Raman spectroscopy (RS), for its robust analytical capabilities under constant development, is a powerful method for the identification of various materials, in particular pigments in cultural heritage. Characterization of the artist’s palette is of fundamental importance for the correct formulation of restoration intervention as well as for preventive conservation of artworks. Here we examine the number and variability of research studies exploiting Bravo handheld Raman spectrophotometer relying on the excitation of Raman signal with temperature-shifted diode lasers emitting at 852 and 785 nm. To this end, we explore the spectral features of common historical pigments examined as powders and in the paint layer. We show that some materials may exhibit slightly different spectra as concerns especially the relative intensity of Raman lines with 852 nm laser excitation wavelength as compared to the standard 785 nm. The aim is to provide the research community with a reference spectral database that facilitates the identification of unknown pigments using the 852 nm excitation source.

Copper alloy artworks are particularly subjected to chloride attack, which may trigger bronze disease. Therefore, early identification of the phenomenon is crucial in order to stabilize the reactive copper chloride (CuCl) and remove the harmful corrosion products (atacamite and polymorphs). Confocal Raman Microspectroscopy (CRM) has proven to be effective for the detection of small amounts of atacamite, ascribable to the initial phases of corrosion. The handling of bronze artworks is often difficult or even impossible given their large size and weight, and sampling is not always allowed, making the use of portable instruments mandatory for on-site diagnostics. This paper proposes a method for the early detection of corrosion using non-invasive approaches. In this work, we present the results obtained from a set of artificially aged bronze samples with a suite of either laboratory (bench-top) or field (portable/transportable) instruments with the aim of highlighting their characteristics and performances in the diagnosis of bronze disease. Raman spectroscopy, Fiber Optics Reflectance Spectroscopy (FORS), Optical Coherence Tomography (OCT), and Scanning Electron Microscopy (SEM) were applied for chemical and morphological characterization of the samples.

This paper deals with the study of organic coatings (patinas) on historical bronzes, specifically those applied on small-size statues in Renaissance workshops. These coatings, often transparent and translucent, contain a mixture of organic and inorganic components and may be still preserved in hidden parts of statues in indoor displays. However, the complexity of the original varnishes, their degradation and alteration over time, and the coexistence of materials added for conservation and maintenance purposes are challenging for their characterization. The often well-preserved surface of varnished bronzes and their small size make it mandatory to make the most of using noninvasive techniques for their investigation. To this end, to simulate the actual historical coatings, we prepared a set of mock-ups following ancient recipes and using materials that were available in the Renaissance. We used the samples to assess to what extent it is possible to disclose the formulation (binders, colourants, and other additives) and the thickness of a Renaissance patina with noninvasive methods. Microprofilometry (MP), optical coherence tomography (OCT), and eddy current (EC) gauge were tested on the samples and the results were combined with reflectance Fourier transform infrared (FT-IR) spectroscopy. The analyses performed on the mock-ups set the ground for investigating a Renaissance bronze featuring reddish semi-transparent varnish layers. The achievements are discussed in this paper, along with the limitations of the use of a noninvasive approach.

Identifying a painting’s pigment palette is crucial for comprehending the author’s technique, as well as for evaluating the degradation of the materials. This paper investigates the stratigraphy and pigments distribution of a 16th-century painting from the Uffizi Galleries collection. Firstly, we obtained compositional information through the cross-sectional analysis of samples using scanning electron microscopy. Secondly, we performed elemental mapping using macro-X-ray fluorescence followed by reflectance imaging spectroscopy. The painting image cube was analysed using the spectral correlation mapping (SCM) classification algorithm to accurately identify the distribution and composition of the pigment mixtures.

Portable digital microscopy (PDM) has become standard equipment in archaeological and restoration campaigns. In recent years, several studies have proposed combining PDM and micro-photogrammetry for preliminary documentation and in situ three-dimensional (3D) digitization, testing its applicability on a variety of materials and artifacts, including stone, bone, mural paintings, and small jewelry. However, limited data is available on its use with some of the most common types of artworks, such as paintings on canvas and wooden panels. In this study, the performance of micro-photogrammetry using a Dino-Lite digital microscope (Dino-Lite Europe, Almere, The Netherlands) was evaluated on five representative artistic materials: metal, stone, and paintings, including mural, canvas, and panel works. Textured mesh models were generated from the acquired datasets, and the quality of the 3D reconstruction was assessed through analysis of dense cloud confidence and Digital Elevation Model (DEM) accuracy. The metrical reliability of the micro-photogrammetric results was validated by comparing the 3D data obtained with the digital microscope against height measurements acquired using an optical microprofilometer. The results indicate that the performance of the method is strongly influenced by the physical properties of the substrates examined. Accurate and metrically consistent reconstructions were achieved for matte and textured surfaces (e.g., fresco and stone), whereas significant limitations emerged on dark or glossy painted surfaces, such as canvas and panel paintings.