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In the present work, a complete non-invasive scientific investigation of six Utagawa Kunisada’s woodblock prints (nishiki-e) belonging to the Oriental Art Museum “E. Chiossone” (Genoa, Italy), was performed in situ. The campaign started with high resolution multiband imaging (visible, multiband fluorescence, near infrared) followed by reflectance transformation imaging (RTI) to characterize and highlight the peculiar printing techniques and the condition of the support. Then fiber optics reflectance spectroscopy (FORS), spectrofluorimetry, Raman and reflectance Fourier-transform infrared (FTIR) spectroscopies were successfully applied in synergy for the investigation of the printing materials (pigments, binders, support). The results obtained represent a set of very important information for these never-before-studied works of art, useful to the different professionals involved: historians, conservators and curators. The materials identified were completely in agreement with those traditionally used in the Edo period in the 19th century, while the computational imaging technique RTI gave an additional amount of information in terms of surface characterization that could not be overlooked when studying these works of art. RTI data were further processed to enhance the texture visualization.

The early detection of bronze disease is a significant challenge not only in conservation science but also in various industrial fields that utilize copper alloys (i.e., shipbuilding and construction). Due to the aggressive nature of this corrosion pathway, developing methods for its early detection is pivotal. The presence of copper trihydroxychlorides is the main key indicator of the ongoing autocatalytic process. Commonly used for pigment identification, reflectance imaging spectroscopy (RIS) or fiber optics reflectance spectroscopy (FORS) was recently employed for mapping atacamite distribution in extended bronze corrosion patinas. In this work, we detected the onset of bronze disease using visible–near-infrared (VIS-NIR) multispectral reflectography, which allowed for disclosing features that were poorly detectable to the naked eye. The image cube was analyzed using the spectral correlation mapper (SCM) algorithm to map the distribution of copper trihydroxychlorides. FORS and Raman spectroscopy were employed to characterize the patina composition and validate RIS data. A set of bronze samples, representative of Florentine Renaissance workshops, was specifically realized for the present study and artificially aged at different corrosion stages.

Illuminated manuscripts are, in general, the final products of a wise and complex interaction of different competencies. In particular, each manuscript reflects uses and techniques rooted in the historical and geographical traditions of the area of realization. Defining the characteristics and the materials in these valuable artefacts is an essential element to reconstruct their history and allow a more precise collocation and a possible comparison with other works in similar periods and areas. Non-invasive methods, mainly using portable instruments, offer undoubtedly good support in these studies. Recent analyses of an ancient Persian illuminated manuscript, combining multispectral imaging and spectroscopic measurements made with portable instruments (XRF, FORS, micro-Raman, IR-ATR) on selected points, provided new data for an improved understanding of this rare book. This study details the possibilities offered by combining these non-invasive methods for an in-depth understanding of the techniques and practices behind the realization of Middle Eastern illuminated manuscripts and provided new perspectives for multidisciplinary approaches to research in this field.

A paradigm using multispectral visible and near-infrared imaging spectroscopy is presented to semi-automatically create unbiased spectral maps that guide the site selection for in situ analytical methods (e.g. fiber optic reflectance spectroscopy and X-ray fluorescence) in order to identify and map pigments in illuminated manuscripts. This approach uses low spectral resolution imaging spectroscopy to create maps of areas having the same spectral characteristics. This paradigm is demonstrated by analysis of the illuminated manuscript leaf Christ in Majesty with Twelve Apostles (workshop of Pacino di Buonaguida, c. 1320). Using this approach the primary pigments are mapped and identified as azurite, lead-tin yellow, red lead, a red lake (likely insect-derived), a copper-containing green, brown iron oxide, and lead white. Moreover, small amounts of natural ultramarine were found to be used to enhance the blue fields around Christ, and a red lake was used to highlight different colors. These results suggest that the proposed paradigm offers an improved approach to the comprehensive study of illuminated manuscripts by comparison with site-specific analytical methods alone. The choice of broad spectral bands proves successful, given the limited palette in illuminated manuscripts, and permits operation at the low light intensity required for examination of manuscripts.

The study and preservation of illuminated manuscripts, particularly miniatures on parchment, are crucial for understanding the artistic, cultural, and technological history of the past. This research investigates the materials used in a 16th-century illuminated scroll, analyzing both the miniatures and the written text through non-invasive techniques. A multi-analytical approach was applied, including optical microscopy, Hypercolorimetric Multispectral Imaging (HMI), infrared reflectography in the 950–1700 nm range, Fiber Optics Reflectance Spectroscopy (FORS), macro X-ray fluorescence (MA-XRF) spectroscopy, Raman spectroscopy, and External Reflection Fourier Transform Infrared (ER-FTIR) spectroscopy. These methods provided a comprehensive characterization of the painting materials’ chemical composition and the artistic techniques utilized, revealing new information on Renaissance materials and practices. The detected mineral pigments primarily include smalt, vermilion, lead white, and minium, which are consistent with materials commonly found in illuminated manuscripts. Aluminosilicate and calcite were identified as fillers or substrates utilized for organic dyes, particularly those generating pink hues. An uncommon finding was the green pigment, which was identified as copper hydroxynitrate. Furthermore, gold and silver were extensively employed in the decorative elements, both as metal foils and in shell pigment form. Finally, the capital letters were executed using smalt and vermilion, while the black text ink was characterized as iron gall ink, a composition typically employed on parchment supports.

In recent decades, fabric-dyeing processes involved greener processes because, since ancient times, dyers used mordants based on metals to make the color better adhere to the textile fibers, but this is the reason for their increased pollution. To develop new strategies, attention was focused on finding the best condition for a dyeing method for natural fibers of vegetable and animal origin (cotton and wool) using an ancient natural dye known as folium. Folium was used mostly in miniature painting in an attempt to avoid the use of classical mordants and solvents. To this purpose, plasma treatment and chitosan coating were employed. Firstly, the textile fibers were analyzed through infrared spectroscopies to verify surface modifications; subsequently, the post-treatment morphological variations were observed via scanning electron microscopy. Both techniques highlighted a significant variation of the surface functional groups due to plasma treatments with He-O2 mixtures, which allowed a greater adhesion of chitosan on the fiber’s surface. Finally, the color strength of samples dyed with folium was tested through fiber optic reflectance spectroscopy, and the folium absorbance peaks were still detected after fabric washing. It is thus shown how an ancient, traditional raw matter has become relevant for developing new modern technologies.

In most birds, red feather color is linked to diet and attributed to carotenoids contained in plants and fruits. In the red crown feathers of the Ruby‐crowned Kinglet (Regulus calendula), a new biopigment was identified based on carminic acid, the main coloring compound of cochineal (Dactylopius coccus) and other scale insects. This has revealed a potential new class of carminic acid‐based biopigments, not previously identified in feathers. In this research, red crown feathers of a Ruby‐crowned Kinglet were analyzed by surface‐enhanced Raman scattering (SERS) employing synthesized silver star‐shaped colloids as the nanoplasmonic platform. Results indicated peaks at 450, 670, 1290–1312, 1355, 1410, 1570, 1620 cm−1 in the feather SERS spectra characteristic of carminic acid. SERS has proven to be an extremely sensitive, non‐destructive technique for the identification of different feather biopigments, even at trace quantities and in the presence of other predominant coloring substances. Brilliant feather colors come from unique biopigments, many of which are yet to be discovered. In this paper, we used surface‐enhanced Raman scattering (SERS) to probe traces of carminic acid in Ruby‐crowned Kinglet (Regulus calendula) feathers, which has not been identified as a feather biopigment before. This work is expected to introduce novel characterization techniques to feather coloration research, and open new application aspects for SERS.

The exhibition “The Ladies of Art”, held at the Palazzo Reale in Milan in 2021, focused on the history of women artists during the 16th and 17th centuries. As part of the exhibition, a series of diagnostic analyses have been carried out on two paintings, thanks to the collaboration of several research institutions. The considered artworks consist of two paintings on parchments, realized by Giovanna Garzoni at the Savoy Court in the 17th century. Diagnostic analyses were performed using different, complementary, and non-invasive techniques: high-resolution multiband imaging, hyperspectral imaging, optical microscopy, X-ray fluorescence, and FORS spectrometry, combined with advanced post-processing techniques, in order to map and distinguish the pigments and the underdrawing of both the paintings. This research is the first conducted on these paintings and one of the few on the entire works of this important miniaturist. The results showed an incredibly meticulous painting technique, with a detailed metal point underdrawing and painstaking brushstrokes to describe the details with a high degree of realism. Precious materials, such as gold and lapislazuli, were identified and mapped. The findings of this work represent a new contribution of knowledge, which helps to lessen the lack of information for systematic studies on the artistic production of G. Garzoni.

The Huexotzinco Codex is one of the earliest surviving manuscripts from the early colonial period of Mexico. The codex pertains to the legal case of conquistador Hernán Cortés and contains paintings and documents detailing the seizure of Cortés’ personal properties and over-taxation of his Huexotzincan allies by the colonial government in New Spain (present-day Mexico). Eight paintings within the manuscript were subjected to non-invasive analytical techniques revealing the pigment palette and production methodology. The findings of this study show a mixture of pre- and colonial codex production practices as well a unique Maya blue formulation and the identification of a silicate material used as a matrix for an organic yellow dye.

This paper presents the findings of the first multi-analytical investigation of the Book of Uí Mhaine, one of the largest Gaelic Books surviving from the medieval vernacular period. A combination of protein analysis, point X-ray fluorescence spectroscopy (XRF), multispectral imaging (MSI), point Fiber-Optic Reflectance Spectroscopy (FORS) and point Raman spectroscopy was used to perform a systematic investigation of the Book of Uí Mhaine’s constituent materials, including parchment, inks and pigments. The analysis revealed that the parchment was made of calfskin, both blunt tools and Pb-containing materials were used for ruling the pages throughout the manuscript, and iron-based inks were used to write the content of the book. The decoration was restricted to the initial letters and rubrication across the body text. The decoration color palette was limited to yellow and red, comprising arsenic-, mercury- and lead-based pigments. A copper-based green pigment was found only on one folio. The scientific knowledge acquired through this multi-analytical approach complemented a substantial corpus of knowledge already built by Gaelic scholars, paleographers, codicologists and conservators. This work not only allowed for the consolidation of existing information on methods and materials used for the production of medieval Gaelic manuscripts but also laid the basis for future comparative work with other contemporary traditions in Ireland and Europe.