- Urbino "Carlo Bo", Department of Basic Sciences and Fundations, Faculty Memberadd
- Archaeological Chemistry, Cultural Heritage, Science for Conservation and Restoration of Cultural Heritage, Painting Conservation, Stone conservation, Analysis of Pigments on Ancient Artifacts, and 4 moreRestoration and Conservation of Ancient and Historic Buildings and Structures, Museum environment, Consolidation of Structures In Situ, and Consolidation of Painted Ancient Stone Surfaces(Restoration and Conservation of Ancient and Historic Buildings and Structures, Museum environment, Consolidation of Structures In Situ, and Consolidation of Painted Ancient Stone Surfaces)edit
- Professor of Cultural Heritage Chemistry. Tutor for the course Conservation and Restoration of Cultural Heritage – ... moreProfessor of Cultural Heritage Chemistry. Tutor for the course Conservation and Restoration of Cultural Heritage – University of Urbino and Naples, Italy. She has devoted all her career to science for Cultural Heritage at both national and international level. She coordinated numerous national and international projects as Diagnostic in Iranian Achaemenid and Sasanian sites and The temples and Pagodas of archeological site of Pagán: constituting materials, techniques and conservation.Her main research interest and expertise deal with the application of traditional and advanced techniques to the study of stones, ceramics and paintings. She is author of many scientific papers published within national and international peer reviewed journals.(Professor of Cultural Heritage Chemistry. Tutor for the course Conservation and Restoration of Cultural Heritage – University of Urbino and Naples, Italy. She has devoted all her career to science for Cultural Heritage at both national and international level. She coordinated numerous national and international projects as Diagnostic in Iranian Achaemenid and Sasanian sites and The temples and Pagodas of archeological site of Pagán: constituting materials, techniques and conservation.Her main research interest and expertise deal with the application of traditional and advanced techniques to the study of stones, ceramics and paintings. She is author of many scientific papers published within national and international peer reviewed journals.)edit
The Virgin Hodegetria, located in the Cathedral of Santa Maria Nuova in Monreale, near Palermo (Italy), probably dating the first half of the 13th century, is one of the earliest examples of medieval panel painting in Sicily. A diagnostic... more
The Virgin Hodegetria, located in the Cathedral of Santa Maria Nuova in Monreale, near
Palermo (Italy), probably dating the first half of the 13th century, is one of the earliest examples
of medieval panel painting in Sicily. A diagnostic campaign was carried out on the panel aiming
to identify the constituting materials and the executive technique, as well as to assess the state of
conservation for supporting the methodological choice of the restoration intervention. Both noninvasive
(X-ray radiography, digital microscope, multispectral imaging, ED-X-ray fluorescence) and
micro-invasive (polarised light microscopy, ESEM-EDX, ATR-FTIR spectroscopy and micro-Raman
spectroscopy) analyses were performed. According to the results, the executive technique followed
the 13th–14th-century Italian painting tradition. A complex structure was applied on the wooden
support, consisting of a double layer of canvas and several ground layers of gypsum and gluebased
binder. The underdrawing was made by a brush using carbonaceous black pigment. The
original palette includes red ochre, red lead, azurite, carbon black and bone black. During the several
restorations, mercury-based red, indigo, smalt blue, orpiment and synthetic mars were used. The
original silver leaf of the frame was covered with red tin-based lake and subsequently regilded with
gold leaf. Proteinaceous and oil binders were also detected.
Palermo (Italy), probably dating the first half of the 13th century, is one of the earliest examples
of medieval panel painting in Sicily. A diagnostic campaign was carried out on the panel aiming
to identify the constituting materials and the executive technique, as well as to assess the state of
conservation for supporting the methodological choice of the restoration intervention. Both noninvasive
(X-ray radiography, digital microscope, multispectral imaging, ED-X-ray fluorescence) and
micro-invasive (polarised light microscopy, ESEM-EDX, ATR-FTIR spectroscopy and micro-Raman
spectroscopy) analyses were performed. According to the results, the executive technique followed
the 13th–14th-century Italian painting tradition. A complex structure was applied on the wooden
support, consisting of a double layer of canvas and several ground layers of gypsum and gluebased
binder. The underdrawing was made by a brush using carbonaceous black pigment. The
original palette includes red ochre, red lead, azurite, carbon black and bone black. During the several
restorations, mercury-based red, indigo, smalt blue, orpiment and synthetic mars were used. The
original silver leaf of the frame was covered with red tin-based lake and subsequently regilded with
gold leaf. Proteinaceous and oil binders were also detected.
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After a huge non-invasive diagnostic campaign performed on the corpus of Giovanni Santi’s artworks, three paintings were selected and investigated: the Martyrdom of Saint Sebastian panel, the Visitation altarpiece and the canvas with... more
After a huge non-invasive diagnostic campaign performed on the corpus of Giovanni
Santi’s artworks, three paintings were selected and investigated: the Martyrdom of Saint Sebastian
panel, the Visitation altarpiece and the canvas with Tobias and the Archangel Raphael (c. 1487 and 1494).
Micro-invasive investigations including optical microscopy, ESEM-EDX, micro-Raman spectroscopy,
FTIR and FTIR-ATR spectroscopy and GC-MS were carried out on selected micro samples. The
results of the integrated analyses confirmed the use of a Renaissance palette with oil and, only in
a few cases, tempera techniques. Some significant peculiarities emerged in Santi’s practice, as he
used localized off-white priming and colorless powdered glass with a siccative oil—in red, flesh,
pinkish and green hues—confirming the influence of the Flemish painters in Urbino and, possibly,
also in western central Italy. This innovative technical expedient compared to the traditional Italian
painting technique was identified also in red and bluish samples collected from the Communion of the
Apostles panel painted by Justus of Ghent around 1473–1474 for Urbino Corpus Domini Confraternity.
The Flemish master was called to the court of Duke Federico to paint in oil and his presence at the
‘Urbino workshop’ probably contributed to the diffusion of this technique. Both in Giovanni Santi’s
paintings and the Communion of the Apostles, the glass particles are related to a soda-lime glass typical
of the Italian area, widely detected in Italian paintings from the late 15th and 16th centuries.
Santi’s artworks, three paintings were selected and investigated: the Martyrdom of Saint Sebastian
panel, the Visitation altarpiece and the canvas with Tobias and the Archangel Raphael (c. 1487 and 1494).
Micro-invasive investigations including optical microscopy, ESEM-EDX, micro-Raman spectroscopy,
FTIR and FTIR-ATR spectroscopy and GC-MS were carried out on selected micro samples. The
results of the integrated analyses confirmed the use of a Renaissance palette with oil and, only in
a few cases, tempera techniques. Some significant peculiarities emerged in Santi’s practice, as he
used localized off-white priming and colorless powdered glass with a siccative oil—in red, flesh,
pinkish and green hues—confirming the influence of the Flemish painters in Urbino and, possibly,
also in western central Italy. This innovative technical expedient compared to the traditional Italian
painting technique was identified also in red and bluish samples collected from the Communion of the
Apostles panel painted by Justus of Ghent around 1473–1474 for Urbino Corpus Domini Confraternity.
The Flemish master was called to the court of Duke Federico to paint in oil and his presence at the
‘Urbino workshop’ probably contributed to the diffusion of this technique. Both in Giovanni Santi’s
paintings and the Communion of the Apostles, the glass particles are related to a soda-lime glass typical
of the Italian area, widely detected in Italian paintings from the late 15th and 16th centuries.
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The archaeological excavations ongoing since 2011 at Tol-e Ajori – located 3.5 km NW of the Persepolis Terrace –discovered an Achaemenid monumental gate dating back to the second half of the 6th century BC. Thousands of glazed clay... more
The archaeological excavations ongoing since 2011 at Tol-e Ajori – located 3.5 km NW of the Persepolis Terrace –discovered an Achaemenid monumental gate dating back to the second half of the 6th century BC. Thousands of glazed clay bricks, flat or in relief with decorative and figurative motifs, which are very similar to the bricks of Babylon’s Ishtar Gate, were unearthed from Tol-e Ajori. As the glazed surfaces of the bricks were seriously degraded, due to the long period of burial, a set of non-invasive investigations was first carried out to identify the original hues, also in situ, using digital microscopy, portable energy dispersive X-ray fluorescence (ED-XRF) and visible reflectance spectrometry (Vis-RS). Minute samples were also investigated by micro-X-ray fluorescence (μ-XRF), polarised light microscopy (PLM), scanning electron microscopy with energy-dispersive X-ray spectroscopy (ESEM-EDS), and micro-Raman spectroscopy. The occurrence of brizziite (sodium antimonate, NaSbO 3 ) and calcium antimonate (CaSb 2 O 6 ) as white opacifiers embedded in the lime-alkali glaze was evinced. Lead antimonate was also shown to be a yellow opacifier while cobalt and copper occur as colouring agents in the blue glazes. The greenish hues were obtained by mixing Cu 2+ with the yellow opacifier. These results are coherent with the general knowledge available on the Iron Age glaze production in the ancient Near East. Moreover, the iconographical and archaeological features suggested close ties between the glazed bricks from Tol-e Ajori monumental gate and the Ishtar Gate. We also considered the similarities and differences between glaze technology evidenced in Tol-e Ajori and important archaeological sites in Iran and Iraq. In addition, the source of Co in the glazes from Tol-e Ajori bricks and other Achaemenid glazed bricks from Susa and the Persepolis Terrace is discussed.
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The most important painter from Urbino in the last decades of the 15th century (1439 ab.–1494) was Giovanni Santi, the father of Raphael. The lack of scientific literature about Santi’s practice and the possible peculiar role of Urbino in... more
The most important painter from Urbino in the last decades of the 15th century (1439 ab.–1494) was Giovanni Santi, the father of Raphael. The lack of scientific literature about Santi’s practice and the possible peculiar role of Urbino in the development of painting techniques in northern Italy suggested in-depth investigations of the entire corpus of his paintings. A well-established sequence of multispectral imaging, spectroscopic and microscopic investigations was performed on 24 wood panel paintings and 2 canvases attributed by most scholars to Giovanni Santi (1439 ab.–1494) to collect a large set of significant data. This systematic research allowed his painting technique to be defined, starting from the type of supports he used and from the features of the underdrawing, which quite frequently included characteristic regular hatching. The pigments used were widely investigated by means of ED-XRF and reflectance spectroscopy (vis-RS); a meaningful multivariate statistical method...
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G iovanni Santi (Colbordolo ca. 1439-Urbino 1494) was one of the most important painters active in Urbino (Marche region, Italy) during the last decades of the fifteenth century, where he was employed at the court of the celebrated... more
G iovanni Santi (Colbordolo ca. 1439-Urbino 1494) was one of the most important painters active in Urbino (Marche region, Italy) during the last decades of the fifteenth century, where he was employed at the court of the celebrated Federico da Montefeltro. He is known mainly as the father of Raphael, but he had a remarkable production of paintings, especially on wood but also on canvas and on wall. This paper focuses on technical peculiarities related to Santi's paintings on canvas, including some practices that have not yet been noted in relation to his panel paintings. In particular, two works painted on herringbone-weave linen canvases were investigated: Tobias and the Archangel Raphael and Saint Roch (both dated ca. 1490-94), in the collection of the Galleria Nazionale delle Marche. The results presented are a part of a large research project based on noninvasive and micro-invasive investigations carried out on twenty-eight works attributed to Giovanni Santi, only partially published in a recent exhibition catalog dedicated to the artist (Palazzo Ducale, Urbino, 2018). Black underdrawing, characterized by a thinly applied network of close hatching for some of the shadows, was observed and, regarding the different hues, a complex use of pigments. The binder detected is siccative oil, with the addition of a large amount of transparent glass particles, which would have been added both to give body to the pigment without using white fillers and to improve drying, a technique that Santi presumably learned from the Flemish painter Justus van Ghent (act. Urbino ca. 1473-1475) and something that he possibly transmitted to his son Raphael as a workshop practice. In fact, Giovanni Santi's workshop survived his death.
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The text is a collection of methodological papers used to create a course on “ Instruments and Methodologies for Cultural Heritage Conservation and Valorization” above all for architectural and archaeological assets. The Master made it... more
The text is a collection of methodological papers used to create a course on “ Instruments and Methodologies for Cultural Heritage Conservation and Valorization” above all for architectural and archaeological assets. The Master made it possible to create an educational network made of interaction and exchanges between students and lecturers from Italy and countries of south-east Europe in particular Albania, Bosnia Herzegovina, Serbia and Macedonia
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Mantegna was a supremely confident draughtsman and there is no evidence in his underdrawings of the use of any aids for the reproductions of cartoons or the enlargements of studies on paper. Instead, he seems to have drawn directly on the... more
Mantegna was a supremely confident draughtsman and there is no evidence in his underdrawings of the use of any aids for the reproductions of cartoons or the enlargements of studies on paper. Instead, he seems to have drawn directly on the gesso making his first marks with a brush and very diluted carbon black ink, perhaps guided by a smaller scale sketch on paper. Once the placement of the main features was settled, Mantegna developed the underdrawing using a darker more pigmented liquid material still applied with a brush and contours were defined with broad, thick and fluent lines which have been also painted at sight. The modelling of forms has been achieved at the level of painted surfaces which seems to be a further indication of Mantegna\u2019s late painting production. All these features seem to be present in both paintings and particularly on the central part of the Family of Christ and Saint John Baptist. The underdrawings of the figures of Saint Joseph and Zacharias appear to be less fine and accurate then those observed on the central part of the painting. The very bad state of conservation of these pictorial layers do not allow a clear assignment to Mantegna and the contribution from another artist (his son Francesco?) can only be hypothesized. Given the fact that the Baptism of Christ undertook severe restoration interventions and suffered in the past from the exposure to unsuitable environmental conditions, it is hard to draw conclusive results from both the historical documentation and multi spectral imaging examinations. Analogies with the underdrawings documented in the central part of the Holy Family of Christ and St John Baptist exist, but their poorer definition do not allow a certain attribution to the typical late painting technique of Andrea Mantegna and, it is well understandable why such a controversial attribution went through many centuries. The analytical results seem to confirm that both canvas paintings have been prepared in the usual way with a gypsum preparatory ground; the contemporary presence of elements such as Fe, Si, Mn and Al can be associated with the use of umber mixed with red ochre pigments added to the ground to achieve a warmer tonality of the upper paint layers. As far as the pigments\u2019 composition is concerned the analyses confirmed for both paintings the use of almost the same paint palette and highlighted the constant presence of smalt which has been identified for the first time on Mantegna paintings. This result, that in principle would suggest a common authorship for the two paintings, would also need to be further confirmed through other analyses capable to characterize the polychrome structure, as the profound understanding of the way in which paint layers and pigments have been applied in terms of thickness and morphology can be sometime conclusive in conducting technical study of paintings
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Research Interests: Art History, Art Theory, Conservation, Art Conservation, Ancient jewellery, and 15 moreConservación y Restauración, Artes, Beni Culturali, Conservación, Conservação e restauro, Coral, Corallo rosso, Arte sacra, Chimistry, CONSERVAÇÃO E RESTAURAÇÃO DE OBRAS DE ARTES, Artes Decorativas, Conservazione Dei Beni Culturali, Arte Decorativa, Arredo Liturgico, and Chimica Dei Beni Culturali(Conservación y Restauración, Artes, Beni Culturali, Conservación, Conservação e restauro, Coral, Corallo rosso, Arte sacra, Chimistry, CONSERVAÇÃO E RESTAURAÇÃO DE OBRAS DE ARTES, Artes Decorativas, Conservazione Dei Beni Culturali, Arte Decorativa, Arredo Liturgico, and Chimica Dei Beni Culturali)
(Conservación y Restauración, Artes, Beni Culturali, Conservación, Conservação e restauro, Coral, Corallo rosso, Arte sacra, Chimistry, CONSERVAÇÃO E RESTAURAÇÃO DE OBRAS DE ARTES, Artes Decorativas, Conservazione Dei Beni Culturali, Arte Decorativa, Arredo Liturgico, and Chimica Dei Beni Culturali)
In an area located between the Silvand Plain and the ancient Achaemenid site of Pasargadae in Northen Fars (Iran), a dam has been built and the archaeological remains have been flooded at the end of 2006. In relation to this problem,... more
In an area located between the Silvand Plain and the ancient Achaemenid site of Pasargadae in Northen Fars (Iran), a dam has been built and the archaeological remains have been flooded at the end of 2006. In relation to this problem, since 2004 an Iranian-Italian team, composed of the Iranian Cultural Heritage organization and the University of Bologna started a salvage project. Moreover, the University of Urbino investigated pottery samples to create the first database on Achaemenid ceramic.
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Riassunto Tra la fine del IV sec. ed il II sec. a.C. sono ampiamente attestate nei principali centri punici di Tunisia, in Marocco, Sicilia, Sardegna, Spagna continentale e Ibiza delle produzioni di ceramica a vernice nera che riprendono... more
Riassunto Tra la fine del IV sec. ed il II sec. a.C. sono ampiamente attestate nei principali centri punici di Tunisia, in Marocco, Sicilia, Sardegna, Spagna continentale e Ibiza delle produzioni di ceramica a vernice nera che riprendono forme della tradizione attica, non raggiungendo tuttavia, dal punto di vista qualitativo, quei risultati di eccellenza tipici della ceramica greca. Si tratta infatti di manufatti caratterizzati da una qualità degli impasti e soprattutto delle vernici in genere scadente, con vernici opache, tendenti a distaccarsi e frequentemente con tonalità variabili dal nero al marrone e anche al rossiccio, con sfumature diverse pure sullo stesso esemplare. Anche Tharros ne ha restituito un'ampia documentazione con materiali riferibili principalmente a forme aperte quali piatti da pesce, coppe (Lamboglia 21 e 22), coppette (Lamboglia 21/25) e patere, provenienti sia da contesti abitativi che tombali. Nella fase preliminare del progetto di ricerca si sono presi in considerazione vari pezzi provenienti dalle colline di Su Muru Mannu e di S. Giovanni, allo scopo di verificarne la provenienza nonché di conoscere le tecnologie utilizzate per la loro produzione. Sono state quindi effettuate indagini minero-petrografiche e chimiche volte alla completa caratterizzazione degli impasti ceramici e dei rivestimenti. I risultati ottenuti mostrano una buona omogeneità composizionale dei reperti analizzati, per cui essi costituiscono un gruppo di riferimento della produzione locale di ceramica a vernice nera. Inoltre, il confronto con la composizione di altri frammenti riferibili a diverse forme di ceramica punica, anch'essi di provenienza tharrense ed analizzati in precedenza, porta ad interessanti deduzioni sull'utilizzo delle materie prime locali anche per la ceramica a vernice nera punica.
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Research Interests: Humanities, Cultural Heritage Conservation, XRD, SEM-EDX, Edxrf Analysis, and 2 moreFT IR and Micro Raman(FT IR and Micro Raman)
(FT IR and Micro Raman)
Several authors have found by using Mossbauer analysis that the red or pink color coincides with Fe 3 + and the black or gray color coincides with Fe 2 +. The authors have tried to find a similar correlation in some archaeological ceramic... more
Several authors have found by using Mossbauer analysis that the red or pink color coincides with Fe 3 + and the black or gray color coincides with Fe 2 +. The authors have tried to find a similar correlation in some archaeological ceramic samples by a new method of x-ray fluorescence analysis. This new method provides detailed quantitative analysis of iron on different oxidation states and can be nondestructive should the preservation of the samples be required.
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An archaeometric study of the ornamental stones in the interior of the baroque church of San Pietro in Valle (Fano) has been carried out. On the basis of mineralogical, petrographic and geochemical studies, the areas of quarrying of... more
An archaeometric study of the ornamental stones in the interior of the baroque church of San Pietro in Valle (Fano) has been carried out. On the basis of mineralogical, petrographic and geochemical studies, the areas of quarrying of 44 lithotypes are firstly established and a complete database of the location of the decorative marbles in the church was also provided. Both
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This contribution presents the restoration and virtual reconstruction of a painted tomb from the Lucan period (4th century BC), now dismounted and kept in the deposits of the National Archaeological Museum of Paestum. The virtual... more
This contribution presents the restoration and virtual reconstruction of a painted tomb from the Lucan period (4th century BC), now dismounted and kept in the deposits of the National Archaeological Museum of Paestum. The virtual reconstruction that was carried out is based on several elements: identification of traces of the original color on the surfaces; pigment analysis; study of the execution technique; iconographic comparison with other painted pieces of the same corpus and reconstruction by levels (colored backgrounds, decorative elements; figurative elements). The video, which illustrates both the restoration intervention of the tomb and the virtual reconstruction, was presented at the RECH5 conference and it can be seen at: https://www.facebook.com/officinabeniculturali.info/ videos/200967307895086. It shows the different phases of the restoration work, such as cleaning and consolidation, and the subsequent reintegration of the virtual models, presenting how the interventio...
Research Interests: Art()
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La diffusion de la terre cuite des Della Robbia dans le sud des Marches (Macerata) commença à la troisième décade du seizième siècle. Les deux fils d’Andrea Della Robbia, Fra Ambrogio et Fra Mattia, furent impliqués dans cette phase. Un... more
La diffusion de la terre cuite des Della Robbia dans le sud des Marches (Macerata) commença à la troisième décade du seizième siècle. Les deux fils d’Andrea Della Robbia, Fra Ambrogio et Fra Mattia, furent impliqués dans cette phase. Un exemple intéressant de leur production est le retable en terre cuite «Assomption de la Vierge entre S. Dominique et S. Sébastien», placé dans l’église collégiale de S. Maria Assunta à Montecassiano (Macerata, Italie). Le retable date de la première moitié du XVI siècle: il s’agit d’une terre cuite polychrome produite en utilisant soit la glaçure soit la peinture. En 2006 le retable en terre cuite fut complètement démonté pour les besoins d’une restauration. Durant cette intervention plusieurs techniques d’analyse (microscopie optique, MEB-EDS, spectroscopie ATR-FTIR, GC/MS) furent utilisées pour caractériser la polychromie. Les résultats de l’analyse montrent une application originelle de pigments dans un milieu huileux directement sur l’argile traitée à l’huile. Les pigments d’origine retrouvés sur ce chef-d’oeuvre des Della Robbia, en dehors des glaçures, sont les laques rouges, le vermillon, le rouge de plomb, l’orpiment, l’ocre rouge, le blanc de plomb, le jaune de plomb-étain, la terre verte, le résiné de cuivre vert, l’azurite et le smalt.
Research Interests: Art, Cultural Heritage, Conservation, Cultural Heritage Conservation, Heritage Conservation, and 12 moreArchaeometry, Ceramics (Art History), Restoration, Ceramic Glaze Technology, Science for Conservation and Restoration of Cultural Heritage, Ceramics, Conservation and Restoration, Pottery studies, Archaeometry and ceramology, Ceramic Glazes and Porcelain Enamel, Glazed Ceramics, and Della Robbia Ceramics(Archaeometry, Ceramics (Art History), Restoration, Ceramic Glaze Technology, Science for Conservation and Restoration of Cultural Heritage, Ceramics, Conservation and Restoration, Pottery studies, Archaeometry and ceramology, Ceramic Glazes and Porcelain Enamel, Glazed Ceramics, and Della Robbia Ceramics)
(Archaeometry, Ceramics (Art History), Restoration, Ceramic Glaze Technology, Science for Conservation and Restoration of Cultural Heritage, Ceramics, Conservation and Restoration, Pottery studies, Archaeometry and ceramology, Ceramic Glazes and Porcelain Enamel, Glazed Ceramics, and Della Robbia Ceramics)
In occasione della mostra tenuta ad Athene nell'estate 2005 dal titolo " Spirito Atletico ed Olimpico nella Periferia del Mondo Greco " sono state restaurate e in seguito analizzate due lastre dipinte della tomba n. 4 rinvenuta nel 1975... more
In occasione della mostra tenuta ad Athene nell'estate 2005 dal titolo " Spirito Atletico ed Olimpico nella Periferia del Mondo Greco " sono state restaurate e in seguito analizzate due lastre dipinte della tomba n. 4 rinvenuta nel 1975 in località Vannullo, presso Paestum, e conservate al Museo Archeologico Nazionale di Paestum, che come noto custodisce il corpus principale di pittura campano-lucana
Research Interests: Archaeology, Cultural Heritage, Cultural Heritage Conservation, Funerary Archaeology, Scanning Electron Microscopy, and 11 moreTechnologies Applied to Cultural Heritage, Restoration, Science for Conservation and Restoration of Cultural Heritage, Conservation and Restoration, Optical microscopy, XRD Crystallography, The Use of Marble and Other Stones, Stone conservation, Conservation Restoration, Restoration and Conservation of Ancient and Historic Buildings and Structures, and Consolidation of Painted Ancient Stone Surfaces(Technologies Applied to Cultural Heritage, Restoration, Science for Conservation and Restoration of Cultural Heritage, Conservation and Restoration, Optical microscopy, XRD Crystallography, The Use of Marble and Other Stones, Stone conservation, Conservation Restoration, Restoration and Conservation of Ancient and Historic Buildings and Structures, and Consolidation of Painted Ancient Stone Surfaces)
(Technologies Applied to Cultural Heritage, Restoration, Science for Conservation and Restoration of Cultural Heritage, Conservation and Restoration, Optical microscopy, XRD Crystallography, The Use of Marble and Other Stones, Stone conservation, Conservation Restoration, Restoration and Conservation of Ancient and Historic Buildings and Structures, and Consolidation of Painted Ancient Stone Surfaces)
Research Interests: Art History, Art, Art Theory, Cultural Heritage, Conservation, and 15 moreArt Conservation, Conservación y Restauración, Arte, Conservation and Restoration, Beni Culturali, Conservación, Conservação e restauro, Conservazione e restauro, Coservazione E Restauro Dei Beni Culturali, Conservazione, Art and Art History, Conservazione Dei Beni Culturali, Conservazione E Restauro Dei Beni Culturali, Canvas Paintings, and Battaglia di Cialdiran(Art Conservation, Conservación y Restauración, Arte, Conservation and Restoration, Beni Culturali, Conservación, Conservação e restauro, Conservazione e restauro, Coservazione E Restauro Dei Beni Culturali, Conservazione, Art and Art History, Conservazione Dei Beni Culturali, Conservazione E Restauro Dei Beni Culturali, Canvas Paintings, and Battaglia di Cialdiran)
(Art Conservation, Conservación y Restauración, Arte, Conservation and Restoration, Beni Culturali, Conservación, Conservação e restauro, Conservazione e restauro, Coservazione E Restauro Dei Beni Culturali, Conservazione, Art and Art History, Conservazione Dei Beni Culturali, Conservazione E Restauro Dei Beni Culturali, Canvas Paintings, and Battaglia di Cialdiran)
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Research Interests: Art()
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Research Interests: Art History, Art, Architecture, Art Theory, Art Conservation, and 15 moreArchitectural Conservation, Architectural Heritage, Architecture History, Arquitectura, Arte, Anime, Architettura, Arte sacra, Affresco, Architettura Moderna, Art and Art History, Affreschi, Architectural Heritage Conservation, Bagheria, and Architettura Religiosa
Abstract During a restoration and diagnostic campaigns carried out on Paestum funerary slabs belonging to the Lucanian funerary art, calcium antimonate (CaSb2O6) was detected for the first time in the pictorial layers. This artificial... more
Abstract During a restoration and diagnostic campaigns carried out on Paestum funerary slabs belonging to the Lucanian funerary art, calcium antimonate (CaSb2O6) was detected for the first time in the pictorial layers. This artificial pigment, widely employed as opacifier both in ancient glass and glaze covering clay objects, was found in the wall paintings, regardless of the colour, supporting the hypothesis of an intentional addition of calcium antimonate to the pigments and the involvement of ceramic painters. A multi-analytical approach was performed on 32 funerary slabs (6th – 3rd century BCE), currently located at the National Archaeological Museum of Paestum (Italy) using both polarized light microscopy and environmental scanning electron microscopy equipped with energy dispersive X-ray spectrometer, micro X-ray fluorescence, micro Raman spectroscopy, Fourier Transform Infrared spectroscopy and powder X-ray diffraction. The results confirmed the use of a limited number of pigments, usually applied with fresco technique, although in many cases the stratigraphy of the painted layer showed morphology of mezzo fresco technique, but no organic binders were found. The hues of vegetal decorations were obtained using green earth, sometimes Egyptian blue mixed with yellow ochre, carbon and bone blacks, and orpiment. The alteration of green earth and other iron-containing pigments are likely responsible for the discolouration of the original hues. In red paints, hematite and red ochre are frequently associated with ilmenite, a typical volcanic mineral. Egyptian blue was used in blue paints while in black paints it was mixed with carbon and bone black pigments.
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In the frame of large research project, also related to the exhibition “Lorenzo Lotto” (Venezia, 1480 – Loreto, 1556-57) held at the Scuderie del Quirinale in Rome in spring 2011, more than 50 paintings of Lotto spanning from 1505 to... more
In the frame of large research project, also related to the exhibition “Lorenzo Lotto” (Venezia, 1480 – Loreto, 1556-57) held at the Scuderie del Quirinale in Rome in spring 2011, more than 50 paintings of Lotto spanning from 1505 to around 1556 were studied by means of scientific examinations. The University of Bergamo coordinated and carried out non-invasive analyses using portable instruments: IR reflectography in different bands, false colour IR, reflectance spectrometry in the visible range (vis-RS), X-ray spectrometry (EDXRF), sometimes UV-induced fluorescence and X-ray radiography. On the basis of the obtained results some areas of four paintings undergoing restoration treatments were subjected to micro-sampling in order to be mounted in cross-sections and studied by optical microscopy (OM) and SEM/EDX by the University of Urbino e by microRaman spectroscopy by the University of Modena and Reggio Emilia. Non invasive exams allowed to know the evolution of Lotto’s palette duri...
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Research Interests: Art History, Art, Art Theory, Art Conservation, Arte, and 15 moreBiodeterioration of Wood, Biodeterioration od Cultural Heritage, Beni Culturali, Conservação e restauro, Biodeterioration and Biodegradation, Arte sacra, Art and Art History, BIODETERIORAMENTO, Biodegradation and Biodeterioration, Biodeterioration, Arte Decorativa, Cesellatura, Biodeteriogens Identification, Ceselli, and Ammannitura(Biodeterioration of Wood, Biodeterioration od Cultural Heritage, Beni Culturali, Conservação e restauro, Biodeterioration and Biodegradation, Arte sacra, Art and Art History, BIODETERIORAMENTO, Biodegradation and Biodeterioration, Biodeterioration, Arte Decorativa, Cesellatura, Biodeteriogens Identification, Ceselli, and Ammannitura)
(Biodeterioration of Wood, Biodeterioration od Cultural Heritage, Beni Culturali, Conservação e restauro, Biodeterioration and Biodegradation, Arte sacra, Art and Art History, BIODETERIORAMENTO, Biodegradation and Biodeterioration, Biodeterioration, Arte Decorativa, Cesellatura, Biodeteriogens Identification, Ceselli, and Ammannitura)
Abstract The microstructure and chemical composition of blue and green pellets, coloured lump pigments and a metal scrap excavated in Persepolis West (Fars, Iran), by the Iranian-Italian Joint Archaeological Mission in Fars in 2008-09,... more
Abstract The microstructure and chemical composition of blue and green pellets, coloured lump pigments and a metal scrap excavated in Persepolis West (Fars, Iran), by the Iranian-Italian Joint Archaeological Mission in Fars in 2008-09, were investigated to clarify their origin and production techniques. The Persepolis West urban area has its eastern limit about five hundred meters away from the Persepolis Terrace and extends for about 1 km in a westward direction. Due to the presence in this area of various kilns and other remains, the existence of a craft zone connected with the construction of imperial and elite buildings in Persepolis was proposed. The colourful residues were submitted to integrated investigations using portable X-ray fluorescence spectrometry, digital and polarized light microscopy, scanning electron microscopy with energy dispersive X-ray spectroscopy, X-ray diffraction, ATR-FTIR and Raman spectroscopy. The integrated analyses allowed to identify azurite, malachite, Egyptian blue, glauconite, yellow and red ochre with hematite, magnetite and goethite. Proteinaceous material was detected only in one red lump. These pigments are in accordance with the palette used to paint the palaces of the Persepolis Terrace, thus supporting the hypothesis that in Persepolis West craft zone, there was a laboratory for production of pigments. The microscopic features of the lumps and their peculiar shape confirmed a local manufacturing process. Moreover, the diopside presence related to the Egyptian blue production, as well as the discovery of a bronze scrap with a crust of Egyptian blue also suggested that this pigment was manufactured locally.
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The paper deals with the results of a multi-method archaeometric study focused on the different stones used in the facade of Santa Maria della Piazza church (Ancona, Central Italy). The church is an excellent example of the Italian... more
The paper deals with the results of a multi-method archaeometric study focused on the different stones used in the facade of Santa Maria della Piazza church (Ancona, Central Italy). The church is an excellent example of the Italian Romanesque style. It was built at the end of the 12th century close to the old harbour of Ancona (Ankon in ancient Greek) upon the ruins of an early Christian church, founded at the end of the 4-5th century (barsanti, 1995; Marano, 2019). The architect Magister Philippus projected the construction of the Romanesque church. The current facade was built in 1210 and consists of three parts showing a rich iconography. The splayed Byzantine style portal created by Magister Leonardus is decorated with an impressive and symbolic bas-reliefs.Partially damaged by numerous earthquakes, Santa Maria della Piazza was restored many times. First renovation was carried out in Romanesque epoch and the second in the Gothic period, until in the recent past. From 2003 to 2008, Architectural and Environmental Heritage Superintendence of the Marche Region (Ancona) supported a conservation project concerning the whole facade. At that time, a diagnostic campaign was also carried out to investigate the different weathering processes affecting the stones.In 2018, the Superintendence planned a facade monitoring to evaluate the efficacy of the last restoration intervention. Besides, an archaeometric project was carried out both to classify all the stone materials and to determine their provenance. Mineralogical- petrographic investigations and isotopic analyses provided useful results to update the database of stones used in the architectural heritage of the Marche Region. A schematic colour map indicating all the lithotypes employed in Santa Maria della Piazza facade was drawn.The stones used in the facade are carbonatic lithotypes represented by Maiolica, Scaglia Rossa and Corniola Formations, belonging to the Umbria-Marche Succession, local travertine and extra-regional stones such as Istria stone, Aurisina stone, Breccia Corallina and Occhio di Pavone. Among different types of marbles Carrara, Thasian, Proconnesian, Iassense and Pavonazzetto were identified. Several elements, such as figural reliefs, slabs, and columns, representing fascinating examples of reused materials (spolia), come from both local geological formations and various Mediterranean areas.
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Research Interests: Geography, Ceramic Technology, Statistical Analysis, Provenance, Archaeometry, and 14 moreX-Ray Fluorescence (XRF) Spectroscopy, Ceramics (Archaeology), Medicine, Maritime Trade Ceramics (Archaeology), Phoenician Punic Archaeology, Provenance studies of archaeological material, Ceramic Petrography, Biological Sciences, Environmental Sciences, Punic Pottery, XRF, CHEMICAL SCIENCES, Ceramic Analysis Archaeology, and Pottery Archaeology(X-Ray Fluorescence (XRF) Spectroscopy, Ceramics (Archaeology), Medicine, Maritime Trade Ceramics (Archaeology), Phoenician Punic Archaeology, Provenance studies of archaeological material, Ceramic Petrography, Biological Sciences, Environmental Sciences, Punic Pottery, XRF, CHEMICAL SCIENCES, Ceramic Analysis Archaeology, and Pottery Archaeology)
(X-Ray Fluorescence (XRF) Spectroscopy, Ceramics (Archaeology), Medicine, Maritime Trade Ceramics (Archaeology), Phoenician Punic Archaeology, Provenance studies of archaeological material, Ceramic Petrography, Biological Sciences, Environmental Sciences, Punic Pottery, XRF, CHEMICAL SCIENCES, Ceramic Analysis Archaeology, and Pottery Archaeology)
Research Interests: Cultural Heritage, Cultural Heritage Conservation, Heritage Conservation, Technologies Applied to Cultural Heritage, Archaeometry, and 10 moreArchitectural Conservation, World Cultural Heritage, Stone artefacts (Archaeology), Protection of cultural heritage, Science for Conservation and Restoration of Cultural Heritage, Stone conservation, Archaeometry of Historical Buiding Materials, Cutural Heritages, Archaeometry of marbles and stones, and Restoration and Conservation of Ancient and Historic Buildings and Structures(Architectural Conservation, World Cultural Heritage, Stone artefacts (Archaeology), Protection of cultural heritage, Science for Conservation and Restoration of Cultural Heritage, Stone conservation, Archaeometry of Historical Buiding Materials, Cutural Heritages, Archaeometry of marbles and stones, and Restoration and Conservation of Ancient and Historic Buildings and Structures)
(Architectural Conservation, World Cultural Heritage, Stone artefacts (Archaeology), Protection of cultural heritage, Science for Conservation and Restoration of Cultural Heritage, Stone conservation, Archaeometry of Historical Buiding Materials, Cutural Heritages, Archaeometry of marbles and stones, and Restoration and Conservation of Ancient and Historic Buildings and Structures)
In the present paper 71 fragments of Punic pottery (IV-III century B.C.) coming from Tharros (western Sardinia, Italy) were studied from an archaeometric point of view. The main objectives of this study was to distinguish local and... more
In the present paper 71 fragments of Punic pottery (IV-III century B.C.) coming from Tharros (western Sardinia, Italy) were studied from an archaeometric point of view. The main objectives of this study was to distinguish local and imported productions. To this purpose both ceramics and local clay raw materials were taken into consideration. The following investigation techniques were used : optical microscopy, x-ray diffractometry, x-ray fluorescence spectrometry, thermal analyses, scanning electron microscopy, granulometric analyses. Petrographie and chemical analyses pointed out the existence of three different types of bodies, among which the most consistent includes about 85% of the examined sherds. This type of body can be retained as representative of the local production. The comparison between the results relative to ceramics and raw materials allowed to confirm this hypothesis. The local raw materials used is a Messinian clayey silt, which is known in literature as «Capo San Marco Formation». Usually a quantity of calcareous sand was added, up to 30%. By considering the conservation state of the calcareous grains and the presence of neo-formed phases, very different firing temperatures were deduced, from 650 to over 950°C approximately. The firings were always performed in an oxidizing atmosphere. As decorations are regarded, it was possible to establish that the presence of noticeable amounts of hematite is responsible of the red colour, while traces of manganese are responsible of the black colour.
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Abstract The Villa of the Papyri is one of the most imposing architectural examples of Herculaneum dated before the eruption occurred on 79 A.D. During the earliest years of the excavation of the site (18th century), the Villa has been... more
Abstract The Villa of the Papyri is one of the most imposing architectural examples of Herculaneum dated before the eruption occurred on 79 A.D. During the earliest years of the excavation of the site (18th century), the Villa has been explored through a thick network of tunnels dug into the hard bank of tuff rock. Recent excavations went on discontinuously between 1990s and 2008, until the discovery of a room located in the lower floor of the building, showing serious phenomena of colour change of some areas of the painted walls. Some dark green parts of mural paintings after volcanic mud removal became white and powdered, detaching from the plaster. During the last restoration works a scientific approach became necessary in order to acquire detailed information about the wall painting technique and the degradation phenomena occurring in some decorative elements in the vault of the Basis Villa (a room in the lower floor of the building); it was established to perform a scientific recognition. Integrated investigations – carried out by optical microscopy, scanning electron microscopy with X-ray microanalysis (EDS), X-ray diffractometry (XRD), ion chromatography (IC), FT-IR spectroscopy, gas chromatography mass spectrometry (GC-MS) – had primarily the goal to characterize the materials used for the realization of the these impressive wall paintings, as well as to assess their state of conservation. A second aim of the research was to test the reliability of non-invasive analyses that are sometimes performed in situ to study mural paintings, like reflectance spectrometry in the visible range (vis-RS), X-ray fluorescence (ED-XRF) and micro-Raman spectroscopy, as well as imaging analyses like false colour IR (IRC) and visible induced IR luminescence (VIL). The whole set of analyses allowed to identify a typical Vitruvian plaster with the following pigments: Egyptian blue, red and yellow ochre, goethite and hematite particles, green earth and carbon black particles. The high content of soluble salts, which is related to the sulphur-rich water in the site located few metres above water level in the walls and floors, caused a worsening in the state of conservation of mural paintings.
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Research Interests:
Research Interests:
ABSTRACT During the last restoration (2008–2011) of the polychrome terracotta altarpiece called Coronation of Virgin between Saints Rocco, Sebastian, Peter martyr and Antonio abbot, located in the collegiate church of S. Maria Assunta in... more
ABSTRACT During the last restoration (2008–2011) of the polychrome terracotta altarpiece called Coronation of Virgin between Saints Rocco, Sebastian, Peter martyr and Antonio abbot, located in the collegiate church of S. Maria Assunta in Montecassiano (Macerata, Italy), scientific investigations were carried out to acquire detailed information about the painting technique. The identification of materials allowed a correct restoration. The altarpiece is almost entirely realized by Marco della Robbia (Fra Mattia), dates back to the first half of the XVI century and represents an interesting example of painted terracotta produced by using two different techniques: glazed polychrome terracotta and the “cold painting” technique. The characterization of the samples’ material constituents was obtained by analysing the cross-sections and the fragments by different techniques (optical, SEM-EDS and ATR-FTIR microscopy as well as GC-MS), as the real nature of a component is often difficult to assess with one single technique. The optical microscope examination of paint cross-sections shows the presence of many layers, indicating the complexity of the paint stratigraphic morphologies. The original polychromy of della Robbia’s masterpiece is constituted of cinnabar, red lake, red lead, orpiment, red ochre, lead white, lead tin yellow, green earth and raw umber. Two different types of gilding technique have been distinguished. The first one presents a glue mordant, and the second one shows an oil mordant composed by a mixture of red lead, red ochre, cinnabar and orpiment. The GC-MS analysis allowed the characterisation of linseed oil and a mixture of animal glue and egg as binding media stratigraphically located by the use of ATR-FTIR mapping microscopy. The analytical results of the painted terracotta integrated investigations show that original technique adopted is characterised by the application of pigments in an oil-binding medium directly applied on the substrates, probably treated with oil and animal glue. A large number of overpaintings above the original scheme of polychromy was found, which could be ascribed to almost three different interventions; the absence of modern pigments suggests that they could be realized long ago.
Research Interests: Condensed Matter Physics, Art, Cultural Heritage, Painting, Cultural Heritage Conservation, and 15 moreArchaeometry, Restoration, Pottery, Science for Conservation and Restoration of Cultural Heritage, Fresco, Polychromy in Ancient Art, Conservation and Restoration, Altarpiece, Conservation Restoration, SEM EDS, Polychrome, FTIR SPECTROSCOPY CULTURAL HERITAGE, Pottery Archaeology, Analysis of Pigments on Ancient Artifacts, and Della Robbia Ceramics(Archaeometry, Restoration, Pottery, Science for Conservation and Restoration of Cultural Heritage, Fresco, Polychromy in Ancient Art, Conservation and Restoration, Altarpiece, Conservation Restoration, SEM EDS, Polychrome, FTIR SPECTROSCOPY CULTURAL HERITAGE, Pottery Archaeology, Analysis of Pigments on Ancient Artifacts, and Della Robbia Ceramics)
(Archaeometry, Restoration, Pottery, Science for Conservation and Restoration of Cultural Heritage, Fresco, Polychromy in Ancient Art, Conservation and Restoration, Altarpiece, Conservation Restoration, SEM EDS, Polychrome, FTIR SPECTROSCOPY CULTURAL HERITAGE, Pottery Archaeology, Analysis of Pigments on Ancient Artifacts, and Della Robbia Ceramics)
Research Interests:
Many ancient monuments situated in the centre of Pesaro present variable sized and coloured patinas differently distributed on stone surfaces. One of those monuments is the facade of Palazzo Ducale and the other two are the portals of the... more
Many ancient monuments situated in the centre of Pesaro present variable sized and coloured patinas differently distributed on stone surfaces. One of those monuments is the facade of Palazzo Ducale and the other two are the portals of the Church of S. Agostino and the Church of S. Francesco. Before restoration they have been investigated to determine their state of preservation and eventual traces of ancient treatments. The results of the study show that in all the cases the principal patinas compounds are mono and dihydrate calcium oxalate, calcite and gypsum, sometimes associated to iron oxides and atmospheric particulate matter.
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Research Interests: Art()
()
Research Interests:
The Basilica of Santa Maria della Piazza is a fine example of Italian Romanesque. It is located close to the old harbor of Ancona and was erected on the ruins of an Early Christian basilica dated back to the 4th century. The current... more
The Basilica of Santa Maria della Piazza is a fine example of Italian Romanesque. It is located close to the old harbor of Ancona and was erected on the ruins of an Early Christian basilica dated back to the 4th century. The current façade, carried out in 1210 by Master Filippo, is a really attractive masterpiece in the Marche’s Region [1, 2]. Partially damaged by earthquakes, the church was restored different times. The façade, divided into three parts, shows a rich iconography and a splayed portal of Apulian inspiration. The four series of arches are made of carved and re-employed stones. A big portal, richly decorated, opens in the center of façade. On either sides of the portal is the load-bearing structure that supports the outer arcade of the Church. The façade was renovated first in the Romanesque and then in the Gothic period, during which the central door assumes growing importance because of its historical symbolism [3]. The Church was restored several times, also in the r...
Research Interests: Art()
()
Pagán is an ancient city located in Myanmar that is renowned for the remains of about 4000 pagodas, stupas, temples and monasteries dating from the 11th to 13th centuries. Due to a magnitude 6.8 earthquake in 2016, more than 300 ancient... more
Pagán is an ancient city located in Myanmar that is renowned for the remains of about 4000 pagodas, stupas, temples and monasteries dating from the 11th to 13th centuries. Due to a magnitude 6.8 earthquake in 2016, more than 300 ancient buildings were seriously damaged. As a part of the post-earthquake emergency program, a diagnostic pilot project was carried out on Me-taw-ya temple wall paintings to acquire further information on the materials and on their state of conservation. This article presents our attempts at characterising the painting materials at Me-taw-ya temple using non-invasive portable energy dispersive X-ray fluorescence (ED-XRF), portable Raman spectroscopy and micro-invasive attenuated total reflectance—Fourier transform infrared spectroscopy (ATR-FTIR), micro-Raman spectroscopy (µ-Raman), gas chromatography-mass spectrometry (GC-MS), polarized light microscopy (PLM) and environmental scanning electron microscope—X-ray energy dispersive system (ESEM-EDS) investiga...
Research Interests:
The church of San Pietro in Valle in Fano is with good reason considered one of the outstanding examples of baroque art in Central Italy. Currently the church is in a serious degradation status. For this reason, and in order to devise a... more
The church of San Pietro in Valle in Fano is with good reason considered one of the outstanding examples of baroque art in Central Italy. Currently the church is in a serious degradation status. For this reason, and in order to devise a correct conservative restoration project, a scientific study has been carried out, aimed at characterizing mortars used for the application of marble decorations and the different degradation products occurring in the church (i.e. pulverizations, encrustations, salt efflorescences, and condensation water). In the following, results obtained analyzing the different sample typologies by optical microscopy, X-ray diffraction, electron scanning microscopy with energy-dispersion micro-analytical system, ion chromatography, and head-space solid phase microextraction-gas chromatography-mass spectrometry will be reported.
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Research Interests:
On August 24, 2016, a strong earthquake struck central Birmani. Pagán Archaeological Zone suffered extensive damage. A post-earthquake damage assessment survey was carried out from Tokyo National Research Institute for Cultural... more
On August 24, 2016, a strong earthquake struck central Birmani. Pagán Archaeological Zone suffered extensive damage. A post-earthquake damage assessment survey was carried out from Tokyo National Research Institute for Cultural Properties. As a part of the same project, a diagnostic research was carried out to acquire information on temple Metaw-ya located in the archaeological area. The aim of the work was to acquire information on the constitutive materials and construction technology, i.e. compositions of bricks, mortars and stuccoes. On a preliminary phase, non-invasive ED-XRF fluorescence investigations were carried out on the pagoda exterior walls. On the basis of the results some representative samples were collected. Therefore optical microscopy observations, FT-IR, XRD and TG analyses were performed to identify the mineralogical and chemical composition of the materials. Principal component analysis (PCA) and hierarchical cluster analysis (HCA) were also performed on EDXRF ...
Research Interests:
Research Interests:
During a restoration and diagnostic campaigns carried out on Paestum funerary slabs belonging to the Lucanian funerary art, calcium antimonate (CaSb2O6) was detected for the first time in the pictorial layers. This artificial pigment,... more
During a restoration and diagnostic campaigns carried out on Paestum funerary slabs belonging to the Lucanian funerary art, calcium antimonate (CaSb2O6) was detected for the first time in the pictorial layers. This artificial pigment, widely employed as opacifier both in ancient glass and glaze covering clay objects, was found in the wall paintings, regardless of the colour, supporting the hypothesis of an intentional addition of calcium antimonate to the pigments and the involvement of ceramic painters. A multi-analytical approach was performed on 32 funerary slabs (6th - 3rd century BCE), currently located at the National Archaeological Museum of Paestum (Italy) using both polarized light microscopy and environmental scanning electron microscopy equipped with energy dispersive X-ray spectrometer, micro X-ray fluorescence, micro Raman spectroscopy, Fourier Transform Infrared spectroscopy and powder X-ray diffraction. The results confirmed the use of a limited number of pigments, us...
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Research Interests: Iconography, Art History, Conservation Biology, Multispectral Imaging, Conservation, and 12 moreMedieval Studies, Byzantine Studies, Conservation - restoration wooden painting (Byzantine icon), Sacred Art, Ecclesiastical History, Restauration and Conservation, Byzantine art, Diagnostic Imaging, Conservazione e restauro, FT IR, Storia E Teoria Del Restauro, and Dipinti Su Tavola Medioevali
Research Interests: Cultural Studies, Art History, Art, Art Theory, Cultural Heritage, and 83 moreConservation, Painting, Cultural Heritage Conservation, Heritage Conservation, Italian Cultural Studies, Art Conservation, Restoration, Priming, Religious art, Fine Arts, Science for Conservation and Restoration of Cultural Heritage, Conservación y Restauración, Patrimonio Cultural, Arte, Historia del Arte, Sicily, Fine Art, Restauration and Conservation, STORIA DELL'ARTE, Pintura, Conservation and Restoration, History of conservation-restoration, History of Conservation and Restoration, Restauration, Beni Culturali, Diagnostics, Pittura, Degradation, Conservación, Peinture, Conservação e restauro, Sicilia, Dipinti, Conservazione e restauro, Oil on Canvass, Science for Conservation and Restauration of Cultural Heritage, Theory of Art, Arte sacra, Restauro, Storia Dell'Arte Moderna, Coservazione E Restauro Dei Beni Culturali, History of conservation, Conservazione, Patrimonio culturale, Palermo, Studi Di Conservazione Beni Culturali, Tecnologie per la conservazione dei beni culturali, Art and Art History, Patrimoine Culturel, DIAGNOSTICA PER I BENI CULTURALI, Theory of Restoration, Indagini Diagnostiche Beni Culturali, Studi Culturali, Science for Conservation, – Studi Culturali, San Rocco, Degrado, Storia E Teoria Del Restauro, Dipinti Su Tela, Teoria Dell'arte, Conservazione Dei Beni Culturali, Filippo Paladini, Indagini Scientifiche, Conservazione E Restauro Dei Beni Culturali, Olio su tela, Supporto tessile, Canvas Paintings, Painting on Canvas, Materiali Costitutivi, Tecniche Esecutive, Strati Preparatori, Strato Preparatorio, Imprimitura, Preparazione, Ammannitura, dipinto su tela XVI secolo, Executive Techniques, Constitutive Materials, Cappella del Porto e Riporto nella Basilica di San Francesco d'Assisi a Palermo (Italy), Degrado Del Supporto Tessile, Basilica di San Francesco d'Assisi a Palermo (Italy), Basilica of San Francesco d'Assisi in Palermo (Italy), and Porto and Riporto Chapel in the Basilica of San Francesco d'Assisi in Palermo (Italy)(Conservation, Painting, Cultural Heritage Conservation, Heritage Conservation, Italian Cultural Studies, Art Conservation, Restoration, Priming, Religious art, Fine Arts, Science for Conservation and Restoration of Cultural Heritage, Conservación y Restauración, Patrimonio Cultural, Arte, Historia del Arte, Sicily, Fine Art, Restauration and Conservation, STORIA DELL'ARTE, Pintura, Conservation and Restoration, History of conservation-restoration, History of Conservation and Restoration, Restauration, Beni Culturali, Diagnostics, Pittura, Degradation, Conservación, Peinture, Conservação e restauro, Sicilia, Dipinti, Conservazione e restauro, Oil on Canvass, Science for Conservation and Restauration of Cultural Heritage, Theory of Art, Arte sacra, Restauro, Storia Dell'Arte Moderna, Coservazione E Restauro Dei Beni Culturali, History of conservation, Conservazione, Patrimonio culturale, Palermo, Studi Di Conservazione Beni Culturali, Tecnologie per la conservazione dei beni culturali, Art and Art History, Patrimoine Culturel, DIAGNOSTICA PER I BENI CULTURALI, Theory of Restoration, Indagini Diagnostiche Beni Culturali, Studi Culturali, Science for Conservation, – Studi Culturali, San Rocco, Degrado, Storia E Teoria Del Restauro, Dipinti Su Tela, Teoria Dell'arte, Conservazione Dei Beni Culturali, Filippo Paladini, Indagini Scientifiche, Conservazione E Restauro Dei Beni Culturali, Olio su tela, Supporto tessile, Canvas Paintings, Painting on Canvas, Materiali Costitutivi, Tecniche Esecutive, Strati Preparatori, Strato Preparatorio, Imprimitura, Preparazione, Ammannitura, dipinto su tela XVI secolo, Executive Techniques, Constitutive Materials, Cappella del Porto e Riporto nella Basilica di San Francesco d'Assisi a Palermo (Italy), Degrado Del Supporto Tessile, Basilica di San Francesco d'Assisi a Palermo (Italy), Basilica of San Francesco d'Assisi in Palermo (Italy), and Porto and Riporto Chapel in the Basilica of San Francesco d'Assisi in Palermo (Italy))
(Conservation, Painting, Cultural Heritage Conservation, Heritage Conservation, Italian Cultural Studies, Art Conservation, Restoration, Priming, Religious art, Fine Arts, Science for Conservation and Restoration of Cultural Heritage, Conservación y Restauración, Patrimonio Cultural, Arte, Historia del Arte, Sicily, Fine Art, Restauration and Conservation, STORIA DELL'ARTE, Pintura, Conservation and Restoration, History of conservation-restoration, History of Conservation and Restoration, Restauration, Beni Culturali, Diagnostics, Pittura, Degradation, Conservación, Peinture, Conservação e restauro, Sicilia, Dipinti, Conservazione e restauro, Oil on Canvass, Science for Conservation and Restauration of Cultural Heritage, Theory of Art, Arte sacra, Restauro, Storia Dell'Arte Moderna, Coservazione E Restauro Dei Beni Culturali, History of conservation, Conservazione, Patrimonio culturale, Palermo, Studi Di Conservazione Beni Culturali, Tecnologie per la conservazione dei beni culturali, Art and Art History, Patrimoine Culturel, DIAGNOSTICA PER I BENI CULTURALI, Theory of Restoration, Indagini Diagnostiche Beni Culturali, Studi Culturali, Science for Conservation, – Studi Culturali, San Rocco, Degrado, Storia E Teoria Del Restauro, Dipinti Su Tela, Teoria Dell'arte, Conservazione Dei Beni Culturali, Filippo Paladini, Indagini Scientifiche, Conservazione E Restauro Dei Beni Culturali, Olio su tela, Supporto tessile, Canvas Paintings, Painting on Canvas, Materiali Costitutivi, Tecniche Esecutive, Strati Preparatori, Strato Preparatorio, Imprimitura, Preparazione, Ammannitura, dipinto su tela XVI secolo, Executive Techniques, Constitutive Materials, Cappella del Porto e Riporto nella Basilica di San Francesco d'Assisi a Palermo (Italy), Degrado Del Supporto Tessile, Basilica di San Francesco d'Assisi a Palermo (Italy), Basilica of San Francesco d'Assisi in Palermo (Italy), and Porto and Riporto Chapel in the Basilica of San Francesco d'Assisi in Palermo (Italy))
The canvas “St.Rocco and the Angel” has been object of some attributive query concerning his author, initially it has been ascribed to the painter Filippo Paladini, a sicilian painter of the sixteenth century, but lately it was attributed... more
The canvas “St.Rocco and the Angel” has been object of some attributive query concerning his author, initially it has been ascribed to the painter Filippo Paladini, a sicilian painter of the sixteenth century, but lately it was attributed to the painter Mariano Smiriglio. The canvas, dated XVI century, is located in the Porto and Riporto Chapel in the Basilica of San Francesco d’Assisi (Palermo-Sicily).The canvas has been investigated by optical and ESEM microscopy, FT-IR spectroscopy, in order to throw light on the painting technique and the original constituent materials (pigments and binders). Observations in grazing light revealed a peculiar crazing on hardened paint layers probably due to a mechanical origin. The fine cracks developed in correspondence to the orientation of some plot yarns, shows a repetitive and regular marks which a vertical trend up and down the whole surface of the painting. The textile is made of linen fibre, in a diamond-shaped (lozenge) plot, so called “diamantina” and its orientation is related to the crazing. The pigmented preparation is dark and characterized by the presence of silicates, calcium carbonate and red ochre; instead the paint pallet is mostly composed by white lead, azurite and red and yellow ochre. The origin of organic acid detected on binder material have been investigate too. The scientific comparison of this dubious painted canvas with other Paladini paintings allowed us to consider Paladini as its author. The particular characteristics found on the Paladini painting represent a useful tool to know and classify some problematic painting canvas that probably could consider as Paladini production.
Research Interests: Cultural Studies, Art History, Conservation, Painting, FTIR spectroscopy, and 15 moreArt Conservation, Sacred Art, Textile Technology, Science for Conservation and Restoration of Cultural Heritage, Sicily, Fine Art, Conservation and Restoration, Degradation, Storia E Teoria Del Restauro, Filippo Paladini, Porto and Riporto Chapel in the Basilica of San Francesco d'Assisi in Palermo (Italy), Restauro Dipinti, Restoration of Paintings on Canvas, SEM-ESEM, and Mariano Smiriglio(Art Conservation, Sacred Art, Textile Technology, Science for Conservation and Restoration of Cultural Heritage, Sicily, Fine Art, Conservation and Restoration, Degradation, Storia E Teoria Del Restauro, Filippo Paladini, Porto and Riporto Chapel in the Basilica of San Francesco d'Assisi in Palermo (Italy), Restauro Dipinti, Restoration of Paintings on Canvas, SEM-ESEM, and Mariano Smiriglio)
(Art Conservation, Sacred Art, Textile Technology, Science for Conservation and Restoration of Cultural Heritage, Sicily, Fine Art, Conservation and Restoration, Degradation, Storia E Teoria Del Restauro, Filippo Paladini, Porto and Riporto Chapel in the Basilica of San Francesco d'Assisi in Palermo (Italy), Restauro Dipinti, Restoration of Paintings on Canvas, SEM-ESEM, and Mariano Smiriglio)
La necessità di dotare ogni singolo museo di sistemi di schedatura conservativa, oltre che da alcuni codici e statuti, è sancita dagli atti di indirizzo inerenti criteri tecnico-scientifici e standard di funzionamento e sviluppo dei... more
La necessità di dotare ogni singolo museo di sistemi di schedatura conservativa, oltre che da alcuni codici e
statuti, è sancita dagli atti di indirizzo inerenti criteri tecnico-scientifici e standard di funzionamento e sviluppo
dei musei emanati in attuazione del D.Lgs. n. 112/98.
Tali parametri sono stati ratificati nel D.M. 10 maggio 2001, nel quale si specifica che gli interventi di restauro,
le modalità di esposizione nonché l’imballaggio e la movimentazione, sono da definirsi per mezzo di una
scheda conservativa della quale ciascun museo deve dotarsi. La scheda, periodicamente aggiornata da
restauratori professionisti, deve registrare informazioni su materiali costitutivi, procedimenti esecutivi e stato di
conservazione dei manufatti esposti nei musei. La creazione della scheda conservativa è, quindi, ritenuta
essenziale e si sancisce che la sua compilazione è competenza esclusiva del restauratore.
Il decreto propone le linee guida per la definizione del tracciato di scheda, che deve prevedere: dati identificativi
dell'opera, dati identificativi della scheda di catalogazione, documentazione, descrizione tecnica del manufatto e
dello stato di conservazione, e indicazioni per un’idonea conservazione.
Analizzando i differenti modelli di schede esistenti, si è costatato che molti, pur essendo accurati sotto il profilo
tecnico-scientifico, non sono stati realizzati per una gestione informatizzata dei dati. Sono stati spesso utilizzati,
infatti, programmi di videoscrittura e non programmi che consentano una efficace organizzazione e gestione dei
dati (database ).
Partendo dalla normativa nazionale è stata quindi elaborata una scheda informatizzata, contenente le sezioni anagrafica e conservativa, che è stata sperimentata attraverso la catalogazione dei dipinti su tavola e tela conservati presso la Galleria delle Marche, nel Palazzo Ducale di Urbino.
statuti, è sancita dagli atti di indirizzo inerenti criteri tecnico-scientifici e standard di funzionamento e sviluppo
dei musei emanati in attuazione del D.Lgs. n. 112/98.
Tali parametri sono stati ratificati nel D.M. 10 maggio 2001, nel quale si specifica che gli interventi di restauro,
le modalità di esposizione nonché l’imballaggio e la movimentazione, sono da definirsi per mezzo di una
scheda conservativa della quale ciascun museo deve dotarsi. La scheda, periodicamente aggiornata da
restauratori professionisti, deve registrare informazioni su materiali costitutivi, procedimenti esecutivi e stato di
conservazione dei manufatti esposti nei musei. La creazione della scheda conservativa è, quindi, ritenuta
essenziale e si sancisce che la sua compilazione è competenza esclusiva del restauratore.
Il decreto propone le linee guida per la definizione del tracciato di scheda, che deve prevedere: dati identificativi
dell'opera, dati identificativi della scheda di catalogazione, documentazione, descrizione tecnica del manufatto e
dello stato di conservazione, e indicazioni per un’idonea conservazione.
Analizzando i differenti modelli di schede esistenti, si è costatato che molti, pur essendo accurati sotto il profilo
tecnico-scientifico, non sono stati realizzati per una gestione informatizzata dei dati. Sono stati spesso utilizzati,
infatti, programmi di videoscrittura e non programmi che consentano una efficace organizzazione e gestione dei
dati (database ).
Partendo dalla normativa nazionale è stata quindi elaborata una scheda informatizzata, contenente le sezioni anagrafica e conservativa, che è stata sperimentata attraverso la catalogazione dei dipinti su tavola e tela conservati presso la Galleria delle Marche, nel Palazzo Ducale di Urbino.
Research Interests:
Research Interests: Philosophy of Mind, Art History, Fluorescence Spectroscopy, Computed Tomography, Conservation, and 14 moreX-Ray Fluorescence (XRF) Spectroscopy, Pigments (Chemistry), Sacred Art, Science for Conservation and Restoration of Cultural Heritage, ESCULTURA, Scultura, Conservação e restauro, Conservazione e restauro, Arte sacra, X ray Computed Tomography, SEM/EDS, Scultura Lignea, Museo Diocesano Di Palermo, and Computerized Axial Tomography(X-Ray Fluorescence (XRF) Spectroscopy, Pigments (Chemistry), Sacred Art, Science for Conservation and Restoration of Cultural Heritage, ESCULTURA, Scultura, Conservação e restauro, Conservazione e restauro, Arte sacra, X ray Computed Tomography, SEM/EDS, Scultura Lignea, Museo Diocesano Di Palermo, and Computerized Axial Tomography)
(X-Ray Fluorescence (XRF) Spectroscopy, Pigments (Chemistry), Sacred Art, Science for Conservation and Restoration of Cultural Heritage, ESCULTURA, Scultura, Conservação e restauro, Conservazione e restauro, Arte sacra, X ray Computed Tomography, SEM/EDS, Scultura Lignea, Museo Diocesano Di Palermo, and Computerized Axial Tomography)
Research Interests: Cultural Studies, Art History, Art Theory, Cultural Heritage, Conservation, and 59 moreCultural Heritage Conservation, Heritage Conservation, Religious Conversion, Italian Cultural Studies, Art Conservation, Decorative Arts, Restoration, Corals, Religious art, Ancient jewellery, Fine Arts, Religious Studies, Science for Conservation and Restoration of Cultural Heritage, GC-MS, Conservación y Restauración, Patrimonio Cultural, Artes, Historia del Arte, Sicily, Restauration and Conservation, Storia delle tecniche costruttive, History of Conservation and Restoration, Restauration, Beni Culturali, Conservación, Trapani, Conservação e restauro, Sicilia, Coral, Corallo rosso, Conservation-Restauration, Arte sacra, Restauro, Chimistry, Palermo, CONSERVAÇÃO E RESTAURAÇÃO DE OBRAS DE ARTES, Artes Decorativas, Museum display of religious and sacred art, Storia Delle Tecniche Artistiche, Restauro Oreficerie, Degrado, SEM/EDS, ATR-FTIR, Reintegrazione, Conservazione Dei Beni Culturali, Arte Decorativa, Museo Diocesano Di Palermo, Presepi Polimaterici Siciliani, Teorías de la conservación y restauración, Arredo Liturgico, Monstrance Eucharistique, ED-XRF, Reintegrazione della lacuna, Arte exótico, artes decorativas, siglos XVI y XVII, Oreficeria, corallo trapanese, Museo A. Pepoli, Chimica Dei Beni Culturali, and Presepe(Cultural Heritage Conservation, Heritage Conservation, Religious Conversion, Italian Cultural Studies, Art Conservation, Decorative Arts, Restoration, Corals, Religious art, Ancient jewellery, Fine Arts, Religious Studies, Science for Conservation and Restoration of Cultural Heritage, GC-MS, Conservación y Restauración, Patrimonio Cultural, Artes, Historia del Arte, Sicily, Restauration and Conservation, Storia delle tecniche costruttive, History of Conservation and Restoration, Restauration, Beni Culturali, Conservación, Trapani, Conservação e restauro, Sicilia, Coral, Corallo rosso, Conservation-Restauration, Arte sacra, Restauro, Chimistry, Palermo, CONSERVAÇÃO E RESTAURAÇÃO DE OBRAS DE ARTES, Artes Decorativas, Museum display of religious and sacred art, Storia Delle Tecniche Artistiche, Restauro Oreficerie, Degrado, SEM/EDS, ATR-FTIR, Reintegrazione, Conservazione Dei Beni Culturali, Arte Decorativa, Museo Diocesano Di Palermo, Presepi Polimaterici Siciliani, Teorías de la conservación y restauración, Arredo Liturgico, Monstrance Eucharistique, ED-XRF, Reintegrazione della lacuna, Arte exótico, artes decorativas, siglos XVI y XVII, Oreficeria, corallo trapanese, Museo A. Pepoli, Chimica Dei Beni Culturali, and Presepe)
(Cultural Heritage Conservation, Heritage Conservation, Religious Conversion, Italian Cultural Studies, Art Conservation, Decorative Arts, Restoration, Corals, Religious art, Ancient jewellery, Fine Arts, Religious Studies, Science for Conservation and Restoration of Cultural Heritage, GC-MS, Conservación y Restauración, Patrimonio Cultural, Artes, Historia del Arte, Sicily, Restauration and Conservation, Storia delle tecniche costruttive, History of Conservation and Restoration, Restauration, Beni Culturali, Conservación, Trapani, Conservação e restauro, Sicilia, Coral, Corallo rosso, Conservation-Restauration, Arte sacra, Restauro, Chimistry, Palermo, CONSERVAÇÃO E RESTAURAÇÃO DE OBRAS DE ARTES, Artes Decorativas, Museum display of religious and sacred art, Storia Delle Tecniche Artistiche, Restauro Oreficerie, Degrado, SEM/EDS, ATR-FTIR, Reintegrazione, Conservazione Dei Beni Culturali, Arte Decorativa, Museo Diocesano Di Palermo, Presepi Polimaterici Siciliani, Teorías de la conservación y restauración, Arredo Liturgico, Monstrance Eucharistique, ED-XRF, Reintegrazione della lacuna, Arte exótico, artes decorativas, siglos XVI y XVII, Oreficeria, corallo trapanese, Museo A. Pepoli, Chimica Dei Beni Culturali, and Presepe)
Research Interests: Archaeology, Cultural Heritage, Pottery (Archaeology), Technologies Applied to Cultural Heritage, Phoenician Punic Archaeology, and 7 morePhoenician and Punic Studies, Pottery studies, Punic Pottery, Archeologia Fenicio-Punica, Archeologia Fenicio-Punica E Nuragica in Sardegna, Ceramica fenicio-punica, and Punic Archaeology
Research Interests:
Research Interests: Archaeology, Cultural Heritage, Cultural Heritage Conservation, Funerary Archaeology, Scanning Electron Microscopy, and 11 moreTechnologies Applied to Cultural Heritage, Restoration, Science for Conservation and Restoration of Cultural Heritage, Conservation and Restoration, Optical microscopy, XRD Crystallography, The Use of Marble and Other Stones, Conservation-Restoration, Stone conservation, Restoration and Conservation of Ancient and Historic Buildings and Structures, and Consolidation of Painted Ancient Stone Surfaces(Technologies Applied to Cultural Heritage, Restoration, Science for Conservation and Restoration of Cultural Heritage, Conservation and Restoration, Optical microscopy, XRD Crystallography, The Use of Marble and Other Stones, Conservation-Restoration, Stone conservation, Restoration and Conservation of Ancient and Historic Buildings and Structures, and Consolidation of Painted Ancient Stone Surfaces)
(Technologies Applied to Cultural Heritage, Restoration, Science for Conservation and Restoration of Cultural Heritage, Conservation and Restoration, Optical microscopy, XRD Crystallography, The Use of Marble and Other Stones, Conservation-Restoration, Stone conservation, Restoration and Conservation of Ancient and Historic Buildings and Structures, and Consolidation of Painted Ancient Stone Surfaces)
Research Interests: Cultural Studies, Art History, Art, Art Theory, Cultural Heritage, and 76 moreConservation, Painting, Cultural Heritage Conservation, Heritage Conservation, Italian Cultural Studies, Art Conservation, Restoration, Priming, Fine Arts, Science for Conservation and Restoration of Cultural Heritage, Conservación y Restauración, Patrimonio Cultural, Arte, Historia del Arte, Sicily, Fine Art, Restauration and Conservation, STORIA DELL'ARTE, Pintura, Conservation and Restoration, History of conservation-restoration, History of Conservation and Restoration, Restauration, Beni Culturali, Diagnostics, History and Theory of Modern Architecture, Restoration and Heritage Conservation, Pittura, Degradation, Conservación, Peinture, Conservação e restauro, Sicilia, Conservazione e restauro, Oil on Canvass, Theory of Art, Restauro, Storia Dell'Arte Moderna, Coservazione E Restauro Dei Beni Culturali, History of conservation, Conservazione, Patrimonio culturale, Palermo, Studi Di Conservazione Beni Culturali, Tecnologie per la conservazione dei beni culturali, Art and Art History, Patrimoine Culturel, DIAGNOSTICA PER I BENI CULTURALI, Theory of Restoration, Indagini Diagnostiche Beni Culturali, Studi Culturali, Old Paintings on Canvas, – Studi Culturali, Degrado, Storia E Teoria Del Restauro, Dipinti Su Tela, Teoria Dell'arte, Conservazione Dei Beni Culturali, Museo Regionale Palazzo Mirto, Galleria Interdisciplinare Regionale Della Sicilia - Palazzo Mirto, Palazzo Mirto Di Palermo, Indagini Scientifiche, Conservazione E Restauro Dei Beni Culturali, Olio su tela, Supporto tessile, Canvas Paintings, Painting on Canvas, Degrado Supporto Tessile, History of Conservation and Restauration of Artworks, Materiali Costitutivi, Tecniche Esecutive, dipinto su tela XVII secolo, Strati Preparatori, Strato Preparatorio, Preparazione, Battaglia di Cialdiran, and Telaio(Conservation, Painting, Cultural Heritage Conservation, Heritage Conservation, Italian Cultural Studies, Art Conservation, Restoration, Priming, Fine Arts, Science for Conservation and Restoration of Cultural Heritage, Conservación y Restauración, Patrimonio Cultural, Arte, Historia del Arte, Sicily, Fine Art, Restauration and Conservation, STORIA DELL'ARTE, Pintura, Conservation and Restoration, History of conservation-restoration, History of Conservation and Restoration, Restauration, Beni Culturali, Diagnostics, History and Theory of Modern Architecture, Restoration and Heritage Conservation, Pittura, Degradation, Conservación, Peinture, Conservação e restauro, Sicilia, Conservazione e restauro, Oil on Canvass, Theory of Art, Restauro, Storia Dell'Arte Moderna, Coservazione E Restauro Dei Beni Culturali, History of conservation, Conservazione, Patrimonio culturale, Palermo, Studi Di Conservazione Beni Culturali, Tecnologie per la conservazione dei beni culturali, Art and Art History, Patrimoine Culturel, DIAGNOSTICA PER I BENI CULTURALI, Theory of Restoration, Indagini Diagnostiche Beni Culturali, Studi Culturali, Old Paintings on Canvas, – Studi Culturali, Degrado, Storia E Teoria Del Restauro, Dipinti Su Tela, Teoria Dell'arte, Conservazione Dei Beni Culturali, Museo Regionale Palazzo Mirto, Galleria Interdisciplinare Regionale Della Sicilia - Palazzo Mirto, Palazzo Mirto Di Palermo, Indagini Scientifiche, Conservazione E Restauro Dei Beni Culturali, Olio su tela, Supporto tessile, Canvas Paintings, Painting on Canvas, Degrado Supporto Tessile, History of Conservation and Restauration of Artworks, Materiali Costitutivi, Tecniche Esecutive, dipinto su tela XVII secolo, Strati Preparatori, Strato Preparatorio, Preparazione, Battaglia di Cialdiran, and Telaio)
(Conservation, Painting, Cultural Heritage Conservation, Heritage Conservation, Italian Cultural Studies, Art Conservation, Restoration, Priming, Fine Arts, Science for Conservation and Restoration of Cultural Heritage, Conservación y Restauración, Patrimonio Cultural, Arte, Historia del Arte, Sicily, Fine Art, Restauration and Conservation, STORIA DELL'ARTE, Pintura, Conservation and Restoration, History of conservation-restoration, History of Conservation and Restoration, Restauration, Beni Culturali, Diagnostics, History and Theory of Modern Architecture, Restoration and Heritage Conservation, Pittura, Degradation, Conservación, Peinture, Conservação e restauro, Sicilia, Conservazione e restauro, Oil on Canvass, Theory of Art, Restauro, Storia Dell'Arte Moderna, Coservazione E Restauro Dei Beni Culturali, History of conservation, Conservazione, Patrimonio culturale, Palermo, Studi Di Conservazione Beni Culturali, Tecnologie per la conservazione dei beni culturali, Art and Art History, Patrimoine Culturel, DIAGNOSTICA PER I BENI CULTURALI, Theory of Restoration, Indagini Diagnostiche Beni Culturali, Studi Culturali, Old Paintings on Canvas, – Studi Culturali, Degrado, Storia E Teoria Del Restauro, Dipinti Su Tela, Teoria Dell'arte, Conservazione Dei Beni Culturali, Museo Regionale Palazzo Mirto, Galleria Interdisciplinare Regionale Della Sicilia - Palazzo Mirto, Palazzo Mirto Di Palermo, Indagini Scientifiche, Conservazione E Restauro Dei Beni Culturali, Olio su tela, Supporto tessile, Canvas Paintings, Painting on Canvas, Degrado Supporto Tessile, History of Conservation and Restauration of Artworks, Materiali Costitutivi, Tecniche Esecutive, dipinto su tela XVII secolo, Strati Preparatori, Strato Preparatorio, Preparazione, Battaglia di Cialdiran, and Telaio)
Research Interests: Cultural Studies, Art History, Art, Art Theory, Cultural Heritage, and 101 moreConservation, Painting, Cultural Heritage Conservation, Heritage Conservation, Italian Cultural Studies, History of Sculpture, Art Conservation, Sculpture, Decorative Arts, Restoration, Religious art, Fine Arts, Science for Conservation and Restoration of Cultural Heritage, Conservación y Restauración, Patrimonio Cultural, Arte, Historia del Arte, Sicily, Fine Art, Restauration and Conservation, STORIA DELL'ARTE, Pintura, Conservation and Restoration, Biodeterioration of Wood, History of conservation-restoration, History of Conservation and Restoration, Restauration, Biodeterioration od Cultural Heritage, Beni Culturali, Diagnostics, History and Theory of Modern Architecture, Restoration and Heritage Conservation, Pittura, Scultura, Degradation, Conservación, Peinture, Conservação e restauro, Sicilia, Conservazione e restauro, Biodeterioration and Biodegradation, Molecular Techniques, Theory of Art, Arte sacra, Restauro, Storia Dell'Arte Moderna, Coservazione E Restauro Dei Beni Culturali, History of conservation, Conservazione, Patrimonio culturale, Palermo, Sculpture and the history of sculpture, Studi Di Conservazione Beni Culturali, Tecnologie per la conservazione dei beni culturali, Painting and sculpture, Art and Art History, Conservation of Cultural Heritage, Patrimoine Culturel, Scultura Lignea Rinascimentale, Scultura Lignea Del Rinascimento, BIODETERIORAMENTO, DIAGNOSTICA PER I BENI CULTURALI, Theory of Restoration, Indagini Diagnostiche Beni Culturali, Studi Culturali, – Studi Culturali, Degrado, Storia E Teoria Del Restauro, Biodegradation and Biodeterioration, Teoria Dell'arte, Painted Wood, Biodeterioration, Arte Decorativa, Scultura Lignea Policroma E Dorata, Museo Diocesano Di Palermo, Scultura Lignea Policroma, Estofado, Tecnica Graffita, Cesellatura, San Nicola Di Mira, Mario Di Laurito, Conservazione E Restauro Dei Beni Culturali, Molecular Investigation, Biodeteriogens Identification, Diocesan Museum of Palermo, Conservation intervention, History of Conservation and Restauration of Artworks, Materiali Costitutivi, Tecniche Esecutive, Scultura Lignea Policroma e Dorata XVI secolo, Ceselli, Doratura, Strati Preparatori, Strato Preparatorio, Preparazione, Painting on Wood, Supporto Ligneo, Restauro Conservativo, Intervento Conservativo, Conservative Restoration, Degrado Biologico, and Ammannitura(Conservation, Painting, Cultural Heritage Conservation, Heritage Conservation, Italian Cultural Studies, History of Sculpture, Art Conservation, Sculpture, Decorative Arts, Restoration, Religious art, Fine Arts, Science for Conservation and Restoration of Cultural Heritage, Conservación y Restauración, Patrimonio Cultural, Arte, Historia del Arte, Sicily, Fine Art, Restauration and Conservation, STORIA DELL'ARTE, Pintura, Conservation and Restoration, Biodeterioration of Wood, History of conservation-restoration, History of Conservation and Restoration, Restauration, Biodeterioration od Cultural Heritage, Beni Culturali, Diagnostics, History and Theory of Modern Architecture, Restoration and Heritage Conservation, Pittura, Scultura, Degradation, Conservación, Peinture, Conservação e restauro, Sicilia, Conservazione e restauro, Biodeterioration and Biodegradation, Molecular Techniques, Theory of Art, Arte sacra, Restauro, Storia Dell'Arte Moderna, Coservazione E Restauro Dei Beni Culturali, History of conservation, Conservazione, Patrimonio culturale, Palermo, Sculpture and the history of sculpture, Studi Di Conservazione Beni Culturali, Tecnologie per la conservazione dei beni culturali, Painting and sculpture, Art and Art History, Conservation of Cultural Heritage, Patrimoine Culturel, Scultura Lignea Rinascimentale, Scultura Lignea Del Rinascimento, BIODETERIORAMENTO, DIAGNOSTICA PER I BENI CULTURALI, Theory of Restoration, Indagini Diagnostiche Beni Culturali, Studi Culturali, – Studi Culturali, Degrado, Storia E Teoria Del Restauro, Biodegradation and Biodeterioration, Teoria Dell'arte, Painted Wood, Biodeterioration, Arte Decorativa, Scultura Lignea Policroma E Dorata, Museo Diocesano Di Palermo, Scultura Lignea Policroma, Estofado, Tecnica Graffita, Cesellatura, San Nicola Di Mira, Mario Di Laurito, Conservazione E Restauro Dei Beni Culturali, Molecular Investigation, Biodeteriogens Identification, Diocesan Museum of Palermo, Conservation intervention, History of Conservation and Restauration of Artworks, Materiali Costitutivi, Tecniche Esecutive, Scultura Lignea Policroma e Dorata XVI secolo, Ceselli, Doratura, Strati Preparatori, Strato Preparatorio, Preparazione, Painting on Wood, Supporto Ligneo, Restauro Conservativo, Intervento Conservativo, Conservative Restoration, Degrado Biologico, and Ammannitura)
(Conservation, Painting, Cultural Heritage Conservation, Heritage Conservation, Italian Cultural Studies, History of Sculpture, Art Conservation, Sculpture, Decorative Arts, Restoration, Religious art, Fine Arts, Science for Conservation and Restoration of Cultural Heritage, Conservación y Restauración, Patrimonio Cultural, Arte, Historia del Arte, Sicily, Fine Art, Restauration and Conservation, STORIA DELL'ARTE, Pintura, Conservation and Restoration, Biodeterioration of Wood, History of conservation-restoration, History of Conservation and Restoration, Restauration, Biodeterioration od Cultural Heritage, Beni Culturali, Diagnostics, History and Theory of Modern Architecture, Restoration and Heritage Conservation, Pittura, Scultura, Degradation, Conservación, Peinture, Conservação e restauro, Sicilia, Conservazione e restauro, Biodeterioration and Biodegradation, Molecular Techniques, Theory of Art, Arte sacra, Restauro, Storia Dell'Arte Moderna, Coservazione E Restauro Dei Beni Culturali, History of conservation, Conservazione, Patrimonio culturale, Palermo, Sculpture and the history of sculpture, Studi Di Conservazione Beni Culturali, Tecnologie per la conservazione dei beni culturali, Painting and sculpture, Art and Art History, Conservation of Cultural Heritage, Patrimoine Culturel, Scultura Lignea Rinascimentale, Scultura Lignea Del Rinascimento, BIODETERIORAMENTO, DIAGNOSTICA PER I BENI CULTURALI, Theory of Restoration, Indagini Diagnostiche Beni Culturali, Studi Culturali, – Studi Culturali, Degrado, Storia E Teoria Del Restauro, Biodegradation and Biodeterioration, Teoria Dell'arte, Painted Wood, Biodeterioration, Arte Decorativa, Scultura Lignea Policroma E Dorata, Museo Diocesano Di Palermo, Scultura Lignea Policroma, Estofado, Tecnica Graffita, Cesellatura, San Nicola Di Mira, Mario Di Laurito, Conservazione E Restauro Dei Beni Culturali, Molecular Investigation, Biodeteriogens Identification, Diocesan Museum of Palermo, Conservation intervention, History of Conservation and Restauration of Artworks, Materiali Costitutivi, Tecniche Esecutive, Scultura Lignea Policroma e Dorata XVI secolo, Ceselli, Doratura, Strati Preparatori, Strato Preparatorio, Preparazione, Painting on Wood, Supporto Ligneo, Restauro Conservativo, Intervento Conservativo, Conservative Restoration, Degrado Biologico, and Ammannitura)
Research Interests:
Research Interests:
Research Interests: Cultural Heritage, Renaissance Art, Cultural Heritage Conservation, Heritage Conservation, Technologies Applied to Cultural Heritage, and 4 moreArt Conservation, Italian Renaissance Art, Science for Conservation and Restoration of Cultural Heritage, and Restoration and Conservation of Ancient and Historic Buildings and Structures
Research Interests:
Research Interests:
Research Interests:
Riassunto Tra la fine del IV sec. ed il II sec. a.C. sono ampiamente attestate nei principali centri punici di Tunisia, in Marocco, Sicilia, Sardegna, Spagna continentale e Ibiza delle produzioni di ceramica a vernice nera che riprendono... more
Riassunto Tra la fine del IV sec. ed il II sec. a.C. sono ampiamente attestate nei principali centri punici di Tunisia, in Marocco, Sicilia, Sardegna, Spagna continentale e Ibiza delle produzioni di ceramica a vernice nera che riprendono forme della tradizione attica, non raggiungendo tuttavia, dal punto di vista qualitativo, quei risultati di eccellenza tipici della ceramica greca. Si tratta infatti di manufatti caratterizzati da una qualità degli impasti e soprattutto delle vernici in genere scadente, con vernici opache, tendenti a distaccarsi e frequentemente con tonalità variabili dal nero al marrone e anche al rossiccio, con sfumature diverse pure sullo stesso esemplare. Anche Tharros ne ha restituito un'ampia documentazione con materiali riferibili principalmente a forme aperte quali piatti da pesce, coppe (Lamboglia 21 e 22), coppette (Lamboglia 21/25) e patere, provenienti sia da contesti abitativi che tombali. Nella fase preliminare del progetto di ricerca si sono presi in considerazione vari pezzi provenienti dalle colline di Su Muru Mannu e di S. Giovanni, allo scopo di verificarne la provenienza nonché di conoscere le tecnologie utilizzate per la loro produzione. Sono state quindi effettuate indagini minero-petrografiche e chimiche volte alla completa caratterizzazione degli impasti ceramici e dei rivestimenti. I risultati ottenuti mostrano una buona omogeneità composizionale dei reperti analizzati, per cui essi costituiscono un gruppo di riferimento della produzione locale di ceramica a vernice nera. Inoltre, il confronto con la composizione di altri frammenti riferibili a diverse forme di ceramica punica, anch'essi di provenienza tharrense ed analizzati in precedenza, porta ad interessanti deduzioni sull'utilizzo delle materie prime locali anche per la ceramica a vernice nera punica.
Research Interests: Cultural Heritage, Pottery (Archaeology), Sardinia (Archaeology), Phoenician Punic Archaeology, Phoenician and Punic Studies, and 3 moreArcheologia Fenicio-Punica, Carthage, Punic Pottery, Mediterranean archaeology, Phoenician Punic Archaeology, Punic world and Punic Archaeology, Phoenician and Punic Studies, archaeology of Sardinia in phoenician age, and Archeologia Fenicio-Punica E Nuragica in Sardegna
Pottery belonging to the Scarabelli Collection of the Museo Civic0 in Imola, coming>om bron=e age settlements near Imola (Italy), was analysed by opti$al,, microscopy, XRD, and XRF Thin section examination p " , "-'ged the identtjication... more
Pottery belonging to the Scarabelli Collection of the Museo Civic0 in Imola, coming>om bron=e age settlements near Imola (Italy), was analysed by opti$al,, microscopy, XRD, and XRF Thin section examination p " , "-'ged the identtjication of complex fabrrcs'&mposed by calcareous concretions, ARFs, iron-rich clay pellets, siltites and vegetal fragments. In wartif$ar, by po@ing out spectfic features of natural inclusions, we tried to distinguish the ARFs from g&g. According on studies of local clays, it was possible to refer these inclusions to .alluvial pedogenetic sediments. Their presence in the pottery indicates the use of natural ra;v " mat&ial without a clay processing and depuration. pP%LL*~ &J6 k * ' ,&. s j < ,';; ,...3, ' 1 (
Research Interests:
Research Interests:
Research Interests:
In the frame of large research project, also related to the exhibition “Lorenzo Lotto” (Venezia, 1480 – Loreto, 1556-57) held at the Scuderie del Quirinale in Rome in spring 2011, more than 50 paintings of Lotto spanning from 1505 to... more
In the frame of large research project, also related to the exhibition “Lorenzo Lotto” (Venezia, 1480 – Loreto, 1556-57) held at the Scuderie del Quirinale in Rome in spring 2011, more than 50 paintings of Lotto spanning from 1505 to around 1556 were studied by means of scientific examinations.
The University of Bergamo coordinated and carried out non-invasive analyses using portable instruments: IR reflectography in different bands, false colour IR, reflectance spectrometry in the visible range (vis-RS), X-ray spectrometry (EDXRF), sometimes UV-induced fluorescence and X-ray radiography. On the basis of the obtained results some areas of four paintings undergoing restoration treatments were subjected to micro-sampling in order to be mounted in cross-sections and studied by optical microscopy (OM) and SEM/EDX by the University of Urbino e by micro-Raman spectroscopy by the University of Modena and Reggio Emilia.
Non invasive exams allowed to know the evolution of Lotto’s palette during all the periods of his activity, as well as his underdrawing, the nature of painting changes and his pictorial technique. Among the most interesting results, the use of lapis lazuli and azurite in different combinations , and their mixture with red lakes. About these lakes, Lotto shows a peculiar use of madder, also alternated with carmine-type lake, according to desired effects. About yellows, he uses both lead-tin and lead-antimony (Naples yellow) pigments, the latter found by XRF in works starting from 1530 to the last years: it can be related to the “zalolin da vasarj” cited by Lotto in 1541 in his account book (Libro di spese diverse).
Micro-invasive analyses (Raman and SEM/EDX) stated also the presence, among yellows, of litharge, of a high tin content “giallorino” (lead-tin yellow) and of saffron, as well as the use of grinded transparent glass in the pictorial layers, the existence of coloured priming and – in one case – of an iron-oxides coloured ground, the complexity of some stratifications and mixtures.
This kind of analyses were carried out on a few selected samples of four works painted during different periods of Lotto’s career, from 1508 (Recanati) to 1522 (Bergamo).
The University of Bergamo coordinated and carried out non-invasive analyses using portable instruments: IR reflectography in different bands, false colour IR, reflectance spectrometry in the visible range (vis-RS), X-ray spectrometry (EDXRF), sometimes UV-induced fluorescence and X-ray radiography. On the basis of the obtained results some areas of four paintings undergoing restoration treatments were subjected to micro-sampling in order to be mounted in cross-sections and studied by optical microscopy (OM) and SEM/EDX by the University of Urbino e by micro-Raman spectroscopy by the University of Modena and Reggio Emilia.
Non invasive exams allowed to know the evolution of Lotto’s palette during all the periods of his activity, as well as his underdrawing, the nature of painting changes and his pictorial technique. Among the most interesting results, the use of lapis lazuli and azurite in different combinations , and their mixture with red lakes. About these lakes, Lotto shows a peculiar use of madder, also alternated with carmine-type lake, according to desired effects. About yellows, he uses both lead-tin and lead-antimony (Naples yellow) pigments, the latter found by XRF in works starting from 1530 to the last years: it can be related to the “zalolin da vasarj” cited by Lotto in 1541 in his account book (Libro di spese diverse).
Micro-invasive analyses (Raman and SEM/EDX) stated also the presence, among yellows, of litharge, of a high tin content “giallorino” (lead-tin yellow) and of saffron, as well as the use of grinded transparent glass in the pictorial layers, the existence of coloured priming and – in one case – of an iron-oxides coloured ground, the complexity of some stratifications and mixtures.
This kind of analyses were carried out on a few selected samples of four works painted during different periods of Lotto’s career, from 1508 (Recanati) to 1522 (Bergamo).
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Research Interests: Cultural Studies, Art History, Art, Architecture, Art Theory, and 117 moreCultural Heritage, Conservation, History (Architecture), Painting, Cultural Heritage Conservation, Heritage Conservation, Art Conservation, Sculpture, Modern Architecture, Restoration, Religious architecture, Architectural Conservation, Architectural Heritage, Architecture history (Architecture), - Architecture history, Religious art, Architecture History, Fine Arts, History of architecture, Arquitectura, Historia de la Arquitectura, Science for Conservation and Restoration of Cultural Heritage, Fresco, Conservación y Restauración, Patrimonio Cultural, Arte, Historia del Arte, Sicily, Restoration of Historical Buildings, Fine Art, Restauration and Conservation, STORIA DELL'ARTE, Pintura, Religious art and architecture, Conservation and Restoration, History of conservation-restoration, History of Conservation and Restoration, Restauration, Biodeterioration od Cultural Heritage, Beni Culturali, Diagnostics, History and Theory of Modern Architecture, Restoration and Heritage Conservation, Pittura, Scultura, Architettura, Biodeterioration of stone, Degradation, Conservación, Peinture, Conservação e restauro, Sicilia, Dipinti, Storia Dell'Architettura, Conservazione e restauro, Conservation and Restoration of Historic Buildings and Monuments, Biodeterioration and Biodegradation, Restauro Monumentale, Molecular Techniques, Theory of Art, Arte sacra, Restauro, Affresco, Restoration of Monuments, Storia Dell'Arte Moderna, History of conservation, Conservazione, Patrimonio culturale, Frescoes, Efflorescenze, Studi Di Conservazione Beni Culturali, Tecnologie per la conservazione dei beni culturali, Art History,Architecture,Conservation and Restoration of historic buildings, Architettura Moderna, Art and Art History, Patrimoine Culturel, Restauro Affreschi, BIODETERIORAMENTO, DIAGNOSTICA PER I BENI CULTURALI, DIPINTI MURALI, Theory of Restoration, Modern religious art and architecture, Indagini Diagnostiche Beni Culturali, Studi Culturali, Science for Conservation and Restoration of Cultural Heritage and History of Architecture, Intonaco, Pittura Murale, Science for Conservation, – Studi Culturali, Conservation and Restoration of Wall Paintings, Affreschi, Degrado, Restoration and Conservation of Ancient and Historic Buildings and Structures, Architectural Heritage Conservation, Storia E Teoria Del Restauro, Biodeterioration of Wall Paintings, Biodegradation and Biodeterioration, Efflorescence, Teoria Dell'arte, Biodeterioration, Conservazione Dei Beni Culturali, Dipinti Murali XIX E XX Secolo, Stucchi, Stucchi XIX E XX Secolo, Chiesa Delle Anime Sante Di Bagheria, Onofrio Tomaselli, F. Fazzone, Bagheria, Indagini Scientifiche, Conservazione E Restauro Dei Beni Culturali, Molecular Investigation, Biodeteriogens Identification, Materiali Costitutivi, Tecniche Esecutive, Doratura, Biodeterioration of Cultural Heritage, Degrado stucchi, and Architettura Religiosa(Cultural Heritage, Conservation, History (Architecture), Painting, Cultural Heritage Conservation, Heritage Conservation, Art Conservation, Sculpture, Modern Architecture, Restoration, Religious architecture, Architectural Conservation, Architectural Heritage, Architecture history (Architecture), - Architecture history, Religious art, Architecture History, Fine Arts, History of architecture, Arquitectura, Historia de la Arquitectura, Science for Conservation and Restoration of Cultural Heritage, Fresco, Conservación y Restauración, Patrimonio Cultural, Arte, Historia del Arte, Sicily, Restoration of Historical Buildings, Fine Art, Restauration and Conservation, STORIA DELL'ARTE, Pintura, Religious art and architecture, Conservation and Restoration, History of conservation-restoration, History of Conservation and Restoration, Restauration, Biodeterioration od Cultural Heritage, Beni Culturali, Diagnostics, History and Theory of Modern Architecture, Restoration and Heritage Conservation, Pittura, Scultura, Architettura, Biodeterioration of stone, Degradation, Conservación, Peinture, Conservação e restauro, Sicilia, Dipinti, Storia Dell'Architettura, Conservazione e restauro, Conservation and Restoration of Historic Buildings and Monuments, Biodeterioration and Biodegradation, Restauro Monumentale, Molecular Techniques, Theory of Art, Arte sacra, Restauro, Affresco, Restoration of Monuments, Storia Dell'Arte Moderna, History of conservation, Conservazione, Patrimonio culturale, Frescoes, Efflorescenze, Studi Di Conservazione Beni Culturali, Tecnologie per la conservazione dei beni culturali, Art History,Architecture,Conservation and Restoration of historic buildings, Architettura Moderna, Art and Art History, Patrimoine Culturel, Restauro Affreschi, BIODETERIORAMENTO, DIAGNOSTICA PER I BENI CULTURALI, DIPINTI MURALI, Theory of Restoration, Modern religious art and architecture, Indagini Diagnostiche Beni Culturali, Studi Culturali, Science for Conservation and Restoration of Cultural Heritage and History of Architecture, Intonaco, Pittura Murale, Science for Conservation, – Studi Culturali, Conservation and Restoration of Wall Paintings, Affreschi, Degrado, Restoration and Conservation of Ancient and Historic Buildings and Structures, Architectural Heritage Conservation, Storia E Teoria Del Restauro, Biodeterioration of Wall Paintings, Biodegradation and Biodeterioration, Efflorescence, Teoria Dell'arte, Biodeterioration, Conservazione Dei Beni Culturali, Dipinti Murali XIX E XX Secolo, Stucchi, Stucchi XIX E XX Secolo, Chiesa Delle Anime Sante Di Bagheria, Onofrio Tomaselli, F. Fazzone, Bagheria, Indagini Scientifiche, Conservazione E Restauro Dei Beni Culturali, Molecular Investigation, Biodeteriogens Identification, Materiali Costitutivi, Tecniche Esecutive, Doratura, Biodeterioration of Cultural Heritage, Degrado stucchi, and Architettura Religiosa)
(Cultural Heritage, Conservation, History (Architecture), Painting, Cultural Heritage Conservation, Heritage Conservation, Art Conservation, Sculpture, Modern Architecture, Restoration, Religious architecture, Architectural Conservation, Architectural Heritage, Architecture history (Architecture), - Architecture history, Religious art, Architecture History, Fine Arts, History of architecture, Arquitectura, Historia de la Arquitectura, Science for Conservation and Restoration of Cultural Heritage, Fresco, Conservación y Restauración, Patrimonio Cultural, Arte, Historia del Arte, Sicily, Restoration of Historical Buildings, Fine Art, Restauration and Conservation, STORIA DELL'ARTE, Pintura, Religious art and architecture, Conservation and Restoration, History of conservation-restoration, History of Conservation and Restoration, Restauration, Biodeterioration od Cultural Heritage, Beni Culturali, Diagnostics, History and Theory of Modern Architecture, Restoration and Heritage Conservation, Pittura, Scultura, Architettura, Biodeterioration of stone, Degradation, Conservación, Peinture, Conservação e restauro, Sicilia, Dipinti, Storia Dell'Architettura, Conservazione e restauro, Conservation and Restoration of Historic Buildings and Monuments, Biodeterioration and Biodegradation, Restauro Monumentale, Molecular Techniques, Theory of Art, Arte sacra, Restauro, Affresco, Restoration of Monuments, Storia Dell'Arte Moderna, History of conservation, Conservazione, Patrimonio culturale, Frescoes, Efflorescenze, Studi Di Conservazione Beni Culturali, Tecnologie per la conservazione dei beni culturali, Art History,Architecture,Conservation and Restoration of historic buildings, Architettura Moderna, Art and Art History, Patrimoine Culturel, Restauro Affreschi, BIODETERIORAMENTO, DIAGNOSTICA PER I BENI CULTURALI, DIPINTI MURALI, Theory of Restoration, Modern religious art and architecture, Indagini Diagnostiche Beni Culturali, Studi Culturali, Science for Conservation and Restoration of Cultural Heritage and History of Architecture, Intonaco, Pittura Murale, Science for Conservation, – Studi Culturali, Conservation and Restoration of Wall Paintings, Affreschi, Degrado, Restoration and Conservation of Ancient and Historic Buildings and Structures, Architectural Heritage Conservation, Storia E Teoria Del Restauro, Biodeterioration of Wall Paintings, Biodegradation and Biodeterioration, Efflorescence, Teoria Dell'arte, Biodeterioration, Conservazione Dei Beni Culturali, Dipinti Murali XIX E XX Secolo, Stucchi, Stucchi XIX E XX Secolo, Chiesa Delle Anime Sante Di Bagheria, Onofrio Tomaselli, F. Fazzone, Bagheria, Indagini Scientifiche, Conservazione E Restauro Dei Beni Culturali, Molecular Investigation, Biodeteriogens Identification, Materiali Costitutivi, Tecniche Esecutive, Doratura, Biodeterioration of Cultural Heritage, Degrado stucchi, and Architettura Religiosa)