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In healthy subjects, the transient perturbation of body part ownership is accompanied by regional skin temperature decrease. This observation leaves an open question about a possible body part-specific thermoregulatory response in pathological conditions, in which the sense of ownership over that body part is altered. For instance, Body Integrity Dysphoria (BID), a poorly understood neuropsychiatric disorder, is characterised by the non-acceptance of one or more of one's extremities. This unsettling feeling pervasively captures the individuals' attention towards the unwanted limb. Previous studies characterised BID in terms of absent ownership feeling with preserved ownership judgment. We explored for the first time whether this altered feeling is also associated with a specific thermoregulatory response. We recorded thermal image sequences of circumscribed regions of the limbs' skin in seven individuals with BID desiring to remove one leg while they were invited to focus their attention toward one particular limb (arm or leg). Their event-related thermoregulatory pattern was compared to a group of healthy matched controls. In individuals with BID but not in control persons, we found a bilateral decrease in leg temperature when focusing their attention on either the unwanted or accepted leg. The event-related thermoregulatory response for both upper limbs was similar between individuals with BID and healthy controls. Our results suggest that the alteration of the sense of body ownership in neuropsychiatric conditions such as BID may critically rest on specific event-related thermoregulatory patterns in response to modulation of attention to body parts.

According to projects and practices that the Italian botanists and ecologists are carrying out for bringing “more nature in the city”, new insights for a factual integration between ecological perspectives and more consolidated aesthetic and agronomic approaches to the sustainable planning and management of urban green areas are provided.

Pulsed thermography was exploited to identify the presence of glass defects in order to get an indication of the conservation status of archaeological glass. Indeed, the process of degradation in artifacts subjected to centuries of burial can be of great relevance. More specifically, we evaluated the potential of pulsed thermography to map the presence of flakes in archaeological glass. This was achieved by comparing different heating setups and signal-processing algorithms. Tests were carried out previously on glass mockups with surface defects and then on archaeological artifacts.

In the context of paintings characterization, X-Ray Fluorescence (XRF) combined with Fibre Optics Reflectance Spectroscopy (FORS) is a well-known methodology. The latter allows to classify the pigments constituting the external layers (few microns) of the painting while the former provides the fingerprint of the main chemical elements present in almost all layers (tens of microns) of the sample. The synergetic application of XRF and FORS is a key turn for non-invasive scientific analysis of works of art since it exhaustively describes the pigments employed by the masters and supplies a first insight into their distribution on the panels. In this scenario, Optical Microscopy (OM) applied directly on the painting surface, without any type of sampling, is traditionally deemed as a descriptive tool for showing microscopic features such as craquelure, brushstrokes or painting material distribution. It can be eventually expendable as a qualitative help during the discussion of spectroscopic data, but not considered fundamental. Nonetheless, the application of image processing protocols can make OM a concrete support for the characterization of paintings. In this work a new image analysis strategy has been introduced, its potential has been demonstrated studying different flesh tones from the panel “The Holy Family with St. Anne and the young St. John” by Bernardino Luini (Pinacoteca Ambrosiana Collection of Milan) and, finally, it has been discussed how OM could quantitatively complete XRF and FORS analysis. The results show that optical microscopy, other than provide a glance of the investigated surface spots, effectively integrates the description given by the spectroscopic techniques and, properly managed, can be a useful resource for solving ambiguous cases.

God the Father with Angels (about 1330, tempera on panel) by Giotto is the Gable of the altarpiece of Baroncelli Chapel in the church of Santa Croce in Florence. Very little is known about its history since the separation from the so-called Baroncelli Polyptych. Now at the San Diego Museum of Art, the Gable had never been studied by means of scientific methods before our team took the opportunity to during the exhibition “Giotto, l'Italia” held in Milan. Exploiting the integration of different knowledge, technologies and resources of our team, we were able to provide data for understanding the organizational model of Giotto's workshop performing non-invasive analyses with portable instruments during closing hours of exhibition (four diagnostic campaigns, six hours of work/campaign, no interruption of the exhibition). The achieved results confirm the painting technique based on different layers of pigments, a technique already used by Giotto. Combining the effectiveness of scanning MA-XRF with the responsive of IR reflectography and IR false colour, we moved step by step toward the discovery of Giotto's palette for the flesh tones in God the Father with Angels. FORS and XRF single point analyses were performed on some selected areas too. The IR reflectography results support the hypothesis of a detailed underdrawing with both thin and flat brushstrokes. By applying image-processing algorithms to the collected reflectograms, we obtained quantitative objective measures supporting the hypothesis that a guide could have been used in the realization of human figures; this means the use of sketches for the face of “God the Father” and for the faces of angels.

The project “Leonardesque Artists beyond the Visible” was planned on the 500th anniversary of the death of Leonardo da Vinci, with the occasion of an exhibition held in Milan in 2019, where more than twenty works made by Leonardesque masters have been put on display. Among them, five representative paintings made by his closest pupils were selected for a comprehensive and multidisciplinary project. Portable non-invasive imaging and spectroscopy techniques were applied to supply useful information to scholars but also to the wider public: description of the material composition of the pigments, of the preparation and of the binders, existence or absence of underdrawing, and identification of the painters’ technique and style. Particular attention was paid also to the image processing techniques, mostly for hyperspectral and radiographic data, to get the most from both innovative and traditional techniques. Results highlighted for each author a peculiar painting technique showing hidden features such as pentimenti and the panel preparation methods, pigments, binders and varnishes.

Leonardo's Codex Atlanticus depicted a detailed drawing for an improved wooden canal lock to control the water flow in Milan's canal system. Museo Nazionale della Scienza e della Tecnologia “Leonardo da Vinci” in Milan has been conserving two pairs of canal gates in its storage for more than fifty years, until a complete and multidisciplinary study was launched to deeply examine one of the pairs. Both historical and scientific research teams joined in their efforts. While historical research has recreated the provenience of the gates until their arrival at the Museum, the scientific analyses were a new opportunity to help the reconstruction and characterization of the canal gates' history, enlightening the construction technique, the structural modifications over time and the conservation conditions. The multidisciplinary investigations involved radiographic analyses, 14C dating and the chemical characterization of the wood present in the gates. Through the radiographic analyses, it was possible to show the structure of the gates, the joints and the position of the metal components. Eighteen micro-samples were collected on selected areas of the gates and provided interesting results: artifacts dating the results span over four centuries. Furthermore, the degradation of the wood was studied by estimating the amount of lignin and holocellulose, and the distribution of their molecular weights.

Lapis lazuli use stretches back more than 6500 years; ancient civilizations of Mesopotamia, Egypt, China, Greece, and Rome treasured and prized it. Afghanistan has been the oldest source for this stone, while Chile, Canada, Russia and a few other countries have been reported as sources for raw material in more recent times; the rarity of historical mines surely represents a positive aspect for the provenance clue of artefacts. Lapis lazuli is a rock consisting mainly of lazurite, to which it owes the blue colour, calcite and pyrite. Other constituents may be present, related to the different mines. In the present work, we apply the principles of Radio-luminescence (RL) exploiting as radiation source the X-ray tube of a portable commercial X-Ray Fluorescence spectrometer; in this way, X-Ray Fluorescence spectra (XRF) can be simultaneously acquired to have a larger set of data. To highlight the instrumental experimental differences, we refer to the portable set up as X-Ray Luminescence (XRL), as suggested by recent literature. We thus looked for the possibility of applying a wieldy, low cost and non-destructive method that could fit also to precious objects, based on the join use of XRF and XRL. We performed analyses on raw lapis lazuli stones from five different provenances, both historical and modern, and on four sets of unknown origin carved polished stones, to test our methods on real artefacts. We focalised on a limited number of samples to concentrate on the statistical treatment of spectra obtained, so to get a synergic response of the two applied techniques. We were able to obtain a clear distinction for the different classified provenances and could speculate those of unknown samples.

The process of degradation of archaeological glass subjected to centuries of burial can be of great relevance: typical consequence of degradation in the original vitreous material is rainbow-like iridescence due to chemical alteration of surface layers, salts formation and ion migration. The research presented in this paper is focused on the study of a collection of Roman glass (I - II century A.D.) held by the Museo Civico Etnografico Archeologico Fanchini of Oleggio, Italy. Chemical characterization (namely flux, chromophores and opacifiers determination) has been performed by a combination of X-Ray Fluorescence (XRF) and Fibre Optics Reflectance Spectroscopy (FORS) in the UV–Vis-NIR region. Conservation conditions have been studied and degraded areas have been mapped through Infrared thermography (IRT). IRT is a non-invasive method typically used to measure the apparent temperature of objects and represent it as pseudo-colour images. In the present work, we demonstrate the feasibility of IRT for identifying and mapping glass substrate defects due to ageing of glass, assuming that they may be considered as thermal anomalies. Thermogram sequences have been processed by high order statistical analysis, which is particularly suitable since it is based on automated processes where the output is a single representative image. The use of a thermal camera allows furthermore to perform remote analysis in areas hardly reachable in a fast and effective way.

The use of non-invasive analytical techniques on cultural heritage objects usually faces the insurmountable limit of dealing with artworks subjected to more restorations. For painted surfaces, imaging techniques, such as infrared photography (NIR) and ultraviolet-induced visible fluorescence (UVIVF), allow to distinguish areas with different kind and period of interventions. This paper presents the application of such techniques on two wooden coffins of the 21st Dynasty with a complex restoration history, the analytical inspections deal with the issues occurring in the reconstruction of a fluorescence map that is influenced by on both the use of non-original pigments and the presence of protective varnishes. In uncontrolled laboratory conditions, the possibility to associate quantitatively and univocally the luminance recorded by the camera with a certain level of fluorescence can be very difficult. An algorithm has been developed to obtain a map with an evident relationship between fluorescence and diagnostic information. First, the pixels of the fluorescent areas presenting different reflectance in the visible image have been used to equalize the visible image. Then, the ratio of the UVIVF image to the equalized image has been calculated, highlighting the low and non-fluorescent areas. After the thresholding and the segmentation of the UVIVF image, the masks obtained have been overlaid on the NIR images to merge and to map the areas with supposed similar restoration materials. The results illustrated in this work are followed by a punctual spectroscopic campaign, where the information on the imaging analysis is linked to and completed by the study of the chemical compounds in the coffins.