Materials and Technique: The First Look at Saturnino Gatti

• Published in: Applied sciences Vol. 13; no. 11; p. 6842
• Main Authors: Bonizzoni, Letizia, Caglio, Simone, Galli, Anna, Lanteri, Luca, Pelosi, Claudia
• Format: Journal Article
• Language: English
• Published: Basel MDPI AG 01.06.2023
• Subjects: Algorithms; Cameras; Cultural heritage; hypercolorimetric multispectral imaging (HMI); Infrared radiation; IR false colors (IRFC); IR reflectography (IRR); Light; Methods; Mural painting and decoration; Photography; Radiation; Spectrum analysis; Ultraviolet radiation; UV fluorescence (UVF); Italy
• ISSN: 2076-3417; 2076-3417
• DOI: 10.3390/app13116842

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.