The present paper discusses the importance of non-destructive and micro-destructive technology in forensic investigations in the field of cultural heritage. Recent technological developments and the wide availability of modern analytical instrumentation are creating new possibilities for performing scientific measurements and acquiring data directly on-site—thereby limiting, where possible, sampling activity—as well as learning about the technologies and materials that were employed in the past to create cultural assets. Information on periods, chemical composition, manufacturing techniques, etc., can be gathered more easily. Overall, the benefits of on-site forensic investigations are multiple, including the potential to increase substantially the speed and efficacy of the criminal justice system. However, such benefits are only realized when data quality is guaranteed and findings can be used as forensic evidence in court. The present paper shows data from the non-destructive and micro-destructive analysis of different artworks and objects provided by the Cosenza Carabinieri Unit for the Protection of Cultural Heritage and Anti-Counterfeiting (Calabria, Italy). In particular, two oil paintings on canvas depicting cherubs (Italian: putti), recovered as fragments of larger religious artworks, and two bronze belt and helmet fragments were investigated. In the first case, the research aimed to define the original pictorial layer, identify any reconstruction pictorial areas or pictorial retouching, assess the state of conservation, reconstruct the previous conservation treatments, and provide indications about the chronology of the artworks. In the second case, analysis was performed both to define the bronze chemical composition and the origin of the soil (earth) found within the objects during their recovery. For these purposes, the analytical approach involved the use of non-destructive and micro-destructive analysis as follows: infrared reflectography (IRR), ultraviolet-induced visible fluorescence (UV), X-ray fluorescence analysis (XRF), digital optical microscopy (DOM), scanning electron microscopy equipped with EDX microanalysis (SEM-EDX), and Fourier transform infrared spectroscopy (FT-IR). The results made it possible to collect valuable diagnostic information and answer questions posed by the institutions for the resolution of various doubts about forensic science and cases concerning the seizure, recovery, or return of archaeological or historical-artistic objects of cultural interest.

Situated on the left bank of the Sabato river, the city of Abellinum (Campania region, southern Italy) represents a tangible testimony to the influence of the Roman civilization in Irpinia. At the site, where the remains of the public area of the town are preserved, archaeological excavations unearthed a monumental Pompeian domus, likely owned by Marcus Vipsanius Primigenius, a freedman of Agrippa, son-in-law of Augustus. The rooms preserved fine wall paintings of 3rd and 4th Pompeian style, reflecting the social status of the owner. From four rooms overlooking the peristyle, eight specimens of decorated plasters were collected, and petrographic and spectroscopic analyses were carried out to investigate the plastering and painting technology. Thin sections of all plasters depicted a multilayer technology, although differences in mix designs of the supports were highlighted. Some samples are pozzolanic plasters, containing volcanic aggregate, others can be classified as cocciopesto because of the presence of ceramic fragments mixed to the volcanic aggregate. Finally, the presence of marble powder also permitted the identification of marmorino. Moreover, the pigments, applied using a fresco or lime-painting techniques, consist of pure or mixed Fe- and Cu-based pigments to obtain yellow, orange, red, pink, and blue decorations.

This study aims to assess the different decay phenomena affecting the Cosenza Cathedral façade (Calabria, South Italy) through the evaluation of the relative damage indices. For this goal, a multidisciplinary approach was applied exploiting both nondestructive and microdestructive techniques. Such a combination enabled proposing an intervention priority scale that can be helpful to institutions when planning a prompt restoration intervention. The results suggest the efficiency of this approach to obtain a multidisciplinary diagnostic and conservation system for the management and valorization of the Cultural Heritage also in terms of monitoring, maintenance, and selection of the most suitable restoration procedures over time.

The “Trionfo della morte” is a detached fresco painting dated at the half of the XV century. Its history is strictly connected with the history of Palermo and it is considered a symbol of the late Gothic period. Some small areas of the fresco were analyzed using a combination of non-invasive techniques and hand-held instrumentations (multispectral imaging analysis, X-ray fluorescence (XRF), and IR spectroscopy). The characterization of the nature of pigments used in its realization and restoration works was performed and some indications about its conservation state were obtained. More interestingly, some hidden details were revealed on the mysterious painting. They constitute additional evidence of the preciousness of the fresco.

The archaeometric study of the frescoes by the painter Saturnino Gatti (1463–1518) in the apse of the Church of San Panfilo in Villagrande di Tornimparte (L’Aquila) was the subject of the II National Research Project

In the present study, a diagnostic approach was used to analyze the wall painting in the apse of the Sotterra church at Paola, in the province of Cosenza, Italy. The Sotterra church is nowadays located 6 m under the ground level. The presbytery area houses valuable pictorial evidence attributable to different phases. The oldest painting, visible in the apse area, dates back to the 11th–12th centuries, and it represents the subject of the present study, while the later decorations are placed in a chronological range from the 14th to the 15th centuries. Due to the peculiar environmental conditions, the conservation of subterranean sites represents a debated issue and must be properly investigated. For this reason, in this research, noninvasive analysis and laboratory-based methods were planned to obtain information about both the composition of original materials and the mechanisms and causes of alterations affecting the wall painting in the apse. Simultaneously, an environmental monitoring campaign of the indoor climate for the duration of nine months was conducted. The results highlighted the use of natural mineral pigments such as ochres and earths. The analysis of the painting stratigraphy revealed that the mural painting consists of two plaster layers characterized by lime-based binder. Moreover, the presence of a high amount of calcium sulfate has been discovered; this latter result, combined with the monitoring of the microclimate, allowed for the establishment of the crystallization and the condensation risks which occur on the investigated surfaces.