Restoration of the Ninfa Aurisina’s fountain
Civico Museo Revoltella, Trieste

Il gruppo marmoreo della “Ninfa Aurisina” ritorna a brillare grazie alla tecnologia MEP sostenibile
Il gruppo marmoreo della “Ninfa Aurisina” ritorna a brillare grazie alla tecnologia MEP sostenibile
Description
The marble group of the "Ninfa Aurisina", created by the Milanese sculptor Pietro Magni is among the most significant works in the history of the collection of the Revoltella Museum in Trieste (founded in 1872), the oldest public gallery in Italy dedicated to modern art. Forme d'Acqua Venice Fountains took care of the design and implementation of the MEP (Mechanical, Electrical and Plumbing) parts of the fountain, in order to make it performing and sustainable. The low-consumption, high-energy-efficiency water movement and recirculation pump was housed in a stainless steel well, replacing the pre-existing damaged and unusable one. Subsequently, the level probe was replaced with an OASE Water Level Sensor 2000-3/5 and an automatic fill solenoid valve connected to a Lovato control unit, which automatically reads the water level in the collection tank and at the necessary, it integrates or stops the pumps if there is too little, preventing the motors from running dry and therefore being damaged. In order to guarantee clean and crystalline water, and at the same time to safeguard the Carrara marble, two peristaltic pumps have been installed for the injection of anti-limescale and anti-algae: the first needs to prevent the limestone from depositing and therefore ruining the surfaces and hydraulic parts. The anti-algae is necessary to keep the water clean and crystalline, avoiding the possibility that it becomes green and unhealthy, due to the presence of pathogenic bacteria and viruses. The use of anti-algae products instead of chlorine is particularly suitable for indoor fountains, because they are odourless. The water feature is given by a PCV pipe (initially it was lead and has been replaced) placed in correspondence with a hole near the feet of the female figure, from which the water comes out and creates a stream effect along the base of the marble group, to overflow into the large shell that serves as a collection tank. The water, through the overflow, descends into the stainless steel well where the movement and recirculation pump is housed, to then be sent back to the PVC pipe and start the cycle again. Finally, in collaboration with Arentech, the pre-existing electrical panel was replaced with a more modern and safe one, which includes a timer for turning the fountain on and off, a second timer for managing the peristaltic pumps for injecting products anti-limescale and anti-algae and a Lovato control unit for automatic loading. Upon completion of the restoration work, Forme d'Acqua has agreed on an ordinary maintenance plan, carried out by our specialized technicians, which provides for a complete check of the functionality and cleaning of the fountain every three months. This calendar of interventions makes it possible to make the fountain even more durable and to preserve all its beauty and efficiency over time. The fountain was commissioned by Baron Pasquale Revoltella (1795-1869) - entrepreneur and financier of Venetian origin, one of the most authoritative and representative figures of imperial Trieste - on the occasion of the opening of the second aqueduct of the city of Trieste. Placed in 1858 on the ground floor of the Baronial Palace, near the grand staircase, it is made up of various allegorical figures in Carrara marble: the female figure with the head adorned with the mural crown represents the city of Trieste, located on the seashore, in the act of evoking the nymph of the Aurisina spring from the caves of the Karst, inviting her to come down to its vicinity. The little genius of Darkness with bat wings and the lit torch illuminates the path of the Nymph, who presents herself by lifting her veil that kept her hidden from men for so many centuries. In the foreground of the group, two children, one representing the seafaring class and the other a worker, hurry to quench their thirst at the fresh waters that flow at the foot of the Nymph and descend in an enormous shell, symbol of the Adriatic. Around her are symbols of navigation and commerce.
The restoration of the work was studied and managed by Giovanna Nevyjel, restorer and owner of Nevyjel Restauri d'Arte.

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