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

Bonizzoni, L., Caglio, S., Galli, A., Lanteri, L., Pelosi, C. (2023). Materials and Technique: The First Look at Saturnino Gatti. APPLIED SCIENCES, 13(11) [10.3390/app13116842].

Materials and Technique: The First Look at Saturnino Gatti

Galli, Anna;
2023

Abstract

As part of the study project of the pictorial cycle, attributed to Saturnino Gatti, in the church of San Panfilo at Villagrande di Tornimparte (AQ), image analyses were performed in order to document the general conservation conditions of the surfaces, and to map the different painting materials to be subsequently examined using spectroscopic techniques. To acquire the images, radiation sources, ranging from ultraviolet to near infrared, were used; analyses of ultraviolet fluorescence (UVF), infrared reflectography (IRR), infrared false colors (IRFC), and optical microscopy in visible light (OM) were carried out on all the panels of the mural painting of the apsidal conch. The Hypercolorimetric Multispectral Imaging (HMI) technique was also applied in selected areas of two panels. Due to the accurate calibration system, this technique is able to obtain high-precision colorimetric and reflectance measurements, which can be repeated for proper surface monitoring. The integrated analysis of the different wavelengths’ images—in particular, the ones processed in false colors—made it possible to distinguish the portions affected by retouching or repainting and to recover the legibility of some figures that showed chromatic alterations of the original pictorial layers. The IR reflectography, in addition to highlighting the portions that lost materials and were subject to non-original interventions, emphasized the presence of the underdrawing, which was detected using the spolvero technique. UVF photography led to a preliminary mapping of the organic and inorganic materials that exhibited characteristic induced fluorescence, such as a binder in correspondence with the original azurite painting or the wide use of white zinc in the retouched areas. The collected data made it possible to form a better iconographic interpretation. Moreover, it also enabled us to accurately select the areas to be investigated using spectroscopic analyses, both in situ and on micro-samples, in order to deepen our knowledge of the techniques used by the artist to create the original painting, and to detect subsequent interventions.
Articolo in rivista - Articolo scientifico
UV fluorescence (UVF); IR reflectography (IRR); IR false colors (IRFC); hypercolorimetric multispectral imaging (HMI)
English
5-giu-2023
2023
13
11
6842
open
Bonizzoni, L., Caglio, S., Galli, A., Lanteri, L., Pelosi, C. (2023). Materials and Technique: The First Look at Saturnino Gatti. APPLIED SCIENCES, 13(11) [10.3390/app13116842].
File in questo prodotto:
File Dimensione Formato  
Bonizzoni-2023-Appl Sci-VoR.pdf

accesso aperto

Descrizione: Article
Tipologia di allegato: Publisher’s Version (Version of Record, VoR)
Licenza: Creative Commons
Dimensione 9.46 MB
Formato Adobe PDF
9.46 MB Adobe PDF Visualizza/Apri

I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.

Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10281/422938
Citazioni
  • Scopus 9
  • ???jsp.display-item.citation.isi??? 6
Social impact