A brief introduction to Optical Coherence Tomography (OCT) is presented, stressing the origin of the tomographic signal and the detection methods defining various modalities of the technique. The parameters of the tomographs, such as axial and lateral resolution, wavelength and intensity of the probing light, imaging range, time of examination, and sensitivity are then defined, and a paradigm for interpreting the OCT tomograms provided. The second part of the article comprises a review of the utilisation of OCT for structural examination of artworks, illustrated with some representative results. Applications to the structural imaging of semi-transparent subsurface layers such as varnishes and glazes, of underdrawings and of reverse painting on glass, are described first, and then applications in the examination of the structure and state of preservation of historic glass, jade, glazed porcelain and faience are discussed. Finally, the use of OCT combined with LIBS analysis and laser ablation of surface layers is presented.

Nowadays the use of laser technology as a highly precise tool for the cleaning of paintings is gaining ground. The development of a non-invasive analytical protocol aimed at thorough assessment of the treated surfaces and real time monitoring of the laser cleaning action is thus becoming imperative. This ensures that no side effects (e.g. discoloration, darkening, blackening) will occur on the painting surfaces due to laser ablation. In the present study the potential of the combined use of optical coherence tomography (OCT) and reflection FT-IR spectroscopy for in situ non-invasive assessment of laser cleaning procedures has been investigated on a historical easel painting donated to science. Specifically, OCT and FT-IR analyses were carried out before and after each cleaning test in order to carefully assess the condition of the painting surfaces upon their irradiation with a KrF excimer laser and evaluate the removal of weathered and/or non-original materials (i.e. waxes, aged natural varnishes, oxalates, deposition/migration compounds). This specific laser radiation, operating in the ultraviolet region (λ = 248 nm), is highly absorbed by coating materials (i.e. oxidized natural varnishes) and thus high selectivity and control of the cleaning process can be pursued. A systematic integration of the information on the chemical changes of the molecular composition of the painting surface provided by reflection FT-IR spectroscopy with the visualization of the stratigraphical changes by OCT allowed the evaluation of the sensitivity of the painting materials to different operative parameters of the laser treatment, such as laser fluence and number of pulses. In parallel, laser induced fluorescence (LIF) spectroscopic measurements, recorded with the same laser beam at significantly attenuated energy density values, were exploited to provide information on the fluorescence properties of the irradiated varnish surfaces. The combination of the results obtained by OCT and FT-IR complemented with those from LIF measurements are discussed with the aim of developing an efficient methodology for assessing in situ the irradiated painting surfaces after the laser cleaning treatments and, thus, setting the basis for a future monitoring scheme that would ensure optimum cleaning interventions.

Wooden artefacts embrace wide-ranging types of objects, like paintings on panel, sculptures, musical instruments, and furniture. Generally, in the manufacturing process of an artwork, wood is firstly treated with organic and inorganic materials to make it nonporous and morphologically homogeneous, and, at last, the surface treatment consists of varnishes or coatings applied with the aims of conferring aesthetic properties and protecting wood from biological growth and external degradation agents, as well as mechanical damage. In this work, different wooden mock-ups were prepared by varying some parameters: concentration of filler and pigment, respectively, in the ground and paint layers, thickness of the protective varnish coat, and sequence of the layers. The mock-ups were subsequently exposed to time-varying artificial aging processes. The multi-analytical non-invasive approach involved spectroscopic (reflection FT-IR, Raman, and X-ray fluorescence), tomographic (optical coherence tomography) and colorimetric techniques. Data were interpreted using both univariate and multivariate methods. The aim was to evaluate potential and limits of each non-invasive technique into the study of different stratigraphies of wooden artworks. This approach was supported by microscopic observations of cross-sections obtained from selected mock-ups. The methodological approach proposed here would add valuable technical know-how and information about the non-invasive techniques applied to the study of wooden artworks.

Musical instruments are tools for playing music, but for some of them—made by the most important historical violin makers—the myths hide the physical artwork. Ancient violin-making Masters developed peculiar construction methods and defined aesthetic canons that are still recognizable in their musical instruments. Recently, the focus of scientific investigations has been set on the characterization of materials and methods used by the ancient violin makers by means of several scientific approaches. In this work, the merits of synchrotron radiation micro-computed tomography and optical coherence tomography (OCT) for the investigation of complex coatings systems on historical bowed string musical instruments are discussed. Five large fragments removed during past restorations from instruments produced by Jacobus Stainer, Gasparo da Salò, Giovanni Paolo Maggini, and Lorenzo Guadagnini have been considered for a non-invasive insight by tomographic techniques and the results are discussed considering previous micro-invasive investigations. The tomographic approach allows to highlight the micro-morphology of the coating systems and offers preliminary information on the methods that were employed by the ancient Masters to treat the wood and finish the musical instrument.

Optical coherence tomography (OCT) was first time reported as a tool for examination of cultural heritage objects in 2004. It is mainly used for the examination of subsurface structure of easel paintings (such as varnishes and glazes) and has also been successfully used for inspection of other types of artworks, provided that they contain layers that are permeable to the probing light. This chapter discusses the last applications of OCT in this area with an emphasis on synergy with some other noninvasive techniques such as large-scale X-ray fluorescence (XRF) scanning and reflective Fourier transform infrared (FTIR) spectroscopy. After this part, there is a detailed description of the high-resolution OCT instrument developed by the authors specifically for the study of works of art. Next, two examples are given for the structural examination of works of art: in the former, the subsurface layers of an easel painting are presented, and in the latter, the painting on reverse of the glass is examined, when the inspection must be carried out through the glass. Finally, an application for the assessment of chemical varnish removal from an easel panel painting is discussed in details.