As part of the study project of the pictorial cycle, attributed to Saturnino Gatti, in the church of San Panfilo at Villagrande di Tornimparte (AQ), image analyses were performed in order to document the general conservation conditions of the surfaces, and to map the different painting materials to be subsequently examined using spectroscopic techniques. To acquire the images, radiation sources, ranging from ultraviolet to near infrared, were used; analyses of ultraviolet fluorescence (UVF), infrared reflectography (IRR), infrared false colors (IRFC), and optical microscopy in visible light (OM) were carried out on all the panels of the mural painting of the apsidal conch. The Hypercolorimetric Multispectral Imaging (HMI) technique was also applied in selected areas of two panels. Due to the accurate calibration system, this technique is able to obtain high-precision colorimetric and reflectance measurements, which can be repeated for proper surface monitoring. The integrated analysis of the different wavelengths’ images—in particular, the ones processed in false colors—made it possible to distinguish the portions affected by retouching or repainting and to recover the legibility of some figures that showed chromatic alterations of the original pictorial layers. The IR reflectography, in addition to highlighting the portions that lost materials and were subject to non-original interventions, emphasized the presence of the underdrawing, which was detected using the spolvero technique. UVF photography led to a preliminary mapping of the organic and inorganic materials that exhibited characteristic induced fluorescence, such as a binder in correspondence with the original azurite painting or the wide use of white zinc in the retouched areas. The collected data made it possible to form a better iconographic interpretation. Moreover, it also enabled us to accurately select the areas to be investigated using spectroscopic analyses, both in situ and on micro-samples, in order to deepen our knowledge of the techniques used by the artist to create the original painting, and to detect subsequent interventions.

Bronze is an alloy composed primarily of copper and tin and since its discovery is widespread in the whole world. This alloy can thus be found in many archaeological sites and its study can give information about the technology of production, the trading routes, or the warfare within a region. However, bronze artefacts can undergo severe alteration processes, and the formation of corrosion layers of different copper minerals can prevent the readability of the artefact or even destroy it, as in the case of the ‘bronze disease’. Their preservation is crucial for maintaining a connection to our cultural heritage. In this paper, we present the study of some corroded bronze artefacts found in different burying conditions. They have been analysed through a scanner system that combines two non-invasive techniques, macro XRF (MA-XRF) and visible, near infrared, short wave infrared (VIS-NIR-SWIR) reflectance, to unravel information about the metal and the patina composition, thickness, and distribution. As the corrosion of bronze depends on the burying conditions and the alloy composition, these data are of the utmost importance to understanding the alteration processes occurring in the archaeological site and to ensure the artefacts’ optimal preservation.

This paper presents the results obtained for the mural paintings (XV century CE) in the church of San Panfilo in Villagrande di Tornimparte (AQ, Italy) by means of noninvasive spectroscopic techniques; this research is a part of the project on the Saturnino Gatti pictorial cycle, promoted and coordinated by the AIAr (the Italian Archaeometry Association). Digital optical microscopy (OM), X-ray fluorescence spectroscopy (XRF), fiber optics reflectance spectroscopy in the UV–Vis–NIR range (FORS), Fourier transform infrared spectroscopy in the external reflection mode (ER-FTIR), and Raman spectroscopy were performed on the points selected based on the image analysis results and the few available records on previous intervention, with the aim of characterizing both the original and restoration organic and inorganic materials. The synergic application of complementary techniques allowed us to obtain a complete picture of the palette and the main alteration products and organic substances (of rather ubiquitous lipid materials and less widespread resin and proteinaceous materials in specific points). The identification of modern compounds permitted the individuation of restoration areas; this was confirmed by the comparison with multiband imaging results, as in the case of specific green and blue pigments, strictly related to the presence of high signals of zinc. This analytical protocol left only very few ambiguities and allowed to minimizing the number of samples taken to clarifying, by sample laboratory analyses, the few doubts still open.

Acrylic colors are mixtures of several components that can be identified as pigments, binders, and fillers, so that, when analyzed, the characteristic response of the different components may not be recognizable. This limits the accuracy of spectroscopic techniques, nonetheless particularly useful as they are noninvasive and can be applied in situ on real artworks. Here, a method is proposed to chemically separate and identify the different components of acrylic colors, in order to be able to study their spectroscopic response separately, in particular by ultraviolet–visible–near-infrared diffuse reflectance. The results clearly show that the chemical and analytical method developed here is fully reliable, with the advantage of clearly separating the response of the different components without any change of their chromatic/chemical properties. As a case study, the new method is applied here to original acrylic colors used by the Italian artist Ico Parisi, in view of building a spectra database.

Ultraviolet-induced Luminescence (UVL) is the property of some materials of emitting light once illuminated by a source of UV radiation. This feature is characteristic of some mediums and pigments, such as some red lakes, widely used for the realisation of works of art. On the one hand, UVL represents a like strike for a researcher in the cultural heritage field: in fact, UVL allows to characterise the state of conservation of the paintings and, in some cases, to recognize at glance some of the materials used by the artists. On the other hand, the contribution of UVL to the study of the artefacts is almost always limited to qualitative observation, while any speculation about the cause of the luminescence emission relies on the observer’s expertise. The aim of this paper is to overcome this paradigm, moving a step toward a more quantitative interpretation of the luminescence signal. The obtained results concern the case study of pictorial materials by Giuseppe Pellizza da Volpedo (1868–1907, Volpedo, AL, Italy) including his iconic masterpiece Quarto Stato (1889–1901), but the method has general validity and can be applied whenever the appropriate experimental conditions occur. Once designed an appropriate set-up, the statistical comparison between the acquisitions performed on Quarto Stato, on a palette belonged to the master, on drafts made by the author himself and on a set of ad hoc prepared samples both with commercial contemporary pigments and prepared with the traditional recipe, shed some light on which materials have been employed by the artist, where they have been applied and support some intriguing speculations on the use of the industrial lakes in the Quarto Stato painting.