniel, Meryem Ana and St Eustace was carried out by Francesca Rafanelli, Carlo Gira, and Vittoria Niccolini as part of the work for their undergraduate dissertations (rafanelli 2014,

Gira 2014, niccolini2014).

The work was carried out in the wider context of the Cappadocian Mission of the Tuscia University, Rupestrian paintings in Cappadocia. A project promoting knowledge, conservation, and awareness, directed by Maria Andaloro (see, here, pp. 142-154).

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Sectional bibliography

Agnew-BridglAnd2006

Of the past, for the future. Integrating archaeology and conservation, edited by

neville Agnew and JAnet BridglAnd,

Getty Conservation Institute, Calgary 2006 (proceedings of the conservation theme at the 5th World Archaeological Congress, Washington dc,

22nd-26th June 2003).

AndAloro 2009

La Cappadocia e il Lazio rupestre. Terre di roccia e pittura/Kapadokya ve kayalık Lazio bölgesi. Kayaların ve resmin toprakları, edited by

MAriAAndAloro, Gangemi, Rome 2009

(exhibition catalogue, Rome, spazio ex gil

in Trastevere, 18th June-3rd July 2009). AndAloro 2011

MAriAAndAloro, “Committenti

dichiarati e committenti senza volto. Costantino, Niceforo, Leone per la Tokalı Kilise in Cappadocia”, inMedioevo. I committenti, edited by ArturocArlo

QuintAvAlle, Electa, Milan 2011

(proceedings of the 10th international study conference of the Associazione italiana storici dell’arte medievale, Parma, 21st-26th September 2010), pp. 139-158. AndAloro 2012

MAriA AndAloro, “Kapadokya kaya

kiliselerinin tanınması, korunması ve kiliselere değer kazandırılması projesi/Per la conoscenza, la

conservazione e la valorizzazione delle chiese rupestri della Cappadocia”,

Arkeoloji ve Sanat, monographic issue Turchia e Italia. Orizzonti archeologici, 139,

January-April 2012, pp. 163-177. AndAloro 2013

MAriA AndAloro, “The project on the

rock paintings in Cappadocia. Research and preservation in the Göreme Open Air Museum (Report 2011)”, in30. Araştırma Sonuçlan Toplantısı, Ankara 2013

(Corum, 28th May-1st June 2011), pp. 133-146. AndAloro 2015a

MAriA AndAloro, “Natura e figura

in Cappadocia”, in QuintAvAlle 2015,

pp. 189-213.

AndAloro2015b

MAriA AndAloro, “La chiesa di Haghios

Basilios e la pittura delle origini in Cappadocia. Linee di un progetto”, in QuintAvAlle 2015, pp. 215-227.

AndAloroforthcoming

MAriA AndAloro, “Il cosmo rovesciato

nella Cappadocia rupestre”, in MAriA

AndAloroand PAolA PogliAni,

Il meraviglioso cosmo rovesciato nella Cappadocia rupestre e la chiesa dei Quaranta Martiri a Şahinefendi fra paesaggio e pitture, in Studi in onore di Clelia Mora,

forthcoming.

AndAloro-BArBet 2002

MAriA AndAloro and Alix BArBet,

“Le tombeau paléochrétien d’Iznik. Recherches sur les techniques de mise en œuvre”, Mélanges de l’École Française de Rome. Moyen Âge, 114, 1, 2002, pp. 171-195.

AndAloro-Bixio-crescenzi 2013

MAriA AndAloro, roBerto Bixio,

cArMelAcrescenzi, The complex of

S. Eustachius. In Göreme, Cappadocia, reading the relationship between the landscape and a very articulated underground settlement

(proceedings of the 18th conference on Cultural Heritage and New Technologies, Vienna, November 2013; available online at www.chnt.at, ‘Proceedings’).

AndAloro-Bordi-MorgAnti 2016

Santa Maria Antiqua tra Roma e Bisanzio,

ideation by MAriA AndAloro, edited

by MAriA AndAloro, giuliABordi,

giusePPe MorgAnti, Electa,

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(Maria Andaloro, Cappadocia. Deep in the rocks, among valleys and painted churches):

fig. 1: Rome, Biblioteca Angelica; courtesy of the Ministry of Cultural Heritage and Activities; this image may not be reproduced or copied by any means;

figs 2-7, 9-22, 24-29: photographs by Gaetano Alfano-Archive of Tuscia University’s Mission in Cappadocia;

fig. 8: photograph by Domenico Ventura-Archive of Tuscia University’s Mission in Cappadocia;

fig. 23: courtesy of Murat Ertuğrul Gülyaz. On p. 78:

from Arts of Cappadocia, a

cura di Luciano Giovannini,

Barrie and Jenkins, London 1971, p. 71.

On pp. 79-88

(Ekrem Akurgal, The great civilizations of Anatolia):

figs 1-6: from Giovannini1971,

pp. 18, 20, 16, 24, 26. On pp. 89-100 (Chiara Bordino, The developmentof Christianity in the Nevșehir region (4th-10th centuries) and its role in the promotion of the visual arts):

fig. 1: from sophie Métivier,

La Cappadoce, ive_-_vie_{siècle: une} histoire provinciale de l’Empire romain d’Orient, Éditions de

la Sorbonne, Paris 2005; fig. 2: from catherine

JoLivet-Lévy, La Cappadoce.

Un siècle après Guillaume de Jerphanion, Geuthner,

Paris 2015, 2 vols, pl. 283; fig. 3: Paris, Bibliothèque nationale de France, ms. Grec 510, c. 71; figs 4-7: photographs by Gaetano Alfano-Archive of Tuscia University’s Mission in Cappadocia.

On p. 101:

from Giovannini1971, p. 73.

On pp. 102-117

(Giuseppe Barbera, Agrarian practices and rural landscape of the valleys):

figs 1-4, 6, 18: photographs by Gaetano Alfano-Archive of Tuscia University’s Mission in Cappadocia;

figs 5, 9, 13-15, 17: photographs by Marco Zanin-Fabrica; fig. 7: from National Geographic,

35, 4, 1919, p. 308; fig. 8: photograph by Ozen Guney; figs 10, 16: photographs by Luigi Latini-fbsr; figs 11-12: photographs by Thilo Folkerts. On p. 118: from Giovannini1971, pp. 56-57. On pp. 119-124 (Mutluhan Akin and Ahmet Orhan, The geological structure and the volcanic nature of Cappadocia: a brief review):

figs 1, 2, 5: courtesy of Mutluhan Akin and Ahmet Orhan. On pp. 125-129

(Natalia Rovella, Stefano Marabini, Mauro Francesco La Russa, Gino Mirocle Crisci,

Geological readings of the rupestrian territory of Cappadocia: the case of Şahinefendi):

fig. 1: processed image from nataLiaroveLLa,Approccio

multidisciplinare applicato allo studio delle interazioni tra nanoparticelle e substrati lapidei di diversa natura finalizzato alla conservazione di monumenti di interesse storico-artistico,

Università della Calabria, 2014 (Phd thesis), p. 124; fig. 2: from nataLia roveLLa,

stefano Marabini,

GinoMirocLecrisci,

“Stratigraphy and conservation of cultural heritage: the example of rupestrian churches of Cappadocia (Turkey)”, instrati 2013: first international

congress on stratigraphy at the cutting edge of stratigraphy,

edited by RoGério Rocha,

João Pais, José CarLos

KuLLberG, StanLey Finney,

Springer, Berlin 2014, p. 318. On pp. 130-141

(Andrea Bixio, Roberto Bixio, Andrea De Pascale,

Underground hydraulic systems and anthropogenic cavities in Cappadocia):

figs 1, 7-8, 11-13, 18-22, 24: processed by Roberto Bixio-Centro Studi Sotterranei di Genova;

figs 2, 9, 17, 23: photographs by Andrea Bixio-Centro Studi Sotterranei di Genova;

pp240-264.indd 260

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261

Illustration references

fig. 3: photograph by Roberto Bixio-Centro Studi Sotterranei di Genova; figs 4, 15: photographs by Gilda Bologna-Centro Studi Sotterranei di Genova; fig. 5: photograph by

Mauro Traverso-Centro Studi Sotterranei di Genova; figs 6, 14, 16: photographs by Andrea De Pascale-Centro Studi Sotterranei di Genova; fig. 10: watercolour by Roberto Bixio-Centro Studi Sotterranei di Genova. On pp. 142-154

(Maria Andaloro, Tuscia University’s Mission in Cappadocia):

figs 1, 3-4, 7-9, 11: photographs by Gaetano Alfano-Archive of Tuscia University’s Mission in Cappadocia;

figs 2, 5: processed by Valeria Valentini; fig. 6: photograph by Rodolfo Fiorenza-Archive of Tuscia University’s Mission in Cappadocia;

fig. 10: photograph by Gaetano Alfano and Domenico Ventura-Archive of Tuscia University’s Mission in Cappadocia.

On pp. 155-163

(Paola Pogliani, Painting in Cappadocia): figs 1-7, 9-11, 13-14: photographs by Gaetano Alfano-Archive of Tuscia University’s Mission in Cappadocia; figs 8, 12, 15-17: photographs by Gaetano Alfano and Domenico Ventura-Archive of Tuscia University’s Mission in Cappadocia.

On pp. 164-166

(Maria Raffaella Menna,

The garden and the gardener in the Church of St Joachim and St Anne): figs 1-2: photographs by Gaetano Alfano-Archive of Tuscia University’s Mission in Cappadocia. On pp. 167-169 (Michele Benucci and Giuseppe Romagnoli,

The rock-cut settlement of Şahinefendi):

figs 1-2: photographs by Giuseppe Romagnoli; fig. 3: survey by

Marco Carpiceci, plan drawn by Giuseppe Romagnoli; figs 4, 6: photographs by Gaetano Alfano; fig. 5: photograph by Gaetano Alfano, graphics by Giuseppe Romagnoli. On pp. 170-178

(Carmela Crescenzi, Survey of landscape surrounded by the Göreme and Kılıçlar valleys):

fig. 1: processed by Francesco Tioli and Stefano Nardoni; figs 2-6: processed by Francesco Tioli,

ur unifi-dida;

fig. 7: from Giacomo

ricchera, Sul pinnacolo

di San Daniele a Göreme. Dal modello alla land art,

University of Florence, Department of Architecture, 2013-2014 (degree thesis); fig. 8: photograph by Andrea Bixio, processed by Carmela Crescenzi; fig. 9: processed by Carmela Crescenzi; fig. 10: from Stefano

nardoni, Dal rilievo

alla musealizzazione. Valorizzazione del sito archeologico di Göreme, University of Florence, Department of Architecture, 2015-2016 (degree thesis); fig. 11: graphic by Carmela Crescenzi; fig. 12: graphic by Carmela Crescenzi, Giorgio Verdiani, Sergio Di Tondo. On pp. 179-186

(Giorgio Verdiani, The Church of Meryem Ana at Göreme, fragile custodian of an outstanding art treasure threatened by the disintegration of the rocks):

fig. 1: graphic and photograph by Giorgio Verdiani

and Carlo Gira, 2014; figs 2-3: graphic by Carlo Gira, 2014; figs 4-7: photographs by Giorgio Verdiani, 2012; fig. 8: graphic by Giorgio Verdiani, 2012; figs 9-16: graphic and photographs by Carlo Gira, 2014.

On pp. 192-199

(Murat Ertuğrul Gülyaz,

Paşabağı and Zelve ruins):

figs 1, 3-14: photographs by Murat Ertuğrul Gülyaz; fig. 2: courtesy of

Murat Ertuğrul Gülyaz. On pp. 200-211

(Aslı Özbay, Cappadocian civil architecture: reading history from caves):

fig. 2: courtesy of Aslı Özbay; figs 3-7, 14-18: courtesy of Halip Hasan Temur. On pp. 212-225:

(Monique Mosser, World heritage and museumification in times of mass tourism. Critical reflections and propositions):

fig. 1: photograph by Marco Zanin-Fabrica; figs 2-6, 8-10: courtesy of Monique Mosser; fig. 7: photograph by Gianni Berengo Gardin, from Venezia e le grandi navi,

Contrasto, Rome 2015, p. 7.

On pp. 226-239

(Maria Andaloro, Pasolini and Medea in Cappadocia):

figs 1-5, 7-8, 10-11, 13, 15: photographs by Gaetano Alfano-Archive of Tuscia University’s Mission in Cappadocia;

figs 6, 9, 12: photographs by Mario Tursi; Archivio Tursi now Enrico Appettito; fig. 14: Florence, Gallerie degli Uffizi; courtesy of the Ministry of Cultural Heritage and Activities; this image may not be reproduced or copied by any means.

The Foundation is grateful to all those (authors, photographers, organizations concerned) who provided photographs and other illustrations and is ready to settle any fees for images for which it has not been able to trace or contact the source.

pp240-264.indd 261

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The activities of the International Carlo Scarpa Prize for Gardens 2020-2021 dedicated to Güllüdere and Kızılçukur: the Rose Valley and the Red Valley in Cappadocia are under the patronage of:

uniscape

the Italian Ministry of Cultural Heritage and Activities and Tourism

the Veneto Region the City of Treviso.

The publication is part of the “Memorie” editorial series of the Fondazione Benetton Studi Ricerche, directed by Luigi Latini and Monique Mosser,

special section “Dossier. International Carlo Scarpa Prize for Gardens”. Güllüdere and Kızılçukur:

the Rose Valley and the Red Valley in Cappadocia. International Carlo Scarpa Prize

for Gardens 2020-2021,

edited by Patrizia Boschiero and Luigi Latini, Fondazione Benetton Studi Ricerche-Antiga, Treviso 2020.

English edition

isbn 978-88-8435-200-2

Cover price 20 euros Printed in October 2020 in 800 copies on Fedrigoni, Arena Ivory Smooth, g/m2_{120 (inside) and Fedrigoni,}

Cottage Ivory, g/m2_{320 (cover)}

by Grafiche Antiga, Crocetta del Montello, for the Fondazione Benetton Studi Ricerche, Treviso.

Information:

Fondazione Benetton Studi Ricerche Via Cornarotta 7-9, 31100 Treviso Tel. 0422.5121, fax 0422.579483 pubblicazioni@fbsr.it, www.fbsr.it

pp240-264.indd 263