Institute of Atmospheric Sciences and Climate (ISAC)

ABSTRACT The use of Hyper-Spectral Imaging (HSI) as a diagnostic tool in the field of cultural heritage is of great interest presenting high potentialities. This analysis, in fact, is non-destructive, non-invasive and portable. Furthermore, the possibility to couple hyperspectral data with chemometric techniques allows getting qualitative and/or quantitative information on the nature and physical-chemical characteristics of the investigated materials. A study was carried out to explore the possibilities offered by this approach to identify pigments in paintings. More in detail, six pigments have been selected and they have been then mixed with four different binders and applied to a wood support. The resulting reference samples were acquired by HSI in the SWIR wavelength range (1000-2500 nm). Data were processed adopting a chemometric approach based on the PLS Toolbox (Eigenvector Research, Inc.) running inside Matlab® (The Mathworks, Inc.). The aim of the study was to verify, according to the information acquired in the investigated wavelength region, the correlation existing between collected spectral signatures and sample characteristics related to the different selected pigments and binders. Results were very good showing as correlations exist. New scenarios can thus be envisaged for analysis, characterization, conservation and restoration of paintings, considering that the developed approach allows to obtain, just “in one shot”, information, not only on the type of pigment, but also on the utilized binder and support.

The “NAPUS” (a New Approach for the Public Understanding of Science based on cultural heritage conservation) pilot project is aiming at promoting the public understanding of science in primary school through didactic experiences and laboratories that link basic science principles to those concerning the conservation of cultural heritage. NAPUS represents an innovative didactic tool that allows learning Science in an interesting way: a) connecting the values of cultural heritage for a specific community, in which students live, and the science of materials, so as to inform students about why and how it is necessary to protect their cultural property and make them active participants in the preservation process itself; b) facilitating the public recognition of researchers and their researches about the science applied to the conservation of cultural heritage The project was performed in primary schools of Rome and was attended by a total of 1532 schoolchildren. Three different scienti...

In the past the unsuitable choices made when choosing products to be used for conservation actions related to artefacts of historic-artistic interest were mainly due to wrong assessments. More specifically this means: insufficient determination of the structure-aspect relation which characterises the original materials that make up the artefacts; insufficient knowledge of the behaviour of new materials due to natural ageing processes which might impoverish them or deprive them of specific qualities; lack of interest in measuring the medium-long term effects and interactions of the artefacts-products-environment system. The latter is sometimes capable of triggering new and more serious factors leading to the deterioration of the artefact sometimes causing even greater damage. In particular this study refers to the aspects related to the potential danger deriving from products used for the different types of conservation interventions on stone materials.

A new diagnostic investigation on Annunciata painting by Antonello da Messina was carried out in situ, in the Sala di Antonello of the Galleria Regionale di Palazzo Abatellis in Palermo (Sicily). It was carried out by using INTRAVEDO scanner for IR Reflectography (InGaAs detector) and XRF mapping, in order to investigate, thanks to an innovative equipment, the blue painting area, and in particular, the area between the face of the Virgin and the blue veil (on her left side). This pictorial surface, probably altered in the past by a heavy cleaning (date back to the 19th century) that involved the face and hands, was not clearly understood during the previous scientific studies. The finding here has provided an important assumption for a correct historical - artistic reading of the original appearance of the subject and represent a scientific support to clarify
the conservation history which leads the painting to its current state. The new studies provided a common understanding of the available archive information, previous restorations and diagnostic investigations carried out over time.