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

The so-called Villa of Poppaea in Oplontis (Torre Annunziata, Naples), which was destroyed during the eruption of Vesuvius in A.D. 79, offers a unique opportunity to examine the polychromy of one of the most lavish ensembles of Roman marble sculptures. The initial findings from this research were shared at the 8th Round Table in Paris (2016). This paper aims to present the updated results of ongoing studies focused on the sculptures, interior spaces, and gardens of the Villa of Poppaea. All the sculptures found in the villa were analysed on-site using a non-invasive analytical protocol. This included multiband imaging techniques such as visible reflected, ultraviolet-induced visible luminescence, and visible induced luminescence photography. Additionally, single spot methods like X-ray fluorescence spectroscopy and UV-VIS fibre optics reflectance spectroscopy were employed. Comprehensive documentation was also carried out using portable microscopy. By comparing the results obtained from both imaging and spectroscopic techniques with archaeological research, new information was also obtained concerning pigments and conservation history. Among the sculptures analysed, one particularly interesting piece is a small statue of Venus untying her sandal. This sculpture stands out due to its exceptionally well-preserved polychromy. Detailed findings about this artefact are presented here, including a comprehensive 3D model that maps all the information gathered during the diagnostic campaign. This model serves multiple purposes, such as communicating complex contents (material degradation, diagnostic analysis, etc.), promoting a deeper understanding of the object, and making the research easily accessible and widely shareable thanks to web applications. At the time of eruption in A.D. 79, the villa was undergoing renovations, leading to the relocation of some of the sculptures for safekeeping. This paper will propose some hypotheses concerning the original placement of these sculptures. Given that the wall paintings of the villa are still well preserved, the last part of the paper will explore various potential scenarios for the wall paintings that complemented the polychrome sculptures.